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419:, orders Peter to go and fetch a coin from the mouth of the first fish he can catch; on the left, Peter, squatting on the shore, takes the coin from the fish; on the right, Peter tenders the coin to the tax collector. The three stages unite and the temporal sequences are expressed in spatial measures. The absence of a chronological scansion in the narrative, is to be sought in the fact that the painting's salient motif is not so much the miracle, as the actuation of the Divine Will, expressed by Jesus' the imperative gesture. His will becomes Peter's will who, by repeating his Lord's gesture, simultaneously indicates the fulfillment of Christ's will. The apostles' solidarity is shown by their serrated grouping around Jesus, as if to form a ring, a "coliseum of men". However, the very task is given to Peter: he alone will have to deal with mundane institutions. The portico's pillar becomes a symbolic element of separation between the grouped apostles and the conclusive delivery of tribute to the tax collector on Peter's part.
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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
481:, completed in eight days. Peter is shown, with an expressive gesture, preaching in front of a crowd. The people in the group have many and varied demeanours, from the sweet attention of the veiled nun in the foreground, to the sleepiness of both the girl behind her and the bearded old man, to the fear of the woman at back, whose worried eyes only can be seen. Mountains seem to continue from the preceding scene, with a spatial unity that was one of Masaccio trademarks. The three heads behind St Peter are probably portraits of contemporary people, same as the two friars on the right: all were formerly attributed to Masaccio.
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591:, 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.
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670:(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.
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441:. The fresco is generally attributed to Masolino, 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.
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322:, 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
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814:, with a pagan idol lying at the latter's feet. On the left, Peter's crucifixion is taking place: the saint is hanging upside down because he refused to be crucified in the same position as Christ's. The scene is replete with portraits: the youth with a beret on the extreme right is Filippino's self-portrait. The old man with a red hat in the group near St Peter and Simon Magus, is
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242:. It is famous for its vivid energy and unprecedented emotional realism. It contrasts dramatically with Masolino's delicate and decorative image of Adam and Eve before the fall, painted on the opposite wall. It presents a dramatic intensity, with an armed angel who hovers over Adam and Eve indicating the way out of the
1208:), 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.
624:'s assistance, Theophilus's son, who had died fourteen years before. So, people venerated St Peter and erected a new church to him, where he is enthroned so as to be revered and prayed by all. However, the true meaning of this fresco rests with the politics of the time: that is, in the conflict between
728:
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
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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", where drapery is modelled using contrasting colours to create an effect that simulates
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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.
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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
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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
1018:, who was also responsible for completing the cycle. Due to the lamps used for lighting the dark chapel, the frescoes were relatively quickly coated in dust and dirt from the smoke. Another restoration was conducted at the end of the 16th century. Around 1670, sculptures were added, and the
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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.
91:, 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
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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
328:. 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.
650:, 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
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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.
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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
721:, 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
1413:
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
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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
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additions were made to the frescoes, to hide the various cases of nudity. Late 20th century restoration removed the overpainting and collected dust and dirt. Some critics, including professor and art historian
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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
765:. Here too the architecture is connected with that of the adjacent depiction. The sword-armed guard sleeps in the foreground, leaning on a stick, whilst the miraculous rescue is happening – this implies
214:
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XII. The
Distribution of Alms and Death of Ananias (Masaccio), XVI. Disputation with Simon Magus and Crucifixion of St Peter (Filippino Lippi), XIV. St Peter Being Freed from Prison (Filippino Lippi)
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662:, 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),
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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
72:. The church and the chapel are treated as separate places to visit and as such have different opening times and it is quite difficult to see the rest of the church from the chapel.
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403:. 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
182:) are the premises to the story narrated in the frescos, showing the moment in which humans severed their union with God, later reconciled by Christ with Peter's mediation.
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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
1002:, 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
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and begun in 1422. The paintings were executed over the years 1425 to 1427. Public access is currently gained via the neighbouring convent, designed by
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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
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cangiante textiles, is achieved by
Masaccio through a pictorial technique based on the juxtaposition of complementary colours, later reprised by
658:, author of an invective against the Lombard lord. St Peter's presence, therefore, symbolizes the mediating role of the Church in the person of
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555:, 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
194:. Light, which models the figures without sharp angles, is soft and embracing; the dark background makes the body stand out in their sensual
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1027:, have criticised these efforts, while others, including professors, historians and restorers, have praised the work done on the chapel.
