readily obtain the various woods, glass, &c. which he required for his mosaics; he therefore executed many labours in glass as well as in mosaic, at Montaione, more especially certain Vases, which were given to the Magnificent Lorenzo de’ ‘Medici the elder. David likewise produced three heads (those of San Pietro and San Lorenzo namely, with that of Giuliaiio de’ Medici), in a framework of copper, and this is now preserved in the Guardaroba of the Duke.
Ridolfo meanwhile, being frequently engaged in drawing from the Cartoon of Michelagnolo, was reputed to be one of the best artists who studied that work, and was much esteemed by all, but more particularly by Rafiaello Sanzio da Urbino, who at that time, he being also a young man of a great name, was sojourning in Florence, as we have said, for the study of his art.
When Ridolfo had designed much and frequently from the above-mentioned Cartoon, and had besides obtained considerable practice in painting, under Fra Bartolommeo di San Marco, he had made so much progress, according to the opinion of the best artists, that Raffaello, being compelled to leave Florence for Rome, whither he had been invited by Pope Julius IL, left to Ridolfo the care of finishing the blue drapery, with some other small matters, still wanting to the picture of a Madonna, painted by Raffaello for certain gentlemen of Siena,[1] and which Ridolfo, having completed the same with very great care, did ultimately send to that city. Nor had Raffaello dwelt any long time in Rome, before he began to make all efforts for prevailing on Ridolfo to repair thither also; but the latter, who had never—as the saying is—“lost sight of the Cupola,”[2] and could in no wise resolve on living out of Florence, would accept no proposal which might compel him to abandon his abode in his native place.
For the Convent of the Nuns of Ripoli, this artist painted two pictures in oil; the one a Coronation of Our Lady, and
- ↑ This circumstance is related, as our readers will remember, in the Life of Raphael. See vol. iii. p. 12,
- ↑ The Cupola of the Cathedral that is to say, of which the Florentines are jestingly declared to be enamoured to such a degree that they cannot contentedly draw the breath of life in any place from which it is not visible.
