FRA LIPPO LIPPI - BY ROBERT BROWNING

INTRODUCTION
Browning's characteristic poetic form, the dramatic monologue,
was evolved and perfected by him. It evokes the right atmosphere,
and the speaker is arrested at a dramatic moment which would bring
out his personality. The poet chose real people as his heroes even
though they were not very well known in history. He could establish
a kind of balance between truth and imaginative attributes to the
chosen characters and had the freedom to manipulate dramatic
situation within the framework of the few basic outlines of facts.
'Fra Lippo Lippi' is one of the most delightful of Browning's
monologues, was published in Men and Women in 1855. The
imaginary situation presented in the poem offers the right moment
for the central character, and for the poet to express through his
words, his views on art in general, and pointing in this specific
context.
Fra Lippo Lippi (1412-69) was a painter who believed in doing
his subjects with flesh to the naturalist school. His paintings of the
coronation of virgin displayed in Florence is believed to have been
the immediate source of inspiration for Browning to write this poem.
G. Vasari's “Lives of the Painters” provided the relevant biographical
facts. Brother Lippi's personality was improved by the characteristic
enriching touches of Browning's imagination.
The enduring picture of the unpriestly monk with his zest for his
life is reminiscent of the portrait of Falstaff. W. T. Young refers to
Lippo as a tonsured Falstaff.
Art should celebrate life. The beauty which God has created is to
be admired and enjoyed. An artist has to glorify the Creator by
depicting life, pulsating with the spirit of enjoyment. Acceptance,
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FRA LIPPO LIPPI - BY ROBERT BROWNING

and not abstinence and renunciation, should be the watchword in

life, especially that of an artist. Fra Lippo is an unusual combination
of contradictory elements of a monk by vocation and an artist
devoted to a life of the senses. Catching him at a psychologically
appropriate moment is the challenging task Browning has
discharged. Fra Lippo Lippi is a rich poem with images glorifying the
world of beauty contrasted by those spiritual ones standing for the
negation of life. Browning himself was a champion of the naturalistic
school of painting and has obviously, found in Fra Lippo Lippi a kind
of spokesman giving expression to the principally he professed.
The situation appears ideally suited for such a monologue by
Brother Lippi. He is a young monk, expected to ignore all pleasures
of the senses and to concentrate on the spirit or soul. But by instinct,
he is in love with the world of beauty and senses God has created,
and therefore, has a passionate zest for all excitement and thrill that
life can offer him. He finds himself a lawbreaker very frequently, the
rules of the monastery very rigid against escapades by the inmates.
But Lippi speaks with tongue in his cheek and a twinkle in the eye.
With very light covert touches of irony, he exposes the hypocrisy at
high levels of religious orders not being spared.
Fra Lippo Lippi is caught by the guards while trying to steal
away after one of his escapades at night. He does not hesitate to
admit where he has been; only that he takes this as an opportunity
for expressing his views on art in general and of painting in
particular. Art is an expression of man's appreciation of beauty
which is God's creation.

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Fra Lippo Lippi

  RO BE RT B ROW NIN G
[Florentine painter, 1412-69]

1. I am poor brother Lippo, by your leave!

2. You need not clap your torches to my face.

The guards have caught Fra Lippo Lippi emerging out of an area of ill
repute. They are focusing their torches on his face in the sight of a
tonsured monk. But Lippi is not bothered about being recognized in
an embarrassing situation. He begins, as irony would have it, to
question the guards in return, expressing his surprise at the shock
registered on their faces.
3. Zooks, what's to blame? you think you see a monk!
4. What, 'tis past midnight, and you go the rounds,
5. And here you catch me at an alley's end
6. Where sportive ladies leave their doors ajar?

Undaunted, Fra Lippo Lippi tries to explain his presence there at

that time. He asks them if they were shocked to see a monk roaming
around in the red-light area past midnight.

7. The Carmine's my cloister: hunt it up,

8. Do,—harry out, if you must show your zeal,

He is ready to give them further shocks by suggesting that he is a

monk belonging to the order of the Carmelite Friars, and if they are
genuinely committed to their duty, they should go to the monastery
and check on his fellow monks.

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9. Whatever rat, there, haps on his wrong hole,

10. And nip each softling of a wee white mouse,
11. Weke, weke, that's crept to keep him company!

There he is certain that the guards would find them in the company
of wee white mice, keeping them company. He implies that he is not
the only guilty one indulging in such nocturnal activities. The wee
white mice are the girls who enter the cloister stealing at night to
oblige the monks.
12. Aha, you know your betters! Then, you'll take
13. Your hand away that's fiddling on my throat,
14. And please to know me likewise. Who am I?

Fra Lippo finds that the guards are defiant and are not showing him
adequate respect. He wants to call a very influential gentleman of
the locality to his advantage and orders them to take away the hand
“fiddling at” his throat.
15. Why, one, sir, who is lodging with a friend
16. Three streets off—he's a certain . . . how d'ye call?
17. Master—a ...Cosimo of the Medici,
18. I' the house that caps the corner.

The reference is to Cosimo of the Medici (1389-1464) a politician and

a famous patron of the arts in Florence. Fra Lippo Lippi grabs it on
to keep the guards in suspense.
Boh! you were best!
19. Remember and tell me, the day you're hanged,
20. How you affected such a gullet's-gripe!

