Brancacci Chapel
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The Brancacci Chapel is a chapel in the Church of Santa Maria del Carmine in Florence.
It is sometimes called the "Sistine Chapel of the early Renaissance" for its painting cycle, among the most famous and influential of the period.
Construction of the chapel was commissioned by Pietro Brancacci and begun in 1386.
The patron of the pictorial decoration was Felice Brancacci, descendant of Pietro, who had served as the Florentine ambassador to Cairo until 1423. Upon his return to Florence, he hired Masolino da Panicale to paint his chapel. Masolino's associate, 21 year old Masaccio, 18 years younger than Masolino, assisted, but did so well that Masolino ultimately left, and the commission was given to Masaccio. However, Masaccio was called to Rome before he could finish the chapel, and died in Rome at the age of 27. Portions of the chapel were completed later by Filippino Lippi.
[edit] The paintings
The paintings are explained in their narrative order.
[edit] The Temptation of Adam and Eve
[edit] The Expulsion from the Garden of Eden
Masaccio's Expulsion from the Garden of Eden is the first fresco on the upper part of the chapel, on the left wall, just at the left of the Tribute Money. It is famous for its vivid energy and unprecedented emotional realism. It contrasts dramatically with Masolino's delicate and decorative image of Adam and Eve before the fall, painted on the opposite wall.
[edit] Peter's Calling
By Masaccio.
[edit] The Tribute Money
The most famous painting in the chapel is Tribute Money, on the upper right wall, with figures of Jesus and Peter shown in a three part narrative. The painting, largely attributed to Masaccio, represents the story of Peter and the tax collector from Matthew 17:24-27. The left side shows Peter getting a coin from the mouth of a fish and the right side shows Peter paying his taxes. The whole appears to be related to the establishment of the Catasto, the first income tax in Florence, in the time the painting was being executed.
The importance of the painting lies also in its depiction of Jesus with human features, and at the same height of the disciples, with a revolutionary rejection of the "hyerarchical perspective" of the former treatments of similar themes.
[edit] Healing of the Cripple and Raising of Tabitha
The upper scene on the right wall shows, on the left side, the Healing of the Cripple and, on the right side, the Raising of Tabitha. The fresco is generally attributed to Masolino, although Masaccio's hand has been discovered by some scholars. The scene shows two different episodes, with St. Peter appearing in both of them enclosed in a sceneario of a typical Tuscan city of the 15th century depicted according to the strict rules of central perspective. The latter is generally regarded as Masaccio's main contribution, whereas the two central figures, showing Gothic influences, are probably by Masolino.
[edit] St. Peter Preaching
[edit] Baptism of the Neophytes
By Masaccio.
[edit] St. Peter Healing the Sick with His Shadow
Lower centre wall, left side, by Masaccio.
[edit] The Distribution of Alms and Death of Ananias
Lower centre wall, right side, by Masaccio.
[edit] Raising of the Son of Teophilus and St. Peter Enthroned
Lower right wall, by Masaccio, completed by Filippino Lippi.
[edit] St. Paul Visiting St. Peter in Prison
By Filippino Lippi.
[edit] St. Peter Being Freed from Prison
Lower right wall, right side. By Filippino Lippi.
[edit] Disputation with Simon Magus and Crucifixion of St. Peter
Lower right wall, centre. By Filippino Lippi.
[edit] Influence
Masaccio's application of scientific perspective, unified lighting, use of chiaroscuro and skill in rendering the figures naturalistically established new traditions in Renaissance Florence that some scholars credit with helping to found the new Renaissance style.
The young Michelangelo was one of the many artists who received his artistic training by copying Masaccio's work in the chapel. The chapel was also the site an assault on Michelangelo by rival sculptor Pietro Torrigiano, who resented some critical remarks about his draughtsmanship. He punched Michelangelo so severely that he "crushed his nose like a biscuit" (according to Benvenuto Cellini), forever deforming the face of the famous artist.
[edit] Restoration
The first restoration of the chapel frescoes was in 1481-1482, by Filippino Lippi, who was also responsible for completing the cycle. Due to the lamps used for lighting the dark chapel, the frescoes were relatively quickly coated in dust and dirt from the smoke. Another restoration was conducted at the end of the 16th century. Around 1670, sculptures were added, and the fresco-secco additions were made to the frescoes, to hide the various cases of nudity. Late 20th century restoration removed the overpainting and collected dust and dirt. Some critics, including professor and art historian James H. Beck, have criticised these efforts, while others, including professors, historians and restorers, have praised the work done on the chapel.
