Of the somewhat stolid and occasionally sentimental sublimity of Fra Bartolommeo[57] nothing much need be said except that it was a formative influence on young Raphael. The Dominican monk is an impressive and amiable figure personally. Working solely for the glory of God and the profit of the Convent of San Marco, perturbed by the tragic fate of his cloister mate, Savonarola, he strove incessantly for a fuller color and a greater dignity. In his numerous Holy Families he is stately in a conventional way, nowhere more so than in the unfinished design for a Madonna with St. Ann, in the Uffizi. Occasionally, in such pictures as the Deposition of the Uffizi, and the Madonna of Pity at Lucca he achieves poignant, one is tempted to say operatic effects, forecasting the mood of the Baroque. Lucca also affords in the great picture God Adored by Two Saints, Figure 159, a fine example of this painter’s simple and massive compositions. In the fresco of The Last Judgment, which, being ruined, is better represented by Copies, Figure 160, we find an elaboration, in Leonardo’s sense, of the simple symmetries of Perugino. It is the precedent for Raphael’s monumental frescoes at Rome. His short career, from about 1495 to 1517, fell on evil times for Florence. In happier days he might have harmonized more perfectly the stylist and the lyrical dramatist that, as it was, never quite came to terms in his grave and noble personality. Yet to have mediated between Leonardo and Raphael would seem glory enough for any painter, and it was also no slight service to borrow for Florentine painting, rapidly becoming starved of color, something of the colorful richness of Giovanni Bellini and Giorgione. [Illustration: FIG. 160. Fra Bartolommeo. Copy of Lost Fresco of Last Judgment.—_Uffizi._ ] “The Perfect Painter” was what the Florentines called Andrea del Sarto,[58] and he merited the title. He produced no masterpiece of the first order, but his Work is singularly uniform on a high level. Its chief qualities are dignity and grace with a great richness of color. The deep shadows are warm and full of dusky light, the stylistic poses of the figures always easy, and the weaving of the complicated groupings ever tasteful and harmonious. To the refractory art of fresco painting Andrea brought a richness, depth and variety of color that others hardly attained in oil painting. Only Luini in the north came near him in this regard. In short he is a consummate technician, carrying his art as far as skill and taste unillumined by sheer genius will reach. [Illustration: FIG. 161. Andrea del Sarto. Birth.—_Annunziata._ ]