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Lippi is immediately released upon his statement that he is a friend

of Cosimo of the Medici. He observes the sudden shock and
change of expression on the guards’ faces the moment Medici's name
was mentioned. The fear on the face of one of the guards is so great
that he coins the expression 'Gullet's gripe’ to describe it. It was as
though he was about to be hanged, and it was the fear of the noose
that was reflected on his face. Lippo finds it so expressive that he
means it would be good for a painting.
21. But you, sir, it concerns you that your knaves
22. Pick up a manner nor discredit you:
23. Zooks, are we pilchards, that they sweep the streets
24. And count fair price what comes into their net?
25. He's Judas to a tittle, that man is!
26. Just such a face! Why, sir, you make amends.

He continues to insult the police officers, referring to them as

“knaves” and telling them that they are no better than the fishermen
who sweep the ocean and drag in whatever their net catches. He asks
if he is a “pilchard,” a small commonly caught fish. He finishes his
lines of insults by calling the men “Judas.” Here Fra Lippi Lippi
speaks as an artist with an eye for faces. He finds that one of the
guards looks exactly as Judas Iscariot would have, "To the tittle"
mean the minor details. He is naughty, trying to provoke the guards
to have fun at their expense.

27. Lord, I'm not angry! Bid your hang-dogs go

28. Drink out this quarter-florin to the health
29. Of the munificent House that harbours me
30. (And many more beside, lads! more beside!)

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Fra Lippi is a man of the world. He bribes the guards and asks them
to buy drinks with it, and enjoy themselves in the name of the
Medici's house where he is staying. He is stressing him with such a
famous man so that the guards treat him with due respect. He
criticizes his fellow monks in subtle terms, but he bribes them so that
the charge against him is not pressed. He promises:
"And many more besides, lads! more beside!
31. And all's come square again. I'd like his face—
32. His, elbowing on his comrade in the door
33. With the pike and lantern,—for the slave that holds
34. John Baptist's head a-dangle by the hair
35. With one hand ("Look you, now," as who should say)
36. And his weapon in the other, yet unwiped!

Lippi finds each of the faces interesting as an ideal model for some
character from the Bible, but ironically, only bad characters. One of
them for instance resembles the man who had just slained John the
Baptist at the behest of Princess Salome and has yet time to wipe the
Sword.
37. It's not your chance to have a bit of chalk,
38. A wood-coal or the like? or you should see!
39. Yes, I'm the painter, since you style me so.
40. What, brother Lippo's doings, up and down,
41. You know them and they take you? like enough!

He would have made a life-like painting of the cruel face of the guard
with a few strokes of chalk or coal. Unfortunately, this painting or
drawing is not going to happen as there is no “chalk” close by . It
suddenly satirizes them that their prisoner could be Fra Lippo Lippi,
the famous painter. He is proud to admit it.

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42. I saw the proper twinkle in your eye—

43. 'Tell you, I liked your looks at very first.
44. Let's sit and set things straight now, hip to haunch.

He has noticed a twinkle in the guard's eye and suggests that they sit
down hip to haunch and settle things. He begins narrating his
adventures.

45. Here's spring come, and the nights one makes up bands
46. To roam the town and sing out carnival,
47. And I've been three weeks shut within my mew,
48. A-painting for the great man, saints and saints
49. And saints again. I could not paint all night—
50. Ouf! I leaned out of window for fresh air.

Spring had arrived with its fresh air, music and fragrance of flowers.
For the past three weeks, he has shut inside his studio, fully occupied
with his mission of painting saints and saints and saints again. He
had tried painting for a week and out of the window for fresh air.
51. There came a hurry of feet and little feet,
52. A sweep of lute strings, laughs, and whifts of song, —
53. Flower o' the broom,
54. Take away love, and our earth is a tomb!
55. Flower o' the quince,
56. I let Lisa go, and what good in life since?
57. Flower o' the thyme—and so on.

Down below his window some performers came with “lutes” (a guitar
like instrument) playing music, singing and laughing. This
environment is much more desirable to the painter, so after singing a
few lines, he makes the decision to descend to the festival. The flower
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song, pulsating with life in every word, emphasizing the importance

of love without which the earth becomes a tomb.
[The italicized passage is from Stonelli, a popular Italian folk song
based on the names of flowers.]
Round they went.
58. Scarce had they turned the corner when a titter
59. Like the skipping of rabbits by moonlight, —three slim shapes,
60. And a face that looked up . . . zooks, sir, flesh and blood,
61. That's all I'm made of!

To add to the young painter monk's discomfiture, he heard a giggle

and saw three slim shapes on the road, and a face that looked up. He
confesses: Whatever his exterior was, he was made of flesh and
blood. The scene down there on the street would have set anyone's
blood on fire.
Into shreds it went,
62. Curtain and counterpane and coverlet,
63. All the bed-furniture—a dozen knots,
64. There was a ladder! Down I let myself,
65. Hands and feet, scrambling somehow, and so dropped,
66. And after them.

Instead of taking the stairs to the ground level, Lippi decides the
best course of action is to “shred” different items of cloth and use
them as a ladder to get to the street. He does so, and “scrambling
somehow,” manages to join them. 
I came up with the fun
67. Hard by Saint Laurence, hail fellow, well met,—
68. Flower o' the rose,
69. If I've been merry, what matter who knows?
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He catches up with them “by Saint Lawrence” church. He got merged

with the gang and has had all the fun he wanted, intoxicated with the
spirit of spring. Lippi has enjoyed himself and does not feel guilty
about it in the least.
70. And so, as I was stealing back again
71. To get to bed and have a bit of sleep
72. Ere I rise up to-morrow and go work

He was returning unnoticed to his room very late in the night so that
he could have some sleep. In the morning he has to resume work.
73. On Jerome knocking at his poor old breast
74. With his great round stone to subdue the flesh,

The picture he has to paint in the Church of San Lorenzo in Florence

is that of Jerome (340-420 A.D.) one of the fathers of the early
church, known to be a great scholar. He practised very strict
asceticism and believed that it was only by torturing the flesh that
the soul could achieve salvation. To put it into practice, he would
beat his breast with a stone, crushing the body to inflict pain on
himself to subdue the flesh. It is a masterstroke of irony that
Browning makes Lippi paint such a picture.
75. You snap me of the sudden. Ah, I see!

