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Updated: June 29, 2025
Over his tomb Lorenzo de' Medici caused a monument to be erected, and Poliziano wrote Latin couplets to commemorate the fame of a painter highly prized by his patrons. The space devoted in these pages to Fra Lippo Lippi is justified not only by the excellence of his own work, but also by the influence he exercised over two of the best Florentine painters of the fifteenth century.
And if he is found registered in the Priorista as "Filippo di Ser Brunellesco Lippi," no one need marvel, seeing that he was called thus after his grandfather Lippo, and not "de' Lapi," as he should have been; which method is seen from the said Priorista to have been used in innumerable other cases, as is well known to all who have seen it or who know the custom of those times.
It furnished him especially with a great variety of ecclesiastical types, such as are painted in Fra Lippo Lippi, The Heretic's Tragedy, and The Bishop Orders his Tomb in St. Praxed's Church. Browning's dramatic instinct always attracted him to the stage. His tragedy, Strafford , was written for Macready, and put on at Covent Garden Theater, but without pronounced success.
The lives of those men were all typical of the times in which they lived, and especially the life of the holy man we call Beato Angelico, of saintly memory, that of the fiery lay brother, Filippo Lippi, whose astounding talents all but redeemed his little less surprising sins and lastly that of Andrea Mantegna.
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.
Know ye the land? Filippo Lippi is prince there, prince of angel youths, fair hair crowned with fair flowers; they stand round a tall throne with strings of coral and precious stones in their hands.
Besides this there were two national art-schools open to students in Florence: these were the frescoes of Masaccio and Lippi in the Carmine, and the Medicean garden in the Via Cavour, then called Via Larga. The two boys left the studio of Cosimo Roselli at an early age.
I touched upon the great problem that requires solution the harmonising and justifying of the contradictory opposites in Renaissance character: Fra Lippo Lippi breaking his own vows and breaking a nun's for her; Perugino leading his money-grubbing, morose life and painting ethereal saints and madonnas in his bottega, while the Baglioni filled the streets outside with slaughter; Lorenzo de' Medici bleeding literally and figuratively his fellow-citizens, going from that occupation to his Platonic Academy and disputing on the immortality of the soul, winding up with orgies of sensual depravity with his boon companion Pulci, and all the time making himself an historic name for statecraft; Pope Sixtus IV, at the very heart of the Pazzi conspiracy to murder the Medici
Fine as the beak of a young beccaccia The campanile, the Duomo's fit ally, Shall soar up in gold full fifty braccia, Completing Florence, as Florence Italy. But I suppose that the monologues "Andrea del Sarto" and "Fra Lippo Lippi" would be considered the finest fruit of Browning's Florentine sojourn, as "Casa Guidi Windows" is of Mrs. Browning's.
The rise of this school, so full of importance for Italy, for the world, is very happily illustrated in the Accademia della Belle Arti; and if the galleries of the Uffizi can show a greater number of the best works of the Florentine painters, together with much else that is foreign to them; if the Pitti Palace is richer in masterpieces, and possesses some works of Raphael's Florentine period and the pictures of Fra Bartolomeo and Andrea del Sarto, as well as a great collection of the work of the other Italian schools, it is really in the Accademia we may study best the rise of the Florentine school itself, finding there not only the work of Giotto, his predecessors and disciples, but the pictures of Fra Angelico, of Verrocchio, of Filippo Lippi, of Botticelli, the painters of that fifteenth century which, as Pater has told us, "can hardly be studied too much, not merely for its positive results in the things of the intellect and the imagination, its concrete works of art, its special and prominent personalities with their profound aesthetic charm, but for its general spirit and character, for the ethical qualities of which it is a consummate type."
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