In addition to these works, there is a small marble statue in the Museo Nazionale at Florence.

All of them represent Michelangelo's design.

If mere indecency could justify Desnoyers in his attempt to destroy a masterpiece, this picture deserved its fate.

It represented the act of coition between a swan and a woman; and though we cannot hold Michelangelo responsible for the repulsive expression on the face of Leda, which relegates the marble of the Bargello to a place among pornographic works of art, there is no reason to suppose that the general scheme of his conception was abandoned in the copies made of it.
Michelangelo, being a true artist, anxious only for the presentation of his subject, seems to have remained indifferent to its moral quality.

Whether it was a crucifixion, or a congress of the swan with Leda, or a rape of Ganymede, or the murder of Holofernes in his tent, or the birth of Eve, he sought to seize the central point in the situation, and to accentuate its significance by the inexhaustible means at his command for giving plastic form to an idea.