The two boys left the studio of Cosimo Roselli at an early age. There had been trouble in the house of Paolo the ex-muleteer, and Baccio's already serious mind had been awed by the sight of death. His little brother, Domenico, died in 1486 at seven years of age. His father, Paolo, died in 1487; thus Baccio, at the age of twelve or thirteen, was left the head of the family, and the supporter of his stepmother and her babes. This may account for his leaving Cosimo so young, and setting up his studio with Mariotto as his companion, in his own house at the gate of S. Pier Gattolini; this partnership began presumably about the year 1490.

Conscious that they were not perfected by Cosimo's teaching, they both set themselves to undergo a strict discipline in art, and, friends as they were, their paths began to diverge from this point. Their natural tastes led them to opposite schools—Baccio to the sacred shrine of art in the shadowed church, Mariotto to the greenery and sunshine of the Medici garden, where beauty of nature and classic treasures were heaped in profusion; whose loggie [Footnote: Arched colonnades.] glowed with the finest forms of Greek sculpture, resuscitated from the tombs of ages to inspire newer artists to perfection, but alas! also to debase the aim of purely Christian art.

Baccio's calm devotional mind no doubt disliked the turmoil of this garden, crowded with spirited youths; the tone of pagan art was not in accordance with his ideal, and so he learned from Masaccio and Lippi that love of true form and harmonious composition, which he perfected afterwards by a close study of Leonardo da Vinci, whose principles of chiaroscuro he seems to have completely carried out. With this training he rose to such great celebrity even in his early manhood, that Rosini [Footnote: Rosini, Storia della Pittura, chap. xvii. p. 48.] calls him "the star of the Florentine school in Leonardo and Michelangelo's absence," and he attained a grandeur almost equal to the latter, in the S. Mark and SS. Peter and Paul of his later years.

Meanwhile Mariotto was revelling in the Eden of art, drawing daily beneath the Loggie—where the orange-trees grew close to the pillars—from the exquisite statues and "torsi," peopling the shades with white forms, or copying cartoons by the older masters, which hung against the walls.

The custode of all these treasures was Bertoldo, an old sculptor, who boasted of having been the scholar of Donatello, and also heir to his art possessions. He could also point to the bronze pulpits of San Lorenzo, which he finished, as proof of his having inherited a portion of his master's spirit. Bertoldo, having doubtless rendered to Duke Cosimo's keeping his designs by Donatello, which were preserved in the garden, obtained the post of instructor there; but his age may have prevented his keeping perfect order, and the younger spirits overpowered him. There were Michelangelo, with all the youthful power of passion and force which he afterwards imparted to his works, and the audacious Torrigiano, with his fierce voice, huge bulk, and knitted brows, who was himself a discord like the serpent in Eden. Easily offended, he was prompt in offering outrage. Did any other young man show talent or surpass him, revenge deep and mean as that of Bandinelli to Michelangelo was sure to follow, the envied work being spoiled in his rage. Then there were the fun-loving Francesco Granacci, and the witty Rustici, as full of boyish pranks as they were of genius—what could one old man do among so many?—and now comes the impetuous Mariotto to add one more unruly member to his class.

How well one can imagine the young men—in loose blouses confined at the waist, or in buff jerkins and close-fitting hose, with jaunty cloaks or doublets, and little red or black caps, set on flowing locks cut square in front—passing beneath the shadows of the arches among the dim statues, or crossing the garden in the sunshine amid the orange-trees, under the splendid blue Italian skies.

We can see them painting, modelling, or drawing large cartoons in charcoal, while old Bertoldo passes from easel to easel, criticising and fault-finding, detailing for the hundredth time Donatello's maxims, and moving on, heedless or deaf to the irreverent jokes of his ungrateful pupils.

Then, like a vision of power and grandeur, Lorenzo il Magnifico enters with a group of his classic friends. Politian and the brothers Pulci admire again the ancient sculptures which are to them as illustrations of their readings, and Lorenzo notes the works of all the students who were destined to contribute to the glory of the many Medicean palaces. How the burly Torrigiano's heart burns within him when the Duke praises his compeer's works!

