Reynolds, Discourse Ten, 1780, is particularly concerned with sculpture, and with the importance of form in sculpture. His comments relate to the notion of 'disegno', which for Vasari on Michelangelo was the key element in Michelangelo 's 'perfection', the grasp of form which Michelangelo derived in part from the study of the ancients, including the Torso of the Vatican:
The sculptor employs the representation of the thing itself; but still as a means to a higher end, -as a gradual ascent always advancing towards faultless form and perfect beauty. It may be thought at the first view, that even this form, however perfectly represented, is to be valued and take its rank only for the sake of a still higher object, that of conveying sentiment and character, as they are exhibited by attitude, and expression of the passions. But we are sure from experience, that the beauty of form alone, without the assistance of any other quality, makes of itself a great work, and justly claims our esteem and admiration. As a proof of the high value we set on the mere excellence of form, we may produce the greatest part of the works of Michael Angelo, both in painting and sculpture; as well as most of the antique statues, which are justly esteemed in a very high degree, though no very marked or striking character or expression of any kind is represented. ( Reynolds, Discourses, p. 177)