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MICHELANGELO'S RADICAL RELIEF

Much has been written about Michelange lo's virtuoso carving in relief of the Battle of the Lapiths and Centaurs—about Poli ziano's intervention in its Ovidian concep tion, about the putative mythic identity of its figures, about the circumstances in which it was made, about its relations to the art of classical antiquity and Bertoldo. Scholars have especially dwelt on the assumption that the work was unfinished, imperfetto or nonfinito. To support this claim they point to sixteenth-century texts that describe the work as unfinished, even though it is some times observed that the work was then also