Tommaso di Ser Giovanni di Simone or Masaccio is an outstanding painter from the Italian Renaissance period. Masaccio is first of all known for his unique talent in depicting true-to-life figures and motions combined with realistic three-dimensioned perception. His great painting “The Holy Trinity” is a unique combination of classic art conception and scientific approach including the use of mathematical proportion, linear perspective, and the conception of three-dimensionality. In the following paper, I have my goal to discuss the way three-dimensionality in Masaccio’s Trinity conveys a precise relationship between the viewer and the divine. Looking closer to the picture it becomes evident that three-dimensionality in the picture creates an illusion of unlimited space thus involving the observer into the depicted reality and meditating on one’s connection with the divine in it.
The Holy Trinity with the Virgin Mary, John the Evangelizer, and donors is located in the Dominican church of Santa Maria Novella in Florence. The picture is believed to be created in 1427 though there exist other opinions about the date of its origin. The Holy Trinity painting is considered to be the greatest masterpiece by Masaccio with its unique depiction of three-dimensioned space involving the observer into meditating about its meaning. This great Masaccio’s fresco is one of the earliest efforts to use linear perspective to position the groups of painted figures in such a way that coveys precise relationship between the picture’s viewer and the divine shown in it and thus to arrange a relation between them.
Speaking about the picture its numerous peculiarities and details should be considered. First of all, the picture plane is divided into ascending and descending triangles and has an intense clarity of geometrical forms based on a pyramid. There are two prospective points of the triangles in the picture: one is at the top of the ceiling and the other is behind the dirt mound at the foot of crucified Jesus. Focusing on these prospective points unconsciously makes the observer have a feeling of volume space. Using linear perspective Masaccio created an Illusionary chapel: in the lower part of the picture we can see a memorial tomb and in the upper part we can see a barrel-vaulted ceiling; there is God, Holy Spirit in the form of a white dove, crucified Jesus, Mary, John the Evangelizer and two donors between them. In the level of the observer’s eyes, there appears to be an illusory hole. The artist pictorially created depth and recession into a flat surface with a one-point perspective. Jesus is depicted in the very center of the fresco with a vanishing point behind him which also adds the painting’s illusionary depth. Using linear perspective also enables creating an illusionary impression of space. Thus the picture organization creates the feeling of a three-dimensioned space.
Every picture’s person and detail also adds to the realization of the conception of involving the viewer into thinking about the picture’s plot. First of all the figure of God the Almighty turns the attention of the viewer. It appears to be floating and it also has its perspective. Earlier on God was never depicted with a human-like appearance having a face and body similar to those of people. Commonly painters offered the thought of Creators Excellency above sinful people depicting him as a hand. Thus the observers get a glimpse of the upcoming philosophy of Humanism in the Renaissance.
God the Father is the Alfa and Omega from which everything in the painting flows. The Almighty Father of Jesus is depicted behind his crucified Son. The Holy Spirit can be seen above Jesus’ head in the form of a white dove. Masaccio resorted to the use of a white dove depicting the Holy Spirit being inspired by the biblical record of Christ’s baptism when the Holy Spirit came on him from God the Father in the form of a white dove. All three God, his Son, and Holy Spirit are depicted on a strong vertical axis.
The figures of John the Evangelizer and Mary form a triangle with God’s halo. Mary is gazing at the viewer and is pointing to the crucified Jesus thus inviting the observer to watch through all the painting and suggesting one to think about what is across the painting. To add detail and even more dimension to the painting’s depth the holy ones are depicted closer to Christ Jesus and farther to the women donors pictured above the tomb. The women donors’ figures continue the triangle on into the real world thus involving the viewer into thinking about the conception of the Trinity and its divine meaning. The women donors serve as the example of religious devotion and as they are located close to the sacred Mary and Apostle John they also claim extraordinary status making the viewer think about the value of real faith. The disposal of engaging of the saints and the women in combination with the figure of God and the central positioning of Christ also add to the illusion of the picture’s depth and its dimension.
As we look to the lower part of the picture the memorial tomb with the skeleton lying on the sarcophagus can be seen. The “IO FUI GIA QUEL CHE VOI SIETE E QUEL CH’IO SONO VOI ANCO SARETE” inscription can be seen above the skeleton. This inscription which is a memento mori for the observers emphasizes that the picture had the purpose of being a lesson for the viewers. This inscription can be translated as “I once was what now you are and what I am, you shall yet be”. This phrase reminds the observer of how transient life on earth is. The skeleton designates Adam and his sin leading all his descendants to death. The depicted skeleton offers the viewer an idea that through one’s faith in Trinity depicted in the painting it is possible to be saved from Adam’s sin and its consequences for humanity.
The very interesting fact is that skeletons are not normally included in the depiction of Trinity and crucifixion. This is probably the first such case. However, such an unusual combination of Trinity and the skeleton lying on the sarcophagus was important to provide the connection between the divine and the picture’s viewer which is in faith into Trinity redeeming humanity from becoming victims of Adam’s sin.
The other significant detail about the picture is the use of vibrant colors that adds splendor to the painting. The most important peculiarity in the painting’s color organization is the use of red and black. Their well-generated combination produces the additional effect of space. As a result the light and color combination also makes its due contribution to the sense of proportion and adds more dimension to the painting’s space. Thus using three-dimension and color solutions the Holy Trinity picture by Masaccio appears to be a door leading the observer to meet the divine ones. It adds details to the holy sacrament of Trinity revelation and its importance in human salvation from sin and death brought to the world by the first man Adam.
Reflecting on all the above mentioned it should be stated that it becomes evident that three-dimensionality in The Holy Trinity creates an illusion of unlimited space thus involving the observer in meditating on one’s connection with the divine depicted in it. For one thing, the picture’s structure is organized by the mathematic conception of three-dimension which involves the viewers meditating on the picture’s meaning. Secondly, all the picture’s details have their purpose both aesthetic, decorative, and picture sense-revealing. All the details have their overall impact on the viewer creating depth thus turning the flat surface of the picture into three-axis space. These details also make they emphasize the author’s point of view. Lastly, the whole picture conception appears as a story in motion. It seems that all the depicted ones involve the viewer in meditating on the sense of life and the importance of believing in God and his Son’s ransom preventing the faithful ones from the inevitable consequences of Adam’s sin. All the means put in requisition by Masaccio encourage the observer to feel as if one is a part of the painting and is actually connected to the divine in it.