Masaccio (1427). Trinity with the Virgin, Saint John and Donors [fresco]. Located at Santa Maria Novella, Florence, Italy.

I try to imagine the colors brighter and the entire canvas less worn. Order characterizes this work. The total subject matter is nearly rigidly balanced with “stepped-off” depth at predictable intervals. Elements are arranged so precisely it is nearly vertically symmetric and presents a frame within a frame a handful of times. This must be one of the first extant fully mature examples of linear perspective. | 

A powerful, stark image of the Crucifixion is front and center in this work. In terms of message, the event is absolutely centered within a combination of classic architectural elements. This could be a commentary by the artist on the culture responsible for Christ’s murder. Depth and space are not typically the first elements used or noticed to carry a work, but this is the case here. The linear perspective is interwoven with lines of force created by sightlines to organize this composition nearly to the degree of an Egyptian mural. The properties of color and texture are subordinate.

While the illusion of space is effective, it also brings more attention to the central figure. All perspective lines converge below his feet. The coffered barrel vault in particular accomplishes this assumption of converging parallels. I believe this work is approximately symmetrically balanced. While the vertical halves do not absolutely reflect each other, the areas of difference carry the same tone.

Somewhat geometric, architectural forms are balanced against solid figurative masses. The four bottom figures take on the statue-like solid character of the construct around them. The mid-range dominance of value could be due to the age of the work and medium used. A subtle textural treatment helps to harmonize the entire canvas. The position of the viewer is at least one step below the bottom-most rendered step. The picture frames elongated vertical dimension fully supports the character of this work.

Perspective, lines of force, arrangement of figures and architecture all blend together to create a pictorial order that is nearly static, without movement. If there is a weakness in this master work, it is a lack of energy. There are a multitude of strengths, and one important result is the position this work as taken in western history for organizing pictorial space to mathematical precision.