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same plane preserving their proper relative position and surrounded by atmosphere produced on those principles which found their perfection in the works of Correggio. The first years of the fifteenth century thus witnessed the successful production of that harmony of colour, relief, and sense of distance which entitled the painters of the so- called golden age to the admiration of the world. 1 The rest of the chapel was completed by Filippino Lippi. That Masaccio left the work unfinished is evident, as one of the frescos was in part entrusted to a later artist. That the date of Masaccio’s last production is 1428 is certain, since records prove that he left Florence and died at Rome about 1429. That Masolino did not paint there in 1427 is shown by this, that he was then in Hungary. That he did not before that time paint any of the pre sent frescos is apparent, since in 1428 he executed works at Castiglione which reveal a weaker style. The student may inquire whether he might not have worked at the Brancacci after Masaccio; but this is contrary to tradition and experience. All that remains to be noticed respecting these frescos, is that they were painted on surfaces of excessive smoothness, with incomparable speed, as may be judged from the size and small numbers of the joints, and according to technical methods easy to define. Masaccio used transparent colours, through which the white intonaco is visible, particularly in the pictures of the upper courses. In the lower series his facility is more apparent than elsewhere, the flesh lights having more body, the shadows being more powerfully glazed, and the execution generally more careful. Being nearer the spectator, they are less massively and broadly treated as regards the distribution of light and shade, more finished in the detail than the upper, and this for the 1 Pity, that such a splendid example of Masaccio’s art should be obscured by the 'injudicious removal of the architectural orna ments that once enclosed it, and that, instead of the painted pi lasters which framed it, the ceil ing and sides should be white washed. The Brancacci chapel is illustrated in the series of the Arundel Society’s publications.