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GHIRLANDAJO, RIDOLFO (1483-1560)

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Originally appearing in Volume V11, Page 923 of the 1911 Encyclopedia Britannica.

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GHIRLANDAJO, RIDOLFO (1483-1560) , son of Domenico Ghirlandajo, Florentine painter, was See also:

BORN, IGNAZ, EDLER VON (1742–1791)

born on the 14th of See also:

FEBRUARY

February 1483, and, being less than eleven years old when his See also:

FATHER

father died, was brought up by his See also:

UNCLE

uncle See also:

David. To this second-See also:

RATE

rate artist he owed less in the way of professional training than to Granacci, See also:

PIERO (1443—1496)

Piero di Cosimo and perhaps Cosimo See also:

ROSSELLI, COSIMO (1439—c. 1507)

Rosselli. It has been said that Ridolfo studied also under Fra Bartolommeo, but this isnot clearly ascertained. He was certainly one of the earliest students of the famous cartoons of Leonardo da See also:

VINCI, LEONARDO (1690-173o)

Vinci and See also:

MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo. His See also:

WORKS

works between the See also:

DATES

dates 1504 and 1508 show a marked See also:

INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence from Fra Bartolommeo and See also:

RAPHAEL (Hebrew smm, " God heals ")

Raphael, with the latter of whom he was on terms of See also:

FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar friendship; hence he progressed in selection of See also:

FORM (Lat. forma)

form and in the modelling and See also:

RELIEF

relief of his figures. Raphael, on reaching See also:

Rome in 1508, wished Ridolfo to join him; but the Florentine painter was of a particularly See also:

home-keeping See also:

HUMOUR (Latin humor)

humour, and he neglected the opportunity. He soon See also:

rose to the See also:

head of the Florentine oil-painters of his See also:

time; and, like his father, accepted all sorts of commissions, of whatever See also:

KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind. He was prominent in the See also:

EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution of vast scenic canvases for various public occasions, such as the See also:

WEDDING

wedding of Giuliano de' See also:

Medici, and the entry of See also:

Leo X. into See also:

Florence in 1515. In his See also:

PRIME, PRIMER AND PRIMING

prime he was honest and conscientious as an artist; but from about 1527 he declined, having already accumulated a handsome See also:

PROPERTY

property, more than sufficient for maintaining in affluence his large See also:

FAMILY

family of fifteen See also:

CHILDREN, LAW RELATING TO

children, and his works became comparatively mannered and self-repeating. His sons traded in See also:

France and in See also:

FERRARA

Ferrara; he himself took a See also:

PART

part in commercial affairs, and began paying some See also:

ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to See also:

MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic See also:

WORK

work, but it seems that, after completing one mosaic, the " See also:

ANNUNCIATION

Annunciation " over the See also:

DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door of the Annunziata, See also:

PATIENCE

patience failed him for continuing such See also:

minute labours. In his old See also:

AGE (Fr. age, through late Lat. aetaticum, from aetas)

age Ridolfo was greatly disabled by See also:

GOUT

gout. He appears to have been of a kindly, easy-going See also:

CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, much regarded by his See also:

friends and patrons.

The following are some of his leading works, the See also:

GREAT

great See also:

MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of them being oil-pictures: " See also:

Christ and the Maries on the road to See also:

CALVARY

Calvary," now in the Palazzo Antinori, Florence, an See also:

early example, with figures of See also:

HALF

half See also:

LIFE

life-See also:

SIZE

size. An " Annunciation " in the See also:

Abbey of Montoliveto near Florence, Leonardesque in See also:

style. In 1504, the " See also:

CORONATION (Lat. corona, crown)

Coronation of the Virgin," now in the Louvre. A " Nativity," very carefully executed, now in the Hermitage, St See also:

PETERSBURG

Petersburg, and ascribed in the See also:

CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

catalogue to Granacci. A " See also:

PREDELLA

Predella," in the See also:

ORATORY (Lat. oratorio, sc. ors; from orare, to speak or pray)

oratory of the Bigallo, Florence, five panels, representing the Nativity and other subjects, charmingly finished. In 1514, on the See also:

CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling of the See also:

CHAPEL

chapel of St See also:

Bernard in the Palazzo Pubblico, Florence, a See also:

FRESCO (Ital. for cool, " fresh ")

fresco of the " Trinity," with heads of the twelve apostles and other accessories, and the " Annunciation "; also the " See also:

ASSUMPTION, FEAST OF

Assumption of the Virgin, who bestows her See also:

GIRDLE (O. Eng. gyrdel, from gyrdan, to gird; cf. Ger. Gurtel, Dutch gordel, from giirten and gorden; "gird" and its doublet " girth " together with the other Teutonic cognates have been referred by some to the root ghar—to seize, enclose, seen in Gr. )(s

girdle on St See also:

Thomas," in the See also:

CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir See also:

LOFT (connected with " lift," i.e. raised in the air; O. Eng. lyft; cf. Ger. Luft; the French term is grenier and Ger. Boden)

loft of See also:

PRATO

Prato See also:

CATHEDRAL

cathedral. Towards the same date, a picture showing his highest skill, replete with expression, vigorous life, and See also:

FIRM

firm accomplished pictorial method, now in the See also:

GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery of the Uffizi, " St See also:

ZENOBIUS

Zenobius resuscitating a See also:

child "; also the See also:

TRANSLATION

translation of the remains of the same See also:

SAINT (lat. sanctus, " holy ")

Saint. The " Virgin and various See also:

SAINTS, BATTLE OF THE

saints," at S. See also:

PIER (older forms per or Pere, from Med. Lat. pera; the word for piers out of water. For river piers, where a firm, watertight is of obscure origin, and the connexion with Fr. Pierre, Lat. stratum is found at a moderate depth below the river-bed, the pctr

Pier See also:

MAGGIORE, LAGO (Lacus Verbanus of the Romans; Fr. Lac Majeur; Ger. Langensee)

Maggiore, Pistoja. In 1521, the " Pieta," at S. See also:

Agostino, Colle di Valdelsa, life-sized. Towards 1526, the " Assumption," now in the See also:

Berlin Museum, containing the painter's. own portrait.

An excellent portrait of " Cosimo de' Medici " (the Great) in youth. In 1543, a See also:

SERIES (a Latin word from serere, to join)

series of frescoes in the monastery of the Angeli. In the See also:

NATIONAL

National Gallery, See also:

LONDON

London, is " The Procession to Calvary." A great number of See also:

ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-pieces were executed by Ghirlandajo, with the assistance of his favourite See also:

PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil, currently named Michele di Ridolfo. Another of his pupils was Mariano da See also:

PESCIA

Pescia. (W. M.

End of Article: GHIRLANDAJO, RIDOLFO (1483-1560)

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