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LIPPI they have not this right notice must be given to vangelical ministers, and permission obtained. e five parishes of Detmold, with the subordinate nes of Horn, Cappel (founded in 784 by Charle- e), Falkenhagen, Lemgo, and Schwalenberg, added in 1888, the three parishes of Lage, Lippe and Salzuflen. The entire cight were united in to the deanery of Detmold, presided over by ten

VIGION OF Sr. Bernard (Detail) The ver, artido 13 of the edict of 1854 provides that les of doubt concerning the application of the lict or any conflicts over the bounds of episcopal rity, shall he determined by the definitions of the an Constitution of 31 January, 1850. The lic schools are private, but the State furnishes the salaries and pensions of the teachers. of the eight Catholic school districts are exempt payment of school assessmente (Law of 30 De- r, 1904). Two free Catholic schools (Falken- and Grevenhagen) enjoy the privileges of public ry schools. That of Cappel is a public school, led by members of different Churches, yet lic in character as long as the majority of the in- unts of the school distriet are Catholics. CMANS, Beitrage zur Geschichte den Fürstentums Lippe and Detmold, 1847-1902); SOWANOLD, Das Furden- ppe, das Land und seine Bewohner (Detmold, 1899); Geschichte der nordlentachen Franziskaner Mission 178, 1850). 614 aqu., 627 sqq.: GruMeKr. Geschichte der chan Pfarreien in Lippe (Puck rhorn, 18951; FREISEN, mdkatholische Kirche in den deutschen Bundesstaaten, t IERMANY SACHER. art 1906), 1–282. er and above its obligations to the parish of Falk gen, which are based on civil claims, the State 300 marks additional salary from the treasury of onfiscated monasteries and institutions to the lic rector ut. Lemgo only. Catholic church prop- s regulated by the civil ende of the German Em- and the Lippian common law. The only reli- community is that of St. Elizabeth's Institute in Having become famous through this picture, the old, a combined sewing school and protectory young master was commissioned to complete in the icted by the Sisters of Charity of St. Vincent de Carmelite church the famous frescoes of the Brancacci (from Paderborn). Concerning orders and con- chapel, before which the genius of his father had awak- tions there is no provision made by the State. ened, and which had been interrupted for more than THE ADORATION OF THE MAGI FILIPPING LIPP:

cassone, or marriage chest, at Casa Torrigiani, repre- senting the history of Esther. He was only twenty years old when he painted the picture of the "Vision of St. Bernard", preserved at the Badia of Florence, which is perhape the most charming of all Florentine altarpieces (1480). It is an exquisite song of youth and love. The chaste beauty of the Virgin, her hands of ilylike purity, the tenderly impassioned countenance of the saint, the very realistic and manly portrait of the donor (Francesco del Pugliese), the vast and strange landscape where the apparition takes place- all form an absolutely novel harmony in Florentine painting, and one which Leonardo da Vinci in his "Virgin of the Rocks" did little more than embellish, without allowing the beholder to lose sight of the model. pl, FILIPPINO, Italian painter, son of Filippo (see next article), b, at Prato, in 1458; d. at ice, 18 April, 1515. His father, leaving him phan at the age of ten, confided him to the Fra Diamante, his best pupil and ble friend, laced the boy in Botticelli's studio. The ear orks of Filippino now extant are the panels of a PORTRAIT BY HIMSEL fifty years. On the two pilasters of the entrance he painted the "Visit of St. Paul to St. Peter in Prison" and the "Deliverance of St. Peter"; on the left wall the "Resurrection of the Emperor's Son" (one group of which composition had already been sketched by Masaccio); finally, on the right wall, "Sts. Peter and Paul before the Proconsul" and the "Crucifixion of St. Peter". With marvellous suppleness the young artist adapted himself to the style of this grandiose cycle, and composed in the same tone a continuation not unworthy of the beginning, and in harmony with the grave and classic genius of Masaccio. But he sought this harmony only in the general outlinca, and (like his father, in the "Death of St. Stephen") he in- troduced into scenes from the Acts of the Apostles a gallery of contemporary costumes and portraits. Among these portraits Vasari mentions Soderini, P. Crujeciardini (father of the historian), Francesco del Pugliese, the poet Luigi Pulci, Sandro Botticelli, An- tonio Polluijuolo, and, lastly, the author himself. The young master was of a nervous, mobile, im- pressionable temperament, susceptible to every in- fuence, as well as marvellously gifted and an artist to his finger tips; his fuce showed lively intelligence; his genius was hospitable to all types of beauty, however diverse, welcoming all with a strange, youtliful ardour. Still, his loter work never equalled the happy grace of his earliest efforts. His picture painted in 1485 for the altar of the Signory, the "Virgin between Sta.