This attribution involves considerable difficulties.

In the first place, the scale is different, and the stride of one of them, at any rate, is too wide for the pedestals of that monument.

Then their violent contortions and ponderous adult forms seem to be at variance with the spirit of the Captives.

Mr.
Heath Wilson may perhaps be right in his conjecture that Michelangelo began them for the sculptural decoration on the facade of S.Lorenzo.
Their incompleteness baffles criticism; yet we feel instinctively that they were meant for the open air and for effect at a considerable distance.

They remind us of Deucalion's men growing out of the stones he threw behind his back.