It appears that this brother Piero was a great trouble to the Frate,
being of a bizarre disposition, and addicted to squandering money; he
sold some possessions for much less than their worth, [Footnote:
Private communication from Sig. G. Milanesi.] which probably accounts
for the singular contract of guardianship. He did not show enough
talent to become a painter, and took priests' orders later.
About this time Fra Bartolommeo recommenced work, and while he was
painting the triptych for Donatello's _Madonna_ (the miniature
_Nativity_ and _Circumcision_ in the Uffizi), Albertinelli was at work
in the convent of the Certosa, at a _Crucifixion_ in fresco. The
painting is extant in the chapterhouse, and is a very fair and
unrestored specimen of his best style. The Virgin and Magdalen are very
purely conceived figures; the idea of the angels gathering the blood
falling from the wounded hands of the crucified Saviour is very tender;
there is a great brightness of colouring, and a greenish landscape almost
Peruginesque in feeling. Some of his pupils worked with him at the
Certosa, and nearly brought their master into trouble.
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