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Updated: May 28, 2025
She was afraid that Kurt and Mea would leave the little one far behind on account of having been kept too long already, and it happened as she feared. She saw Lippo trudging on behind with an extraordinarily full school-bag on his back. "Can you see what Lippo is carrying?" she asked her brother.
Not that he ever became consummately literary in the way his two teachers were. Beyond "Fra Lippo Lippi" and "Caliban and Setebos," he found nothing in Browning, while George Meredith was ever his despair. It was of his own initiative, however, that he invested in a violin, and practised so assiduously that in time he and Dede beguiled many a happy hour playing together after night had fallen.
At the age of twelve the boy was placed with Fra Lippo Lippi, then a man of a little more than fifty, to learn painting. That Lippo was his master one may see continually, but particularly by comparison of his headdresses with almost any of Botticelli's. Both were minutely careful in this detail.
"Mama, the teacher has read us a paper, on which was written that in Sils on the mountain " "Shall I, too? Shall I, too?" Mäzli, his sister, interrupted again. "Be quiet, Mäzli, till Lippo has finished," the mother commanded. "He has said the same thing twice already and he is so slow. There has been a fire in Sils on the mountain and we are to send things to the people.
Mäzli must have found the conversation entertaining, for glancing over to the others, she let Lippo place the blocks whichever way he pleased, something that very seldom happened. Only when the children said no more she came back to her task. "Goodness gracious!"
He was apt to come home after the older boy, for Kurt was not obliged to wait for him after school. "Here comes the one who will be able to explain the precious gift you sent, mother," said Kurt. Lippo, trotting cheerfully into the room, had bright red cheeks from his walk.
<b>VIGRI, CATERINA DE.</b> Lippo Dalmasii was much admired by Malvasia, who not only extols his pictures, but his spirit as well, and represents him as following his art as a religion, beginning and ending his daily work with prayer. Lippo is believed to have been the master of Caterina de Vigri, and the story of her life is in harmony with the influence of such a teacher.
The book I read was about Italy in the early Renaissance, the pageantries and the light loves of princes, the passion of men for learning, and poetry, and art; but it was written, by good luck, after a solid, prosaic fashion, that suited the room infinitely more nearly than the matter; and the result was that I thought less, perhaps, of Lippo Lippi, or Lorenzo, or Politian, than of the good Englishman who had written in that volume what he knew of them, and taken so much pleasure in his solemn polysyllables.
And Botticelli? Was Botticelli a "comprehensive" as those with the sixth or synthetic sense have been named by Lombroso? Botticelli, beginning as a goldsmith's apprentice (Botticello, the little bottle), ended as a painter, the most original in all Italy. His canvases have a rare, mysterious power of evocation. He was a visionary, this Sandro Filipepi, pupil of the mercurial Fra Lippo Lippi and the brothers Pollajuolo, and his inward vision must have been something more than paint and pattern and subject. A palimpsest may be discerned by the imaginative or, let us say, fanciful, since Coleridge long ago set forth the categories whose secrets are not to be deciphered easily, yet are something more than those portrayed by the artist on the flat surface of his picture. He painted the usual number of Madonnas, like any artist of his period; yet he did not convince his world, or the generations succeeding, that this piety was orthodox. Suspected during his lifetime of strange heresies, this annotator and illustrator of Dante, this disciple of Savonarola, has in our times been definitely ranged as a spirit saturated with paganism, and still a mystic. Doesn't the perverse clash in such a complex temperament give us exotic dissonances? All Florence was a sounding-board of the arts when Botticelli walked its narrow ways and lived its splendid coloured life. His sensitive nature absorbed as a sponge does water the impulses and motives of his contemporaries. The lurking secrets of the "new learning" doctrines that made for damnation, such as the recrudescence of the mediæval conception of an angelic neuter host, neither for Heaven nor Hell, not on the side of Lucifer nor with the starry hosts were said to have been mirrored in his pictures. Its note is in Citt
It was another friar who was, as it were, to people that world, a little more human perhaps, a little less than Paradise, which Angelico had seen; to people it at least with children, little laughing rascals from the street corner, caught with a soldo and turned into angels. Another friar, but how different. The story, so romantic, so full of laughter and tears, that Vasari has told us of Fra Lippo Lippi, is one of his best known pages; I shall not tell it again. Four little panels painted by him are here in this room, beside the work of Fra Angelico. While not far away you come upon two splendid studies by Perugino of two monks of the Vallombrosa, Dom Biagio Milanesi and Dom Baldassare, the finest portraits he ever painted, and in some sort his most living work. Four other works by Perugino may also be found here, the Assumption of the Blessed Virgin, a Piet
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