He even exaggerates what is masculine in the male, as he caricatures the female by ascribing impossible virility to her.

But the exaggeration follows here a line of mental and moral rectitude.

It is the expression of his peculiar sensibility to physical structure.
IX When we study the evolution of Michelangelo's ideal of form, we find at the beginning of his life a very short period in which he followed the traditions of Donatello and imitated Greek work.

The seated Madonna in bas-relief and the Giovannino belong to this first stage.
So does the bas-relief of the Centaurs.

It soon becomes evident, however, that Michelangelo was not destined to remain a continuator of Donatello's manner or a disciple of the classics.