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Updated: June 28, 2025


In the sacristy is a picture by Antonio da Murano in the original frame. Both frame and picture are in a bad state, the gesso having scaled off in places.

The figures of the soldiers on the steps recall Perugino in the manner of treatment dark against light, and well detached from the background. The capitals of the pillars, the buttons on the clothes, and the rays of the angel are embossed with gilded gesso, as also are the distant hills.

"For all of Coleyne was the blade And all the hilt of precious stone." In the British Museum is a wonderful example of a wooden shield, painted on a gesso ground, the subject being a Knight kneeling before a lady, and the motto: "Vous ou la mort." These wooden shields were used in Germany until the end of Maximilian's reign.

And for the Prior of the Friars of S. Giorgio he executed a little panel-picture of the Manger, in which he may be seen to have greatly improved his manner, since the heads of the shepherds and of all the other figures have expressions so sweet and so beautiful, that this work was much extolled, and that rightly; and if it were not that the priming of gesso is peeling off through having been badly prepared, so that the picture is gradually perishing, it would be enough by itself to keep him alive for ever in the memory of his fellow-citizens.

Daniello stayed all that summer in Florence, where Giorgio lodged him in the house of Simon Botti, who was much his friend. There, during that time, he cast in gesso nearly all the figures of marble by the hand of Michelagnolo that are in the new sacristy of S. Lorenzo; and for the Fleming Michael Fugger he made a Leda, which was a very beautiful figure.

But by misadventure, the room in which the picture was having been filled in the year of the siege with green broom for making fascines, the damp so softened the gesso that it all peeled away; wherefore Ridolfo had to repaint it, and made in it his own portrait.

He pays attention, also, to the minor details of decorative effect, and takes pains with the ornaments and embroideries; while his use of gold, and embossing with gesso, add much to the æsthetic charm of his work, and proves that he could, when necessary, subordinate his love of realism to his sense of beauty.

The walls of these handsome saloons or galleries were hung with rich velvet of Genoese manufacture, with stamped and gilt leather, and a composition ornament was also applied to woodwork, and then gilded and painted; this kind of decoration was termed "gesso work." Italian.

It is about 6 ft. high by 3 broad, painted in oils on wood prepared with gesso, and represents a smiling Madonna with the Child at her breast. She is seated on a throne in a landscape; two angels hold over her head a massive golden crown; the Child is crowned also and in His hand are three ears of corn, to signify fruitfulness; He also holds the keys.

The borders are still almost intact, but the rest of the relief ornament seems to have been wantonly hacked off out of pure mischief. I believe this is the only example of gesso work in any of Akbar's buildings. The treatment of the upper part of the walls with the characteristic cuspings of Arabian and Moorish architects is admirable.

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