Sometimes Madonna Alfonsina, the mother of Lorenzo, and widow of Piero, walked here, and she also took an interest in the studies of the youths. Mariotto especially attracted her by his talent and zeal. She commissioned him to paint some pictures for her to send as a present to her own family, the Orsini of Rome. These works, of which the subjects are not known, passed afterwards into the possession of CÆsar Borgia. She also sat to Mariotto for her own portrait. It is easily imagined how elated the excitable youth became at this notice from the mother of the magnificent Lorenzo. He had dreams of making a greater name than even his master, Cosimo, whose handiwork was in the Sistine; of excelling Michelangelo, of whose genius the world was beginning to talk; and, as adhering to a party was the only way to success in those days, he became a strong Pallesco, [Footnote: The Palleschi were the partizans of the Medici, so called because they took as their standard the Palle, or Balls, the arms of that family.] trusting wholly in the favour of Madonna Alfonsina.

He even absented himself almost constantly from the studio, which Baccio shared with him, and worked at the Medici palace, [Footnote: This break is signified by Baldinucci, Opere, vol. iv. p. 84, and by Vasari, who says that after the exile of Piero he returned to Baccio.] but, alas! in 1494 this brilliant aspect of his fortunes changed.

Lorenzo being dead, Piero de' Medici was banished, the great palace fell into the hands of the republican Signoria, and all the painters were left without patronage.

Mariotto, very much cast down, bethought himself of a friend who never failed him, and whose love was not affected by party; and, returning to the house of Baccio, he set to work, most likely in a renewed spirit of confidence in the comrade who stood by him when the princes in whom he trusted failed him. 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. It would be interesting if we could see those early pictures done for Madonna Alfonsina, and compare them with the style formed after this second adherence to Fra Bartolommeo. What his manner afterwards became we have a proof in the Salutation (1503), in which there is grand simplicity of motive combined with the most extreme richness of execution and fullest harmony of colour.

This second union between the friends could not have been so satisfactory to either as the first pure boyish love, when they had been full of youthful hopes, and felt their hearts expand with the dreams and visions of genius. Now instead of the mere differences between two styles of art, there were differences which much more seriously affected their characters; they were daily sundering, one going slowly towards the cloister, the other to the world. Albertinelli had gained a greater love of worldly success and luxury.

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. Rosini well defined their union as "a knot which binds more strongly by pulling contrary ways." [Footnote: Storia della Pittura, chap. xvii. p. 48]

So when Albertinelli, while colouring with zeal a design of Baccio's, would inveigh against all monks, the Dominicans in particular, and Savonarola especially, his friend would argue that the inspired prophet was not an enemy, but a purifier and reformer of art. 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. God is light, and His creatures are the more lovely as they approach the nearer to Him in beauty. And the body is the more beautiful according to the purity of the soul within it." Certain it is that this divine light lived ever after in the paintings of Fra Bartolommeo.

He frequented the cloisters of San Marco, where even Lorenzo de' Medici used to go and hear the prior expound Christianity near the rose tree. There were Lorenzo di Credi and Sandro Botticelli, both middle-aged men, of a high standing as artists; there were the Delia Robbias, father and son, and several others. Sandro, while listening, must have taken in the inspired words with the scent and beauty of the roses, whose spirit he gives in so many of his paintings.

Young Baccio, on the contrary, feasted his eyes on the speaker's face, till the very soul within it was imprinted on his mind, from whence he reproduced it in that marvellous likeness, the year after the martyrdom of Savonarola.

This is the earliest known work of Fra Bartolommeo, and is a faithful portrait; the deep-sunk eye-socket, and eye like an internal fire, showing the preacher's powerful mind; the prominent aquiline nose and dilating vehement nostril bespeaking his earnestness and decision; the large full mouth alone shows the timorousness which none but himself knew of, so overpowered was it by his excitable spirit. The handling is Baccio's own able style, but Sig. Cavalcaselle thinks the influences of Cosimo Roselli are apparent in the low tone and clouded translucent colour; he signed it "Hieronymi Ferrariensis, a Deo missi prophetÆ effigies," a legend which expresses the more than reverence which Baccio cherished for the preacher. This portrait has only lately been identified by its present possessor, Sig. Ermolao Rubieri, who discovered the legend under a coat of paint. Its vicissitudes are traceable from the time when Sig. Averardo (or, as Vasari calls him, Alamanno) Salviati brought it back from Ferrara, where no doubt it had been in the possession of Savonarola's family. Salviati gave it to the convent of San Vincenzo at Prato, from which place Sig. Rubieri purchased it in 1810. The likeness of the reformer in the Belle Arti of Florence has been supposed to be this one, but it is more likely to be the one done by Fra Bartolommeo at Pian di Mugnone in after years, when he drew the friar as S. Peter Martyr, with the wound on his head.