right arm and hand of the 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 that Doni thought forty sufficient; whereupon Michelangelo took the picture back, and said he would not let it go for less than a hundred:  Doni then offered the original sum of seventy, but Michelangelo replied that if he was bent on bargaining he should not pay less than 140.  Be this as it may, one of the most characteristic products of the master’s genius came now into existence.  The Madonna is seated in a kneeling position on the ground; she throws herself vigorously backward, lifting the little Christ