That he could not soon do it, is evident from the profusion of ornamental glitter and tinsel colouring in the frescoes of the Chapel Riccardi. He succeeded better at Pisa, where his Scripture stories cover an entire wing of Campo Santo. This enormous enterprise, which, in the phrase of Vasari might smite with fear a legion of painters,[51] he is said to have completely achieved in two years. Everywhere inferior to his model in composition, design, and expression, he often goes beyond him in vastness and amenity of scenery, a certain play of ideas and picturesque exuberance. After all, perhaps more than one hand shared in the execution. Benozzo lived long, and lies buried near his work, where public gratitude had placed his sepulchre, and inscribed it with an eulogy.[52] Filippo Lippi, a Carmelitan friar, studied and imitated the works of Masaccio, especially in compositions of small proportion, with great success. Suavity of conception and colour animates his angels and Madonnas: in the large historic frescoes at Pieve di Prato, he introduced proportions exceeding the natural size, praised as his masterpieces by Vasari, who has related Lippi's escape from the convent; his captivity among the Moors; the pictures which he painted at Naples, Padoua, and elsewhere; his premature death by poison from the relatives of the female by whom he had a natural son, Filippino Lippi. Frà Filippo died at Spoleti, 1469, on the point of finishing his great work in the dome, where Lorenzo de' Medici, who had demanded but not obtained his ashes from the citizens, entombed them under a stately monument inscribed by Angelo Poliziano. His scholars and imitators were F. Diamante of Prato, the partner of his last work; F. Pesello of Florence, and Pesellino his son, whom, if we believe Vasari, shortness of life alone intercepted from superior excellence. About this period the first attempts of painting in oil were made at Florence, by Andrea dal Castagno, of detested memory, who had improved himself by looking at Masaccio. Domenico, called Veneziano, to whom Antonello of Messina had communicated the novel mystery of Johan Van Eyk, after practising it with success at home, Loretto, and other parts of the Papal State, came to exercise it at Florence: caressed and encouraged, he excited the envy and cupidity of Castagno, who under the mask of submissive attachment, wheedled himself into his confidence, obtained the secret, and then assassinated the hapless donor. The treacherous but complete acquisition added lustre to his practice during life, but time has swept the sacrilegious produce of his hand, and left nothing to the memory of "Andrea degli Impiccati," but the execration of posterity.[53]