Lives of the Most Excellent Painters, Sculptors, and Architects/Masolino da Panicale

by Giorgio Vasari

 

MASOLINO DA PANICALE, PAINTER, OF FLORENCE

[born about 1403—died about 1440.]

The happiness of those who approach the highest point of the science in which they labour to attain perfection, must in my opinion be very great, more especially when, in addition to the satisfaction assured to all who strive conscientiously, they perceive themselves to derive some benefit from their labours. Such men, without doubt, lead a most peaceful and happy life. And if it happen that one whose days are thus occupied in the upright endeavour to reach the true end of his existence and acquire the perfection to which he aspires, should be suddenly surprised by death, yet his memory does not become wholly extinct, if he have indeed meritoriously striven to advance on the true path. Therefore every one should do his utmost to reach perfection, for even though he should be cut off in the midst of his career, his fame will be secured and he will receive praise, if not for the works that he has been unable to finish, yet certainly for the upright intention and earnest study which will be perceived and acknowledged in the little that he may have completed.^[1]

Masolino da Panicale of Valdelsa, was a disciple of Lorenzo di Bartoluccio Ghiberti, and in his early years was a very good worker in gold: among all those who assisted Lorenzo in the labour of the doors of San Giovanni, Masolino was the most efficient as respected the draperies of the figures, in the finishing of which he displayed great ability and an excellent manner: in the use of the chisel also his intelligence and judgment was evinced in the softness and perfection of roundness which he imparted to the human form, as well as to the vestments. At the age of nineteen Masolino attached himself to painting, and to this art his life was ever afterwards devoted: he acquired the principles of colouring under Gherardo della Starnina,^[2] and having repaired to Rome for the purpose of studying there, he painted the hall of the ancient palace of the Orsini family in Monte Giordano, while dwelling in that city. But his health being injured by the air of Rome, which painfully affected his head, he returned to Florence, where, in the church of the Carmine, he painted the figure of San Piero beside the chapel of the Crucifixion, a work which is still to be seen in that place.^[3] This San Piero was greatly commended by contemporary artists, and caused Masolino to receive a commission for painting the chapel of the Brancacci family, in the same church. Here he depicted stories from the life of St. Peter, and part of these he completed with equal zeal and success: the four Evangelists on the ceiling, namely,^[4] the story of Christ calling Andrew and Peter from their nets, that which depicts the repentance of the latter for the sin he had committed in denying his master, and the preaching of the same apostle for the conversion of the Gentiles. By Masolino is likewise the 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.^[5]

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.^[6] 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.^[7]

Paolo Schiavo, who painted the figure of the Virgin at the corner of the Gori,^[8] took great pains to imitate the manner of Masolino. I have frequently examined the works of the latter very carefully, and find his manner essentially different from that of those who preceded him. He imparted much dignity to his figures, with great freedom to the draperies, which he caused to flow gracefully in rich folds. His heads, also, are greatly superior to those painted by earlier masters, since he has given more life and movement to the eyes, with increased beauty to many other parts of the human frame. He began also to have a clearer perception of what is required for the successful management of light and shadow; gave his figures considerable relief, and effected many very difficult foreshortenings. Of this we see an instance, among others, in the Beggar who implores alms of St. Peter, and the leg of whom, bent backwards, is admirably treated. Masolino likewise began to impart an expression of sweetness to his female heads, with a grace and elegance to the draperies of young men, which were not attained by the elder masters, and the perspective of his drawing is tolerably correct.^[9] But the peculiarity which most distinguished Masolino was the beauty of his fresco paintings: these he executed most admirably, the colours being so delicately blended and harmonized, that his carnations have all the softness which it is possible to imagine;^[10] insomuch that if he had possessed the power of drawing perfectly, as he most probably would have done had he been granted a longer life, this master would have deserved to be numbered among the best; his works being executed gracefully, in a grand manner, with softness and harmony in the colouring, and much relief and force in the drawing, although this last is not in all respects perfect.^[11]

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1. For certain details relating to Masolino, see Lanzi, History of Painting, vol. i, p. 75. See also Rumohr, Ital. Forsch. ii, 245.
2. So that the first master of the day, as regarded composition, was Masolino’s instructor in that department of his art; and the first colourist his teacher in colouring. See Lanzi, ut supra. Hut the later Florentine editors question the fact of Masolino’s having received instruction from Stamina.
3. It is no longer there, having been destroyed, together with the San Paolo of Masaccio, in the year 1675, when the chapel of Sant’ Andrea Corsini was constructed. — Schorn.
4. These paintings of the ceiling have been restored.—Ibid.
5. 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.
6. 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.
7. 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.
8. 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 is grievously injured by restorations—at the commencement of the Via dell’ Ariento.— Ed. Flor. 1846-9.
9. Four drawings by Masolino will be found among those of the Florentine collection. —Schorn.
10. For more exact details on this subject, see Forster, Beitragen zur Kunstgtschichte, p. 218.
11. In the first edition of Vasari is the following epitaph on this master:—

    “Hunc puerum rapuit mors imprcba; sed tamen omnes
    Fingendo senes vicerat file prius.”