FIG. 92. Masaccio. The Trinity, Fresco.—_Santa Maria Novella._ ] The organizing power of Masaccio is at its height in the Tribute Money. His emotional intensity is fully involved only in the Expulsion from Eden, Figure 91, the adjoining fresco in the nave of the church. Before the sword of a serenely inexorable angel, Adam and Eve stalk forth into the unknown. Their bodies cringe as they move, with shame and grief. An ominous light reduces their bodies to so many pits of shadow and bosses of light. Drawing of such accurate economy will only rarely reappear in the world, in Leonardo da Vinci, in Rembrandt, in Honoré Daumier. The desperate emotion is well contained within the oblong, in a monumental balance. Remorse in the two first sinners has its shades. The man’s head is pressed into his hands in an attempt at restraint, while Eve’s is thrown back in anguished ululation. The high emotional pressure is new, and symptomatic, and significantly it is contained within monumental bounds. The Italian Renaissance in its striving for expressiveness will rarely fail to keep expression noble. The ingrained classicism of the Florentine point of view is never more favorably represented than in a subject like this which seeks a maximum emotion on terms of order and lucidity. What remains of Masaccio is in a sense anti-climax. Very stately is the fresco in this chapel, of the Resurrection of the Prince of Tyre and St. Peter enthroned. The beauty is that of fine arrangement and characterization. The graceful nude boy and about ten distinguished figures behind him were added to the composition, presumably from Masaccio’s designs, full fifty years later. They are the work of Filippino Lippi, who also added some portraits at the left of this fresco. He also filled the three unpainted panels, in an excellent imitation of Masaccio’s style. Evidently Masaccio was called rather abruptly to his last sojourn at Rome. For the fresco of the Raising of the Boy could have been finished in a fortnight. I have omitted a fine fresco of a Pietà in the Collegiate Church at Empoli, though I believe it to be a splendid example of Masaccio’s early style, and I can only mention for its magnificent architectural setting in Brunellesco’s new style the fresco of the Trinity in Santa Maria Novella, Figure 92. It is of his latest manner and of extraordinary gravity and mass.