DOCSLIB.ORG

The Life of Viichael Angelo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Life of Viichael Angelo P ORTRAI T OF M I CH AEL ANGEL O At t r ib u t ed t o Mar cello V en u st i TH E L IFE B Y R O M A I N R o i L KNb BY FREDERIC L E E S ‘ L O NDO N WI L AM H EI N E M A N N r oiz 'r m r r o r MK ‘ HAE L ANG EL O Al h l i mwd ( a M ir e lla) Ven nfifl TH E L IFE O F VIIC H AEL AN GEL O B Y R O M A I N R O L L A N D AU TH OR O F “ O CH RISTO PH ER ” ETC J H N . TRANSL ATED FRO M TH E FRENCH B Y F RE D E R IC L E E S I L L U STRATED L O ND O N W I L L I AM H E I N E M A N N 1 9 1 2 P R EF AC E I N the Nation al Mu seum in Florence is a marble statue ” Th o e e en which Michael Angel o called e Vict r . It r pr s ts ea n e e of a o n man the b utiful ud figur y u g , with curly o o an di n e e h has a e o e a l w e ea . e hair v r f r h d St g r ct , pl c d n on the a of a ea e one who en his k ee b ck b rd d pris r , b ds the and e an ox e e ea o a . , lik , str tch s his h d f rw rd But en a o t o e he victor looks not upon him . Wh b ut strik a an and n a a sad o and st ys his h d , tur s w y his m uth ar a a o a o e . irresolute eyes . His m f lls b ck t w rds his sh uld r a A e e for o no He throws himself b ckwards . d sir vict ry — t o o he longer fills his heart it is repulsive him . Th ugh has n e e he in n an e . co qu r d , tur is v quish d e e en a on of e o o o This r pr s t ti h r ic D ubt , this vict ry with shattered wi ngs (which was the only one of all t he works of Michael Angelo t o remain in his Florence studi o until ' the da of hi s ea an d hi Daniell o da Vo e a the y d th , w ch lt rr , o o en who was a a n e o h b s m fri d cqu i t d with his th ug ts , wished t o use in the ornamentati on of his catafalque) is ae o and th o of s o e Mich l Angel himself e symb l hi wh le lif . Suffering is infinite an d assumes a multitude of o n n f rms . At one time it is caused by the bli d tyra ny vi PREFACE — ne the n e of a e or of thi ngs poverty , sick ss , i justic F t , n an o e e has the wickedness of ma . At th r tim it its ’ n en n o e a e seat in one s very bei g . It is th l ss piti bl a For the o e of our e n was nor less fat l . ch ic b i g n ot ours we asked n either t o live nor t o b e What we are . The latter form of suffering was the one whi ch afflicted — a n o H e had the en h he had the a e Mich el A gel . str gt r r good fortune t o b e fashi oned for struggling and con n W a H e had no e e e n He o e e . qu ri g . c qu r d But h t d sir - for o a was not a he an e . a e e vict ry . Th t wh t w t d H ml t lik tragedy l Poignan t contradiction between an heroic en and a was n ot e o een e o g ius will which h r ic , betw imp ri us passions and a will which willed n ot I Do not e e m e t o see in a e so an o e xp ct this , ft r m y th r oo of ea ne an a ona a of an e pr fs gr t ss , dditi l m rk gr d ur . e e I a a e a e a man e ea N v r will dmit th t , b c us is v ry gr t , the o not ffi en for nea ne of n w rld is su ci t him . U si ss mi d not a n of an An o i o een is sig gr deur . y want f hat n ny betw a e n and n e een e and a o e b i g thi gs , b tw lif its l ws , pr c eds , e en in the a e of ea men not o e ea ne v c s gr t , fr m th ir gr t ss e ea n but th ir w k ess . Why endeavour t o hide this weak n ess Is he who is weaker less worthy of love He is n n e o e of na as h a a i fi it ly w rthi r it , i smuch e h s gre ter need of . I a e not a e t o na e e o it r is st tu s i cc ssible h roes . C wardly ea i e o id l sm , which div rts ur eyes from the woes of life an d the ea ne e of the o I a o w k ss s s ul , bh r . We must tell this h t o trut a people who are t oo