Lives of the Most Excellent Painters, Sculptors, and Architects/Fra Filippo Lippi

by Giorgio Vasari

 

THE FLORENTINE PAINTER, FRA FILIPPO LIPPI.

[born 1412—died 1469.]

The Carmelite monk. Fra Filippo di Tommaso Lippi, was born at Florence in a bye street called Ardiglione, under

the Canto alia Cuculia, and behind the convent of the Carmelites. By the death of his father he was left a friendless orphan at the age of two years, his mother having also died shortly after his birth. The child was for some time under the care of a certain Mona Lapaccia, his aunt, the sister of his father, who brought him up with very great difficulty till he had attained his eighth year, when, being no longer able to support the burden of his maintenance, she placed him in the above-named convent of the Carmelites. Here, in proportion as he showed himself dexterous and ingenious in all works performed by hand, did he manifest the utmost dulness and incapacity in letters, to which he would never apply himself, nor would he take any pleasure in learning of any kind. The boy continued to be called by his worldly name. of Filippo,^[1] and being placed with others, who like himself were in the house of the novices, under the care of the master, to the end that the latter might see what could be done with him; in place of studying, he never did any thing but daub his own books, and those of the other boys, with caricatures, whereupon the prior determined to give him all means and every opportunity for learning to draw. The chapel of the Carmine had then been newly painted by Masaccio, and this being exceedingly beautiful, pleased Fra Filippo greatly, wherefore he frequented it daily for his recreation, and, continually practising there, in company with many other youths, who were constantly drawing in that place, he surpassed all the others by very much in dexterity and knowledge; insomuch that he was considered certain to accomplish some marvellous thing in the course of time. For not only in his youth, but when almost in his childhood, he performed so many praiseworthy labours, that it was truly wonderful. While still very young he painted a picture in terra verde, in the cloister, near Masaccio’s painting of the Consecration; the subject of which was a Pope confirming the Rule of the Carmelites,^[2] with others in fresco on several of the walls in different parts of the church: among these was a figure of St. John the Baptist, with stories from the life of that saint. Proceeding thus, and improving from day to day, he had so closely followed the manner of Masaccio, and his works displayed so much similarity to those of the latter, that many affirmed the spirit of Masaccio to have entered the body of Fra Filippo. On one of the pillars of the church, near the organ, he depicted the figure of San Marziale, a work by which he acquired great fame, seeing that it was judged to bear a comparison with those executed by Masaccio.^[3] Whereupon, hearing himself so highly commended by all, he formed his resolution at the age of seventeen, and boldly threw off the clerical habit.^[4]

Some time after this event, and being in the march of Ancona, Filippo was one day amusing himself with certain of his friends in a boat on the sea, when they were all taken l)y a Moorish galley which was cruising in that neighbourhood, and led captives into Barbary, where he remained, suffering many tribulations, for eighteen months. But, having frequent opportunities of seeing his master, it came into his head one day to draw his portrait; and finding an opportunity, he took a piece of cliarcoal from the fire, and with tliat delineated his figure at full length on a white wall, robed in his Moorish vestments. This being related to the master by the other slaves, to all of whom it appeared a miracle, the arts of drawing and painting not being practised in that country, the circumstance caused his liberation from the chains in which he had so long been held. And truly that was greatly to the glory of that noble art; for here was a man to whom belonged the right of condemning and punishing, but who, in place of inflicting pains and death, does the direct contrary, and is even led to show’ friendship, and restore the captive to liberty. Having afterwards^[5] executed certain works in painting for his master, he was then conducted safely to Naples, where he painted a picture on panel for king Alfonso, then Duke of Calabria, which was placed in the chapel of the castle, where the guard-room now is. But after no long time he conceived a wish to return to Florence, where he remained some months, during which time he painted an altar-piece for the nuns of Sant’Ambrogio, a most beautiful picture,^[6] by means of which he became known to Cosimo de’ Medici, who was thereby rendered his most assured friend. He likewise executed a painting in the chapter-house of Santa Croce,^[7] with a second, which was placed in the chapel of the Medici Palace, and on which he depicted the Nativity of Christ.^[8] Fra Filippo likewise painted a picture for the wife of the above-named Cosimo, the subject of which is also a Nativity of Christ, with a figure of St. John the Baptist; this work was intended for one of the cells in the hermitage of Camaldoli which she had caused to be constructed as a mark of devotion, and had dedicated to St. John the Baptist.^[9] Other pictures by the same master, containing stories in small figures, were sent as a gift to Pope Eugenius IV., who was a Venetian, by Cosimo de’ Medici, and these works caused Fra Filippo to be in great favour with that pontiff.

