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He has been styled a latter-day Domenico Ghirlandajo, but this attribution rings more literary than literal. Mr.
At that time, Italian schools were less wonderful in colouring than in other matters of technique. "Let him become my pupil," said Perugino, when Raphael was brought to him and some of his work was exhibited; "soon he will be my master." A very different attitude from that of Ghirlandajo toward Michael Angelo. Raphael and his master became friends and worked together for nine years.
And so, having a straight friendship with Ridolfo, the son of Domenico Ghirlandajo, who, as will be related, was held to be able and well practised in painting, Andrea de' Ceri placed Perino with him, to the end that he might give his attention to design, and strive with all the zeal and love at his command to make in that art the proficience of which his great genius gave promise.
His mother, a girl of nineteen years, put him out to nurse at a country house among the hills of Settignano, where every other inhabitant is a worker in the marble quarries, and the child early became familiar with that strange first stage in the sculptor's art. To this succeeded the influence of the sweetest and most placid master Florence had yet seen, Domenico Ghirlandajo.
Hambourg took us to another room, where he showed us with much satisfaction, a very valuable painting of the old Italian school, by Ghirlandajo, of which he is very fond. One of the first things accomplished after my arrival in London was to seek out Tobias Matthay, the composer and teacher, for an echo of his fame had reached me across the water.
Born in 1449, the pupil of Alessio Baldovinetti, Ghirlandajo is not a great painter perhaps, but rather a craftsman, a craftsman with a wonderful power of observation, of noting truly the life of his time. He seems to have asked of art rather truth than beauty.
One can imagine a lowly home; an aged woman coming out to meet her young relative either at her door or in the high road. There may have been surroundings of fruit and flowers, a stretch of highroad or a hospitable doorway; but the wildest imagination could not picture what Ghirlandajo did.
Watching the artists, young Michael Angelo soon formed a lasting friendship with a boy of great talent a few years older than himself, by name Francesco Granacci. This boy was a pupil of Domenico Ghirlandajo, a very great painter. The more Michael Angelo saw Granacci and his work in the studio the more he longed for a chance to study painting.
On your left hand is represented the birth of the Virgin, On your right, her meeting with Elizabeth. You can't easily see better pieces nowhere more pompous pieces of flat goldsmiths' work. Ghirlandajo was to the end of his life a mere goldsmith, with a gift of portraiture.
This master has been identified with Il Bassiti, under the name of Basaiti. See note on p. 57, Vol. See note on p. 57, Vol. Jacopo, called L'Indaco, who was a disciple of Domenico del Ghirlandajo, and who worked in Rome with Pinturicchio, was a passing good master in his day; and although he did not make many works, yet those that he did make are worthy of commendation.
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