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Updated: June 6, 2025
Here are four heads of saints, painted with a breadth and energy absolutely startling, when one recollects by whom and when they were executed. Dominic Ghirlandaio, two hundred years later, could hardly have put more masculine expression into a quartet of heads.
Little by little Lodovico began to see that there was nothing for it but to give way to the boy's wishes, and so at last, when he was fourteen years old, Michelangelo was sent to study as a pupil in the studio of Master Ghirlandaio.
In vain did the great sculptor repeat that he knew but little of the art of painting. 'Didst thou not learn to mix colours in the studio of Master Ghirlandaio? said Julius. 'Thou hast but to remember the lessons he taught thee.
It seemed to me that if I had copied a Ghirlandaio in such conditions I would at least maintain for my own credit that he was the first painter in the world. "Very good of its kind," said the weary old man with a shrug of reply for my raptures; "but oh, how far short of Raphael!"
These overscored retreats of devotion, as dusky, some of them, as eremitic caves swarming with importunate visions, have kept me divided all winter between the love of Ghirlandaio and the fear of those seeds of catarrh to which their mortal chill seems propitious till far on into the spring.
From the Cascine we may either return to Florence along the banks of the river, or cross the river by the vile iron Ponte Sospeso and enter the city again, on the Pitti side, by the imposing Porta S. Frediano. According to Vasari the frescoes of S. Jerome by Ghirlandaio and S. Augustine by Botticelli were done in competition.
Lorenzo Monaco Fra Angelico Mariotto Albertinelli turns innkeeper The Venetian rooms Giorgione's death Titian Mantegna uniting north and south Giovanni Bellini Domenico Ghirlandaio Michelangelo Luca Signorelli Wild flowers Leonardo da Vinci Paolo Uccello.
I never cross the Ponte Vecchio and see these artificers in their blouses through the windows, without wondering if in any of their boy assistants is the Michelangelo, or Orcagna, or Ghirlandaio, or even Cellini, of the future, since all of those, and countless others of the Renaissance masters, began in precisely this way.
It was the two Orcagnas who, according to Vasari, had covered the Choir with those scenes in the life of the Virgin which Ghirlandaio was allowed to paint over, and Vasari adds that the later artist availed himself of many of the ideas of his predecessors. This, however, is not very likely, I think, except perhaps in choice of subject.
Gozzoli, who lived and worked through the middle of the fifteenth century, is chiefly known by his large and graceful compositions in the Pisan Campo Santo. These masterpieces are fast crumbling into mildewed rubbish. He had as much vigor and audacity as Ghirlandaio, with more grace and freshness of invention. He has, however, nothing of his dramatic power.
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