Summary

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Filippo displayed equal art in the Serpent itself, insomuch that the venom, the foetid breath, and the fire, seem rather to be real than merely painted. The invention of the picture, in which the saint is crucified, has also been much commended; the artist would seem to have figured to himself that San Filippo had been fastened to the cross while it lay extended on the earth, and to have been then raised and dragged aloft by means of ropes, cords, and stakes
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Filippo afterwards painted a picture in tempera for the chapel of Francesco del Pugliese at Campora, a place belonging to the monks of the abbey, outside the gate of Florence. The subject of this work is San Bernardo, who is in a wood writing, and to whom our Lady appears, surrounded by Angels; it has been much admired for the various accessories introduced by the painter; as, for example, the rocks, trees, and shrubs, the books, and similar things; there is besides the portrait of the above-named Francesco, so truly natural, that it wants nothing but the power of speech to be alive.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Having been ever courteous, obliging, and. friendly, Filippo was lamented by all who had known him, but more particularly by the youth of Florence, his noble native city; who, in the public festivals, masks, and other spectacles, were always glad to avail themselves of his readiness and inventive genius, for in these matters this artist has never had his equal.
Source: Wikisource

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