Various other parts are in Rome too; others here; one or two may be at the Bargello (although some authorities give these supposed Michelangelos to Vincenzo Danti); others are in the grotto of the Boboli Gardens; and the Louvre has what is in some respects the finest of the "Prisoners".
The first statue on the right of the entrance of the Tribuna del David is a group called "Genio Vittorioso".

Here in the old man we see rock actually turned to life; in the various "Prisoners" near we see life emerging from rock; in the David we forget the rock altogether.

One wonders how Michelangelo went to work.

Did the shape of the block of marble influence him, or did he with his mind's eye, the Roentgen rays of genius, see the figure within it, embedded in the midst, and hew and chip until it disclosed?
On the back of the fourth statue on the left a monkish face has been incised: probably some visitor to the studio.

After looking at these originals and casts, and remembering those other Michelangelo sculptures elsewhere in Florence--the tombs of the Medici, the Brutus and the smaller David--turn to the bronze head over the cast of Moses and reflect upon the author of it all: the profoundly sorrowful eyes behind which so much power and ambition and disappointment dwelt.
It is peculiarly interesting to walk out of the Michelangelo gallery into the little room containing the Fra Angelicos: to pass from a great melancholy saturnine sculptor, the victim of the caprice of princes temporal and spiritual, his eyes troubled with world knowledge and world weariness, to the child-like celebrant of the joy of simple faith who painted these gay and happy pictures.