The fresco is dated 1506. The same year produced the fine picture now in the Louvre, which was painted for the church of S. Trinità on the commission of Zanobio del Maestro. The _Madonna_, stands on a pedestal, with S. Jerome and S. Zenobio in front, while episodes from their lives are brought in like distant echoes in the background. [Footnote: S. Zenobio was the first bishop of Florence, and is the patron saint of that city.] The nuns of S. Giuliano employed him to paint two pictures, both of which are now in the Belle Arti. One is an altarpiece; the _Madonna enthroned_, with the Divine Child in her arms. Era Bartolommeo's idea of an angel-sustained canopy is here, but the angels hold it up from the outside instead of the inside. Before her are S. John the Baptist, S. Julian, S. Nicholas, and S. Dominic. The S. Julian has a great similarity to the S. Michael of Perugino, and the S. John, by its good modelling, shows the result of his studies from the antique in the Medici garden. For the same church he did the curious conventional painting of the _Trinity_ on a gold ground. The subject is inartistic, because unapproachable; the attempt to paint that which is a deep spiritual mystery degrades both the art and the subject; the latter because it lowers it to human grasp, the former because it shows its powerlessness to shadow forth the infinite. There is beautiful painting in the heads of the angels, at the foot of the Cross, but the brilliancy of the gold ground is overpowering to the colours, albeit he has balanced it by reproducing Cosimo Roselli's red-winged cherubs. Nothing but Fra Angelico's delicate tints can bear such a background. No doubt Piero, Baccio's brother, helped to lay on this gold, for one of the stipulations in the contract with Mariotto was that he was to "metter d' oro ed altre cose di mazoneria" (to put on gold and other articles of emblazonment). It has been a great subject of conjecture at what part of his life Albertinelli took the rash step of throwing up his art and opening a tavern at Porta S. Gallo. Some say it was in his despair at Fra Bartolommeo having taken the vows, but this is disproved by his having at that time finished the _Last Judgment_, and taken pupils in Val Fonda. Others assert that it was at the breaking up of the last partnership in 1513, but there is no hiatus in his work at that time, existing paintings being dated in 1513 and the following years till his death, three years after.