As such the contemporaries of Buonarroti hailed it.

Still, the breath of life has exaled from all those bodies, and the tyranny of the schematic ideal of form is felt in each of them.

Without meaning to be irreverent, we might fancy that two elastic lay-figures, one male, the other female, both singularly similar in shape, supplied the materials for the total composition.

Of the dramatic intentions and suggestions underlying these plastic and elastic shapes I am not now speaking.

It is my present business to establish the phases through which my master's sense of form passed from its cradle to its grave.
In the frescoes of the Cappella Paolina, so ruined at this day that we can hardly value them, the mechanic manner of the fourth stage seems to reach its climax.