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shown in a three part narrative. The painting, largely attributed to Masaccio, represents the story of Peter and the tax collector from
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was hosted. The scene was attributed to Masaccio, on the basis of its greater incisiveness in the treatment as against Masolino's work.
178:, placed on the higher rectangle of the arch delimiting the Chapel, within the pillar thickness. This scene and the opposite one (the
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There is a precise iconographic resemblance between Theophilus (seated on the left, in an elevated position within a niche) and
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X. Baptism of the Neophytes (Masaccio), VI. Healing of the Cripple and Raising of Tabitha (Masolino), I=Original Sin (Masolino)
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established new traditions in Renaissance Florence that some scholars credit with helping to found the new Renaissance style.
64:" for its painting cycle, among the most famous and influential of the period. Construction of the chapel was commissioned by
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is applied before painting. Red earth (iron oxide) mined by the town of Sinopia during the Renaissance period (present
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before he could finish the chapel, and died in Rome at the age of 27. Portions of the chapel were completed later by
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is the underdrawing for fresco made with reddish, greenish or brownish earth colour with water brushed on the
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is developed in three stages: in the central part, Christ, from whom the tax collector asks a tribute for the
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is found in the left semi-lunette of the upper register, where a very schematic preparatory drawing of the
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II. Expulsion of Adam and Eve (Masaccio), V. Tribute (Masaccio), IX. St Peter Preaching (Masolino, detail)
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period some of the paintings were seen as unfashionable and a tomb was placed in front of them.
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is the first fresco on the upper part of the chapel, on the left wall, just at the left of the
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The cycle continues towards the left, on the pillar, in the lower register, with the scene of
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La pittura fiorentina e il suo ambiente sociale nel Trecento e nel primo Quattrocento, cit.
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La pittura fiorentina e il suo ambiente sociale nel Trecento e nel primo Quattrocento
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822:, Filippino's friend and teacher. In Simon Magus, some critics wish to see the poet
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with precision, but is datable to ca. 1485 thanks to some indications given by
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Frescoes in the Cappella Brancacci of Santa Maria della Carmine in Florence
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Frescoes in the Cappella Brancacci of Santa Maria della Carmine in Florence
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in its presentation, with gestures and style conveying tones of late
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The first restoration of the chapel frescoes was in 1481-1482, by
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246:: the crying sinners leave at their backs the gates of Paradise.
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M. Carniani, "La Cappella Brancacci a Santa Maria del Carmine",
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The upper scene on the right wall shows, on the left side, the
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In his frescos, Masaccio carries out a radical break from the
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1006:) which deformed Michelangelo's face into that of a boxer's.
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The paintings are explained below in their narrative order.
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635:
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The cycle from the life of Saint Peter was commissioned as
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620:, after release from prison, St. Peter resuscitates, with
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The large panel in the lower register, right wall, is by
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from Pietro Brancacci, the original owner of the chapel.
1116:"The Brancacci Chapel and the Use of Linear Perspective"
774:
Disputation with Simon Magus and Crucifixion of St Peter
596:
Raising of the Son of Theophilus and St. Peter Enthroned
201:
2980:
14th-century establishments in the Republic of Florence
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Raising of the Son of Theophilus and St Peter Enthroned
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to paint his chapel. Masolino's associate, 21-year-old
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1150:
La Cappella Brancacci a Santa Maria del Carmine, cit.
806:) one may see, on the right, the disputation between
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This work represents a neat separation from the past
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Annunciation with St John the Baptist and St Andrew
747:
1544:, article "Italian Paintings 1250-1450"; see also
83:until 1423. Upon his return to Florence, he hired
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141:
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1593:Smarthistory: Expulsion from Paradise (Masaccio)
210:The Expulsion from the Garden of Eden (Masaccio)
1446:Public Life in Renaissance Florence, cit., s.v.
171:, this is a serene and innocent raffiguration.
1074:Anatomy of a Restoration: The Brancacci Chapel
316:The opposite lunette housed the fresco of the
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1645:
1220:) and just under the finish coat of plaster (
574:The Distribution of Alms and Death of Ananias
564:The Distribution of Alms and Death of Ananias
428:Healing of the Cripple and Raising of Tabitha
115:Schematics of the Brancacci Chapel paintings.
28:, fresco by Masaccio in the Brancacci Chapel.
