Lives of the Most Excellent Painters, Sculptors, and Architects/Domenico Ghirlandajo

by Giorgio Vasari

 

DOMENICO GHIRLANDAJO,^[1] FLORENTINE PAINTER.

[born 1449—died about 1498.]

Domenico, son of Tommaso del Ghirlandajo, who, by the pre-eminence of his talents and the importance and number of his works, is entitled to be placed among the first and most excellent masters of his time, was formed by nature to be a painter, and followed the bent of his disposition, notwithstanding the determination to the contrary of those who had him in charge. Impediments thus offered to the inclinations of youth, frequently nip the most promising fruits of genius in the bud, by compelling the attention to an illsuited employment, and forcibly turning it from the vocation to which there is a natural impulse; but Domenico, obeying the instinct of his nature, as we have said, obtained for himself the highest honours, secured great advantage to art, as well as to his kindred, and his contemporaries; and became the joy and delight of his age. Our artist was designed by his father to learn his own calling, that of a goldsmith,^[2] in which Tommaso was a more than respectable master; the greater part of the votive vessels in silver, formerly preserved in the church of the Annunciation at Florence, being from his hand, as were the silver lamps of the chapel, which were destroyed during the siege of the city in 1529; Tommaso del Gliirlandajo was the first who invented and made those ornaments worn on the head by the young girls of Florence, and called garlands (ghirlande),^[3]whence Tommaso acquired the name of Ghirlandajo. Yet not for being the first inventor only, but also on account of the vast number and extraordinary beauty of those made by him, insomuch that none could please, as it should seem, but such as came from his work-rooms. Being thus placed to learn the art of the goldsmith therefore, Domenico, whom this occupation did not satisfy, employed himself perpetually in drawing; he was endowed by nature with remarkable intelligence, and possessing admirable taste, with a most correct judgment in all things related to painting; although occupied as a goldsmith in his earliest youth, he yet obtained extraordinary facility in design by continual practice, and was so quick as well as clever, that he is said to have drawn the likenesses of all who passed by his workshop, producing the most accurate resemblance. Of this ability there is a sufficient proof in the numerous portraits to be found in his works, and which are truly animated likenesses.

The first pictures painted by Domenico were for the chapel of the Vespucci, in the church of Ognissanti, where there is a Dead Christ with numerous Saints. Over an arch in the same chapel there is a Misericordia, wherein Domenico has portrayed the likeness of Amerigo Vespucci, who sailed to the Indies;^[4] and in the refectory of the convent (of Ognissanti) he painted a fresco of the Last Supper.^[5] In Santa Croce, at the entrance of the church on the right hand, Domenico painted the story of Santo Paolino,^[6] whereby, having acquired great reputation, and attained to high credit, he was commissioned by Francesco Sassetti to paint a chapel in Santa Trinita,^[7] with stories from the life of San Francesco; a work of great merit, and completed by Domenico with infinite grace, tenderness, and love. In the first compartment of this picture is the representation of a miracle performed by St. Francis, and here the master has given an exact counterpart of the bridge of the Santa Trinita with the palace of the Spini: in this work St. Francis appears hovering in the air, and restores to life the child who had been dead; among the women standing around are seen the different emotions of grief for his death, as they are bearing him to the burial, and of joy and amazement as they behold him resuscitated. Domenico has likewise shown the monks issuing from the church with the Becchim, men whose office it is to bury the dead, following the cross and proceeding to the interment; all exhibiting perfect truth to nature, as do other figures, who are expressing the amazement they feel, or the happiness they experience, from the event they have' just witnessed. In this picture are the portraits of Maso, degli Albizzi, Messer Agnolo Acciaiuoli, and Messer Palla ^ Strozzi, all eminent citizens frequently cited in the history of, Florence.

A second picture represents St. Francis, when, in the presence of the vicar, he refuses to accept the inheritance devolving on him from his father, Pietro Bernardone, and assumes the habit of penitence, wffiich he binds around him with the cord of discipline; in another compartment the same saint is depicted as proceeding to Rome, where he obtains from Pope Honorius the confirmation of his rule, and presents to that Pontiff, roses blooming in the middle of January. In this story the master represents the Hall of the Consistory with the Cardinals seated around it, a flight of steps leads up into the hall; and, leaning on the ballustrade, are the halflength figures of various persons portrayed from the life. Among the portraits in this work is that of the illustrious Lorenzo de’ Medici the elder. The master likewise depicts St. Francis receiving the Stigmata; and in the last of the series here described, he represents the Saint dead, with his Monks mourning around him. One among them kisses the hands of the departed, and the expression in his case could not possibly be rendered more perfect by the art of the painter. There is also a bishop, in his episcopal vestments and with spectacles on his nose; he is chanting the prayers for the dead; and the fact that we do not hear him, alone demonstrates to us that he is not alive, but merely painted.^[8] On each side of the altar-piece are two compartments, in one of which Domenico painted the likeness of Francesco Sassetti on his knees; and in the other that of Madonna Nera his wife, with their children (but these last are in the story above, when the child is restored to life), and some other beautiful maidens of the same family, whose names I have not been able to discover, all wearing the dress and ornaments of that time, a circumstance which imparts no small pleasure to the beholder.^[9] On the vaulted ceiling of the chapel are four Sybils, and on the external wall is the story of the Tiburtine Sybil, by whom the Emperor Octavian is induced to worship Christ; a fresco of admirable execution, and exhibiting an animation of colouring which is very charming.^[10] To these works Domenico added a picture in tempera, wherein is the Nativity of Christ, painted in such a manner as to astonish every one who is conversant with art; in this work is the portrait of the master himself, with certain heads of'shepherds, which are considered wonderfully fine.^[11] In our book we have drawings of the Sybil, and of some other parts of that work, most admirably executed in chiaro-scuro; we have also the perspective exhibiting the bridge of Santa Trinità.

