DOI Page / Citation link:
https://doi.org/10.11588/diglit.61542#0284
238 DOMENICO GHIRLANDAJO [1449-
Hospital of the Innocents, on a larger scale. Here
the Coliseum and pyramid of Cestius are seen in
the distance, rising amidst the domes and spires of
a populous city, on the banks of a broad river,
crowded with ships and barges, and Ghirlandajo’s
head appears to the left of the graceful Renaissance
pilaster, which supports the temple. Four angels,
throned on the clouds, sing the Gloria from an open
scroll, and two little white-robed Innocents, with
sword-cuts in their heads, and glories round their
brows, are presented to the Virgin by the Baptist
and Evangelist. The Visitation, in the Louvre, was
ordered by Lorenzo Tornabuoni for his chapel in
the church of Cestello, and begun by the master
in 1491, but evidently finished by his assistants.
In the same year Ghirlandajo was chosen, together
with Botticelli, to design mosaics for the Chapel of
St. Zenobius in the Duomo, but the work was never
executed, owing to the death of Lorenzo de’ Medici
a few months afterwards. Two years before, our
master had designed the mosaic of the Annunciation
over one of the Cathedral doors, and took great
pleasure in the work, saying that mosaic was
painting for eternity. The same indefatigable
energy prompted him to undertake tasks of the
most varied description. Even the candelabra of
the Duomo were sent to his shop to be gilded
and decorated, and he told his assistants jestingly
that they must never refuse an order, were it only
one for the hoops of a peasant-girl’s basket.
As might be expected, Ghirlandajo painted many
admirable panel-portraits, several of which are still
in existence. Among the finest are those of his
Hospital of the Innocents, on a larger scale. Here
the Coliseum and pyramid of Cestius are seen in
the distance, rising amidst the domes and spires of
a populous city, on the banks of a broad river,
crowded with ships and barges, and Ghirlandajo’s
head appears to the left of the graceful Renaissance
pilaster, which supports the temple. Four angels,
throned on the clouds, sing the Gloria from an open
scroll, and two little white-robed Innocents, with
sword-cuts in their heads, and glories round their
brows, are presented to the Virgin by the Baptist
and Evangelist. The Visitation, in the Louvre, was
ordered by Lorenzo Tornabuoni for his chapel in
the church of Cestello, and begun by the master
in 1491, but evidently finished by his assistants.
In the same year Ghirlandajo was chosen, together
with Botticelli, to design mosaics for the Chapel of
St. Zenobius in the Duomo, but the work was never
executed, owing to the death of Lorenzo de’ Medici
a few months afterwards. Two years before, our
master had designed the mosaic of the Annunciation
over one of the Cathedral doors, and took great
pleasure in the work, saying that mosaic was
painting for eternity. The same indefatigable
energy prompted him to undertake tasks of the
most varied description. Even the candelabra of
the Duomo were sent to his shop to be gilded
and decorated, and he told his assistants jestingly
that they must never refuse an order, were it only
one for the hoops of a peasant-girl’s basket.
As might be expected, Ghirlandajo painted many
admirable panel-portraits, several of which are still
in existence. Among the finest are those of his