story representing the shipwreck of the Apostles, with that of St. Peter raising his daughter Petronilla from the dead, and in this he pourtrayed the last-named apostle going with St. John to the temple, and finding the sick beggar in the portico, whom, when he implored an alms, not being able to bestow either gold or silver, St. Peter liberates from his infirmity by making the sign of the cross. All the figures of this work are painted in a very grand manner and with much grace: they exhibit, moreover, great softness and harmony in the colouring, with considerable force of design. The entire work was infinitely admired for much in it that was new, many considerations having been kept in yiew by Masolino, which were wholly foreign to the manner of Giotto; but this undertaking remained incomplete, because the master was overtaken by death.[1]
Masolino da Panicale was a man of admirable genius, and his works, which it is manifest that he executed throughout with infinite love and care, are distinguished by their harmony and facility.[2] His too zealous study and the fatigues to which he perpetually subjected himself, so weakened his frame that confirmed ill health ensued: his life was prematurely terminated, and the world was cruelly deprived of this master while he was still but at the early age of thirty-seven: thus were cut short the hopes and expectations which had been conceived by all from his labours. The paintings of Masolino da Panicale date about the year 1440.[3]
Paolo Schiavo, who painted the figure of the Virgin at the corner of the Gori,[4] took great pains to imitate the manner of
- ↑ Some of the commentators assert that the unfinished paintings of Masolino were completed by Massaccio and Filippino. Others maintain that he finished those he commenced; but not surviving to accomplish all the pictures proposed for the chapel of the Brancacci, those he left to be commenced, were afterwards executed by the above-named masters.
- ↑ Among the few works of Masolino remaining, is one—attributed to this master—in the Royal Gallery of Berlin; with a second in that of Schleisheim. The subject of the former is St. Helena, standing on the sea-shore, and superintending the reception of corn for the wants of the people; the latter is the Salutation of the Virgin.
- ↑ Or, according to some writers, between 1405 and 1418; but a comparison of the whole question, appears to shew that Vasari’s date is the more probable one.
- ↑ Now called the Cantonelli, a corruption of Canto de’ Nelli, which is near. This painting is still to be seen, or rather was to be seen—for it
