Both of these reliefs represent the Madonna and Child, with the child St.John.The one in the Bargello appears to be the earlier; the composition is very beautiful and simple, and fills the circular space admirably.

The Madonna is seated facing the spectator, and looks out full towards him with an enigmatical expression on her proud features; the Child stands beside her, His elbow on her knee, as in the Bruges Madonna.

The St.John is only roughly cut, but the movement and forms are so well realised under the marble that one does not wish for any further finish.

In the Royal Academy tondo the Madonna is seated more to the side of the circle, and is in profile; the Child reclines upon her knee, clinging to her arm, startled but interested by the little bird St.John has brought to show Him (a favourite motive with Italian artists).

The head and shoulders of the Madonna and the torso of the Child Jesus are the only parts that are near completion, yet the whole group is so much there that we do not ask for another touch; in fact, the works of Michael Angelo were finished from the very first strokes.