For the Brotherhood of the Ingesuati, Domenico painted the altar-piece of the high altar with various Saints kneeling around the Virgin, San Giusto, bishop of Volterra namely, titular saint of that church; San Zanobi, Bishop of Florence; the Angel Raphael, San Michele, in magnificent armour, with some others; and of a truth Domenico merits praise for this work, seeing that he was the first who attempted to imitate borderings and ornaments of gold with colours, which had, up to that time, not been the custom. But Domenico did away in a great measure with those flourishes and scrolls formed with gypsum or bole and gold, which were better suited to the decorating of tapestry or hangings, than to the paintings of good masters.^[12] But more beautiful than any of the other figures is that of Our Lady, who has the Child in her arms, and four little Angels around her. This picture, than which nothing better could be executed in tempera, was at that time in the church belonging to the above-named friars, without the gate which opens on the road to Pinti; but that building having been afterwards destroyed, as will be related elsewhere, it is now in the church of San Giovannino, within the gate of San Pietro Gattolini, where the convent of the Ingesuati is situated. In the church of the Cestello, Domenico commenced a picture which was completed by his brothers David and Benedetto; the subject of this work is the Visitation of Our Lady, and in it there are certain female heads which are most graceful and beautiful.^[13] For the church of the Innocenti, Domenico painted a picture of the Magi, in tempera, which has been highly extolled; here, too, are many very beautiful heads, both old and young, the attitude and expression finely varied. In the countenance of Our Lady, more particularly, there is the manifestation of all the modesty, grace and beauty that can be imparted to the Mother qf the Son of God by the painter’s art.^[14] There is likewise a work by this master in the church of San Marco, in the middle aisle, with a Last Supper in the strangers’ refectory of the cloister, both executed with much care.^[15] In the palace of Giovanni Tornabuoni, Domenico painted the Adoration of the Magi, also very carefully executed.^[16] And in the smaller Hospital he painted the Story of Vulcan for Lorenzo de’ Medici;^[17] in this work there are many figures undraped and wielding heavy hammers, as they labour in the fabrication of thunder-bolts for Jupiter. In the church of Ognissanti, in Florence, Domenico painted, in competition with Sandro Botticelli, a St. Jerome, surrounded by various instruments and books, such as are used by the learned: this fresco is now beside the door -wliich leads into the choir, having been removed, together with that of Botticelli, by the monks, who desired to make alterations in the choir; and being secured by means of iron bars, &c., they were both transported without injury into the centre of the church; this was done at the moment when these Lives were in course of being printed for the second time.

The lunette over the door of Santa Maria Ughi^[18] was painted by Domenico Ghirlandajo, who likewise executed a small Tabernacle for the guild of the Joiners, and in the above-mentioned church of Ognissanti, he painted a figure of St. George killing the Dragon, which is very finely done.^[19] And of a truth this master was exceedingly well versed in the execution of mural paintings, which he treated with extraordinary facility; he was nevertheless remarkably careful in the composition of his works.

Ghirlandajo was invited to Rome by Pope Sixtus IV., to take part with other masters in the painting of his chapel, and he there depicted Christ calling Peter and Andrew from their nets, as also the Resurrection of the Saviour, which is now almost entirely ruined; for being over a door, the architecture of which it has been found necessary to restore, the painting has suffered much damage.^[20] Francesco Tornabuoni, a rich and eminent merchant, who was a friend to Domenico, was at that time in Rome, and his wife, having died in childbirth, as has been related,^[21] in the life of Andrea Verrocchio, he, desiring to do her all the honour befitting their station, caused a tomb to be constructed in the church of the Minerva, and commissioned Domenico Gliirlandajo to paint the whole face of the wall around it. He likewise caused a small picture to be executed by that master for the same place. The mural paintings consisted of four stories, two from the life of John the Baptist, and two from that of Our Lady,^[22] which were all much extolled at the time. Francesco was so entirely satisfied with all that Domenico had done, that when the master returned to Florence, with great honour and large gains, Tornabuoni recommended him bv letters to his relation Giovanni, informing the latter how well he had been served by Domenico in the matter of the tomb, and declaring that the Pope also was highly pleased with his pictures. When Giovanni Tornabuoni heard these things, he began to consider how he might best employ the ability of the painter in some magnificent work, which should serve as a perpetual memorial of himself, and at the same time bring renown and advantage to Domenico.

