A Mathematical Analysis of Masaccio’s Trinity
- 893 Downloads
The florentine Tommaso Cassai (1401-c.1427) better known as Masaccio, has been hailed as the first great painter of the Italian Renaissance and his fresco Trinity (c.1425, Santa Maria Novella, Florence) as the first work of Western art that used full perspective. It appears that the author was inspired and actually helped by his friend Filippo Brunelleschi (1377-1446), the celebrated architect of the cupola of Il Duomo di Firenzi (the cathedral of S. Maria del Fiore in Florence). It is less well-known that Brunelleschi was a pioneer in perspective and that he devised a method for representing objects in depth on a flat surface by using a single vanishing point.
KeywordsGreat Painter Apparent Length Front Column Length Support Apparent Width
Unable to display preview. Download preview PDF.
- 1.Aiken, J.A.: The perspective construction of Masccio’s Trinity fresco and medieval astronomical graphics. In: Goffen, R. (ed.) Masaccio’s Trinity. Masterpieces of Western Painting, pp. 90–107. Cambridge University Press (1998)Google Scholar
- 2.Casazza, O.: Masaccio’s fresco technique and problems of conservation. In: Goffen, R. (ed.) Masaccio’s Trinity. Masterpieces of Western Painting, pp. 65–89. Cambridge University Press (1998)Google Scholar
- 3.Zuffi, S.: The Renaissance. Barnes & Noble Books, New York (2003)Google Scholar
- 4.Web Gallery of Art. Trinity by MASACCIO, http://www.kfki.hu/arthp/html/m/masaccio/trinity/trinity.html
- 5.The csr4 Group: part 2 of Renaissance Art and mathematical perspective. In: The Art of Renaissance Science, http://www.crs4.it/Ars/arshtml/arstoc.html, http://www.crs4.it/Ars/arsgifs/zmasacciodiagram.gif