Lecture 13: Masaccio and Early Renaissance Painting
Chapel are divided into two tiers, which are then subdivided into narrative
¿ elds. There are two small and two large scenes on each of the side walls
and two scenes on each side of the altar on the end wall. Over the altar is
a Tuscan painting in an Italo-Byzantine style, Madonna del Carmine (c.
1250). The subject of the cycle is the life of St. Peter. Peter, who was the
¿ rst pope, was symbolically associated with the papal party, dominant in
Florence at the time. The constant struggle during these decades between the
two political powers—the Guelphs and the Ghibellines—is famous in late
medieval and early Renaissance history. Signi¿ cantly, this family chapel was
founded in the late 14th century by Piero (Peter) Brancacci and dedicated to
his patron saint, Peter.Masolino was joined in decorating the chapel by Masaccio. Masolino
painted the vault, paintings that were destroyed and later replaced by 18th-
century works, and three other scenes before leaving for work abroad.
Masaccio stayed on, painting ¿ ve and a half scenes before leaving for Rome.
The Brancacci patron was sent into political exile, and the chapel remained
un¿ nished for 60 years, until around 1484, when Filippino Lippi was hired
to complete the remaining three and a half scenes.Our example shows a view of the right wall worked on by Masolino (upper
wall) and Filippino Lippi (lower wall). Masolino’s St. Peter Healing
a Cripple (left) and the Raising of Tabitha (right) form a simultaneous
narrative, both involving St. Peter in the act of healing. Note the marvelous
view of daily urban life and the elegantly dressed gentlemen at center—the
Brancacci were in the silk trade.Masolino and Masaccio appear to have worked well together in the chapel,
and the two may have already collaborated in 1424 on another altarpiece.
Masaccio’s painting was bolder and broader than Masolino’s, which
reÀ ected the International style that was still very much in vogue. Masolino’s
Temptation of Adam and Eve is representative of the International Gothic
style. It is an elegant painting, although the ¿ gures are bland. Directly
opposite Masolino’s Temptation is Masaccio’s Expulsion of Adam and Eve.
The contrast is remarkable, stylistically and emotionally. The Expulsion was
painted with great speed and freedom. Masaccio completed it in just four
days, with one day each spent on the angel, Adam, Eve, and the gate.