Now it chanced that at this time the principal chapel of Santa Maria Novella, a monastery of the Preaching Friars, which had formerly been painted by Andrea Orgagna, was in many parts injured by the rains which had penetrated to the work, by reason of the roof being imperfectly covered. IVIany citizens had offered to restore the chapel or to paint it anew, but the owners, who were then of the Ricci family, would never agree to its being done, they not having means to supply the expense themselves, nor could they resolve on yielding the chapel to others who would do it, lest they should lose their right in it, and should see their arms, which had descended to them from their ancestors, removed from the place. But Giovanni Tornabuoni, wishing much that Domenico should raise him this memorial, set to work in the matter, and sought by various devices to effect his purpose. At length he promised the Ricci, not only to take the whole expense on himself, and to make them a recompense in some other matter, but also assured them that he would have their arms emblazoned on the most conspicuous and most honourable place to be found in the chapel. On this condition they agreed, and a solemn contract was made, by means of an instrument carefully drawn up according to the tenor above described. Giovanni then commissioned Domenico to execute the work, the same subjects being retained, as they had been originally painted by Orgagna, and the price agreed on was 1200 gold ducats; but, in the event of the paintings pleasing him, Giovanni promised to give 200 more. Domenico therefore set hard to the work, and did not cease until the fourth year, when he had entirely finished it—this was in the year 1485.^[23] Giovanni was thoroughly satisfied and much pleased with the whole; he admitted that he considered himself well served, and confessed ingenuously that Domenico had gained the additional 200 ducats, but added, that he would be glad if the painter would content himself with the price first agreed on. Ghirlandajo, who valued glory and honour much more than riches, immediately remitted all the remainder, declaring that he had it much more at heart to give Giovanni satisfaction, than to secure the additional payment for himself.

Giovanni Tornabuoni afterwards caused two large escutcheons to be executed in stone, the one for the Tornaquinci, the other for the Tornabuoni: these he had erected on the two pilasters outside the chapel; and in the lunette he placed other armorial bearings belonging to different branches of the same family, divided into various names and exhibiting different shields:—the escutcheons, that is, besides the two already named, of the Giachinotti, Popoleschi, Marabottini, and Cardinal!. Finally, Domenico painted the altar-piece; and beneath an arch in the gilt frame work, Giovanni caused a very beautiful tabernacle for the sacrament to be placed, as the completion of the whole work. In the pediment of the tabernacle he then commanded a small shield, a quarter of a braccio only, to be emblazoned with the arms of the owners of the chapel, the Ricci, namely.

But the best was to come; for when the chapel was opened to view, the Ricci sought their arms with a great outcry, and at last, not seeing them, they hastened to the magistrates and laid their contract before the Council of Eight. Thereupon the Tornabuoni proved that they had placed the arras of the Ricci in the most conspicuous and most honourable part of the whole work, and although the latter complained that their escutcheon could not be seen, yet they were declared to be in the wrong, for since the Tornabuoni had caused it to be placed in a position so honourable as the immediate vicinity of the most Holy Sacrament, they ought to be content; it was therefore decided by the magistrates that so it should remain, as we see it to this day. And now if any man think this relation foreign to the life that I am writing, let not this disturb his quiet, for it chanced to present itself at the point of my pen, and if it be to no other purpose, will serve to show in what manner poverty becomes the prey of riches, and how riches, when accompanied by prudence, may attain without censure to the end desired by those who possess them.

But to return to the beautiful works of Domenico. In the ceiling of this chapel he first painted colossal figures of the four Evangelists, and on the wall wherein is the window, he depicted stories representing San Domenico, San Pietro the Martyr, and San Giovanni, proceeding into the Wilderness, with Our Lady receiving the annunciation from the Angel: over the window are certain Saints (the patrons of Florence) on their knees, and beneath is the portrait of Giovanni Tornabuoni on the right hand, with that of his wife on the left, both said to be exact likenesses. On the wall to the right hand are seven stories^[24] in an equal number of compartments, six beneath, which occupy the entire width of the wall, and one above, which has the width of two of those below, and is enclosed by the vaulted ceiling. On the opposite wall are also seven stories, representing events in the life of St. John the Baptist.

The first picture, on the wall to the right, exhibits Giovacchino driven from the Temple;^[25] the patience with which he suffers is expressed in his countenance, while in the faces of the Jews, the contempt and hatred which they feel for those who, without having children, presume to approach the temple, are equally manifest. In this story, on the compartment towards the window, are four men portrayed from the life; one of these, the old man with shaven beard and wearing a red capote, is Alesso Baldovinetti,^[26] Domenico’s master in painting and mosaic; the second, with uncovered head, who has his hand on his side and wears a red mantle with a blue vestment beneath, is Domenico himself, the author of the work, taken with his own hand by means of a mirror. The third, with long black hair and thick lips, is Bastiano of San Gemignano, disciple and cousin of Domenico; and the fourth, who turns his back and has a cap or barett on the head, is the painter David Ghirlandajo, his brother. All these persons are said by those who knew them, to be very animated and faithful likenesses.

