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Updated: May 9, 2025
Torregiani, painter and sculptor of secondary importance, but a bully of the first class, a man who was in the habit of knocking about the artists whom he could not equal, and of breaking both their models and their heads, had been accustomed to copy in the Brancacci chapel, among the rest.
Thus we shall participate in what has been, in what is, and in what shall be. You do not wish to be immortal, Monsieur Dechartre? Beware, for God may hear you." Dechartre replied: "It would be enough for me to live one moment more." And he said good-night, promising to return the next day to escort Madame Martin to the Brancacci chapel.
He began painting at the time when Masolino da Panicale was working on the Chapel of the Brancacci in the Carmine, in Florence, ever following, in so far as he was able, in the steps of Filippo and Donato, although their branch of art was different, and seeking continually in his work to make his figures very lifelike and with a beautiful liveliness in the likeness of nature.
The Cardinal Brancacci, having become acquainted with the merits of Salvator Rosa at Naples, took him under his protection, and conducted him to his bishopric of Viterbo, where he painted several historical works, and an altar-piece for the cathedral, representing the Incredulity of St. Thomas. On his return to Rome, the prince Gio.
In his earliest youth he completed the Chapel of the Brancacci in the Carmine at Florence, begun by Masolino, and left not wholly finished by Masaccio on account of his death. Filippo, therefore, gave it its final perfection with his own hand, and executed what was lacking in one scene, wherein S. Peter and S. Paul are restoring to life the nephew of the Emperor.
Thus we shall participate in what has been, in what is, and in what shall be. You do not wish to be immortal, Monsieur Dechartre? Beware, for God may hear you." Dechartre replied: "It would be enough for me to live one moment more." And he said good-night, promising to return the next day to escort Madame Martin to the Brancacci chapel.
During this time Andrea obtained a commission through Antonio Brancacci, to paint some pictures in the convent of S. Piero at Luco in Mugello, where he retired with his wife and her relations, and his pupil Raffaelo. They spent a very pleasant summer: the nuns made much of his wife and her sisters, and he passed his time in earnest painting.
To him, while Pisanello and Gentile da Fabriano were labouring in Rome for Pope Martin on the walls of the Church of S. Gianni, these masters had allotted a part of the work, when he returned to Florence, having had news that Cosimo de' Medici, by whom he was much assisted and favoured, had been recalled from exile; and there he was commissioned to paint the Chapel of the Brancacci in the Carmine, by reason of the death of Masolino da Panicale, who had begun it; but before putting his hand to this, he made, by way of specimen, the S. Paul that is near the bell-ropes, in order to show the improvement that he had made in his art.
Do the same with regard to the pictures by Ghirlandajo and Botticelli, and if I have not given you enough to do until I am free again to talk with you, study the frescoes by Filippino Lippi in Santa Maria Novella, and compare them with those in the Brancacci Chapel; and his easel pictures in the Uffizi and Pitti Galleries.
Michael Angelo, like all young artists who have had the opportunity, drew and studied in the Brancacci Chapel of the Church of the Carmine, containing the frescoes of Masaccio and his followers; the result of these studies may be seen in some of the compositions, and especially in the draperies of the Sistine ceiling.
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