sensitive t o the deceptive u o f ill si ns o sonorous words : the heroic lie is a piece of o a e c w rdic . There is onl y one form of heroism in the PREFACE o and on in ee n the o as —and w rld , it c sists s i g w rld it is o n in l vi g it . The tragedy of destiny presen ted in the following a e a of nn a e f e n has o n at p g s is th t i t su f ri g , which its rigi the oo of a e n na n e an and r t b i g , which g ws it i c ss tly will f on o e not leave it until its work o destructi is v r . It shows us one of t he most p owerful of t he types of that great huma n race which for nin eteen centuries has — filled the West with its cries of s orrow an d faith the an Christi . o e da en e an d en e a ea o n S m y , c turi s c turi s h d (supp si g a our ea l e o e e t he eo e the e th t rth is sti l r c ll ct d) , p pl Of futur will ben d over t he abyss into which our race has dis a ea e as an e on the e e of a e o e pp r d , D t did dg M l b lg , with in Of a a on o o an who n e ee d . mi gl d f l gs dmir ti , h rr r pity But l ee e eene an we a e one—we who as wi l f l th m k r th h v d , d en a e e e en e e e a u e we who chil r , h v xp ri c d th s ng ish s ; have seen those who were dearest t o us strive against them we whose throats know the acrid and intoxicating o o an e mi we who on e t a n d ur Of Christi p ssi sm , c r i o a on a e had t o a e an ef o in o e not t o cc si s , h v m k f rt rd r e wa e o e in o en of o t o the en giv y, lik th rs , m m ts d ubt , fr zy of the Divine Nothingness God ! e n a o o o not Et r l life ! Refuge of. th se wh d ee in n e e e o ! a hi e succ d livi g h r b l w F ith , w ch is v ry o en a a of a in li e a a of a in the ft but l ck f ith f , l ck f ith e a a k of a in one e a a of o a e and a futur , l c f ith s lf , l ck c ur g , lack of j oy We are aware of the numb er of defeats on which your sorrowful victory is based l viii PREFACE I o e ou a on an a , And it is for that re s , Christi s , th t l v y o I ou and a e o e an .
Load more

Recommended publications
  • The Life of Michelangelo Buonarroti by John Addington Symonds</H1>
    The Life of Michelangelo Buonarroti by John Addington Symonds The Life of Michelangelo Buonarroti by John Addington Symonds Produced by Ted Garvin, Keith M. Eckrich and PG Distributed Proofreaders THE LIFE OF MICHELANGELO BUONARROTI By JOHN ADDINGTON SYMONDS TO THE CAVALIERE GUIDO BIAGI, DOCTOR IN LETTERS, PREFECT OF THE MEDICEO-LAURENTIAN LIBRARY, ETC., ETC. I DEDICATE THIS WORK ON MICHELANGELO IN RESPECT FOR HIS SCHOLARSHIP AND LEARNING ADMIRATION OF HIS TUSCAN STYLE AND GRATEFUL ACKNOWLEDGMENT OF HIS GENEROUS ASSISTANCE CONTENTS CHAPTER page 1 / 658 I. BIRTH, BOYHOOD, YOUTH AT FLORENCE, DOWN TO LORENZO DE' MEDICI'S DEATH. 1475-1492. II. FIRST VISITS TO BOLOGNA AND ROME--THE MADONNA DELLA FEBBRE AND OTHER WORKS IN MARBLE. 1492-1501. III. RESIDENCE IN FLORENCE--THE DAVID. 1501-1505. IV. JULIUS II. CALLS MICHELANGELO TO ROME--PROJECT FOR THE POPE'S TOMB--THE REBUILDING OF S. PETER'S--FLIGHT FROM ROME--CARTOON FOR THE BATTLE OF PISA. 1505, 1506. V. SECOND VISIT TO BOLOGNA--THE BRONZE STATUE OF JULIUS II--PAINTING OF THE SISTINE VAULT. 1506-1512. VI. ON MICHELANGELO AS DRAUGHTSMAN, PAINTER, SCULPTOR. VII. LEO X. PLANS FOR THE CHURCH OF S. LORENZO AT FLORENCE--MICHELANGELO'S LIFE AT CARRARA. 1513-1521. VIII. ADRIAN VI AND CLEMENT VII--THE SACRISTY AND LIBRARY OF S. LORENZO. 1521-1526. page 2 / 658 IX. SACK OF ROME AND SIEGE OF FLORENCE--MICHELANGELO'S FLIGHT TO VENICE--HIS RELATIONS TO THE MEDICI. 1527-1534. X. ON MICHELANGELO AS ARCHITECT. XI. FINAL SETTLEMENT IN ROME--PAUL III.--THE LAST JUDGMENT AND THE PAOLINE CHAPEL--THE TOMB OF JULIUS.
