enzio, a Milanese painter, who in his lifetime was held to be an
able master, painted the altar-piece of the high-altar in S. Celso. In a
chapel of S. Maria delle Grazie he executed in fresco the Passion of
Jesus Christ, with figures of the size of life in strange attitudes; and
then, in competition with Tiziano, he painted an altar-piece for a place
below that chapel, in which, although he was very confident, he did not
surpass the works of the others who had laboured in that place.

Bernardino del Lupino, of whom some mention was made not very far back,
painted in Milan, near S. Sepolcro, the house of Signor Gian Francesco
Rabbia--that is, the facade, loggie, halls, and apartments--depicting
there many of the Metamorphoses of Ovid and other fables, with good and
beautiful figures, executed with much delicacy. And in the Monastero
Maggiore he painted all the great altar-wall with different stories, and
likewise, in a chapel, Christ scourged at the Column, with many other
works, which are all passing good.

[Illustration: GAUDENZIO FERRARI: MADONNA AND CHILD

(_Milan: Brera, 277. Panel_)]

And let this be the end of the above-written Lives of various Lombard
craftsmen.

[Illustration: S. PAUL

(_After the panel by =Gaudenzio [Gaudenzio Ferrari]=. Paris: Louvre,
1285_)

_Alinari_]

RIDOLFO, DAVID, AND BENEDETTO GHIRLANDAJO

LIVES OF RIDOLFO, DAVID, AND BENEDETTO GHIRLANDAJO

PAINTERS OF FLORENCE

Although it appears in a certain sense impossible that one who imitates
some man excellent in our arts, and follows in his footsteps, should not
become in great measure like him, nevertheless it may be seen that very
often the brothers and sons of persons of singular ability do not follow
their kinsmen in this respect, but fall away strangely from their
standard. Which comes to pass, I think, not because there are not in
them, through their blood, the same fiery spirit and the same genius,
but rather from another reason--that is, from overmuch ease and comfort
and from an over-abundance of means, which often prevent men from
becoming industrious and assiduous in their studies. Yet this rule is
not so fixed that the contrary does not sometimes happen.

David and Benedetto Ghirlandajo, although they had very good parts and
could have followed their brother Domenico in the matters of art, yet
did not do so, for the reason that after the death of that same brother
they strayed away from the path of good