Perhaps it is a portrait of old Bertoldo himself.

In this panel, too, are horsemen riding animals similar to the ones Michael Angelo drew in his last fresco, _The Conversion of Saint Paul_.

The composition for the scourging of Christ, supplied by Michael Angelo to Sebastiano del Piombo for his wall painting in San Pietro in Montorio, follows the lines of the bas-relief of the same subject on the pulpit.

What is more likely than that Bertoldo should have educated his great pupil by directing him to the glories of the last work of his master, Donatello, and that Michael Angelo should have studied them eagerly, particularly if Bertoldo himself was partly responsible for some of the panels, and may have been working upon them at this time.( 63) The pulpits of San Lorenzo were the second school of Michael Angelo, and Bertoldo was his master.

No great style ever sprang complete from the brain of its great exponent, but grew and developed from master to pupil until its supreme exponent blazed it before the world full of the traditional fire of his predecessors, but distinctly marked by his own dominant personality.