▁the ▁chap el ▁window , ▁as ▁if ▁the ▁figures ▁are ▁lit ▁by ▁it ; ▁this ▁is ▁an ▁added ▁stroke ▁of ▁ver is im il itude ▁and ▁further ▁t ribute ▁to ▁Mas ac cio ' s ▁innov ative ▁genius . ▁In ▁the ▁Res urre ction ▁of ▁the ▁Son ▁of ▁The oph ilus , ▁he ▁painted ▁a ▁pav ement ▁in ▁perspective , ▁fr amed ▁by ▁large ▁buildings ▁to ▁obtain ▁a ▁three - dimensional ▁space ▁in ▁which ▁the ▁figures ▁are ▁placed ▁proportion ate ▁to ▁their ▁surr ound ings . ▁In ▁this ▁he ▁was ▁a ▁pione er ▁in ▁applying ▁the ▁newly ▁discovered ▁rules ▁of ▁perspective . ▁ ▁In ▁September ▁ 1 4 2 5 ▁Mas ol ino ▁left ▁the ▁work ▁and ▁went ▁to ▁Hung ary . ▁It ▁is ▁not ▁known ▁if ▁this ▁was ▁because ▁of ▁money ▁quar rel s ▁with ▁Fel ice ▁or ▁an ▁art istic ▁diver gence ▁with ▁Mas ac cio . ▁It ▁has ▁also ▁been ▁supposed ▁that ▁Mas ol ino ▁planned ▁this ▁trip ▁from ▁the ▁very ▁beginning , ▁and ▁needed ▁a ▁close ▁collabor ator ▁who ▁could ▁continue ▁the ▁work ▁after ▁his ▁departure . ▁ ▁But ▁Mas ac cio ▁left ▁the ▁fres co es ▁un fin ished ▁in ▁ 1 4 2 6 ▁in ▁order ▁to ▁respond ▁to ▁other ▁comm issions , ▁probably ▁coming ▁from ▁the ▁same ▁patron . ▁However , ▁it ▁has ▁also ▁been ▁suggested ▁that ▁the ▁decl ining ▁fin ances ▁of ▁Fel ice ▁Bran c acci ▁were ▁ins u fficient ▁to ▁pay ▁for ▁any ▁further ▁work , ▁so ▁the ▁painter ▁sought ▁work ▁elsewhere .