_Domenico Ghirlandajo_ (Florentine: 1449-1494). _See 1230._
The portrait of the man in his red-coloured robe and black skull-cap
is set against a landscape background. Many other examples of a like
treatment will have been noticed by the visitor; as, for instance, in
the fine portrait by Ridolfo Ghirlandajo (2491). And it is interesting
to observe how long this convention survived, though with variations.
The advantage of introducing an object of locally dark colour behind
the head was perceived, and a background of curtain or other drapery
was used; but a piece of it was drawn back, so as still to display
landscape. See, _e.g._, Basaiti's portrait (2498). Or, again, a window
was opened with the same purpose. See, _e.g._, Piombo's portrait of
a Venetian lady as Salome (2493) and Cariani's of a Venetian magnate
(2494). A corresponding development may be traced in Madonna pictures.
Often the Virgin and Child are placed in an open landscape, as in the
beautiful "Madonna of the Meadow" (599). When they are brought indoors
a curtain is drawn back (2503), or a window opened--_e.g._ 2496, 2609,
and (Flemish School) 2595.