The name of Giuliano Bugiardini, supported only by its own feeble powers, would probably long have sunk to oblivion, had it not been kept afloat by the personal attachment of M. Angelo. In Vasari, Giuliano is the synonyme, of helpless impotence; he had certainly neither the dexterity nor the grasp of the Aretine biographer; but he also had neither the pretension nor the craft. There is, and chiefly among artists, a singular class of men, who, with great moral simplicity, but a capacity less than moderate, court with ungovernable passion an art which they are doomed never to possess, but to whom self-complacency compensates for every disappointment of the most ungrateful perseverance, public neglect and private irrision: they neither envy nor suspect, and though not intimidated by a superiority which they do not fully comprehend, are ready to respect the part that comes within their compass. Such a man was Bugiardini; and such a character M. Angelo was likely to appreciate;[83] and though aware that he was not equal to serious communication in art, to select him as a companion of his leisure, and to assist or submit to him, as the simplicity of his character required;--of either we shall select from Vasari an instance. When he was occupied with the picture of Sta. Catherina, for the Church of Sta. Maria Novella, he requested the advice of M. Angelo on the arrangement of a file of soldiers which he meant to place on the foreground, flying, fallen, wounded, killed; because the idea of their having formed a file, could not be expressed within the scanty space he had allotted them, without having recourse to fore-shortenings, which he confessed to be beyond his power. M. Angelo, to please him, took a coal, and with his own comprehension drew on the panel a file of naked figures, variously fore-shortened, falling different ways, forwards, backwards, with others dead or wounded: but the whole being merely in outlines, left Giuliano still at a loss. Tribolo, therefore, to draw him from this dilemma, undertook to form them in clay, leaving the surface of each figure rough, to increase more forcibly the chiaroscuro: this method, however, so little pleased the neatness of Giuliano, that the moment Tribolo left him, he with a wet pencil licked them into a polish, which took away grain and effect together, and when the picture was finished, left no trace of M. Angelo's ever having seen it.