This is when the policemen grabbed Lippi and demanded to know

what he was doing. He claims, they just mistook his intentions. 

76. Though your eye twinkles still, you shake your head—
77. Mine's shaved—a monk, you say—the sting 's in that!
78. If Master Cosimo announced himself,
79. Mum's the word naturally; but a monk!
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Lippi feels that even though the guards are listening to him, they are
not able to believe his words or approve of his action, for the simple
reason that he is a monk. “The sting is in that” means that his being a
monk who is expected to practice asceticism is disturbing them and
that they are not able to get reconciled to it. They would not have
been upset even at such an appearance of de Medici, but a monk
being found in such circumstances cannot be digested.
80. Come, what am I a beast for? tell us, now!
81. I was a baby when my mother died
82. And father died and left me in the street.
83. I starved there, God knows how, a year or two
84. On fig-skins, melon-parings, rinds and shucks,
85. Refuse and rubbish. One fine frosty day,
86. My stomach being empty as your hat,
87. The wind doubled me up and down I went.
This gives Lippi the opportunity for narrating his story, explaining
how he became a monk, stressing the fact that he did choose it. At
this point in Lippi’s monologue, he travels back in time to when he
was “a baby” and experienced his mother and father dying. Their
deaths left him “in the street” and it was there that he starved for a
“year or two.” He ate whatever he could find and the “wind doubled
me up,” it was cold and punishing to Lippi’s body. 
88. Old Aunt Lapaccia trussed me with one hand,
89. (Its fellow was a stinger as I knew)
90. And so along the wall, over the bridge,
91. By the straight cut to the convent. Six words there,
92. While I stood munching my first bread that month:

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Lippi describes his first visit to the convent. Aunt Lapaccia, his
foster mother, took pity on the starving boy who had fainted on the
road and led him to the convent. The "good fat father" was wiping
his mouth. Lippi is irreverent in his language, implying that the
monks who preach asceticism are by no means practising abstinence
or renunciation of any kind. They are 'fat' and 'good' too. The boy
got some bread to eat.

93. "So, boy, you're minded," quoth the good fat father
94. Wiping his own mouth, 'twas refection-time,—
95. "To quit this very miserable world?
96. Will you renounce" . . . "the mouthful of bread?" thought I;
The fat father asks him if he is prepared to give up “this very
miserable world” and become a monk. Before he could complete the
question, the hungry child wondered if he was being asked to
renounce the first bread of the month he was munching.

97. By no means! Brief, they made a monk of me;

98. I did renounce the world, its pride and greed,
99. Palace, farm, villa, shop, and banking-house,
100. Trash, such as these poor devils of Medici
101. Have given their hearts to—all at eight years old.
102. Well, sir, I found in time, you may be sure,
103. 'Twas not for nothing—the good bellyful,

Lippi knows that he does not want this, but he does “renounce the
world, its pride and greed” as well as all the grand places. He was
eight years old at the time and enjoyed the idleness of a monk’s life.
He was “warm” and always had a “good bellyful.” 
104. The warm serge and the rope that goes all round,
105. And day-long blessed idleness beside!
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Lippi sarcastic comments on the idle lot of the monks who take the
good bellyful and enjoy day-long blessed idleness reflect the poet's
views on the hypocrisy being practised even among religious orders
in the name of God. The fat monks get fattened further with no work
to do. It is implied very subtly that they seek other undesirable kinds
of diversions during nights.

106. "Let's see what the urchin's fit for"—that came next.
107. Not overmuch their way, I must confess.
108. Such a to-do! They tried me with their books:
109. Lord, they'd have taught me Latin in pure waste!
110. Flower o' the clove.
111. All the Latin I construe is, "amo" I love!
Soon the other monks were trying to find a use for him. They
attempted to make him study and learn Latin. But he found this to
be a waste of time. The only word that he remembers is “amo” or “I
love.” 
112. But, mind you, when a boy starves in the streets
113. Eight years together, as my fortune was,
114. Watching folk's faces to know who will fling
115. The bit of half-stripped grape-bunch he desires,
116. And who will curse or kick him for his pains,—
117. Which gentleman processional and fine,
118. Holding a candle to the Sacrament,
119. Will wink and let him lift a plate and catch
120. The droppings of the wax to sell again,
121. Or holla for the Eight and have him whipped,—
122. How say I?—nay, which dog bites, which lets drop
123. His bone from the heap of offal in the street,—

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For eight years he wandered in the streets starving child. As a result,

he was given great insight into the details that distinguished one face
from another and the way those faces illustrated different
characteristics. While this was a miserable time, he learned to
observe faces and mark even the subtle differences in character
expressed through simple gestures. He could guess who would be
generous, and who would not. Lippi remembers the time he had to
fight with dogs for their scraps.
124. Why, soul and sense of him grow sharp alike,
125. He learns the look of things, and none the less
126. For admonition from the hunger-pinch.
127. I had a store of such remarks, be sure,
128. Which, after I found leisure, turned to use.

He had closely studied hundreds of faces and built up a storehouse in

his mind about their different characters and temperaments.  Such a
capacity to study character through distinctive features is
subsequently put to use.

