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Updated: May 28, 2025
Lippo felt so comfortable in Leonore's presence that he always kept as close to her as possible. Even when he told his experiences at great length, she never became impatient, but encouraged him to go on when his brothers and sisters made sarcastic remarks about him. From time to time he would confidentially say to her: "Just stay with us always, Leonore.
"One knows well enough where mama must be when it is nearly lunch-time. You came home late from school," Lippo answered, carefully trotting away with his fragile burden. "Yes, I did, you little sentinel of good order," Kurt laughed out, passing Lippo in order to hasten to the dining-room. Now Kurt could laugh again.
Kurt exclaimed suddenly, starting up from his drawing; "you ought to have reminded me, Mea, that we have to bring some clothes to school for the poor people whose houses were burnt up. You heard it, but mother does not even know about it yet." "I forgot it, too," said Mea quietly, continuing to read. "Mother knows about it long ago. I told her right away," Lippo declared.
Ghirlandaio's chief influences, however, were Masaccio, at the Carmine, Fra Lippo Lippi, and Verrocchio, who is thought also to have been Baldovinetti's pupil and whose Baptism of Christ, in the Accademia, painted when Ghirlandaio was seventeen, must have given Ghirlandaio the lines for his own treatment of the incident in this church.
Among the pleasantest pictures are a Lippo Lippi Madonna and Child, a Filippino Lippi Madonna and Child with Angels, and a similar group by Botticelli; but one has a feeling that Carlo Dolci and Guido Reni are the true heroes of the house.
"In the paper was written that a big fire in Sils on the mountain has destroyed two houses and everything in them. Then the teacher said that all the pupils of the class " "Shall I too, shall I, too?" Mäzli urged. "Finish a little quicker now, Lippo," said the mother. "Then the teacher said that all the pupils from all the classes must bring some of their things to give to the poor children "
It has more of sophistication than most: the Virgin not only recognizes the honour, but the doom, which the painter himself foreshadows in the predella, where Christ is seen rising from the grave. None of Fra Angelico's simple radiance here, and none of Fra Lippo Lippi's glorified matter-of-fact. Here is tragedy. The painting of the Virgin's head-dress is again marvellous.
He is supremely important in the history of Browning's mind, for he is the first of that great series of the apologiæ of apparently evil men, on which the poet was to pour out so much of his imaginative wealth Djabal, Fra Lippo, Bishop Blougram, Sludge, Prince Hohenstiel-Schwangau, and the hero of Fifine at the Fair.
The second window is remarkable for the delicate modelling and drawing of the heads. The head of the Virgin reminds one of one of Lippo Lippi's Madonnas. That of an old man with a beard in the central light is German in character. If these are compared with the crude and simple design of the heads in the other windows, it will be obvious that they are of a different origin.
Kurt is sure to make dozens of songs about her and Mea will be carried away with enthusiasm for her. Lippo will find an affectionate protectress in her who will be able to appreciate his little-recognized virtues. Are you satisfied now?" This speech really had splendid results.
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