In the second story is the Birth of the Virgin, painted with extraordinary care, and among other remarkable parts of this work may be mentioned a window of the building which gives light to the room, and which deceives all who look at it. While Santa Anna is in bed, and certain women are ministering to her, others are represented as washing the Madonna with great care; one brings water, another the swathing bands, one occupies herself with one service, another with something else, and while each is attending to that appertaining to her, one has taken the infant in her arms, and smiling into its face, is making it smile in return, with a feminine grace truly appropriate to a work of this character; there are besides other and various expressions exhibited in each of those figures.^[27] In the third picture, which is the first in the upper compartment. Our Lady is seen ascending the steps of the temple, and in the back-ground there is a building which recedes from the eye in very correct proportion; there is also an undraped figure, which at that time, as they were not frequently seen, was very much commended, although there is not to be discovered in it that entire perfection of the proportions which we find in those painted in our own day. Near this story is that of the Marriage of the Virgin, when the anger of the suitors is seen to exhale itself in the act of breaking their rods, which do not blossom as does that of Joseph. The figures are in considerable numbers and appear in an appropriate building. In the fifth story, the Magi are seen to arrive in Bethlehem with a vast concourse of men, horses, dromedaries, and many other objects; without doubt a well arranged picture. Near this is the sixth, which represents the cruel wickedness practised by Herod against the Innocents; and here we have a most animated contest of women with the soldiers and horses, who strike and drive them about. Of all the stories we have by Domenico Ghirlandajo, this is certainly the best, since it is executed with great judgment, ability, and art. The impious determination of those who kill those poor children at the command of Herod, without regard to the mothers, is rendered most clearly visible: among the babes is one, still hanging to the breast of the mother, while it'is dying of wounds received in its throat, so that it sucks, not to say drinks, blood no less than milk from the breast; this is a very striking thought, and by the art with which it is represented is well calculated to recall pity to life even in hearts wherein it had been long dead.^[28] There is, moreover, a soldier who has forced a child from the mother, and as he is hurrying away with it, he is killing the innocent by crushing its breast; the mother of the babe is seen hanging to his hair, which she has seized with fury, and forces him to bend back till his person forms an arch—in this group three different effects are finely displayed, one the death of the child, who is seen to expire; another, the cruelty of the soldier, who, feeling himself dragged as described, is obviously avenging himself on the infant; and the third is the determination manifested by the mother, who, seeing the death of her child, resolves in her rage and despair that the. murderer shall not depart without suffering: all this is in fact more after the manner of a deeply-thinking philosopher, than of a painter. There are, beside, many other passions and emotions rendered manifest in these stories, insomuch that he who examines them will infallibly perceive this master to have been among the truly excellent ones of his time. Above these and in the seventh picture, which comprises the width of two of the lower ones, and is closed by the arch of the vault, Ghirlandajo has depicted the death of the Madonna and her Asssumption; she is surrounded by a large number of Angels, and there are various figures, landscapes, and other ornaments, wherein Domenico, with his able manner and practised facility, always abounded.

On the opposite wall are stories from the Life of John the Baptist. In the first, Zacharias is seen offering sacrifice in the temple, and the angel appears to him; when he, not believing, is rendered dumb. In this picture the painter has shown that the sacrifices of those times were resorted to by the most honourable of the people; and this he has effected by placing among those offering sacrifices, the most distinguished citizens of Florence, portrayed from those who then governed that state, more particularly the members of the Tornabuoni family, old and young.^[29] And in addition to this, desiring to make it obvious that his age abounded in every kind of talent, but more particularly in learning, Domenico painted a group of four figures in half length; they stand conversing together in the fore-ground, and were the most learned men then to be found in Florence. The first is Messer Marsilio Ficino, who wears the dress of a Canon; the second, in a red mantle, with a black band round his neck, is Cristofano Landino. The figure turning towards him is the Greek Demetrius,^[30] and he who, standing between them, somewhat raises his hand, is Messer Angelo Poliziano, all of whom are most animated and life-like portraits. In the second story, which is next to this, there follows the Visitation of Our Lady to St. Elizabeth, they are accompanied by several women clothed in the dress of those times, and among them is the portrait of Ginevra de’ Benci, then a very beautiful maiden.

In the third story, which is above the first, is the Birth of St. John the Baptist, and in this there is a very pleasing circumstance. St. Elizabeth is in bed, and certain of her neighbours have come to visit her; the nurse is seated, feeding the child, when one of the women joyfully steps forward and takes him from her, to show to those around how fair a present the mistress of the house has made them in her old age: there is, besides, a peasant-woman bringing fruit and flasks of wine from the country, according to the custom in Florence: a very beautiful figure. In the fourth picture, which is beside this, is Zacharias, still dumb, but keeping good courage, and marvelling that the boy he is gazing at should be born to him; the bystanders are desiring to know what his name is to be, and Zacharias, writing on his knee, while still fixing his eyes on his son, who is in the arms of a woman, who has reverently placed herself on her knees before him, marks with his pen on the leaf, Giovanni sarà il suo nome (John shall be his name), not without manifest astonishment on the part of those around, some of whom appear to be in doubt whether the thing be true or not. The fifth story follows, wherein John is seen preaching to the multitude, and here the painter exhibits the attention which the populace ever gives when hearing some new thing; there is much expression in the heads of the Scribes who are listening to John, and whose mien and gestures betoken a kind of scorn, or rather hatred of what they hear. A large number of persons stand or sit around, men and women of diflerent conditions and variously attired.

