quarrels, and although his vow of poverty forbade him to receive money
for his work, the order to which he belonged stood out firmly for the
_scudi_ which the Frate's pictures brought them. In justice to
Andrea it must be added that this was not the only motive for his
activities; it was not without cause that the men of his time called
him "_senza errori_," the faultless painter; and the production of
a vast quantity of his work rather than good prices for individual
pictures made his art pay to the extent it did. A pot-boiler in
masterpieces, his works have place in every gallery of importance, and
he himself stands very close to the three greatest; men of the
Renaissance.

Both Fra Bartolommeo and Albertinelli are little known in this country.
Practically nothing has been written about them and very few of their
works are in either public galleries or private collections. It is in
Italy, of course, that one must study their originals, although the
great collections usually include one or two. Most interesting from the
viewpoint of the study of art is the evolution of the work of the
artist-monk as he came under the influence of the more dramatic modern
and frankly sensational work of Raphael, of the Venetians and of
Michelangelo. In this case (many will say in that of the art of the
world) this tendency detracted rather than helped the work. The
draperies, the dramatic poses, the artistic sensation arrests the mind
at the surface of the picture. It is indeed strange that this devout
churchman should have succumbed to the temptation, and there are
moments when one suspects that his somewhat spectacular pietism
disguised the spirit of one whose mind had little to do with the
mysticism of the mediaeval church. Or perhaps it was that the strange
friendship between him and Albertinelli, the man of the cloister and
the man of the world, effected some alchemy in the mind of each. The