826:, celebrated as the creator of the renowned
123:pictorial tradition, by adhering to the new
601:Lower left wall, by Masaccio, completed by
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391:, on the upper right wall, with figures of
277:In the left lunette, destroyed in 1746-48,
75:The patron of the pictorial decoration was
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1216:is a layer of plaster over the roughcoat (
387:The most famous painting in the chapel is
533:St Peter Healing the Sick with His Shadow
523:St Peter Healing the Sick with His Shadow
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1753:Museo Nazionale Alinari della Fotografia
1253:, Ithaca (1980), Pt. 1, Ch. 1, pp. 9–33.
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1061:The Italian Painters Of The Renaissance
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174:The cycle begins with this painting by
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2795:Apparition of the Virgin to St Bernard
735:, because of their portraiture of the
729:by Masaccio were removed as a sort of
2945:Art museums and galleries in Florence
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2561:
1633:
975:Masaccio's application of scientific
802:and by the edifices peeking from the
723:Resurrection of the Son of Theophilus
719:St Peter in Prison visited by St Paul
459:
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219:The Expulsion from the Garden of Eden
203:The Expulsion from the Garden of Eden
1212:(Ariccio; Arricciato, Arriccato) or
362:
2754:
2702:List of major paintings by Masaccio
1763:Museo di Storia Naturale di Firenze
1588:abcgallery.com:The Brancacci Chapel
1475:Cappelle del Rinascimento a Firenze
1251:Public Life in Renaissance Florence
1037:List of major paintings by Masaccio
983:and skill in rendering the figures
705:St Paul Visiting St Peter in Prison
682:St Paul Visiting St Peter in Prison
473:On the upper left wall one can see
159:The Temptation of Adam and Eve, by
13:
2811:Apparition of Christ to the Virgin
1900:Cathedral of Santa Maria del Fiore
580:Lower centre wall, right side, by
263:
14:
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2628:Expulsion from the Garden of Eden
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1076:(1991), p. 6. Cf. also A. Ladis,
754:Lower right wall, right side. By
605:approximately fifty years later.
539:Lower centre wall, left side, by
235:Expulsion from the Garden of Eden
40:, "Cappella dei Brancacci") is a
2620:Virgin and Child with Saint Anne
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1465:, pp. 34-35; see also F. Antal,
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749:St Peter Being Freed from Prison
694:St Peter Being Freed from Prison
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1078:Masaccio: la Cappella Brancacci
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2707:Giovanni di ser Giovanni Guidi
1775:National Archaeological Museum
1315:Masaccio. La Capella Brancacci
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845:Layout of the painting complex
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587:According to the narrative in
553:Giovanni di ser Giovanni Guidi
143:The Temptation of Adam and Eve
56:. It is sometimes called the "
1:
2975:1386 establishments in Europe
2803:Madonna with Child and Saints
2787:Three Angels and Young Tobias
2225:British Institute of Florence
779:Lower right wall, centre. By
379:Detail of Jesus' face in the
198:, almost suspended in space.
2970:Paintings by Filippino Lippi
2955:Fresco paintings in Florence
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1790:Palazzo dell'Arte dei Beccai
1758:Museo Nazionale di San Marco
1296:Cf. U. Baldini, O. Casazza,
970:
437:and, on the right side, the
371:The Tribute Money (Masaccio)
228:Before and after restoration
167:In contrast with Masaccio's
7:
2093:S Maria Maddalena dei Pazzi
2038:Oratory of S Thomas Aquinas
1030:
979:, unified lighting, use of
283:Calling of Peter and Andrew
257:Venus Pudica (modest Venus)
10:
3006:
2990:Religious museums in Italy
2709:(brother and collaborator)
2524:Maggio Musicale Fiorentino
2240:Kunsthistorisches Institut
2078:S Giovannino dei Cavalieri
2073:S Giovannino degli Scolopi
2033:Oratory of Gesù Pellegrino
2013:Battistero di San Giovanni
1983:Bartolini Salimbeni Chapel
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1743:Museo dell'Opera del Duomo
1542:Philadelphia Museum of Art
1249:; see also R. C. Trexler,
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207:
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2839:Marriage of St. Catherine
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2519:Calcio storico fiorentino
2511:
2443:
2402:
2381:
2360:
2317:
2289:
2258:
2207:
2156:
2136:
1998:
1885:
1671:
1616:43.7677222°N 11.2435750°E
810:and St Peter in front of
666:(in the foreground); and
16:Chapel in Florence, Italy
2430:Orto Botanico di Firenze
2250:National Central Library
1785:Ospedale degli Innocenti
1728:Loggia del Mercato Nuovo
1325:"Predica di san Pietro".