129. I drew men's faces on my copy-books,

130. Scrawled them within the antiphonary's marge,
131. Joined legs and arms to the long music-notes,
132. Found eyes and nose and chin for A's and B's,
133. And made a string of pictures of the world
134. Betwixt the ins and outs of verb and noun,
135. On the wall, the bench, the door.
He began trying his art on all plain surfaces available, though
without any specific pattern. He began to paint men's faces on his
copy books, and often on sheet music. Additionally, he was not
afraid of drawing on the walls, on the bench and the door that made
the monks very unhappy. 
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The monks looked black.

136. "Nay," quoth the Prior, "turn him out, d'ye say?
137. In no wise. Lose a crow and catch a lark.
138. What if at last we get our man of parts,
139. We Carmelites, like those Camaldolese
140. And Preaching Friars, to do our church up fine
141. And put the front on it that ought to be!"
142. And hereupon he bade me daub away.

The monks noticed Lippi's talents with shock. They were scandalised
at the irreverent drawings and suggested that Lippi should be turned
out. The Prior was more sensible. He did not believe in losing a crow
and catching a lark, meaning that it would be foolish to part with
what you already have, in the hope of getting something better that
might not turn up after all. He decided to utilize Lippi's art to
decorate the church walls so that the Carmelites could put up a show
than their counterparts in other religious orders. Lippi began his
work in right earnest.

143. Thank you! my head being crammed, the walls a blank,

144. Never was such prompt disemburdening.
145. First, every sort of monk, the black and white,
146. I drew them, fat and lean: then, folk at church,
In this section of the poem Lippo is describing the beginning of his
career and how, as he was training and learning, he started by
drawing “every sort of monk.” He drew the “black and white” as well
as the “fat and lean.” He also studied “folk at church.” 
147. From good old gossips waiting to confess
148. Their cribs of barrel-droppings, candle-ends,—
149. To the breathless fellow at the altar-foot,
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150. Fresh from his murder, safe and sitting there

151. With the little children round him in a row
152. Of admiration, half for his beard and half
153. For that white anger of his victim's son
154. Shaking a fist at him with one fierce arm,
155. Signing himself with the other because of Christ
156. (Whose sad face on the cross sees only this
157. After the passion of a thousand years)

He wanted to paint every type of person and scene. He painted even

a murderer surrounded by children who admire him. The poet
describes these images vividly. It is easy to see why Lippo was
entranced by them and chose to spend time painting them. Not all of
them but very few of them are devoted to God and sincere in their
prayers. How about Christ Himself? Does he tolerate the decoration
of the church by criminals?
158. Till some poor girl, her apron o'er her head,
159. (Which the intense eyes looked through) came at eve
160. On tiptoe, said a word, dropped in a loaf,
161. Her pair of earrings and a bunch of flowers
162. (The brute took growling), prayed, and so was gone.
163. I painted all, then cried "'Tis ask and have;
164. Choose, for more's ready!"—laid the ladder flat,
165. And showed my covered bit of cloister-wall.
166. The monks closed in a circle and praised loud
167. Till checked, taught what to see and not to see,
168. Being simple bodies,—"That's the very man!
169. Look at the boy who stoops to pat the dog!
Lippi painted the picture of the girl with her bunch of flowers as an
offering to the church. The initial reaction of the monks to Lippi's

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paintings was one of admiration at the lifelike portraits of familiar

men and women. They were greatly impressed by his realism and
were even able to recognize specific faces and scenes, such as the “boy
who stoops to pat the dog.
170. That woman's like the Prior's niece who comes
171. To care about his asthma: it's the life!''

The reference to the Prior's niece is a naughty remark, probably a

euphemism for the prior's illegitimate daughter or even his mistress.
172. But there my triumph's straw-fire flared and funked;
173. Their betters took their turn to see and say:
174. The Prior and the learned pulled a face
175. And stopped all that in no time. "How? what's here?
176. Quite from the mark of painting, bless us all!
177. Faces, arms, legs, and bodies like the true
178. As much as pea and pea! it's devil's-game!
This triumph with the monks soon comes to an end as the higher-
ranking members of the monastery, including the Prior, come to see
his work. The Prior is upset by what he sees and says, “How? What’s
here?” He does not appreciate what Lippo has done. He admitted,
though reluctantly, that the figures are drawn and the real individuals
are as similar to each other "as pea and pea". He does not consider it
a proper painting but something from the devil.

179. Your business is not to catch men with show,

180. With homage to the perishable clay,
181. But lift them over it, ignore it all,
182. Make them forget there's such a thing as flesh.

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The Prior cautioned the young artist that his duty was not to pay"
homage to perishable clay, He should make men forget there is such a
thing as flesh.

183. Your business is to paint the souls of men—

184. Man's soul, and it's a fire, smoke . . . no, it's not . . .
185. It's vapour done up like a new-born babe—
186. (In that shape when you die it leaves your mouth)
187. It's . . . well, what matters talking, it's the soul!
188. Give us no more of body than shows soul!
The Prior attempts, in this section, to adequately describe why he
does not like Lippo’s work. He believes that it is a painter’s job to
“lift” men above the world not show them as part of it. The Prior
wants Lippo to depict the human soul, but even he cannot come to a
solid answer about what that is. He tries to articulate his thoughts but
is ultimately unable.
189. Here's Giotto, with his Saint a-praising God,
190. That sets us praising—why not stop with him?
191. Why put all thoughts of praise out of our head
192. With wonder at lines, colours, and what not?
193. Paint the soul, never mind the legs and arms!
194. Rub all out, try at it a second time.

