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The 100 Most Influential Painters 7 & Sculptors of the Renaissance
In 1481–82 Ghirlandaio received an important commission in the Vatican for a fresco, representing the calling of the first Apostles, Peter and Andrew, in the Sistine Chapel. Its style is reminiscent of the frescoes by Masaccio of about 1427, which had been the great innovating works of the early 15th century in Florence. The principal feature of this fresco is the group of portraits of the Florentine colony in Rome, who are represented as witnesses of the biblical event. It has been suggested that the inclusion of these Florentines in a fresco painted for the Vatican had political significance, since the Florentine government had recently accused Pope Sixtus IV of complicity in the Pazzi conspiracy. The Pazzi, a powerful Tuscan banking family, had attempted to murder the leading members of the Florentine Medici family, Giuliano and Lorenzo de’ Medici (1478). Giuliano had been killed in the attempt while Lorenzo escaped with few wounds. Ghirlandaio must have used his stay in Rome to study Roman antiquities at first hand, for many details of triumphal arches, ancient sarcophagi, and similar antique elements occur in his works throughout the rest of his career. A sketchbook filled with drawings of such antiquities seems to be the work of a member of his shop. Late in his short life, Ghirlandaio and his assistants, including his brothers Davide and Benedetto and his brother-in-law Sebastiano Mainardi, produced two major fresco cycles. The earlier was executed for the Sassetti Chapel in Santa Trinita in Florence. Commissioned by Francesco Sassetti, an agent of the Medici bank, they were painted between about 1482 and 1485. The six main frescoes represent scenes from the life of St. Francis of Assisi, Sassetti’s patron saint. Once more, the frescoes contain many details of the buildings and customs of the period—for example, the Piazza della Signoria with the Loggia dei Lanzi—and, in particular, there are numerous 150