Abstract
The connections of the perspective construction and inter- pretation of architecture in Masaccio’s fresco “Trinity” with the work of Brunelleschi is covered extensively in the literature. At the same time, it is surprising that the striking similarity of the figure of Christ on the cross in this monumental painting panel with a wooden crucifix carved by Filippo Brunelleschi is mentioned only in a few foreign studies in the mode of state- ment. This paper analyzes the reasons for this similarity and traces the role of Brunelleschi’s “Crucifixion” in the development of Italian art of the Quat- trocento era. The hypothesis is put forward that the image of Christ in the Masaccio’s fresco is not just a technical repetition, but a kind of “homage” to an older friend and consultant.
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