    [Show full text]
  • From Terribilità to Terribilità  
    FULL LENGTH ARTICLE TWO PARTS MICHELANGELO and SHOSTAKOVICH : from terribilità to terribilità Part I: Talking of Michelangelo? It isn’t common knowledge that Michelangelo (henceforth ‘M’) wrote poetry; nor will many readers of modern poetry be familiar with its qualities. In fact, M (1475-1564) is arguably the first major visual artist to make a significant contribution to the literature of his time. Upon his death, he was certainly considered a leading lyrical poet of his day, even though most of his poetry hadn’t yet been published. Nevertheless, Vasari’s ‘Life of Michelangelo’ in 1550 – probably the first biography of a western artist to be published during its subject’s lifetime – encouraged its readers to: “… read the lovely canzoni and the magnificent sonnets, written with the greatest of care, made into songs by famous poets and musicians, read and commentated by learned men in the most celebrated academies throughout Italy.” Hardly faint praise. But when the permanent tomb for Il Divino (as M was often called) was unveiled in Santa Croce, the figure representing the poetic muse in the temporary constructions had vanished, leaving only her sister arts to mourn his passing. If his poetry was already moving into the shadows then, and if it remains there today, perhaps it’s because so much of that shadow is cast by himself, by the sheer cultural bulk of his other major works. It would be a mistake, though, to put the compulsion to translate him (felt by generations of major poets) down to mere curiosity or reverential rub-off. The intensity of poetic engagement with M, for some of our greatest poetic minds, goes far beyond the passing reference by TS Eliot, that other great admirer of Dante, in his memorable refrain imitating Laforgue: “In the room the women come and go/ Talking of Michelangelo.” So, what are the qualities of this poetry? Well, the rooms (or should I say, stanzas?) M builds for his own poetic comings and goings rarely extend beyond the epigram, sonnet or modestly-lengthed madrigal.
    [Show full text]
  • Lettere Di Michelangelo Buonarroti
    Michelangelo Buonarroti Le lettere di Michelangelo Buonarroti www.liberliber.it Questo e-book è stato realizzato anche grazie al so- stegno di: E-text Web design, Editoria, Multimedia (pubblica il tuo libro, o crea il tuo sito con E-text!) http://www.e-text.it/ QUESTO E-BOOK: TITOLO: Le lettere di Michelangelo Buonarroti AUTORE: Buonarroti, Michelangelo TRADUTTORE: CURATORE: Milanesi, Gaetano NOTE: Il testo è tratto da una copia in formato im- magine presente sul sito Google books. Realizzato in c o l l a b o r a z i o n e c o n i l P r o j e c t G u t e n b e r g (http://www.gutenberg.net/) tramite Distributed proofreaders (http://www.pgdp.net/). CODICE ISBN E-BOOK: n. d. DIRITTI D'AUTORE: no LICENZA: questo testo è distribuito con la licenza specificata al seguente indirizzo Internet: http://www.liberliber.it/online/opere/libri/licenze/ TRATTO DA: Le lettere di Michelangelo Buonarroti, pubblicate coi Ricordi ed i contratti artistici / per cura di Gaetano Milanesi - Firenze : Succ. Le Monnier, 1875 - IX, 720 p. ; 31 cm CODICE ISBN FONTE: n. d. 2 1a EDIZIONE ELETTRONICA DEL: 28 ottobre 2014 INDICE DI AFFIDABILITA': 1 0: affidabilità bassa 1: affidabilità media 2: affidabilità buona 3: affidabilità ottima DIGITALIZZAZIONE: Distributed proofreaders, http://www.pgdp.net ALLA EDIZIONE ELETTRONICA HANNO CONTRIBUITO: Distributed proofreaders, http://www.pgdp.net REVISIONE: Chuck Greif Barbara Magni Distributed Proofreading Team, http://www.pgdp.net/ PUBBLICATO DA: Claudio Paganelli, [email protected] Informazioni sul "progetto Manuzio" Il "progetto Manuzio" è una iniziativa dell'associa- zione culturale Liber Liber.
