By Angela K. Nickerson
From St. Peter’s Basilica to the Capitoline Hill, this designated resource—part biography, half background, and half commute guide—provides an intimate portrait of the connection among Michelangelo and town he restored to inventive greatness. Lavishly illustrated and richly informative, this commute better half tells the tale of Michelangelo’s meteoric upward push, his profession marked by means of successive inventive breakthroughs, his tempestuous family members with robust consumers, and his austere yet passionate deepest existence. supplying highway maps that let readers to navigate the town and detect Rome as Michelangelo knew it, every one bankruptcy specializes in a specific paintings that surprised Michelangelo’s contemporaries and glossy travelers alike.
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Extra info for A Journey into Michelangelo's Rome (ArtPlace series)
ANGELICO V. OTTAVIANO O IPR O V. C EM DOVIS V. LU V. L E LO TOR TO C ORS O NE DE RO TO NG MU V. DEL I FAR 46 L. D. 11 L. 10 A 9 D AL GA R 8 UELE II TEB L UN 7 Arch of Janus: The Scale of a Tomb Piazza San Pietro: Staging Ground Passetto: A Convenient Corridor Macel de’ Corvi: Plaque Marking Michelangelo’s Home Janiculum Hill: Façade of Michelangelo’s House San Pietro in Vincoli: Julius II’s Tomb Vatican Museums: Laocoön, an Inspiration EL Palazzo del Quirinale . D LLA 6 M AN LI A LL O 5 RIO E E V.
Without a leader, Romans were left to the mercy of brutal condottieri (mercenary leaders) and foreign kings who pillaged and plundered the city. Order returned with the Council of Constance in 1417, which ended the dual papacies with the election of In this painting from the fourteenth century, the Catholic Church is surrounded by heretics Martin V. When he came to Rome and unbelievers and defended by bishops, monks, and the pope. This depiction of a united in 1420, Pope Martin “found it so church contrasts sharply with the bloody feuds and protracted schisms that characterized the dilapidated and deserted that it papacy during the Middle Ages.
Sculpting was Florence: Michelangelo and the House of Medici dirty, physical, and exhausting work. Most sculptors were employed in creating decorative elements and architectural embellishments, a trade for commoners. To Michelangelo, however, nothing was more prestigious than to have Il Magnifico as a patron. The Medici Gardens was not a school with a curriculum or instructors. Rather, it was an informal gathering place for sculptors, philosophers, and poets dedicated to the study of antiquities and classical texts.
A Journey into Michelangelo's Rome (ArtPlace series) by Angela K. Nickerson