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乇賳噩 賵 爻乇賲爻鬲蹖
丕蹖賳 乇賲丕賳 卮丕賲賱 夭賳丿诏蹖鈥屬嗀з呝� 賵 爻乇诏匕卮鬲 禺丕賱賯 賴賳乇 賵 賲噩爻賲賴鈥屫池ж藏� 賲蹖讴賱 丌賳跇 丕爻鬲. 丿乇 夭賲丕賳 禺賵丕賳丿賳 丕蹖賳 讴鬲丕亘貙 賴賲鈥屫操呚з� 亘丕 丕賵 乇賳噩 賲蹖鈥屭┴篡屬� 賵 爻乇賲爻鬲 賲蹖鈥屫促堐屬�. 賲蹖讴賱 丌賳跇 亘賴 賳賯丕卮蹖 鬲卮乇蹖丨蹖 賲蹖鈥屬矩必ж�. 丿乇 丕亘鬲丿丕 賵蹖 鬲賳賴丕 鬲賵噩賴 毓賲丿賴鈥屫ж� 亘賴 賲乇賲乇 亘賵丿 賵 丕蹖賳鈥屭┵� 趩賴 趩蹖夭蹖 賲蹖鈥屫堌з嗀� 丕夭 丌賳 丕爻鬲禺乇丕噩 讴賳丿. 賴賲賵丕乇賴 禺賵丕爻鬲丕乇 丌賳 亘賵丿 讴賴 賲噩爻賲賴鈥屬囏й屫� 賳賲賵丿丕乇 賵 丌蹖鬲 趩蹖夭蹖 賲賴賲 亘丕卮賳丿. 鬲毓賴丿 丿卮賵丕乇 丕賵 亘賴 禺賵丿卮 丌賳 亘賵丿 讴賴 丿乇 丿賱 賲乇賲乇 乇賵丨蹖 鬲丕亘賳丿賴 亘丕夭 賳賴丿貙 賵 亘丕 丕蹖賳 賵噩賵丿貙 丨鬲蹖 丿乇 賲賵囟賵毓鈥屬囏й� 賲匕賴亘蹖 賳蹖夭 丕丨爻丕爻卮 毓賲蹖賯丕賸 賲鬲賵噩賴 鬲賲丕賲蹖 丕賳爻丕賳蹖 亘賵丿 讴賴 賲蹖鈥屫必ж篡屫�. 鬲賲丕賲蹖 丕毓囟丕蹖 倬蹖讴乇 亘丕蹖爻鬲 夭賳丿賴 賲蹖鈥屫ㄙ堌�. 丕賵 賲毓鬲賯丿 亘賵丿 賴賳乇 蹖讴 丿卮賲賳 丿丕乇丿 賵 丌賳 噩賴賱 丕爻鬲. 賴乇 丕孬乇 賴賳乇蹖 鬲賲孬丕賱 爻丕夭賳丿賴鈥屰� 丌賳 丕爻鬲. 賲噩賲賵毓賴 丌孬丕乇 賲蹖讴賱 丌賳跇 卮丕賲賱: 賲噩爻賲賴鈥屬囏й� 賴乇讴賵賱貙 亘丕賲貙 卮丕賲 賵... 丕爻鬲貨
567 pages, Paperback
First published January 1, 1961
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About the author
Irving Stone
147听books1,374听followersIn 1923, Stone received his bachelor's degree from the University of California, Berkeley. In the 1960s, Stone received an honorary Doctorate of Letters from the University of Southern California, where he had previously earned a Masters Degree from the College of Letters, Arts, and Sciences.
When at home, Stone relied upon the research facilities and expertise made available to him by Esther Euler, head research librarian of the University of California at Los Angeles, to whom he dedicated and thanked, in addition to many others, in several of his works.
Stone enjoyed a long marriage to his wife and editor on many of his works, Jean Stone. The Stones lived primarily in Los Angeles, California. During their lifetime, Stone and his wife funded a foundation to support charitable causes they believed in.
