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Updated: May 20, 2025
His face wore the expression of cruel displeasure one finds on the marble busts of Roman emperors. Dechartre was on the staircase. The Prince went toward him with a languid smile. He was no longer Nero, but Antinous. "I invited Monsieur Dechartre to come to the Albertinelli palace," said Miss Bell. "I knew it would please you. He wished to see your gallery."
Prince Albertinelli strummed on the piano the Sicilian 'O Lola'! His soft fingers hardly touched the keys. Choulette, even harsher than was his habit, asked for thread and needles that he might mend his clothes.
Franciabigio's master was Mariotto Albertinelli, who had learned from Cosimo Rosselli, the teacher of Piero di Cosimo, Andrea's master another illustration of the interdependence of Florentine artists. One of the most attractive works in the courtyard must once have been the "Adoration of the Shepherds" by Alessio Baldovinetti, at the left of the entrance to the church.
At her friend's coming she raised her little face, plain but illuminated by splendid eyes. "Darling, permit me to introduce to you the Prince Albertinelli." The Prince possessed a certain youthful, godlike beauty, that his black beard intensified. He bowed. "Madame, you would make one love France, if that sentiment were not already in our hearts."
These collaborators, although intimate friends, ultimately went different ways, for Fra Bartolommeo came under the influence of Savonarola, burned his nude drawings, and entered the Convent of S. Marco; whereas Albertinelli, who was a convivial follower of Venus, tiring of art and even more of art jargon, took an inn outside the S. Gallo gate and a tavern on the Ponte Vecchio, remarking that he had found a way of life that needed no knowledge of muscles, foreshortening, or perspective, and better still, was without critics.
"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.
But with the decadence we have happily nothing to do; the artists of whom we speak first, Fra Bartolommeo and Albertinelli, belong to the culmination of art on its rising side, while Andrea del Sarto stands as near to the greatest artists on the other side, and is the last of the group before the decline.
The gallery had been formed by Cardinal Giulio Albertinelli at a time when the taste for Guido and Caraccio, now fallen, had predominated. His ancestor had taken pleasure in gathering the works of the school of Bologna. But he would show to Madame Martin several paintings which had not displeased Miss Bell, among others a Mantegna.
Men infinitely inferior to himself in genius and sense of form, a Perugino, a Francia, a Fra Bartolommeo, an Albertinelli, possessed more of the magic which evokes pictorial beauty. Nevertheless, with all its aridity, rigidity, and almost repulsive hardness of colour, the Doni Madonna ranks among the great pictures of the world.
The Virgin wears a hat, as one just arrived from a journey; Joseph and Zacharias greet each other; a maiden with a basket on her head follows; and in the foreground a man unloads the ass. I will mention two other example, each perfect in its way, in two most opposite styles of treatment. The first is the simple majestic composition of Albertinelli. There are no accessories.
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