File:Fra Filippo Lippi (1901) (14753477666).jpg

Identifier: frafilippolippi00strurich (find matches)
Title: Fra Filippo Lippi
Year: 1901 (1900s)
Authors: Strutt, Edward C
Subjects: Lippi, Filippo, ca. 1406-1469
Publisher: London, G. Bell and sons
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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hatred upon the pale, lifelessfeatures of the Baptist, whose voice will never againbe heard crying in the wilderness or in the far moredangerous palaces of the unforgiving great. Sud-denly, perceiving all the horror of his crime, Herodwrings his hands in an agony of fear and remorse,whilethe guests and servants instinctively shrink back.Especially admirable is the group representing twohandmaidens who, under the first impression of theirterror, have fallen into each others arms, but never-theless are unable to restrain their morbid curiosity,and timidly turn back to look at the bleeding head ^ It is interesting to compare this composition withthe interpretations of the same theme by Giotto,Andrea Pisano, and Masolino on the one handand by Donatello on the other. In the frescoesof the Peruzzi Chapel in Santa Croce, in the bronzedoor of the Florence Baptistery, and in the paintings * In the Uffizi collection of drawings there is a sketch of thisgroup, wrongly attributed to Fra Diamante.
Text Appearing After Image:
Alinari fhoto.l 42 \_Duoiiio, rrato. THE DAUGHTER OF HERODIAS. Portrait of Lucrezia Buti. #Wi\ SV * v^^^* JtVi^VVV v.. PRATO 135 at CastigHone d Olona, the daughter of Herodias isrepresented dancing with all the stately decorumof a seventeenth-century minuet, while the gladmonk evidently aimed at illustrating the charms ofa graceful female figure enhanced by the dishevelledentrain of rapid motion. Fra Filippos compo-sition is full of life and movement, but it does notattain to that dramatic loftiness which forms themost striking merit of Donatellos bas-reliefs in theBaptistery at Siena. Following the simple butimpressive methods of ancient sculpture, Donatellodepicts the horror which seizes hold of the guiltyTetrarch and of his courtiers, as the severed headof the Precursor is brought in, far more vividly thanFra Filippo has done. The latter has only suc-ceeded in expressing terror and remorse, while thescene, as conceived by Donatellos classically inclinedgenius, might, in its tragic

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