Italian painter and poet. He was trained by Matteo Rosselli, with whom he worked for many years in close partnership. His collaboration was sometimes anonymous but is documented from 1622, when they decorated the ceiling of the SalaGLOSSARYHall, large room. della Stufa (Florence, PalazzoGLOSSARYPalaces: large urban dwellings, 'palazzo' in Italian carries no regal connotations. Alberti described the palace as a city in little, and, like cities, Italian Renaissance palaces vary in type according to differences of climate, tradition and social structure. On to these regional stocks were grafted new architectural strains, reflecting theoretical reinterpretations of antiquity and individually influential examples. The atrium and peristyle house described by Vitruvius and now known from Pompeii did not survive antiquity, and much of the interest of Renaissance designs lies in creative misunderstandings of Vitruvius's text. Medieval palace architecture probably inherited the insula type of ancient apartment house, related to the modest strip dwellings which never disappeared from Italian cities. In Florence a merchant palace developed from fortified beginnings, with vaulted shop openings on the ground floor, and the main apartments above, reached by internal stone staircases opening from an inner court. Renaissance developments regularized without changing the essential type, although large cloister-like courtyards were introduced, while shops came to be thought undignified. At Michelozzo's Medici Palace (1444) a square arcaded courtyard with axial entrance lies behind a façade of graduated rustication, with biforate windows, a classical cornice replacing the traditional wooden overhang. The apartments on the 'piano nobile' formed interconnecting suites of rooms of diminishing size and increasing privacy. The classical orders which Alberti introduced to the façade of the Palazzo Rucellai (c.1453) were not taken up by the conservative Florentines, who continued to build variations on the Medici Palace (Palazzo Pitti; Palazzo Strozzi). In the 16th century rustication was reduced to quoins and voussoirs, and large windows appeared on the ground floor, 'kneeling' on elongated volutes. At Urbino the Ducal Palace (1465) reflected Alberti's recommendations for the princely palace, and was in turn influential on late 15th century palaces in Rome (e.g. the Cancelleria). A harmonious Florentine courtyard and ample staircase replace the embattled spaces of medieval seigneurial castles, of which vestiges remain only in the towers flanking the balconies of the duke's private apartments, designed as a scholarly retreat. In the absence of a merchant class or a cultured nobility in 15th century Rome, the architectural pace was set by the papal court. Papal incentives to build, and large households, meant less compact plans for cardinals' palaces, often built next to their titular churches. Renaissance forms appear in the unfinished courtyard of the Palazzo Venezia (1460s), with its arcade system derived from the nearby Theatre of Marcellus, and in the delicately ordered stonework of the Cancelleria (1485). In the 16th century vestigial corner towers and shops disappear from cardinals' palaces, and Antonio da Sangallo's Palazzo Farnese (1516) introduces symmetrical planning and Vitrivuan elements, like the colonnaded vestibule, behind a sober Florentine façade, enlivened by Michelangelo's cornice. A smaller palace type supplied the needs of an enlarged papal bureaucracy, more ambitious for display than for domestic accommodation. Bramante's 'House of Raphael' sets the façade style not only for this new type, but also for Renaissance houses all over Europe. Raphael and Peruzzi made ingenious use of difficult sites (Palazzo da Brescia; Palazzo Massimi), and their sophisticated façades flattered the architectural pretensions of patron and pope (e.g. Palazzo Branconio dell'Aquila). Movement of patrons and architects, especially after the Sack of Rome, meant a diffusion of Roman forms to central and northern Italy, where Sanmicheli's palaces in Verona, and Palladio's in Vicenza, adapted Roman types to suit local conditions. Palladio's 4-columned atrium is a Vitruvian solution to the traditionally wide Veneto entrance hall, and his plan for the Palazzo da Porto-Festa contains explicit references to Vitruvius's House of the Greeks. In Venice, defended by its lagoon and a stable political system, the hereditary aristocracy built palaces open to trade and festivity on the Grand Canal. The traditional Venetian palace has a tripartite structure: long central halls above entrance vestibules used for unloading merchandise are lit on the canal façade by clusters of glazed windows (rare elsewhere), and at the back from small courts with external staircases (as in the Ca' d'Oro). Codussi's palaces introduced biforate windows and a grid of classical orders into the system, while Sansovino's Palazzo Cornaro retains vestiges of the Venetian type (small courtyard; tripartite façade) despite its Bramantesque coupled orders and licentious window surrounds. Other cities, like Genoa, evolved influential types. Through engravings and the illustrated treatises, Italian Renaissance ideas of palace planning, originally evolved in response to specific conditions, came to be applied all over Europe. Pitti), to 1631-32, when they worked together on lunettes portraying St Francis Adoring the Child and St Catherine in Prison (Florence, San Gaetano).
In 1630 Lippi was enrolled in the Accademia del DisegnoGLOSSARYIn Renaissance art theory, the design of a painting seen in terms of drawing, which was help to be the basis of all art. The term stresses not the literal drawing, but the concept behind an art work. With the Mannerists the term came to mean an ideal image that a work attempts to embody but can in fact never fully realize. As disegno appeals to the intellect, it was considered far more important that coloure (colour), which was seen as appealing to the senses and emotions. but appears not to have had his own workshop until after 1634, although he worked independently before then. The earliest paintings attributable to him are, both in facial types and in the soft, rich folds of the drapery, close in style to the work of Rosselli. Examples include canvases of the Apostles James, John and Matthew, and Christ Blessing (all 1628; Vaglia, San Pietro), and the Virgin Handing the Child to St Francis (1629; Florence, San Salvatore di Camaldoli).
In the 1630s Lippi painted decorative and theatrical compositions, mainly on literary and biblical themes, which remained indebted to Rosselli, for example Samson and Delilah (1632; Stockholm, Nationalmuseum) and the Virgin in GloryGLOSSARY(1) The supernatural radiance surrounding a holy person. (2) To have the distinction of one's deeds recognized in life and to be revered for them posthumously: this was glory. The nature of true gloria was much discussed, whether it must be connected with the public good, whether the actions that led to it must conform with Christian ethics, how it differed from notoriety. The concept did not exclude religious figures (the title of the church of the Frari in Venice was S. Maria Gloriosa), but it was overwhelmingly seen in terms of secular success and subsequent recognition, as determining the lifestyles of the potent and the form of their commemoration in literature, in portraits and on tombs. As such, it has been taken as a denial of medieval religiosity ('sic transit gloria mundi'), and thus a hallmark of Renaissance individual ism; as a formidable influence on cultural patronage; and as spurring on men of action, as well as writers and artists, to surpass their rivals - including their counterparts in antiquity. with Saints (1634; Ronta, nr Barberino di Mugello, San Michele). Shortly afterwards he produced works (e.g. the Sacrifice of Isaac and Hagar and the Angel; both San Miniato, Museo Diocesano d'Arte Sacra), which, in their use of sfumatoGLOSSARYA technique, largely developed by Leonardo da Vinci, in which the transitions from light to dark are so gradual they are almost imperceptible; sfumato softens lines and creates a soft-focus effect. as a means of heightening the feeling of pathos, are reminiscent of the work of Francesco Furini.
