life:[1] but not finding himself at his ease in Florence, and stimulated bv his love and zeal for art, the master resolved to proceed to Rome, that he might there learn to surpass others, and this he effected. In Rome Masaccio acquired high reputation, and in a chapel of the church of San Clemente, he painted a Crucifixion in fresco, with the thieves on their crosses, and also stories from the life of St. Catherine the martyr. This work he executed for the cardinal of San Clemente.[2] He likewise painted many pictures in distemper; but in the troubled times of Rome these have all been destroyed or lost. There is one remaining in the church of Santa Maria Maggiore, and in a small chapel near the sacristy, wherein are four saints so admirably done that they seem rather to be executed in relief than on the plain surface: in the midst of these is Santa Maria della Neve. The portrait of Pope Martin, taken from nature, is also by this master: the pontiff is represented holding a spade in his hand, with which he is tracing out the foundations of the church; near the pope stands the figure of the Emperor Sigismund II.[3] I was one
- ↑ The fate of this work is unknown.
- ↑ The Crucifixion of Christ is painted on the principal wall, behind
the altar. The stories of St. Catherine are in nine compartments on the
lateral walls. On the ceiling are the four Evangelists, with the Fathers
of the Church; and on the arch of entrance are the twelve Apostles, in
medallions. These, as well as the Evangelists, have suffered from time,
but have not been injured so much as the other pictures by retouching.
Outside of the arch are an Annunciation, and a St. Christopher with
file Infant Christ on his shoulder. But none of these pictures resemble
the well-authenticated works of Masaccio, whether as regards the thought
or the execution: they would rather seem to be of an earlier date, and
are more like works of the time of Giotto, in composition, drawing, and
colouring. Mancini, whose manuscript is quoted by Baldinucci (Manni’s Edition, vol. iii, p. 170) attributes them to Giotto, and quotes the
following verses, which he declares himself to have seen written in gold
letters, on the left of the Tribune, and which he considers to refer to
these paintings:—
“Ex annis Domino elapsis mille ducentis
Nonaginta novem Jacobus Collega minorum
Hujus Basilicæ titulo pars cardinis alti
Huic jussit fieri, quo placuit Roma nepote
Papa Bonifacius VIII..... proles.”Giovanni dell’ Armi published engravings of these frescoes in 1809; some of the stories will also be found in D’Agincourt. And here it may be remarked, that the latest Florentine edition will not allow these works to be by Giotto, but furnishes no evidence in support of the opinion thus opposed to the assertion of Giulio Mancini.
- ↑ These pictures are also destroyed.
