DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.57409#0420
404
LIVES OF THE ARTISTS.
not as presented in front, but as seen in the sides and angles,
to the great increase of the difficulty. Masaccio gave much
more attention than had ever been bestowed by previous
masters to the foreshortening of his figures and the treatment
of the naked form : he had great facility of handling, and his
figures, as we have said, were of the utmost simplicity. There
is a picture in distemper by this master, representing Our
Lady reposing in the lap of St. Anna, and holding the divine
Child in her arms : it is now in Sant’ Ambrogio, in Florence,
in the chapel which stands next to the door leading to the
parlour of the nuns.* In the church of St. Nicholas, beyond
the Arno, is also a picture by Masaccio : it is in distemper
and represents the Annunciation, with a house and many
columns, admirably painted in perspective. The design and
colouring are alike perfect, and the whole is so managed that
the colonnade gradually recedes from view in a manner which
proves Masaccio’s knowledge of perspective.f
In the Abbey of Florence, Masaccio painted a fresco on a
pillar opposite to one of those which support the arch of the
high altar ; this represents St. Ivo of Brittany, whom the
master figures as standing within a niche, that the feet might
appear duly foreshortened to the spectator viewing it from
below: a thing which obtained him no small commendation,
as not having been so successfully practised by other masters.
Beneath St. Ivo, and on the cornice below, is a crowd of beg-
gars, widows, and orphans, to whom the saint affords help in
their necessity.£ In the church of Santa Maria Novella
there is likewise a fresco, painted by Masacchio; it repre-
sents the Trinity, with the Virgin on one side, and St. John
the Evangelist on the other, who are in contemplation of
Christ crucified. This picture is over the altar of St. Igna-
tius, and on the side walls are two figures, supposed to be the
portraits of those who caused the fresco to be painted ; but
they are little seen, having been concealed by some gilded
decorations appended over them. But perhaps the most
beautiful part of this work, to say nothing of the excellence
of the figures, is the coved ceiling, painted in perspective,
* Now at Florence, in the Gallery of the Academy of Fine Arts.
t The fate of this work is unknown.
J The modern changes made in this part of the building, leave no
trace of Masaccio’s painting.
LIVES OF THE ARTISTS.
not as presented in front, but as seen in the sides and angles,
to the great increase of the difficulty. Masaccio gave much
more attention than had ever been bestowed by previous
masters to the foreshortening of his figures and the treatment
of the naked form : he had great facility of handling, and his
figures, as we have said, were of the utmost simplicity. There
is a picture in distemper by this master, representing Our
Lady reposing in the lap of St. Anna, and holding the divine
Child in her arms : it is now in Sant’ Ambrogio, in Florence,
in the chapel which stands next to the door leading to the
parlour of the nuns.* In the church of St. Nicholas, beyond
the Arno, is also a picture by Masaccio : it is in distemper
and represents the Annunciation, with a house and many
columns, admirably painted in perspective. The design and
colouring are alike perfect, and the whole is so managed that
the colonnade gradually recedes from view in a manner which
proves Masaccio’s knowledge of perspective.f
In the Abbey of Florence, Masaccio painted a fresco on a
pillar opposite to one of those which support the arch of the
high altar ; this represents St. Ivo of Brittany, whom the
master figures as standing within a niche, that the feet might
appear duly foreshortened to the spectator viewing it from
below: a thing which obtained him no small commendation,
as not having been so successfully practised by other masters.
Beneath St. Ivo, and on the cornice below, is a crowd of beg-
gars, widows, and orphans, to whom the saint affords help in
their necessity.£ In the church of Santa Maria Novella
there is likewise a fresco, painted by Masacchio; it repre-
sents the Trinity, with the Virgin on one side, and St. John
the Evangelist on the other, who are in contemplation of
Christ crucified. This picture is over the altar of St. Igna-
tius, and on the side walls are two figures, supposed to be the
portraits of those who caused the fresco to be painted ; but
they are little seen, having been concealed by some gilded
decorations appended over them. But perhaps the most
beautiful part of this work, to say nothing of the excellence
of the figures, is the coved ceiling, painted in perspective,
* Now at Florence, in the Gallery of the Academy of Fine Arts.
t The fate of this work is unknown.
J The modern changes made in this part of the building, leave no
trace of Masaccio’s painting.