1148:(2002); Mario Carniani,
503:Baptism of the Neophytes
486:Baptism of the Neophytes
2644:Portrait of a Young Man
2332:Piazza della Repubblica
2219:Palazzo Medici Riccardi
2028:Oratorio dei Vanchetoni
1849:Studiolo of Francesco I
1810:Palazzo Medici Riccardi
1699:Galleria dell'Accademia
1511:"Stile rinascimentale".
1463:Masaccio: Trinità, cit.
1433:Masaccio: Trinità, cit.
1402:Masaccio: Trinità, cit.
1385:Masaccio: Trinità, cit.
1368:Masaccio: Trinità, cit.
1285:Masaccio: Trinità, cit.
1268:Masaccio: Trinità, cit.
934:Right wall, higher part
543:. The episode depicts
232:Masaccio's masterpiece
46:Santa Maria del Carmine
2604:San Giovenale Triptych
2215:Biblioteca Riccardiana
2113:S Salvatore al Vescovo
2063:S Frediano in Cestello
1827:Museo delle Porcellane
1621:43.7677222; 11.2435750
1551:by Anne Leader (2000).
1200:layer, over which the
961:Right wall, lower part
874:Left wall, higher part
816:Antonio del Pollaiuolo
794:, as indicated by the
696:
684:
652:Filippo Maria Visconti
648:Gian Galeazzo Visconti
643:
577:
536:
510:
456:
435:Healing of the Cripple
384:
349:
229:
221:
164:
116:
29:
2965:Paintings by Masaccio
2819:Adoration of the Magi
2542:Districts of Florence
2512:Events and traditions
2352:Piazzale Michelangelo
2337:Piazza della Signoria
2103:S Martino del Vescovo
1298:La Cappella Brancacci
901:Left wall, lower part
692:
680:
664:Leon Battista Alberti
638:
572:
531:
501:
447:
378:
341:
227:
217:
158:
114:
24:
2847:Annunziata Polyptych
2771:Tobias and the Angel
2713:Masolino da Panicale
2647:(c. 1425) (disputed)
2612:Carnesecchi Triptych
2476:del Poggio Imperiale
2471:Medicea L'Ambrogiana
2304:Teatro della Pergola
2088:S Maria degli Angeli
2018:Certosa del Galluzzo
1834:Palazzo Spini Feroni
1713:Garden of Archimedes
1043:Notes and references
835:Lorenzo il Magnifico
668:Filippo Brunelleschi
468:Masolino da Panicale
251:International Gothic
192:International Gothic
161:Masolino da Panicale
150:Masolino da Panicale
85:Masolino da Panicale
2985:Chapels in Florence
2435:Parco delle Cascine
2425:Giardino delle Rose
2266:Fountain of Neptune
2230:Gabinetto Vieusseux
1956:S Maria del Carmine
1800:Palazzo Della Stufa
1612: /
1444:Cf. R. C. Trexler,
767:Christian salvation
618:Jacobus de Voragine
2960:Catholic paintings
2850:(1504–1507) (with
2420:Giardino dell'Iris
2373:Via de' Tornabuoni
2347:Piazza San Lorenzo
2342:Piazza Santa Croce
2271:Giotto's Campanile
2245:Laurentian Library
2199:Giotto's Campanile
2128:S Stefano al Ponte
2083:S Jacopo sopr'Arno
1968:S Miniato al Monte
1718:Loggia del Bigallo
1477:, Florence (1998).
1334:Cf. definition at
1122:on 14 January 2014
998:by rival sculptor
796:Pyramid of Cestius
697:
685:
644:
578:
537:
511:
475:St Peter Preaching
461:St Peter Preaching
457:
449:St Peter Preaching
439:Raising of Tabitha
385:
353:Peter's Repentance
350:
347:Peter's Repentance
333:Peter's Repentance
230:
222:
165:
117:
30:
2922:
2921:
2875:Sandro Botticelli
2722:
2721:
2636:The Tribute Money
2555:
2554:
2547:Trams in Florence
2529:Scoppio del carro
2403:Gardens and parks
2394:Fortezza da Basso
2276:Monument to Dante
2184:dei Gianfigliazzi
2152:
2151:
2123:Ss Simone e Giuda
1939:Tornabuoni Chapel
1910:Baroncelli Chapel
1795:Palazzo Davanzati
1099:Masaccio: Trinità
1063:, Pahidon (1952).
