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496 THE FIFTEENTH CENTURY. Chap. XIY. being short or puffy, are on the contrary thin and small. The tendency in these is to remind of Leonardo and Ra phael, and, in certain motions, of Michael Angelo, the re sulting cento being highly finished and far from unpleasant, though wanting in the stamp of independence and origin ality. In the gallery of Signor Battista Mansi at Lucca, a Holy Family, inscribed with Giuliano’s name and the date of 1520, 1 shows us the Saviour plucking dates from a palm and giving them to the Virgin by whose side the infant Baptist kneels. The landscape is the old one of the Frate, but the composition is a mixture of one by Leonardo and Raphael’s Madonna del Cardellino, the faces displaying an effort to attain the gentleness of Sanzio’s. 2 A variation of this, at the Padri Filippini of Bologna, is equally pretty and soft in colour; smaller and most care fully handled. 3 Michael Angelesque attitude is observable in the strained grace of the principal figure in a round at the Zambec- cari Gallery in Bologna, where the Virgin sits on a bank with a book in her hand near a grove of trees, and turns at the call of the infant Christ who has caught sight of the young Baptist coming. 4 The style, is otherwise si milar to that of the Virgin at Lucca. It may be recogn ized in a round at the Hermitage of S. Petersburg falsely assigned to Pacchia. 5 who gives the ring to S. Catherine, S. Anthony with one leg on the step of the throne at the left side; the little Baptist at the Virgin’s feet. Wood, oil, all but life size; inscribed: “Jul. Flo. fac.” 1 This picture was probably done in Florence,as a record ofSeptem- ber 1520 exists in which Bugiar- dini is proved to have joined Ri- dolfo Ghirlandaio in valuing an altarpieee by Jacopo delSellaio, in S. Frediano del Bigallo. 2 Wood, oil, figures life size. Of a ruddy tone, the young Baptist with his wooden cup injured by restoring. Inscribed: “Julianus Florentinus faciebat. 1520.” In the distance S. Joseph and the ass. 3 Wood, oil, 4 foot % by 3. Wood, oil, without the S. Joseph. 4 Wood, oil, figures third life size. Very careful, the lights in the infant Christ’s hair gilt. 5 S. Petersburg. Hermitage. No. 35. Wood, oil, transferred to can vass. The Virgin on the ground with the infant on: her knee, to whom she shows a book, the Bap tist asleep on the right. S. Joseph coming up with a bundle of sticks and a barrel on the right, distance a landscape. The forms are small and thin, hardly outlined, and with precision, enamelled and a little