dignity and grandeur there is nothing to compare with it, till we come to the work of Raphael and Michelangelo in the Vatican; the composition of the Tribute Money and the Healing of the Sick initiated the method of religious illustration that reached its ultimate perfection in Raphael--what has been called giving Greek form to Hebrew thought. The treatment of the nude especially seemed a novel thing in its day; the wonderful modelling of the naked youth shivering with the cold, in the scene of St. Peter baptising, was hailed as a marvel of art, and is cited by Vasari as one of the _cose rarissime_ of painting. In the scene of the Tribute Money, the last Apostle on our right (in the central picture where our Lord and His disciples are confronted by the eager collector) whose proud bearing is hardly evangelical, is Masaccio himself, with scanty beard and untidy hair. Although less excellent than the Baptism as a study of the nude, the Expulsion of Adam and Eve from Eden is a masterpiece of which it is impossible to speak too highly. Our _primi parenti_, weighed down with the consciousness of ineffable tragedy, are impelled irresistibly onward by divine destiny; they need not see the Angel in his flaming robe on his cloud of fire, with his flashing sword and out-stretched hand; terrible in his beauty as he is to the spectator, he is as nothing to them, compared with the face of an offended God and the knowledge of the _tanto esilio_. Surely this is how Dante himself would have conceived the scene. [54] In Richter's _Literary Works of Leonardo da Vinci_. Leonardo rather too sweepingly ignores the fact that there were a few excellent masters between the two. Masaccio died at Rome in 1428, aged twenty-seven years. In his short life he had set modern painting on her triumphant progress, and his frescoes became the school for all subsequent painters, "All in short," says Vasari, "who have sought to acquire their art in its perfection, have constantly repaired to study it in this chapel, there imbibing the precepts and rules necessary to be followed for the command of success, and learning to labour effectually from the figures of Masaccio." If he is to rank among "the inheritors of unfulfilled renown," Masaccio may be said to stand towards Raphael as Keats towards Tennyson. Masolino outlived his great pupil for several years, and died about 1435.