It is said that Fra Filippo was much addicted to the pleasures of sense, insomuch that he would give all he possessed to 'Secure the gratification of whatever inclination might at the moment be predominant; but if he could by no means accomplish his wishes, he would then depict the object which had attracted his attention, in his paintings, and endeavour by discoursing and reasoning with himself to diminish the violence of his inclination. It was known that, while occupied in the pursuit of his pleasures, the w^orks undertaken by him received little or none of his attention; for which reason Cosimo de’ Medici, wishing liim to execute a work in his own palace,^[10] shut him up, that he might not waste his time in running about; but having endured this confinement for two days, he then made ropes with the sheets of liis bed, which he cut to pieces for that purpose, and so having let himself down from a window, escaped, and for several days gave himself up to his amusements. When Cosimo found that the painter had disappeared, he caused him to be sought, and Fra Filippo at last returned to his work, but from that time forward Cosimo gave him liberty to go in and out at his pleasure, repenting greatly of having previously shut him up, when he considered the danger that Fra Filippo had incurred by his folly in descending from the window; and ever afterwards, labouring to keep him to his work by kindness only, he was by this means much more promptly and effectually served by the painter, and was wont to say that the excellencies of rare genius were as forms of light and not beasts of burden.

For the church of Santa Maria Primerana,^[11] on the piazza of Fiesole, Fra Filippo painted a picture, wherein he depicted Our Lady receiving the Annunciation from the angel. This work exhibits extraordinary care, and there is so much beauty in the figure of the angel, that it appears to be indeed a celestial messenger.^[12] This master executed two pictures for the nuns of the Murate; one, an Annunciation, is placed on the high altar; the other, presenting stories from the lives of San Benedetto and San Bernardo, is on another altar of the same church.^[13] In the palace of the Signori a Fra Filippo likewise painted a picture of the Annunciation, which is over a door; with another representing San Bernardo, placed over another door in the same palace. In the sacristy of Santo Spirito, in Florence, is a painting by this master, representing the Virgin surrounded by angels, and with saints on either hand, a work of rare excellence, which has ever been held in the highest esteem by men versed in our arts.^[14] In the church of San Lorenzo, Fra Filippo executed a picture, also representing the Annunciation, which is in the chapel of the Superintendents of Works,^[15] with a second for the Della Stufa Chapel, which is not finished. For Sant’ Apostolo, in the same city, he painted a picture^[16] in panel for one of the chapels; it presents the Virgin surrounded by different figures. And in Arezzo he executed one for Messer Carlo Marsuppini, to be placed in the chapel of San Bernardo, belonging to the monks of Monte Oliveto, y^herein he depicted the Coronation of the Virgin, surrounded by numerous saints. This work has maintained itself in so remarkable a degree of freshness, that one might suppose it to have but just left the hands of the master. With respect to this picture, the latter was exhorted by Carlo Marsuppini to give particular attention to the hands, his painting of vvhieh, in many of his works, had been much complained of; whereupon Fra Filippo, wishing to avoid such blame for the future, ever afterwards sought to conceal the hands of his figures, either by the draperies or by some other contrivance. In the painting we are now describing, the master has given the portrait of Messer Carlo Marsuppini from the life.^[17] In Florence, Fra Filippo painted the picture of Presepio,^[18] for the nuns of Annalena,^[19] and some of his works are also to be seen in Padua.^[20] He sent two stories in small figures to Rome for Cardinal Barbo; they were admirably executed, and finished with extraordinary care. This master certainly displayed most wonderful grace in his works, blending his colours with the most perfect harmony, qualities for which he has ever been held in the highest esteem among artists, and for which he is extolled by modern masters with unlimited commendation; nay, there can be no doubt, that so long as his admirable labours can be preserved from the voracity of time, his name will be held in veneration by all coming ages. In Prato, near Florence, where Fra Filippo had some relations, he took up his abode for some months, and there executed various works for the whole surrounding district, in company with the Carmelite, Fra Diamante, who had been his companion in noviciate. Having then received a commission from the nuns of Santa Margherita, to paint a picture for the high altar of their church, he one day chanced to see the daughter of Francesco Buti, a citizen of Florence, who had been sent to the Convent, either as a novice or boarder. Fra Filippo, having given a glance at Lucrezia, for such was the name of the girl, who was exceedingly beautiful and graceful, so persuaded the nuns, that he prevailed on them to permit him to make a likeness of her, for the figure of the Virgin in the work he was executing for them.^[21] The result of this was, that the painter fell violently in love with Lucrezia, and at length found means to influence her in such a manner, that he led her away from the nuns, and on a certain day, when she had gone forth to do honour to the Cintola^[22] of our Lady, a venerated relic preserved at Prato and exhibited on that occasion, he bore her from their keeping. By this event the nuns were deeply disgraced, and the father of Lucrezia was SO grievously afflicted thereat, that he never more recovered his cheerfulness, and made every possible effort to regain his child. But Lucrezia, whether retained by fear or by some other cause, would not return, but remained with Filippo, to whom she bore a son, who was also called Filippo, and who eventually became a most excellent and very famous painter like his father.^[23]

