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Updated: June 11, 2025
A disciple of Ridolfo, likewise, was Toto del Nunziata, who painted for S. Piero Scheraggio, in company with his master, an altar-piece of Our Lady, with the Child in her arms, and two Saints.
The chapel nearest the choir was built by Ridolfo de' Bardi, it is said, sometime after 1310, and it was for him that Giotto painted there the story of St. Francis; while on the ceiling he has painted the three Franciscan virtues, Poverty, Chastity, and Obedience, and in the fourth space has set St. Francis in Glory, as he had done in a different manner at Assisi.
Ridolfo, with his broken head-piece, was a bluff youth, broad-shouldered, square-jawed, a great eater, grimly silent for the most part. Ugolino had a trenchant humour of the Italian sort. What this may be is best exampled by our harlequinades, in which very much of Boccaccio's bent still survives.
Here the Grand Dukes gathered ten pictures by Titian eight by Raphael, as well as two, the Madonna del Baldacchino and the Vision of Ezekiel, which he designed, ten by Andrea del Sarto, six by Fra Bartolommeo, two lovely Peruginos, two splendid portraits by Ridolfo Ghirlandajo, four portraits by Tintoretto, several pictures by Rubens, two portraits, one of himself, by Rembrandt, a magnificent Vandyck, and many lesser pictures.
Cino, for all his dismay, could not forbear a glance at the speaker's own damaged pate. "And, after all, Messer Ridolfo, in that you do but as you are done by, and who will blame you?" "Hark'ee, Master Giurista," broke in Ugolino, "we have come to prove some of these fine words of yours. It will be well for you to answer questions instead of bandying them.
The usual "trial by his peers" was resorted to, Perugino, Granacci, and Ridolfo Ghirlandajo were called into council to value it according to its merits. On completing this picture the events we have related in the last chapter took place, Fra Bartolommeo returned from Venice with his enterprise renewed, and the convent partnership was commenced.
These are to be found, with some difficulty, on the walls of the niche where the tomb of the Marchese Ridolfo stands. They are certainly very simple and telling, and I advise every one to open the "Mornings in Florence" and learn how the wilful magical pen deals with them; but it would be a pity to give up Ghirlandaio because Giotto was so different, as Ruskin wished. Room for both.
The other pictures here are two sunny panels by Ridolfo Ghirlandaio, high up, with nice easy colouring; No. 92, an Adoration of the Shepherds by Lorenzo di Credi, with a good landscape and all very sweet and quiet; No. 98, a Deposition by Filippino Lippi and Perugino, in collaboration, with very few signs of Filippino; and No. 90, a Resurrection by Raffaellino del Garbo, an uncommon painter in Florence; the whole thing a tour de force, but not important.
Having arrived there, and being pleased no less with the city than with those works, which appeared to him to be divine, he determined to take up his abode there for some time; and thus he formed a friendship with some young painters, among whom were Ridolfo Ghirlandajo, Aristotile da San Gallo, and others, and became much honoured in that city, particularly by Taddeo Taddei, who, being one who always loved any man inclined to excellence, would have him ever in his house and at his table.
In short, all sorts of works used to be executed in his shop, so that many young men frequented it, each learning that which pleased him best. Thus Antonio del Ceraiolo, having been with Lorenzo di Credi, was then with Ridolfo, and afterwards, having withdrawn by himself, executed many works and portraits from life.
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