Frommer's Review
Following a 1771 fire that destroyed everything but the transept chapels and sacristy, this Carmelite church was almost entirely reconstructed and decorated in high baroque style. Ever since a long and expensive restoration of the famous frescoes of the Cappella Brancacci in the right transept, they've blocked off just that chapel and you have to enter through the cloisters (doorway to the right of the church facade) and pay admission. The frescoes were commissioned by an enemy of the Medici, Felice Brancacci, who in 1424 hired Masolino and his student Masaccio to decorate it with a cycle on the life of St. Peter. Masolino probably worked out the cycle's scheme and painted a few scenes along with his pupil before taking off for 3 years to serve as court painter in Budapest, during which time Masaccio kept painting, quietly creating one of his masterpieces and some of the early Renaissance's greatest frescoes. Masaccio left for Rome in 1428, where he died at age 27. The cycle was completed between 1480 and 1485 by Filippino Lippi, who faithfully imitated Masaccio's technique.
Even before Lippi's intervention, though, the frescoes had been an instant hit. People flocked from all over the city to admire them, and almost every Italian artist of the day came to sketch and study Masaccio's mastery of perspective, bold light and colors, and unheard-of touches of realism. Even later masters like Leonardo da Vinci and Michelangelo came to learn what they could from the young artist's genius. A 1980s restoration cleaned off the dirt and dark mold that had grown in the egg-based pigments used to "touch up" the frescoes in the 18th century and removed additions like the prudish ivy leaves trailing across Adam and Eve's privates.
Masolino was responsible for the St. Peter Preaching, the upper panel to the left of the altar, and the two top scenes on the right wall, which shows his fastidiously decorative style in a long panel of St. Peter Healing the Cripple and Raising Tabitha, and his Adam and Eve. Contrast this first man and woman, about to take the bait offered by the snake, with the Expulsion from the Garden, across from it, painted by Masaccio. Masolino's figures are highly posed models, expressionless and oblivious to the temptation being offered. Masaccio's Adam and Eve, on the other hand, burst with intense emotion and forceful movement. The top scene on the left wall is also by Masaccio, and it showcases both his classical influences and another of his innovations, perfect linear perspective. On the end wall, Masaccio painted the lower scene to the left of the altar of St. Peter Healing the Sick with His Shadow, unique at the time for its realistic portrayal of street beggars and crippled bodies. The two scenes to the right of the altar are Masaccio's as well, with the Baptism of the Neophytes taking its place among his masterpieces. Most of the rest of the frescoes were painted by Filippino Lippi. The left transept chapel, which isn't blocked off, is one of Florence's most harmonious examples of the baroque (1675-83), with a ceiling painted by Luca Giordano.
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