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Updated: July 14, 2025
Beethoven's discontent with Haydn as a teacher offers a parallel; and sympathetic students of psychology will perceive that Ghirlandajo and Haydn were almost superfluous in the training of phenomenal natures like Michelangelo and Beethoven. Vasari, passing from controversy to the gossip of the studio, has sketched a pleasant picture of the young Buonarroti in his master's employ.
The Dutch and Flemish painters were in the habit of using their neighbours as models. Ghirlandajo is classed among religious painters, but let us compare some of his "religious" paintings with those of Raphael or Murillo, and see the result. He painted seven frescos on the walls of the Santa Maria Novella in Florence, all scenes of Biblical history, as Ghirlandajo imagined them.
She had examined at Santa Maria-Novella the frescoes of Ghirlandajo, the stalls of the choir, the Virgin of Cimabue, the paintings in the cloister. She had done this carefully, in memory of her husband, who had greatly liked Italian art. She was tired. Choulette sat by her and said: "Madame, could you tell me whether it is true that the Pope's gowns are made by Worth?" Madame Marmet thought not.
Ghirlandajo and Marlowe and Cervantes were men of genius; but their technic is seen to-day to be as primitive as their native talent is indisputable.
Sumner, knowing that the young people had been reading and talking of Ghirlandajo and Botticelli, said that perhaps there would be no better time for talking of these artists than the present. "With Masaccio," he continued, "we have begun a new period of Italian painting, the period of the Early Renaissance.
He was apprenticed to a painter, but he also sedulously studied physics. He is said, indeed, to have made marvellous guesses at truth, in chemistry, botany, astronomy, and particularly, as helping him in his art, anatomy. He was, according to other accounts, a man of noble person, like Ghirlandajo.
He took me to his studio and showed me his work. It was not at all bad, but not what I should have expected from him. He painted nothing but still life, very small pictures, perhaps eight by ten; and he painted very delicately, with the utmost finish. He had evidently a passion for detail. His fruit pieces reminded you of the fruit in a picture by Ghirlandajo.
"It will be well for you if you can look at these paintings by Ghirlandajo to-morrow morning if it be a bright day," he said, "while all that I have told you is fresh in your minds. I cannot go with you, but if you think of anything you would like to ask me about them, you can do so before we begin on Botticelli." The Coming-out Party.
And the boy showed such zest and comprehension that in a short time he could draw freehand with a confidence that set the brightest scholar in the background. Such a pupil, so alert, so willing, so anxious, is the joy of a teacher's heart. Ghirlandajo must have him he would inspire the whole school!
In Raphael's composition, the worshippers wear the classical, not the oriental costume; but an elephant with a monkey on his back is seen in the distance, which at once reminds us of the far East. Ghirlandajo frequently painted the Adoration of the Magi, and shows in his management of the accessories much taste and symmetry.
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