538 THE FIFTEENTH CENTURY. Chap. XVI. shadow, but a transparent gloss due to copious vehicle, and a gaudy lightness producing the effect of emptiness. “Bravura” in carrying out, a strong accent upon action in torso and limb, are the characteristics of a Trinity very fairly assigned to Granacci, at the Berlin Museum, and doubtless of this time. 1 But the most favorable specimen of his manner under these conditions is the Assumption and gift of the girdle in the Casa Rucellai at Florence. 2 There is soft gra vity in the deportment of the saints conversing by the tomb; and the drapery is grand in the breadth of its cast. Two angels supporting the glory of flaming rays, almost embody the grace of Filippino. But the muscular type and energetically forced motion of the S. Thomas rising from his knees to take the girdle handed down to him by the Virgin, as well as the enamelled surface of the panel, and its minute laboriousness, are derived from Michael Angelo, in emulation perhaps of the Madonna at the Uffizi which seems to date from the first years of the sixteenth century. 3 Whilst Granacci thus faithfully followed his great and now celebrated guide, forgetting as he proceeded the atelier out of which he had originally sprung, there was one quality which ho could not reach, and that was the quality of relief, in which he was far surpassed by Ri- dolfo. His method of dealing with colours was in so far' different from that which Leonardo perfected, that he always sought transparence from the white ground. He tried to get light in the greatest fullness, even to the sacrifice of shadow which, when properly used, is a set off to light. 1 Berlin. Museum. No. 229. Round, wood, oil; (?) that no ticed by Vasari, as furnished to Pier Francesco Borglierini (IX. 220). This round is almost a repe tition of the same subject by Ma- riotto in the Berlin Museum. 2 Originally in S. Piero Mag- giore (Vas. IX. 220). The picture is on wood, in oil, and the figures are large as life. The saints be low, in addition to S. Thomas, are SS. John, James, Lawrence and Paul. 3 The Madonna by Michael An gelo, in the Tribune of the Uffizi. No. 1139.