Page:The painters of Florence from the thirteenth to the sixteenth century (1915).djvu/356

306 young. His best scholar was Giuliano Bugiardini, an artist (1475-1554) who began life in Ghirlandajo's studio, but early attached himself to Albertinelli, and executed several pictures from Fra Bartolommeo's designs. The Rape of Dinah, in the Vienna Gallery, is said by Vasari to have been painted from a cartoon by the Friar, but was only finished in 1531, fourteen years after Fra Bartolommeo's death. One of this master's most attractive works is a picture of the youthful Baptist drawing water from a stream in the desert, with a group of shepherds in the background, which still hangs over a side-altar of S. Maria delle Grazie at Milan. He also copied some of Perugino's pictures, and, like most of his contemporaries, ultimately fell under the spell of Michelangelo, whom he had known in Ghirlandajo's workshop, and who is said to have designed his altar-piece of the Marriage of St. Katherine in Santa Maria Novella. During the siege of Florence, in 1529, he took shelter at Bologna, where he painted several of his best works, and, after the restoration of peace, returned to his native city and became one of Michelangelo's constant companions. Bugiardini died in 1554, and was buried in Santa Maria Novella.

Another pupil of Ghirlandajo, who also imitated Fra Bartolommeo, was Francesco Granacci (1477-1543). His Assumption, in the Academy of Florence, and Madonna of the Girdle, in the Uffizi, are executed in the Friar's style, while his earlier works, at Berlin, betray the influence of Michelangelo, whom he accompanied to Rome, and of whose property in Florence he took charge, when Buonarroti fled to Venice. In 1504, he was