as memorials of men so great. And if, when I was living in strait friendship and intimacy with Vittorio, I had known what I know now, it would have been easy for me to obtain many other truly beautiful things by the hand of Lorenzo. Among many verses, both in Latin and in the vulgar tongue, which were written at diverse times in honor of Lorenzo, it will be enough for me, in order not to weary my readers overmuch, to put down these that follow below:
Dum cernit valvas aurato ex aere nitentes
In templo Michael Angelus, obstupuit:
Attonitusque diu, sic alta silentia rupit:
O divinum opus! O janua digna polo!
Masaccio
LIFE OF MASACCIO
PAINTER OF SAN GIOVANNI IN VALDARNO
It is the custom of nature, when she makes a man very excellent in any profession, very often not to make him alone, but at the same time, and in the same neighborhood, to make another to compete with him, to the end that they may assist each other by their talent and emulation; which circumstance, besides the singular advantage enjoyed by the men themselves, who thus compete with each other, also kindles beyond measure the minds of those who come after that age, to strive with all study and all industry to attain to that honor and that glorious reputation which they hear highly extolled without ceasing in those who have passed away. And that this is true we see from the fact that Florence produced in one and the same age Filippo, Donato, Lorenzo, Paolo Uccello, and Masaccio, each most excellent in his own kind, and thus not only swept away the rough and rude manners that had prevailed up to that time, but incited and kindled so greatly, by reason of the beautiful works of these men, the minds of those who came after, that the work of those professions has been brought to that grandeur and to that perfection which are seen in our own times. Wherefore, in truth, we owe a great obligation to those early craftsmen who showed to us, by means of their labors, the true way to climb to the greatest height; and with regard to the good manner of painting, we are indebted above all to Masaccio, seeing that he, as one desirous of acquiring fame, perceived that painting is nothing but the counterfeiting of all the things of nature, vividly and simply, with drawing and with colors, even as she produced them for us, and that he who attains to this most perfectly can be called excellent. This truth, I say, being recognized by Masaccio, brought it about that by means of continuous study he learnt so much that he can be numbered among the first who cleared away, in a great measure, the hardness, the imperfections, and the difficulties of the art, and that he gave a beginning to beautiful attitudes, movements, liveliness, and vivacity, and to a certain relief truly characteristic and natural; which no painter up to his time had ever done. And since he had excellent judgment, he reflected that all the figures that did not stand firmly with their feet in foreshortening on the level, but stood on tip-toe, were lacking in all goodness of manner in the essential points, and that those who make them thus show that they do not understand foreshortening. And although Paolo Uccello had tried his hand at this, and had done something, solving this difficulty to some extent, yet Masaccio, introducing many new methods, made foreshortenings from every point of view much better than any other who had lived up to that time. And he painted his works with good unity and softness, harmonizing the flesh-colors of the heads and of the nudes with the colors of the draperies, which he delighted to make with few folds and simple, as they are in life and nature. This has been of great use to craftsmen, and he deserves therefore to be commended as if he had been its inventor, for in truth the works made before his day can be said to be painted, while his are living, real, and natural, in comparison with those made by the others.
This man was born at Castello San Giovanni in Valdarno, and they say that one may still see there some figures made by him in his earliest childhood. He was a very absent-minded and careless person, as one who, having fixed his whole mind and will on the matters of art, cared little about himself, and still less about others. And since he would never give any manner of thought to the cares and concerns of the world, or even to clothing himself, and was not wont to recover his money from his debtors, save only when he was in the greatest straits, his name was therefore changed from Tommaso to Masaccio,{3} not, indeed, because he was vicious, for he was goodness itself, but by reason of his so great carelessness; and with all this, nevertheless, he was so amiable in doing the service and pleasure of others, that nothing more could be desired.
He began painting at the time when Masolino da Panicale was working on the Chapel of the Brancacci in the Carmine, in Florence, ever following, in so far as he was able, in the steps of Filippo and Donato, although their branch of art was different, and seeking continually in his work to make his figures very lifelike and with a beautiful liveliness in the likeness of nature. And his lineaments and his painting were so modern and so different from those of the others, that his works can safely stand in comparison with any drawing and coloring of our own day. He was very zealous at his labors, and a marvelous master of the difficulties of perspective, as it is seen in a story painted by him with small figures, which is to-day in the house of Ridolfo del Ghirlandajo. In this story, besides a Christ who is delivering the man possessed by a devil, there are very beautiful buildings in perspective, drawn in a manner that they show at one and the same time both the inside and the outside, by reason of his having chosen the point of view, not of the front, but over the corners, as being more difficult. He sought more than any other master to make his figures nude and foreshortened, which was little done before his day. He had great facility in handling, and, as it has been said, he is very simple in his draperies.
There is a panel by his hand, wrought in distemper, wherein is a Madonna upon the lap of S. Anne, with the Child in her arms. This panel is to-day in S. Ambrogio in Florence, in the chapel that is beside the door that leads to the parlor of the nuns. And in the tramezzo of the Church of S. Niccolò, on the other side of the Arno, there is a panel by the hand of Masaccio, painted in distemper, wherein, besides the Madonna, who is receiving the Annunciation from the Angel, there is a building with many columns, drawn in perspective and very beautiful, seeing that, besides the drawing of the lines, which is perfect, he made it recede by means of the coloring, in a manner that little by little, almost imperceptibly, it is lost to view; thus showing clearly his knowledge of perspective. In the Badia of Florence, on a pilaster opposite to one of those that support the arch of the high-altar, he painted in fresco S. Ivo of Brittany, representing him within a niche, in order that the feet might appear foreshortened to the eye below; which device, not having been used so well by others, acquired for him no small praise. And below the said Saint, over another cornice, he made a throng of widows, orphans, and beggars, who receive assistance from that Saint in their needs. In S. Maria Novella, also, below the tramezzo of the church, he painted a Trinity in fresco, which is placed over the altar of S. Ignazio, with Our Lady on one side and S. John the Evangelist on the other contemplating Christ Crucified. On the sides are two figures on their knees, which, in so far as it can be determined, are portraits of the men who had the picture painted; but little is seen of them, for they have been covered with a gilt ornament. But the most beautiful thing, apart from the figures, is a barrel-shaped vaulting, drawn in perspective and divided into squares filled with rosettes, which are foreshortened and made to diminish so well that the wall appears to be pierced. In S. Maria Maggiore, also, near the side-door that leads to S. Giovanni, on the panel of a chapel, he painted a Madonna, with S. Catherine and S. Julian. On the predella he made some little figures, connected with the life of S. Catherine, with S. Julian murdering his father and mother; and in the middle he made the Nativity of Christ, with that simplicity and vividness which were characteristic of his work.
In the Church of the Carmine in Pisa, on a panel that is in a chapel in the tramezzo, there is a Madonna with the Child, by his hand, and at her feet are certain little angels sounding instruments, one of whom, playing on a lute, is listening attentively to the harmony of that sound. On either side of the Madonna are S. Peter, S. John the Baptist, S. Julian, and S. Nicholas, all very lifelike and vivacious figures. In the predella below are scenes from the lives of those Saints, with little figures; and in the centre are the three
