completed as it is by the most delicate hand of Filippo.[1] 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.[2] 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.[3] 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 fer-
- ↑ 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.
- ↑ 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.
- ↑ 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.
