Cappella dei Brancacci is a side chapel in the Church of Santa Maria del Carmine in Florence.
The chapel has been founded in the late 14th century by Pietro di Piuvichese Brancacci, and later decorated with two layers of the frescoes commissioned by his descendant Felice Brancacci at the workshop of Masolino da Panicale in 1423. At first Masolino has been assisted by his apprentice Masaccio, who in 1428 took over the job, but his sudden death same year left the chapel decoration unfinished for some fifty years, when finally Brancacci family ordered Filippo Lippi to paint the missing quarters.
In the 18th century the ceiling of the chapel has been adorned with the frescoes in the new, baroque style, the plans to cover the old ‘unfashionable’ paintings that arose after the fire in 1771
fortunately were not introduced into the existence.
The 1980’s renovation removed the dust and the dirt from the candle smoke, also some late paint additions, particularly the leaves and plants covering the nudity of First Family, added
by 17th century purists.
The paintings of the Brancacci Chapel were the inspiration for many of following Florentian artists, and today are one of the best examples of early Renaissance style.
The ten scenes from the life of Saint Peter, the patron of Brancacci family, and two moments from Genesis illustrate the story of salvation achieved by the Church through Saint Peter.
The works of Masolino are maintained in late gothic manners ( the Temptation of Adam and Eve ), with careful addition of new style elements visible in his masterpiece St Peter Raising Tabitha from the dead.
18 years younger Masaccio fully introduces new ideas of Renaissance in perfect definition of space according to the new rules of perspective, and reduction of decorative details, which would disturb focusing on the main scene (The Tribute Money ).
Masaccio’s people have the psychological individualism, their realistic figures are given dramatic movement ( Expulsion from the Garden of Eden ), and use of ‘chiaroscuro’ in St Peter Healing establishes the new traditions in Renaissance Florence.
When finishing the chapel Filippino Lippi had to temper his visions to keep the decoration in one style, but in his works one can see the matured ‘chiaroscuro’ use of light typical to late 15th century ‘intellectual’ style from times of Lorenzo il Magnifico patronage (Disputation with Simon Magus and Crucifixion of St. Peter).
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