In 1510 Albertinelli began one of his masterpieces, the Annunciation for the company of S. Zenobio, now in the Belle Arti. All his zeal for art was reawakened, he flung himself con amore into this work, which, though in oil on panel, was painted on the spot where it was intended to be placed, that the lights might be managed with the best effect. He was imbued with Leonardo da Vinci's principle, that the greatest relief and force are to be combined with softness, and wishing to bring this combination to a perfection which never before had been reached, he depended greatly on the natural light to further his design. [Footnote: Vasari, vol. ii. p. 469.]
The picture, although a great work of art, and the most laboured of all his paintings, failed to satisfy the artist. He tried various experiments, painting in and painting out, but never reaching his own ideal. According to Leonardo, he was proving himself a good artist, one of his principles being, "when his (an artist's) knowledge and light surpass his work so that he is not satisfied with himself or his endeavours, it is a happy omen." [Footnote: Leonardo da Vinci, Treatise on Painting.]
The work as it stands is a noble one, though darkened by time having brought out the black pigments used in the shades. The background is an intricate piece of architecture with vaulted roof, showing that he too had profited by Raphael's instructions in perspective to Fra Bartolommeo.
The Virgin is a tender sweet figure; indeed no artist has given more gracious dignity to womanhood than Albertinelli, although his detractors say his life showed no great respect for it. Above, the Almighty is seen in a yellow light with a circle of angels and seraphs around. It is strange how the realistic painters stopped at nothing, not even the representation of the eternal in a human form. Is not this the reason why art ceased about this time to be the interpreter of religion, and found its true mission in being the interpreter of nature? Who can draw one soul? How much more impossible then to depict the incomprehensible soul in which all others have their being? The utmost we can do is to give the indication of the spirit in the expression of a face, and that so imperfectly that not two beholders read it alike. Study Perugino and Raphael, see how they raise human nature and etherealize it till we see the divinity of soul in the faces of their saints and martyrs. But the moment they try to depict the Almighty, or even his angels, they fall at once below humanity.
But to return to the Annunciation of Albertinelli. His impetuous temper betrayed him even here; he fell into a dispute with his patrons, who refused to pay the price he asked. The usual "trial by his peers" was resorted to, Perugino, Granacci, and Ridolfo Ghirlandajo were called into council to value it according to its merits.
On completing this picture the events we have related in the last chapter took place, Fra Bartolommeo returned from Venice with his enterprise renewed, and the convent partnership was commenced.
CHAPTER VII. CONVENT PARTNERSHIP. A.D. 1510—1513.
We now come to the studio of S. Marco, where the two friends, who had dreamed together as boys, and worked together as youths, now laboured jointly 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 that of his senior, his hand is to be recognised in the lower parts of a few altarpieces; but it is always difficult to distinguish the two styles.