In the sixth picture, St. John is seen baptizing Christ, the reverence displayed in whose countenance clearly shows the faith which we ought to place in that sacrament, and as this did not fail to produce a great efiect, numerous figures, already unclothed and barefoot, are seen waiting to be baptized, meanwhile showing the trust they entertain and the desire they feel in their countenances: one among these figures, who is drawing off his shoe, is life and movement itself. In the last story, that in the arch beneath the ceiling, is the sumptuous feast of Herod, and the dance of Herodias, with a vast number of attendants performing various services; the building, of extraordinary magnificence, which is seen in perspective, clearly proves the ability of the master, as indeed do all these paintings.^[31]

The altar-piece, which is entirely isolated, Domenico painted in tempera, as he did the other figures in the six pictures. Among these is Our Lady enthroned in the air with the Child in her arms, and with numerous saints around her, San Lorenzo, and San Stefano, namely, who are full of life, with San Vincenzio, and San Pietro, to whom there wants nothing but speech. It is true that a portion of this work remained incomplete on account of Domenico’s death; but as he had made considerable progress in it, the only part unfinished being certain figures in the back-ground of the Resurrection of Christ, with three more in other places, the whole was afterwards finished by his brothers Benedetto and David Ghirlandajo.^[32]

This chapel was considered to be an extremely fine work, majestic and beautiful, charming by the vivacity of the colouring, and admirable as mural painting for the facility of the treatment, and because it received but very few touches a secco, to say nothing of the invention and composition. The master, without doubt, deserves infinite commendation on all accounts, but most of all for the animation of the heads, which, being portrayed from nature, present to all who see them the most lively similitudes of many distinguished persons.

For the same Giovanni Tomabuoni, Domenico painted a chapel at his villa of the Casso Maccherelli, situate at no great distance from the city, on the river Terzolle, but which has since been destroyed by the encroachments of the torrent; yet the paintings, although for many years uncovered, continually exposed to rain, and burnt by the sun, have maintained their freshness to such a degree, that one might believe they had been covered all the time—such are the efiects of a judicious and careful execution in fresco, and of refraining from retouching the work when dry (a secco.^[33]) Domenico likewise painted numerous figures of Florentine Saints, in the hall wherein the wonderful clock of Lorenzo della Volpaja stands, adding many rich and beautiful embellishments.^[34] This artist found so much pleasure in his labours, and was so willing to satisfy all who desired to possess his works, that he commanded his scholars to accept whatever commission was brought to the Bottega, even though it were hoops for women’s baskets, declaring that if they would not paint them he would do it himself, to the end that none might depart from his workshops dissatisfied. But when household cares were laid upon him, he complained bitterly, and committed the charge of all expenditure to his brother David, saying to him, “Leave me to work, and do thou provide, for now that I have begun to get into the spirit and comprehend the method of this art, I grudge that they do not commission me to paint the whole circuit of all the walls of Florence with stories thus proving the resolved and invincible character of his mind in whatever he undertook.

In Lucca, Domenico painted a picture of San Pietro, and San Paolo, for the church of San Martino;^[35] and in the Abbey di Settimo, near Florence, he painted the principal chapel in fresco, with two pictures in tempera for the middle aisle of the church. This master, moreover, executed various works for different parts of Florence, pictures round and square, which are dispersed through the houses of the citizens, and are therefore not seen beyond them.^[36] In Pisa he adorned the recess above the high altar in the cathedral,^[37] and performed various works in different parts of the city, as, for example, at the house of the wardens, where he depicted a story on one of the walls, representing King Charles portrayed from the life, who recommends the city of Pisa to the friendly consideration of the Florentines,^[38] He also painted two pictures in distemper in the church of San Girolamo, for the Frati Gesuati, ^[39] that of the high altar, namely, and another.^[40] In the same place there is, besides, a picture representing San Rocco and San Sebastiano, from the hand of this master; it was presented to those fathers by I know not which of the Medici, and they have added to it, most probably on that account, the arms of Pope Leo X.^[41]

Domenico is said to have possessed so accurate an eye, that when making drawings from the various antiquities of Rome, as triumphal arches, baths, columns, colossal figures, obelisks, amphitheatres, and aqueducts, he did all by the eye, using neither rule, nor compass, nor instruments of any kind; but afterwards, measuring what he had done, every part was found to be correct, and in all respects as if he had measured them. He drew the Colosseum in this manner by the eye, placing a figure standing upright in the drawing, by measuring which, the proportions of all the building will be found; this was tried by the masters after Domenico’s death, and found to be rigidly correct.

