Mariotto Albertinelli, the fellow student and friend of Baccio, the sharer of his labours and his concerns, emulated his first style, and approaches to his second in some of his works; but they may be compared to two streams springing from the same source; the one to become a brook, the other a mighty river. Some pictures in Florence are supposed to be their joint performances; and the Marquis Acciaiuoli possesses a picture of the Assumption, in the upper part of which are the Apostles, by Baccio, and the lower is deemed the work of Mariotto. He is somewhat dry in several of his pictures, as in the S. Silvestro, in Monte Cavallo at Rome; where he also painted a S. Domenick, and a S. Catharine of Siena, near the throne of the Virgin Mary. He should likewise be known at Florence. He executed two pictures for the church of S. Giuliano, remarkable for the force of colouring, and the many imitations of the style of Frate. The best of all and the nearest to his model is the Visitation, transferred from the Congregazione de' Preti to the Ducal gallery, and even to its most honoured place, the Tribune. Albertinelli obtained great credit by his two pupils, Franciabigio and Innocenzio da Imola, of whom I shall speak in the proper place as ornaments of their school. I find Visino praised beyond them both: he painted but little in Florence, and that in private; but he was much employed in Hungary. Benedetto Cianfanini, Gabriele Rustici, and Cecchin del Frate, who inherited his master's name, were the scholars of Fra Bartolommeo in his best time; but they are no longer known by any undoubted works. Fra Paolo da Pistoia, his colleague, who was honoured in his own country with a medal, which I have seen, with those of many eminent men of Pistoia, in the possession of the Sign. Dottor Visoni, obtained the richest inheritance in all the studies of Baccio; and from his designs this artist painted many pictures at Pistoia, one of which may be seen in the parochial church of S. Paul, over the great altar. Those designs were afterwards carried to Florence, and in the time of Vasari there was a collection of them at the Dominican convent of S. Catharine, in the hands of Sister Plautella Nelli. The noble family of this lady possesses a Crucifixion painted by her, in which there is a multitude of small figures most highly finished. She seems on the whole a good imitation of Frate; but she also followed other styles, as may be seen in her convent. A Descent from the Cross is there shewn, said to be the design of Andrea del Sarto, but the execution is by her; and likewise an Epiphany, entirely her own, in which the landscape would do honour to the modern, but the figures savour of the old school.