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His genius lying largely in the direction of portrait painting, he introduced frequently the portraits of contemporaries, causing them to figure as spectators of his sacred scenes. One of these contemporaries thus presented, was Amerigo Vespucci, who was to give his name to a continent. Another was a Florentine beauty, a woman of rank, Ginevra de Benci.
Both were tall, both in cloaks; but one wore his hat and the other carried it. By this, as well as his drooping, deferential shoulders, I knew this latter to be the servant, the former his patron. Midway towards the Via de' Benci they stopped, while he of the bare head explained at length, pointing this way and that with his hat, then counting on his fingers.
Then began the rivalry between Leonardo and Michael Angelo, which lasted during the remainder of Leonardo's life. With all their admiration of each other's genius, their mutual frailties prevented any real good-will on either side. Leonardo, during his stay at Florence, painted the portrait of Ginevra Benci, the reigning beauty of her time.
They visited, that morning, Santa Maria Novella, where the Countess Martin had already gone with Madame Marmet. But Miss Bell had reproached them for not observing the beautiful Ginevra of Benci on a fresco of the choir. "You must visit that figure of the morning in a morning light," said Vivian.
But the lady in the foreground, how unmoved she seems; it is as though the whole scene had been arranged for the sake of her portrait; and, indeed it is a portrait, for the richly dressed visitor is Ginevra de' Benci, who stands too in the fresco of the Birth of St. John.
When he did look round he was in the Via de' Benci, where there was no seeing what was happening on the bridge; but Tessa was too trusting and obedient not to do just what he had told her.
While these thoughts were in his mind he was advancing from the Piazza di Santa Croce along the Via dei Benci, and as he neared the angle turning into the Borgo Santa Croce his ear was struck by a music which was not that of evening revelry, but of vigorous labour the music of the anvil. Tito gave a slight start and quickened his pace, for the sounds had suggested a welcome thought.
A noble lady, habited in the elegant Florentine costume of the fifteenth century, enters with four others all portraits, and, as is usual with Ghirlandajo, looking on without taking any part in the action. The lady in front is traditionally said to be Ginevra Benci, celebrated for her beauty.
They visited, that morning, Santa Maria Novella, where the Countess Martin had already gone with Madame Marmet. But Miss Bell had reproached them for not observing the beautiful Ginevra of Benci on a fresco of the choir. "You must visit that figure of the morning in a morning light," said Vivian.
He began a panel-picture of the Adoration of the Magi, containing many beautiful things, particularly the heads, which was in the house of Amerigo Benci, opposite the Loggia de' Peruzzi; and this, also, remained unfinished, like his other works.
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