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John Addington Symonds. The Life of Michelangelo Buonarroti
The Life of Michelangelo Buonarroti
Table of Contents
CHAPTER. 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. 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. 1535–1542. XII. VITTORIA COLONNA AND TOMMASO CAVALIERI—MICHELANGELO AS POET AND MAN OF FEELING. XIII. MICHELANGELO APPOINTED ARCHITECT-IN-CHIEF AT THE VATICAN—HISTORY OF S. PETER'S. 1542–1557. XIV. LAST YEARS OF LIFE—MICHELANGELO'S PORTRAITS—ILLNESS OF OLD AGE. 1557–1564. XV. DEATH AT ROME—BURIAL AND OBSEQUIES AT FLORENCE—ANECDOTES—ESTIMATE OF MICHELANGELO AS MAN AND ARTIST. THE LIFE OF MICHELANGELO BUONARROTI
CHAPTER I. I
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III
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VII
VIII
CHAPTER II
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CHAPTER III
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CHAPTER IV
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CHAPTER V
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CHAPTER VI
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CHAPTER VII
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CHAPTER VIII
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CHAPTER IX
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CHAPTER X
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CHAPTER XI
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CHAPTER XII
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CHAPTER XIII
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CHAPTER XIV
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CHAPTER XV
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Отрывок из книги
John Addington Symonds
Published by Good Press, 2019
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Vasari mentions another bas-relief in marble as belonging to this period, which, from its style, we may, I think, believe to have been designed earlier than the Centaurs. It is a seated Madonna with the Infant Jesus, conceived in the manner of Donatello, but without that master's force and power over the lines of drapery. Except for the interest attaching to it as an early work of Michelangelo, this piece would not attract much attention. Vasari praises it for grace and composition above the scope of Donatello; and certainly we may trace here the first germ of that sweet and winning majesty which Buonarroti was destined to develop in his Pietà of S. Peter, the Madonna at Bruges, and the even more glorious Madonna of S. Lorenzo. It is also interesting for the realistic introduction of a Tuscan cottage staircase into the background. This bas-relief was presented to Cosimo de' Medici, first Grand Duke of Tuscany, by Michelangelo's nephew Lionardo. It afterwards came back into the possession of the Buonarroti family, and forms at present an ornament of their house at Florence.
We are accustomed to think of Michelangelo as a self-withdrawn and solitary worker, living for his art, avoiding the conflict of society, immersed in sublime imaginings. On the whole, this is a correct conception of the man. Many passages of his biography will show how little he actively shared the passions and contentions of the stirring times through which he moved. Yet his temperament exposed him to sudden outbursts of scorn and anger, which brought him now and then into violent collision with his neighbours. An incident of this sort happened while he was studying under the patronage of Lorenzo de' Medici, and its consequences marked him physically for life. The young artists whom the Magnificent gathered round him used to practise drawing in the Brancacci Chapel of the Carmine. There Masaccio and his followers bequeathed to us noble examples of the grand style upon the frescoed panels of the chapel walls. It was the custom of industrious lads to make transcripts from those broad designs, some of which Raphael deigned in his latest years to repeat, with altered manner, for the Stanze of the Vatican and the Cartoons. Michelangelo went one day into the Carmine with Piero Torrigiano and other comrades. What ensued may best be reported in the narration which Torrigiano at a later time made to Benvenuto Cellini.
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