Brancacci Chapel
The Brancacci Chapel (in
The patron of the pictorial decoration was Felice Brancacci, descendant of Pietro, who had served as the Florentine ambassador to Cairo until 1423.[2] Upon his return to Florence, he hired Masolino da Panicale to paint his chapel. Masolino's associate, 21-year-old Masaccio, 18 years younger than Masolino, assisted, but during painting Masolino left to Hungary, where he was painter to the king, and the commission was given to Masaccio. By the time Masolino returned he was learning from his talented former student. However, Masaccio was called to Rome before he could finish the chapel, and died in Rome at the age of 27. Portions of the chapel were completed later by Filippino Lippi. During the Baroque period some of the paintings were seen as unfashionable and a tomb was placed in front of them.
The paintings
In his frescos, Masaccio carries out a radical break from the medieval pictorial tradition, by adhering to the new Renaissance perspectival conception of space. Thus, perspective and light create deep spaces where volumetrically constructed figures move in a strongly individualised human dimension. Masaccio therefore continues on Giotto's path, detaching himself from a symbolic vision of man and propounding a greater realistic painting.[3] The cycle from the life of Saint Peter was commissioned as patron saint from Pietro Brancacci, the original owner of the chapel.[4]
The paintings are explained below in their narrative order.
The Temptation of Adam and Eve
In contrast with Masaccio's Expulsion, this is a serene and innocent raffiguration.
The cycle begins with this painting by
The painting shows Adam standing near Eve: they look at each other with measured postures, as she prepares to bite on the apple, just offered to her by the serpent near her arm around the tree. The snake has a head with thick blond hair, much idealised. The scene is aulic in its presentation, with gestures and style conveying tones of late International Gothic. Light, which models the figures without sharp angles, is soft and embracing; the dark background makes the body stand out in their sensual plasticity, almost suspended in space.
The Expulsion from the Garden of Eden
Masaccio's masterpiece
This work represents a neat separation from the past International Gothic style; Masolino's serene composures are also left behind, and the two biblical progenitors are portrayed in dark desperation, weighed down under the angel's stern sight, who, with his unsheathed sword, forcibly expels them, with such a tension never seen before in painting. Gestures are eloquent enough: on exiting Paradise's Gates, from where some divine rays are shooting forward, Adam covers his face in desperation and guilt; Eve covers her nudity with shame and cries out, with a pained face. The bodies' dynamism, especially Adam's, gives an unprecedented passion to the figures, firmly planted on ground and projecting shadows from the violent light modelling them. Many are the details which increase the emotional drama: Adam's damp and sticky hair (on Earth, he'll struggle with hard labour and dirt), the angel's posture, foreshortened as if diving down from above. Eve's position is from an ancient representation, that of Venus Pudica (modest Venus). The foliage covering the couple's nudities was removed during a restoration in 1990.[5]
Peter's Calling
By
In the left lunette, destroyed in 1746-48,
first identified an image of this lost fresco in a later drawing, which does not conform to the lunette's upper curvature, but appears today as a very probable hypothesis. In this scene, Masolino had divided his composition into two expanses, of sea and sky.The opposite lunette housed the fresco of the Navicella, a traditional title for the scene where Christ, walking on water, rescues Peter from the surging waves of a storm and pulls him aboard the boat. This lunette again proposed a marine setting, on balance with the opposite scene and thus creating a sort of parable of Creation: from the skies of the Evangelists in the vault, to the seas of the upper register, to the lands and towns of the middle and lower registers, precisely like in Genesis. In a way, the viewer's sight shifts from Paradise to the terrene world in a consequential manner. Sources attribute this lunette to Masolino, but considering the alternating turns taken by the two artists on the scaffolding, some propound for a Masaccio fresco.[6]
Peter's Repentance
Peter's Repentance is found in the left semi-lunette of the upper register, where a very schematic preparatory drawing of the sinopia[7] was hosted. The scene was attributed to Masaccio, on the basis of its greater incisiveness in the treatment as against Masolino's work.
The Tribute Money
The most famous painting in the chapel is Tribute Money, on the upper right wall, with figures of Jesus and Peter shown in a three part narrative. The painting, largely attributed to Masaccio, represents the story of Peter and the tax collector from Matthew 17:24–27. The left side shows Peter getting a coin from the mouth of a fish and the right side shows Peter paying his taxes. The whole appears to be related to the establishment of the Catasto, the first income tax in Florence, in the time the painting was being executed.[8]
The miracle is not represented in a hagiographic key, but as a human occurrence that posits a divine decision: a historical event, then, with an explicit and indubitable moral meaning. On the narrational plane, the Tribute is developed in three stages: in the central part, Christ, from whom the tax collector asks a tribute for the
In the central group, the transverse directions formed by Christ's gesture with his right arm – replicated by that of Peter and, in opposite, by the turned collector – cross with those formed by the gestures of the right group, emphasizing escape points placed in the deepest space.[10]
Healing of the Cripple and Raising of Tabitha
The upper scene on the right wall shows, on the left side, the Healing of the Cripple and, on the right side, the Raising of Tabitha. The fresco is generally attributed to Masolino,[11] although Masaccio's hand has been discovered by some scholars. The scene shows two different episodes, with St. Peter appearing in both of them enclosed in a scenario of a typical Tuscan city of the 15th century depicted according to the strict rules of central perspective. The latter is generally regarded as Masaccio's main contribution, whereas the two central figures show Gothic influences.
