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There are two pen-drawings in Vienna that show us the sort of work Michael Angelo did at this time: one represents a kneeling figure, evidently from a picture by Pesellino; the other, two standing figures, that might be after Ghirlandaio. The draperies have been specially studied. Another pen-drawing, in the Louvre, is a careful study from Giotto’s fresco of the Resurrection of St.
But more careful looking will show that his greatest qualities, so balanced and so clear in him, are shared though often masked by the ungainlinesses of hurried artistic growth by Pollaiolo, Baldovinetti, Pesellino, let alone Uccello, Castagno, and Masaccio; are, in a word, Tuscan, Florentine.
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