It is only in fresco painting that Masaccio fully reveals his powers. So passing with mere mention such panels as The Healing of a Demoniac, in the John G. Johnson Collection, Philadelphia, the widely scattered parts of the altar-piece for the Carmelites at Pisa, dated 1426, and the grim Madonna with St. Ann in the Uffizi, the student will best turn directly to the Carmelite Church at Florence and enter that sanctuary of art, the Chapel of the Brancacci. The Church itself was dedicated April 19, 1422. Shortly after that date, young Masaccio did in fresco the dedicatory procession with many portraits. Its realism produced a profound impression. Nevertheless it was heedlessly destroyed after a century or so. By 1424, according to all probability, Masaccio was associated with Masolino in the decoration of the Brancacci Chapel. It was dedicated to St. Peter, and the prescribed subjects were drawn from the “Acts of the Apostles” and “The Golden Legend.” The vaults which contained the four evangelists and the three lunettes, which depicted The Calling of Peter and Andrew, the Tempest-tossed Ship of the Apostles on Galilee, and Peter denying his Lord, were by Masolino. Unhappily these upper frescoes have been destroyed. The Chapel now has only two rows of frescoes in twelve pictures. Of these three and a part of a fourth, all in the lower row, are certainly by Filippino Lippi, who about 1484 completed the chapel, probably with the aid of Masaccio’s designs. Three in the upper row, are ascribed by many critics to Masolino. According to this view, which is largely based on the opinion of Vasari, Masaccio would be responsible for only five pictures and most of a sixth. Other critics, whose views I share, believe that Masaccio painted eight of the pictures and most of a ninth. The difference of opinion, then, concerns three pictures which many think unworthy of Masaccio’s genius. The problem cannot be fully debated here. The grounds of my opinion, which was that of the great Italian critic Cavalcaselle, will appear as we review the frescoes themselves.