LIPPE. 307 LIPPI. many. The forests (largely deciduous) cover over one-fourth of the total area, and the greater part belongs to the State. The manufacturing industries are undeveloped. Yarn-spinning and linen-weaving are carried on as house industries to a limited extent. The commerce is also of little importance, the principal exports being agricul- tural and forest products, yarn, and linen. Na- tive artisans, especially brickmakcrs, emigrate periodically in large numbers to other parts of (icrmany and even to foreign countries. The principality is traversed by two State railway lines. Their total length is 52 miles. Lippe is a constitutional monarchy, the crown being heredi- tary in the male line. The Constitution ])rovides for a Diet of 21 members elected directly for four years, by voters divided into three grades, according to the amount of ta.es paid, each grade electing 7 representatives. The executive and judicial parts of the administration are vested in the Cabinet. There is a Supreme Court at Detmold. the capital, from which appeals are made to the Court of Appeals at Celle, Hanover. Lippe is represented by one member in the Bun- desrat and one in the Reichstag. The bu<lget for 1900-01 balanced at about .$3.33,000. The public debt amounted, in 1901, to $306..544. Education is well provided for, and the military affairs of the principality are in the hands of Prussia. Population, in" 1890. 128,495; in 1900, 130,238, almost exclusively Protestant. History. The Principality of Lippe first appears as an independent country in 1123. Its history was uneventful. In 1807 it joined the Confederation of the Rhine. In 1836 a constitu- tion was promulgated, and the country joined the German customs union. As in most of the Ger- man States, its ruler. Prince Paul Leopold Alex- ander, had to promulgate a new Constitution in 1848, but his son Leopold, who came to the throne in 1851, reestablished in 1853 the old Con.stitution. In the war of 1860 Lippe took the side of Prussia, and joined the North German Confederation. In 1871 it became a part of the new German Empire. Since then the only dis- turbing factor has been the conflict regarding the succession which has raged between the Houses of Lippe-Biesterfeld and Sehaumburg-Lippe. Con- sult: Schickedanz, Dos F-ursientiim LippeDet- mold (Hildesheim. 1830); Laband. Der Streit iiber die Thronfolge im Fiirstentum Lippe (Ber- lin, 1896). LIPPE-SCHATIMBURG, shoum'boorK. A principality of Germany. See Schaumburg- LlI'I'E. LIPPI, lip'pe. FiLlPPO. The name of two prominent Florentine painters of the early Re- naissance. — Fra FiLiPPo (c. 1406-69). the father, was the son of a butcher of Florence. At the death of his parents, when only eight years old, he was placed in the Carmelite convent at Flor- ence, and in 1421 he joined the Order. Vasari's story of bis life is largely fabulous. It is un- likely that he was taken a prisoner by the Moors and transported to Barbara'. He left the convent in 1431, with the consent of his superior. He was em|ilciyed in various paintings by Cosimo de' Jlediii. In 1456 he was appointed cha|)lain of the nunnery at Prato. whence he eloped with a nun. the beautiful Lucrezia Buti. They were joined by Lucrezia's sister Spinetta. but the two nuns were taken back to the convent in 1458, only to escape again to Filippo. Finally, at the intercession of Cosimo de' lledici. the Poi>e re- leased Filippo and Lucrezia from their vow.s, and they were married. Filippo died at Spoleto, October 9, 14U9. Fra Filippo was a pupil of Masaccio, but his art was also influenced by the idealism of Fra Angelico. His works are warm and transparent in color, and are full of human sympathy. He was the first to paint a class of pictures char- acteristic of the Florentine school, in which the Virgin is portrayed as a Florentine mother, and maternal love and childlike innocence are the themes represented. His greatest surviving works are the frescoes in tlic Cathedral of Prado (1452-64), which are worthy of being compared with those of ilasaecio in the Brancacci Chapel. They represent scenes from llie lives of .John the Baptist and Saint Stephen. Although he is inferior to Ma.saccio in composition and simplic- ity, and though he places too much emphasis on subsidiary figures, Fra Filippo excels in indi- vidual figures and in the delineation of costume. The frescoes in the apse of the Cathedral of Spoleto, completed after his death by Fra Dia- mante, his pupil, are charming decorations. Filippo shows to best advantage in his easel pictures. Among the very best of these is the famous "Coronation of the Virgin," painted in 1441 for the nuns of San Ambrogio, now in the Florentine Academy. The Academy also has a fine "Madonna with Saints." as has the Louvre; there are charming "Holy Families" in the Ber- lin Museum, the galleries of Munich and Prato, the Pitti Palace, Florence, and especially in the LIffizi. In the National Gallery. London, are the "Vision of Saint Bernard" (1445) and an ".Vn- nunciation;" in the Berlin .Museum, the "Virgin Adoring the Infant," and "Mary, Mother of Mercies," in which the Virgin is represented with large numbers of kneeling worshipers under her wide-spreading mantle, on either side. Fra Filip- po was the head of an important school, and among his pupils were Sandro Botticelli, Benozzo Gozzoli, and his son. Filippo Lippi. the younger, called Filippino Lippi (c.1457-1504) . He was a son of Fra Filip- po and Lucrezia Buti. and was bi>rn at Prato. He acquired the rudiments of art from his father, and after the latter's death he was apprenticed to Sandro Botticelli. One of his earliest and great- est works was the completion of the frescoes of Masaccio in the Brancacci Chapel ( 1480-85). He executed the task in a nuisterly manner, adapt- ing his style to that of Masaccio, although re- taining his individuality. The greater part of "Saints Peter and Paul Raising the Dead Youth," which Masaccio had begun, is by him, and he also painted the frescoes "Peter and Paul Before Nero." and the "Crucifixion of Saint Peter." While these works are not as simple and strong as those of Masaccio, they are nevertheless fine and dignified in composition, and more grace- ful. Filippino's earliest paintings show the influ- ence of his father. This is especially the ca<e in the "Vision of Saint Bernard." in the Badia at Florence, executed in tempera, but fine in color as an oil painting, and delightful in sentiment. His other works of the earlv periml include the "Virgin Enthroned" (1486), in the I'ffizi. suggest- ing Botticelli, and a fine "Madonna" in Santo Spirito. Florenee; several madonnas and a fine "Crucifixion" in the Berlin Museimi. To his
