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Updated: June 11, 2025
Meanwhile Ridolfo, drawing from the cartoon of Michelagnolo, was held to be one of the best draughtsmen thus employed, and was therefore much beloved by everyone, and particularly by Raffaello Sanzio of Urbino, who at that time, also being a young man of great reputation, was living in Florence, as has been related, in order to learn art.
Ridolfo was a rapid and resolute painter in certain kinds of work, and particularly in festive decorations; and thus, for the entry of the Emperor Charles V into Florence, he executed in ten days an arch at the Canto alla Cuculia, and another arch in a very short time at the Porta al Prato for the coming of the most illustrious Lady, Duchess Leonora, as will be related in the Life of Battista Franco.
In due time Luigi joined the Company of Jesus, renounced this world, and died at Rome in the odor of sanctity, after doing such good works as surprised every one. His brother Ridolfo succeeded to the marquisate, and fell into a quarrel with Duke William about lands, which dispute Luigi composed before his death.
Ugolino and Ridolfo, helpless and ashamed before her outburst, went out bickering to their sport; and Selvaggia, wild as her name, untaught, with none to tutor her, dared her utmost dared, poor girl, beyond her strength.
Ridolfo had a brother called Don Bartolommeo in the Angeli, a seat of the Monks of Camaldoli in Florence, who was a truly religious, upright, and worthy man; and Ridolfo, who loved him much, painted for him in the cloister that opens into the garden that is, in the loggia where there are the stories of S. Benedict painted in verdaccio by the hand of Paolo Uccello, on the right hand as one enters by the door of the garden a scene in which that same Saint, seated at table with two Angels beside him, is waiting for bread to be sent for him into the grotto by Romanus, but the Devil has cut the cord with stones; and the same Saint investing a young man with the habit.
In like manner, at the nuptials of Duke Lorenzo de' Medici, he was of great assistance in all the festive preparations, and particularly in some prospect-views for comedies, to Franciabigio and Ridolfo Ghirlandajo, who had charge of everything.
After Ridolfo had studied from that cartoon, and had become well-practised in painting under Fra Bartolommeo di San Marco, he already knew so much, according to the judgment of the best masters, that Raffaello, when about to go to Rome at the summons of Pope Julius II, left him to finish the blue drapery and other little things that were wanting in the picture of a Madonna that he had painted for some gentlemen of Siena; which picture Ridolfo, after he had finished it with much diligence, sent to Siena.
Jacopo da Pontormo was requested to execute this work by Messer Pier Francesco Riccio, at that time major-domo to the Duke, and by Tribolo, but he would not do it, on the ground that he did not think that the time given, which was only six days, would be enough for him; and the same refusal was made by Ridolfo Ghirlandajo, Bronzino, and many others.
And his lineaments and his painting were so modern and so different from those of the others, that his works can safely stand in comparison with any drawing and colouring of our own day. He was very zealous at his labours, and a marvellous master of the difficulties of perspective, as it is seen in a story painted by him with small figures, which is to-day in the house of Ridolfo del Ghirlandajo.
At the Madonna di Vertigli, a seat of the Monks of Camaldoli, without the township of Monte Sansovino, Ridolfo, having with him the above-named Battista Franco and Michele, executed in chiaroscuro, in a little cloister, all the stories of the life of Joseph; in the church, the altar-pieces of the high-altar, and a Visitation of Our Lady in fresco, which is as beautiful as any work in fresco that Ridolfo ever painted.
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