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The outline of an ear and muscle of the neck by Lippi; the throw of drapery by Ghirlandaio; the wide and smoke-like rings of heavy hair by Botticelli; the intenser, more ardent spiral curls of Verrocchio or the young Leonardo; all that is flower-like, flame-like, that has the swirl of mountain rivers, the ripple of rocky brooks, the solemn and poignant long curves and sudden crests of hills, all this exists in the paintings of the Florentines; and it is its intrinsic nobility and exquisiteness, its reminiscence and suggestion of all that is loveliest and most solemn in nature, its analogy to all that is strongest and most delicate in human emotion, which we should seek for and cherish in their works.
Ruskin is angry with him for neglecting to show the splashing of the water in the vessel, but it would be quite possible for no splashing to be visible, especially if the pouring had only just begun; but for Ruskin's strictures you must go to "Mornings in Florence," where poor Ghirlandaio gets a lash for every virtue of Giotto.
The librarian or custode he ought rather to be termed, for he was a man not above the fee of a paul now presented himself, and showed us some of the literary curiosities; a vellum manuscript of the Bible, with a splendid illumination by Ghirlandaio, covering two folio pages, and just as brilliant in its color as if finished yesterday.
So it was known that Joseph was to take charge of the young maid, and all the rest of the suitors seized their staves and broke them across their knees in rage and disappointment. Then the story goes on to the birth of our Saviour as it is told to you in the Bible. It was this story which Ghirlandaio painted on the walls of the chapel, as well as the history of John the Baptist.
I agree with him that Ghirlandaio in both his Nativity frescoes thought little of the exhaustion of the mothers; but it is arguable that two such accouchements might with propriety be treated as abnormal as indeed every painter has treated the birth of Christ, where the Virgin, fully dressed, is receiving the Magi a few moments after.
We begin with Joachim being driven from the Temple, one of the lowest pair; and this has a peculiar interest in giving us a portrait of the painter and his associates the figure on the extreme right being Benedetto Mainardi; then Domenico Ghirlandaio; then his father; and lastly his brother David.
Phidias might leave the carving of his statues to skilful workmen, once he had modelled the clay, even as the painters of the merely designing and linear schools, Perugino, Ghirlandaio, or Botticelli, might employ pupils to carry out their designs on panel or wall.
There are two pen-drawings in Vienna that show us the sort of work Michael Angelo did at this time: one represents a kneeling figure, evidently from a picture by Pesellino; the other, two standing figures, that might be after Ghirlandaio. The draperies have been specially studied. Another pen-drawing, in the Louvre, is a careful study from Giotto’s fresco of the Resurrection of St.
Tommaso Bigordi, a goldsmith, was so clever in designing a pretty garland for women's hair that he was called Ghirlandaio, the garland-maker, and his painter son Domenico is therefore known for ever as Uomenico Ghirlandaio. And so forth. To return to Botticelli. In 1447, when he was born, Fra Angelico was sixty; and Masaccio had been dead for some years.
It is a great deal the outward show with Ghirlandaio, and not so much the inward soul, that we find in his pictures, though he had a wonderful gift of painting portraits. These portraits painted by the young Ghirlandaio seemed very wonderful to the admiring Florentines. From all his pictures looked out faces which they knew and recognised immediately.
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