over the door that leads into the convent, within the cloister. And he portrayed therein an infinite number of citizens in mantles and hoods, who are following the procession, among whom he painted Filippo di Ser Brunellesco in wooden shoes, Donatello, Masolino da Panicale, who had been his master, Antonio Brancacci, who caused him to paint the chapel, Niccolò da Uzzano, Giovanni di Bicci de' Medici, and Bartolommeo Valori, who are all also portrayed by the hand of the same man in the house of Simon Corsi, a gentleman of Florence. He also painted there Lorenzo Ridolfi, who was at that time the ambassador of the Florentine Republic in Venice; and not only did he portray there the aforesaid gentlemen from the life, but also the door of the convent and the porter with the keys in his hand. This work, truly, shows great perfection, for Masaccio was so successful in placing these people, five or six to a file, on the level of that piazza, and in making them diminish to the eye with proportion and judgment, that it is indeed a marvel, and above all because we can recognize there the wisdom that he showed in making those men, as if they were alive, not all of one size, but with a certain discretion which distinguishes those who are short and stout from those who are tall and slender; while they are all standing with their feet firmly on one level, and so well foreshortened along the files that they would not be otherwise in nature.
After this, returning to the work of the Chapel of the Brancacci, and continuing the stories of S. Peter begun by Masolino, he finished a part of them—namely, the story of the Chair, the healing of the sick, the raising of the dead, and the restoring of the cripples with his shadow as he was going to the Temple with S. John. But the most notable among them all is that one wherein S. Peter, at Christ's command, is taking the money from the belly of the fish, in order to pay the tribute, since (besides the fact that we see there in an Apostle, the last of the group, the portrait of Masaccio himself, made by his own hand with the help of a mirror, so well that it appears absolutely alive) we can recognize there the ardour of S. Peter in his questioning and the attentiveness of the Apostles, who are standing in various attitudes round Christ, awaiting his determination, with gestures so vivid that they truly appear alive. Wonderful, above all, is the S. Peter who, while he is labouring to draw the money from the belly of the fish, has his head suffused with blood by reason of bending down; and he is even more wonderful as he pays the tribute, for here we see his expression as he counts it, and the eagerness of him who is receiving it and looking at the money in his hand with the greatest pleasure. There, also, he painted the resurrection of the King's son, wrought by S. Peter and S. Paul; although by reason of the death of Masaccio the work remained unfinished, and was afterwards completed by Filippino. In the scene wherein S. Peter is baptizing, a naked man, who is trembling and shivering with cold among the others who are being baptized, is greatly esteemed, having been wrought with very beautiful relief and sweet manner; which figure has ever been held in reverence and admiration by all craftsmen, both ancient and modern. For this reason that chapel has been frequented continually up to our own day by innumerable draughtsmen and masters; and there still are therein some heads so lifelike and so beautiful, that it may truly be said that no master of that age approached so nearly as this man did to the moderns. His labours therefore deserve infinite praise, and above all because he gave form in his art to the beautiful manner of our times. And that this is true is proved by the fact that all the most celebrated sculptors and painters, who have lived from his day to our own, have become excellent and famous by exercising themselves and studying in this chapel—namely, Fra Giovanni da Fiesole, Fra Filippo, Filippino, who finished it, Alesso Baldovinetti, Andrea dal Castagno, Andrea del Verrocchio, Domenico del Ghirlandajo, Sandro di Botticello, Leonardo da Vinci, Pietro Perugino, Fra Bartolommeo di San Marco, Mariotto Albertinelli, and the most divine Michelagnolo Buonarroti; likewise Raffaello da Urbino, who owed to this chapel the beginning of his beautiful manner, Granaccio, Lorenzo di Credi, Ridolfo del Ghirlandajo, Andrea del Sarto, Rosso, Franciabigio, Baccio Bandinelli, Alonso Spagnuolo, Jacopo da Pontormo, Pierino del Vaga, and Toto del Nunziata; and in short, all those who have sought to learn that art have ever gone to this chapel to learn and to grasp the precepts and the rules for good work from the figures of Masaccio. And if I have not named many foreigners and many Florentines who have gone to that chapel for the sake of study, let it suffice to say that where the heads of art go, the members also follow. But although the works of Masaccio have ever been in so great repute, it is nevertheless the opinion—nay, the firm belief—of many, that he would have produced even greater fruits in his art, if death, which tore him from us at the age of twenty-six, had not snatched him away from us so prematurely. But either by reason of envy, or because good things rarely have any long duration, he died in the flower of his youth, and that so suddenly, that there were not wanting people who put it down to poison rather than to any other reason.
It is said that Filippo di Ser Brunellesco, hearing of his death, exclaimed, "We have suffered a very great loss in Masaccio," and that it grieved him infinitely, for he had spent much time in demonstrating to Masaccio many rules of perspective and of architecture. He was buried in the same Church of the Carmine in the year 1443, and although, since he had been little esteemed when alive, no memorial was then placed over his tomb, yet after his death there were not wanting men to honour him with these epitaphs:
By Annibal Caro.
PINSI, E LA MIA PITTURA AL VER FU PARI;
L'ATTEGGIAI, L'AVVIVAI, LE DIEDI IL MOTO,
LE DIEDI AFFETTO. INSEGNI IL BUONARROTO
A TUTTI GLI ALTRI, E DA ME SOLO IMPARI.
By Fabio Segni.
INVIDA CUR LACHESIS PRIMO SUB FLORE JUVENTAE
POLLICE DISCINDIS STAMINA FUNEREO?
HOC UNO OCCISO INNUMEROS OCCIDIS APELLES;
PICTURAE OMNIS OBIT, HOC OBEUNTE, LEPOS.
HOC SOLE EXTINCTO, EXTINGUUNTUR SIDERA CUNCTA.
HEU! DECUS OMNE PERIT, HOC PEREUNTE, SIMUL.
FILIPPO BRUNELLESCHI
LIFE OF FILIPPO BRUNELLESCHI
[FILIPPO DI SER BRUNELLESCO]
SCULPTOR AND ARCHITECT
Many men are created by nature small in person and in features, who have a mind full of such greatness and a heart of such irresistible vehemence, that if they do not begin difficult—nay, almost impossible—undertakings, and bring them to completion to the marvel of all who behold them, they have never any peace in their lives; and whatsoever work chance puts into their hands, however lowly and base it may be, they give it value and nobility. Wherefore no one should turn up his nose when he encounters people who have not, in their aspect, that primal grace or beauty which nature should give, on his coming into the world, to a man who works at any art, seeing that there is no doubt that beneath the clods of the earth are hidden veins of gold. And very often, in those who are most insignificant in form, there are born so great generosity of mind and so great sincerity of heart, that, if nobility be mingled with these, nothing short of the greatest marvels can be looked for from them, for the reason that they strive to embellish the ugliness of the body with the beauty of the intellect; as it is clearly seen in Filippo di Ser Brunellesco, who was no less insignificant in person than Messer Forese da Rabatta and Giotto, but so lofty in intellect that it can be truly said that