•POHAXO 279 LZPPOHAHO
cttiy monk, "who perpetrated maay ncfuioua atlitude uf itutinct and spontaneity, and ie not at oil
tbe result of a system or a theory. It is e, great ple-
bcEan force, tumuituoufi antl unconaciouK, let loose
tliroiif>b art and life. Nothiiif; equals the ingenuity
and the sort of innocence of bis lovo of nature. This
monk withont rale or cloister possesses literally the
senses of a primiiif. He adores everything, the com-
Bagrant than elsewhere. It is significant and moneitt herb and tho least Rover. Certain of his
a ^ainly what were the ideas of the Renaissance pictures, such as the "Nativity", in the Louvre, con-
Lippi was not punished for his bad conduct, tain an amount of documents and a collection of
rorgcniua then constituted a soil of privilege and studies, birds, lizards, sheep, plants, stones, still'life,
Tsnt of impunity. Talent placed its possessor be- which equal the cont«nts of ten albums of a Japanese
<a", of a benefice. In 1462 the Carmelite ii
«t«d by the commons of Prato to paint the choir
! cathedral.
length, despite his evil reputation, Lippi suc- >d in having himself appointed chaplain of a con- of Augustinians. Here his misbehaviq
f of the trater" (Letter of J. dc Medici, 27 May,
I, but Pope Pius II thought he could do no better
to release him from his vows and permit him t^
f. A son, Filippino I.ippi. had already been
to lUm. He afterwards had a daughter (1465).
« midst of these intrigues and .disorders Filippo
aued to paint his
eat works. From
period, indeed,
^-64) date, beside
■1 pictures of the
I Museum, his
I at the cathedral,
I txB perhaps the
woric of the sec-
nneistion of the
maoce, before the
fttions of the Sis-
chapel and the
wa of Ghirlandajo
A Maria Novella.
theme of these
Xja borrowed lives of St. Baptist and St. len. The two most nted scenes rep- t the "Feast of d with the dance dome", and the thof8t.8te[rfien'
dour of a child, as well as the eyes of a naturalist and
a miniaturist. Hence the extreme poetry of his early
pictures. The "Nativity", in Berlin, Is a eylvartrum
unequalled in art. Xo one lias ever done more to
bring art closer to life and to make it the complete
mirror of reality, which accoiuit.i for the good humour
and novel familiarity
of his touch. One can-
nut Ih* astonished at the
enthusiasm aroused by
his fervent works. His
art is like a window
looking out upon a
fliiner garden and ex-
hibiting all its beauties.
1-ilippo afterwards
lost .tomcthing of this
clianning freshness. A
mure scholarly gener-
ation, the school of
Castagno and Ucccllo,
began to appear. He
borrowed from it his
pas.ston for rigorous
form and for extreme
linear definition. By
dint of pursuing the
true he arrived at cru-
dity, sometimes at
griiimccand caricature.
bAve remained classics. In his " Salome" the vulgar than certain of Filippo'a angels, the mudels of
er has in fact created the leading type which which were taken from uinong the rabble of Morcncc.
nothing to the chastely observed formula) of Iliacolour t)egan todecomiNiscand tookonahardand receding age, and which in its voluptuous grace, metallic reflection. ISirtthiswasonlyacrisis. AtPrato lelicate and rare arabesques of its draperies, and 8po)eto,thoiiich under tiicinfluenccof pedantic theo- the alfectfd arrangement of the coils of the rieshcrccoveredhimNelfiliutripencdandtrausformcd. dress, became the favourite type of Botti- He regained even in the lalmur and exigencies of I "Judith" and "Daughters of Jetbro". His fresco, the decorative sense and the great laws of ,tb of St. Stephen" on the other hand shows us a composition imparled by his first masters. Masarcio liGcent architectural study, which reproduces the and Masoiino. His naturalism tempered bv artistic les of the nave of S, Lorenzo, oae ol the earliest feeling inspired him with the most beautiful master- pies of great monumental composition and pieces; and as his early and descriptive paintings were itie symmetry in a portrait scene, such as those to l>c the inspiration of Benozzo Oozzoli, so the author 1 were latertoform the ^lory of Ghirlandajo. of the fre«:ocs of Prato and Spolcto was to inspire is was the period at which Filijipo's talent grew Uhirlandajo and Botticelli. It will be readily under- jroadened and seemed t« reach its even perfec- stood that his contemporaries did not rigorously con- His last works, the " Death and the Coronation demn the errors of the poor Carmelite, since he was ! Blessed Virgin , at the cathedral of Spoleto arc alivays so great a painl«r and was in the end so per- ils noblest and most strongly conceived. Ho did feet an artist. &ve time to complete them. His pupils, espe- ' his friend Fra Diamante, finishnl the remainder 'work (an Annunciation anda Nativity) after his I. He was buried in the cathedral "f Spoleto, ohabitants of the city having refused to allow nee to remove the ashes oiso great a man. uo de' Medici erected his tomb at his own ex- 1 Angelo Poliziano composed his epitaph.
VuABi. cd. MiLAKEBi. II (FlorMio*. 18781: Cbowe
Cavalcahkllk, .Slorin .Mia Pill ' - ' "^
y.VI; Mdsti, HiJtoirrcirCHrfj
Fitippo Lippi nrt coto dflla ftitl
MitANESi u VAH (30 D«., IS; . .
DEL»OHs, Fra Filippo Lippi (Bfrlin, 1909),
in Ilalia (Flor_.._. . ____,,.
rioni: drill' pillurr £ Fra t di Praia (Pratn, 1835); '— ■■' '— 1878); Mm-
Lot'IB GlLLRT.
, n r [.— r— Lippomano, Luigi or Aloibius Lii-o-manus, cardi-
tbe evolution of the Renaissance Fra Filippo nal, hagiograpber, 1>. in 1500; d. 15 August. 1359. Of
d ft part of the utmost importance. This man a noble Venetian familv, he devoted himself from his
ry passions is one of the great workmen of art. youth to the study of the classical languages and later
the incarnation of the invincible naturalness of to the pursuit of the sacred sciences. Distinguished
period Hia power springs exactly from this forhisplety and integrity of character, he waHo-TOGic^
