Word: lippy
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Dates: during 1950-1959
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...most successful fusion of spoken and unspoken words occurs in the craggy uplands of literature, where a talented ham can jump and shout without trampling the daisies. James Mason smacks and snuffles his way through the fevered minds of Andrea del Sarto, Fra Lippo Lippi and the tomb-haunted bishop in Poetry of Browning (Caedmon) in a reading that can illuminate a character with a sigh...
There was a Pope on the Pamphili side: Innocent X, whose immortal portrait by Velásquez hangs in the picture gallery. The palace also contains a Claude Lorrain landscape, a Fra Filippo Lippi Annunciation, Caravaggio's Rest on the Flight into Egypt to see and admire. One of the most interesting pictures is a portrait by Sebastiano del Piombo of Admiral Andrea,* the greatest of the Dorias, a buccaneer of a man and a hero of history...
...embellish the city, its churches and palaces he drew on the talents of Brunelleschi, Donatello, Fra Lippo Lippi, Uccello, Luca della Robbia. The great monument to his ideal, a marriage between humanism and religion, was the San Marco convent, which Cosimo prevailed upon Pope Eugenius IV to transfer from the Sylvetrines to the Dominican Observants. Cosimo ordered his favorite architect Michelozzo to repair the building, richly endowed it with 400 rare manuscripts and classic statues of Venus and Apollo. To do the frescoes, Cosimo called on the great Dominican painter Fra Angelico...
...through the film, as the moviegoer watches, there travels a troubling little ecstasy of recognition. The costumes, and even many of the scenic compositions, are copies from old masterpieces by Lippo Lippi, Pisanello, Carpaccio, Lorenzo. As the orchestra tunes up for the Capulets' ball, five little boys step up to sing, and suddenly are grouped, in lovely archaic rhythm, as a choir of cherubs in Raphael's style. Juliet, in the scene where she first sees Romeo, is dressed like Botticelli's Flora, and the lines of her head and neck might be a tracing from Veneziano...
Certain to stay are such masterpieces as the circular Adoration of the Magi (see picture), which was begun by the great and devout 15th Century Florentine, Fra Angelico, and finished by his more worldly junior, Fra Filippo Lippi. Renaissance Scholar Bernard Berenson surmises that Fra Angelico painted the radiant Virgin and Child and the background figures, and that Fra Filippo is responsible for the sharply characterized foreground figures on the right. Other standouts in the collection are Benozzo Gozzoli's Dance of Salome and Beheading of St. John the Baptist, a grisaille (grey monochrome) frieze by Giovanni Bellini, portraits...