Chap. XXV. TRINITY AT S. M. NOVELLA. 545 Powerful and energetic forms are combined in the figure and face of the Virgin, who is represented as a matron of fifty with the remains of fine features clouded by suf fering, but tinged with no softness or tenderness. A depth of sentiment almost akin to that of Raphael marks, on the other hand, the upraised head of the youthful S. John, whose movement and expression reveal intense calmness of passion. The kneeling patron to the left, in a red cap and mantle, prays in quiet repose, and like the female opposite to him, seems to have reached the age of fifty. The face of the latter is masculine and healthy, and her features strongly marked. 1 As in the nude of the Saviour the anatomical study conspicuous in the frame is not carried out in the extremities, and these only keep their place by the natural truth of their movement, so in the portraits of the donors a bold neglect is allied to a realism equal to that of Michael Angelo. In the face of the female, a fulness of life, a striking boldness of outline and of glance prevail, which recal the best efforts of Donatello. 2 1 An under cap painted in black is partly covered by the blue drapery of a mantle veiling the head. 2 As usual Masaccio painted on a surface of the utmost smooth ness ; and having carried his de sign upon it, he prepared the whole of a light transparent and fluid grey verging on green, using for this purpose a flat and broad tool. He modelled the masses of shadow as a sculptor would his prepara tory clay, seconding the rounding of the various flesh forms and planes by the direction of the sweep given to his brush, and making use of the white ground for the light. He then covered the whole of the parts in light with a warm transparent glaze, and thus produced the local flesh tone, beneath which the ground never altogether disappeared. A VOL. I. few touches of body colour served to bring out the highest lights. The - shadows were strengthened with warm yellowish transparent glazes, the tinge of lips and cheeks with a ruddy flush of colour. Stippling he seldom or ever used except in small and very secondary parts. An instance of the rapi dity and ease of hand which he possessed may be shown by the following example. The hair of S. John’s and the Redeemer’s head was broken in with great breadth and with brushes of various size, in sweeps following the form pre viously determined on. A few lines defined the direction of the locks as in the S. John. ’ In the Saviour a flat brush, parted so as to give a quadruple stroke, was used to define the waves. “La Trinitk e per mano di Tho. Masacci;” says Albert ini. Mem. ub. sup. p. 13. 35