[3] He was instructed to resume painting for the benefit of his order in 1504, and then developed an idealized High Renaissance style, seen in his Vision of St Bernard of that year, now in poor condition but whose "figures and drapery move with a seraphic grace that must have struck the young Raphael with the force of revelation".

In the late 1490s, Baccio was drawn to the teachings of Fra Girolamo Savonarola, who denounced what he viewed as vain and corrupt contemporary art.

The following year he was commissioned a fresco of the Universal Judgement for the Ospedale di Santa Maria Nuova, completed by Albertinelli and Giuliano Bugiardini when Baccio became a Dominican friar on 26 July 1500.

Bartolomeo learned perspective from the younger artist, while Raphael added skills in coloring and handling of drapery, which was noticeable in the works he produced after their meeting.

[1] At the beginning of 1508, Bartolomeo moved to Venice to paint a Holy Father, St. Mary Magdalene and St. Catherine of Siena for the Dominicans of San Pietro Martire in Murano, influenced somewhat by Venetian colorism.

After a promised Feast of Venus for Duke Alfonso I d'Este of Ferrara, of which only drawings remain, his last work is a fresco of Noli me tangere also in Pian di Mugnone.

Initially, his works showed the influence of Rosselli's assistant, Piero di Cosimo, and those of Domenico Ghirlandaio and Filippino Lippi.