In The Tribute Money (Masaccio), how is the Interpretations discussed?
Several theories have been proposed as to why this specific subject – not a very common theme in art history – was chosen. One suggestion sees the painting as a justification for the so-called catasto of 1427; a new form of income tax. This is not a very likely explanation, however, as Brancacci would stand to lose from the new taxation, and would probably rather have been among its opponents. A more probable explanation links the painting to Pope Martin V's 1423 agreement that the Florentine church be subjected to state tax. The money found in the fish's mouth can also be seen as an expression of how Florence's wealth came from the sea. Felice Brancacci, a silk merchant involved in Mediterranean trade, was also a member of the city's Board of Maritime Consuls.Central to an understanding of the painting, as well as the entire series, is the relationship the Brancaccis and the city of Florence had with the papacy in Rome. Florence was at the time at war with Milan, and needed the support of the Pope. The Brancacci frescos must therefore be seen in the context of a pro-papal policy, and as an attempt to legitimise the Roman see through its association with Saint Peter – the first bishop of Rome, and first pope.
In the story, Peter is clearly singled out among the disciples, and his strong connection with Christ can be seen in Christ's words "for me and thee". Peter appears a majestic and energetic figure when he is with Christ and when he performs his work, in contrast to the diminutive shape on the left. This all points forward to his apostolic role as Christ's vicar on earth. As such The Tribute Money represents a transitional scene in the chapel; in doing Christ's bidding Peter goes from being a disciple to being the master.Only two of the disciples can be identified with any degree of certainty: Peter with his iconographic grey hair and beard, and blue and yellow attire, and John; the young beardless man standing next to Christ. John's head is reminiscent of Roman sculptures, and it is reflected in the very similar face of another disciple on the right. The person next to this disciple is assumed to be Judas, whose dark and sinister face mirrors that of the tax collector. It has been speculated – first by Vasari – that the face on the far right is a self-portrait of Masaccio himself, as Thomas.
Pope Martin V Judas Felice Brancacci Milan Rome Mediterranean Christ Saint Peter fresco Florence iconographic disciple Roman John catasto Pope pope papacy Thomas tax collector Masaccio left Peter Vasari Roman sculpture