he Virgin may hardly be conjectured. It
is clear that on this side of the composition the marble was to have
been more deeply cut, and that we have the highest surfaces of the
relief brought into prominence at those points where, as I have said,
little is wanting but the finish of the graver and the file. The
Bargello group is simpler and more intelligible. Its composition by
masses being quite apparent, we can easily construct the incomplete
figure of S. John in the background. What results from the study of
these two circular sketches in marble is that, although Michelangelo
believed all sculpture to be imperfect in so far as it approached the
style of painting, yet he did not disdain to labour in stone with
various planes of relief which should produce the effect of
chiaroscuro. Furthermore, they illustrate what Cellini and Vasari have
already taught us about his method. He refused to work by piecemeal,
but began by disengaging the first, the second, then the third
surfaces, following a model and a drawing which controlled the
cutting. Whether he preferred to leave off when his idea was
sufficiently indicated, or whether his numerous engagements prevented
him from excavating the lowest surfaces, and lastly polishing the
whole, is a question which must for ever remain undecided. Considering
the exquisite elaboration given to the Pieta of the Vatican, the
Madonna at Bruges, the Bacchus and the David, the Moses and parts of
the Medicean monuments, I incline to think that, with time enough at
his disposal, he would have carried out these rounds in all their
details. A criticism he made on Donatello, recorded for us by Condivi,
to the effect that this great master's works lost their proper effect
on close inspection through a want of finish, confirms my opinion.
Still there is no doubt that he must have been pleased, as all true
lovers of art are with the picturesque effect--an effect as of things
half seen in dreams or emergent from primeval substances--which the
imperfection of the craftsman's labour leaves upon the memory.

At this time Michelangelo's mind seems to have been much occupied with
circular compositions. He painted a large Holy Family of this shape
for his friend Angelo Doni, which may, I think, be reckoned the only
easel-picture attributable with absolute certainty to his hand.
Condivi simply says that he received seventy ducats for this fine
work. Vasari adds one of his prattling stories to the effect tha