His greatest works were painted in continuation of Masaccio's frescoes in the Carmine at Florence.

It is the best warrant of their excellence that we feel them worthy to hold the place they do, and that Raphael transferred one of their motives, the figure of S.Paul addressing S.Peter in prison, to his cartoon of "Mars' Hill." That he was not so accomplished as Masaccio in the art of composition, that his scale of colour is less pleasing, and that his style in general lacks the elevation of his mighty predecessor, is not sufficient to place him in any position of humiliating inferiority.[182] What above all things interests the student of the Renaissance in Filippino's work, is the powerful action of revived classicism on his manner.

This can be traced better in the Caraffa Chapel of S.Maria sopra Minerva at Rome and in the Strozzi Chapel of S.
Maria Novella at Florence than in the Carmine.

The "Triumph of S.Thomas Aquinas" and the "Miracle of S.John" are remarkable for an almost insolent display of Roman antiquities--not studied, it need scarcely be observed, with the scientific accuracy of Alma Tadema--for such science was non-existent in the fifteenth century--but paraded with a kind of passion.

To this delight in antique details Filippino added violent gestures, strange attitudes, and affected draperies, producing a general result impressive through the artist's energy, but quaint and unattractive.
Sandro Botticelli, the other disciple of Fra Lippo, bears a name of greater mark.