The Tribute Money


The Tribute Money (c.1425) by Masaccio is located in the Brancacci Chapel, Florence. The painting is a continuous narrative, it is consisted of three scenes. The scenes are linked by the figures of St. Peter, Christ and the tax collector. The architecture, unlike the figures, is not monumental in scale, as it would distract from the drama of the scene illustrated. The landscape background shows the use of aerial perspective and consistent lighting.

The Tribute Money contained a biblical moral in the narrative, that God would provide. People should concentrate in their spiritual life, and not worry too much about the material world. On the other hand, the painting had a contemporary Florentine propagandist purpose. This painting relates to a new tax which was proposed on the basis of ability to pay. It was to be used to cover costs incurred when the armies of Milan defeated Florence.

The Tribute Money is part of the fresco cycle executed by Masaccio in the Brancacci Chapel. It is an example of his mature work, demonstrating full accomplishment of his revolutionary new Renaissance style.
The painting had reference to the Renaissance perspective construction. The vanishing point for the linear perspective in this work focuses on Christ's head. This point was considered to assist in drawing together all aspects of the painting (landscape, houses, and figures) in spatial unity. All lines on the buildings in the right of the picture follow the orthogonals to the vanishing point. A mathematical division called caesura structures the painting. These are based on musical scales, the first caesura falls upon Christ.

The figures in The Tribute Money are individualized. Masaccio's figures are constructed through an observational and anatomical approach. The bodies and its draperies are modeled by light, and had the 3-dimensional quality achieved.

The painting had many features of the Historia as Alberti built his theory largely on what he saw in Masaccio's work. First of all, the subject matter is biblically based, it gives an expression of nobility as well as simplicity of conceptions. There is a limited number of figures or objects, while they still retain a variety of poses, gestures. Masaccio emulated nature while still ensuring that the painting conforms to the underlying mathematical formula. The suggested figure types are also evident, with St. Peter and Christ being the 'pointing figure'; the figure with the back facing us as the 'lead-in figure'; the one on Christ's right acting as the 'gazing figure'.

Gestures and expressions of the figures in The Tribute Money guide the viewers through the narrative. The direction of the eye help us focus on the main characters as do the placing of the feet and the gestures of the hands. St. Peter pointed us to the second scene, while the 'lead-in figure' takes us to the third scene on the right.

The Tribute Money is the first painting that portrayed a continuous space and consistent lighting. The diminishing trees with blurring forms and fading colours showed the use of aerial perspective. The lack of individual leaves also suggests a winter landscape.





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