See also:

• MASACCIO (1402-1429)

MASACCIO (1402-1429)  , See also:

• ITALIAN

Italian painter . Tommaso See also:

• GUIDI, CARLO ALESSANDRO (1650-1712)

Guidi, son of a See also:

• NOTARY, or NOTARY PUBLIC

notary, See also:

• SER

Ser Giovanni di See also:

• SIMONE (1457—1508)

Simone Guidi, of the See also:

• FAMILY

family of the Scheggia, who had See also:

• PROPERTY

property in See also:

• CASTEL, LOUIS BERTRAND (1688-1757)

Castel S . Giovanni di Val d'See also:

• ARNO (anc. Arnus)
• ARNO, ARN

Arno, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in 1402 (according to See also:

• MILANESI, GAETANO (1813-1895)

Milanesi, on the 21st of See also:

• DECEMBER (Lat. decent, ten)

December 1401), and acquired the See also:

• NICKNAME

nickname of See also:

• MASACCIO (1402-1429)

Masaccio, which may be translated "Lubberly Tom," in consequence of his slovenly dressing and deportment . From childhood he showed a See also:

• GREAT

great inclination for the arts of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design, and he is said to have studied under his contemporary Masolino da Panicale . In 1421, or perhaps 1423, he was enrolled in the gild of the speziali (druggists) in See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, in 1424 in the gild of painters . His first attempts in See also:

• PAINTING

painting were made in Florence, and then in See also:

• PISA
• PISA, COUNCIL OF (1409)

Pisa . Next he went to See also:

• ROME
• ROME (Roma)

Rome, still no doubt very See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young; although the statement that he returned from Rome to Florence, in 1420, when only eighteen or nineteen, seems incredible, considering the See also:

• WORKS

works he undertook in the papal See also:

• CITY (through Fr. cite, from Lat. civitas)

city . These included a See also:

• SERIES (a Latin word from serere, to join)

series of frescoes still extant in a See also:

• CHAPEL

chapel of the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of S . Clemente, a Crucifixion, and scenes from the See also:

• LIFE

life of St See also:

• CATHERINE
• CATHERINE, SAINT

Catherine and of St See also:

• CLEMENT (Lat. Clemens, i.e. merciful; Gr. K)4gs)
• CLEMENT, FRANCOIS (1714-1793)
• CLEMENT, JACQUES (1567-1589)

Clement, or perhaps some other See also:

• SAINT (lat. sanctus, " holy ")

saint . Though much inferior to his later productions, these paintings are, for natural-ism and propriety of See also:

• REPRESENTATION

representation, in advance of their See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time . Some critics, however, consider that the design only, if even that, was furnished by Masaccio, and the See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution See also:

• LEFT

left to an inferior See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand; this appears highly improbable, as Masaccio, at his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, can scarcely have held the position of a See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master laying out See also:

• WORK

work for subordinates; indeed See also:

• VASARI, GIORGIO (1511-1571)

Vasari says that Lubberly Tom was held in small esteem at all times of his brief life . In the Crucifixion subject the See also:

• GROUP

group of the Marys is remarkable; the picture most generally admired is that of Catherine, in the presence of See also:

• MAXENTIUS, MARCUS AURELIUS VALERIUS

Maxentius, arguing against and converting eight learned doctors .

After returning to Florence, Masaccio was chiefly occupied in painting in the church of the See also:

• CARMINE

Carmine, and especially in that " Brancacci Chapel " which he has rendered famous almost beyond rivalry in the See also:

• ANNALS (Annales, from annus, a year)

annals of painting . The chapel had been built early in the 15th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century by Felice Michele di Piuvichese Brancacci, a See also:

• NOBLE, SIR ANDREW (1832- )

noble Florentine . Masaccio's work in it began probably in 1423, and continued at intervals until II he finally quitted Florence in 1428 . There is a whole library-shelf correctly, with See also:

• ACTION

action, liveliness and See also:

• RELIEF

relief . Soon after his See also:

• DEATH

death, his work was recognized at its right value, and led to notable advances; and all the greatest artists of See also:

• ITALY
• ITALY (Italia)

Italy, through studying the Brancacci chapel, became his champions and disciples . Of the works attributed to . Masaccio in public or private galleries hardly any are See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic . The one in the Florentine See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, the " Virgin and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child in the See also:

• LAP

Lap of St See also:

• ANNA
• ANNA (Hindustani ana)
• ANNA, BALDASARRE

Anna, is an exception . The so-called portrait of Masaccio in the Uffizi See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery is more probably Filippino See also:

• LIPPI

Lippi; and Filippino, or See also:

• BOTTICELLI, SANDRO

Botticelli, may be the real author of the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head, at first termed a Masaccio, in the See also:

• NATIONAL

National Gallery, See also:

• LONDON

London . An early work on Masaccio was that of T . Patch, Life with Engravings (Florence, 1770-1772) . See See also:

• LAYARD, SIR AUSTEN HENRY (1817-1894)

Layard, The Brancacci Chapel, &c .

(1868); H . Eckstein, Life of Masaccio, See also:

• GIOTTO

Giotto, &c . (1882); See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles Yriarte, Tommaso dei Guidi (1894) . (W . M .