Over a door of the cemetery of Santa Maria Nuova, Domenico painted a San Michele armed, in fresco; this is a very beautiful picture, and exhibits the reflection of light from the armour in a manner rarely seen before his time.^[42] For the abbey of Passignano, which belongs to the monks of Vallombrosa, Domenico executed certain works^[43] in company with his brother David and Bastiano of Gemignano. The two latter, finding themselves ill-treated and poorly fed by the monks before the arrival of Domenico, had recourse to the abbot, requesting him to give orders that they should have better food, since it was not decent that they should be treated like bricklayers’ hod-men. This the abbot promised them to do, and excused himself by saying, that what they complained of had happened more from the ignorance of the monk who had the charge of strangers, than from evil intention. But when Domenico arrived, the same mismanagement still continued; whereupon David, seeking the abbot once more, apologized for pressing him, with the assurance that he did it not on his own account but for his brother’s sake, whose merits and abilities deserved consideration. The abbot, however, like an ignorant man as he was, made no other reply. In the evening, therefore, when they sat down to supper, the monk entrusted with the care of strangers, came as usual with a board, whereon were porringers in the usual fashion, and coarse meats fit only for common labourers. Whereupon David rose in a rage, threw the soup over the friar, and seizing the great loaf^[44] from the board, he fell upon him therewith, and belaboured him in such a fashion that he was carried to his cell more dead than alive. The abbot, who had already gone to bed, arose on hearing the clamour, believing the monastery to be falling down, and finding the monk in a bad condition, began to reproach David. But the latter replied in a fury, bidding him begone from his sight, and declaring the talents of Domenico to be worth more than all the hogs of abbots of his sort that had ever inhabited the monastery. The abbot being thus brought to his senses, did his best from that moment to treat them like honourable men as they were.

Having completed his work at the abbey of Passignano, Domenico returned to Florence, where he painted a picture for the Signor di Carpi, with another which he sent to Rimini, to the Signor Carlo Malatesta, who caused it to be placed in his chapel in San Domenico. This picture was in tempera, and contained three singularly fine figures, with stories in smaller figures below, and others behind painted to imitate bronze, the whole displaying much judgment and art.^[45] Two pictures were likewise painted by this master for the abbey of San Giusto,^[46] outside Yolterra, which belongs to the order of Camaldoli: these pictures, which are truly beautiful, Domenico painted by command of the illustriou& Lorenzo de’ Medici, the abbey being then held in commendam by his son Giovanni, Cardinal de’ Medici, who was afterwards Pope Leo: and it is but a few years since, that the same abbey was restored by the very reverend Messer Giovan-Batista Bava, of Yolterra, who also held it in commendam to the before-mentioned Brotherhood of Camaldoli.

Being then invited to Siena by the intervention of Lorenzo the Magnificent, Domenico undertook to decorate the fa9ade of the cathedral in mosaic, Lorenzo himself becoming his surety to the extent of 20,000 ducats, for the execution of the work, a labour which he commenced with much zeal and in a better manner than had ever been seen before. But the work was interrupted by the death of the master, who left his task unfinished, as he had previously left the chapel of San Zanobi, which he had begun to adorn with mosaic work in company with the miniature painter, Gherardo, but which was left incomplete on account of the death of the illustrious Lorenzo.

Over that side door of Santa Maria del Fiore which leads into the convent of the Servites, Domenico executed an Annnuciation in mosaic, so finely done, that nothing better has ever been produced by the modern masters in that art.^[47] Domenico was wont to say that painting was design, but that the true painting for eternity was mosaic.

Among those who studied their art under Domenico was Bastiano Mainardi of St. Gemignano, who became a very able master in fresco; wherefore, proceeding together to San Gemignano, Domenico and Bastiano painted the chapel of Santa Fina in company, and produced a work of much beauty.^[48] The faithful service and ready kindness of Bastiano, who always acquitted himself well, caused Domenico to judge him worthy to receive one of his sisters in marriage; their friendship thus became relationship, the reward bestowed by an approving master in recompense of the labours and pains wherewith his disciple had attained to proficiency in their art. In Santa Croce, Domenico caused Bastiano to paint an Assumption of Our Lady for the chapel of the Baroncelli and Bandini, with San Tommaso receiving the girdle below.^[49] This is an admirable fresco, but the cartoon was prepared by Domenico himself. At Siena, in an apartment of the Spannocchi Palace, Domenico and Bastiano painted various stories in company, the work is in fresco and the figures are small. In the cathedral of Pisa, likewise, in addition to the recess in the choir, of which I have before spoken, they adorned the whole arch of the same chapel with a numerous choir of angels: they also painted the doors which close the organ, and began to decorate the wood-work in gold. But at the moment when Domenico had many other great works in hand, both at Pisa and Siena, he fell sick of a violent fever, the pestiferous nature of which deprived him in five days of his life. Hearing of his illness, the family of Tornabuoni sent him the gift of a hundred ducats, as a proof of the friendly consideration with which they acknowledged the services performed by Domenico for Giovanni, and the good will he had ever borne to all of that house. Domenico Ghirlandajo lived forty-four years, and was borne by his brothers David and Benedetto, and Ridoifo his son, Avith sorrowing hearts and many tears to his grave in Santa Maria Novello, wherein they deposited his remains with most honourable obsequies. The loss of Domenico was a cause of great sorrow to his friends, and many eminent foreign painters, when they heard thereof, wrote to his relations to condole with them on his premature death. Of his disciples there remained David and Benedetto Ghirlandajo, Bastiano Mainardi of San Gemignano and the Florentine Michael Angelo Buonarrotti, with Francesco Granaccio, Niccolo Cieco, Jacopo del Tedesco, Jacopo dell’ Indaco, Baldino Baldinelli, and other masters, all Florentines.^[50] He died in the year 1495.^[51]

The art of painting in mosaic after the modern manner, was enriched by Domenico more than by any other Tuscan of the numbers who have laboured therein, as may be seen by his works, even though they are but few; wherefore he has well deserved to be honoured, for his rich and varied talents, with a high rank in art, and to be celebrated with the highest praises after his death.

