Few have realised the Pheidian perfection of doing equal justice.
Michelangelo emerges as a mighty master who was dominated by the vision of male beauty, and who saw the female mainly through the fascination of the other sex.

The defect of his art is due to a certain constitutional callousness, a want of sensuous or imaginative sensibility for what is specifically feminine.
Not a single woman carved or painted by the hand of Michelangelo has the charm of early youth or the grace of virginity.

The Eve of the Sistine, the Madonna of S.Peter's, the Night and Dawn of the Medicean Sacristy, are female in the anatomy of their large and grandly modelled forms, but not feminine in their sentiment.

This proposition requires no proof.

It is only needful to recall a Madonna by Raphael, a Diana by Correggio, a Leda by Lionardo, a Venus by Titian, a S.
Agnes by Tintoretto.