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434 THE FIFTEENTH CENTURY. Chap. XIII. draughtsman, or a colourist. Unfortunately, we are with out examples of any other kind until 1498, the date of his Last Judgment in the Cemetery of S. Maria Nuova at Florence. 1 But, the void may to some extent be tilled by his drawings, many of which, including a portion of those made with a view to use in the fresco we have named, are in the Uffizi. They are all done carefully with a line pen, with a seeking after grace in the move ments recalling Filippino, but with a successful grasp of the various phases of life in motion. Ilis drapery, whe ther in flight or simply falling, is full yet very nobly cast, at rare intervals festooned, but never betraying for getfulness of the under forms. The heads, of elliptic shape, rest on slight long necks, a reminiscence (with the casual festooning in cloth) of Rosselli. The tendency to analyze in Baccio goes hand in hand with the effort to give art at last its most dignified reality, and there he goes shoulder to shoulder with Leonardo and Buonarotti. 2 If in Cosimo’s atelier, this grand aim was less represented than in that of Ghirlandaio and Verrocchio, Michael An gelo and da Vinci were not the less revered there. The latter especially was looked up to even by the saturnine disposition of Piero di Cosimo; and Baccio was obviously induced to share that reverence, and study, as Vasari says, “the things of Leonardo”. 3 What those things were, it is of little moment to inquire. Enough that Baccio ob tained from them something which stuck to him ever after, introducing him to the most abstruse maxims of composition, lending high-bred gentleness in air and at titudes to his impersonations, teaching hhn the modern system of colouring of which da Vinci had improved the technical use. piece at Lucca (1509) was, if we are not mistaken, some time under the name of Leonardo at the Uffizi. . 3 Vas. VII. 150. 1 Vas. VII. 162. 3. 5, and annot. ibi, where the records of payments to Baccio are given. Albertini, Mem. 13. 2 The drawing of the Eternal by Fra Bartolommeo, for an altar-