Fra Bartolommeo and Andrea D'Agnolo

tly as men, bringing to light some of the finest works of art that remain to us. During these three years Albertinelli's star seems merged in th

head assistant, and Fra Paolino, and one or two other monks, worked under Fra Bartolo

s harmonised with the geometric rhythm in the artist's mind. His groups fall by nature into kaleidoscopic figures of circles, triangles, ellipses, crosses, &c. Not a cartoon was sketched in which the lights and shadows were not as gradated and finished as a painting, although they were merely drawn with charcoal. The following was the method of work in the "bottega." The panels were prepared with a coating of plaster of Paris, over which, when dry, a coat of under colour, ground in oil, was passed. The preparing of the panels fell to the work of one of the monk scholars, Fra Andrea.[Footnote: The books of the convent have a note of payment to Fra Bartolommeo for 20th March, 1512, "per parte di lavoro di Fra Andrea converse per mettere d'oro, et ingess

same yellowish ground, and "sfumato," [Footnote: Eastlake's Materials for a History of Oil Painting, vol. ii. chap. iv.] i.e. the imperceptible softening of the transition in half-lights and shadows; it was effected by glazes, and is not adapted to a thin su

ee how much of his work was hidden beneath the massive cornice, and would vow to dispense with frames altogether, which

e's works before his visit to Venice. Vasari says that in this picture Giorgione himself could not have surpassed him in brilliancy. The saints, although nearly level with the ground, are given celestial rank by the cherubs and clouds below them. Fra Bartolommeo was dissatisfied with his angels, which seemed

ture, but sent two friars to negotiate about the price; they faile

pended above her head by two angels. S. John Baptist and S. Stephen support this airy composition like pillars, their figures showing in strong relief again

which is so fine that it has been taken for a Raphael, although, o

iangle, touched in with the flowing lines of the mother seated on the ground with the two children before her. S. Joseph is in the background. The greatest softness of flesh tints must have been perceptible when new, for, "in spite of the

ovember, 1510, and 14th January, 1511, paid, in two rates, the sum of 154 ducats. T

i. p. 452.] Before it was sent away, Fra Bartolommeo made a replica of it, which is now in the Pitti Palace. There is his favourite canopy supported by angels; in this case they are beautifully foreshortened. The Virgin is seated on a pedestal, holding by one arm an exquisitely moulded child Jesus of about four years old, who is espousing S. Catherine of Siena, kneeling at His feet on the left. A semicircle of saints group on each side of the Virgin, and two angels, with musical instruments, are at her feet; the upturned face of one is exquisitely foreshortened. The S. George in armour is a powerful figure; and in S. Bartholomew, on the left, is the same grand feel

seeming imbedded in the surrounding colours; the lake draperies are laid so thinly on the light ground, that the sketch can be seen through the colour. [Footnote: Eastlake, Materials for a History of Oil Painting, vol. ii. chap. iv. Crowe and Cavalcaselle speak of the two paintings as u

ctober, 1511. It represents the Madonna and Child seated on a base; the action is quiet and yet vivacious; she is supported on each side by S. Peter and S. Paul, figures as la

olommeo's forms the third uncompleted painting; it exists still in the form of a half prepared picture, the design being only shadowed in monochrome, and this in spite of the payment on account of 100 gold ducats in October, 1513. [Footnote: See Padre Marchese, Memorie, documenti 5 and

to's sorrow. The stock, of which a full list is given by Padre Marchese, was divided, each taking the pictures in which they had most to do. The properties-amongst which were the lay figures, easels, casts, sketches,

and Adam's persuasions; the feeling and action are perfectly expressed, the landscape is minute, but has plenty of atmosphere and good colouring. In the same collection is a Sacrifice of Abraham, in his best style. The drawing of the father, reluctantly holding his knife to the th

honour of Leo X.'s elevation to the papacy. He made a fine allegorical circular pi