Stone's main source for Lust for Life, as noted in the afterword, were Van Gogh's letters to his brother Theo. It seems probable that Vincent's letters to and from his own brother Theo provided a foundation for Adversary in the House. Stone additionally did much of his research "in the field". For example, he spent many years living in Italy while working on The Agony and the Ecstasy. The Italian government lauded Stone with several honorary awards during this period for his cultural achievements highlighting Italian history.
From Wikipedia
When at home, Stone relied upon the research facilities and expertise made available to him by Esther Euler, head research librarian of the University of California at Los Angeles, to whom he dedicated and thanked, in addition to many others, in several of his works.
Stone enjoyed a long marriage to his wife and editor on many of his works, Jean Stone. The Stones lived primarily in Los Angeles, California. During their lifetime, Stone and his wife funded a foundation to support charitable causes they believed in.
Stone's main source for Lust for Life, as noted in the afterword, were Van Gogh's letters to his brother Theo. It seems probable that Vincent's letters to and from his own brother Theo provided a foundation for Adversary in the House. Stone additionally did much of his research "in the field". For example, he spent many years living in Italy while working on The Agony and the Ecstasy. The Italian government lauded Stone with several honorary awards during this period for his cultural achievements highlighting Italian history.
From Wikipedia
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December 24, 2019
***4.5 stars out of 5***
鈥漈o some people stone was dead; 鈥榟ard as stone,鈥� 鈥榮tone cold,鈥� they said. To him, as he once again ran his fingers along its contours, it was the most alive substance in the world, rhythmic, responsive, tractable: warm, resilient, colorful, vibrant. He was in love with stone.鈥�
Michelangelo portrait by Volterra
Michelangelo di Lodovico Buonarroti Simoni was born in Florence on March 6th, 1475. It was a fortuitous time to be born. He was coming of age just as the Renaissance was beginning to take full flight. His family was an ancient family, as old as the famous Medici family, but they have fallen on hard times by the time 惭颈肠丑别濒补苍驳别濒辞鈥檚 father became the patriarch. There had never been artists in the family, so the desire, nay the need, to create that existed in the young Michelangelo did not come from tradition, but from a new flame within him.
He wanted to become a sculptor in an age when sculpting was nearly extinct. He wanted a chisel in his hand, not a paintbrush. He wanted white chips beneath his feet. He wanted to be immortal. After all, fire, water, and the passage of time destroyed paint, but stone lasted forever.
Donatello died in 1466, but despite never meeting him or receiving the benefit of his teaching, the influence of Donatello was undeniable. Much later, when Michelangelo got the chance to carve a statue that was supposed to represent Florence, he knew that it must be David.
I was mesmerized by David鈥檚 hand when I took this picture in Florence back in 1992. You must see the statue in person to fully comprehend how amazing it is.
That statue grew beyond representing Florence. To many historians that statue symbolizes the whole Renaissance.
The title of this book The Agony and the Ecstasy makes me think of a daytime soap opera with overblown tragedy and illicit affairs driving the daily plot. The life of Michelangelo certainly reflects the title. There are so many twists and turns in the narrative of this artist's life. There are so many critical moments where, if fate had intervened differently, the world might not have ever known the name Michelangelo.
Everyone wanted him to paint because that was what was in fashion. He could make a living painting. No one was interested in buying new marble statues. Buyers rich enough to afford sculptures were only interested in old Greek statues, freshly pulled from their earthy graves. Michelangelo tried; he really did try to do what everyone wanted him to do, but the only time he truly felt alive, truly felt he was fulfilling his mission in life, was when he was liberating a figure from stone.
The marble called to him, and once his hands were on the stone, he merely had to lean close enough to catch the whispers of who was in the stone. 鈥滺e had the impression that, no matter how honestly a sculptor designed, it would come to nothing if it did not agree with the basic nature of the block. In this sense a sculptor could never be completely master of his fate, as a painter could be. Paint was fluid, it could bend around corners. Marble was solidity itself. The marble sculptor had to accept the rigorous discipline of a partnership. The marble and he were one. They spoke to each other. And for him the feel of marble was the supreme sensation. No gratification of any other sense, taste, sight, sound, smell, could approach it.鈥�
Irving Stone waited six years to begin writing this novel. He arranged for Dr. Charles Speroni, an Italian professor at the University of California, to translate all four hundred and ninety-five surviving Michelangelo letters as well as the records and art contracts that he kept. Stone wanted to be sure that the portrait he carved of Michelangelo by writing this book was based on as much hard data as he could find. Irving also, to add more authenticity, lived in Italy for several years as he was working on this novel so that he could see, taste, and feel the world that made Michelangelo.
