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Updated: June 14, 2025
Ghirlandajo, as is well known, was trained as a goldsmith originally, his father having been the inventor of a pretty fashion then prevailing among young girls of Florence, and being the maker of those golden garlands worn on the heads of maidens. Francia began life as a goldsmith, too, and was never in after life ashamed of his profession, for he often signed his works Francesco Francia Aurifex.
Joachim is thrust forth by one of the attendants, while in the background the high priest accepts the offering of a more favoured votary. On each side are groups looking on, who express the contempt and hatred they feel for one, who, not having children, presumes to approach the altar. All these, according to the custom of Ghirlandajo, are portraits of distinguished persons.
They learned to perfection the anatomy of the human frame, but they could not learn its beauty; they became even reconciled to the ugliness they were accustomed to see; and, with their minds full of antique examples, Verrocchio, Donatello, Pollaiolo, and Ghirlandajo, the greatest anatomists of the fifteenth century, imitated their coarse and ill-made living models when they imagined that they were imitating antique marbles.
Herein Ghirlandajo did but reflect the temper of his age that temper which Cosimo de' Medici, the greatest patron of both art and scholarship in Florence before 1470, represented in his life and in his public policy. It concerns us, therefore, to take into account the nature of the patronage extended by the Medici to art.
Pope Sixtus IV. had, in the year 1473, erected this famous chapel, and summoned the best painters of that time, Signorelli, Cosimo Roselli, Perugino, and Ghirlandajo, to decorate the interior; but down to the year 1508 the ceiling remained without any ornament; and Michael Angelo was called upon to cover this enormous vault, a space of one hundred and fifty feet in length by fifty in breadth, with a series of subjects representing the most important events connected, either literally or typically, with the fall and redemption of mankind.
Do the same with regard to the pictures by Ghirlandajo and Botticelli, and if I have not given you enough to do until I am free again to talk with you, study the frescoes by Filippino Lippi in Santa Maria Novella, and compare them with those in the Brancacci Chapel; and his easel pictures in the Uffizi and Pitti Galleries.
His fellow-pupils were jealous of his ability, and ill-treated him constantly, one of them going so far as to break his nose with a blow. When Michael Angelo had been with Ghirlandajo about two years, he went one day to the Gardens of St. Mark, where the Prince Lorenzo de' Medici who was the foremost patron of art in Florence had established a rich museum of art-works at great expense.
The growth which began with Niccolò of Pisa and with Cimabue, which advanced through Giotto and his school, Perugino and Pinturicchio, Piero della Francesca and Signorelli, Fra Angelico and Benozzo Gozzoli, the Ghirlandajo brothers, the Lippi and Botticelli, effloresced in Michelangelo, leaving nothing for aftercomers but manneristic imitation.
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.
I believe he has a career before him. What is your opinion of French art?" Rennes had studied in Paris and was well acquainted with the artist in question. They talked about the exhibitions of the year and the prices paid at a recent sale of pictures. "Old Garrow has some fine pictures," said Reckage. "I would give a good deal for his Ghirlandajo. Do you know it? And then that noble Tintoret?
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