In 1511 a long list of works are enumerated—a Nativity, valued two ducats, a Christ bearing the Cross, and an Annunciation, sold to the Gonfaloniere for six ducats—pictures which are dispersed in England, Pavia, &c.; but the masterpiece of the time is the Marriage of S. Catherine, now in the Louvre. The Florentine government bought it for 300 ducats in 1512, to present to Jacques Hurault, Bishop of Autun, who came to Florence as envoy of Louis XII. He left it to his cathedral at Autun, from whence, at the Revolution, it passed to the Louvre. [Footnote: Padre Marchese, Memorie, lib. iii. ch. iv. p. 77. Crowe and Cavalcaselle, History of Painting, vol. iii. chap. xiii. 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 feeling which he afterwards brought to perfection in S. Mark. The grace of the Virgin's figure is not to be surpassed; if Raphael's Madonnas have more sentiment, this has more dignified grace. He has remembered Leonardo's precept, "that the two figures of a group should not look the same way"; the contrast of the flowing lines in these two forms is very lovely. The same contrast of lines, and yet balance of form, is carried out in the two S. Catherines who form the pyramid on each side of her, and in the varied characters of the encircling group of saints. The deleterious use of lampblack has spoiled the colouring; it, moreover, hangs in a bad light at the Pitti Palace.
The original subject at the Louvre differs only in a few particulars from this—the Virgin's hand is on the child's head instead of his arm, and there are trifling differences in the grouping of the saints, the semicircle being more rigidly kept. In this the flesh is thin and uncracked, 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 unconnected with each other, and mention the Pitti one as having unaccountably returned there after having been given to some bishop. Is it not possible that the gift to a bishop refers to the painting in the Louvre, and that the other is the replica spoken of by Vasari, vol. ii. p. 452?]
There is a fine painting in the church of S. Caterina of Pisa, in the chapel of the Mastiani family, Michele Mastiani having given the commission, and paid thirty ducats, in October, 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 large as life, and even more noble than the ones in Rome. The colouring has been much injured by a fire in the seventeenth century, but is robust and harmonious. It is dated 1511.
On the 26th of November, 1510, Fra Bartolommeo had a commission from Pier Soderini, then Gonfaloniere, to paint a picture for the Council Hall. This was an unfortunate order; for Michelangelo and Leonardo da Vinci had both been commissioned, neither of them finishing the works. Fra Bartolommeo'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 6, vol ii. p. 603.] The reason of this is difficult to assign, but it might lie in the fact that in 1512 Pier Soderini was deposed and exiled by Giuliano de' Medici, who assumed the government. Another reason may have been the failure of Fra Bartolommeo's health after his journey to Rome.
In 1512 Santi Pagnini came back from Siena as prior of S. Marco, and he having no love for Albertinelli, and perhaps a too jealous affection for the artist Monk, caused the partnership to be dissolved, much to Mariotto'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, blocks of porphyry to grind colours on, &c. [Footnote: Padre Marchese, vol. ii. pp. 184, 185.]—were to be left for Fra Bartolommeo's use till his death, when they were to be divided between his heirs and Albertinelli.
Mariotto returned disheartened to paint in his solitary studio. A specimen of this period is the Adam and Eve, now at Castle Howard, which is said to have been sketched in by Fra Bartolommeo. Eve stands beneath the serpent-entwined tree, hesitating between the demon's temptations 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 throat of the boy, is extremely true. Munich possesses a fine Annunciation. Characteristic saints support the composition on each side, the nude S. Sebastian being a markworthy study; an angel at his side presents the palm of martyrdom. The picture has suffered much from bad cleaning.
In March, 1513, Albertinelli was commissioned by the Medici to paint their arms, in honour of Leo X.'s elevation to the papacy. He made a fine allegorical circular picture, in which the arms were supported by the figures of Faith, Hope, and Charity.