others, of whom we need make no further mention, as they did not distinguish themselves.* The portrait of Gherardo is in the above-described story of San Girolamo, in one of the figures standing around the saint when he died, a profile, the head wrapped in a hood, and wearing a cloak, fastened at the throat. There are certain drawings, done with the pen on parchment, by Starnina, in my book, which are not without merit. THE FLORENTINE PAINTER LIPPO.† INVENTION has ever been and ever will be considered the true mother of architecture, painting, and poetry; nay, rather of all the higher arts, and of all the wonders produced by the genius of men. To her it is that we owe the ever-varying fantasies and caprices of those fertile minds, whose best delight is in the search after variety in all things. And the novelties thus discovered ever redound to the high praise of all who, taking an honourable direction, possess the art of presenting their ideas and inventions clothed in forms of unwonted beauty, yet partially veiled and shadowed; an effect which many have the dexterity to secure, when imparting the praise which they bestow on others, or when expressing blame; which they find the means of conveying, without offering an open outrage. The Florentine painter Lippo was a man of most rare and varied invention; however unfortunate his works, and however unhappy his life, which did not long endure. He was born in Florence about the year of our salvation 1354, and although it was somewhat late before he commenced the study of painting, since he had already attained the period of manhood, he was yet so well aided by nature, which disposed him to the study of art, and by his genius, which was most *The life of Masolino will be found in the second part of the present work. Filippo, or Philip. admirable, that he made wonderful progress in a very short time. Lippo commenced his labours in Florence, at San Benedetto, a large and handsome convent, now in ruins, belonging to the order of Camaldoli, and situated beyond the gate which opens on the road to Pinti. Here he executed many figures which were considered exceedingly beautiful: one chapel, more particularly, painted entirely by his hand, was held to be very fine, and served to demonstrate the great results that may be obtained by the conscientious labours of him who adds earnest study to his desire of fame and glory. From Florence this artist was invited to Arezzo, where he decorated the chapel of the Magi, in the church of Sant' Antonio, in fresco, representing the Adoration of the Infant Christ by the Kings, in a very large picture. In the cathedral also, Lippo painted the chapel of San Jacopo and San Cristofano, for the family of the Ubertini ; and all these works, whether for the invention displayed in the composition of the stories, or for the colouring, were extremely beautiful.* In particular it may be said of this master, that he was the first who began to sport, so to speak, with the figures, and to arouse or awaken, in this sense, the spirits and minds of those who came after him, a thing which not only had never been done before his time, but had never even been indicated or apparently thought of. Having at a latter period executed many works in Bologna, with a picture in Pistoja, which was tolerably good,† Lippo returned to Florence, where, in the year 1383, he painted different events from the life of St. John the Evangelist, in the chapel of the Beccuti, in the church of Santa Maria Maggiore. On the wall beside this chapel-which is to the left of the principal chapel-there follow six stories from the life of the same saint, also by Lippo. This work is extremely well composed, and the figures are ingeniously arranged. Among other things may be specified a St. John, who causes his own vestment to be placed over certain dead bodies by St. Dionysius the Areopagite, when the dead all return to life at the name of Jesus Christ, to the unspeakable astonishment of those who are present, and who can with difficulty believe their own eyes. Some of these figures of the dead also display very extraordinary ability Long since wholly perished.-Ed. Flor. 1832 and 1846. † No memorial of this work remains.—Ibidem. in the foreshortening, which proves clearly that Lippo perceived, and sought in some degree to elucidate certain difficulties in the art of painting.* It was by Lippo, moreover, that the leaves of the tabernacle in the Baptistery of San Giovanni were painted; that whereon are the angels with the San Giovanni in relief by Andrea, namely, and where Lippo depicted various stories from the life of St. John the Baptist, which were very carefully executed. This master likewise took great pleasure in working in mosaic, and in the aforesaid Baptistery of San Giovanni, over the door leading to the Misericordia, he commenced a picture in this manner between the windows, which was considered very beautiful; nay, it was judged to be the best work in mosaic that had then been executed in that place in the same church Lippo also restored certain mosaics which had been injured. He painted numerous figures in fresco likewise for the church of San Giovanni fra l'Arcora, which stood without the gate that opens on the road leading to Faenza, but the church was totally ruined at the siege of Florence. This work was near a Crucifixion, painted by Buffalmacco, and was considered exceedingly fine by every one who beheld it. In some of the small alms-houses at the gate of Faenza were certain frescoes by the hand of this master; and in Sant' Antonio, within the same gate, and near the hospital, he depicted a crowd of paupers in various attitudes and under different circumstances, all delineated with very great ability. Within the cloister of the same church, Lippo painted a vision of Sant' Antonio, of most original invention, and beautifully executed; the saint is depicted as contemplating all the allurements and snares of the world, by which the appetites and desires of men are taken captive, and themselves led away after the various delights and enjoyments of earth; a work which he completed with infinite ability. This master executed numerous mosaics also for different parts of Italy; and in the Guelphic quarter of Florence, he produced a figure in this manner, the head of which was glazed.