Brancacci Chapel in Florence
Brancacci Chapel in Florence: Exploring the Treasures of the Church of S. Maria del Carmine
The Brancacci Chapel in Florence is a small masterpiece housed within the Church of S. Maria del Carmine in Florence. Created by three great artists, Masaccio, Masolino da Panicale, and Filippino Lippi, they adorned it from top to bottom with scenes from the Old Testament and the Acts of the Apostles. Its undisputed symbol is the Madonna of the People (The Madonna del Popolo), also known as the Madonna of Carmine, placed above the marble altar. She serenely watches over visitors, embodying the wisdom of the Church and the nurturing gaze of a human and spiritual guide.
The Church of S. Maria del Carmine, Florence
With a modest and unfinished facade of exposed brick, the Church of S. Maria del Carmine contains five chapels, including the Brancacci Chapel – an absolute must-see in Florence! It stands out for its rich decorations, resulting from the collaborative work of three towering figures in Florentine art history: Masaccio considered a revolutionary for his time; Masolino, known for his delicacy; and Filippino Lippi, with his impeccable precision. Let’s explore what to expect during a visit to the Brancacci Chapel, along with helpful information about opening hours and how to get there.
Brancacci Chapel in Florence: A Bit of History
Initially owned by the Brancacci family in the 14th century, the Chapel underwent modifications commissioned by Antonio Brancacci starting in 1387. Masolino was tasked with frescoing the story of the family’s patron saint, Saint Peter, during the 15th century when Felice Brancacci took over.
The work experienced several interruptions, with the two artists in charge, Masaccio and Masolino, alternating sporadically until their definitive halt due to Felice Brancacci‘s exile in 1436. The frescoes were executed concurrently, using a single scaffolding and in close collaboration. Stylistic elements blend, and the works sometimes appear as if they were painted by a single hand.
Several years later, Filippino Lippi completed the unfinished Resurrection of Theophilus’ Son, and Saint Peter Enthroned. Works directly related to the Brancacci family were removed on the orders of the Medici, who were opposed by Felice Brancacci himself, and aligned with the Strozzi family, accomplices in Cosimo de’ Medici’s expulsion from Florence.
Upon the Brancacci family‘s return, Filippino Lippi was able to finish the Chapel, aiming to adhere as closely as possible to the colors and style used by his predecessors. Nevertheless, his skillful study of forms and chiaroscuro makes his interventions easily recognizable.
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During the 18th-century renovation, the Church of Santa Maria del Carmine was embellished with Baroque decorations, including those by Domenico Stagi and Giuseppe Romei, credited with the nave and dome frescoes. Before reaching the Brancacci Chapel, a true Renaissance masterpiece, you can admire Giorgio Vasari‘s Crucifixion on the right, along with other essential frescoes such as Lomi’s Visitation, Monaldi’s Funeral of Saint Alexius, Pagani’s Adoration of the Magi, and Poccetti’s Annunciation.
The precious metal decorations adorning the Brancacci Chapel in Florence date back to the 16th century, which also saw its restoration after the fall of the ruling family in Florence. In the 17th century, the nude figures were adorned with leaves and branches, following the standards established by Cosimo III. The cross vault veils by Masolino were replaced with a small dome, upon which Vincenzo Meucci created the Madonna bestowing the scapular upon Saint Simon Stock. The grand Baroque window replaced the previous Gothic twin lancets during this time.
The frescoes suffered damage in the disastrous fire of 1711 and were subsequently restored, though some irreparable damages remain. Around seventy years later, the Marquis de Brancas relinquished their inheritance of the Chapel, despite being descendants of the Brancacci family, and handed it over to the Ricciardi family, whose coat of arms is visible on the altar’s sides.
Brancacci Chapel in Florence: Various Artworks to Admire Inside
What can you see in Florence inside the Brancacci Chapel? The answer is everything. Sharpen your gaze and don’t miss a single inch of this wonder, which rivals places of interest like the Uffizi Gallery or the Palazzo Vecchio.
The Temptation of Adam and Eve is the work of Masolino, who brings his Humanism, meticulous study of form, and delicate lines to the Brancacci Chapel. A very distinctive detail: the serpent is depicted here with a human face. The fresco is enclosed within a rectangular area, symmetrically opposed to Masaccio’s Expulsion from Paradise.
The Expulsion from Paradise is the most famous frescoes in the Brancacci Chapel in Florence. Characterized by more vigorous lines, the drama of contorted bodies and faces expressing despair due to the rupture of trust in God. While Masolino’s Temptation expresses an ethereal refinement, emotionally distant and imprinted on bodies with statuesque perfection, Masaccio’s masterpiece radiates the humanity of the two figures and the Creator’s intensity, as He sends His angel to threaten them with a sword, symbolizing His fury. Once symbols of perfection and innocence, Adam and Eve are devastated by remorse, and shame compels Eve to cover her nudity. You can’t visit Florence without pausing to admire this marvel!
Immediately after the Expulsion, you can witness the three scenes of The Tribute Money, distributed by Masaccio in a single fresco. In the center, you’ll see Jesus, along with His apostles, arriving in the city of Capernaum and halted by a Roman soldier for payment of tribute. This gives rise to the famous phrase spoken to Peter, “Render unto Caesar the things that are Caesar’s“: Jesus instructs the apostle to retrieve the silver coin for payment from the mouth of a fish swimming in the nearby lake. This scene is depicted on the left, and the far right, you’ll find the payment scene.