The Prior suggests that Lippo should try to copy is “Giotto” who
mastered the art of religious painting.  A monk-painter's function
should be to paint the soul and not the body. The human soul should
be the theme of his painting and the body should be drawn only to
the extent of illustrating the soul. They asked him 'to paint the soul,
never mind the legs and arms. They asked him to rub out all his
paintings so far executed and start afresh.

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195. Oh, that white smallish female with the breasts,

196. She's just my niece . . . Herodias, I would say,—
197. Who went and danced and got men's heads cut off!
198. Have it all out!" Now, is this sense, I ask?

The Prior is so outraged by the painting, especially the depiction of

his “niece” whose breasts he suspiciously notices, that he tells Lippo
to get rid of all of the work he has made. The prior's reference is to
King Herodias whose daughter Salome danced before her father and
demanded the severed head of John the Baptist as a reward. She had
a grouse against, the Baptist who had rejected her love. The king
obliged her by presenting John the Baptist's head on a platter to
Salome. In this context, the Prior is making a slip referring to
Herodias as the dancer. It could either be to indicate that the Prior
does not even know the Bible correctly. Or, as Paul Turner points
out, it could have been simply copied from Vasari who is believed to
have made this mistake frequently.

199. A fine way to paint soul, by painting body

200. So ill, the eye can't stop there, must go further
201. And can't fare worse! Thus, yellow does for white
202. When what you put for yellow's simply black,
203. And any sort of meaning looks intense
204. When all beside itself means and looks nought.
205. Why can't a painter lift each foot in turn,
206. Left foot and right foot, go a double step,
207. Make his flesh liker and his soul more like,
208. Both in their order?

Fra Lippo is taken aback at the contempt shown to the depiction of

bodies and the demand that souls are to be painted. He believed (and
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he told so to his hearers) that the true artist's function was to give
equal attention to the body as well as the soul.  He wonders why
people cannot try to see the soul through the flesh. The acceptance of
flesh should pave the way for the discovery of the soul which cannot
be painted by itself as it is not a concrete object. He fails to
understand why beauty cannot be appreciated and accepted as the
house that harbours the spirit. Beauty is created by God and is highly
expressive.

Take the prettiest face,

209. The Prior's niece . . . patron-saint—is it so pretty
210. You can't discover if it means hope, fear,
211. Sorrow or joy? won't beauty go with these?
212. Suppose I've made her eyes all right and blue,
213. Can't I take breath and try to add life's flash,
214. And then add soul and heighten them three-fold?
215. Or say there's beauty with no soul at all—
216. (I never saw it—put the case the same—)
217. If you get simple beauty and nought else,
218. You get about the best thing God invents:
He gives the example of the “Prior’s niece” and how her beautiful face
will only expand a viewer’s understanding of her soul, not impede it.
while painting the pretty niece of the Prior, he had to ensure that he
would depict the exact expression in her eyes-hope, fear, sorrow, or
joy-and make the picture pulsate with life as also to add the soul to it.
It was possible to draw a beautiful figure without the soul in it, since
"simple beauty" is "about the best thing God invents."

219. That's somewhat: and you'll find the soul you have missed,
220. Within yourself, when you return him thanks.
221. "Rub all out!" Well, well, there's my life, in short,
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222. And so the thing has gone on ever since.

223. I'm grown a man no doubt, I've broken bounds:
224. You should not take a fellow eight years old
225. And make him swear to never kiss the girls.
226. I'm my own master, paint now as I please—
Since Lippo is already angry, he takes the argument further. He
reveals his irritation with the fact that he was taken into the
monastery at eight years old when he did not have another choice.
This decision has made him miss out on a lot of life that he is
interested in. He is, he says, “a man no doubt.” He states that he will
not be told what to do any longer and that he is his “ own master” and
that he will “paint now as” he pleases.
227. Having a friend, you see, in the Corner-house!
228. Lord, it's fast holding by the rings in front—
229. Those great rings serve more purposes than just
230. To plant a flag in, or tie up a horse!

Lippo is not without choices now that he is grown up. He has a friend
in the “Corner-house,” referring to Cosimo Medici to whom he can
go.

231. And yet the old schooling sticks, the old grave eyes
232. Are peeping o'er my shoulder as I work,
233. The heads shake still—"It's art's decline, my son!
234. You're not of the true painters, great and old;
235. Brother Angelico's the man, you'll find;
236. Brother Lorenzo stands his single peer:
237. Fag on at flesh, you'll never make the third!"
However, he continued thinking of the advice of the Prior and his
brother monks that he would never become a great painter like

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Brother Angelico and Brother Lorenzo if he did not spiritualize his

art. They said, if he focused on the flesh, he would never make the
third greatest painter. Lippi's concentration on the flesh stands in the way
of his becoming the worthy successor of the two artists of the pietistic school
of painting.
[Brother Angelico or Fra Angelico (1387-1455) was a follower of Gitto in the
school of acetic painting. Brother Lorenzo or Lorenzo Monaco (the monk),
(1370-1425) also belonged to the same school. The monks warn Fra Lippo that
he has forfeited the chance of becoming an equally famous figure in their
company because of his preoccupation with flesh and its beauty.]

238. Flower o' the pine,

239. You keep your mistr ... manners, and I'll stick to mine!
240. I'm not the third, then: bless us, they must know!
241. Don't you think they're the likeliest to know,
242. They with their Latin?
Lippo spends the next lines of the poem singing another song, similar
to that featured at the beginning of the piece. Sometimes he had to
paint following their directions, but he never believed that they (the
monks) were good judges of art only because they were good in Latin.  
He refers to" them with their Latin" in sheer contempt.
So, I swallow my rage,
243. Clench my teeth, suck my lips in tight, and paint
244. To please them—sometimes do and sometimes don't;
245. For, doing most, there's pretty sure to come
246. A turn, some warm eve finds me at my saints—
247. A laugh, a cry, the business of the world—

All the same, he is a man of the world, and paints sometimes to

please them because he stands to benefit in terms of material
comforts. He stands to gain by keeping them in good humour.

