An itinerary to discover the richest and most important nucleus of works of Fra' Filippo Lippi and his son Filippino
Prato is an essential stop for all those who love and wish to understand the Renaissance up close: the city, in fact, played a decisive role in the history of art in the 15th century as memorable works took shape around the Duomo factory.
Prato is also the city that preserves the richest and most important nucleus of works by Fra' Filippo Lippi, one of the greatest masters of the period and a favorite artist of the Medici family.
His bold and skillful use of color, the extraordinary beauty of faces and figures, and his ability to convey emotions made Filippo an exceptional storyteller and the forerunner of the great masters of 16th-century art.
Also valuable are the accounts of his son Filippino, like him a famous painter, born from the scandalous relationship the friar had with the nun Lucrezia Buti.
Filippino was trained from a very young age in his father's workshop; at his death he came under the tutelage of Fra Diamante and had as his master Sandro Botticelli, who in turn had been a pupil of his father Filippo.
The cathedral's rich series of panel paintings and beautiful frescoes allow for an engaging journey through Filippo Lippi's art.
Inside, the Cathedral of St. Stephen preserves the important pictorial cycle "Stories of St. Stephen and St. John the Baptist", frescoed by the painter between 1452 and 1465, then at the height of his career.
On the left wall of the main chapel, we find the story of St. Stephen, patron saint of Prato.
Absolutely not to be missed is the scene in which Stephen takes leave of Bishop Julian to begin preaching and the one with the Exequies after the discovery of Stephen's body, where the figure of Pope Pius II flanked by two friars can be recognized on the right: the older, on the right, is a probable self-portrait of Lippi.
On the opposite wall, dedicated to St. John the Baptist, on the homogeneous rocky backdrop, is the group with St. John leaving his parents, while the lower scene presents the Feast of Herod, where Salome's dance, the beheading of the Baptist, and a luminous Salome presenting John's head to his mother Herodias take place.
The cathedral's rich series of panel paintings and beautiful frescoes allow for an engaging journey through Filippo Lippi's art.
Inside, the Cathedral of St. Stephen preserves the important pictorial cycle "Stories of St. Stephen and St. John the Baptist", frescoed by the painter between 1452 and 1465, then at the height of his career.
On the left wall of the main chapel, we find the story of St. Stephen, patron saint of Prato.
Absolutely not to be missed is the scene in which Stephen takes leave of Bishop Julian to begin preaching and the one with the Exequies after the discovery of Stephen's body, where the figure of Pope Pius II flanked by two friars can be recognized on the right: the older, on the right, is a probable self-portrait of Lippi.
On the opposite wall, dedicated to St. John the Baptist, on the homogeneous rocky backdrop, is the group with St. John leaving his parents, while the lower scene presents the Feast of Herod, where Salome's dance, the beheading of the Baptist, and a luminous Salome presenting John's head to his mother Herodias take place.
To the left of the Cathedral is the Museum of the Opera del Duomo, established in 1967 and expanded in 1976 to house works from the entire diocese (including Donatello's prestigious pulpit reliefs).
The Hall of the Renaissance houses Filippo Lippi's masterpiece: the altarpiece with the Exequies of San Girolamo, commissioned by the elderly proposed Geminiano Inghirami around 1453.
The sensitive rendering of the characters' emotional reactions with soft forms woven with light is one of the work's most exciting features.
To the left of the Cathedral is the Museum of the Opera del Duomo, established in 1967 and expanded in 1976 to house works from the entire diocese (including Donatello's prestigious pulpit reliefs).
The Hall of the Renaissance houses Filippo Lippi's masterpiece: the altarpiece with the Exequies of San Girolamo, commissioned by the elderly proposed Geminiano Inghirami around 1453.
The sensitive rendering of the characters' emotional reactions with soft forms woven with light is one of the work's most exciting features.
Filippo remained in Prato until 1467, leaving his mark in other works as well, such as the three splendid altarpieces in the collection of the Museum of Praetorian Palace: the Madonna del Ceppo - made for Datini Palace - the Madonna of the Sacred Girdle - painted for the Monastery of Santa Margherita - where he met Lucrezia Buti - and the Nativity made for the Convent of San Domenico.
By Filippino the Tabernacle of the Mercatale - celebrated over the centuries for its extraordinary gentleness and particular modulation of light - the Madonna and Child - a work of rare intensity and veiled sadness - and finally the small Christ Crucified - purchased in 2010 by the municipality at an auction in New York: a precious document of Filippino's maturity - are preserved in the Praetorian Palace.
Filippo remained in Prato until 1467, leaving his mark in other works as well, such as the three splendid altarpieces in the collection of the Museum of Praetorian Palace: the Madonna del Ceppo - made for Datini Palace - the Madonna of the Sacred Girdle - painted for the Monastery of Santa Margherita - where he met Lucrezia Buti - and the Nativity made for the Convent of San Domenico.
By Filippino the Tabernacle of the Mercatale - celebrated over the centuries for its extraordinary gentleness and particular modulation of light - the Madonna and Child - a work of rare intensity and veiled sadness - and finally the small Christ Crucified - purchased in 2010 by the municipality at an auction in New York: a precious document of Filippino's maturity - are preserved in the Praetorian Palace.
The Church of the Holy Spirit, at first dedicated to the Santissima Annunziata and built by the Servite Fathers around the middle of the 14th century - along with the adjoining monastery - was remodeled several times between the 16th and 17th centuries.
The monastery was suppressed at the end of the 18th century, while the church was given its present dedication and was enriched with important works.
The interior, with a single nave, preserves valuable paintings including the Presentation in the Temple by Filippo Lippi.
The Church of the Holy Spirit, at first dedicated to the Santissima Annunziata and built by the Servite Fathers around the middle of the 14th century - along with the adjoining monastery - was remodeled several times between the 16th and 17th centuries.
The monastery was suppressed at the end of the 18th century, while the church was given its present dedication and was enriched with important works.
The interior, with a single nave, preserves valuable paintings including the Presentation in the Temple by Filippo Lippi.