1004:Benvenuto Cellini
1000:Pietro Torrigiano
820:Sandro Botticelli
732:damnatio memoriae
701:
700:
656:Coluccio Salutati
364:The Tribute Money
44:in the Church of
26:The Tribute Money
2997:
2892:Brancacci Chapel
2873:(c. 1475) (with
2749:
2742:
2735:
2726:
2725:
2686:Brancacci Chapel
2582:
2575:
2568:
2559:
2558:
2327:Piazza del Duomo
2098:S Maria Maggiore
2008:Badia Fiorentina
1961:Brancacci Chapel
1890:
1889:
1880:
1733:Loggia del Pesce
1723:Loggia dei Lanzi
1654:
1647:
1640:
1631:
1630:
1627:
1626:
1624:
1623:
1622:
1617:
1613:
1610:
1609:
1608:
1605:
1552:
1548:Florentine Badia
1535:
1529:
1520:Cf. H. Hibbard,
1518:
1512:
1499:Cf. O. Casazza,
1497:
1491:
1484:
1478:
1455:
1449:
1442:
1436:
1425:
1419:
1411:
1405:
1394:
1388:
1377:
1371:
1360:
1354:
1352:
1350:
1348:
1339:. Archived from
1332:
1326:
1311:
1305:
1294:
1288:
1277:
1271:
1260:
1254:
1231:
1225:
1188:
1182:
1159:
1153:
1138:
1132:
1131:
1129:
1127:
1118:. Archived from
1112:
1106:
1091:
1085:
1070:
1064:
1053:
985:naturalistically
957:
952:
947:
930:
925:
920:
897:
892:
887:
870:
865:
860:
839:Agnolo Poliziano
673:
589:Acts 4:32;5:1–11
401:Matthew 17:24–27
281:had painted the
77:Felice Brancacci
66:Felice Brancacci
34:Brancacci Chapel
3005:
3004:
3000:
2999:
2998:
2996:
2995:
2994:
2950:Renaissance art
2940:1480s paintings
2935:1420s paintings
2925:
2924:
2923:
2918:
2901:
2880:
2862:Painting series
2857:
2852:Pietro Perugino
2758:
2756:Filippino Lippi
2753:
2723:
2718:
2690:
2674:
2652:Pisa Altarpiece
2591:
2586:
2556:
2551:
2533:
2507:
2439:
2410:Bardini Gardens
2398:
2377:
2356:
2313:
2299:Teatro Comunale
2285:
2254:
2234:Palazzo Strozzi
2203:
2179:dei Della Bella
2174:dei Belfredelli
2148:
2144:Great Synagogue
2132:
1994:
1988:Sassetti Chapel
1934:S Maria Novella
1886:Religious sites
1881:
1872:
1866:Vasari Corridor
1856:Stibbert Museum
1844:Palazzo Vecchio
1839:Palazzo Strozzi
1738:Loggia Rucellai
1689:Casa Buonarroti
1676:
1667:
1658:
1620:
1618:
1614:
1611:
1606:
1603:
1601:
1599:
1598:
1583:Filippino Lippi
1561:
1556:
1555:
1536:
1532:
1519:
1515:
1498:
1494:
1485:
1481:
1456:
1452:
1443:
1439:
1426:
1422:
1412:
1408:
1395:
1391:
1378:
1374:
1361:
1357:
1346:
1344:
1335:
1333:
1329:
1312:
1308:
1295:
1291:
1278:
1274:
1261:
1257:
1232:
1228:
1189:
1185:
1160:
1156:
1139:
1135:
1125:
1123:
1114:
1113:
1109:
1092:
1088:
1071:
1067:
1054:
1050:
1045:
1033:
1016:Filippino Lippi
1012:
973:
968:
967:
940:
908:
880:
847:
824:Dante Alighieri
788:Filippino Lippi
781:Filippino Lippi
777:
763:Filippino Lippi
756:Filippino Lippi
752:
712:Filippino Lippi
708:
610:Legenda Aurea (
603:Filippino Lippi
599:
567:
526:
489:
464:
431:
373:
367:
336:
314:
268:
265:Peter's Calling
212:
206:
146:
109:
97:Filippino Lippi
17:
12:
11:
5:
3003:
2993:
2992:
2987:
2982:
2977:
2972:
2967:
2962:
2957:
2952:
2947:
