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The portraits of both Tommaso and Domenico, side by side, occur in the fresco representing Joachim driven from the Temple: Domenico, who is to be seen second from the extreme right, a little resembles our Charles II. Like his father, and, as we have seen, like most of the artists of Florence, he too became a goldsmith, and his love of the jewels that goldsmiths made may be traced in his pictures; but at an early age he was sent to Alessio Baldovinetti to learn to be a painter. Alessio's work we find all over Florence: a Last Judgment in the Accademia, for example, but that is not a very pleasing thing; a Madonna Enthroned, in the Uffizi; the S. Miniato frescoes; the S. Trinit
Alessio, who was born in 1427, was an open-handed ingenious man who could not only paint and do mosaic but once made a wonderful clock for Lorenzo. His experiments with colour were disastrous: hence most of his frescoes have perished; but possibly it was through Alessio's mistakes that Ghirlandaio acquired the use of such a lasting medium.
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