Tribute Money - Masaccio

In Matthew 17:27, Jesus says to Peter, "But so that we may not cause offense, go to the lake and throw out your line." Jesus then details how Peter will find a drachma in the mouth of the fish and says to give it to the tax collectors. Jesus, as instructor, teacher, and answerer to Paul's question on how to pay the tax, is emphasized by his hand pointing to the water, guiding Paul on what to do. The pointing to the left and direct eye contact with Peter also adverts the viewer's eyes to the left, where we see the scene of Peter catching the fish. Masaccio connects the scene to the bible material and guides viewers to the next chronological scene in the image.

Jesus' Direction to Peter

In Matthew 17:27, Jesus tells Peter to "Take the first fish you catch; open its mouth, and you will find a four-drachma coin." Masaccio paints this scene on the left side of the image as an exact reflection of Jesus' command to Peter. By presenting Peter pulling the coin out of the fish's mouth, not just catching the fish, Masaccio clearly communicates to viewers the miracle of Jesus. The presence of the coin on the left side of the image also creates a connection in time and space to the image on the right, where Peter gives the coin to the tax collector.

Peter Catching the Fish

The facial expressions of Jesus, Peter, and the tax collector reflect certain aspects of the text source. First, Matthew 17: 24 says that the tax collector asked Peter "Doesn't your teacher pay the temple tax?" The confusion and demand are evident on the tax collector's face. Peter replies, "Yes, he does," reflected in the sternness of his features. Jesus also asks Peter, "What do you think, Simon? he asked. From who do the kings of the earth collect duty and taxes-." A sense of contemplation amongst Peter's stern features reflects this. Finally, Jesus' features are calm and straight-faced. He is sure in his instructions to Peter to catch the fish. These expressions reflect the dynamics of the source material and the positionality of each of the characters.

Facial Expressions

Matthew 17:21-27 does not detail Peter actually giving the tax collector the tax, just Jesus' instructions to Peter and the collector asking Peter for the tax. Perhaps Masaccio included this to tie together the three distinct spatial and temporal parts of this piece, as he wanted to make clear the reason for Peter catching the fish on the right. It may be less for clarity and instead for emphasis on his talents in linear and atmospheric perspective, as the tax collector and Peter appear closer than the middle section and Peter on the left. It could also be to emphasize the actual act of tax collection, as Florence in 1427 needed to "raise money for defense against military aggression" (Stokstad 625). By showing the transaction, Massaccio could be supporting the Florentine call for raised taxes.

Peter Giving the Tax

Matthew 17:24 says, "After Jesus and his disciples arrived in Capernaum, the collectors of the two-drachma temple tax came to Peter and asked, "Doesn't your teacher pay the temple tax?" Masaccio paints the tax collector in a short red robe, an obvious distinction between the apostles and Jesus. In the middle, the tax collector faces the apostles, seemingly demanding the tax. On the right, the tax collector is collecting the tax from Peter. This differentiates from the text source, as the text implies that the collector approached only Peter and then Peter approached Jesus. Masaccio probably altered this to clarify that the red figure is asking for the tax to cover Jesus and his disciples, instead of just including the collector on the right with Peter. Also, this places Jesus as instructor to Peter at the forefront without confusion.

The Tax Collector

Matthew 17:24 opens with "Afer Jesus and his disciples arrived in Capernaum..." Massacio paints all 12 disciples behind Jesus, with Peter at the forefront, which makes sense due to Peter's central role in this particular passage. The apostles are further emphasized by the gold halos around each of their heads. It is also important to note the distinct facial expressions on each apostle's face. Masaccio's individualized faces, rich pastel colors for the robes, and gold halos, all add to the three-dimensionality and modeling of the characters.

The Apostles