The two cartoons of Lionardo and Michelangelo had time, nevertheless, to exert a blinding fascination over all Italian painting. They formed the style and influenced the thought of artists from 1506 on but without being able to transmit their own grandeur. Lionardo, who had a cavalry combat to represent, reasoned out coldly, as nearly as we can tell,[19] all the circumstances of a battle and then reproduced them with his marvellous lucidity which was perhaps a little too analytic to interpret the excitement of passion. Michelangelo, who was given an episode of the war of 1364 against the Pisans under the leadership of the condottiere John Hawkwood (Giovanni Acuto) had intentionally turned his back on history and the real subject and painted naked men bathing, noble in form and free in movement, in the classic manner.[20] The two masterpieces contained each of them the germ of a different danger; in Lionardo's the excess of analysis, in Michelangelo's the excess of abstraction. This last was the most dangerous of the two but both were of the intellect and agreed in substituting for the charm of life and of real and spontaneous movement the formula of types and of logical action. [Illustration: THE HOLY FAMILY Painted for Agnolo Doni (between 1501-1505) National Gallery, London.] The influence of this work became at once universal and tyrannical. Benvenuto Cellini says in 1559: "The cartoon of Michelangelo was placed in the palace of the Medici, that of Lionardo in the Hall of the Pope. As long as they remained there they were the school of the world." Raphael copied them many times from October, 1504, until July, 1505. Fra Bartolommeo was inspired by them and Andrea del Sarto, when he was very young, spent whole days in studying them. Among the artists who taught themselves in that school are Perino del Vaga, Rosso, Battista Franco, Salviati, Vasari, Bronzino, Ridolfo Ghirlandajo, Cellini, Pontormo, Jacopo Sansovino, Franciabigio, Aristotele da San Gallo, F. Granacci, Bandinelli, Morto da Feltro, Lorenzetto--almost all the famous men of the period. This influence was certainly more dangerous than useful. The first fruits of it were the sudden unpopularity--almost like a decree of exile of all the charming primitive painters, like Pinturicchio[21] and Signorelli[22] at Rome (1508) just after their masterpieces at Sienna and Orvieto and Perugino at Florence (1504) four years after the exquisite decoration of the _Cambio_ of Perugia--and the loss of so much grace, elegance and vigour sacrificed to a form of beauty undoubtedly superior, but to which everyone can not attain. Instead of giving them a broader point of view, the admiration for Lionardo and Michelangelo narrowed and limited their followers. During 1508-1509 Pope Julius II had the frescoes of Sodoma, Perugino, Signorelli and Piero della Francesca put aside to leave space for Raphael. Thenceforth everyone was governed by the same ideal, and whoever felt in himself fancy,