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1. Much dispute has arisen concerning the true name of this master, whom Del Migliore and Orlando call Currado, or De Curradi; but Manni (in a note to Baldinucci), and after him the later annotators, affirm Currado to have been the baptismal name of Ghirlandajo’s grandfather, and declare his family name to have been Bigordi; citing documents in proof.
2. A large number of the Florentine painters have been originally goldsmiths, as the reader will doubtless remember, Orgagna, Luca della Robbia, Ghiberti, Brunelleschi, Verrocchio, Andrea del Sarto; and lastly, the eccentric Cellini, Other names might be added, as for example, Masolino da Panicale, Sandro Botticelli, &c.; but we are here giving a few of the more distinguished only; not a list of the whole.— Masselli.
3. The paintings of the early masters, and the sumptuary laws of the fourteenth century, suffice to show that ornaments of gold and silver were worn by Florentine maidens long before Tommaso made them. He was probably called Ghirlandajo, because he sold garlands, or was the son of a man who exercised that trade; since he is himself called a broker, and not a goldsmith, in a fiscal document of 1480. Yet he may have been also a goldsmith, as Vasari affirms that he was, before that period, when it is certain that he was a broker. — Ed. Flor., 1849.
4. This chapel, being granted to the Baldovinetti family in 1616, was rebuilt, when the paintings of Gliirlandajo were covered with whitewash.— Bottari.
5. This fresco still exists, but is much injured, and constantly becoming more so by the humidity of the place; it bears the date mcccclxxx.
6. This work has perished.
7. The paintings of this chapel are in fair preservation, and are considered by good authority to present an excellent study for artists, whether as regards expression or colouring. They are engraved by Carlo Lasinio, after drawings by his son, Gio Paolo Lasinio.
8. Manni considers Ghirlandajo to have been one of the first masters, if not the very first, who ventured to paint a figure wearing spectacles. — Ed. Flor., 1832-8.
9. The dresses of these women have been injured to some extent by the ladders which are reared against them when the church is decorated with hangings on account of festivals. —Ed. Flor., 1832-8.
10. This part of the work has perished. —Ibid.
11. This picture, which bears date mcccclxxxv., is nowin the Florentine Gallery of the Fine Arts. —Ibid.
12. This truly surprising picture is still preserved in the church of St. John, now called Della Calza. But the other saints,” mentioned by Vasaii, in addition to the ten figures enumerated, are not to be found in the work. — Ed. Flor., 1849.
13. This picture was taken to Pans in 1812, and is supposed by the Italian commentators to be still there, but has not been numbered among the pictures of the later catalogues.
14. This admirable work is still in its place, and in excellent preservation; it bears the date mcccclxxxviii. —Ed. Flor., 1838 and 1849.
15. The picture here named, but of which the subject is not given, is lost. That of the Last Supper still remains. —Ibid.
16. In 1832, this work was in the Palazzo Pandolfini in the Via San Gallo, but was afterwards sold, and taken to England. —Ibid.
17. Near Volterra. This work had suffered greatly in Bottari’s time; it is still in existence, but in a very bad state.—Ibid., 1832-38.
18. The church was demolished in 1785, and the picture was consequently destroyed.—Ed. Flor.^ 1832-8.
19. This work no longer exists.—Masselli.
20. The Calling of the Apostles (Vocazione di San Pietro), is still in existence, but the Resurrection of Christ was totally destroyed by the demolition of the wall. —Ibid.
21. “As will be related,” that is to say, Vasari having changed the order of the lives, in the second edition, a circumstance he had forgotten when he wrote the above.—Flor., 1849.
22. The works executed in the church of Minerva are no longer to be seen.
23. In a Manuscript Diary by Luca Landucci, which is cited by Manni, there is a notice to the effect that this chapel was re-ojjened to the public, on the 22nd December, 1490. The same date is also found on an ancient copy of the work preserved in Santa Maria Novella, whence it is to be inferred, that 1485 was the date of the commencement, rather than that of the completion of this vast work. —Rumohr, Ital. Forsch., vol. ii. p. 281.
24. Scenes from the lafe of the Virgin.
25. An apocryphal narration from the Protevangelium Sancti Jacobi (see Fabric. Codex Apocryph.), composed, as it is believed, by the Ebionites. See also the Codex Apocryphus Novi Testamenti. According to the latter, Joachim, (Giovacchino) a rich man, presents the third of his possessions on the altar; but on a certain occasion, his gift is rejected by the high priest, because he is childless; he departs in shame and grief to the wilderness, whence he is recalled by an angel, with the promise, that his wife Anna shall bear a child. This promise is fulfilled by the birth of the Virgin.
26. Landucci, in the MS. before cited, and Manni, Dei Sigilli, &c., affirm this to be the portrait of Tommaso, father of Domenico Ghirlandajo, and not of Alesso Baldovinetti.