In the church of San Domenico, in this same Prato, are two pictures^[24] by this master, and in the transept of the church of San Francesco is another, a figure of the Virgin namely. Desiring to remove this work from its original place, the superintendents, to save it from injury, had the wall on which it was depicted cut away, and having secured and bound it with wood-work, thus transported it to another wall of the church, where it is still to be seen.^[25] Over a well, in the court-yard of the Ceppo of Francesco di Marco, there is a small picture on panel by this master, representing the portrait of the above-named Francesco di Marco, the author and founder of that pious establishment. In the Capitular Church of Prato, on a small tablet which is over the side door as one ascends the steps. Fra Filippo depicted the death of San Bernardo, by the touch of whose bier many lame persons are restored to health. In this work are monks bewailing the loss of their master; and the exquisite grace of their heads, the truth and beauty with which their grief, and the plaintive expression of their weeping, are conveyed to the spectator, is a thing marvellous to behold. Some of the hoods and draperies of these monks have most beautiful folds, and the whole work merits the utmost praise for the excellence of its design, composition, and colouring, as well as for the grace and harmony of proportion displayed in it, completed as it is by the most delicate hand of Filippo.^[26] He was also appointed by the wardens of the same church, who desired to retain a memorial of him, to paint the chapel of the High Altar, and here we have likewise good evidence of his power, for besides the excellence of the picture as a whole, there are certain heads and draperies in it which are most admirable.^[27] In this work Fra Filippo made the figures larger than life, and hereby instructed later artists in the mode of giving true grandeur to large figures.^[28] There are likewise certain figures clothed in vestments but little used at that time, whereby the minds of others were awakened, and artists began to depart from that sameness which should rather be called obsolete monotony than antique simplicity. In the same work are stories from the life of Santo Stefano, to whom the church is dedicated; they cover the wall on the right side, and consist of the Disputation, the Stoning and the Death of the Protomartyr. In the first of these, where St. Stephen is disputing with the Jews, the countenance of the saint exhibits so much zeal and fervour, that it is difficult even to imagine; how much more then to give it expression; while, in the faces and attitudes of these Jews, their hatred and rage, with the anger they feel at finding themselves vanquished by the saint, are equally manifest. Still more forcibly has he depicted the brutal rage of those who slew the martyr with' stones, which they grasp, some large, others smaller ones, with grinding teeth, horrible to behold, and with gestures of demoniac rage and cruelty. St. Stephen, calm and steadfast in the midst of their terrible violence, is seen with his face towards heaven, imploring the pardon of the Eternal Father for those who thus attack him, with the utmost piety and fervour. This variety of expression is certainly very fine, and is well calculated to teach students of art the value of imitative power, and the importance of being able to express clearly the affections and emo tions of the characters represented. Fra Filippo devoted the most earnest attention to this point, as is seen in this work; he has given the disciples who are burying St. Stephen attitudes so full of dejection, and faces so deeply afflicted, so drowned in tears, that it is scarcely possible to look at them without feeling a sense of sorrow. On the other side of the chapel is the History of St. John the Baptist, his Birth, that is to say, his Preaching in the Wilderness, his Baptism, the Feast of Herod, and the Decapitation of the Saint. In the picture of the Preaching, the Divine Spirit inspiring the speaker is most clearly manifest in his face, while the different emotions of hope, anxiety, gladness, and sorrow, of the crowd, women as well as men, who are listening around him, charmed and mastered by the force of his words, are equally well expressed. In the Baptism are beauty and goodness exemplified, and in the Feast of Herod, the splendour of the banquet, the address of Herodias, the astonishment of the guests, and their inexpressible sorrow when the head is presented on the charger, are rendered with admirable truth and effect. Among those present at the banquet are numerous figures in fine attitudes, exhibiting beautiful draperies and exquisite expressions of countenance. A portrait of Fra Filippo himself, taken with his own hand by help of a mirror, is one of them, and among the persons who bewail the death of St. Stephen, is the portrait of his disciple Fra Diamante, in a figure robed in black, and bearing the vestments of a bishop. This work is indeed the best of all that he produced, as well for the many fine qualities displayed in it, as for the circumstance, that having made the figures somewhat larger than life, he encouraged those who came after him to enlarge their manner. Fra Filippo was indeed so highly estimated for his great gifts, that many circumstances in his life which were very blameable received pardon, and were partly placed out of view, in consideration of his extraordinary abilities. In the work just described is the portrait of Messer Carlo, natural son of Cosimo de’ Medici, who was rector of the church wherein it was executed, which Lad received large benefactions both from him and his house.

