The parties were, Albertinelli on one side, and the convent and Fra Bartolommeo on the other. The partners to provide the expenses, and the profits to be divided between the convent and Mariotto; the vow of poverty not allowing Fra Bartolommeo as an individual any personal share. This began in 1509 and lasted till 1512. The inventory of the profits and the division made when the partnership was dissolved, given entire by Padre Marchese, [Footnote: Padre Marchese, _Memorie_, &c., vol. ii.] are very interesting. The two artists had separate monograms to distinguish the pictures which were specially their own, besides which the monk signed his with the touching petition, "_orate pro pictore,_" his friend merely Latinising his name; the works painted together were signed by the combined monograms. Before setting a hand to anything else, the Frate fulfilled his engagement to the Venetian prior, for whom he painted the _Eternal in Heaven_, surrounded by saints and angels; but of this we will speak later. CHAPTER VI. ALBERTINELLI IN THE WORLD. A.D. 1501-1510. During the interval between the second and third partnership of this incongruous pair of friends, the life of Albertinelli had been very different from that of the Frate. So distressed was he at losing Baccio that he was quite wild for a time. His passions being unruled, that of grief took entire possession of him. In his despair he vowed to give up painting; he declared that he would also become a monk, if it were not that he now hated them more than ever; besides, he was a Pallesco, and could not desert his party. After a time, however, he calmed down, and, looking on his friend's unfinished fresco of the _Last Judgment_ as a legacy from him, began to work at it as a kind of obligation till the occupation wove its own charm, and he steadily devoted himself to art again, much to the satisfaction of good Gerozzi Dini, who was in great perturbation, and declared there was not another hand but his in Florence which could finish it; and also to the relief of Fra Bartolommeo himself, who, having received money on account, was troubled in conscience lest it should remain unfinished. There remained only some figures to put in the terrestrial group, all the celestial portions having been finished by the Frate; but they are very well drawn figures, with a good deal of expression in them. Several are likenesses, amongst whom are Dini and his wife, Bugiardini, the painter's pupil, and himself. Most of these are now destroyed by the effects of damp.