Paolo, as well as his mules, had earned his repose, being certainly
old, if not useless, and was anxious for his little sons to be placed
out in the world as early as possible. Thus it came that in 1484 Baccio
was taken away from his brothers, who played under the shadow of the
old gateway, and was put to do the drudgery of the apprenticeship to
art. He had to grind colours for Cosimo--who, as we know, used a great
deal of colour, having dazzled the eyes of the Pope with the brilliancy
of his blue and gold in the Sistine Chapel some years before--he had to
sweep out the studio, no doubt assisted by Mariotto Albertinelli, a boy
of his own age, and to run errands, carrying designs for inspection to
expectant brides who wanted the chests painted to hold their wedding
clothes, or doing the messenger between his master and the nuns of S.
Ambrogio, who paid Cosimo their gold florins by the hand of the boy in
1484 and 1485. [Footnote: Note to Crowe and Cavalcaselle, vol. iii.
chap. xiii. p. 429.]

Whether his age made him a more acceptable means of communication with
the nuns, or whether Pier di Cosimo, the elder pupil, already displayed
his hatred of womankind, I know not; perhaps the boy already showed
that innate devotion and especial fitness for sanctity which marks his
entire art career. Truly everything in his youthful life combined to
lead his thoughts to higher things. The first fresco at which he
assisted was in this solemn cloister of St. Ambrogio, and the subject
the _Miracle of the Sacrament_; the saintly air of the place, the
calm faces of the white-hooded nuns, must all have had an influence in
inspiring his youthful mind with the spirit of devotion.

Baccio's fellow-students were not many, but they formed an interesting
group. Pier di Cosimo was the head man, and eldest of all; with such
ties was he bound to his master and godfather, that he was known better