rentine
men and women who were his contemporaries, and so we get from his
pictures a knowledge of the people and costumes of his time. His
backgrounds are often masses of Florentine architecture, some of which
you will readily recognize. His subjects are religious.

"For studying his work, go again to Santa Maria Novella, where is a
series of frescoes representing scenes in the lives of the Virgin Mary
and John the Baptist. I would give some time to these, for in them you
will find all the characteristics of Ghirlandajo's frescoes, which are
his strongest work. Then you will find two good examples of his
_tempera_ painting on wooden panels in the Uffizi Gallery: an _Adoration
of the Magi_, and a _Madonna and Saints_, which are in the Sala di
Lorenzo Monaco near Fra Angelico's _Madonna_--the one which is
surrounded by the famous musical Angels. Others are in the Pitti
Gallery and Academy. His goldsmith's training shows in these smaller
pictures more than in the frescoes. We see it in his love for painting
golden ornaments and decoration of garments."

"Is his work anything like that of Michael Angelo, Mr. Sumner?" asked
Barbara. "He was Angelo's teacher, was he not?"

"Yes, history tells us that he held that position for three years; but
judging from the work of both, I should say that not much was either
taught or learned. Ghirlandajo's work possesses great strength, as does
Michael Angelo's, but on wholly different lines. Ghirlandajo loved to
represent grave, dignified figures,--which were portraits,--clad in long
gowns, stiff brocades, and flowing mantles; and there are superb
accessories in his pictures,--landscapes, architecture, and decorated
interiors. On the other hand, Michael Angelo's figures are most
impersonal, and each depends for effect simply on its own magnificence
of conception and rendering. The lines of figures are of far more
importance than the face, which is the farthest possible removed from
the portrait--and for accessories of any kind he cared not at all."

At this moment callers were announced and Mr. Sumner said they would
resume their talk some other time.

"It will be well for you if you can look at these paintings by
Ghirlandajo to-morrow morning if it be a bright day," he said, "while
all that I have told you is fresh in your minds. I cannot go with you,
but if you think of anything you would like to ask me about them, you
can do so before we begin on Botticelli."

Chapter IX.