The name of Filippino's master was Sandro Botti-
celli, a Florentine artist, who had been one of
Filippo's pupils and had worked with him in Prato.
Fra Diamante knew that he was the greatest artist
now in Florence, and that he would be able to teach
the child better than any one else.

Filippino was a good, industrious boy, and had
none of the faults which had so often led his father
into so much mischief and so many strange adventures.
His boyhood passed quietly by and he learned
all that his master could teach him, and then began
to paint his own pictures.

Strangely enough, his first work was to paint the
walls of the Carmille Chapel--that same chapel where
Filippo and Diamante had learned their lessons, and
had gazed with such awe and reverence on Masaccio's
work.

The great painter, Ugly Tom, was dead, and there
were still parts of the chapel unfinished, so Filippino
was invited to fill the empty spaces with his work.
No need for the new prior to warn this young painter
against the sin of painting earthly pictures. The
frescoes which daily grew beneath Filippino's hands
were saintly and beautiful. The tall angel in flowing
white robes who so gently leads St. Peter out of
the prison door, shines with a pure fair light that
speaks of Heaven. The sleeping soldier looks in