The lines of the junctions of the plaster may be seen in a photograph; one is along the collar bone, and one across the junction of the body and the thighs.

There is also a division all round the figure, an inch or so from the outline, so we know that the beautiful and highly finished head and neck were painted in one day; the stupendous torso and arms in another; and the huge legs, finished in every detail, in a third.
Such power of work and of finish is utterly inconceivable to any artist of to-day.

Some will even excuse the imperfection of the study of a head by saying that they had only three or four sittings.
Condivi asserts, and Vasari follows him, that the part uncovered in November 1509, was the first half of the whole vault, beginning at the large door of entrance and ending in the middle.

But Albertini states in his _Mirabilia Urbis_( 115) that the upper portion of the whole vaulted roof had been uncovered when he saw it in 1509, and this statement is corroborated by the work itself.

There is a distinct enlargement of the style from the Sin of the Sons of Ham through the series of the Creation and the Athletes to the Prophets and Sibyls, and again from the first of these, near the large door, to those near the altar wall.