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Chap. XVI RIDOLFO GHIRLANDAIO. 525 select form, in true relief, of perfect modelling and out line. Whilst he felt in this sense the effects of the com panionship of the Frate, he was moved by that of Ra phael to a tender youthfulness of type in his imper sonations, to a soft fleshiness, especially in children, and to brightness in minutely touched landscapes. Of this we have examples In a pretty Raphaelesque Nativity at the Berlin Museum, 1 and in a bolder, more brilliant, and fa cile specimen of the same subject in the Esterhazy col lection at Vienna. 2 The severer qualities of plasticity united to breadth of light and shade, he exhibited in a female portrait of 1509 now at the Pitti, 3 where his powers appear undoubtedly superior to those of Granacci and Piero di Cosimo; whilst in a predella at the Oratory of the Bigallo at Florence, his composition and his drawing emulate the energy, grandeur, and fullness of life dis tinguishing the works of Mariotto and the Frate; and his colour assumes a new richness and warmth. 4 Raphael’s trust in the talent of Ridolfo Ghirlandaio was so full and complete that we are told he allowed his friend to fill in a part of the drapery in the Bella Giar- diniera which was to be sent to Sienna; 5 and when San- zio reached Rome in 1508, nothing pressed him more than the desire ter get Ghirlandaio to join him. But Ri- * Berlin Museum. No. 91. Wood, oil, the surface, of a crystalline polish like that peculiar to Gra nacci. 2 A composition of eleven figures a little reminiscent, as regards distribution, of Signorelli. The child, on the centre of the fore ground, between the spectator and the kneeling Virgin. At her side a shepherd adoring, behind whom a young pastor points out the infant to a third carrying a kid. To the right, in front, a youthful saint is in prayer facing S. James, in similar attitude, on the left. In rear of the latter stands •S. Joseph leaning on his staff. Be hind, is the pent-house, witli the ox and ass, and in the sky is a choir of three angels. On the bor der one reads: “Ridolfus Grillan- daius florentinus faciebat”. 3 Pitti. No. 224. Female, seen below the waist, with a vest bordered at the neck and shoulders with white. Sleeves dark green (wood, oil, about large as life). 4 This is a predella of five pa nels with: 1. the Execution of S. Peter Martyr; 2. the Nativity; 3. a Virgin of Mercy; 4. the Flight into Egypt; 6. the brethren of the Bigallo carrying a wounded man (wood, oil). Vasari truly says of these little panels that they are magnificent miniatures (XI. 290). 6 Vas. VIII. 12; XI. 287.
