Its composition by masses being quite apparent, we can easily construct the incomplete figure of S.John in the background.

What results from the study of these two circular sketches in marble is that, although Michelangelo believed all sculpture to be imperfect in so far as it approached the style of painting, yet he did not disdain to labour in stone with various planes of relief which should produce the effect of chiaroscuro.

Furthermore, they illustrate what Cellini and Vasari have already taught us about his method.

He refused to work by piecemeal, but began by disengaging the first, the second, then the third surfaces, following a model and a drawing which controlled the cutting.

Whether he preferred to leave off when his idea was sufficiently indicated, or whether his numerous engagements prevented him from excavating the lowest surfaces, and lastly polishing the whole, is a question which must for ever remain undecided.