many other artists whom he always instructed in the most friendly manner. He lived creditably by his labours,[1] and expended very large sums on the pleasures to which he continued to addict himself, even to the end of his life. Fra Filippo was requested by the commune of Spoleto, through the medium of Cosimo de’ Medici, to paint the chapel in their principal church—that of Our Lady—and this work, with the assistance of Fra Diamante, he was conducting to a successful termination, when, being overtaken by death, he was prevented from completing it.[2] It was said that the libertinism of his conduct occasioned this catastrophe, and that he was poisoned by certain persons related to the object of his love.
Fra Filippo finished the course of his life in the year 1438,[3] being then fifty-seven years old. He left Filippo his son to the guardianship of Fra Diamante, with whom the child, then ten years old, returned to Florence, and was by liim instructed in the art of painting. Fra Diamante took three hundred ducats with him from Spoleto, which remained to be received from the commune for the work performed there, and with this sum he purchased a certain property for himself, appropriating but little of it to the child.[4] The latter was placed with Sandro Botticello, who was at that time considered an excellent master in painting, and the old man was buried in a tomb of red and white marble, which the people of Spoleto caused to be erected for him in the church which he was painting. The death of Fra Filippo caused much regret to many
- ↑ Gaye, ut supra, has cited letters from him which speak of pressing need” having compelled him to the labours he was then executing in Prato. Another document, quoted by Baldinucci, shows Fra Filippo depositing 230 pieces of gold with Neri di Bicci, “to be kept for him.” The habits of this master make both accounts equally probable, however contradictory.
- ↑ These works remain in good preservation.
- ↑ Most probably an error of the press, 1469 is the date of Fra Filippo’s death.
- ↑ Baldanzi gives the sum at 200; he remarks, and with reason, that before accusing Fra Diamante of injustice to the child, it would be necesStuy to ascertain the sum due to Fra Diamante himself, for his share in the work. The works of this master are but little known. Baldanzi cites one as having formerly belonged to the Dragoni chapel (a chapel annexed to the church of the Carmine) and now in the possession of the Berti family of Prato; the subject oi this work is St. Jerome praying in the wilderness, with St. John the Baptist and Santa Theda the Martyr, standing beside him.
