Page:Catholic Encyclopedia, volume 9.djvu/316

 •POHAXO 279 LZPPOHAHO

cttiy monk, "who perpetrated maay ncfuioua atlitude uf itutinct and spontaneity, and ie not at oil

tbe result of a system or a theory. It is e, great ple- bcEan force, tumuituoufi antl unconaciouK, let loose tliroiif>b art and life. Nothiiif; equals the ingenuity and the sort of innocence of bis lovo of nature. This monk withont rale or cloister possesses literally the senses of a primiiif. He adores everything, the com- Bagrant than elsewhere. It is significant and moneitt herb and tho least Rover. Certain of his a ^ainly what were the ideas of the Renaissance pictures, such as the "Nativity", in the Louvre, con- Lippi was not punished for his bad conduct, tain an amount of documents and a collection of rorgcniua then constituted a soil of privilege and studies, birds, lizards, sheep, plants, stones, still'life, Tsnt of impunity. Talent placed its possessor be- which equal the cont«nts of ten albums of a Japanese

d in having himself appointed chaplain of a con- of Augustinians. Here his misbehaviq

f of the trater" (Letter of J. dc Medici, 27 May,

I, but Pope Pius II thought he could do no better

to release him from his vows and permit him t^

f. A son, Filippino I.ippi. had already been

to lUm. He afterwards had a daughter (1465).

« midst of these intrigues and .disorders Filippo

aued to paint his

eat works. From

period, indeed,

^-64) date, beside

■1 pictures of the

I Museum, his

I at the cathedral,

I txB perhaps the

woric of the sec-

nneistion of the

maoce, before the

fttions of the Sis-

chapel and the

wa of Ghirlandajo

A Maria Novella.

theme of these

Xja borrowed lives of St. Baptist and St. len. The two most nted scenes rep- t the "Feast of d with the dance dome", and the thof8t.8te[rfien'

dour of a child, as well as the eyes of a naturalist and a miniaturist. Hence the extreme poetry of his early pictures. The "Nativity", in Berlin, Is a eylvartrum unequalled in art. Xo one lias ever done more to bring art closer to life and to make it the complete mirror of reality, which accoiuit.i for the good humour and novel familiarity of his touch. One can- nut Ih* astonished at the enthusiasm aroused by his fervent works. His art is like a window looking out upon a fliiner garden and ex- hibiting all its beauties. 1-ilippo afterwards lost .tomcthing of this clianning freshness. A mure scholarly gener- ation, the school of Castagno and Ucccllo, began to appear. He borrowed from it his pas.ston for rigorous form and for extreme linear definition. By dint of pursuing the true he arrived at cru- dity, sometimes at griiimccand caricature.

bAve remained classics. In his " Salome" the vulgar than certain of Filippo'a angels, the mudels of

er has in fact created the leading type which which were taken from uinong the rabble of Morcncc.

nothing to the chastely observed formula) of Iliacolour t)egan todecomiNiscand tookonahardand receding age, and which in its voluptuous grace, metallic reflection. ISirtthiswasonlyacrisis. AtPrato lelicate and rare arabesques of its draperies, and 8po)eto,thoiiich under tiicinfluenccof pedantic theo- the alfectfd arrangement of the coils of the rieshcrccoveredhimNelfiliutripencdandtrausformcd. dress, became the favourite type of Botti- He regained even in the lalmur and exigencies of I "Judith" and "Daughters of Jetbro". His fresco, the decorative sense and the great laws of ,tb of St. Stephen" on the other hand shows us a composition imparled by his first masters. Masarcio liGcent architectural study, which reproduces the and Masoiino. His naturalism tempered bv artistic les of the nave of S, Lorenzo, oae ol the earliest feeling inspired him with the most beautiful master- pies of great monumental composition and pieces; and as his early and descriptive paintings were itie symmetry in a portrait scene, such as those to l>c the inspiration of Benozzo Oozzoli, so the author 1 were latertoform the ^lory of Ghirlandajo. of the fre«:ocs of Prato and Spolcto was to inspire is was the period at which Filijipo's talent grew Uhirlandajo and Botticelli. It will be readily under- jroadened and seemed t« reach its even perfec- stood that his contemporaries did not rigorously con- His last works, the " Death and the Coronation demn the errors of the poor Carmelite, since he was ! Blessed Virgin, at the cathedral of Spoleto arc alivays so great a painl«r and was in the end so per- ils noblest and most strongly conceived. Ho did feet an artist. &ve time to complete them. His pupils, espe- ' his friend Fra Diamante, finishnl the remainder 'work (an Annunciation anda Nativity) after his I. He was buried in the cathedral "f Spoleto, ohabitants of the city having refused to allow nee to remove the ashes oiso great a man. uo de' Medici erected his tomb at his own ex- 1 Angelo Poliziano composed his epitaph.

VuABi. cd. MiLAKEBi. II (FlorMio*. 18781: Cbowe Cavalcahkllk, .Slorin .Mia Pill ' - ' "^ y.VI; Mdsti, HiJtoirrcirCHrfj

Fitippo Lippi nrt coto dflla ftitl

MitANESi u VAH (30 D«., IS; ..

DEL»OHs, Fra Filippo Lippi (Bfrlin, 1909),

in Ilalia (Flor_.._. . ____,,.

rioni: drill' pillurr £ Fra t di Praia (Pratn, 1835); '— ■■' '— 1878); Mm-

Lot'IB GlLLRT.

, n r [.— r— Lippomano, Luigi or Aloibius Lii-o-manus, cardi-

tbe evolution of the Renaissance Fra Filippo nal, hagiograpber, 1>. in 1500; d. 15 August. 1359. Of

d ft part of the utmost importance. This man a noble Venetian familv, he devoted himself from his

ry passions is one of the great workmen of art. youth to the study of the classical languages and later

the incarnation of the invincible naturalness of to the pursuit of the sacred sciences. Distinguished

period Hia power springs exactly from this forhisplety and integrity of character, he waHo-TOGic^