Note 35 — Chapter III · MASACCIO AND THE NEW REALISM
Reading edition
Masaccio, bibliography in Note 4 above.
In essentials the view and chronology of Masaccio’s works here given differs from Cavalcaselle’s only in relegating the frescoes in S. Clemente to Masolino and their proper date in the late 30s or early 40s. In this I have been partially anticipated by Pietro Toesca, Masolino da Panicale, Bergamo, 1908.
The reader may justly wish me to commit myself on this most disputed question to the extent of a list. I give it in a tentative chronological order assuming that Masaccio may have begun to work as early as 1420.
Early Works under Masolino’s influence:
Madonna and Saints (fresco). Shrine at Montemarciano near S. Giovanni.
Pietà (fresco). Cathedral, Empoli.
Miracle of healing by Christ (ruined by repainting). John C. Johnson Coll., Philadelphia.
Madonna and St. Ann. Uffizi, Florence.
Adam and Eve Tempted (fresco). Brancacci Chapel.
Resuscitation of Tabitha (fresco). Brancacci Chapel.
479Later Works:
St. Peter Preaching (fresco, possibly earlier). Brancacci Chapel.
Birth of St. John (salver). Kaiser Friedrich Museum, Berlin.
Polyptych for the Carmine, Pisa, 1426.
The Madonna, some small pilaster pieces, and a small rondel with bust of God Father. National Gallery, London.
Three predella panels (largely school work) and some small pilaster pieces. Kaiser Friedrich Museum, Berlin.
Crucifixion central pinnacle. Naples Museum.
A Saint (upper order). Civic Museum, Pisa.
A Saint (upper order). Lanckoronski, Vienna.
The Trinity (fresco). S. Maria Novella, Florence.
All the remaining frescoes of the Brancacci Chapel save the parts and panels now universally assigned to Filippino Lippi.