2942:
2937:
2920:
2919:
2917:
2916:
2909:
2907:
2903:
2902:
2900:
2899:
2894:
2888:
2886:
2882:
2881:
2879:
2878:
2870:Life of Esther
2865:
2863:
2859:
2858:
2856:
2855:
2843:
2835:
2823:
2815:
2807:
2806:(c. 1485–1488)
2799:
2798:(c. 1485–1487)
2791:
2783:
2775:
2774:(c. 1475–1480)
2766:
2764:
2760:
2759:
2752:
2751:
2744:
2737:
2729:
2720:
2719:
2717:
2716:
2715:(collaborator)
2710:
2704:
2698:
2696:
2692:
2691:
2689:
2688:
2682:
2680:
2676:
2675:
2673:
2672:
2671:(c. 1427–1428)
2668:Desco da parto
2664:
2663:(c. 1426–1428)
2656:
2648:
2640:
2632:
2624:
2623:(c. 1424–1425)
2616:
2615:(c. 1423–1425)
2608:
2599:
2597:
2593:
2592:
2585:
2584:
2577:
2570:
2562:
2553:
2552:
2550:
2549:
2544:
2538:
2535:
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2531:
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2513:
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2508:
2506:
2505:
2500:
2495:
2490:
2485:
2480:
2479:
2478:
2473:
2468:
2463:
2458:
2447:
2445:
2441:
2440:
2438:
2437:
2432:
2427:
2422:
2417:
2415:Boboli Gardens
2412:
2406:
2404:
2400:
2399:
2397:
2396:
2391:
2385:
2383:
2379:
2378:
2376:
2375:
2370:
2364:
2362:
2358:
2357:
2355:
2354:
2349:
2344:
2339:
2334:
2329:
2323:
2321:
2315:
2314:
2312:
2311:
2306:
2301:
2295:
2293:
2287:
2286:
2284:
2283:
2278:
2273:
2268:
2262:
2260:
2256:
2255:
2253:
2252:
2247:
2242:
2237:
2227:
2222:
2211:
2209:
2205:
2204:
2202:
2201:
2196:
2191:
2186:
2181:
2176:
2171:
2166:
2160:
2158:
2157:Towers (Torri)
2154:
2153:
2150:
2149:
2147:
2146:
2140:
2138:
2134:
2133:
2131:
2130:
2125:
2120:
2115:
2110:
2105:
2100:
2095:
2090:
2085:
2080:
2075:
2070:
2065:
2060:
2055:
2050:
2045:
2040:
2035:
2030:
2025:
2020:
2015:
2010:
2004:
2002:
1996:
1995:
1993:
1992:
1991:
1990:
1985:
1975:
1970:
1965:
1964:
1963:
1953:
1948:
1943:
1942:
1941:
1931:
1930:
1929:
1927:Medici Chapels
1919:
1918:
1917:
1912:
1902:
1896:
1894:
1887:
1883:
1882:
1875:
1873:
1871:
1870:
1869:
1868:
1858:
1853:
1852:
1851:
1841:
1836:
1831:
1830:
1829:
1819:
1818:
1817:
1807:
1802:
1797:
1792:
1787:
1782:
1777:
1772:
1771:
1770:
1760:
1755:
1750:
1745:
1740:
1735:
1730:
1725:
1720:
1715:
1710:
1709:
1708:
1696:
1691:
1686:
1680:
1678:
1669:
1668:
1657:
1656:
1649:
1642:
1634:
1596:
1595:
1590:
1585:
1576:
1567:
1560:
1559:External links
1557:
1554:
1553:
1530:
1528:(2007), p. 12.
1513:
1492:
1479:
1450:
1437:
1420:
1406:
1389:
1372:
1355:
1343:on 6 June 2015
1337:"Cangiantismo"
1327:
1306:
1289:
1272:
1255:
1245:"Catasto" and
1233:Cf. F. Antal,
1226:
1183:
1154:
1146:Masaccio, cit.
1133:
1107:
1105:(1999), p. 28.
1086:
1065:
1047:
1046:
1044:
1041:
1040:
1039:
1032:
1029:
1011:
1008:
972:
969:
941:
914:
913:
912:
881:
854:
853:
852:
848:
846:
843:
800:Aurelian Walls
776:
771:
751:
746:
742:Giorgio Vasari
707:
702:
699:
698:
686:
642:, by Masaccio.
