Fra Bartolommeo | Page 5

side, and is the last of the group before the decline. On Fra Bartolommeo the spirituality of Fra Angelico still lingered, while the perfection of Raphael illumined him. Andrea del Sarto, on the other side, had gathered into his hands the gleams of genius from all the great artists who were his elder contemporaries, and so blending them as to form seemingly a style of his own, distinct from any, has left on our walls and in our galleries hundreds of masterpieces of colour, as gay and varied as the tints the orientals weave into their wondrous fabrics.
It might be said with truth that Fra Bartolommeo painted for the soul, and Andrea del Sarto for the eye.

CHAPTER II
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THE "BOTTEGA" OF COSIMO ROSELLI. A.D. 1475-1486.
Amongst the thousand arteries in which the life blood of the Renaissance coursed in all its fulness, none were so busy or so important as the "botteghe" of the artists. In these the genius of the great masters, the Pleiades of stars at the culmination of art in Florence, was either tenderly nursed, or sharply pruned into vigour by struggling against discouragement and envy. In these the spirit of awakened devotion found an outlet, in altarpieces and designs for church frescoes which were to influence thousands. Here the spirit of poetry, brooding in the mysterious lines of Dante, or echoing from past ages in the myths of the Greeks, took form and glowed on the walls in mighty cartoons to be made imperishable in fresco. Here the spirit of luxury was satisfied by beautiful designs for ornaments, dress stuffs, tapestries, vases and "cassoni," &c., which brought beauty into every life, and made each house a poem. The soul, the mind, and the body, could alike be supplied at those fountains of the beautiful, the artshops or schools.
Whilst Michelangelo as a youth was drawing from the cartoons of the Sassetti chapel in the school of Domenico Ghirlandajo, Cosimo Roselli was just receiving as a pupil a boy only a little behind him in genius. A small, delicate-faced, spiritual-eyed boy of nine years, known as Baccio della Porta, who came with a roll of drawings under his arm and high hopes in his soul, no doubt trotting along manfully beside Cosimo's old friend, Benedetto da Majano, the sculptor, who had recommended his being placed in the studio.
By the table given in the note [Footnote: Pietro, a Genoese, came in 1400 to the parish of S. Michele, at Montecuccioli in Mugello; he was a peasant, and had a son Jacopo, who was father of Paolo, the muleteer; and three other sons, Bartolo, Giusto, and Jacopo, who had a podere at Soffignano, near Prato. Paolo married first Bartolommea, daughter of Zanobi di Gallone, by whom he had a son, Bartolommeo, known as Baccio della Porta, born 1475. The first wife dying, Paolo married Andrea di Michaele di Cenni, who had four sons, Piero, Domenico, Michele, and Francesco; only Piero lived to grow up, and he became a priest. [_Favoured by Sig. Milanesi._]] it will be seen that Baccio was the son of Paolo, a muleteer, which no doubt was a profitable trade in those days when the country roads were mere mule-tracks, and the traffic between different towns was carried on almost entirely by horses and mulepacks. There is some doubt as to the place of Baccio's birth, which occurred in 1475. Vasari gives it as Savignano near Prato; Crowe and Cavalcaselle [Footnote: Vol. iii. chap. xiii. p. 427.] assert it was Suffignano, near Florence, where they say Paolo's brothers, Jacopo and Giusto, were contadini or peasants.
But on consulting the post-office authorities we find no place called Suffignano near Florence; it must therefore have been a village near Prato called Soffignano, which from similarity of sound Vasari confused with the larger place, Savignano. This is the more probable, for Rosini asserts that "Benedetto da Majano, _who had bought a podere near Prato_, knew him and took him into his affections, and by his means placed him with Cosimo." [Footnote: Rosini, _Storia della Pittura_, chap. xvii. p. 47.]
It is certainly probable that Paolo's wife lived with his family during his wanderings, because it is the true Italian custom, and Baccio was in that case born in his uncle's house; for it is not till 1480 that we find Paolo retired from trade and set up in a house of his own in Florence at the gate of S. Pier Gattolini, now the Porta Romana.
The friendship begun at Prato must have been continued in Florence, for in 1480 Paolo not only owned that house at the gate of S. Pier Gattolini, but was the proud possessor of a podere at Brozzi, which yielded six barrels of wine. He is a merciful man too, for among his possessions are two mules disutili e vecchi