h is in the Chapel of S. Caterina da Siena in the Church of S.
Domenico at Bologna, containing a very good painting of S. Catherine.
And in S. Marco at Florence, over the table of Pardons, he painted a
lunette full of very graceful figures. But the more he satisfied others
the less did he satisfy himself in any of his works, with the exception
of mosaic, in which sort of painting he was rather the rival than the
companion of Domenico Ghirlandajo; and if he had lived longer he would
have become most excellent in that art, for he was very willing to take
pains with it, and he had discovered the greater part of its best
secrets.

Some declare that Attavante, otherwise Vante, an illuminator of
Florence, of whom we have spoken above in more than one place, was a
disciple of Gherardo, as was Stefano, likewise a Florentine illuminator;
but I hold it as certain, considering that both lived at the same time,
that Attavante was rather the friend, companion, and contemporary of
Gherardo than his disciple. Gherardo died well advanced in years,
leaving everything that he used in his art to his disciple Stefano, who,
devoting himself no long time after to architecture, abandoned the art
of illuminating, and handed over all his appliances in connection with
that profession to the elder Boccardino, who illuminated the greater
part of the books that are in the Badia of Florence. Gherardo died at
the age of sixty-three, and his works date about the year of our
salvation 1470.

DOMENICO GHIRLANDAJO

DOMENICO GHIRLANDAJO

PAINTER OF FLORENCE

Domenico di Tommaso del Ghirlandajo, who, from his talent and from the
greatness and the vast number of his works, may be called one of the
most important and most excellent masters of his age, was made by nature
to be a painter; and for this reason, in spite of the opposition of
those who had charge of him (which often nips the finest fruits of our
intellects in the bud by occupying them with work for which they are not
suited, and by diverting them from that to which nature inclines them),
he followed his natural instinct, secured very great honour for himself
and profit for his art and for his kindred, and became the great delight
of his age. He was apprenticed by his father to his own art of
goldsmith, in which Tommaso was a master more than passing good, for it
was he who made the greater part of the silver votive offerings that
were formerly preserved in the press of the Nunz