    [Show full text]
  • Biographical Dates
    BIOGRAPHICAL DATES 1475 March 6, born in the village of Caprese in Tuscany, second son of Lodovico (1444-1531) and Francesca. Lodovico, grandson of a successful banker and son of an unsuccessful banker in Florence, lived on a small income from land and occasional government posts; at this time he was Podesta (governor) of Caprese. March 31, Lodovico's term expired; the family doubtless returned to Florence. The oldest son, Lionardo (1473-1510) entered the Dominican order in Pisa in 1491 and played virtually no part in Michelangelo's life. 1477 May 26, brother Buonarroto bom. 1479 March 11, brother Giovansimone born. 1481 January 22, brother Gismondo bom. About this time the family was living in an apartment rented from Lodovico's brother-in-law, a dyer. December 6, mother died. 1485 Father's second marriage to Lucrezia Ubaldini (d. M97)- 1488 April 8, Michelangelo left grammar school and was apprenticed for three years to the painter Domenico Ghirlandaio. MICHELANGELO [1] 1489 Left Ghirlandaio and studied sculpture in the gar- den of Lorenzo de' Medici the Magnificent. 1492 Lorenzo the Magnificent died, succeeded by his old- est son Piero. 1494 Rising against Piero de' Medici, who fled (d. 1503). Republic re-established under Savonarola. October, Michelangelo fled and after a brief stay in Venice went to Bologna. 1495 In Bologna, carved three small statues which brought to completion the tomb of St. Dominic. Returned to Florence, carved the Cupid, sold to Baldassare del Milanese, a dealer. 1496 June, went to Rome. Carved the Bacchus for the banker Jacopo Galli. 1497 November, went to Carrara to obtain marble.
    [Show full text]
  • The Laurentian Staircase
    University at Albany, State University of New York Scholars Archive Art & Art History Honors College 5-2016 The Materiality of Wood in Michelangelo’s Biblioteca Laurenziana: The Laurentian Staircase Kaitlin Arbusto University at Albany, State University of New York Follow this and additional works at: https://scholarsarchive.library.albany.edu/honorscollege_finearts Part of the Fine Arts Commons Recommended Citation Arbusto, Kaitlin, "The Materiality of Wood in Michelangelo’s Biblioteca Laurenziana: The Laurentian Staircase" (2016). Art & Art History. 3. https://scholarsarchive.library.albany.edu/honorscollege_finearts/3 This Honors Thesis is brought to you for free and open access by the Honors College at Scholars Archive. It has been accepted for inclusion in Art & Art History by an authorized administrator of Scholars Archive. For more information, please contact [email protected]. The Materiality of Wood in Michelangelo’s Biblioteca Laurenziana The Laurentian Staircase Florence, Italy Kaitlin Arbusto Department of Art and Art History Advisor: Professor Amy Bloch Table of Contents Introduction .............................................................................................................................. 1 Chapter 1 History and Patronage ..................................................................................... 6 Chapter 2 A Chronology of Construction ......................................................................... 14 Chapter 3 A Walk Through of the Laurentian Library ....................................................
