[Footnote 14: See note on p. 57, Vol. I.]
[Footnote 15: See note on p. 57, Vol. I.]
In the Church of the Carmine in Pisa, on a panel that is in a chapel in the tramezzo,[16] 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 Magi offering their treasures to Christ. In this part are some horses portrayed from life, so beautiful that nothing better can be desired; and the men of the Court of those three Kings are clothed in various costumes that were worn in those times. And above, as an ornament for the said panel, there are, in several squares, many saints round a Crucifix. It is believed that the figure of a saint, in the robes of a Bishop and painted in fresco, which is in that church, beside the door that leads into the convent, is by the hand of Masaccio; but I hold it as certain that it is by the hand of Fra Filippo, his disciple.
(_After the fresco by_ Masaccio. _Florence: S. Maria Novella_)
Returning from Pisa to Florence, he wrought there a panel containing a man and a woman, nude and of the size of life, which is to-day in the Palla Rucellai Palace. Then, not feeling at ease in Florence, and stimulated by his affection and love for art, he determined to go to Rome, in order to learn and to surpass others; and this he did. And having acquired very great fame there, he painted for Cardinal San Clemente a chapel in the Church of S. Clemente, wherein he made in fresco the Passion of Christ, with the Thieves on the Cross, and the stories of S. Catherine the martyr. He also made many panels in distemper, which have been all lost or destroyed in the troublous times of Rome; one being in the Church of S. Maria Maggiore, in a little chapel near the sacristy, wherein are four saints, so well wrought that they appear to be in relief, and in the midst of them is S. Maria della Neve, with the portrait from nature of Pope Martin, who is tracing out the foundations of that church with a hoe, and beside him the Emperor Sigismund II. Michelagnolo and I were one day examining this work, when he praised it much, and then added that these men were alive in Masaccio's time. To him, while Pisanello and Gentile da Fabriano were labouring in Rome for Pope Martin on the walls of the Church of S. Gianni, these masters had allotted a part of the work, when he returned to Florence, having had news that Cosimo de' Medici, by whom he was much assisted and favoured, had been recalled from exile; and there he was commissioned to paint the Chapel of the Brancacci in the Carmine, by reason of the death of Masolino da Panicale, who had begun it; but before putting his hand to this, he made, by way of specimen, the S. Paul that is near the bell-ropes, in order to show the improvement that he had made in his art. And he demonstrated truly infinite excellence in this picture, for in the head of that Saint, who is Bartolo di Angiolino Angiolini portrayed from life, there is seen an expression so awful that there appears to be nothing lacking in that figure save speech; and he who has not known S. Paul will see, by looking at this picture, his honourable Roman culture, together with the unconquerable strength of that most divine spirit, all intent on the work of the faith. In this same picture, likewise, he showed a power of foreshortening things viewed from below upwards which was truly marvellous, as may still be seen to-day in the feet of the said Apostle, for this was a difficulty that he solved completely, in contrast with the old rude manner, which, as I said a little before, used to make all the figures on tip-toe; which manner lasted up to his day, without any other man correcting it, and he, by himself and before any other, brought it to the excellence of our own day.