and completed by Filippino Lippi, and that of them Masaccio painted nine only, namely: Expulsion from Eden, St. Peter healing Tabitha and curing the Cripple at the Gate of the Temple; Seeking of the Tribute Money and its payment by St. Peter; The Expulsion; Sermon of St. Peter (?); St. Peter Baptizing; Distribution of Alms; SS. Peter and John curing the Sick; Resurrection of the Child and St. Peter in Cathedra, partly executed by Filippino Lippi. This takes from Masaccio two of the finest works in the chapel—the Crucifixion of St. Peter, and the Arraignment of SS. Peter and Paul before the Proconsul—both painted by Filippino Lippi, and therefore to some extent diminishes his glory. It, however, leaves him enough to entitle him to be considered the greatest painter of his time, and to be called the father of modern art, through careful study of the human form, and investigation of the laws of light and shade which govern relief, as well as of the management of drapery in broad masses; he rescued painting from mediævalism, and gave an impulse which finally brought the art to that perfection which it afterwards attained in the hands of Raphael. Each event represented by Masaccio is like a scene upon the stage where the actors are grouped with due regard to effect. Many of the heads are portraits, and all the figures are studied from life in a naturalistic spirit, which faithfully renders the costumes worn by the men and women of the time. Even Raphael did not disdain to take Masaccio's noble group of Adam and Eve driven from Paradise as a model when he treated the same subject in the Vatican. The few other extant works of Masaccio are: Fragment of a Procession, cloister of the Carmine; The Trinity between the Virgin and St. John the Evangelist, with two donors, S. M. Novella (much injured); Conception, Florence Academy; and portrait of himself (?), perhaps by Filippino Lippi, Uffizi; Adoration of the Magi, Diptych with Martyrdom of SS. Peter and John the Baptist, Berlin Museum.—C. & C., Italy, i. 519; Vasari, ed. Mil., ii. 287, 305; Layard, The Brancacci Chapel, Arundel Society (1868); Dohme, 2i.; Ch. Blanc, École florentine; Baldinucci, i. 460; Burckhardt, 529; Lübke, Gesch. ital. Mal., i. 285, 290; Zeitschr. f. b. K., xi. 225; xii. 175.
MASO. See Giottino.
MASOLINO DA PANICALE, born at
Panicale in 1383, died in Florence in Oct.
(buried, 18th), 1440. Florentine school;
real name Tommaso di Cristofano di Fino;
pupil of Gherardo da Starnina, and probably
master of Masaccio. Vasari confounds him
with Maso di Cristoforo Braccii, and his account
is therefore untrustworthy. Masolino
had no hand in the famous frescos of the
Brancacci Chapel. He was admitted into
the guild of the Physicians and Apothecaries
in Florence in 1423, and shortly afterwards
entered the service of Pippo Spani,
Obergespann of Temeswar, Hungary. After
Spani's death (1427) he returned to Italy,
and executed, about 1428, for Cardinal Castiglione,
a series of frescos in the Church
of Castiglione di Olona and in the adjoining
baptistery. These, which were unknown to
Vasari, were lately rescued from whitewash
and are signed with his name. Those in
the choir represent events in the lives of the
Virgin, and of SS. Lawrence and Stephen, to
whom the church is dedicated. With no
little religious sentiment, which is at times
so expressed as to recall Fra Angelico, with
a conscientious care for details of form and
composition and a system of architectural
and figure arrangement which has no little
analogy with that of his great pupil, Masaccio,
Masolino elaborated detail at the expense
of breadth, and made solitary figures unduly
prominent. His compositions are monotonous,
both on account of lack of variety in
arrangement and the absence of contrast in
light and shade. His heads are characteristic,
and his extremities carefully studied
from nature. In the frescos of the baptistery
at Castiglione, which represent scenes
in the life of St. John, the faces are excellent
and the action is weak. Considerable bold-