    [Show full text]
  • Teachers' Resource
    TEACHERS’ RESOURCE MICHELANGELO’S DREAM 18 FEBRUARY – 16 MAY 2010 CONTENTS 1: INTRODUCTION TO THE EXHIBITION 2: UNDERSTANDING THE DREAM 3: MY SOUL TO MESSER TOMMASO 4: DRAWN IN DREAMS 5: MICHELANGELO’S POETRY 6: MICHELANGELO AND MUSIC 7: REGARDÉ: SONNETS IN MICHELANGELO’S AGE 8: IMAGE CD The Teachers’ Resources are intended for use by secondary schools, colleges and teachers of all subjects for their own research. Each essay is marked with suggested links to subject areas and key stage levels. We hope teachers and educators will use these resources to plan lessons, help organise visits to the gallery or gain further insight into the exhibitions at The Courtauld Gallery. FOR EACH ESSAY CURRICULUM LINKS ARE MARKED IN RED. Cover image and right: Michelangelo Buonarroti The Dream (Il Sogno) To book a visit to the gallery or to discuss c.1533 (detail) any of the education projects at Black chalk on laid paper The Courtauld please contact: Unless otherwise stated all images [email protected] © The Samuel Courtauld Trust, 0207 848 1058 The Courtauld Gallery, London WELCOME The Courtauld Institute of Art runs an exceptional programme of activities suitable for young people, school teachers and members of the public, whatever their age or background. We offer resources which contribute to the understanding, knowledge and enjoyment of art history based upon the world-renowned art collection and the expertise of our students and scholars. The Teachers’ Resources and Image CDs have proved immensely popular in their first year; my thanks go to all those who have contributed to this success and to those who have given us valuable feedback.
    [Show full text]
  • The Mystical Dimension of Michelangelo‟S Writings
    The Mystical Dimension of Michelangelo‟s Writings by Sarah Rolfe Prodan A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Italian Studies University of Toronto © Copyright by Sarah Rolfe Prodan 2011 The Mystical Dimension of Michelangelo‟s Writings Sarah Rolfe Prodan PhD in Italian Studies Department of Italian Studies University of Toronto 2011 Abstract This dissertation examines the spiritual poetry of Michelangelo Buonarroti (1475-1564) in light of three distinct but related contexts: Italian Evangelism of the Catholic Reformation, the Italian lauda tradition, and Renaissance Augustinianism. After reviewing the reception and critical history of Michelangelo‟s poetry, chapter one presents the anthropological approach of the present study as an effective means of illuminating the poet‟s spiritual verses by considering what they may have meant – collectively and individually – to the poet himself. Chapter two analyzes Michelangelo‟s lyrics inspired by Vittoria Colonna with respect to the Spirituali of the Ecclesia viterbiensis in general and to the Beneficio di Cristo and personal letters of Vittoria Colonna in particular. It shows that the portrayal of Vittoria Colonna in this poetry as an instrument of grace effecting Michelangelo‟s spiritual refashioning, rebirth, and renewal reflects a theology of the Holy Spirit that was dear to the Italian Evangelical community and central to their self-perception. The third chapter presents the Italian lauda tradition and its mystical verses addressing Christ and the Holy Spirit as an inspiration for Michelangelo who, in a later spiritual sonnet, borrowed directly from one of Lorenzo de‟ Medici‟s laude. This chapter shows how Michelangelo‟s verse is informed by a long, popular Christian tradition in the vernacular.