St Peter Preaching
On the upper left wall one can see St Peter Preaching by
Baptism of the Neophytes
By Masaccio.
The whole composition presents details of astounding realism: the trembling neophyte, the water droplets from the baptised hair, the white sheet being removed in the background. Chromatic effects of "cangiantismo",[13] where drapery is modelled using contrasting colours to create an effect that simulates cangiante textiles, is achieved by Masaccio through a pictorial technique based on the juxtaposition of complementary colours, later reprised by Michelangelo.[14]
St Peter Healing the Sick with His Shadow
Lower centre wall, left side, by Masaccio. The episode depicts Acts 5:12–16.
The picture's attribution to Masaccio is based in on the perspective structure used to create the street setting and the craggy naturalism of the physiognomies of the old man and the cripple. According to Federico Zeri, Masaccio's brother, the painter Giovanni di ser Giovanni Guidi, known as Lo Scheggia, may have served as the model for the apostle John and the old bearded man in the background is a possible portrait of Donatello.[15]
The Distribution of Alms and Death of Ananias
Lower centre wall, right side, by Masaccio.
According to the narrative in Acts 4:32;5:1–11, each Christian, after selling their own possessions, would bring the proceeds to the apostles, who distributed to everyone according to need. Only Ananias "kept back for himself some of the proceeds and brought only a part of it and laid it at the apostles' feet." Severely reprimanded by Peter, he fell to the ground and died. The composition concentrates on the moment in which Ananias lies on the ground, whilst the woman with child receives alms from Peter, accompanied by John. The compositional structure is quite tight and emotional, involving the viewer in the heart of the event.[16]
Raising of the Son of Theophilus and St. Peter Enthroned
Lower left wall, by Masaccio, completed by Filippino Lippi approximately fifty years later.
Filippino composed the five bystanders on the left, the Carmelites' drapery and the central part of St. Peter's arm in the "enthroned" representation. According to the Legenda Aurea (
There is a precise iconographic resemblance between Theophilus (seated on the left, in an elevated position within a niche) and Gian Galeazzo Visconti, Florence's bitter enemy. The latter was a feared tyrant, whose thirst for power pushed him to start a war with Florence, almost destroying its freedom. Memory of this episode returned in all its crude vividness, when Florence had to confront a dispute with Filippo Maria Visconti, Gian Galeazzo's son. The figure sitting on Theophilus' (i.e., Gian Galeazzo's) right would be the Florentine chancellor Coluccio Salutati, author of an invective against the Lombard lord. St Peter's presence, therefore, symbolizes the mediating role of the Church in the person of Pope Martin V, to sedate the conflict between Milan and Florence. At the extreme right, a group of four bystanders should personify Masaccio (looking away from the painting), Masolino (the shortest one), Leon Battista Alberti (in the foreground); and Filippo Brunelleschi (the last). The frequent use of portraiture makes the imaginary world of painting and the viewer's personal experience converge. For Masaccio's contemporaries it should have been easier to read this scene as a reflection of themselves and their own social realities. The fresco's figures populate a dilated space of their own world and have a natural demeanor: they stretch their necks to see better, they look over their neighbour's shoulder, gesticulate, observe, and gossip about the event with the next bystander.[20]
St Paul Visiting St Peter in Prison
By Filippino Lippi.
The cycle continues towards the left, on the pillar, in the lower register, with the scene of St Peter in Prison visited by St Paul, painted by Filippino Lippi. St Peter is visible at a window with bars, while the visitor gives his back to the viewer. Perhaps the scene followed a drawing by Masaccio, as shown by the perfect architectural continuity with the adjacent scene of the Resurrection of the Son of Theophilus.
Decoration of the Brancacci Chapel stayed incomplete due to Masaccio's departure to Rome in 1427, where he died a year later. Moreover, the commissioning patron's exile in 1436 hindered any possibility of the frescos completion by other artists; in fact, it is probable that some parts already painted by Masaccio were removed as a sort of damnatio memoriae, because of their portraiture of the Brancacci family members. Only with the return of this family to Florence in 1480, the frescos could be resumed, by commissioning the artist closer and more faithful to the great Masaccio tradition, that is to say, Filippino Lippi, the son of his first apprentice. Filippino's intervention is not documented with precision, but is datable to ca. 1485 thanks to some indications given by Giorgio Vasari.[21]
St Peter Being Freed from Prison
Lower right wall, right side. By Filippino Lippi.
This is the last scene, to be related to the imprisoned saint on the opposite wall. In fact, it shows St Peter's liberation from prison by an angel, and it's entirely attributable to
Disputation with Simon Magus and Crucifixion of St Peter
Lower right wall, centre. By Filippino Lippi.