630:Duchy of Milan
598:
593:
576:, by Masaccio.
566:
561:
535:, by Masaccio.
525:
520:
488:
483:
463:
458:
430:
425:
369:Main article:
366:
361:
335:
330:
313:
308:
303:Roberto Longhi
267:
262:
244:Garden of Eden
208:Main article:
205:
200:
145:
140:
108:
105:
58:Sistine Chapel
15:
9:
6:
4:
3:
2:
3002:
2991:
2988:
2986:
2983:
2981:
2978:
2976:
2973:
2971:
2968:
2966:
2963:
2961:
2958:
2956:
2953:
2951:
2948:
2946:
2943:
2941:
2938:
2936:
2933:
2932:
2930:
2914:
2913:Filippo Lippi
2911:
2910:
2908:
2904:
2898:
2897:Carafa Chapel
2895:
2893:
2890:
2889:
2887:
2883:
2876:
2872:
2871:
2867:
2866:
2864:
2860:
2853:
2849:
2848:
2844:
2841:
2840:
2836:
2833:
2829:
2828:
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2821:
2820:
2816:
2813:
2812:
2808:
2805:
2804:
2800:
2797:
2796:
2792:
2789:
2788:
2784:
2781:
2780:
2776:
2773:
2772:
2768:
2767:
2765:
2761:
2757:
2750:
2745:
2743:
2738:
2736:
2731:
2730:
2727:
2714:
2711:
2708:
2705:
2703:
2700:
2699:
2697:
2693:
2687:
2684:
2683:
2681:
2677:
2670:
2669:
2665:
2662:
2661:
2657:
2654:
2653:
2649:
2646:
2645:
2641:
2638:
2637:
2633:
2630:
2629:
2625:
2622:
2621:
2617:
2614:
2613:
2609:
2606:
2605:
2601:
2600:
2598:
2594:
2590:
2583:
2578:
2576:
2571:
2569:
2564:
2563:
2560:
2548:
2545:
2543:
2540:
2539:
2536:
2530:
2527:
2525:
2522:
2520:
2517:
2516:
2514:
2510:
2504:
2501:
2499:
2496:
2494:
2491:
2489:
2486:
2484:
2481:
2477:
2474:
2472:
2469:
2467:
2464:
2462:
2459:
2457:
2454:
2453:
2452:
2451:Medici villas
2449:
2448:
2446:
2442:
2436:
2433:
2431:
2428:
2426:
2423:
2421:
2418:
2416:
2413:
2411:
2408:
2407:
2405:
2401:
2395:
2392:
2390:
2387:
2386:
2384:
2380:
2374:
2371:
2369:
2366:
2365:
2363:
2359:
2353:
2350:
2348:
2345:
2343:
2340:
2338:
2335:
2333:
2330:
2328:
2325:
2324:
2322:
2320:
2316:
2310:
2307:
2305:
2302:
2300:
2297:
2296:
2294:
2292:
2288:
2282:
2281:Ponte Vecchio
2279:
2277:
2274:
2272:
2269:
2267:
2264:
2263:
2261:
2257:
2251:
2248:
2246:
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2238:
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2206:
2200:
2197:
2195:
2192:
2190:
2187:
2185:
2182:
2180:
2177:
2175:
2172:
2170:
2169:degli Alberti
2167:
2165:
2162:
2161:
2159:
2155:
2145:
2142:
2141:
2139:
2135:
2129:
2126:
2124:
2121:
2119:
2116:
2114:
2111:
2109:
2106:
2104:
2101:
2099:
2096:
2094:
2091:
2089:
2086:
2084:
2081:
2079:
2076:
2074:
2071:
2069:
2066:
2064:
2061:
2059:
2056:
2054:
2051:
2049:
2046:
2044:
2041:
2039:
2036:
2034:
2031:
2029:
2026:
2024:
2021:
2019:
2016:
2014:
2011:
2009:
2006:
2005:
2003:
2001:
1997:
1989:
1986:
1984:
1981:
1980:
1979:
1976:
1974:
1971:
1969:
1966:
1962:
1959:
1958:
1957:
1954:
1952:
1949:
1947:
1946:SS Annunziata
1944:
1940:
1937:
1936:
1935:
1932:
1928:
1925:
1924:
1923:
1920:
1916:
1913:
1911:
1908:
1907:
1906:
1903:
1901:
1898:
1897:
1895:
1891:
1888:
1884:
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1847:
1846:
1845:
1842:
1840:
1837:
1835:
1832:
1828:
1825:
1824:
1823:
1822:Palazzo Pitti
1820:
1816:
1813:
1812:
1811:
1808:
1806:
1805:Palazzo Gondi
1803:
1801:
1798:
1796:
1793:
1791:
1788:
1786:
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1776:
1773:
1769:
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1754:
1751:
1749:
1748:Museo Galileo
1746:
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1726:
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2309:Teatro Verdi
2189:dei Mannelli
2164:degli Amidei
2043:Orsanmichele
1960:
1915:Pazzi Chapel
1780:Orsanmichele
1704:
1604:43°46′3.80″N
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1341:the original
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1120:the original
1110:
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1072:K. Shulman,
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133:patron saint
128:perspectival
118:
74:
70:Brunelleschi
33:
31:
25:
18:
2830:(c. 1498) (
2493:Il Gioiello
2456:di Castello
2108:S Pancrazio
2053:Ss Apostoli
1815:Magi Chapel
1677:and palaces
1675:, galleries
1619: /
1347:13 November
1218:Trullisatio
1057:B. Berenson
1010:Restoration
981:chiaroscuro
977:perspective
808:Simon Magus
455:, restored.
