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And then the Virgin, full of Grace, but a shy girl in her teens for all that, hides her hot cheeks and cries her little wild heart to quietness. Some of it is in Albertinelli's fine picture, but not all. And now cross the Piazza and come down the steep incline by the Palazzo Commune, turn to the left, and behold the crown of Pistoja, the Spedale del Ceppo.
The first work begun at the convent studio was the picture for Father Dalgano of Venice, the subject of which is the Eternal Father in Heaven, surrounded by seraphs and angels. Perhaps in this we have the source of the motive of Albertinelli's Annunciation. The colouring is more brilliant than any of the Frate's works before his visit to Venice.
Thus the date is tolerably certain, especially as a gap occurs in Albertinelli's works at this time. Sig.
Giuliano Bugiardini was his head assistant rather than pupil; Francia Bigio, then a boy, Visino, who afterwards went to Hungary, and Innocenzio da Nicola, besides Piero, Baccio's brother, were all scholars. Albertinelli's Bottega in Val Fonda gave some noble paintings to the world, works independently his own, though Fra Bartolommeo's influence is traceable in most of them.
It is not unlikely that Piero di Cosimo kept up an interest in his old fellow-pupil; and then again, as Andrea lived in Val Fonda, it is probable he often visited Albertinelli's studio in that street, and the friendship with Francia Bigio began before the cartoons of Michelangelo ripened there.
During their long association the task of designing fell upon the Frate, while Albertinelli took his orders and helped to work out his conceptions. Both were excellent craftsmen and consummate colourists, as is proved by the pictures executed by each unassisted. Albertinelli's "Salutation" in the Uffizzi yields no point of grace and vigour to any of his more distinguished coadjutor's paintings.
After Albertinelli's death, the Frate soared to greater heights of genius than before. The year 1516 marks the birth of his grandest masterpieces, first the picture in the Pitti Palace called by Cavalcaselle a Resurrection, but which is more truly an allegorical impersonation of the Saviour.
During these three years Albertinelli's star seems merged in that of his senior, his hand is to be recognised in the lower parts of a few altarpieces; but it is always difficult to distinguish the two styles. It was a very busy atelier, for they had many patrons.
Vasari, though not to be depended on in regard to dates chronology not being his forte is generally right in the gossip and stories of the lives near his own time, and it is by collateral evidence from his pages that we are able to fix with more certainty 1508 or 1509 as the time of this episode in Albertinelli's life.
The general hue of the vale is a deep cerulean, resembling that blue of the robes of Albertinelli's Madonnas; so, at least, it strikes the eye on a clear forenoon of spring or summer.
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