Fra Bartolommeo was sent, when nine years old, into the workshop of Cosimo Rosselli, where he began his artist's life by colour-grinding, sweeping out the shop, and errand-running. It was in Cosimo's _bottega_ that he made acquaintance with Mariotto Albertinelli, who became his intimate friend and fellow-worker. In spite of marked differences of character, disagreements upon the fundamental matters of politics and religion, and not unfrequent quarrels, these men continued to be comrades through the better part of their joint lives. Baccio was gentle, timid, yielding, and industrious. Mariotto was wilful, obstinate, inconsequent, and flighty, Baccio fell under the influence of Savonarola, professed himself a _piagnone_, and took the cowl of the Dominicans[228]. Mariotto was a partisan of the Medici, an uproarious _pallesco_, and a loose liver, who eventually deserted the art of painting for the calling of an innkeeper. Yet so sweet was the temper of the Frate, and so firm was the bond of friendship established in boyhood between this ill-assorted couple, that they did not part company until 1512, three years before Mariotto's death and five before that of Bartolommeo. During their long association the task of designing fell upon the Frate, while Albertinelli took his orders and helped to work out his conceptions. Both were excellent craftsmen and consummate colourists, as is proved by the pictures executed by each unassisted. Albertinelli's "Salutation" in the Uffizzi yields no point of grace and vigour to any of his more distinguished coadjutor's paintings.