125:Renaissance
62:Renaissance
2929:Categories
2466:di Careggi
2461:La Petraia
2368:Via Cavour
2058:S Felicita
2048:S Ambrogio
2023:Ognissanti
1768:La Specola
1694:Casa Guidi
1163:John Spike
1142:John Spike
1126:13 January
990:The young
911:Right wall
905:(Masaccio)
831:vernacular
798:along the
299:Baldinucci
196:plasticity
52:, central
2814:(c. 1493)
2790:(c. 1485)
2782:(c. 1485)
2763:Paintings
2639:(c. 1425)
2631:(c. 1425)
2596:Paintings
2498:La Pietra
2483:Gamberaia
2389:Belvedere
2259:Landmarks
2194:dei Pulci
2068:S Gaetano
1978:S Trinita
1973:S Spirito
1922:S Lorenzo
1893:Basilicas
1214:Browncoat
1152:, (1998).
971:Influence
851:Left wall
737:Brancacci
557:Donatello
319:Navicella
180:Expulsion
169:Expulsion
2915:(father)
2832:disputed
2827:Allegory
2589:Masaccio
2503:Rusciano
2291:Theatres
2000:Churches
1684:Bargello
1665:Florence
1574:Masaccio
1539:int. al.
1507:(1990),
1505:Florence
1501:Masaccio
1404:, p. 33.
1387:, p. 32.
1370:, p. 29.
1321:(1965),
1319:Florence
1287:, p. 31.
1241:(1960),
1222:Intonaco
1210:Arriccio
1202:intonaco
1198:arriccio
1177:(2002),
1167:Masaccio
1080:(1994),
1031:See also
833:used by
628:and the
626:Florence
582:Masaccio
541:Masaccio
507:Masaccio
493:Masaccio
479:Masolino
453:Masolino
287:Vocation
279:Masolino
272:Masolino
176:Masolino
121:medieval
89:Masaccio
50:Florence
2906:Related
2885:Chapels
2695:Related
2679:Chapels
2488:I Tatti
2361:Streets
2319:Squares
2208:Library
2118:S Salvi
1951:S Marco
1905:S Croce
1673:Museums
1661:Tourism
1448:"Milan"
1416:Antioch
1304:(1990).
1193:sinopia
1171:Rizzoli
1103:Rizzoli
828:Italian
804:merlons
622:St Paul
413:Tribute
405:Catasto
357:sinopia
343:Sinopia
325:Genesis
101:Baroque
38:Italian
2842:(1501)
2822:(1496)
2655:(1426)
2607:(1422)
2444:Villas
1861:Uffizi
1247:passim
1206:Turkey
1082:passim
417:Temple
295:Bocchi
291:Vasari
42:chapel
2382:Forts
2137:Other
1705:David
1302:Milan
1239:Turin
1175:Milan
505:, by
451:, by
397:Peter
393:Jesus
285:, or
188:aulic
81:Cairo
54:Italy
1546:The
1537:Cf.
1509:s.v.
1471:ibid
1457:Cf.
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1379:Cf.
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1179:s.v.
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837:and
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792:Rome
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1581:by
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