Ghirlandajo, Church of St. Trinita, Florence
in the Bardi Chapel of Santa Croce. In the latter work we see piety and sentiment more strongly expressed by Giotto, while portraiture and light and shade are more in evidence in Ghirlandajo’s rendering of this subject, but the figure composition in both works is almost identical.
The frescos by Ghirlandajo in the choir of the Church of Santa Maria Novella are among the most important of his works, and remain as fine examples of his skill as a great decorator. The subjects are from the life of the Virgin and John the Baptist, all of which are treated with great care and elaboration of rich detail, the utmost finish being not only accorded to the principal actors in the scenes, but also to the architectural backgrounds, with their panels and friezes of figures, the embroidered patterns on the dresses, and other decorative accessories, in fact all his beauties of style in design, execution, and colouring are admirably expressed in these characteristic works.
In the Monastery of San Marco in Florence, in the smaller refectory, is an interesting fresco of the “Cenacolo,” or Last Supper, by Ghirlandajo. There is a little stiffness and formality in the composition of this work, but the heads of the principal figures are lifelike and well painted. The colouring is strong and rich, gold has been freely used in the nimbi and on the dresses of the figures, and in the background. Above the figures, in the background, is painted an abundance of cypress, orange trees, and flowers; while in the sky, hawks are pursuing wild duck. There is also a similar, but in some ways a much better, “Cenacolo” by Ghirlandajo in the refectory in the convent of the Church of the Ognissanti at Florence.
Photo. Alinari.
Plate 29.—Florentine Lady. Detail of Fresco, Birth of the Virgin