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Therefore, he would paint saints sometimes, clenching his teeth in

disapproval of his action. After all, it is the business of the world.
248. (Flower o' the peach
249. Death for us all, and his own life for each!)
250. And my whole soul revolves, the cup runs over,
251. The world and life's too big to pass for a dream,
252. And I do these wild things in sheer despite,
253. And play the fooleries you catch me at,
254. In pure rage!
Death, as the song means, is common to all; but each human being is
gifted with a chance to enjoy his own life to the full. He is bound to
regret if he does not exploit such chances to the full, no matter what
the monks say. He did not also believe that the physical world and
life were valueless like a dream and that reality lay beyond the world.
That was why he sometimes took part in wild pranks and fooleries as
he had done this night by going after the flower girls. 
The old mill-horse, out at grass
255. After hard years, throws up his stiff heels so,
256. Although the miller does not preach to him
257. The only good of grass is to make chaff.
Even the old mill-horse, fed up after its heavy work at the rut of the
mill, feels happy when it is let loose admit fresh grass. It causes the
horse spontaneous delight. The animals enjoy relaxation in the fresh
air. The miller, the owner of the horse is aware of its need for rest and
enjoyment and does not stand in its way, repeating all the while that
the grass is, in reality, nothing but chaff deprived of its beauty and
vitality.
258. What would men have? Do they like grass or no—
259. May they or mayn't they? all I want's the thing
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260. Settled for ever one way. As it is,

261. You tell too many lies and hurt yourself:
262. You don't like what you only like too much,
263. You do like what, if given you at your word,
264. You find abundantly detestable.
265. For me, I think I speak as I was taught;
266. I always see the garden and God there
267. A-making man's wife: and, my lesson learned,
268. The value and significance of flesh,
269. I can't unlearn ten minutes afterwards.
The earthly pleasure that the horse receives from eating is similar to
that which the speaker gets from living and he does not see a
problem with it. It seems as if, even though he knows what he wants,
he still holds some respect for the monks and wants to know what
they believe. Many, he states, profess not to like something but do it
anyway. He sees the world as the garden that God created for man
and woman and made the woman man’s companion. There
originated the concept of man and wife. Why do these monks shun
the truth and fight shy of admitting the truth even to themselves?
Lippi himself is convinced of the significance of flesh, and “can’t
unlearn ten minutes afterwards.” He will not soon forget it.
270. You understand me: I'm a beast, I know.
271. But see, now—why, I see as certainly
272. As that the morning-star's about to shine,
273. What will hap someday. We've a youngster here
274. Comes to our convent, studies what I do,
275. Slouches and stares and lets no atom drop:
Lippo continues his story by putting himself down, calling himself a
“beast.” Lippo is trying to explain to the officers who are listening to
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his story that there is another boy at the monastery who is just like
him. 

276. His name is Guidi—he'll not mind the monks—

277. They call him Hulking Tom, he lets them talk—
278. He picks my practice up—he'll paint apace.
279. I hope so—though I never live so long,
280. I know what's sure to follow. You be judge!
The reference is to Tommaso Guidi (1401-1428) who was called
Masaccio, or Hulking or clumsy Tom (the boy was large). Lippi is
optimistic that Tom Guidi would follow his tradition and continue
painting as he (Lippi) was doing, with a concentration on physical
aspects. Browning makes an interesting change in the relationship
between Lippi and Guidi. In fact, Lippi was Guidi's disciple and not
his master.
281. You speak no Latin more than I, belike;
282. However, you're my man, you've seen the world
283. —The beauty and the wonder and the power,
284. The shapes of things, their colours, lights and shades,
285. Changes, surprises,—and God made it all!
Lippi refers to Latin with obvious contempt caused by the hypocrisy
he has observed among the members of various religious orders
professing asceticism and preaching in Latin above the heads of the
common men. According to him, the ordinary individual like the
guards themselves is truer to themselves than the monks because
they appreciate and are not ashamed to admit that they are
overwhelmed by the miraculous world of beauty created by God, each
aspect proclaiming his power and love. This is Browning's view
worship of God should begin with an acknowledgement of the visible
world of beauty. He has created with so much of variety and
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multiplicity. Are we not too grateful to the creator for all the gifts? He
has given us by showing him how we accept them.
286. —For what? Do you feel thankful, ay or no,
287. For this fair town's face, yonder river's line,
288. The mountain round it and the sky above,
289. Much more the figures of man, woman, child,
290. These are the frame to? What's it all about?
291. To be passed over, despised? or dwelt upon,
292. Wondered at? oh, this last of course!—you say.
Lippo wants to know if the man feels “thankful” to God for making
the beautiful world they live in. The speaker is hoping that the guard
will understand his impulse to paint and reproduce the world in
which they live. Just because it is not intrinsically religious, does not
mean that it should be “passed over” and “despised.”
293. But why not do as well as say,—paint these
294. Just as they are, careless what comes of it?
295. God's works—paint any one, and count it crime
296. To let a truth slip. Don't object, "His works
297. Are here already; nature is complete:
298. Suppose you reproduce her—(which you can't)
299. There's no advantage! you must beat her, then."

The painter anticipates an argument from the guard and

preemptively mentions it. He says that the guard might be
wondering why to bother painting these at all, “His,” or God’s,
“works / Are here already.” There is no need to duplicate them. To
dismiss this idea the pointer points to a woman nearby asking the
guard, “Suppose you reproduce her”? He makes sure to tell the guard
that there’s no way, with no painting skills, he could do it. But if he
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did, “There’s no advantage.” One must “beat her,” make something

that is even more beautiful. 

