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Updated: June 11, 2025
An opposition was formed against Guido and Ridolfo and their sons Gianpaolo, Simonetto, Astorre, Gismondo, Gentile, Marcantonio and others, by two great-nephews, Grifone and Carlo Barciglia; the latter of the two was also nephew of Varano Prince of Camerino, and brother-in-law of one of the former exiles, Gerolamo della Penna.
At this moment came a rapping at his door. He went to open it, dreaming no harm. There stood Ridolfo and Ugolino with swords in their right hands; in his left Ugolino carried a brazier. "Gentlemen," said Cino, "what is the meaning of this? Will you break in upon the repose of your father's guest? And do you come armed against an unarmed man?"
That Young Goldsmith, No. 207, which used to be given to Leonardo but is now Ridolfo Ghirlandaio's, is here; a Franciabigio, No. 43; a questioned Raphael, No. 44; a fine and sensitive head of one of the Gonzaga family by Mantegna, No. 375; the coarse head of Giovanni Bentivoglio by da Costa, No. 376; and a Pollaiuolo, No. 370, S. Jerome, whose fine rapt countenance is beautifully drawn.
It was ridiculous to struggle with two armed men, and unseemly; but suffering was never ridiculous. Patience, therefore! He anticipated the burly Ridolfo, who, having done his bellows-work, was now about to pin his victim from behind. "Pray do not give yourself the pain to hold me, Messere," said he; "I am not the man to deny you your amusement. Do what you will, I shall not budge from here."
He got up and whispered to the scowling Ridolfo; Ridolfo nodded, and the pair of them went off presently together. Oblique looks on Cino were the immediate outcome. He knew the young men disliked him, but cared little for that so long as they left him free to his devotions.
There is careful painting and ingenious composition, but a less finished manner of colouring than in Andrea's Joseph, which was painted about the same time for Pier Borgherini. Like Ridolfo Ghirlandajo, Francia Bigio fell off in his later style, partly because his ambition failed him, and also because he began to look on art as a means of livelihood a motive which is certain death to high art.
Ridolfo and Ugolino Vergiolesi, the two elder brothers of Selvaggia, had stayed behind in Pistoja to share the fighting in the streets. They had plenty of it, given and received. Ridolfo had his head cut open, Ugolino went near to losing his sword arm; but in spite of these heroic sufferances the detested Cancellieri became masters of the city, and the chequer-board flag floated over the Podest
At the same time he painted a picture that was afterwards sent to Siena, although, on the departure of Raffaello, it was left with Ridolfo Ghirlandajo, to the end that he might finish a piece of blue drapery that was wanting.
His disciple Michele, who, as I have said, is called by no other name than Michele di Ridolfo, has painted in fresco, since Ridolfo left the world of art, three great arches over certain gates of the city of Florence; at S. Gallo, Our Lady, S. John the Baptist, and S. Cosimo, which are executed with very beautiful mastery; at the Porta al Prato, other similar figures; and, at the Porta alla Croce, Our Lady, S. John the Baptist, and S. Ambrogio; with altar-pieces and pictures without number, painted with good mastery.
But Baini exposes Pitoni's carelessness, proves the existence of Ridolfo and Silla by the inclusion of their works in the father's book, and shows that Doralice was the wife of Palestrina's son Angelo. It being established, then, that Palestrina was married but once, and it being assumed that he was happily married, it is strange to see how this happy marriage came near proving fatal to him.
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