The next period, which includes the Madonna della Febbre, the Bruges Madonna, the Bacchus, the Cupid, and the David, is marked by an intense search after the truth of Nature.

Both Madonnas might be criticised for unreality, owing to the enormous development of the thorax and something artificial in the type of face.

But all the male figures seem to have been studied from the model.

There is an individuality about the character of each, a naturalism, an aiming after realistic expression, which separate this group from previous and subsequent works by Buonarroti.

Traces of Donatello's influence survive in the treatment of the long large hands of David, the cast of features selected for that statue, and the working of the feet.