sermons exclaimed, "Do not let your daughters prepare their 'corredo'
(trousseau) in a chest with pagan paintings; is it right for a
Christian spouse to be familiar with Venus before the Virgin, or Mars
before the saints?"

Thus Piero being a finished painter, was often Cosimo Roselli's
substitute in the instruction of the two boys, for Cosimo having come
home from Rome with some money, lived at his ease; but still continued
to paint frescoes in company with Piero.

Another pupil was Andrea di Cosimo, whose peculiar branch of art was
that of the grotesque. He no doubt drew designs for friezes and
fountains, for architraves and door mouldings, in which distorted faces
look out from all kinds of writhing scrolls; and lizards, dragons,
snakes, and creeping plants, mingle according to the artist's fancy.
Andrea was however often employed in more serious work, as the records
of the Servite Convent prove, for they contain the note of payment to
him, in 1510, for the curtains of the altarpiece which Filippino Lippi
had painted. These curtains were till lately attributed to Andrea del
Sarto, or Francia Bigio.

This is the Andrea Feltrini mentioned by Crowe and Cavalcaselle as
working in the cloister of the Servi with Andrea del Sarto and Francia
Bigio between 1509 and 1514.[Footnote: _History of Painting_, vol.
iii. chap. xvii. p. 546.]

But Baccio's dearest friend in the studio was a boy nearly his own age,
Mariotto Albertinelli, son of Biagio di Bindo, born October 13, 1474.
He had experienced the common lot of young artists in those days, and
had been apprenticed to a gold-beater, but preferred the profession of