DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61902#0400
380
THE MAKERS OF FLORENCE.
about his business in 149-1, when Mariotto went back to
his friend ; where “he worked hard to make clay models,
and. studied industriously from nature and to imitate the
works of Baccio, so that in a few years he made himself a
diligent and practiced painter ; and he took great heart,
seeing his affairs succeed so well, and because, as he worked
in the same manner and imitated the style of his com-
panion, the hand of Mariotto was often taken for that of
the frate.” This 'would seem to have been the most
orderly moment of Mariotto’s life; and the conjunction of
the two—the gentle, diligent, orderly young painter, with
his head full of Fra Girolamo’s sermons, coming and going
to the convent as to his home, and the much less well-
regulated friend, whom his pure influence kept straight
and kept busy, and improved in art as in life-—makes a
very touching and delightful picture. Gay Mariotto,
handsome and idle, kept hard at work, after his fashion,
as long as mild Baccio, ever busy, was there to charm and
still, and no doubt smile at, the vagaries which made no
breach between them ; and their union made the bottega at
the gate a cheerful and pleasant place.
This brotherly life, however, was interrupted by the
tragic and terrible event which moved Florence more
deeply than all her revolutions, the martyrdom of Savona-
rola. Gentle Baccio, not aware perhaps how little physical
power he had, and full of the enthusiasm of love, was one
of those warmest adherents of the prophet who were col-
lected in the convent at the time of its siege. Then the
young painter found out, if he had never discovered it be-
fore, that he was not brave. He was di poco animo, Vasari
tells us, with that contempt for physical cowardice which
is almost universal, “and too timid, feeling himself little
able to fight for the convent, to wound or kill any one.”
But there is a certain bravery in the resolution which
makes a timid man maintain his allegiance to his leader at
THE MAKERS OF FLORENCE.
about his business in 149-1, when Mariotto went back to
his friend ; where “he worked hard to make clay models,
and. studied industriously from nature and to imitate the
works of Baccio, so that in a few years he made himself a
diligent and practiced painter ; and he took great heart,
seeing his affairs succeed so well, and because, as he worked
in the same manner and imitated the style of his com-
panion, the hand of Mariotto was often taken for that of
the frate.” This 'would seem to have been the most
orderly moment of Mariotto’s life; and the conjunction of
the two—the gentle, diligent, orderly young painter, with
his head full of Fra Girolamo’s sermons, coming and going
to the convent as to his home, and the much less well-
regulated friend, whom his pure influence kept straight
and kept busy, and improved in art as in life-—makes a
very touching and delightful picture. Gay Mariotto,
handsome and idle, kept hard at work, after his fashion,
as long as mild Baccio, ever busy, was there to charm and
still, and no doubt smile at, the vagaries which made no
breach between them ; and their union made the bottega at
the gate a cheerful and pleasant place.
This brotherly life, however, was interrupted by the
tragic and terrible event which moved Florence more
deeply than all her revolutions, the martyrdom of Savona-
rola. Gentle Baccio, not aware perhaps how little physical
power he had, and full of the enthusiasm of love, was one
of those warmest adherents of the prophet who were col-
lected in the convent at the time of its siege. Then the
young painter found out, if he had never discovered it be-
fore, that he was not brave. He was di poco animo, Vasari
tells us, with that contempt for physical cowardice which
is almost universal, “and too timid, feeling himself little
able to fight for the convent, to wound or kill any one.”
But there is a certain bravery in the resolution which
makes a timid man maintain his allegiance to his leader at