He may be seen, as we have said, in the Adam, and in the four figures surrounding the fresco representing God dividing the Light from the Darkness; in the two figures near the Adam in his creation of Eve; and best of all, for comparison, in the figures near the foot of Adam in the creation of Man.

Another model was of a rounder and more bacchanalian character, not unlike the Dancing Fawn in the Uffizi; but he was not in such good training.

He was decidedly fat, his face was mobile, and very easily took jovial expressions, his cheeks dimpled, his eyes round and large, the pupils very dark and the whites very white; his hair went into short, soft, frizzy curls; his shoulders were small and round, the arms feeble, the thighs short, round, and formless; his back was well developed, the folds of the skin in the torso, when he bent, were very large and fat in line.

It was probably for this that Michael Angelo chose him.

He is well seen in three of the figures surrounding the third panel from the High Altar representing The Spirit of God upon the Face of the Waters, and the two figures nearest to the Adam and Eve in the scene of the Expulsion.