ity and vividness which were
characteristic of his work.

[Footnote 14: See note on p. 57, Vol. I.]

[Footnote 15: See note on p. 57, Vol. I.]

In the Church of the Carmine in Pisa, on a panel that is in a chapel in
the tramezzo,[16] there is a Madonna with the Child, by his hand, and at
her feet are certain little angels sounding instruments, one of whom,
playing on a lute, is listening attentively to the harmony of that
sound. On either side of the Madonna are S. Peter, S. John the Baptist,
S. Julian, and S. Nicholas, all very lifelike and vivacious figures. In
the predella below are scenes from the lives of those Saints, with
little figures; and in the centre are the three Magi offering their
treasures to Christ. In this part are some horses portrayed from life,
so beautiful that nothing better can be desired; and the men of the
Court of those three Kings are clothed in various costumes that were
worn in those times. And above, as an ornament for the said panel, there
are, in several squares, many saints round a Crucifix. It is believed
that the figure of a saint, in the robes of a Bishop and painted in
fresco, which is in that church, beside the door that leads into the
convent, is by the hand of Masaccio; but I hold it as certain that it is
by the hand of Fra Filippo, his disciple.

[Footnote 16: See note above.]

[Illustration: THE TRINITY

(_After the fresco by_ Masaccio. _Florence: S. Maria Novella_)

_Anderson_]

Returning from Pisa to Florence, he wrought there a panel containing a
man and a woman, nude and of the size of life, which is to-day in the
Palla Rucellai Palace. Then, not feeling at ease in Florence, and
stimulated by his affection and love for art, he determined to go to
Rome, in order to learn and to surpass others; and this he did. And
having acquired very great fame there, he painted for Cardinal San
Clemente a chapel in the Church of S. Clemente, wherein he made in
fresco the Passion of Christ, with the Thieves on the Cross, and the
stories of S. Catherine the martyr. He also made many panels in
distemper, which have been all lost or destroyed in the troublous times
of Rome; one being in the Church of S. Maria Maggiore, in a little
chapel near the sacristy, wherein are four saints, so well wrought that
they appear to be in relief, and in the midst of them is S. Maria della
Neve, with the portrait from nature of Pope Martin, who is tracing out
the foundations of that church with a hoe,