Andrea allowed his facility to lead him into languor, and lacked passion.

Michelangelo's work shows none of these shortcomings; it is always technically faultness, instinct with passion, supereminent in force.

But we crave more of grace, of sensuous delight, of sweetness, than he chose, or perhaps was able, to communicate.

We should welcome a little more of human weakness if he gave a little more of divine suavity.
Michelangelo's style of design is that of a sculptor, Andrea's of a colourist, Lionardo's of a curious student, Raffaello's of a musician and improvisatore.

These distinctions are not merely fanciful, nor based on what we know about the men in their careers.