Fra Bartolommeo | Page 8

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 C?sar 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