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Updated: June 9, 2025
It is true that the David of Michelagnolo, which is beside Baccio's Hercules, takes away not a little of its glory, being the most beautiful colossal figure that has ever been made; for in it is all grace and excellence, whereas the manner of Baccio is entirely different.
But Andrea perceived Baccio's intention as he made his request, and was angry at his want of confidence and astuteness, for he would have been willing to show him what he desired, if Baccio had asked him as a friend; wherefore, without making any sign that he had found him out, and refraining from mixing the colours into tints, he placed every sort of colour on his palette and mingled them together with the brush, and, taking some now from one and now from another with great dexterity of hand, counterfeited in this way the vivid colouring of Baccio's face.
Paolo married first Bartolommea, daughter of Zanobi di Gallone, by whom he had a son, Bartolommeo, known as Baccio della Porta, born 1475. There is some doubt as to the place of Baccio's birth, which occurred in 1475.
However, he was besought by Gerozzo Dini, who had given the commission for the Judgment that Baccio had left unfinished in the Ossa, that he, having a manner similar to Baccio's, should undertake to finish it; whereupon, being also moved by the circumstance that the cartoon completed by the hand of Baccio and other drawings were there, and by the entreaties of Fra Bartolommeo himself, who had received money on account of the painting, and was troubled in conscience at not having kept his promise, he finished the work, and executed all that was wanting with diligence and love, in such a way that many, not knowing this, think that it was painted by one single hand; and this brought him vast credit among craftsmen.
Whatever his frame of mind, he began now to study earnestly the works of Baccio, who, while he was seeking patronage in the palace, had been purifying his genius in the Church. Mariotto imbibed more and more of Baccio's style, till their works so much resembled one another that indifferent judges could scarcely distinguish them apart.
Baccio's mind, always attuned to devotion, was now intensified by family sorrows, which no doubt brought him nearer to heaven. Thus softened, he had the more readily received the seeds of faith which Savonarola scattered broadcast. Yet though every word of the one was a wound to the other, this strangely assorted pair of friends did not part.
Now his patrons became aware of Baccio's procedure, and repented of what they had done; but the two largest pieces of marble remained, those for the two statues that were still to be executed, one of Leo seated and the other of Clement, and these they ordered him to finish, beseeching him that he should do better in them.
But it was not only Baccio's work that his Excellency caused to be completely finished, but also all the rest of what Giorgio Vasari had designed; beginning again from the base that runs over the whole of that work, with a border of balusters in the open spaces, which forms a corridor that passes above the work in the Hall, and commands a view on the outer side of the Piazza and on the inner side of the whole Hall.
And how he would talk more than ever against the monks, and hang up his own cartoons and studies of the Greek Venus in the studio for Baccio's behoof! In these years we have no notice of authentic works done by the youthful partners, though biographers talk of their having commissions for madonnas, and other works of art.
But Baccio's dearest friend in the studio was a boy nearly his own age, Mariotto Albertinelli, son of Biagio di Bindo, born October 13, 1474. He had experienced the common lot of young artists in those days, and had been apprenticed to a gold-beater, but preferred the profession of painter.
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