Neither a subject possessing the androgynous character of Ingres young St. John the Baptist nor the litheness of Baierl’s concept is found in the composition of Raphael Sanzio (1518) (See illustration below). Raphael portrays a substantial young man of whom the softness of adolescence is fading and is emerging as a physically maturity being. The St. John the Baptist (1570) of Michele Tosini may be verging on physical maturity, but the artist presents us with a soft, oval face and hair that lacks the appropriate masculine quality of a young man (See illustration below). Tosini, as with many Mannerist painters, flirts with ambiguity in a manner that seems to defeat the intent of the subject.