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Updated: June 19, 2025
But to return to Jacopo; he had not been many months in Florence when he was placed by Bernardo Vettori with Leonardo da Vinci, and shortly afterwards with Mariotto Albertinelli, then with Piero di Cosimo, and finally, in the year 1512, with Andrea del Sarto, with whom, likewise, he did not stay long, for the reason that, after Jacopo had executed the cartoons of the little arch for the Servites, of which there will be an account below, it appears that Andrea never again looked favourably upon him, whatever may have been the reason.
But since the principal chapel, which had been built by Ser Pino Bonaccorsi, had afterwards come into the hands of a lady of the Caponsacchi family, and from her to Mariotto Banchi, some law-suit was fought out over this, and Mariotto, having upheld his rights and having taken the said chapel from Agnolo della Casa, to whom the said Silvestrines had given or sold it, presented it to Cosimo de' Medici, who gave Mariotto 500 crowns in return for it.
The first work, then, that Jacopo executed at that time was a little Annunciation for one his friend, a tailor; but the tailor having died before the work was finished, it remained in the hands of Jacopo, who was at that time with Mariotto, and Mariotto took pride in it, and showed it as a rare work to all who entered his workshop.
Probably Baccio was at the Duomo on that Sunday in Lent, 1495, and reported to Mariotto those wondrous words of Savonarola, that "Beauty ought never to be taken apart from the true and good," and how, after quoting the same sentiments from Socrates and Plato, the preacher went on to say, "True beauty is neither in form nor colour, but in light.
And since Mariotto was not so well grounded in drawing as was Baccio, he devoted himself to the study of such antiquities as were then in Florence, the greater part and the best of which were in the house of the Medici.
Mariotto was wilful, obstinate, inconsequent, and flighty, Baccio fell under the influence of Savonarola, professed himself a piagnone, and took the cowl of the Dominicans . Mariotto was a partisan of the Medici, an uproarious pallesco, and a loose liver, who eventually deserted the art of painting for the calling of an innkeeper.
His friend, Mariotto, kept him au courant in all the gossip of art, and told him of the great cartoons of Leonardo and Michelangelo, which he too went to see. They might have inspired him afresh, or perhaps in advising Albertinelli he himself felt impelled to paint, or possibly the visits of Raphael in 1504 influenced him.
However, one day the truth was revealed, and the friars, to the end that the work might be finished, gave a double allowance to Mariotto and his lads, who finished the work with great glee and laughter.
Such as it is, however, this sacristy at St. Peter's was handsome enough to excite the emulation of the canons of the cathedral, for the contract made with Maestro Mariotto who was nicknamed Torzuolo specifies that the work is to be entirely of walnut wood, after the fashion of the sacristy at St. Peter's, and is to be executed "in the manner of a good, loyal and expert master." It is to be all done by his own hand, or at least in his presence and under his superintendence. The work is to be completed in one year, and the canons are to pay for it at the rate of ten florins every square braccio, Florentine measure. This was in 1494; and it will here again be observed that the price, as compared with that to be paid to Maestro Stefano by the monks of St. Peter's for their choir, even fully allowing for the greater richness of the latter, indicates the very rapid alteration in the value of money which took place at the beginning of the sixteenth century. But the canons, it would seem, were very careful hands at a bargain, for we find that it is provided in the contract that when the work shall have been completed it shall be examined by two experts, and that if it shall be found to be worth less than the price named, Maestro Torzuolo shall receive so much less; but that if it shall be found by the said experts and appraisers to be worth more, the maestro shall stand to his bargain and not receive more than the price named an agreement which is frequently found in the contracts made about that period. When the work was completed it was accordingly examined and appraised by Maestro Mattia of Reggio and Maestro Pietro of Florence. The latter was brought from Citt
But when he heard that Baccio had gone off to become a monk, Mariotto was almost overwhelmed and out of his mind; and so strange did the news seem to him, that he was in despair, and nothing could cheer him.
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