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,[1] 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.[2] 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
- ↑ 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.
- ↑ 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.
