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His friend, Mariotto, kept him au courant in all the gossip of art, and told him of the great cartoons of Leonardo and Michelangelo, which he too went to see. They might have inspired him afresh, or perhaps in advising Albertinelli he himself felt impelled to paint, or possibly the visits of Raphael in 1504 influenced him.
Fra Bartolommeo was sent, when nine years old, into the workshop of Cosimo Rosselli, where he began his artist's life by colour-grinding, sweeping out the shop, and errand-running. It was in Cosimo's bottega that he made acquaintance with Mariotto Albertinelli, who became his intimate friend and fellow-worker.
The Bell villa took, from a distance, an air of sentimental fantasy. She felt herself that she was too closely observed at Resole. Madame Marmet annoyed her. Prince Albertinelli disquieted her. The meetings in the pavilion of the Via Alfieri had become difficult and dangerous.
He was buried at S. Marco. In his less regenerate days Fra Bartolommeo's greatest friend was the jovial Mariotto Albertinelli, whose rather theatrical Annunciation hangs between a number of the monk's other portraits, all very interesting. Of Albertinelli I have spoken earlier. Before leaving, look at the tiny Ignoto next the door a Madonna and Child, the child eating a pomegranate.
Betrothed to Prince Eusebio Albertinelli della Spina, she had come to Paris to order her trousseau. In the movement and the noise of the kermess she said: "Darling, you have left at Florence a friend who retains the charm of your memory. It is Professor Arrighi. He reserves for you the praise- which he says is the most beautiful. He says you are a musical creature.
The Bell villa took, from a distance, an air of sentimental fantasy. She felt herself that she was too closely observed at Resole. Madame Marmet annoyed her. Prince Albertinelli disquieted her. The meetings in the pavilion of the Via Alfieri had become difficult and dangerous.
Dechartre had modelled for Miss Bell a waxen figure of Beatrice. Vivian was painting angels. Softly bent over her, Prince Albertinelli caressed his beard and threw around him glances that appeared to seek admiration. Replying to a reflection of Vivian Bell on marriage and love: "A woman must choose," he said. "With a man whom women love her heart is not quiet.
"Oh, darling, the Prince will be very glad to receive you in his palace." "I do not think so." "Why, darling, why?" "Because I do not please him much." Vivian Bell declared that the Prince, on the contrary, was a great admirer of the Countess Martin. The horses stopped before the Albertinelli palace.
At the moment when he turned his back to her, Therese saw Miss Bell and Prince Albertinelli coming out of the freight-station toward her. The Prince was very handsome. Vivian was walking by his side with the lightness of chaste joy. "Oh, darling, what a pleasant surprise to find you here! The Prince, and I have seen, at the customhouse, the new bell, which has just come." "Ah, the bell has come?"
The Virgin is a tender sweet figure; indeed no artist has given more gracious dignity to womanhood than Albertinelli, although his detractors say his life showed no great respect for it. Above, the Almighty is seen in a yellow light with a circle of angels and seraphs around. It is strange how the realistic painters stopped at nothing, not even the representation of the eternal in a human form.
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