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Updated: June 22, 2025
We need only compare Filippino's Scene before the Proconsul with his Raising of the King's Son in the Brancacci Chapel; the grand attitude and draperies of Ghirlandajo's Zachariah with the vulgar dress and movements of the Florentine citizens surrounding him; Benozzo Gozzoli's noble naked figure of Noah with his ungainly, hideously dressed figure of Cosimo de' Medici; Mantegna's exquisite Judith with his preposterous Marquis of Mantua; in short, all the purely realistic with all the purely idealistic painting of the fifteenth century.
But here they do their hair straight and low on the brows on each side and fasten it in knots near the nape of the neck, so they have an air of distinction which sometimes recalls the Florentine women of Ghirlandajo's or Botticelli's portraits. The solar festival of St.
They eagerly followed every step of his life from the time when, a young lad, he entered Ghirlandajo's studio, until he was brought to Florence a dead old man, concealed in a bale of merchandise, because the authorities refused permission to his friends to take his body from Rome and was buried at midnight in Santa Croce.
They show him to have been a fine artist, but to have had not much idea of history, and to have had little sense of fitness. Ghirlandajo's seven subjects are taken from legends of the Virgin, and the greatest represents Mary's visit to Elizabeth; it is called "The Visitation," and it is a fresco about eighteen feet long painted on the choir wall. Let us imagine the possible scene.
Ghirlandajo's paintings are famous and worthy because they are such an advance on what was before him. Compare his men and women with those by Giotto. You know how much you found of interest and to admire in Giotto's pictures when you compared them with Cimabue's and with the old Greek Byzantine paintings. Just so compare those by Masaccio and Ghirlandajo with what was done before.
Perhaps he remembered the elaborate drawing he once made of Ghirlandajo's assistants at work upon the ladders and wooden platforms at S. Maria Novella. Knowing that he should need helpers in so great an undertaking, and also mistrusting his own ability to work in fresco, he now engaged several excellent Florentine painters.
Ghirlandajo's pictures may be found in the Louvre, the Berlin Museum, the Dresden, Munich, and London galleries. Most children will find it hard to see their beauty. Great men are likely to come in groups, and with Ghirlandajo there are associated Botticelli and Fra Filippo Lippi.
His subjects are religious. "For studying his work, go again to Santa Maria Novella, where is a series of frescoes representing scenes in the lives of the Virgin Mary and John the Baptist. I would give some time to these, for in them you will find all the characteristics of Ghirlandajo's frescoes, which are his strongest work.
Ghirlandajo painted during four years the choir of the church of Santa Maria Novella, Florence, for one of the great Florentine benefactors, Giovanni Tornabuone, and there are to be seen some of Ghirlandajo's finest frescoes from the history of John the Baptist and the Virgin. A Madonna and Child with angels in the National Gallery is attributed to Ghirlandajo.
'Do you remember, he added, 'that picture you described to me this time last year, the Ghirlandajo's Madonna? 'Oh, yes, said Violet, pleased and surprised. 'She does not hold her son back from the cross, does she, though the sword was to pierce through her own heart? 'Yes; but that was for the greatest reason.
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