RIDOLFO See also:

• GHIRLANDAJO, DOMENICO (1449-1494)
• RIDOLFO GHIRLANDAJO (1483-1560)

GHIRLANDAJO (1483-1560)  , son of Domenico See also:

• GHIRLANDAJO, DOMENICO (1449-1494)
• GHIRLANDAJO, RIDOLFO (1483-1560)

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
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

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
• ROME (Roma)

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

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home-keeping See also:

• HUMOUR (Latin humor)

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

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose to the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

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

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

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
• MEDICI, GIACOMO (1817-1882)

Medici, and the entry of See also:

• LEO
• LEO (THE LION)
• LEO, BROTHER (d. c. 1270)
• LEO, HEINRICH (1799-1878)
• LEO, JOHANNES (c. 1494-1552)
• LEO, LEONARDO (1694–1744)

Leo X. into See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

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
• FRANCE, ANATOLE (1844– )

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
• MINUTE (Lat. minutes, small; minuere, to make less)

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, SOCIETY
• FRIENDS, SOCIETY OF

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 (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ and the Maries on the road to See also:

• CALVARY

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

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early example, with figures of See also:

• HALF

half See also:

• LIFE

life-See also:

• SIZE

size . An " Annunciation " in the See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

Abbey of Montoliveto near Florence, Leonardesque in See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

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, CHARLES DE
• BERNARD, CLAUDE (1813-1878)
• BERNARD, JACQUES (1658--1718)
• BERNARD, MOUNTAGUE (1S2o—1882)
• BERNARD, SAINT
• BERNARD, SAINT (Iogo-1153)
• BERNARD, SIMON (1779—1839)
• BERNARD, SIR THOMAS, BART

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
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

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
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

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
• AGOSTINO, or AGOSTINI [AUGUSTINUS], PAOLO (1593-1629)

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

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

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 .