In the year 1463, when Fra Filippo had completed this undertaking,^[29] he painted a picture in tempera for the church of San Jacopo, in Pistoja. The subject of this work, which is a very fine one, is the Annunciation, and contains the portrait of Messer Jacopo Bellucci, taken from the life, and depicted with great animation.^[30] There is also a picture representing the Birth of the virgin, by this master, in the house of Pulidoro Bracciolini;^[31] and in the hall of the Council of Eight, in Florence, is a picture of the Virgin with the Child in her arms, painted in tempera, on a half circle.^[32] In the house of Ludovico Capponi, likewise, there is another picture of the Virgin, which is exceedingly beautiful;^[33] and a work of the same master is in the possession of Bernardo Vecchietti, a Florentine noble of so much integrity and excellence that my words cannot do justice to his merits. The picture is small, the subject Sant’ Agostino occupied with his studies; an exceedingly beautiful painting.^[34] But still finer is a figure of St. Jerome doing penance, of similar size, and by the same hand, which is now in the guardaroha of Duke Cosimo:^[35] for if Fra Filippo displayed excellence in his paintings generally, still more admirable were his smaller pictures; in these he surpassed himself, imparting to them a grace and beauty, than which nothing finer could be imagined: examples of this may be seen in the predellas of all the pictures painted by him. He was indeed an artist of such power, that in his own time he was surpassed by none, and even in our days there are very few superior to him: therefore it is that he has not only been always eulogized by Michael Angelo, but in many things has been imitated by that master.

For the church of San Domenico-vecchio, in Perugia, Fra Filippo^[36] painted a picture, which has since been placed on the high altar; it represents the Virgin, with San Piero, San Paolo, San Ludovico, and Sant’ Antonio the abbot. The Cavaliere, Messer Alessandro degli Alessandri, also a friend of Fra Filippo, caused him to paint a picture for the church of his country palace at Vincigliata, on the heights of Fiesole, the subject a San Lorenzo and other saints. In this work he depicted the portraits of Alessandro degli Alessandri and his two sons.^[37] Fra Filippo was very partial to men of cheerful character, and lived for his own part in a very joyous fashion.

This master instructed Fra Diamante in the art of painting, and the latter executed many works in the church of the Carmine at Prato. He attained to great perfection in the imitation of his master’s manner, and thereby obtained much credit for himself.^[38] Among those who studied with Fra Filippo, were Sandro Botticello, Pisello, and Jacopo del Sellajo, a Florentine, who painted two pictures for the church of San Friano, and one in distemper for that of the Carmine,^[39] with many other artists whom he always instructed in the most friendly manner. He lived creditably by his labours,^[40] 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.^[41] 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,^[42] 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.^[43] 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 among his friends, more particularly to Cosimo de' Medici^[44] and Pope Eugenius IV.^[45] The latter had offered in his lifetime to give him a dispensation, that he might make Lucrezia di Francesco Buti his legitimate wife^[46] but Fra Filippo, desiring to retain the power of living after his own fashion, and of indulging his love of pleasure as might seem good to him, did not care to accept that offer.

