Yet Vasari left on record that "even Michelangelo followed the manner of Signorelli, as any one may see." Undoubtedly, Buonarroti, while an inmate of Lorenzo de' Medici's palace at Florence, felt the power of Luca's Madonna with the naked figures in the background; the leading motive of which he transcended in his Doni Holy Family.

Probably at an early period he had before his eyes the bold nudities, uncompromising designs, and awkward composition of Luca's so-called School of Pan.

In like manner, we may be sure that during his first visit to Rome he was attracted by Signorelli's solemn fresco of Moses in the Sistine.

These things were sufficient to establish a link of connection between the painter of Cortona and the Florentine sculptor.

And when Michelangelo visited the Chapel of S.
Brizio, after he had fixed and formed his style (exhibiting his innate force of genius in the Pieta, the Bacchus, the Cupid, the David, the statue of Julius, the Cartoon for the Battle of Pisa), that early bond of sympathy must have been renewed and enforced.