THE CERTOSA OF FLORENCE 
earn for him the name of the “ Angelic painter.” 
These have disappeared, and a few pictures by Giot- 
teschi artists are all that remain of fourteenth 
century art, but the Chapter-house contains a beauti¬ 
ful fresco of the Crucifixion by Mariotto Albertinelli. 
Here, then, he came, the gay pleasure-loving artist, 
whose restless nature was always craving after new 
excitement and who soon afterwards gave up painting 
to keep a tavern, because he preferred receiving 
praises for his good wine to hearing harsh censures 
on his pictures. At the time when he painted this 
work he was in a graver mood than usual, for he had 
come fresh from parting with Baccio della Porta, the 
friend who in spite of his different tastes was more 
than a brother to him, and who had renounced the 
world in despair at the death of Savonarola. This 
may account for the inscription which Albertinelli 
left on his fresco at the Certosa, and which has more 
of seriousness than we might have expected from him. 
It is as follows :—“ Mariotti Florentini opus, pro quo, 
patres, deus orandus est, a.d. mcccccvi. Mens. Sept.” 
It was his best time, for he had just painted his well- 
known “ Visitation ” and completed the “ Last Judg¬ 
ment ” in the cloisters of S. Maria Nuova, which Baccio 
had left undone, and in this fresco of the Certosa the 
kneeling Magdalen at the foot of the Cross, and Angels 
receiving the blood which drops from the wounds of 
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