DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.57409#0417
MASACCIO.
401
MASACCIO, PAINTER, OF SAN GIOVANNI, IN VALDARNO.
[born 1402?—died 1443.]
When nature has called into existence a genius of surpassing
excellence in any vocation, it is not her custom to leave him
alone : on the contrary, she for the most part gives life to
another, created at the same time and in the same locality,
whence the emulation of each is excited and they mutually
serve as stimulants one to the other. And this, in addition
to the great advantage derived from it by them who, thus
united, make their efforts in common, has the further effect
of awakening the minds of those who come after them, and
who are excited to labour with the utmost zeal and industry
for the attainment of that glorious reputation and those
honours which they daily hear ascribed to their distinguished
predecessors ; and that this is true we find proved by the
fact that Florence produced at one and the same time Filippo,
Donato, Lorenzo, Paolo Uccello, and Masaccio, each most
excellent in his peculiar walk, and all contributing to banish
the coarse and hard manner which had prevailed up to the
period of their existence ; nor was this all, for the minds of
those who succeeded these masters were so effectually inflamed
by their admirable works, that the modes of production in
these arts were brought to that grandeur and height of per-
fection which are made manifest in the performances of our
own times. We then, of a truth, have the greatest obligation
to those masters who by their labours first taught us the true
path by which to attain the highest summit of perfection; and
as touching the good manner in painting, most especially are
we indebted to Masaccio, since it was he who, eager for the
acquirement of fame, first attained the clear perception that
painting is no other than the close imitation, by drawing and
colouring simply, of all the forms presented by nature, exhi-
biting them as they are produced by her, and that whoso-
ever shall most perfectly effect this, may be said to have most
nearly approached the summit of excellence. The conviction
of this truth formed by Masaccio was the cause, I say, of his
attaining to so much knowledge by means of perpetual study,
that he may be accounted among the first by whom art was
in a great measure delivered from rudeness and hardness : he
d d
401
MASACCIO, PAINTER, OF SAN GIOVANNI, IN VALDARNO.
[born 1402?—died 1443.]
When nature has called into existence a genius of surpassing
excellence in any vocation, it is not her custom to leave him
alone : on the contrary, she for the most part gives life to
another, created at the same time and in the same locality,
whence the emulation of each is excited and they mutually
serve as stimulants one to the other. And this, in addition
to the great advantage derived from it by them who, thus
united, make their efforts in common, has the further effect
of awakening the minds of those who come after them, and
who are excited to labour with the utmost zeal and industry
for the attainment of that glorious reputation and those
honours which they daily hear ascribed to their distinguished
predecessors ; and that this is true we find proved by the
fact that Florence produced at one and the same time Filippo,
Donato, Lorenzo, Paolo Uccello, and Masaccio, each most
excellent in his peculiar walk, and all contributing to banish
the coarse and hard manner which had prevailed up to the
period of their existence ; nor was this all, for the minds of
those who succeeded these masters were so effectually inflamed
by their admirable works, that the modes of production in
these arts were brought to that grandeur and height of per-
fection which are made manifest in the performances of our
own times. We then, of a truth, have the greatest obligation
to those masters who by their labours first taught us the true
path by which to attain the highest summit of perfection; and
as touching the good manner in painting, most especially are
we indebted to Masaccio, since it was he who, eager for the
acquirement of fame, first attained the clear perception that
painting is no other than the close imitation, by drawing and
colouring simply, of all the forms presented by nature, exhi-
biting them as they are produced by her, and that whoso-
ever shall most perfectly effect this, may be said to have most
nearly approached the summit of excellence. The conviction
of this truth formed by Masaccio was the cause, I say, of his
attaining to so much knowledge by means of perpetual study,
that he may be accounted among the first by whom art was
in a great measure delivered from rudeness and hardness : he
d d