The large panel in the lower register, right wall, is by
Layout of the painting complex
- Left wall
Left wall, higher part II. Expulsion of Adam and Eve (Masaccio), V. Tribute (Masaccio), IX. St Peter Preaching (Masolino, detail)
Left wall, lower part XIII. St Paul Visiting St Peter in Prison (Filippino Lippi, unrestored), XV. Raising of the Son of Theophilus and St Peter Enthroned (Masaccio and Filippino Lippi), XI. St Peter Healing the Sick with His Shadow (Masaccio)
- Right wall
Right wall, higher part X. Baptism of the Neophytes (Masaccio), VI. Healing of the Cripple and Raising of Tabitha (Masolino), I=Original Sin (Masolino)
Influence
Masaccio's application of scientific
The young Michelangelo was one of the many artists who received his artistic training by copying Masaccio's work in the chapel. The chapel was also the site of an assault on Michelangelo by rival sculptor Pietro Torrigiano, who resented Michelangelo's critical remarks about his draughtsmanship. He punched the artist so severely that he "crushed his nose like a biscuit" (according to Benvenuto Cellini)[23] which deformed Michelangelo's face into that of a boxer's.
Restoration
The first restoration of the chapel frescoes was in 1481-1482, by
See also
Notes and references
- ^ Cf. B. Berenson, The Italian Painters Of The Renaissance, Pahidon (1952).
- ^ K. Shulman, Anatomy of a Restoration: The Brancacci Chapel (1991), p. 6. Cf. also A. Ladis, Masaccio: la Cappella Brancacci (1994), passim.
- ^ Cf. Federico Zeri, Masaccio: Trinità, Rizzoli (1999), p. 28.
- ^ "The Brancacci Chapel and the Use of Linear Perspective". Archived from the original on 14 January 2014. Retrieved 13 January 2014.
- ^ Cf. John Spike, Masaccio, cit. (2002); Mario Carniani, La Cappella Brancacci a Santa Maria del Carmine, cit., (1998).
- ^ Cf. John Spike, Masaccio, Rizzoli, Milan (2002), s.v. "Navicella".
- ^ The sinopia is the underdrawing for fresco made with reddish, greenish or brownish earth colour with water brushed on the arriccio layer, over which the intonaco is applied before painting. Red earth (iron oxide) mined by the town of Sinopia during the Renaissance period (present Turkey), currently depleted, gave the name to the method. During Giotto times and before Sinopia was the main preparatory drawing - the entire fresco was designed in Sinopia directly on the wall. Cartoons were implemented later after the perspective was "invented" and more thorough composition development became essential. Arriccio (Ariccio; Arricciato, Arriccato) or Browncoat is a layer of plaster over the roughcoat (Trullisatio) and just under the finish coat of plaster (Intonaco) which will be painted. The sinopia or full scale composition is laid out on the arriccio.
- ^ Cf. F. Antal, La pittura fiorentina e il suo ambiente sociale nel Trecento e nel primo Quattrocento, Turin (1960), s.v. "Catasto" and passim; see also R. C. Trexler, Public Life in Renaissance Florence, Ithaca (1980), Pt. 1, Ch. 1, pp. 9–33.
- ^ Cf. Federico Zeri, Masaccio: Trinità, cit., pp. 30–31.
- ^ Cf. Federico Zeri, Masaccio: Trinità, cit., p. 31.
- ^ Cf. U. Baldini, O. Casazza, La Cappella Brancacci, Milan (1990).
- ^ U. Procacci, Masaccio. La Capella Brancacci, Florence (1965), s.v. "Predica di san Pietro".
- ^ Cf. definition at "Cangiantismo". Archived from the original on 6 June 2015. Retrieved 13 November 2012..
- ^ Cf. Federico Zeri, Masaccio: Trinità, cit., p. 29.
- ^ Cf. Federico Zeri, Masaccio: Trinità, cit., p. 32.
- ^ Cf. Federico Zeri, Masaccio: Trinità, cit., p. 33.
- ^ Jacobus de Voragine. "44. The Chair of Saint Peter". In The Golden Legend: Readings on the Saints, translated by William Granger Ryan, 1.162–1.166. Princeton, N.J: Princeton University Press, 1993. Theophilus was a prefect of Antioch.
- ^ Cf. Federico Zeri, Masaccio: Trinità, cit., pp. 34–35.
- ^ Cf. R. C. Trexler, Public Life in Renaissance Florence, cit., s.v. "Milan"
- ^ Cf. Federico Zeri, Masaccio: Trinità, cit., pp. 34-35; see also F. Antal, La pittura fiorentina e il suo ambiente sociale nel Trecento e nel primo Quattrocento, cit., ibid.; M. Carniani, "La Cappella Brancacci a Santa Maria del Carmine", in AA.VV., Cappelle del Rinascimento a Firenze, Florence (1998).
- ^ M. Carniani, "La Cappella Brancacci a Santa Maria del Carmine", cit.
- ^ Cf. O. Casazza, Masaccio, Florence (1990), s.v. "Stile rinascimentale".
- ^ Cf. H. Hibbard, Michelangelo, Folio Society (2007), p. 12.
- ^ Cf. int. al. Philadelphia Museum of Art, article "Italian Paintings 1250-1450"; see also The Florentine Badia by Anne Leader (2000).