    [Show full text]
  • Tesi Anne Haak Prima Versione
    MICHELANGELO E LA MORTE DI CECCHINO BRACCI MICHELANGELO E LA MORTE DI CECCHINO BRACCI un’analisi del progetto funebre Anne Haak Universiteit Utrecht 3845001 Faculteit Geesteswetenschappen [email protected] Italiaanse taal en cultuur 1 / 39 Relatore: dr. R. Speelman 2016-2017 MICHELANGELO E LA MORTE DI CECCHINO BRACCI INDICE Introduzione 3 Luigi del Riccio 6 Le poesie 9 Gli epitaffi 12 Consolatio 15 Problematica dei giochi di parole e poscritti 17 La tomba 23 Il progetto 23 La critica 27 Un’opera d’insieme 31 Conclusione 34 Riassunto in olandese 36 Bibliografia 37 Indice delle immagini 39 2 / 39 MICHELANGELO E LA MORTE DI CECCHINO BRACCI INTRODUZIONE «Oyme, messer Donato moi ! Il nostro Cechino è morto ! Rachomandoui la memoria et riuerentia ci portaua et delle buone et rare qualita sue, quale da poi la partita uostra erano multipricate in infinito. tanto che e cieli. che sempre ne portano il meglio. ce l’hanno tolto. Tutta Roma lo piagnie. Messer Michelagnolo mi fa il disegnio d’uno onesto sepulcro di marmo, et uoi ui degnierete di fare lo epitaffio et mandarmelo con una epistola confortatoria, se sarà a tempo, che mi ha cauato l’anima. Patientia ! Viuo con mille et mille morte l’ora. O Dio ! Come fortuna ua cangiando stile ! – Il tuo (?) Luigi del Riccio disperato.»1 Così scrisse Luigi del Riccio il suo dolore per la perdita del nipote Francesco de’ Bracci in una lettera all’amico Donato Giannotti. Il giovane quindicenne, detto «Cecchino», scomparve a Roma l’8 gennaio del 1544. Cecchino fu molto caro a Del Riccio e al circolo intellettuale di Firenze per la sua bellezza e il suo fascino.2 Non si sa molto delle circostanze attorno al suo decesso, né della sua vita e situazione, tranne il fatto che era figlio di un fuoruscito fiorentino di nome Zanobi.
    [Show full text]
  • David Hockney and the Memory of Michelangelo Raymond Carlson Page 2
    Open Windows 9 December 2019 David Hockney and the Memory of Michelangelo Raymond Carlson page 2 A chance encounter. New information on Balthus’s Card Game Marta Ruiz del Árbol page 22 The Secret Life of Corot’s Diana Bathing Clara Marcellán page 30 1 Open Windows 9 David Hockney and the Memory of Michelangelo Raymond Carlson David Hockney In Memoriam of Cecchino Bracci, 1962 [+ info] 2 Open Windows 9 David Hockney and the Memory of Michelangelo Raymond Carlson Introduction fig. 1 David Hockney In Memoriam of Cecchino Bracci, 1962 Oil on canvas, 213.3 × 91.4 cm Museo Nacional Thyssen-Bornemisza, Madrid, Inv. no. 584, 1978.12 [+ info] Shortly after David Hockney (b. 1937) graduated from the 1 For her exceptional help, bibliographic Royal College of Art in 1962, he and several classmates references, productive insights became the subject of an article both disdainful and about David Hockney, and generous prescient. 1 The author was the art critic of The Observer, observations about the painting while we studied both sides of it together, Nevile Wallis, who had seen their work in several local I extend my profound thanks to Marta exhibitions. Dubbing them the “School of Ironic Painting,” Ruiz del Árbol. Wallis claimed the group’s wry visual commentary had yet 2 to acquire real bite. 2 But their success obliged him to close Nevile Wallis, “General Notes: School with the admission that “London galleries will see much of Ironic Painting,” Journal of the Royal more of them.” Artists cited in the article such as R. B. Kitaj Society of the Arts 110, no.
