DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.51584#0225
FRA BARTOLOMEO.
221
nothing, but that, having shown a disposition to
the art of design, he was placed under the tuition
of Cosimo Roselli, a very good Florentine painter;
and that while receiving his instructions he resided
with some relations who dwelt near one of the gates
of the city (La Porta San Piero). Hence for the
first thirty years of his life he was known among
his companions by the name of Baccio della Porta;
Baccio being the Tuscan diminutive of Bartolomeo.
While studying in the atelier of Cosimo Roselli,
Baccio formed a friendship with Mariotto Alberti-
nelli, a young painter about his own age. It was
on both sides an attachment almost fraternal. They
painted together, sometimes on the same picture,
and in style and sentiment were so similar that it
has become difficult to distinguish their works.
Baccio was, however, more particularly distin-
guished by his feeling for softness and harmony of
colour, and the tender and devout expression of his
religious pictures. From his earliest years he ap-
pears to have been a religious enthusiast, and this
turn of mind not only characterised all the pro-
ductions of his pencil, but involved him in a singular
manner with some of the most remarkable events
and characters of his time.
Lorenzo de’ Medici, called Lorenzo the Mag--
nificent, was then master of the liberties of Florence.
The revival of classical learning, the study of the
antique sculptures (diffused, as we have related, by
VOL. I. L
221
nothing, but that, having shown a disposition to
the art of design, he was placed under the tuition
of Cosimo Roselli, a very good Florentine painter;
and that while receiving his instructions he resided
with some relations who dwelt near one of the gates
of the city (La Porta San Piero). Hence for the
first thirty years of his life he was known among
his companions by the name of Baccio della Porta;
Baccio being the Tuscan diminutive of Bartolomeo.
While studying in the atelier of Cosimo Roselli,
Baccio formed a friendship with Mariotto Alberti-
nelli, a young painter about his own age. It was
on both sides an attachment almost fraternal. They
painted together, sometimes on the same picture,
and in style and sentiment were so similar that it
has become difficult to distinguish their works.
Baccio was, however, more particularly distin-
guished by his feeling for softness and harmony of
colour, and the tender and devout expression of his
religious pictures. From his earliest years he ap-
pears to have been a religious enthusiast, and this
turn of mind not only characterised all the pro-
ductions of his pencil, but involved him in a singular
manner with some of the most remarkable events
and characters of his time.
Lorenzo de’ Medici, called Lorenzo the Mag--
nificent, was then master of the liberties of Florence.
The revival of classical learning, the study of the
antique sculptures (diffused, as we have related, by
VOL. I. L