A History of European Art

(Steven Felgate) #1

On the left wall of the chapel is the largest painting by Masaccio, The Tribute
Money. This unusual subject tells a story from the Gospel of St. Matthew
(17:24–27). While Jesus and his disciples were in Capernaum, a tax collector
demanded that they pay the local temple tax. Peter was angry, but Jesus
told him to go to the lake and retrieve a ¿ sh that held a gold coin in its
mouth. Peter then paid the tax collector. In the center group are Jesus, the tax
collector, and Peter. The painting tells the story in a three-part composition
within a continuous landscape. The subject
must have been chosen because the chapel was
dedicated to Peter. It could also be related to the
imposition of a recent tax for defense against
invading armies. Note the center group—the
powerful faces and ¿ gures are reminiscent of
ancient Roman art and Giotto’s art. Compare
this work with Giotto’s Capture of Christ (c.
1305, Arena Chapel).


One of Masaccio’s three scenes on the altar
wall includes the Baptism of the Neophytes
(upper tier to the right of the altar). This scene
is from the Acts of the Apostles, when Peter preached in Jerusalem and 3,000
people were converted and baptized. The scene’s three male nude ¿ gures are
typically Renaissance. Note the mountains and the sensation of cold.


Another one of Masaccio’s scenes on the altar wall is St. Peter Healing with
His Shadow (lower wall to the left of the altar). It is drawn from Acts 5:12–
14, where we read that believers “brought forth the sick into the streets, and
laid them on beds and couches, that, at the least, the shadow of Peter passing
by might overshadow some of them.” Inspired by this passage, Masaccio
invented this scene. Not since Giotto painted in the Arena Chapel had any
fresco cycle deserved to be called monumental, though some were larger
or more ambitious. In the wake of stylistic reversals of the late 14th century,
Masaccio revived Giotto’s powerful ¿ gure style. However, Masaccio’s
¿ gures move with greater naturalness, a potential that was inspired by
Renaissance Humanism.


Masaccio’s painting
was bolder and
broader than
Masolino’s, which
reÀ ected the
International style
that was still very
much in vogue.
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