Updated October 2026 · ranked by our popularity score (searches, visits and orders for each work) · 13 works by Michele Tosini in our catalogue
In short
Of all the originals Michele Tosini left, the most famous is Charity (1570), in the collection of the National Gallery, London. Close behind it come Saint Catherine (1520) and Portrait of a Lady (1550). Our catalog holds 13 works by Michele Tosini; the gallery has kept the 13 the world admires most, each shown with its date, its museum and its story.
The oil painting titled Charity is an allegory created by the artist Michele Tosini. Also known to history as Michele di Ridolfo del Ghirlandaio, the painter was active in Florence, Italy. This specific work belongs to the genre of allegory, a common subject in sixteenth-century Italian art.
Portrait of a Lady is a portrait executed by Michele Tosini, an artist also known as Michele di Ridolfo. This work belongs to the genre of portraiture, focusing on the likeness of a single female figure. The painting is dated c. 1555.
In this intimate religious work, titled Holy Family with St John the Baptist, we encounter a quiet moment of devotion. The painting is the work of Michele Tosini, an artist who is also recognized by the name Michele di Ridolfo. Created in Italy during the 16th century, this oil on panel piece focuses on the presence of the Child Saint John within a sacred familial setting.
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Michele Tosini | Paintings from this list |
|---|---|---|---|
 National Gallery |
London | 1 | Charity |
 Art Institute of Chicago |
Chicago | 1 | Portrait of a Lady |
 Yale University Art Gallery |
New Haven | 1 | Lucretia |
 National Museum in Warsaw |
Warsaw | 1 | Allegory of Charity |
 Saint Louis Art Museum |
Saint Louis | 1 | Saint John the Baptist |
 Museum of Fine Arts |
Houston | 1 | Saint Mary Magdalene |
 Hermitage Museum |
Saint Petersburg | 1 | Holy Family with St John the Baptist |
 Szépművészeti Múzeum |
Budapest | 1 | Pietá |
Pick a decade to see the original that defines it.
Portrait of a Lady is a portrait executed by Michele Tosini, an artist also known as Michele di Ridolfo. This work belongs to the genre of portraiture, focusing on the likeness of a single female figure. The painting is dated c. 1555.
The oil painting titled Charity is an allegory created by the artist Michele Tosini. Also known to history as Michele di Ridolfo del Ghirlandaio, the painter was active in Florence, Italy. This specific work belongs to the genre of allegory, a common subject in sixteenth-century Italian art.
Charity (1570), National Gallery, London. Saint Catherine (1520) and Portrait of a Lady (1550) come next.
67 years old: Charity dates from 1570, and Michele Tosini was born in 1503.
Charity, Saint Catherine, Portrait of a Lady, Lucretia, Portrait of a Lady, Allegory of Charity, Saint John the Baptist, Saint Mary Magdalene, Holy Family with St John the Baptist and Pietá. The ranking above gives each one's year and museum.
Our catalog holds 13 works by Michele Tosini, dated from 1520 to 1570.
Mostly in National Gallery (London), Art Institute of Chicago (Chicago) and Yale University Art Gallery (New Haven). The museum table above lists them all.
In 1550s: 5 of the 13 works on this page were made then, Portrait of a Lady among them.
On this page, the earliest is Saint Catherine (1520) and the latest Charity (1570).
Woman (3), Drapery (2) and Skin tones (2), across the 13 works on this page.
Oil On Panel, for 3 of the 13 works on this page.
Mannerism, judging by the originals on this page.
In the vibrant, sun-drenched landscape of sixteenth-century Florence, a period where the boundaries between the earthly and the divine were often blurred by the brushstrokes of masters, emerged the distinctive talent of Michele Tosini. Known also to history as Michele di Ridolfo, his life was deeply intertwined with the prestigious artistic traditions of his city. While some historical accounts suggest a familial bond to the great Ridolfo Ghirlandaio, it is more accurately understood that Tosini flourished within the master's studio, absorbing the foundational technical skills and established stylistic principles of the Florentine workshop. This early immersion provided him with a profound understanding of meticulous detail and a commitment to portraying realistic human forms, elements that would become hallmarks of his evolving aesthetic.
Tosini’s artistic journey was one of continuous metamorphosis, moving through the most significant stylistic shifts of his era. His early training under Lorenzo di Credi and Antonio del Ceraiolo anchored him in the refined traditions of the High Renaissance. During these formative years, his work echoed the grace and spiritual clarity found in the paintings of Fra Bartolommeo and Andrea del Sarto. One can observe this devotion to classical harmony in pieces such as his Virgin of the Sacred Girdle, where the composition breathes with a sense of quietude and sacred grace. His early works were characterized by a luminous quality, capturing the essence of a Florence that was then a crucible of humanist inquiry and unparalleled artistic vitality.
As the sixteenth century progressed, the serene balance of the Renaissance began to give way to the more complex, stylized, and dramatic language of Mannerism. Tosini’s transition into this new era was a gradual but profound evolution. By the 1540s, the influence of masters like Salviati and Bronzino began to permeate his canvases, introducing a greater sense of artifice, elongated forms, and sophisticated elegance. This shift saw him moving away from the naturalistic simplicity of his youth toward a more decorative and intellectually demanding style, where color and composition were used to evoke tension and refined beauty.
This period of development reached a significant milestone when Tosini began serving as an assistant to the legendary Giorgio Vasari. Working on the monumental decoration of the Salone dei Cinquecento in the Palazzo Vecchio, Tosini was at the very heart of Florentine civic and artistic pride. Through this collaboration with Vasari, he adopted a sophisticated visual vocabulary that allowed him to contribute to some of the most important decorative programs of the age. His ability to blend the classical foundations of his training with the burgeoning complexity of Mannerism allowed him to remain a vital figure in the Florentine art scene for decades.
The historical significance of Michele Tosini lies in his role as a bridge between eras. He was an artist who did not merely witness the transition from the High Renaissance to Mannerism but actively participated in its shaping. His work serves as a luminous window into a time when Florence was the epicenter of the art world, reflecting both the spiritual devotion of the early century and the courtly sophistication of the later years.
To gaze upon his compositions is to experience a moment suspended in sacred wonder. Whether depicting the tender intimacy of a Holy Family or the rustic devotion found in an Adoration of the Shepherds, Tosini possessed the rare ability to capture the profound intersection of the divine and the human. His legacy remains etched in the textures of his oil paintings and the enduring grace of his figures, reminding us of a master who navigated the changing tides of art with unparalleled skill and sensitivity.
