Ghirlandajo painted other than religious subjects, and one of them, at least, is quite repulsive. It is the picture of an old man, with a beautiful little child embracing him. The old man may have tenderness and love in his face, but his heavy features, his warty nose, do not make one think of pleasant things and one does not care to imagine the dear little child kissing the grotesque old fellow.
It was before Ghirlandajo's time that another painter had discovered the use of oil in mixing paints. Previously colours had been mixed in water with some gelatinous substance, such as the white and yolk of an egg, to give the paint a proper texture or consistency. This preparation was called "distemper," and frescoes were made by using this upon plaster while it was still wet. Plaster and colours dried together, and the painting became a part of the wall, not to be removed except by taking the plaster with it.
The different gluey substances used had often the effect of making the colours lose their tone and they presented a glazed surface when used upon wood, a favourite material with artists.
There are numberless anecdotes written of this artist and his brother, and one of these shows he had a temper. The brothers were engaged in a monastery at Passignano painting a picture of the "Last Supper." While at work upon it, they lived in the house. The coarse fare did not suit Ghirlandajo, and one night he could endure it no longer. Springing from his seat in the refectory he flung the soup all over the monk who had served it, and taking a great loaf of bread he beat him with it so hard that the poor monk was carried to his cell, nearly dead. The abbot had gone to bed, but hearing the rumpus he thought it was nothing less than the roof falling in, and he hurried to the room where he found the brothers still raging over their dinner. David shouted out to him, when the abbot tried to reprove the artist, that his brother was worth more than any "pig of an abbot who ever lived!"
It is recorded in the documents found in the Confraternity of St. Paul that:
Domenico de Ghurrado Bighordi, painter, called del Grillandaio, died on Saturday morning, on the 11th day of January, 1493 (o.s.), of a pestilential fever, and the overseers allowed no one to see the dead man, and would not have him buried by day. So he was buried, in Santa Maria Novella, on Saturday night after sunset, and may God forgive him! This was a very great loss for he was highly esteemed for his many qualities, and is universally lamented.
The artist left nine children behind him.
Ghirlandajo's pictures may be found in the Louvre, the Berlin Museum, the Dresden, Munich, and London galleries. Most children will find it hard to see their beauty.
Great men are likely to come in groups, and with Ghirlandajo there are associated Botticelli and Fra Filippo Lippi.
PLATE--PORTRAIT OF GIOVANNA DEGLI ALBIZI