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536 THE FIFTEENTH CENTURY. Chap. XVI. landaio’s great frescos at S. Trinitk, or S. M. Novella, his help was of too general a character to be perceptible. But he took part in the altarpieces finished by Bene detto and David after 1494; and two figures of saints, — S. Anthony, in which his cooperation is proved by Va sari, 1 — or S. Vincent, upon which, though finer, the Are- tine is silent, disclose a noteable superiority over the brothers of Domenico Ghirlandaio, an approximation, in deed, to the latter, in form, proportion^, outline, and drapery. 2 We might believe, in consideration of two very clear toned, and slightly relieved, but much finished bust like nesses of a male and female, in the Museum of Berlin, and in the gallery of Oxford, that Granacci was fre quently engaged in his youth as a portrait painter. 3 His tendency from the beginning to imitate the Michaelange- lesque might be illustrated in a tempera of the Virgin, child, and saints at Berlin. 1 Another early contribution to the collection of his works is to be found in the kneeling S. Jerom and S. Francis, part of an Adoration of the Virgin, in the Berlin Museum. The S. Jerom especially denotes a masculine and vigor ous complexion in the artist, without the feeling which avoids reproducing the vulgarity or Herculean nature of a model. For the same reason the anatomy is correct whilst the drapery is involved and bundled into heaps. Unlike the rest of the picture, the two saints are in oil, are slenderer than his, and the tempera has the reddish flesh tints of Granacci. 1 Vas. XI. 285. 2 These remarks apply more particularly to the S. Vincent; a tempera which is numbered No. 74 in the Berlin Museum; the S. An thony being No. 76 in the same gallery, and in oil. 3 Berlin Museum. No. 80. Fe male, 3 / 4 , to the left, tempera, with the words “Noli me tangere’’ on the parapet of the opening at which the bust is visible. The school of Dom. Ghirlandaio and Mainardi is here plainly revealed; and the execution is not unlike that of a profile (No. 81. Berlin) attributed to Sandro Botticelli. Oxford gallery. Male, full face, almost life size, ascribed to Ma saccio (tempera, almost life size). Same character as the foregoing. 4 Berlin. Museum. No. 97. We | have here the style of Ghirlandaio dwarfed, but something modern in the marked character of the action and poses. The execution is careful (wood).