During the pontificate of Sixtus IV., Lorenzo de’ Medici was sent ambassador from the Florentines, and took the journey to Spoleto, for the purpose of demanding the remains of Fra Filippo from that Commune, to the end that they might be deposited in the Florentine cathedral, Santa Maria del Fiore. But the Spoletines replied that they were but poorly provided with ornaments, above all with distinguished men; they consequently begged permission as a favour to retain them, that they might honour themselves therewith, adding, that since they possessed so many great men in Florence as almost to have a superfluity, they might content themselves without this one, and that reply was all that Lorenzo received. But being still resolved to do all the honour that he possibly could to Fra Filippo, he sent Filippino, the son of the latter, to Rome, to the cardinal of Naples, that he might paint a chapel for that prelate, and on this occasion Filippino, passing through Spoleto, was commissioned by Lorenzo to construct a sepulchre of marble over the sacristy and beneath the organ. On this work he expended two hundred ducats, which were paid by Nofri Tornabuoni, master of the bank to the Medici. Lorenzo likewise caused the following epigram to be made by Messer Agnolo Poliziano, which was engraved on the tomb in letters after tlie antique;—

“Conditus hic ego sum pictures fama Philippus
Nulli ignota meae est gratia mira manus;
Artefices potui digitis animare colores
Sperataque animos fallere voce diu:
Ipsa meis stupuit natura expressa Jiguris,
Meque suis fassa est artibus esse parem.
Marmoreo tumulo Medices Laurentius hic me
Condidit, ante humili pulvere tectus eram.”

Fra Filippo drew exceedingly well, as may be seen in our book of the drawings of the most famous painters,^[47] more particularly in certain specimens wherein the picture of Santo Spirito is delineated, with others, which present drawings of the works in the chapel of Prato.^[48]