§ There are The paintings of Lippo in Santa Maria Maggiore had ceased to exist in the days of Cinelli. See Bellezze di Firenze. + The tabernacle of Andrea Pisano being removed, the fate of these works can no longer be ascertained. All the works here described have perished.-Masselli. § No vestige of these mosaics now remains.—Ibid. besides many works in the city of Pisa by the hand of Lippo.* But, notwithstanding these varied labours, it may be truly said that this artist was extremely unfortunate, not only because the greater part of his works were utterly destroyed in the siege of Florence, and have now perished almost everywhere, but still more for the unhappy manner in which the course of his life was terminated, and which happened on this wise Lippo was a litigious and quarrelsome person, who loved discord better than peace, and one morning he used most offensive words to one of his adversaries, with whom he had to appear before the tribunal of the Mercanzia; in the evening therefore, as he was returning to his house, this man waylaid him, and stabbed him in the breast with a knife, in such a manner that he died miserably of his wounds a few days after. His paintings date about the year 1410. At the same time with Lippo, there was another painter in Bologna, a very clever man, called Lippo Dalmasi.t Among other things, this Lippo Dalmasi painted a Madonna in the year 1407, which may be seen in the church of San Petronio, at Bologna, and is held in high veneration. The arch over the door of San Procolo is also painted in fresco by his hand, and in the church of San Francesco he depicted a colossal picture of Christ, between St. Peter and St. Paul, for the tribune of the high altar. This work is graceful, and in a good manner; beneath it the artist has inscribed his name in large letters. The drawings of Lippo Dalmasi are tolerably good, as may be seen in our book: he taught the art to Messer Galante of Bologna, who afterwards drew much better than himself, as may also be seen from a specimen in our book, where there is a drawing from the life by his hand a figure in a short vestment with wide sleeves. * Morrona, in his Pisa Illustrata, makes no mention of these works, an omission from which we may reasonably conclude that they are no longer in existence. + The epitaph on Lippo, given in Vasari's first edition, is as follows: "Lippi Florentini egregii pictoris monumentum. Huic artis elegantia artis (forse nominis) immortalitatem peperit: fortunæ iniquitas indignissime vitam ademit."-Ed. Flor. 1832 and 1846. Lippo Dalmasi painted a great number of Madonnas in Bologna, where they are still held in the highest veneration; insomuch that many have been cut from the walls, and enshrined in places of greater security. -Bottari. DON LORENZO, PAINTER, MONK OF THE ANGELI OF FLORENCE.* [FIRST NOTICED AS A PAINTER 1410-DIED.. .] Ir appears to me that permission to pursue some honourable occupation must needs prove a great solace to a good and upright man who has taken monastic vows. Music, letters, painting, or any other liberal, or even mechanical art, involving nothing blameable, but rather, useful to others, as well as satisfactory to himself; any of these must, in my opinion, be a valuable resource to him; for, after having performed all his religious duties, the monk so gifted passes his time creditably, as well as happily, in the pleasant labours of his favourite occupation. And to this may be added, that not only is such an one esteemed and valued while he lives by every man who is not envious or malignant, but is honoured by all men after his death for his works, and for the good name which he leaves to the remembrance of those who sur vive him. It is, moreover, to be observed, that he who spends his time in this manner, passes the hours in quiet contemplation, secure from the molestation of those ambitious desires by which the idle and unoccupied, who are for the most part very ignorant, are constantly beset, to their frequent shame and sorrow. And if it should happen that a virtuous man should sometimes be persecuted by the envious and wicked, yet such is the force of goodness, that while time destroys and renders nugatory the malice of the evil-doer, the name of the upright man remains clear and bright throughout all ages. The Florentine painter Lorenzo was a monk of the order of Camaldoli, and belonged to the monastery of the Angeli, Rumohr observes, that among the works which Vasari attributes to this artist, is the picture of the Bartolini chapel, in the church of Santa Trinità in Florence, which is now restored to its place. + In the first edition, this passage concludes with the words-"This happened to the Florentine Fra Lorenzo of the Angeli, who executed many works in the Camaldoline monastery of his order; and as in life he was highly esteemed, so, now that he is dead, the monks of the Angeli retain his hands as relics, and as a perpetual memorial of him." By this sentence, the introduction is more closely connected with the narrative. |