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 painter. From the first these two lads, being thrown almost entirely together in the work of the studio, formed one of those pure, lasting friendships, of which so many exist in the annals of art, and so few in the material world. They helped each other in the drudgery, and enjoyed their higher studies together; but they did not draw all their inspirations from the over-coloured works of Cosimo--although Mariotto once reproduced his red-winged cherubim in after life [Footnote: In the 'Trinity' in the Belle Arti, Florence.]--nor from the hard and laboured myths of Piero. They went to higher founts, for scarcely a trace of these early influences are to be found in their paintings. Vasari says they studied the _Cose di Leonardo_. The great artist had at this time left the studio of Verocchio, and was fast rising into fame in Florence, so it is most probable that two youths with strong artistic tendencies would study, not only the sketches, but also the precepts, of the great man. Besides this there were two national art-schools open to students in Florence: these were the frescoes of Masaccio and Lippi in the Carmine, and the Medicean garden in the Via Cavour, then called Via Larga. CHAPTER III. THE GARDEN AND THE CLOISTER. A.D. 1487-1495. The two boys left the studio of Cosimo Roselli at an early age. There had been trouble in the house of Paolo the ex-muleteer, and Baccio's already serious mind had been awed by the sight of death. His little brother, Domenico, died in 1486 at seven years of age. His father, Paolo, died in 1487; thus Baccio, at the age of twelve or thirteen, was left the head of the family, and the supporter of his stepmother and her babes. This may account for his leaving Cosimo so young, and setting up his studio with Mariotto as his companion, in his own house at the gate of S. Pier Gattolini; this partnership began presumably about the year 1490. Conscious that they were not perfected by Cosimo's teaching, they both set themselves to undergo a strict discipline in art, and, friends as they were, their paths began to diverge from this point. Their natural tastes led them to opposite schools--Baccio to the sacred shrine of art in the shadowed church, Mariotto to the greenery and sunshine of the Medici garden, where beauty of nature and classic treasures were heaped in profusion; whose loggie [Footnote: Arched colonnades.] glowed with the finest forms of Greek sculpture, resuscitated from the tombs of ages to inspire newer artists to perfection, but alas! also to debase the aim of purely Christian art.