Both Michelangelo and Leonardo failed to finish their battle scenes. Leonardo had technical difficulties and Michelangelo was summoned to Rome by Pope Julius II. It is clear from Sangallo's copy that, even at this early stage of his career as a painter, Michelangelo was very drawn to the representation of the male, naked form.
The scene is the central part of Michelangelo's fresco. The Florentine army went into the river Arno to bathe and escape the heat of the day. Fearing that the soldiers would be caught off-guard by the enemy, the Florentine captain raised a false alarm. The soldiers rush to dress and arm themselves in a chaotic and un-gamely manner.
This is not the heroic Florentine army defeating the forces of its rival city of Pisa. It seems almost unsuitable as a statement of the power of the Florentine Republic. However, it must be remembered that this is just one part of Michelangelo's intended vision for a fresco that, had it been completed, would have been one of the greatest works of the Renaissance.
Study of a Seated Figure.
Michelangelo. pen and chalk, British Museum. London.
We can see, from this Michelangelo study, how faithfully Aristotile da Sangallo has drawn on Michelangelo's vision of the battle. (compare the central figure in Sangallo's copy with this study).