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Padre Marchese takes the conventional view, and says that Santi Pagnini, the oriental scholar and lover of art, came back to S. Marco in 1504 as prior, and used not only his entreaties, but his authority, to induce Fra Bartolommeo to recommence painting.
In the 23rd verse we have no more but susceperunt, as Pagnini, or receperunt, as Tremellius reads it: but to read, susceperunt in solemnem ritum, is to make an addition to the text. The 28th verse calls not this feast a rite, but only dies memorati, or celebres. And what if we grant that this feast was a rite? might it not, for all that, be merely civil?
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.
The reluctance to leave this youth alone may have deferred for a time his taking the monastic vows; but having placed him under the guardianship of Santi Pagnini, a Dominican, he consigned the Last Judgment to Mariotto to finish, and leaving his worldly goods to his brother, took the habit in the convent of S. Domenico, at Prato, on July 26th, 1500, two years after first making the resolution.
In the early part of 1515 Fra Bartolommeo went to pay his old friend Santi Pagnini, the Oriental scholar, a visit at the convent of San Romano, in Lucca, of which he was now prior, passing by Pistoja on February 17th to sign a contract for an altar-piece to be placed in the church of San Domenico a commission from Messer Jacopo Panciatichi.
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