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What you must particularly look for here is that which you have hitherto found nowhere else, the expression of individuality in figures and faces. Giotto, you remember, sought to tell some story; to illustrate some Bible incident so that it should seem important and claim attention. Masaccio went to work in a wholly different way.
The Collegiate Church stands on a leafy hill above the town, with fair prospect over groves and waterfalls and distant mountains. Here in the choir is a series of frescoes by Masolino da Panicale, the master of Masaccio, who painted them about the year 1428. 'Masolinus de Florentia pinxit' decides their authorship.
But this must be said that the new painting and sculpture, particularly the painting of Masaccio and the sculpture of Donatello, had shown the world that the human being could be made the measure of the Divine. The Madonna and Christ had been related to life.
And that this is true we see from the fact that Florence produced in one and the same age Filippo, Donato, Lorenzo, Paolo Uccello, and Masaccio, each most excellent in his own kind, and thus not only swept away the rough and rude manners that had prevailed up to that time, but incited and kindled so greatly, by reason of the beautiful works of these men, the minds of those who came after, that the work of those professions has been brought to that grandeur and to that perfection which are seen in our own times.
The visitor held Cellini's drawing in his hand, studied it carefully and remarked: "I know this man Michelangelo Buonarrotti we used to draw and work together under the tutorship of Masaccio. One day Buonarrotti annoyed me and I dealt him such a blow on the nose that I felt the flesh, cartilage and bone go down under my knuckles like a biscuit. It was a mark he will carry to his grave."
For instance, the fifteenth century movement that began with Masaccio, Uccello, and Castagno opened up a rich vein of rather inferior ore; whereas the school of Raffael was a blind alley. Cézanne discovered methods and forms which have revealed a vista of possibilities to the end of which no man can see; on the instrument that he invented thousands of artists yet unborn may play their own tunes.
It is a little picture to steal. Nothing to steal here. Returning through Sala Prima we come to the Sala del Perugino and are among the masters once more riper and richer than most of those we have already seen, for Tuscan art here reaches its finest flower. Perugino is here and Botticelli, Fra Bartolommeo and Leonardo, Luca Signorelli, Fra Lippo Lippi and Filippino Lippi. And here is a Masaccio.
After Masaccio had finished the procession he went back to his painting of the chapel and in the end covered three of its four walls with his works. Many of those paintings are scenes from the life of St. Peter, and several were worked at by other artists than Masaccio.
Michelangelo The David The tomb of Julius A contrast Fra Angelico The beatific painter Cimabue and Giotto Masaccio Gentile da Fabriano Domenico Ghirlandaio Fra Angelico again Fra Bartolommeo Perugino Botticelli The "Primavera" Leonardo da Vinci and Verrocchio Botticelli's sacred pictures Botticini Tapestries of Eden.
He copied Masaccio at the Brancacci Chapel, and drew so earnestly from the cartoons in the Hall of the Pope that his achievements reached the ears of Piero himself, who was not sorry that his pupil surpassed the rest, and gave him more time for study away from the bottega.
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