300. For, don't you mark? we're made so that we love

301. First when we see them painted, things we have passed
302. Perhaps a hundred times nor cared to see;
303. And so they are better, painted—better to us,
304. Which is the same thing. Art was given for that;
305. God uses us to help each other so,
306. Lending our minds out. Have you noticed, now,
307. Your cullion's hanging face? A bit of chalk,
308. And trust me but you should, though! How much more,
309. If I drew higher things with the same truth!
Paintings make people better, more beautiful, and they will last
longer so that one may see the perfect version of someone’s face long
after they are gone. God gave man art for this purpose. For example,
he says, have you looked at your own “cullion” or rascal-like face?
Lippo states that he would be able to fix it with only a piece of chalk.

310. That were to take the Prior's pulpit-place,

311. Interpret God to all of you! Oh, oh,
312. It makes me mad to see what men shall do
313. And we in our graves! This world's no blot for us,
314. Nor blank; it means intensely, and means good:
315. To find its meaning is my meat and drink.
Lippo knows that if he was able to paint “higher things,” to even a
grander standard than they already exist, there would be no need for
the Prior, to preaching as he does. He would take the “Prior’s pulpit-
place” and do the preaching instead. The speaker continues to state
that it “makes [ him] mad” that he will not get to see all the changes
taking place in the world after he is in his grave. Browning expresses
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his own views on life through the words of Fra Lippo Lippi. Life is
not a matter to be ashamed of. It is not blank, stating that it is not
without meaning or significance. It has immense meaning, and he is
certain that the meaning is "good", positive, representing God's love
for human beings. It is God's precious gift. Lippi asserts that his
mission is a precious gift. Lippi asserts that his mission in life is to
discover its meaning. It is his and drink that is, the sustaining forces
in life. The very purpose of his existence, and that which inspires
him, gives him the sustaining energy that drives him forward.
316. "Ay, but you don't so instigate to prayer!"
317. Strikes in the Prior: "when your meaning's plain
318. It does not say to folk—remember matins,
319. Or, mind you fast next Friday!"
The prior has a constant criticism about Lippi's paintings. They are
lifelike, he admits their beauty is beyond question. The paintings are
admissible in their realistic representation of life, but they do not
convey any message urging the people to pray every morning and
evening or to fast on certain holy days. Lippi's doubt against the
background of the Prior's criticism is expressed in the straight
question:
Why, for this
320. What need of art at all? A skull and bones,
321. Two bits of stick nailed crosswise, or, what's best,
322. A bell to chime the hour with, does as well.
Flesh and blood are not wanted to remind people of the hours of
prayer. Art is not needed for such a purpose. It is meant to glorify
life, and express man's admiration and gratitude to God through
acceptance of His gift. Colour, beauty, flesh and blood are thus
essential for art. Things physical are not meant to summon people to
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the church for prayers. The chime of the church bell would serve the
purpose. A sketch of a skull and bones, with sticks nailed crosswise,
should serve better to express spiritual messages: Art cannot be
confined to that pattern. Lippi is being serious when he defends his
art against the charges levelled by the Prior.
323. I painted a Saint Laurence six months since
324. At Prato, splashed the fresco in fine style:
325. "How looks my painting, now the scaffold's down?"
326. I ask a brother: "Hugely," he returns—
327. "Already not one phiz of your three slaves
328. Who turn the Deacon off his toasted side,
329. But's scratched and prodded to our heart's content,
330. The pious people have so eased their own
331. With coming to say prayers there in a rage:
332. We get on fast to see the bricks beneath.
333. Expect another job this time next year,
334. For pity and religion grow i' the crowd—
335. Your painting serves its purpose!" Hang the fools!
Fra Lippo Lippi had painted several fine frescoes which are displayed
in Proto, a near Florence. But the picture mentioned here is not
found. It is said that he asked his tortures to turn him over to the
other side so that, that side also would be roasted well. being done on
one side. The monks are satisfied with this work, even though Lippi
has shown his originality in painting the tortures. They are pleased
and promise him another job of the same kind next year because he
has succeeded in encouraging piety and religion among the people.
Finally, Lippi's painting has served its purpose.
336. —That is—you'll not mistake an idle word
337. Spoke in a huff by a poor monk, God wot,
338. Tasting the air this spicy night which turns
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339. The unaccustomed head like Chianti wine!

Lippi's comment, in response to such appreciation of the spiritual
quality of his painting, is ‘Hang the Fools’. He feels suddenly that he
has used rather too strong a word to refer to the monks. He
attributes it to the intoxication caused by the fresh air in the spicy
night. The atmosphere pulsating with life against the music and
dance celebrating the advent of the spring season is as intoxicating
as the Chianti wine, according to the painter monk. Chianti, a region
south of Florence, is famous for the wine of high quality produced
there. The comparison of the heady nature of the air to the effect of
the Chianti wine is rather an unprime style.
340. Oh, the church knows! don't misreport me, now!
341. It's natural a poor monk out of bounds
342. Should have his apt word to excuse himself:
343. And hearken how I plot to make amends.
344. I have bethought me: I shall paint a piece
345. ... There's for you! Give me six months, then go, see
346. Something in Sant' Ambrogio's! Bless the nuns!

