he idealism, the religious symbolism, of the
pictures of Giotto, a painter a century and a half earlier than Fra
Lippo, and the greatest master of the early school of Italian art.

198-214. An exposition of Fra Lippo's idea of painting. He says that it
is nonsense to ignore the body in order to make the soul preeminent,
that the painter should go a "double step" and paint both body and soul.
He may make the face of a girl as lovely and life-like as possible, and
at the same time show her soul in her face.

215-220. A defense of the value of beauty for its own sake. Cf. Keats,
"Ode to a Grecian Urn," and the beginning of his "Endymion." Fra Lippo
Lippi has been long out of convent limitations, but he cannot forget how
certain the monks were that he had chosen the wrong path, and that he
could never equal the great painter, Fra Angelico (1389-1455), who,
kneeling in adoration, painted lovely saints and angels, nor even
Lorenzo Monaca, a Florentine painter with the same tendencies as
Angelico.

257. _Out at grass._ _Grass_ in this passage stands for enjoyment of
life as opposed to asceticism.

276. _Guidi._ Tommaso Guidi, ordinarily known as Masaccio, or
Tomassacio, Slovenly or Hulking Tom. Browning followed good authority in
making Masaccio a pupil of Fra Lippo Lippi, but in point of fact he was
probably the master whose works Fra Lippo studied. Luebke (_History of
Art_ ii, 207) says of Guidi: "In his exceedingly short life he rapidly
traversed the various stages of development of earlier art, and pressed
on with a bold confidence to a greatness and power of vision which have
rendered his works the characteristic ones of an epoch, and his example
a decisive influence in all the art of the fifteenth century.... Almost
every master in the fifteenth century ... studied these great works and
learned from them. One of the first of these masters was Fra Lippo
Lippi." The important point is that Fra Lippo and Masaccio were both
pioneers in the new art which took infinite pains in the representation
of the body. Masaccio is said to have been the first Italian artist to
paint a nude figure.

323. _A Saint Laurence ... at Prato._ Prato a town near Florence,
attracted many artists in the fifteenth century, so that one finds there
many specimens of Early Renaissance painting. Some of the most important
of Fra Lippo Lippi's large works are in the Cathedral at Prato.

326-334. The people have been so enraged at the slaves who are