The great Cosimo de Medici, who was always the friend of painters, desired above all things that Fra Filippo should paint a picture for him. And what is more, having heard so many tales about the idle ways of this same brother, he was determined that the picture should be painted without any interruptions.

'Fra Filippo shall take no holidays while at work for me,' he said, as he talked the matter over with the prior.

'That may not be so easy as thou thinkest,' said the prior, for he knew Filippo better than did this great Cosimo.

But Cosimo did not see any difficulty in the matter whatever. High in his palace he prepared a room for the painter, and placed there everything he could need. No comfort was lacking, and when Filippo came he was treated as an honoured guest, except for one thing. Whenever the heavy door of his room swung to, there was a grating sound heard, and the key in the lock was turned from outside. So Filippo was really a captive in his handsome prison.

That was all very well for a few days. Filippo laughed as he painted away, and laid on the tender blue of the Virgin's robe, and painted into her eyes the solemn look which he had so often seen on the face of some poor peasant woman as she knelt at prayer. But after a while he grew restless and weary of his work.

'Plague take this great man and his fine manners,' he cried. 'Does he think he can catch a lark and train it to sing in a cage at his bidding? I am weary of saints and angels. I must out to breathe the fresh sweet air of heaven.'

But the key was always turned in the lock and the door was strong. There was the window, but it was high above the street, and the grey walls, built of huge square stones, might well have been intended to enclose a prison rather than a palace.

It was a dark night, and the air felt hot as Filippo leaned out of the window. Scarce a breath stirred the still air, and every sound could be heard distinctly. Far below in the street he could hear the tread of the people's feet, and catch the words of a merry song as a company of boys and girls danced merrily along.

'Flower of the rose, If I've been happy, what matter who knows,'

they sang.

It was all too tempting; out he must get. Filippo looked round his room, and his eye rested on the bed. With a shout of triumphant delight he ran towards it. First he seized the quilt and tore it into strips, then the blankets, then the sheets.

'Whoever saw a grander rope?' he chuckled to himself as he knotted the ends together.

Quick as thought he tied it to the iron bar that ran across his window, and, squeezing out, he began to climb down, hand over hand, dangling and swinging to and fro. The rope was stout and good, and now he could steady himself by catching his toes in the great iron rings fastened into the wall, until at last he dropped breathless into the street below.

Next day, when Cosimo came to see how the painting went on, he saw indeed the pictures and the brushes, but no painter was there. Quickly he stepped to the open window, and there he saw the dangling rope of sheets, and guessed at once how the bird had flown.

Through the streets they searched for the missing painter, and before long he was found and brought back. Filippo tried to look penitent, but his eyes were dancing with merriment, and Cosimo must needs laugh too.

'After all,' said Filippo, 'my talent is not like a beast of burden, to be driven and beaten into doing its work. It is rather like one of those heavenly visitors whom we willingly entertain when they deign to visit us, but whom we can never force either to come or go at will.'

'Thou art right, friend painter,' answered the great man. 'And when I think how thou and thy talent might have taken wings together, had not the rope held good, I vow I will never seek to keep thee in against thy will again.'

'Then will I work all the more willingly,' answered Filippo.

So with doors open, and freedom to come and go, Filippo no longer wished to escape, but worked with all his heart. The beautiful Madonna and angel were soon finished, and besides he painted a wonderful picture of seven saints with St. John sitting in their midst.

From far and near came requests that Fra Filippo Lippi should paint pictures for different churches and convents. He would much rather have painted the scenes and the people he saw every day, but he remembered the prior's lecture, and still painted only the stories of saints and holy people--the gentle Madonna with her scarlet book of prayers, the dove fluttering near, and the angel messenger with shining wings bearing the lily branch. True, the saints would sometimes look out of his pictures with the faces of some of his friends, but no one seemed to notice that. On the whole his was a happy life, and he was always ready to paint for any one that should ask him.

Many people now were proud to know the famous young painter, but his old companion Fra Diamante was still the friend he loved best. Whenever it was possible they still would work together; so, great was their delight when one day an order came from Prato that they should both go there to paint the walls of San Stefano.

'Good-bye to old Florence for a while,' cried Filippo as they set out merrily together. He looked back as he spoke at the spires and sunbaked roofs, the white marble facade of San Miniato, and the dark cypresses standing clear against the pure warm sky of early spring. 'I am weary of your great men and all your pomp and splendour. Something tells me we shall have a golden time among the good folk of Prato.'

Perhaps it was the springtime that made Filippo so joyous that morning as he rode along the dusty white road.

Spring had come with a glad rush, as she ever comes in Italy, scattering on every side her flowers and favours. From under the dead brown leaves of autumn, violets pushed their heads and perfumed all the air. Under the grey olives the sprouting corn spread its tender green, and the scarlet and purple of the anemones waved spring's banner far and near. It was good to be alive on such a day.

Arrived at Prato, the two painters, with a favourite pupil called Botticelli, worked together diligently, and covered wall after wall with their frescoes. It seemed as if they would never be done, for each church and convent had work awaiting them.

