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Updated: May 28, 2025
Chief among the other pictures are two by the delightful Alessio Baldovinetti, the master of Domenico Ghirlandaio, Nos. 60 and 56; and a large early altar-piece by the brothers Orcagna, painted in 1367 for S. Maria Nuova, now the principal hospital of Florence and once the home of many beautiful pictures.
And that this is true is proved by the fact that all the most celebrated sculptors and painters, who have lived from his day to our own, have become excellent and famous by exercising themselves and studying in this chapel namely, Fra Giovanni da Fiesole, Fra Filippo, Filippino, who finished it, Alesso Baldovinetti, Andrea dal Castagno, Andrea del Verrocchio, Domenico del Ghirlandajo, Sandro di Botticello, Leonardo da Vinci, Pietro Perugino, Fra Bartolommeo di San Marco, Mariotto Albertinelli, and the most divine Michelagnolo Buonarroti; likewise Raffaello da Urbino, who owed to this chapel the beginning of his beautiful manner, Granaccio, Lorenzo di Credi, Ridolfo del Ghirlandajo, Andrea del Sarto, Rosso, Franciabigio, Baccio Bandinelli, Alonso Spagnuolo, Jacopo da Pontormo, Pierino del Vaga, and Toto del Nunziata; and in short, all those who have sought to learn that art have ever gone to this chapel to learn and to grasp the precepts and the rules for good work from the figures of Masaccio.
Eager sat opposite, trying to catch her eye; he was vaguely suspicious. They spoke of Alessio Baldovinetti. Rain and darkness came on together. The two ladies huddled together under an inadequate parasol. There was a lightning flash, and Miss Lavish who was nervous, screamed from the carriage in front. At the next flash, Lucy screamed also. Mr.
After them, indeed, their successors were enabled to attain to it through seeing excavated out of the earth certain antiquities cited by Pliny as amongst the most famous, such as the Laocoon, the Hercules, the Great Torso of the Belvedere, and likewise the Venus, the Cleopatra, the Apollo, and an endless number of others, which, both with their sweetness and their severity, with their fleshy roundness copied from the greatest beauties of nature, and with certain attitudes which involve no distortion of the whole figure but only a movement of certain parts, and are revealed with a most perfect grace, brought about the disappearance of a certain dryness, hardness, and sharpness of manner, which had been left to our art by the excessive study of Piero della Francesca, Lazzaro Vasari, Alesso Baldovinetti, Andrea dal Castagno, Pesello, Ercole Ferrarese, Giovanni Bellini, Cosimo Rosselli, the Abbot of S. Clemente, Domenico del Ghirlandajo, Sandro Botticelli, Andrea Mantegna, Filippo, and Luca Signorelli.
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
We might go up by Fiesole and back by Settignano. There is a point on that road where we could get down and have an hour's ramble on the hillside. The view thence of Florence is most beautiful far better than the hackneyed view of Fiesole. It is the view that Alessio Baldovinetti is fond of introducing into his pictures. That man had a decided feeling for landscape. Decidedly.
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