Innovators can be found in all fields of work, whether Albert Einstein in physics, Isaac Newton in mathematics, or Masaccio in early Renaissance painting. Although these individuals worked in different fields, the influence of their work on subsequent generations was equally great. Masaccio was able to build on the works of proto-Renaissance painters such as Giotto, to further develop the mathematical technique of linear perspective to open a window onto the world for his viewers. His innovative style is found in most of his works, such as “Il Tributo” which is located inside the Brancacci Chapel, but the best example of his style is found not far from the Brancacci Chapel in Florence. Inside the Dominican church of Santa Maria Novella there is "The Holy Trinity". As innovative as this painting is for the development of art, there are more intriguing aspects to study beyond the techniques used to create this masterpiece. Today we consider and brand Masaccio as a master, but it was not always like this. Very little information is known about Masaccio before his famous work appears within the churches of Florence. Historians know, however, that he was born in a time and place ideal for the development of his talents. Born just outside Florence, the center of Renaissance art, in 1401 he was ready to be influenced by generations of painters after him. Only by living twenty-seven years was Masaccio able to leave a legacy. It is logical to believe that Masaccio studied as an apprentice, but his master is not known. This can be assumed because "Masaccio's membership of the Florentine painters' guild indicates that several years of apprenticeship (at least three years, according to Florentine law) had to take place... in the middle of the paper... ...compared , Masaccio incorporated Roman and Greek concepts such as barrel vaults, coffered, Ionic and Corinthian orders into his fictional architecture. The Trinity is a great example of the innovative talent that would help influence and change the artists who followed Masaccio. His work performed on the wall of Santa Maria Novella was one of his greatest contributions to art. Bibliography Ahl, Diane Cole. Masaccio's Cambridge companion. Cambridge: Cambridge UP, 2002. Print.Casazza, Ornella. Masaccio and the Brancacci Chapel. Florence: Scala/Riverside, 1990. Print.Cole, Bruce. Masaccio and the art of early Renaissance Florence. Bloomington: Indiana UP, 1980. Print.Goffen, Rona. Trinity by Masaccio. Cambridge: Cambridge UP, 1998. Print. Rowlands, Eliot W. Masaccio: Saint Andrew and the Pisa Altarpiece. Los Angeles: Getty Publications, 2003. Print.