Masaccio and Masolino: Analyzing Brancacci Chapel Frescoes

The Healing of the Cripple and the Resurrection of Tabitha

Masolino and Masaccio Collaboration

Location: Right wall, upper register.

These two combined scenes correspond to the Acts of the Apostles, Chapters 3 and 9, respectively. This work is attributed primarily to Masolino with a minor contribution by Masaccio, reflecting the common artistic collaborations of the time. Christ has already died and risen; this depicts the era of the early Christians.

St. Peter heals the cripple on the left and revives the dead (Tabitha) on the right. Some figures kneel before him while other standing men express surprise.

Architectural and Stylistic Analysis

• The porch lacks the precision of Brunelleschi, featuring a rushed vanishing point that fails to deliver proper perspective.
• Space is primarily created on the right. While marvelous at first glance, deeper inspection reveals flaws.
• The figure of St. Peter on the right is strong, almost angry, suggesting Masolino adopting Masaccio's style. The use of shadows is elementary but effective.
• The drapery of the costumes is present but monotonous.

It has been argued, and this view persists, that the background architecture is Masaccio’s work. The construction of the foreground clashes with the reality of the substance—a distinctly Florentine reality, creating a space that functions correctly. Masaccio depicted a truly Florentine setting, an apartment building, a type of structure that had never been seen before in painting.

Compositional Critique

Compositionally, two Florentine figures link the two isolated scenes. Masaccio would never have done this; these two figures are merely display elements and are not outstanding like those in the previous act. Here, the turbaned figures do not perform miracles; they are simple, beautiful, perfect figures who are merely observing what happens. This use of detached figures is considered Masolino's signature, reflecting the International Gothic style: real people from 1425, but off-site and lacking intimate connection—only formal presence. This is likely Masolino imitating Masaccio.

Masaccio's The Tribute Money

A Masterpiece of Early Renaissance Perspective

Location: Left wall, upper register.

This fresco recounts a Gospel passage from Matthew (Chapter 17, verses 24–27). It is situated next to the Transfiguration of Christ. St. Peter has seen Christ, has seen God, and knows that he is transfigured.

The tribute was the payment required upon entering a population center. The tax collector demands the tax from Peter, and Christ instructs Peter to go fishing, stating that the first fish he catches will contain a coin to pay the tax.

Compositional Narrative Flow

Although the narrative is usually read from left to right, this episode begins in the center of the painting, depicting the main event: Christ surrounded by the apostles, with the collector demanding the tribute. The scene unfolds in three distinct parts:

1. Center: Christ instructs Peter.
2. Left: Peter is kneeling, catching the fish and retrieving the coin.
3. Right: Peter delivers the coin to the collector.

Setting and Realism

The setting includes a somewhat flowery field and trees on one side, and a house representing the city on the other. It is a work set within a realistic landscape. The portico on the right contrasts sharply with the one Masolino painted in The Healing of the Cripple, as this building shows appropriate proportions relative to the figures.

The landscape is also convincing, conveying a sensation of reality, complete with realistic clouds and waves on the lake. We see a perfectly organized composition, offering a close-up view that feels rested and natural.