Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 1.djvu/404

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.^[1] 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;^[2] 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.^[3]

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is grievously injured by restorations—at the commencement of the Via dell’ Ariento.— Ed. Flor. 1846-9.

1. Four drawings by Masolino will be found among those of the Florentine collection. —Schorn.
2. For more exact details on this subject, see Forster, Beitragen zur Kunstgtschichte, p. 218.
3. 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.”