of a hard, even brown-red impasto, with dull shadows sharply contrasting with the lights, yet of insufficient relief. They are freely handled in the imperfect system common to Rosselli and Piero di Cosimo. The art is that apparent in the Madonna and saints at S. Pietro al Terreno, with the difference that the figures at Berlin are carried out in a more facile and manly spirit, and have a muscular appearance akin to that with which we are familiar in Michael Angelo. 1 Granacci, therefore, appears to us at the close of the century as a man who had already surrendered much that he might have learnt in the atelier of Domenico Ghirlandaio, in order to adopt the energetic hardihood of his friend Buonarotti. That he should seek, at the same time, to acquire the technical improvements taken by Piero di Cosimo from Leonardo, and still more ably applied by Mariotto and Fra Bartolommeo, was probably owing to the fact that Michael Angelo could not assist him in this respect as he did in the rendering of form. For a considerable interval Granacci preserved this duplicate tendency. Without making any progress in the mode of imparting relief by light and shade; — now and then giving short proportions to the" human frame, as in the four saints of the Munich Pinakothek, 2 occasionally long and slender ones, as in the six predella scenes from the life of S. Apollonia in the Academy of Arts at Flor ence, 3 — he made himself known bv freedom of move- ment, and by a decisive and broad sweep of touch allied to great finish and fusion. His colour no longer had its previous monotony of brown redness, nor dullness of See 1 Berlin. Museum. No. 88. antea, vol. II. p. 491. 2 Munich. Pinakothek. Saal. No. 533. S. Jerom; No. 535. S. Apollonia; No. 536. S. John the Baptist; No. 540. S. M. Magdalen. These figures, all in niches (wood, oil, all but life size), are fair and well draped, but somewhat muscular and coarse. Are they a part of the panel in S. Apollonia of Florence mentioned in Vas. IX. 221? 3 Florence. Academy of Arts. Salle des petits Tableaux. No. 22. 29. The tall and slender figures are in lively motion, broadly treat ed, and Micliaelangelesque in the brave mode of Kosso,