Michelangelo's Holy Family (1139) is the only existing easel picture that the master completed. It was painted for the rich merchant, Angelo Doni (who haggled in a miserly fashion over the price and was in consequence forced to pay double the sum agreed upon), about 1504, in the days of the Gonfaloniere Soderini, when Michelangelo was engaged upon the famous cartoon for the Sala del Maggior Consiglio. Like Luca Signorelli, Michelangelo has introduced naked figures, apparently shepherds, into his background. "In the Doni Madonna of the Uffizi," writes Walter Pater, "Michelangelo actually brings the pagan religion, and with it the unveiled human form, the sleepy-looking fauns of a Dionysiac revel, into the presence of the Madonna, as simpler painters had introduced other products of the earth, birds or flowers; and he has given to that Madonna herself much of the uncouth energy of the older and more primitive 'Mighty Mother.'" The painters introduced into their pictures what they loved best, in earth or sky, as votive offerings to the Queen of Heaven; and what Signorelli and Michelangelo best loved was the human form. This is reflected in the latter's own lines:-- Nè Dio, sua grazia, mi si mostra altrove, più che'n alcun leggiadro e mortal velo, e quel sol amo, perchè'n quel si specchia. "Nor does God vouchsafe to reveal Himself to me anywhere more than in some lovely mortal veil, and that alone I love, because He is mirrored therein." In the strongest possible contrast to Michelangelo's picture are the two examples of the softest master of the Renaissance--Correggio's Repose on the Flight to Egypt (1118), and his Madonna adoring the Divine Child (1134). The former, with its rather out of place St. Francis of Assisi, is a work of what is known as Correggio's transition period, 1515-1518, after he had painted his earlier easel pictures and before commencing his great fresco work at Parma; the latter, a more characteristic picture, is slightly later and was given by the Duke of Mantua to Cosimo II. The figures of Prophets by Fra Bartolommeo (1130 and 1126), the side-wings of a picture now in the Pitti Gallery, are not remarkable in any way. The Madonna and Child with the Baptist and St. Sebastian (1122) is a work of Perugino's better period.