We can see them painting, modelling, or drawing large cartoons in charcoal, while old Bertoldo passes from easel to easel, criticising and fault-finding, detailing for the hundredth time Donatello's maxims, and moving on, heedless or deaf to the irreverent jokes of his ungrateful pupils. Then, like a vision of power and grandeur, Lorenzo il Magnifico enters with a group of his classic friends. Politian and the brothers Pulci admire again the ancient sculptures which are to them as illustrations of their readings, and Lorenzo notes the works of all the students who were destined to contribute to the glory of the many Medicean palaces. How the burly Torrigiano's heart burns within him when the Duke praises his compeer's works! Sometimes Madonna Alfonsina, the mother of Lorenzo, and widow of Piero, walked here, and she also took an interest in the studies of the youths. Mariotto especially attracted her by his talent and zeal. She commissioned him to paint some pictures for her to send as a present to her own family, the Orsini of Rome. These works, of which the subjects are not known, passed afterwards into the possession of Cæsar Borgia. She also sat to Mariotto for her own portrait. It is easily imagined how elated the excitable youth became at this notice from the mother of the magnificent Lorenzo. He had dreams of making a greater name than even his master, Cosimo, whose handiwork was in the Sistine; of excelling Michelangelo, of whose genius the world was beginning to talk; and, as adhering to a party was the only way to success in those days, he became a strong Pallesco, [Footnote: The Palleschi were the partizans of the Medici, so called because they took as their standard the Palle, or Balls, the arms of that family.] trusting wholly in the favour of Madonna Alfonsina. He even absented himself almost constantly from the studio, which Baccio shared with him, and worked at the Medici palace, [Footnote: This break is signified by Baldinucci, _Opere_, vol. iv. p. 84, and by Vasari, who says that after the exile of Piero he returned to Baccio.] but, alas! in 1494 this brilliant aspect of his fortunes changed. Lorenzo being dead, Piero de' Medici was banished, the great palace fell into the hands of the republican Signoria, and all the painters were left without patronage.