Again, he realizes that his expression was unbecoming of a monk. He

could not think of a world more appropriate than that to express the
unusual mood of exhilaration he experienced. When he tasted the
zest for life all around and was tempted to forget the monk's robes he
was wearing. Anyway, he has decided to make amends. He
challenges the guards to go to visit the convent of St. Ambrogio six
months later and observe, obviously the picture he is planning to
paint for the nuns who had asked him for a sample of his work.
347. They want a cast o' my office. I shall paint
348. God in the midst, Madonna and her babe,
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They want a sample of his work. At St. Ambrogio's convent, Fra

Lippo has painted an altarpiece called "The coronation of the Virgin.
The painting is now on display at the Accademia di Belle Arti in
Florence. Lippi describes the picture; It will have God in the middle
Madonna with her infant, Jesus.
349. Ringed by a bowery, flowery angel-brood,
350. Lilies and vestments and white faces, sweet
351. As puff on puff of grated orris-root
352. When ladies crowd to Church at midsummer.
353. And then i' the front, of course a saint or two—
A tone of amusement and contempt together can be made out in the
description of the "bowery flowery brood". He is referring to the
meaninglessness of painting figures without individuality, the angels
being all colour and sweetness, representing neither man nor
woman. And of course, a saint or two have to be included. Lippi is
obliged to paint what he does not appreciate himself.
354. Saint John' because he saves the Florentines,
355. Saint Ambrose, who puts down in black and white
356. The convent's friends and gives them a long day,
357. And Job, I must have him there past mistake,
358. The man of Uz (and Us without the z,
359. Painters who need his patience).
John the Baptist will be one among the saints painted along with the
angels in the picture. St. John has a special place in the minds of the
Florentine people because their children get baptized in the church
of St. John. He is John the Baptist. The other figure likely to occupy
a place in the painting is Saint Ambrose, Archbishop of Milan (c.
340-397). He used to record the details of "the convent's friends",

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Job. Uz was job's birthplace. He was the man of patience. Lippi is

once again indulging in irrelevant humour by playing on the words
Uz and us. He means that painters like him need patience which they
do not have at present. He is referring to his own lack of patience
with those who do not appreciate his type of painting which are true
to life and demand spiritual paintings depicting souls and saints.
Well, all these
360. Secured at their devotion, up shall come
361. Out of a corner when you least expect,
362. As one by a dark stair into a great light,
363. Music and talking, who but Lippo! I!—
364. Mazed, motionless, and moonstruck—I'm the man!
365. Back I shrink—what is this I see and hear?
366. I, caught up with my monk's-things by mistake,
367. My old serge gown and rope that goes all round,
368. I, in this presence, this pure company!
And in one corner of this painting, he will depict himself, looking
somewhat foolish and out of place in such heavenly company. He is
sure that it would be a beautiful picture.
369. Where's a hole, where's a corner for escape?
370. Then steps a sweet angelic slip of a thing
371. Forward, puts out a soft palm—"Not so fast!"
372. —Addresses the celestial presence, "nay—
373. He made you and devised you, after all,
374. Though he's none of you! Could Saint John there draw—
375. His camel-hair make up a painting brush?
376. We come to brother Lippo for all that,
Lippi suddenly becomes conscious of the company around him, and
wonder how and where he can escape. He remembers "the sweet
angelic slip of a thing" who put out a soft palm. He wonders whether
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anyone, for instance, saint John could draw such a beautiful figure
using his camel hair as a painting brush. The reference is irrelevant
as it is the usual case with Lippi. The joke refers to the sentence in
the Bible. And John was clothed with camel's hair. He means that
such real ascetics can never appreciate or understand the
significance of life and beauty. We come to brother Lippi for all that .
It is only Brother Lippo who can be depended upon for painting
beauty as we find it pulsating in life. Those who claim to paint souls
and saints cannot glorify. God through the recognition of beauty. He
has created.
377. Iste perfecit opus! So, all smile—
378. I shuffle sideways with my blushing face
379. Under the cover of a hundred wings
380. Thrown like a spread of kirtles when you're gay
381. And play hot cockles, all the doors being shut,
382. Till, wholly unexpected, in there pops
383. The hothead husband! Thus I scuttle off
384. To some safe bench behind, not letting go
385. The palm of her, the little lily thing
386. That spoke the good word for me in the nick,
387. Like the Prior's niece . . . Saint Lucy, I would say.
388. And so all's saved for me, and for the church
389. A pretty picture gained. Go, six months hence!
At an unexpected moment, the hothead husband suddenly pops in.
He tried to hide, but still did not let prior's niece to whom he has
already referred several times. Saint Lucy the prior's niece' served as
a model for a picture of Saint Lucy. It is interesting to note the irony
behind the gradual metamorphosis of a delicate creature of flesh and
blood to a saintly figure to become the model for Saint Lucy. Lippi
appears to be attempting to show that despite his interest in life
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bustling outside he can provide his painted figures with a divine

halo. Lippi feels that now that he has explained his position to the
guards and he has escaped any awkward situation, the balance sheet
is that the church stands to gain a pretty picture: He repeats the
Challenge to the guards to meet him six months labour to see his
masterpiece.
390. Your hand, sir, and good-bye: no lights, no lights!
391. The street's hushed, and I know my own way back,
392. Don't fear me! There's the grey beginning. Zooks!
He takes leave of their guards, shaking hands with their leader. He
screams no lights, no lights, obviously because he wants to enter his
room in the monastery unobserved. He does not even want to be
guided because he is familiar with the way. The poem ends on a
symbolic note of hope. Lippi points out the grey beginning. The dawn
could signify hope for a new beginning. In this context, it could reflect
the painter Fra Lippo Lippi's optimism which is Browning's own that
painting will take a new direction, focusing attention on real life and
not on abstract principles in the name of spiritual values.

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