Masolino’s Preaching of Saint Peter, following The Tribute Money, is drawn from the Acts of the Apostles. Various expressions can be seen among the bystanders, ranging from a sinister astonishment to a surprise almost tinged with relief, expressed through smiles and admiring glances. In one corner, a tired older man leans against a woman.
The Madonna del Popolo, the altarpiece dividing the two frescoed walls, presents the typical features of the 13th-century style, evident in the flat throne and the hint of three-dimensionality in the folds of the mantle. The Madonna points to the infant Jesus, representing the faithful’s path to salvation. With her elegance and enigmatic gaze, she symbolizes the Church. Jesus holds a scroll in his hands and blesses his mother with a raised hand. The Madonna del Popolo has undergone several restorations, including one particularly harmful restoration that damaged its forms and background, further flattened by a gold hue. Only after partially recovering its original form did the altarpiece become an object of interest for art scholars.
Immediately following the Madonna del Popolo, on the right wall, you’ll find another masterpiece by Masaccio, The Baptism of the Neophytes. Kneeling in the water, a young man receives baptism from Saint Peter, who is nude with folded hands in prayer. You can observe the results of Masaccio’s meticulous anatomical studies, the precise brushstrokes that sculpt the muscles, and the faces marked by well-defined expressions of devotion, anticipation, or solemnity.
Between the Baptism of the Neophytes and the Temptation of Adam stretches The Healing of the Cripple and Resurrection of Tabitha, also by Masolino. The two miracles are united, like in The Tribute Money, in a single fresco: on the left, Saint Peter and Saint John miraculously heal the disabled person in Jerusalem, while on the right, Saint Peter resurrects Tabitha, who rises from her deathbed and sits up.
In the Distribution of Alms and the Death of Ananias, Masaccio depicts Saint Peter and Saint John giving coins to the needy and a dead man, Ananias, lying on the ground. Ananias is punished for falsely declaring income from the sale of land. Symmetrically opposed, Saint Peter heals the sick with his shadow in Masaccio’s work. As he passes among the afflicted, the saint blesses them with his shadow, allowing them to recover from their afflictions.
The Visit of Saint Peter in Prison by Saint Paul is a work by Filippino Lippi, placed opposite Saint Peter’s Liberation from Prison, where the angel of God frees the saint while the guards sleep.
Next to the liberation, there’s the Dispute of Simon Magus and the Crucifixion of Saint Peter. On the left is the dispute between Simon Magus and Saint Peter regarding the latter’s powers in the presence of Nero. On the right, in front of the walls of the city of Rome, is the upside-down crucifixion of the saint. Filippino Lippi‘s artistic maturity is noteworthy, evident in this masterpiece masterfully restored after the 18th-century fire.
Curiosities about the Brancacci Chapel in Florence to discover before your visit
Little tidbits could make your visit to the Brancacci Chapel even more fascinating: for example, do you know the meaning of the name “Masaccio“? Also, keep your eyes sharp, as you might spot unexpected cameos within the frescoes!
The Brancacci Chapel in the past featured a work by Donatello, “Delivery of the Keys,” on the altar, completing the story of Saint Peter. This work is now displayed at the Victoria and Albert Museum in London. The Madonna del Popolo was the only artwork in the Brancacci Chapel in Florence that escaped the fire because it had been transferred to the Carmelite convent during that period, which is part of the same complex as the Church of S. Maria del Carmine.
Do you know the origin of the nickname “Masaccio,” attributed to the young painter Tommaso di Ser Giovanni di Mòne di Andreuccio Cassài? Giorgio Vasari explains that it was a distortion of Maso, a diminutive of Tommaso, used to emphasize his disheveled appearance and fierce temperament. One of the apostles in “The Tribute Money” might depict Masaccio himself or even Felice Brancacci.
In Filippino Lippi‘s “Dispute of Simon Magus and Crucifixion of Saint Peter,” three famous artists are hidden among the two scenes’ characters: Dante Alighieri, Botticelli, and… Filippino himself!
Brancacci Chapel in Florence – Virtual Tour
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Brancacci Chapel in Florence: Opening Hours and Ticket Prices
To best plan your visit, here are the opening hours for the Brancacci Chapel:
- Open Friday, Saturday and Monday: 10:00 AM to 5:00 PM
- Sunday: 1:00 PM to 5:00 PM
- Closed on Tuesdays, Wednesdays and Thursdays, January 1st, Eastern, May 1st, August 15th and December 25th.
Ticket Prices:
- Full ticket: €8.00
- Reduced ticket: €6.00
- Guided tours and activities for residents: €5.00
- Guided tours and activities for non-residents: €2.50
The ticket is free for:
- Minors
- Students and teachers
- Interpreters, tour guides, and members of the Tourist Guide Course
- Visitors with disabilities and their companions
- ICOM, ICOMOS, and ICCROM members
- Visitors with the Florence Card
How to Reach Brancacci Chapel in Florence
The Church of S. Maria del Carmine is ten minutes from Piazza Santa Maria Novella. As always, we recommend walking: starting from Piazza, heading towards Via della Scala, then reaching Piazza degli Ottaviani. Continuing on Via dei Fossi, you’ll find Borgo Ognissanti on your left. On the first exit, a roundabout will lead you to Piazza Carlo Goldoni, after which you’ll find Ponte Alla Carraia on your right. After crossing it, proceed to Piazza Nazario Sauro and turn right towards Borgo S. Frediano. Turn left towards Piazza del Carmine, and finally, turn right.
Brancacci Chapel in Florence – Map
Piazza del Carmine, 14, 50124 Firenze FI