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Mariotto had many disciples; among others, Giuliano Bugiardini and Franciabigio, both Florentines, and Innocenzio da Imola, of whom we will speak in the proper place. Visino, a painter of Florence, was likewise his disciple, and excelled all these others in drawing, colouring, and industry, showing, also, a better manner in the works that he made, which he executed with great diligence.
For charm of colouring and depth of expression, the Pieta is the most lovely of all the Frate's works; therefore Bugiardini who was mediocre, could not have outdone his great master. It was not coloured by him. Is it not likely that if Bugiardini had any hand in the work, it was to finish these figures?
On the same occasion I showed Giuliano my little model in wax, which was very different from Michel Agnolo's drawing; and Federigo, in concert with Bugiardini, agreed that I should work upon my model. So I took it in hand, and when Michel Agnolo saw it, he praised me to the skies."
However, since that manner did not please the smooth fancy of Bugiardini, no sooner had Tribolo departed than he took a brush and, dipping it from time to time in water, so smoothed them that he took away the gradine-marks and polished them all over, insomuch that, whereas the lights should have served as contrasts to make the shadows stronger, he contrived to destroy all the excellence that made the work perfect.
So far, then, as I have yet pursued the analysis of Michelangelo's portraits, I take Bonasoni's engraving to be decisive for Michelangelo's appearance at the age of seventy; Leoni's model as of equal or of greater value at the age of eighty; Venusti's and Da Volterra's paintings as of some importance for this later period; while I leave the attribution of minor easel-pictures to Del Conte or to Bugiardini open.
Whereupon Mariotto Albertinelli, his friend and companion, at the entreaties of Gerozzo Dini, took over the materials of Fra Bartolommeo which was the name given by the Prior to Baccio, on investing him with the habit and brought to completion the work of the Ossa in S. Maria Nuova; where he portrayed from life the Director of the Hospital at that time, and some friars skilled in surgery, with Gerozzo, the patron of the work, and his wife, full-length figures on their knees, upon the walls on either side; and in a nude figure that is seated, he portrayed Giuliano Bugiardini, his pupil, as a young man, with long locks according to the custom of that time, in which each separate hair might be counted, so carefully are they painted.
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