Explore the Notable characteristics about the Description of this artwork, Holy Trinity (Masaccio).
The Trinity is noteworthy for its inspiration taken from ancient Roman triumphal arches and the strict adherence to recently developed perspective techniques, with a vanishing point at the viewer's eye level, so that, as Vasari describes it "a barrel vault drawn in perspective, and divided into squares with rosettes that diminish and are foreshortened so well that there seems to be a hole in the wall." The effect of the correct perspectival projection may be called trompe-l'œil, which means "deceives the eye," in French. The fresco had a transforming effect on generations of Florentine painters and visiting artists. The sole figure without a fully realized three-dimensional occupation of space is God supporting the Cross, considered an immeasurable being. The kneeling patrons represent another important novelty, occupying the viewer's own space, "in front of" the picture plane, which is represented by the Ionic columns and the Corinthian pilasters from which the feigned vault appears to spring; they are depicted in the traditional prayerful pose of donor portraits, but on the same scale as the central figures, rather than the more usual 'diminution', and with noteworthy attention to realism and volume.Masaccio placed the horizon line across the floor between the two donors. Orthogonal lines fan geometrically upward and outward into what becomes the angles and dimensions of the slightly diagonal lines of the coffers of the barrel vault. His use of linear perspective gives the illusion of realistic three-dimensional space.As far as can be determined from available records, at the time when this painting was created no large-scale Roman-style coffered barrel vault, Triumphal arch or otherwise, had been constructed in Western Christendom since late antiquity.
vanishing point trompe-l'œil pilaster Masaccio Ionic columns donor portrait barrel vault Christendom Trinity triumphal arch donor portraits Triumphal arch perspective coffered linear perspective late antiquity fresco Corinthian