'Truly,' said Filippo one day when he was putting the last touches to a portrait of Fra Diamante, whom he had painted into his picture of the death of St. Stephen, 'I will undertake no more work for a while. It is full time we had a holiday together.'

But even as he spoke a message was brought to him from the good abbess of the convent of Santa Margherita, begging him to come and paint an altarpiece for the sisters' chapel.

'Ah, well, what must be, must be,' he said to Fra Diamante, who stood smiling by. 'I will do what I can to please these holy women, but after that--no more.'

The staid and sober abbess met him at the convent door, and silently led him through the sunny garden, bright with flowers, where the lizards darted to right and left as they walked past the fountain and entered the dim, cool chapel. In a low, sweet voice she told him what they would have him paint, and showed him the s.p.a.ce above the high altar where the picture was to be placed.

'Our great desire is that thou shouldst paint for us the Holy Virgin with the Blessed Child on the night of the Nativity,' she said.

The painter seemed to listen, but his attention wandered, and all the time he wished himself back in the sunny garden, where he had seen a fair young face looking through the pink sprays of almond blossoms, while the music of the vesper hymn sounded sweet and clear in his ears.

'I will begin to-morrow,' he said with a start when the low voice of the abbess stopped. 'I will paint the Madonna and Babe as thou desirest.'

So next day the work began. And each time the abbess noiselessly entered the room where the painter was at work and watched the picture grow beneath his hand, she felt more and more sure that she had done right in asking this painter to decorate their beloved chapel.

True, it was said by many that the young artist was but a worldly minded man, not like the blessed Fra Angelico, the heavenly painter of San Marco; but his work was truly wonderful, and his handsome face looked good, even if a somewhat merry smile was ever wont to lurk about his mouth and in his eyes.

Then came a morning when the abbess found Filippo standing idle, with a discontented look upon his face. He was gazing at the unfinished picture, and for a while he did not see that any one had entered the room.

'Is aught amiss?' asked the gentle voice at his side, and Filippo turned and saw the abbess.

'Something indeed seems amiss with my five fingers,' said Filippo, with his quick bright smile. 'Time after time have I tried to paint the face of the Madonna, and each time I must needs paint it out again.'

Then a happy thought came into his mind.

'I have seen a face sometimes as I pa.s.sed through the convent garden which is exactly what I want,' he cried. 'If thou wouldst but let the maiden sit where I can see her for a few hours each day, I can promise thee that the Madonna will be finished as thou wouldst wish.'

The abbess stood in deep thought for a few minutes, for she was puzzled to know what she should do.

'It is the child Lucrezia,' she thought to herself. 'She who was sent here by her father, the n.o.ble Buti of Florence. She is but a novice still, and there can be no harm in allowing her to lend her fair face as a model for Our Lady.'

So she told Filippo it should be as he wished.

It was dull in the convent, and Lucrezia was only too pleased to spend some hours every morning, idly sitting in the great chair, while the young painter talked to her and told her stories while he painted. She counted the hours until it was time to go back, and grew happier each day as the Madonna's face grew more and more beautiful.

Surely there was no one so good or so handsome as this wonderful artist. Lucrezia could not bear to think how dull her life would be when he was gone. Then one day, when it happened that the abbess was called away and they were alone, Filippo told Lucrezia that he loved her and could not live without her; and although she was frightened at first, she soon grew happy, and told him that she was ready to go with him wherever he wished. But what would the good nuns think of it? Would they ever let her go? No; they must think of some other plan.

To-morrow was the great festa of Prato, when all the nuns walked in procession to see the holy centola, or girdle, which the Madonna had given to St. Thomas. Lucrezia must take care to walk on the outside of the procession, and to watch for a touch upon the arm as she pa.s.sed.

The festa day dawned bright and clear, and all Prato was early astir. Procession after procession wound its way to the church where the relic was to be shown, and the crowd grew denser every moment. Presently came the nuns of Santa Margherita. A figure in the crowd pressed nearer. Lucrezia felt a touch upon her arm, and a strong hand clasped hers. The crowd swayed to and fro, and in an instant the two figures disappeared. No one noticed that the young novice was gone, and before the nuns thought of looking for their charge Lucrezia was on her way to Florence, her horse led by the painter whom she loved, while his good friend Fra Diamante rode beside her.

Then the storm burst. Lucrezia's father was furious, the good nuns were dismayed, and every one shook their heads over this last adventure of the Florentine painter.

But luckily for Filippo, the great Cosimo still stood his friend and helped him through it all. He it was who begged the Pope to allow Fra Filippo to marry Lucrezia (for monks, of course, were never allowed to marry), and the Pope, too, was kind and granted the request, so that all went well.

Now indeed was Lucrezia as happy as the day was long, and when the spring returned once more to Florence, a baby Filippo came with the violets and lilies.

'How wilt thou know us apart if thou callest him Filippo?' asked the proud father.