Michelangelo, "BACCO E SATIRO", gruppo

Speranza

In the "Bacco e Satiro", the CORKSCREW motion of the SATIRO would be UNTHINKABLE without Verrocchio's experiments (as in "Putto with a Fish", which evolves a serpentine figure in which no view is predominant), and so would the slow SPIRAL movement by which the SATIRO is linked to the BACCO, and the eye if carried upwards to the cup held in the right hand.

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One of the recurring preocuppations of Florentine Early Renaissance sculptors was with mobility (Donatello, Settignano, Majano).

Hence, Buonarroti's concern with the unstable stance of the drunken figure of BACCO and with the loose movement of his lips.