The Tribute Money (Masaccio)

The Tribute Money, in the literature, " The miracle of the tribute money " is a fresco in the church of Santa Maria del Carmine in Florence. It is the most important part of the famous cycle of frescoes in the Brancacci Chapel, created by different masters from 1424 to 1485. This fresco was worked 1425-1428 by Masaccio and is considered one of his masterpieces.

Genesis

The frescoes in the Brancacci chapel were donated by Felice Brancacci, a wealthy merchant and politician and opponent of the Medici. Masolino began in 1424 with the frescoes of the uppermost zone, he painted the ceiling and lunettes of the chapel. These frescoes are now destroyed. He joined in 1425 from Masaccio, they carried out the murals of the upper zone. Masolino left Florence in the summer of 1425, so that from this point Masaccio worked alone. He left Florence in 1428 to Rome, where he died in the same year, the chapel was not completed at this time. The client, Felice Brancacci, fell in 1436 for the Medici in disgrace and was banished. The decoration of the chapel rested from now until 1481st Only then led Filippino Lippi in the missing three frescoes to 1485 from. Perhaps the descendants of Felice Brancacci had obtained his rehabilitation, which could be taken up again at the chapel of the work. The fresco, as well as the other of the chapel, the burning of the church in 1771 through unscathed

Historical Background

For the motivation of the founder of all this - rarely depicted in Italy - Scene literature assumes Brancacci wanted to express themselves politically with this image. Florence led to this time, a very costly war against Milan and was dependent on additional revenue by levying new taxes. For this reason, the municipality was planning the introduction of a basic book in which the possessions should be carefully cataloged what particular pushed the wealthy classes with resistance. Brancacci turned out, even though rich, with this representation against them and sided with the introduction. The image can be seen as a reference to the duty of every citizen according to payment of the State is entitled to funds. The land register was introduced in 1427.

The representation

The scene depicted was made after a passage in the Bible, it is in the Gospel of Matthew, where chapter 17, verses 24 to 27: not Cares for your master: " When they came to Capernaum, came to Peter, occupying the temple dime, saying to enter the temple penny? He said: Yes. And when he came home, Jesus anticipated him, and asked: What do you think, Simon? From whom do the kings of the earth take custom or tribute from their children or strangers? As he said, From strangers, Jesus said unto him, Then are the children free. Consequently, we give them no offense, go down to the lake and cast a hook, and the fish that first cometh up, to take; and when thou hast opened his mouth, then you'll love a drachma piece. find; that take, and give it to them for me and thee. "

According to the text - with a slight modification, in contrast to the text plays the first scene outdoor - the fresco is designed. It is divided according to the scripture in three scenes: the talk of the group with the tax collector, in the center of the fresco, the catch of fish by Peter - top left - and the surrender of the coin found at the tax collector - right scene -. Compositionally, Masaccio uses a diagonal from right forward continuously.

The center segment

It represents the moment in which the tax collector ( he is shown in a red robe in the back view) approach takes the group, his question is and gets the answers. The members of the group, though quiet in the posture shown in strong emotion. You are in antique robes - tunics and togas - dressed, the dignity of their presentation is reminiscent of the ancient Roman gravitas. Her face show outrage and disgust and are strongly interrelated. In the figure, with the red coat on the right of the publican to Masaccio himself has shown. Jesus points with his right hand after Peter and gave him the job, this itself indicates with his hand motion to the scene in which occurred the miracle. Masaccio makes the dynamics of the group scene wide space. The background of the picture is, though realistically executed, but from a barren looking, hardly mountains color shown and a few, just for the sake of perspective illustration pasted almost bare trees. Nothing should distract the viewer's attention from the central action. The stern light incident from the right and the folds of colorful garments give the image an additional plasticity.

The left scene

Peter left his toga and carries nurmehr the tunic. Has The scene depicts the moment in which he finds the coin in the fish caught, just as Jesus predicted.

The right scene

It forms the conclusion of the painted tradition. Peter pays the tax collector of the coin found, just as Jesus had instructed him. Masaccio used for the house in the background a central perspective view of the vanishing point of the perspective is right in the face of Christ.

The image is one of the major works of Masaccio. The peculiarity lies in the realistic depiction of both characters like the entire composition as well as the natural representation of the sea, mountains and clouds. Max Semrau said: "The clear and convincing arrangement of the figures in space, their individual characteristics, the expressive, but limited to a few actors in the foreground gestures are the representation of a completely new, ground-breaking power and forcefulness ." It is, like the others of the chapel, the most important and revolutionary works of the Italian Renaissance.