Fra Bartolommeo and Andrea D'Agnolo

n in art was not fulfilled, and events were working towards that end, for the

onardo and Michelangelo, which he too went to see. They might have inspired him afresh, or perhaps in advisi

inting. However this may be, it is certain that when Bernardo del Bianco, who had built a beautiful chapel in the Badia from Rovezzano's designs, wished for an altar-piece worthy of its beauty, which he felt no hand could execute so well as that o

and Child stands poised in air before him; she inspires his pen, and the infant Christ gives His blessing on the work. There is great spirituality and ecstasy in St. Bernard's face

ng of all. They are of the earth, earthy, and seem reminiscences of the Florentine maidens the artist met in the streets. Possibly this is the part most injured by the restorer's hand. The colouring of the two saints behind S. Bernard-one in a green robe wi

the refectory at S. Marco; in which he combines a richness of colouring rarely obtained in fresco, with a drawing which is almost perfect. Fra Niccolò della Magna, who was prior in that year, and left in 1507 to become Ar

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

convent, refusing lay judgment, took the offer of Francesco Magalotti, a relative of Bernardo, who priced it at 100 ducats, and the monks had to be satisfie

archese, following Rosini and Padre Luigi Pungeleoni, asserts that this intimacy was during Raphael's second visit in 1506, when he might have seen the newly-finished fresco of The Disciples at Emmaus. It is undoubted that their intercourse was beneficial to both. Raphael studied anew Leonardo's p

the composition of Raphael's famous Madonna del

luence upon him. Frequent interchange of visits took place between the Dominicans in the different parts o

enedetto da Pesaro in the church of the Frati, and he was only too delighted to show the beauties of the Queen of the Adriatic to an artistic mind. Tintoretto was not yet born; Titian was only just rising into fame, though his style ha

Not having time to paint this during his stay, he promised to execute it on his return to Florence, and the vicar paid him in advance twenty-eight ducats in money a

ly assistants in the convent were Fra Paolino of Pistoja, and one or two miniaturists, who were only good at missals. Fra Paolino (born 1490) took the vows at a very early age, and was removed to Florence from Prato wit

could follow out his designs in his own style so closely, that an unpractised eye could not see the difference of hand

of the profits and the division made when the partnership was dissolved, given entire by Padre Marchese, [Footnote: Padre Marchese, Memorie, &c., vol. ii.] are very interesting. The two artists had separate monograms to distinguish the pictures which were specially their own, besides which the monk signed his with the touching petit