Bartolommeo linking up with the religious art of the preceding period,
with that of Masaccio, of Piero de Cosimo, his senior student in the
studio of Cosimo Roselli, and at last with that of the definitely
"modern" painters of the Renaissance, Raphael, Leonardo and
Michelangelo himself, is a transition painter in this supreme period.
Technique and the work of hand and brain are rapidly taking the place
of inspiration and the desire to convey a message. The aesthetic
sensation is becoming an end in itself. The scientific painters,
perfecting their studies of anatomy and of perspective, having a
conscious mastery over their tools and their mediums, are taking the
place of such men as Fra Angelico.

As a painter at this end of a period of transition--a painter whose
spiritual leanings would undoubtedly have been with the earlier men,
but whose period was too strong for him--Fra Bartolommeo is of
particular interest; and Albertinelli, for all the fiery surface
difference of his outlook is too closely bound by the ties of his
friendship for the Frate to have any other viewpoint.

Andrea del Sarto presents yet another phenomenon: that of the artist
endowed with all the powers of craftsmanship yet serving an end neither
basically spiritual nor basically aesthetic, but definitely
professional. We have George Vasari's word for it; and Vasari's blame
upon the extravagant and too-well-beloved Lucrezia. To-day we are so
accustomed to the idea of the professional attitude to art that we can
accept it in Andrea without concern. Not that other and earlier artists
were unconcerned with the aspect of payments. The history of Italian
art is full of quarrels and bickerings about prices, the calling in of
referees to decide between patron and painter, demands and refusals of
payment. Even the unworldly Fra Bartolommeo was the centre of such