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Bugiardini was still Mariotto's head assistant, and Fra Paolino, and one or two other monks, worked under Fra Bartolommeo, besides pupils of both, among whom were Gabriele Rustici and Benedetto Cianfanini. So many of these masterly sketches are the Frate's and so few are Mariotto's that we may presume the former was in most instances the designer. And to what perfection he carried design!
But though Albertinelli passed off his pseudo-hostdom with bravado, talking very wittily about it, the artistic vein was too strong within him to be subdued; he soon gave up the flask and returned to the brush, for in 1509, when his quondam pupil, Francia Bigio, was busy at the Servi, we again find Mariotto's hand in a painting of the Madonna.
His friend, Francia Bigio, Mariotto's pupil, having just then lost his master, who was giving more attention to his father-in- law's business of innkeeper than his own, was willing to enter into partnership, and the two youths began life together in 1509 or 1510, in a room near the Piazza del Grano, in the first house in Via del Moro, which still remains in its old state.
Yet so sweet was the temper of the Frate, and so firm was the bond of friendship established in boyhood between this ill-assorted couple, that they did not part company until 1512, three years before Mariotto's death and five before that of Bartolommeo.
Gaetano Milanesi's researches in the Archives have thrown a new light on Mariotto's motives, which were not entirely connected with art; it was not that he was discouraged by adverse criticism, nor wholly that, as time divided him from his friend, he felt he could produce no great work away from his influence, but it was partly that he had married a wife named Antonia, whose father kept an inn at S. Gallo.
And when the white-robed boys came to the studio of the friends at the gate of S. Pier Gattolini, with what sighs and self-immolation Baccio looked for the last time at some of his studies which he judged to come under the head of anathemata, and handed them over to the acolytes. How Mariotto's soul, warm to Pagan art, burned within him at this sacrifice!
It is possible the tavern came to him by way of dot, and the above reasons making him discontented with art for a time, might have induced him to carry on the business himself. Sig. Milanesi says a document exists of a contract in which Mariotto's name is connected with a tavern, but that he has never been able to retrace it since the first time he found it.
In 1512 Santi Pagnini came back from Siena as prior of S. Marco, and he having no love for Albertinelli, and perhaps a too jealous affection for the artist Monk, caused the partnership to be dissolved, much to Mariotto's sorrow. The stock, of which a full list is given by Padre Marchese, was divided, each taking the pictures in which they had most to do.
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