Evening star., 1928-04-22
Continued from Third Pageo

here Is another monk, Fra Lippo Lippi
50 haraSSed by the fireS OF TartaruS that
in his paintings realism replaces ideal
Ism, and the body emerGeS from the
soul. Fra Lippo escaped periodically
from his monastery to indulge in esca-
psdes with the locSer ladies of Flor
ence. his Superiors were shocked, but
Lorenzo, understanding love as well as
faith and art, took him from his mon
aSterv and let him live in the palace
ot the Medici Later he made himself
home. of q room or two. with Lucrezla
Butt. and, in the intervals Of her infl-
deity. used her as a model for his pic
lures of the Virgin Lucre1ia had been
= nun. vowed like Lippo 10 chastity.
the Pope. recognizing the mans genius.
offered to liberate them both from their
VOWS and marry them. but Lippo re-
fused: the reality Sufficed him without
the form: and love might have bored
him had IL not been a sin. And so ne
painted--above all the Funeral OF st:
Stephan" with its glorious heads OF
Fra Tappo himself and OF his pupil,
Fra Diamente: and while he lived the
ltfe nf the world-having all the tribu-
lstions Of marriage without its respect
sh;lifies-he soiaced himself with por-
traits of the saints,
Andrea del Sarto, the perfect
painter" (il pittore Senza erroril, also
had a Lucresia 1Recanatil, but mar
ried her piouSly. though she had sbout
as much culture and refinement as
Goethe's Christiane. She brought her
father and her sisters to be supported
by him. and Andrea had TO work with
such haste that he soon lost the per
fection that had made his name. Ths
Iucrezia, too. became a Virgin under Del
artist painted her as unhluShing as she
wss. francis I gave him relief for =
time By sllmmoning him to France
esnza Lttcrexis. but Andrea, unaccns-
toned to freedom. soon longed for the
flesh pots Of his home. and begged per-
mission TO return. The King agreed, on
the painters promise 20 come back. ana
gave him q considerable sum to buy
pictures for him in Florence. Andrea
never came back. nor the money either;
Iucrexis had made herself his pro-
tectreSs Of them both. When he died.
ct the age Of As. she supported herself
for the remainder Of her life by selling
his pictures; but she won some forgive
ness from poSteritv hy refusing 20 sell
his portrait OF himSelf-one OF the
masterpieces Of the Renaissance.
In Donenico Ghirlandaio the process
Of secularization seems retarded: the
subjects OF his pictures are still almost
exclusively religious. But the artist
now thinks Of art first and OF religion
second: he finds q new JOY IN the
brush quite aside from its use as
stimulus to piety. After spreading
great frescoes over the walls OF the
churches Of Santo Trinita and Santa
Maria Novella, at Florence, Ghirlandale
ESQ named because his father had been
o maker Of garlandsl expressed the
longing that he might have time TO
paint all the walls Of the city. He
paid the usual penalty OF fertility. anc
fell into naeoiocrtty: superior Critics
ike Berenson look down upon him. and
Symondg thanks heaven that Ghirlan-
giaio did not have all the time he wanted
Vasarf tells q story that shows the
waning respect in which the artiste
held the Church Domenico and hif
brother David were engaged 10 paint
frescoes at the monastery OF PaSSignano
David went first, and found the food
bad: he warned the abbot that this
might do for him. David. but not for
his great brother. No improvement
coming when D0menico arrived, David
threw the soup over the monk who
eerved them and. "SeiZing the great LOAF
from the board. belabored him in such
q fashion that he was carried TO his
cell more dead than alive" When fhe
abbot rushed down from bed and asked
the cause of this outrageous disturb
ance. David replied In q fury. bidding
him begone from hts sight, and declar-
tng the talents Of Domenico TO be worth
more than all the hogs OF sbbots Of his
4~fz snA "a
asserv. The abbot being thus brought
70 his senses. did his best from that !
moment to treat them like honorable
men. as they were"
That gentle remonstrance Of the art |
sst with the monk was an admirable
symbol o. the growing pride Of art In
the face OF the religion Of which 1t had
once been the humble servant Though
the outer subject still remained re-
iigiouk, the substance and spirit were
secular, and ultimately pagan. heaven
and hell were pictured less. earth and
humanity more: instead Of shadowy
angels and saints. human beings, o.
very visible actually and flesh, carnf
% dominate the canvas that now in
creasingly replaced the church wall as
receptacle Of the pictorial art: 1gureF
were clothed no longer in the csssock-
Ike garb Of Dante and Gsotto. but ir
gay robes that speak Of the spirit c.
the time: bankers. warriors, wine mer-
chants and aldermen competed, as sub.
tectS. with the Mother Of God A neR
delight in color and form for their own
sake, q new narveiing at the persisten'
miracle Of the body, filled the artist
soul and played . part in the vivie
drama that put an end 10 the Middlc
Ages.
The finest figure Of this transition i
Sandro Botticeih His real name wa
Alessandro di Mariana Filipepi, but ne
50 loved his teacher. Bottieello. that h,
took and inmortalized his name. NJ
one could portray religious subjects
with prefollnder piety: the "chigi Ma
donna" the "Incoronsts" and the Ma
donna Of the Magnifeat'' melt with
tenderness and devotion. Pope gixtus
~ Ioved these pictures 50 well that he
called Botticelli from Florence 10 ROM
70 sdorn the sisiine Chapel which thif
Pope had built and which took It's
name from him: there for two wears
Bsndro worked side by side with
CnsTlapdsio and PeFugino. earning
large sums which he at once Soian-
1eree, living without care. as was hi
habit" He was not without hunior and
VII when the occupant Of the house
eitschec 70 his installed 9 weaving ma
cnine that shook BotticeiIis rooms the
sFslst placed great stones on his own
Yoof, which sloped high over that of
tns gesYer's home, an then bade the
weaver shake and ba DESTROYED.
passage IN vasari indicates one
So1rce of Eotsicellgs change from the
Christian 10 the pagan style 'For
many houses IN the city E0ttseelit
painted nude women enough" Al all
events, the rssh began 70 rival the
spirit IN his pictures. The "cammny
0f Apelies Shows black-roDed Calunnv
Eff2nEing from the naked Truth. and
the famous Venus Rising from the Sea"
fwhAeh Pster never ceased 10 praiS4J