Besides this teaching in his earliest youth, it is considered probable that in 1494, when he visited Bologna, he came under influences which resulted in the execution at about that time of the unfinished _Entombment_ and the _Holy Family_, which are two of our greatest treasures in the National Gallery. As he took to sculpture, however, before he was out of Ghirlandaio's hands, there are few traces of any activity in painting until 1506, when he was engaged on the designs for the great battle-piece for the Council Hall at Florence. The one easel picture of which Vasari makes any mention, the _tondo_ in the Uffizi, is the only one besides those already noted which is known to exist. "The Florentine citizen, Angelo Doni," Vasari says, "desired to have some work from his hand as he was his friend; wherefore Michelangelo began a circular painting of Our Lady for him. She is kneeling, and presents the Divine Child to Joseph. Here the artist has finely expressed the delight with which the Mother regards the beauty of her Son, as is clearly manifest in the turn of her head and fixedness of her gaze; equally evident is her wish that this contentment shall be shared by that pious old man who receives the babe with infinite tenderness and reverence. Nor was this enough for Michelangelo, since the better to display his art he has grouped several undraped figures in the background, some upright, some half recumbent, and others seated. The whole work is executed with so much care and finish that of all his pictures, which indeed are but few, this is considered the best." After relating the story of the artist's quarrel with his friend over the price of this masterpiece (for which he at first only asked sixty ducats), Vasari goes on to describe the now lost cartoons for the great fresco in the Council Hall at Florence, in substance as follows:--