Gregorian calendars Domenico's death, as recorded, would have been on 19 January 1427. It has been hypothesized that Fra' Alessio Strozzi and/or Filippo Brunelleschi may have been involved, or at least consulted, in the creation of Trinity. Brunelleschi's experiments in linear perspective likely were an inspiration the painting. Fra' Alessio's involvement has been posited more on the matter of the appropriate depiction of the Holy Trinity, according to the preferences and sensibilities of the Dominican order. However, there is, to date, no concrete evidence for the direct involvement of either of these two persons. Giorgio Vasari and Cosimo I Around 1568, Cosimo I, then Duke of Florence, commissioned Giorgio Vasari to undertake extensive renovation work at Santa Maria Novella, including reconfiguring and redecorating the area where Masaccio's fresco was located. Vasari had already written favorably about Masaccio in his Vite. When it came time to implement the planned renovations of the chapel containing Trinity, circa 1570, Vasari chose to leave the fresco intact and construct a new altar and screen in front of Masaccio's painting, leaving a small gap, and effectively concealing and protecting the earlier work. While it seems plausible that it was Vasari's deliberate intention to preserve Masaccio's painting, it is unclear to what extent Duke Cosimo and/or other "concerned parties" were involved in this decision. To decorate the new altar, Vasari painted a Madonna of the Rosary; the image is extant, but has been moved to a different location within the church. Rediscovery and subsequent history Masaccio's Holy Trinity was rediscovered when Vasari's altar was dismantled during renovations in 1860. The Crucifixion, the upper part of the fresco, was subsequently transferred to canvas, and relocated to a different part of the church. It is unclear from available sources whether the lower section of the fresco, the cadaver tomb, remained unknown or was deliberately omitted (and possibly plastered over) during the 1860s construction work. Restoration was done to the Crucifixion section of the painting at that time, to replace missing areas of the design; mostly architectural details around the perimeter of the work. While the painting was in damaged condition when rediscovered, it is also likely that further damage was caused by the transfer from plaster to canvas. In the 20th century, the cadaver tomb portion of the work was rediscovered in situ, and the two halves were re-united in their original location in 1952. Leonetto Tintori undertook