    [Show full text]
  • Michelangelo and Pope Paul III, 1534-49
    Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2015 Michelangelo and Pope Paul III, 1534-49: Patronage, Collaboration and Construction of Identity in Renaissance Rome Erin Christine Sutherland Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Classical Archaeology and Art History Commons Recommended Citation Sutherland, Erin Christine, "Michelangelo and Pope Paul III, 1534-49: Patronage, Collaboration and Construction of Identity in Renaissance Rome" (2015). Arts & Sciences Electronic Theses and Dissertations. 451. https://openscholarship.wustl.edu/art_sci_etds/451 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Art History & Archaeology Dissertation Examination Committee: William E. Wallace, chair Marisa Bass Daniel Bornstein Nathaniel Jones Angela Miller Michelangelo and Pope Paul III, 1534-49: Patronage, Collaboration and Construction of Identity in Renaissance Rome by Erin Sutherland A dissertation presented to the Graduate School of Arts & Sciences of Washington University in partial fulfillment of
    [Show full text]
  • Renaissance in Italy : the Fine Arts
    ;i#4^?Ti S JULJ^ •^-^ TT RENAISSANCE IN ITALY ONTARIO GOLLESE OF ART 100 A/kCAliL ST. TORONTO 2B, ONTARIO RENAISSANCE IN ITALY THE FINE ARTS JOHN ADDINGTON SYMOXDS ADTHOK OF AN INTRODUCTION TO THE STUDY OF DAKTE ' ' STUDIES OP THE GIUSEK POETS ' AKD ' SKETCHES IN ITALY AND GBEECB Eil Romse indigetes, Trojas tuque auctor, ApoKo, ITnde genus nostrum coeli se toUit ad astm, Eanc saltern auferri lauJem prohibete Latlnis : Axtibus emineat semper, studiisque ilinervae, Italia, et geutes doceat pulcherrima Roma ; Quandoquidem armorum penitus fortuna recesat, Tanta Italos iuter crerit discoriiia reges ; Ipsi nos inter ssvos distringimus enses, Kec patriam pudet externis aperire tyrannis ViDA, Poetica. lib, U. NEW EDITION LONDON SMITH, ELDER & CO., 15 WATERLOO PLACE 1914 AH rights rsserved ^^;i o PEEFACE' Tms third volume of my book on the * Renaissance in Italy ' does not pretend to retrace the history of the Italian arts, but rather to define their relation to the main movement of Eenaissance culture. Keeping this, ftie chief object of my -whole work, steadily in view, I have tried to explain the dependence of the arts on mediaeval Christianity at their commencement, their gradual emancipation from ecclesiastical control, and their final attainment of freedom at the moment when the classical revival culminated. Not to notice the mediaeval period in this evolution would be impossible; since the revival of Sculpture and Painting at the end of the thirteenth century was among the earliest signs of that new intellectual bh-th to which we give the title of Eenaissance. I have, therefore, had to deal at some length with stages in the development of ^ To the original edition of this volume.
    [Show full text]
  • Michelangelo, Selected Poems
    ART HUMANITIES: PRIMARY SOURCE READER Section 4: Michelangelo Art Humanities Primary Source Reading 15 Michelangelo, Selected Poems The passages that follow attest to Michelangelo as a personification of what we now call a “Renaissance Man.” Though he is best known for his sculpture, painting, and architecture, Michelangelo was also a prolific poet, composing over three hundred pieces during his lifetime, sometimes even jotting down lines of verse in the margins of his drawings. Though an edition of 105 of his poems was abortively prepared between 1542 and 1546, the first printed version of his written work appeared in 1623 in a volume edited by his grandnephew Michelangelo the Younger. The latter Michelangelo drew from the edition prepared earlier, as well as family manuscripts, while altering the nature of the poems by completing some,and changing the language and content of others to conform with Counter-Reformation ideas about faith and love. This was the only available version of the artist’s poetry until 1863, and, therefore, it shaped scholarly understanding of Michelangelo through the first part of the 19th century. The artist dealt with such broad themes as love and death, and, as in the selections here, the nature of artistic creativity. At the same time, the following poems provide us with a type of written self-portrait, which may be read alongside the images he created of himself in the guise of St. Bartholomew in the Last Judgment, and the figure of Nicodemus in the Florence Pietà. As the following examples suggest, Michelangelo’s insights on himself were frequently in strong contrast to Vasari’s effusively laudatory commentary on the artist’s life and works.
    [Show full text]