By Angela K. Nickerson
From St. Peter’s Basilica to the Capitoline Hill, this distinctive resource—part biography, half heritage, and half trip guide—provides an intimate portrait of the connection among Michelangelo and town he restored to inventive greatness. Lavishly illustrated and richly informative, this go back and forth better half tells the tale of Michelangelo’s meteoric upward thrust, his occupation marked by means of successive creative breakthroughs, his tempestuous kin with strong buyers, and his austere yet passionate inner most existence. offering highway maps that let readers to navigate town and detect Rome as Michelangelo knew it, each one bankruptcy makes a speciality of a specific paintings that surprised Michelangelo’s contemporaries and glossy travelers alike.
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Additional resources for A Journey into Michelangelo's Rome (ArtPlace series)
A R RIP A CO ERT SA ON NN A V. G NT ALB NI AR A V. P A ORAT ARM V. C . I OV AN UDI A CIR V. D E 4 A V. CL L. INO V. G The Colosseum The Palatine Hill RA LLA EL V. M Stazione Termini NA 5 O R UL A ANG UI T IN A ATT E V. M The Forum CE V. D NA AR B D. IF I L. DE I V. M S. ANNI LANZA V. G IOV PIO R U OP The ORI O E V N TE IPA . CA ON Capitoline IMPERI V V. FRANG 10 M EL ALI V L E. D Hill DE GR E G O RI NA TT I PE PER V. PANIS NC A V. ETTO V. A I NA . D V. AL E U IR EP R ION LQ E Z E T IS A V. D V.
He hated the French, loved war, and wanted to establish the papacy as a powerful force independent of the Roman families who tried to interfere in papal politics. Some feared him, others hated him, and all respected him. By the time he summoned Michelangelo, the ambitious pope had lived in the Eternal City since 1471 and despaired over its state of decay. Cows grazed in the buildings and temples of the Forum. Peasants tended their vineyards on the Palatine Hill, wandering through palatial remains.
The finishing process—and the sculpting process itself—was dirty and dangerous, much like quarrying. As he hammered against his chisels, metal on metal against stone, chips flew. He did not wear safety glasses. The hammers and chisels and stones were heavy and bulky and sharp. Sculpting was bruising, sweaty work—but it was also inspiring for Michelangelo, who not only wrote poems about sculpting but also while sculpting. To light his workshop, Michelangelo spent money on expensive candles made of pure goat’s tallow.
A Journey into Michelangelo's Rome (ArtPlace series) by Angela K. Nickerson