The Tribute Money
The episode depicts the arrival in Capernaum of Jesus and the Apostles, based on the account given in Matthew's Gospel. Masaccio has included the three different moments of the story in the same scene: the tax collector's request, with Jesus's immediate response indicating to Peter how to find the money necessary, is illustrated in the centre; Peter catching the fish in Lake Genezaret and extracting the coin is shown to the left; and, to the right, Peter hands the tribute money to the tax collector in front of his house. This episode, stressing the legitimacy of the tax collector's request, has been interpreted as a reference to the lively controversy in Florence at the time on the proposed tax reform; the controversy was finally settled in 1427 with the institution of an official tax register, which allowed a much fairer system of taxation in the city. There are other references and allusions which have been pointed out by scholars.
Ever since the earliest scholars began writing about this fresco they showed special interest in the realistic details, which they noticed and pointed out despite the disappearence of the colour caused by the lampblack and the thick gluey substance that misguided restorers repeatedly applied to the surface of the frescoes over the centuries. Today it has finally become easier to appreciate the wealth of fascinating details, thanks to the recent restoration: Peter's fishing rod, the large open mouth of the fish he has caught, described down to the smallest details, the transparent water of the lake and the circular ripples spreading outwards, toward the banks.
The awareness that they are about to witness an extraordinary event creates in the characters an atmosphere of expectation. Behind the group of people we can see a sloping mountainous landscape, with a variety of colours that range from dark green in the foreground to the white snow in the background, ending in a luminous blue sky streaked with white clouds painted in perfect perspective. The hills and the mountains that rise out from the plains, dotted with farmhouses, trees and hedges, have an entirely new and earthy concreteness: a perfect use of linear perspective, which will be taken up by Paolo Uccello, Domenico Veneziano and Piero della Francesca.
The figures are arranged according to horizontal lines, but the overall disposition is circular: this semicircular pattern was of classical origin (Socrates and his disciples), although it was later adopted by early Christian art (Jesus and the Apostles), and interpreted by the first Renaissance artists, such as Brunelleschi, as the geometric pattern symbolizing the perfection of the circle.
The characters are entirely classical: dressed in the Greek fashion, with tunics tied at the waist and cloaks wrapped over their left shoulder, around the back, and clasped at the front, below their left forearm. And even Peter's stance, as he extracts the coin from the fish's mouth, with his right leg bent and his left one outstretched, is reminiscent of postures of many statues by Greek artists, as well as reliefs on Etruscan funerary urns and Roman carvings.
excerpt from - Casazza, Ornella. Masaccio and the Brancacci Chapel. New York: Scala, 1990.