FRA FILIPPO LIPPI: THE ANNUNCIATION
(London: National Gallery, 666. Panel)
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After this there came upon him a desire to return to Florence, where he remained for some months. There he wrought a very beautiful panel for the high-altar of the Nuns of S. Ambrogio, which made him very dear to Cosimo de' Medici, who became very much his friend for this reason. He also painted a panel for the Chapter-house of S. Croce, and another that was placed in the chapel of the house of the Medici, on which he painted the Nativity of Christ. For the wife of the said Cosimo, likewise, he painted a panel with the same Nativity of Christ and with S. John the Baptist, which was to be placed in the Hermitage of Camaldoli, in one of the hermits' cells, dedicated to S. John the Baptist, which she had caused to be built in proof of her devotion. And he painted some little scenes that were sent by Cosimo as a gift to Pope Eugenius IV, the Venetian; wherefore Fra Filippo acquired great favour with that Pope by reason of this work.

It is said that he was so amorous, that, if he saw any women who pleased him, and if they were to be won, he would give all his possessions to win them; and if he could in no way do this, he would paint their portraits and cool the flame of his love by reasoning with himself. So much a slave was he to this appetite, that when he was in this humour he gave little or no attention to the works that he had undertaken; wherefore on one occasion Cosimo de' Medici, having commissioned him to paint a picture, shut him up in his own house, in order that he might not go out and waste his time; but after staying there for two whole days, being driven forth by his amorous—nay, beastly—passion, one night he cut some ropes out of his bed-sheets with a pair of scissors and let himself down from a window, and then abandoned himself for many days to his pleasures. Thereupon, since he could not be found, Cosimo sent out to look for him, and finally brought him back to his labour; and thenceforward Cosimo gave him liberty to go out when he pleased, repenting greatly that he had previously shut him up, when he thought of his madness and of the danger that he might run. For this reason he strove to keep a hold on him for the future by kindnesses; and so he was served by Filippo with greater readiness, and was wont to say that the virtues of rare minds were celestial beings, and not slavish hacks.

For the Church of S. Maria Primerana, on the Piazza of Fiesole, he painted a panel containing the Annunciation of Our Lady by the Angel, which shows very great diligence, and there is such beauty in the figure of the Angel that it appears truly a celestial thing. For the Nuns of the Murate he painted two panels: one, containing an Annunciation, is placed on the high-altar; and the other is on an altar in the same church, and contains stories of S. Benedict and S. Bernard. In the Palace of the Signoria he painted an Annunciation on a panel, which is over a door; and over another door in the said Palace he also painted a S. Bernard. For the Sacristy of S. Spirito in Florence he executed a panel with the Madonna surrounded by angels, and with saints on either side—a rare work, which has ever been held in the greatest veneration by the masters of these our arts. In the Chapel of the Wardens of Works in S. Lorenzo he wrought a panel with another Annunciation; with one for the Della Stufa Chapel, which he did not finish. For a chapel in S. Apostolo, in the same city, he painted a panel with some figures round a Madonna. In Arezzo, by order of Messer Carlo Marsuppini, he painted the panel of the Chapel of S. Bernardo for the Monks of Monte Oliveto, depicting therein the Coronation of Our Lady, surrounded by many saints; which picture has remained so fresh, that it appears to have been made by the hand of Fra Filippo at the present day. It was then that he was told by the aforesaid Messer Carlo to give attention to the painting of the hands, seeing that his works were much criticized in this respect; wherefore from that day onwards, in painting hands, Fra Filippo covered the greater part of them with draperies or with some other contrivance, in order to avoid the aforesaid criticism. In this work he portrayed the said Messer Carlo from the life.

THE VIRGIN ADORING
(After the panel by Fra Filippo Lippi. Florence: Accademia, 79)
Anderson
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For the Nuns of Annalena in Florence he painted a Manger on a panel; and some of his pictures are still to be seen in Padua. He sent two little scenes with small figures, painted by his hand, to Cardinal Barbo in Rome; these were very excellently wrought, and executed with great diligence. Truly marvellous was the grace with which he painted, and very perfect the harmony that he gave to his works, for which he has been ever esteemed by craftsmen and honoured by our modern masters with consummate praise; nay, so long as the voracity of time allows his many excellent labours to live, he will be held in veneration by every age. In Prato, near Florence, where he had some relatives, he stayed for many months, executing many works throughout that whole district in company with Fra Diamante, a friar of the Carmine, who had been his comrade in the noviciate. After this, having been commissioned by the Nuns of S. Margherita to paint the panel of their high-altar, he was working at this when there came before his eyes a daughter of Francesco Buti, a citizen of Florence, who was living there as a ward or as a novice. Having set eyes on Lucrezia (for this was the name of the girl), who was very beautiful and graceful, Fra Filippo contrived to persuade the nuns to allow him to make a portrait of her for a figure of Our Lady in the work that he was doing for them. With this opportunity he became even more enamoured of her, and then wrought upon her so mightily, what with one thing and another, that he stole her away from the nuns and took her off on the very day when she was going to see the Girdle of Our Lady, an honoured relic of that township, being exposed to view. Whereupon the nuns were greatly disgraced by such an event, and her father, Francesco, who never smiled again, made every effort to recover her; but she, either through fear or for some other reason, refused to come back—nay, she insisted on staying with Filippo, to whom she bore a male child, who was also called Filippo, and who became, like his father, a very excellent and famous painter.