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These and other works of Giuliano's having been seen by Mariotto Albertinelli, he recognized how careful Giuliano was in following the designs that were put before him, without departing from them by a hair's breadth, and, since he was preparing in those days to abandon art, he gave him to finish a panel-picture that Fra Bartolommeo di San Marco, his friend and companion, had formerly left only designed and shaded with water-colours on the gesso of the panel, as was his custom.
His early studies were made in the Brancacci Chapel, and the Papal Hall where he drew from the cartoons in 1505-6, and the studio of Mariotto Albertinelli, from which he passed to his partnership with Andrea del Sarto in 1509. Thus it is that his first style was marked by the influence of Mariotto and Fra Bartolommeo, while in his later works he approximated more to Andrea del Sarto.
Mariotto Baldovinetti, one of the assembly, was opposed to this plan, on account of the pride and insupportable nature of the nobility; and said, that it would be folly to place themselves again under such inevitable tyranny for the sake of avoiding imaginary dangers from the plebeians.
No doubt the two boys, Mariotto and Baccio, found little companionship in this abstracted young man always dreaming over his own ideas. If they told him an anecdote, he would look up vacantly at the end not having heard a word; at other times every little noise or burst of laughter would annoy him, and he would be immoderately angry with the flies and mosquitos.
He was the son of a painter, Bernardino di Antonio, but though he learned the first principles from him, his real art was imbibed from the Frate, under whom, together with Mariotto, he worked for years. But this youthful scholar was not enough for Fra Bartolommeo's new energies.
He pined for his old friend, Mariotto, who could follow out his designs in his own style so closely, that an unpractised eye could not see the difference of hand; and such was his influence on the rulers of the order, that they allowed a most unique partnership to be entered into. The parties were, Albertinelli on one side, and the convent and Fra Bartolommeo on the other.
Whereupon Mariotto Albertinelli, his friend and companion, at the entreaties of Gerozzo Dini, took over the materials of Fra Bartolommeo which was the name given by the Prior to Baccio, on investing him with the habit and brought to completion the work of the Ossa in S. Maria Nuova; where he portrayed from life the Director of the Hospital at that time, and some friars skilled in surgery, with Gerozzo, the patron of the work, and his wife, full-length figures on their knees, upon the walls on either side; and in a nude figure that is seated, he portrayed Giuliano Bugiardini, his pupil, as a young man, with long locks according to the custom of that time, in which each separate hair might be counted, so carefully are they painted.
Meanwhile Mariotto was revelling in the Eden of art, drawing daily beneath the Loggie where the orange-trees grew close to the pillars from the exquisite statues and "torsi," peopling the shades with white forms, or copying cartoons by the older masters, which hung against the walls.
In 1494, on the 5th of April, Maestro Mariotto di Paola, "called Torzuolo," contracts with the canons of the cathedral to make a range of cupboards in the sacristy. Such masses of wood-work, very frequently richly carved and ornamented, are found in the sacristies of most of the larger churches in Italy.
Mariotto returned disheartened to paint in his solitary studio. A specimen of this period is the Adam and Eve, now at Castle Howard, which is said to have been sketched in by Fra Bartolommeo.
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