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Not long afterwards, Mariotto having departed from Florence and gone to Viterbo to execute the panel-picture that Fra Bartolommeo had begun there, Jacopo, who was young, solitary, and melancholy, being thus left without a master, went by himself to work under Andrea del Sarto, at the very moment when Andrea had finished the stories of S. Filippo in the court of the Servites, which pleased Jacopo vastly, as did all his other works and his whole manner and design.

If it had not been, indeed, that Mariotto could not then endure having anything to do with monks, against whom he was ever railing, and belonged to the party that was opposed to the faction of Fra Girolamo of Ferrara, his love for Baccio would have wrought upon him so strongly, that it would have forced him to don the cowl in the same convent as his companion.

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.

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.

"Fetter us without delay, Maestro!" said the youth, "for I have got to take my bride home and paint her under the light of a lantern." "Ha! Mariotto, my son, I commend your pious observance..." The conjuror was going on, when a loud chattering behind warned him that an unpleasant crisis had arisen with his monkey.

Bernardo offered only eighty ducats; the Frati were indignant, and called in the Abbot of the Badia as umpire; he being unable to move Bernardo, retired from office; then a council of friends was resolved on, in which Mariotto was for the painter, and Lorenzo de Credi for the purchaser; but this also failed.

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.

He had a companion in Mariotto Albertinelli, who in a short time acquired his manner passing well; and together with him he executed many pictures of Our Lady, which are scattered throughout Florence. To speak of all these would take too long, and I will mention only some excellently painted by Baccio.

But instead of going to France for the glory of art, he was returning to Florence to sorrow. His life-long friend, Mariotto Albertinelli, had been brought home on a litter from La Quercia, near Viterbo, and now lay on his death-bed; and what his life had lacked in religion, the prayers of his friend would go far to atone for at his death.

He was much beloved in Florence for his calm upright nature and good qualities. He delighted in the society of pious and learned men, spent much time in the convent, where he had many friends among the monks; yet with all he kept still faithful to his early friend Mariotto, whose life was cast so differently.