The Universalist. [volume] (Chicago [Ill.]) 1884-1897, 1897-06-12
STORY OF AN ARTIST LOVER
A Sketch of the Life of FiIippo Lippi.

farers, who asked what
his troubles were, that his name was
Filippo Lippi, and that his father and
mother were both dead. So from
street to street he wandered on, Sob
bling as he went, till, having stopped
on the steps of Carmelite monastery,
some of the worthy brothers took
compassion on his misfortunes and
gave him shelter, and, as the story
tellers say, took care of him till he
grew to be big boy.
He became, in the course of time,
novice in the monastery, ard, as
Fra Filippo Lippi, was likely to take
as high rank as any man in that ven
cradle institution. When, however,
he was eighteen years old, the artist
Masaccio, the most distinguished
painter of the day, came to the con-
vent to paint some pieces for the
adornment of the chapel. Lippi
watched him day by day, as his
brush moved on, and took the great
est interest in his proceedings. His
older friends among the Carmelites
were kind enough to encourage the
poor boy in his newly aroused zeal
for art, and babe him try, with the
other students, to copy some OF these
masterpieces which added so much
to the beauty of their cloister home.
Lippi tried, and tried again; he at
once surpassed all his fellow students
and was thought by good judges to
have at least equalled the works of
Masaccio. although he had never re-
ceived any instruction from him.
The poor beggar boy of Florence at
once became the most promising ar
fist of his time.
Thus distinguished and happy he
gave up his plan of connecting him
self with the church, and devoted
himself entirely to art. 1t was but
few months after, that, while with
some young friends, he was enjoying
delightful summers day in pleas
ure sail ON the beautiful Tuscan sea,
one of the Barbary corsairs, which at
that time infested the Mediterranean,
bounced upon them-took them pris-
oners, and carried them to Tripoli.
Our young friend went through the
routine of misery of slave markets,
transfers, forced marches and starva-
ton till he was purchased by Moor
ish nobleman who did not buy to sell
again. The most distinguished artist
of his day was thus made poor
hard working slave.
A short time after, however, his
master was absent for day, at court,
and as the lazy slaves whiled away
their time as best they could, Lippi,
with piece of charcoal, made sketch
of his patron on the wall by which
he was standing. The other slaves
clustered around to see the prodigy.
The arts of design we're entirely un-
known in those barbarous countries,
and like Catlin's Indians, they thought
the work was magic. With every
touch of the coal the portrait grew
more and more like, so that when the
nobleman returned from his days
labor, his astonished slaves led him
at once to see the place where his
counterfeit was fixed on the wall.
Like them he wondered. but he was
too sensible to be alarmed. He said
at once that the talent of Lippi ought
not to be lost to the world, and gave
him his freedom. The grateful ar
fist painted for him two fine pictures,
and then took ship for Naples. Here
he was received with enthusiasm,
and was engaged by the king at once
to ornament some of the public build
ings with his beautiful works. For
two years the poor Moorish slave
lived highest in favor with King Al
phonso.
But he began to pine for Florence,
and having left Naples he repaired
thither and was received with as great
favor at home as elsewhere. Cosmo
de- Medici delighted in him, and
constantly put his talents in requisi
ton. The pieces Of his which are
still extant, show that he deserved
such consideration. Connoisseurs
still esteem them highly, though
their merits are thrown out of view by
the superior labors of more advanced
art. His altar pieces, cabinet pic