His two masterpieces are now in the Uffizi; they were painted for the Brotherhood of S. Zenobio, 1510, to stand one on each side of Albertinelli's _Annunciation_. One is _S. Zenobio_ (the first bishop and patron saint of Florence) _restoring a dead child to life_; the other the _Funeral Procession of the Saint passing the Baptistery_, where an elm tree, which had been withered, put forth fresh leaves as the coffin of the bishop touched it. A marble column, with a bronze tree in relief on it, stands on the spot as a memorial of this miracle. In these two works Ridolfo Ghirlandajo proved the power which was in him, but they are the culmination of his art; he never surpassed, or indeed equalled them again. His richness of colouring and deep relief equalled that of the Frate, the animation and expression rivalled Andrea del Sarto. In the first picture, the eagerness of the crowd, the intense feeling of the mother, in whom grief for the dead child seems almost greater than the hope of his resuscitation, the sturdy, solid character of the Florentines of the Republic, are all given with a masterly hand, while a rich blending of colour fuses the animated crowd in a harmonious unison. In the latter, grandeur and dignity mark the group of ecclesiastics which surrounds the archbishop's bier, the full solid falls of their drapery show that he had well studied his father's works.
Ridolfo's brothers became monks, Don Bartolommeo lived in the Camaldoline Monastery of the Angeli, which Ridolfo beautified with many works. Paolo Uccelli had adorned the Loggia with frescoed stories from the life of S. Benedict. Ridolfo added two to the series. In one the Saint is at table with two angels, waiting for S. Romano to send his bread from the grotto, but the devil has cut the cord and taken it.
Another is _S, Benedict investing a youth with the habit of the order_. In the church of the same monastery he painted a beautiful _Madonna and Child, with Angels_, above the holy water vase, and _S. Romualdo with the Camaldolese Hermitage in his Hand_, in a lunette in the cloister. All these were done as a brotherly gift, and after they were finished, the abbot, Don Andrea Dossi, gave him a commission to paint a _Last Supper_ in the refectory, which he did, placing the portrait of the abbot in the corner.