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1. The reader will doubtless remember that it was customary, on entering the convent, to change the baptismal name.for some other, a custom departed from, as it should seem, in the case of Filippo.
2. This work was destroyed, with the Consecration of Masaccio.
3. All the pictures here described as executed by Fra Filippo Lippi in the church of the Carmine, have been destroyed, partly by time, and partly by the conflagration of 1771. — Masselli.
4. If Filippo, as Della Valle affirms, left his convent after a few months of noviciate, without being professed, how does it happen that he is always called Fra Filippo through his whole life? He painted his own portrait with the tonsure, and his death is registered in the necrology of the Carmelites as that of a member, under the name Frater Philippus. From all these things it is to be supposed that he was certainly professed, if not in full orders.—Ibid.
5. The Florentine commentators accuse Vasari of more than usual inaccuracy as regards the dates in this life. The Germans defend him on many of these occasions, on the present for example. The reader is referred to these authorities for more minute details than can here find place.
6. This picture, a veiy large one, depicting the Virgin Crowned, with Angels and Saints, is now in the Gallery of the Academy of Fine Arts at Florence.
7. This is likewise in the Gallery of the Fine Arts.
8. Now in the Gallery of the Uffizj at Florence.
9. In the Gallery of the Academy at Florence.
10. Two paintings by Fra Filippo, formerly in the Palazzo Medici are now in possession of the Brothers Metzger of Florence. The one is an Annunciation. In the other are seven Saints seated, St. John in the centre; both are finished with exquisite care.—Ed. Flor. 1849.
11. This work is now in the neighbouring residence of the Canons.
12. This picture was sold many years since, and is conjectured to be now in the Pinacoteck of Munich.— Ed. Flor. 1849.
13. The convent was suppressed in 1812, and the fate of these two pictures is unknown.
14. is perhaps to this picture that Domeuico Veneziano alludes in a letter written from Perugia, in 1438, to Pietro de’ Medici, wherein he says, “Fra Filippo has a picture which is to go to Santo Spirito, but which he cannot finish in five years, though he should work night and day.” This work represents the Virgin and Child, wnth Angels adoring; in the predella are other Angels sounding musical instruments, with Saints, a Bishop and a Nun, the latter in black vestments; it is now in the collection of Lombardi and Baldi, of Florence. So far the last edition, Flor, 1849. Other annotators affirm that the work here named by Vasari, was sent to Paris, in 1812, and still remains in that city.
15. This picture is still in its place, but in a very poor condition. Of that for the Stufa Chapel nothing is known.
16. The fate of this work is unknown.
17. The convent being suppressed in 1785, this work was purchased by the noble house of Lippi, of Arezzo; it was afterw'ards sold to Pope Gregory XVI., who placed it in the gallery of St. John of the Lateran.
18. Representations of the Nativity, with all its attendant circumstances are so called, and are very familiar to those who have frequented Italian churches.
19. The convent having been suppressed, this picture was supposed to be lost, but we have discovered it in the gallery of the Florentine Academy of the Fine Arts. It will be found under the No. 57 of the catalogue published in 1846.—Ed. Flor. 1849.
20. The works executed in the Santo of Padua have been destroyed in the successive restorations of the Church.
21. This picture is a Nativity of Christ, it was sent to Paris in 1812, and still remains there.
22. The girdle, presented to St. Thomas by Our Lady herself, as saith the legend.
23. This son was Filippino Lippi, whose life follows. It is supposed that the carrying off of Lucrezia is the event to which Giovanni de’ Medici refers, where, in a letter to Bartolommeo Serragli, written from Florence, on the 27th of May, 1458, he uses the following words: “And so we laughed a good while at the error of Fra Filippo.”—Gaye, Carteggio inedito d’ Artisti, i. 186.
24. One of these, representing the Birth of the Saviour, is still in the refectory of the Convent of San Domenico.
25. In the various changes suffered by this church, the picture has most probably been destroyed, as it is no longer to be seen.— Ed. Flor. 1832— 1838.
26. This picture is still in its place, and is in tolerable preservation, but it is not a small picture, as Vasari implies, being upwards of four braccia high, and more than two broad.— Ed. Flor. 1846—9.
27. This work, which is in fresco, is also still in its place, and is better calculated to give a clear idea of the painter’s merits than any other whatever still remaining to us.— Masselli.
28. Earlier masters, as for example Buffalmacco, Taddeo Bartoli, Lorenzo di Bicci, and others, had painted colossal figures, but their style was nevertheless not a grand one. Fra Filippo Lippi displayed grandeur of stylo, not in his large figures only, but even in those of the smallest dimensions. —Förster.
29. The paintings of the Choir above described, which are without doubt the most important and most admirable of Fra Filippo’s works, were carefully restored by Professor Antonio Marini, in 1833, and on that occasion a work containing five engravings, the portraits of Fra Filippo, Fra Diamante, and Messer Carlo de’ Medici included, was published by the Canon Baldanzi, under the following title: Delle Pitture di Fra Filippo Lippi nel coro della Cattedrale di Prato. This publication gives interesting notices of Fra Filippo, and of his disciple Fra Diamante.—Ed. Flor. 1849.
30. This painting has been removed from the church, and is believed to be in one of the German galleries. —Ibid.
31. Waagen informs us that this work is now in the Royal Gallery of Berlin; it will be found under the No. 170, of the catalogue published in 1841.
32. Believed to be lost.
33. his work was in possession of Carlo del Chiaro, whose collection was purchased by Prince DemidofF, but it is believed that the picture in question had been previously sold.
34. Still in excellent preservation, and now in the Florentine Gallery. —See Mrs. Jameson. Poetry of Sacred and Legendary Art, vol. i. p. 295.
35. The fate of this picture is unknown.
36. Some dispute has arisen as to whether the picture here described be the work of Fra Filippo, or that of the Beato Angelico; but the manner of Fra Angelico is altogether different from that of Fra Filippo, as was indeed inevitable from the striking dissimilarity of their characters: the picture in question, divided into three parts, is now in the Chapter-house of the Convent.
37. This work, painted for the Church of Vincigliata, is now in the Casa Alessandri in the Borgo degli Albizzi, but this also has been divided into three.
38. For a notice of this painter, see the work of Baldanzi, before cited. Delle pitture di Fra Filippo, &c.
39. These few words are all the notice we have respecting this painter and his works, nor do we know the fate of the paintings executed for San Friano and the Church of the Carmine. —Ed. Flor. 1849.
40. 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.
41. These works remain in good preservation.
42. Most probably an error of the press, 1469 is the date of Fra Filippo’s death.
43. 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.
44. “Neither Cosmo de’ Medici nor Pope Eugenius could possibly lament the death of Fra Filippo,” remark the latest Florentine commentators, “since both had died before him.”
45. Vasari has written Eugenius IV. instead of Paul II.
46. It was probably Pius II. who offered this dispensation. That it was offered sufficiently proves Filippo to have been at least professed.
47. One drawing only by Fra Filippo is to be found in the Florentine Collection. In the British Museum are certain studies of hands and draperies by this master. — See Passavant, Kunstreise, p. 224.
48. Waagen gives five pictures as the number of this painter’s works contained in the Royal Gallery of Berlin. There is a Virgin and Child in the Pitti Palace, ami Gaye is of opinion that an Assumption, now in the house of the chancellor at Prato, is also by this master.