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Updated: June 14, 2025
He was descended from an ancient but not distinguished Florentine family, and was born at Caprese, Italy, March 6, 1475. In 1488 he was apprenticed to the painter Ghirlandajo. He studied antique marbles in the garden of San Marco, where he was discovered by Lorenzo de' Medici, who in 1489 took him into his palace.
Matilda, and indeed the others, were surprised at his declining the invitations to stay at the park; but Violet, as well as he, thought it better to lay themselves under no further obligations; though they could not avoid receiving many attentions. Lady Lucy feted the children, and Violet accomplished her wish of showing Johnnie the little Madonna of Ghirlandajo.
If it was a mistake in the sculptors of that period to subordinate their art to painting, the error, we feel, was aggravated by the imitation of a manner so prosaic as that of Ghirlandajo. That Benedetto began life as a tarsiatore may perhaps help to account for his pictorial style in bas-relief.
There is little doubt that Michelangelo disliked beginning this new work, and that he would have greatly preferred to continue the sepulchral monument, for which he had made such vast and costly preparations. He did not feel certain how he should succeed in fresco on a large scale, not having had any practice in that style of painting since he was a prentice under Ghirlandajo.
His first flight from the workshop of Ghirlandajo was to the gardens of the great Florentine prince, Lorenzo de' Medici, who had sent to Ghirlandajo for two of his best pupils. He wished them to come to his gardens and study the beautiful Greek statues which ornamented them. The choice fell to Angelo and Granacci.
In S. Jacopo tra Fossi there is by the hand of this Antonio an altar-piece, with S. Francis and S. Mary Magdalene at the foot of a Crucifix; and in the Church of the Servites, behind the high-altar, a S. Michelagnolo copied from that by Ghirlandajo in the Ossa of S. Maria Nuova.
Domenico Ghirlandajo was properly Domenico Bicordi, but inherited from his father, a goldsmith in Florence, the by-name of Ghirlandajo or Garland-maker a distinctive appellation said to have been acquired by the elder man from his skill in making silver garlands for the heads of Florentine women and children.
His extraordinary force and originality of genius made themselves felt, undoubtedly, at the very outset of his career; and Ghirlandajo may be excused if, without being positively jealous of the young eagle settled in his homely nest, he failed to do the utmost for this gifted and rough-natured child of promise.
In front, two women are affectionately occupied with the child a lovely infant with a glory round its head. Three other attendants are at the foot of the bed. We have next in date, the elegant composition by Ghirlandajo. As Joachim and Anna were "exceedingly rich," he has surrounded them with all the luxuries of life.
In a very fine example by Ghirlandajo, St. Dominick and St. Peter Martyr are conspicuous: painted, of course, for the Dominicans. In another, by Pinturicchio, St. Francis is a principal figure, with St. Bonaventura and St. In another, by Guido, the treatment differs from the early style. The coronation above is small and seen as a vision; the saints below, St. Bernard and St.
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