Luca Signorelli (Cortona: 1441-1523). See 1128.
2489. THE YOUNG FLORENTINE.
Domenico Ghirlandajo (Florentine: 1449-1494). See 1230.
The portrait of the man in his red-coloured robe and black skull-cap is set against a landscape background. Many other examples of a like treatment will have been noticed by the visitor; as, for instance, in the fine portrait by Ridolfo Ghirlandajo (2491). And it is interesting to observe how long this convention survived, though with variations. The advantage of introducing an object of locally dark colour behind the head was perceived, and a background of curtain or other drapery was used; but a piece of it was drawn back, so as still to display landscape. See, e.g., Basaiti's portrait (2498). Or, again, a window was opened with the same purpose. See, e.g., Piombo's portrait of a Venetian lady as Salome (2493) and Cariani's of a Venetian magnate (2494). A corresponding development may be traced in Madonna pictures. Often the Virgin and Child are placed in an open landscape, as in the beautiful "Madonna of the Meadow" (599). When they are brought indoors a curtain is drawn back (2503), or a window opened—e.g. 2496, 2609, and (Flemish School) 2595.
2490. COSTANZA DE' MEDICI.
Lorenzo di Credi (Florentine: 1459-1537). See 593.
The inscription records that the lady was the wife of Francis, Duke of Gaeta. This portrait was formerly ascribed to D. Ghirlandajo.
2491. GIROLAMO BENEVIENI.
Ridolfo Ghirlandajo (Florentine: 1483-1561). See 1143.