27. In the decorations of the bed may be read the words Bighordi and Grillandai, alluding, without doubt, to the family name, and to that afterwards adopted. —Ed. Flor., 1849.
28. “Qui vive la pietà quando è ben morta.” Dante, Inferno.
29. In the Sienese edition of Vasari, by the Padre Della Valle, the reader who may desire further details will find all the names of the distinguished men portrayed in this work.
30. The figure here called that of Demetrius Chalcondylas, is said by Bottari to be that of Gentile de’ Becchi, Bishop of Arezzo, and Preceptor to Lorenzo the Magnificent.
31. These works have been engraved by Lasinio.
32. Who were assisted by Domenico’s disciple, Francesco Granacci, whose life follows. In the year 1801, a new altar was erected, the pictures then became the property of the Mediei-Tomaquinci family, and some of them came into the possession of the King of Bavaria, while others were obtained by the King of Prussia. See Rumohrand Waagen. In 1809, two figures of Saints from these works were sold to Lucien Buonaparte. On the predella of the altar-piece also, there were numerous stories, the figures of which were small, but of this portion the fate is not known.
33. The little chapel is still in existence, hut the paintings are in a deplorable condition. — Ed. Flor., 1832.
34. The clock of Lorenzo Volpaja is now in the Florentine Museum of Natural History. The hall here alluded to is called the Hall of the Lilies, being decorated with those flowers in gold, on a ground of blue. The paintings still exist, but are said by the latest Florentine annotators (1850) to have been very badly treated.
35. It is still preserved, and is in the sacristy of the church. The Virgin sits enthroned in the centre, with the Child standing upright on her knee. In the fore-ground, are St. Peter and St. Paul, somewhat behind whom stands the Pope St. Clement, with St. Sebastian in the habit of a warrior. In the lunette is a pietà, and on the predella are five stories. This picture was restored in 1835.
36. One of these round pictures (tondi) is three braccia in diameter. Perhaps the most majestic and ijeautiful of all the paintings of that kind executed by Domenico, is now in the gallery of the Uffizj, it represents the Adoration of the Magi, and has been twice engraved, once in the Storia of Rosini, tav. Ixvi., and. again, in the Reale Gallerie degli Uffizj, now in course of publication. There is a second tondo, but smaller, and not so rich in figures, in the Pitti Palace.
37. With groups of Angels singing. Having greatly suffered, it has been restored by Professor Marini; but little therefore is now to be seen of Ghorlandajo’s work. —Ed. Flor., 1849.
38. Doubtless, in 1495, at the conclusion of peace between Charles VIII., and the Florentines, when the king obtained pardon for the city of Pisa, which had risen against Florence. —See Giucciardini, lib. i. p. 32. Charles had resided in the Palace of the Wardens at Pisa, before proceeding to Florence. Morrona, Pisa Ant. e Mod., 107. The picture is unhappily ruined by exposure to the weather.
39. Not to be confounded with the Jesuits, who form a totally different body.
40. Da Morrona affirms that these two pictures are now in the church of Santa Anna, and the assertion is repeated by Grassi, Descrizione Artistica di Pisa.
41. The fate of this work is not known.
42. In the various changes which the building has undergone, this work has perish ed.—Masselli.
43. Two pictures by the brothers Domenico and David are still to be seen here,—Ibid.
44. Not unlike a short thick club in form.
45. Now in the town-house of Rimini, the figures are those of San Vincenzo Ferrerio, with SS. Sebastiano and Rocco.— Ed. Flor., 1832-8.
46. One of the pictures painted for San Giusto still remains on the altar of San Romualdo (but restored by Ippolito Cigna). This picture represents SS. Romualdo and Benedetto, with the Saints Attinia and Graciniana. Above them is the Saviour, seated between two Angels. It was engraved in the year 1583 by Diana Ghisi, a Mantuan, the wife of the architect Francesco Capriani, of Volterra. —Ed. Flor., 1832-8.
47. Still in existence: it has been cleaned within the last few years, the dust having rendered it nearly indistinguishable.—Ed. Stor., 1832-8.
48. This work also still remains. For various details respecting it, see Rumohr, Ital. Forsch., vol. ii. p. 286.
49. For the legend of the Cintola, or Girdle of Our Lady, which St. Thomas received from the hand of the Virgin herself, on his appearing doubtful of her having been carried bodily to heaven, see Poetry of Sacred and Legendary Art, vol. i. p. 227, et seq. The work is still in good preservation.
50. The lives of David and Benedetto Ghirlandajo, Buonarrotti, Francesco Granaccio and Jacopo dell’ Indaco, will be found in the present work. Of the other masters but little is known.—Ed. Flor., 1849.
51. In Vasari’s first edition the date of Ghirlandajo’s death is 1493, in the second it is 1495; but the examination of fiscal documents has induced good authorities of later times to assign 1498 as the more probable period of that event.