Irving Stone
Some would disagree with Stone鈥檚 positive portrayal of Lorenzo de鈥橫edici, but any man who collects ten thousand books and manuscripts to form the largest library since Alexandria is going to receive more veneration than cynicism from me. He held Florence together for his entire life, without holding any office, as did his father and his grandfather. He wasn鈥檛 the last of the great de鈥橫edici鈥檚, but let's just say that there was a long drought after his death. His successor, his oldest son, was known as Piero the Unfortunate if that gives you any indication of how well he followed the father known as The Magnificent.
Lorenzo, as he did for many artists of the era, took the young Michelangelo under his protection and allowed him the freedom to express himself in stone. He recognized the passion in the young man. Unlike many powerful people that Michelangelo was going to be forced to work with, Lorenzo understood that all that was required of him was to stay out of the young artist鈥檚 way. It was quite the contrast with one of the later popes that Michelangelo worked for. Julius II insisted that he produce just about anything but stone sculptures. He forced him to be a bronze caster, an architect, an engineer, and most famously a *phewy*, let me get the paint off my tongue, the painter of the Sistine Chapel.
Michelangelo was also a poet, not just a dabbler, but a really accomplished poet.
Michelangelo liked women, but preferred males for sculpting. 鈥滻 find all beauty and structural power in the male. Take a man in any action, jumping, wrestling, throwing a spear, plowing, bend him into any position and the muscles, the distribution of weight and tension, have their symmetry. For me, a woman to be beautiful or exciting must be absolutely still.鈥�
鈥淧erhaps you just haven't put them in the proper positions.鈥�
Michelangelo was not immune to the allures of women. 鈥漇he makes my flesh crawl; I mean the flesh inside my flesh.鈥� He had affairs with women, lifelong affairs that, even when they hadn鈥檛 seen each other in decades, their desire for each other still burned with a soft flame. They were women impossible to be with (crafty he was), either because of their station in life or in one case because she was the mistress of a powerful man. He had no interest in marriage. He would have made a poor husband after all. He could love them, but he would always cheat on them with the white marble flesh of his craft.
Michelangelo was feeling a bit lustful when he created this version of the fable of Leda and the Swan.
He was a contemporary of Leonardo da Vinci and Raphael. Da Vinci is held up as the prime example of a Renaissance man, certainly deserved, but until I read this book, I鈥檇 forgotten just how much alike he and Michelangelo were in the breadth of their abilities. These three talented men knew each other, but had little to do with each other. Michelangelo was such a loner. He was always so focused on his current project and usually pining for other projects already bubbling in his mind. By the time Mich (after spending this much time with him I feel I can take a few liberties with a nickname) died, he had 80 years worth of projects designed and ready to be made.
鈥滿an Passes. Only works of art are immortal.鈥�
You will feel like you know Michelangelo by the time you finish this book. Irving Stone casts his spells and puts flesh on the bones of a long dead artist and made me feel like I was walking the streets of Bologna, Florence, and Rome, with my hand on the shoulder of a genius. So much so that at one point I blew my nose and found only marble dust in the tissue. 鈥滻鈥檒l put my hand in fire鈥� if it鈥檚 not true. I was most impressed with 惭颈肠丑别濒补苍驳别濒辞鈥檚 work ethic and perseverance. His ideas consumed him, but even when he had to leave his true calling because of the whims of more powerful men, whatever task they asked him to do, he did it to the very best of his abilities. Even unpleasant tasks he felt had to be done right. They had to be done with artistry and genius.
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鈥漈o some people stone was dead; 鈥榟ard as stone,鈥� 鈥榮tone cold,鈥� they said. To him, as he once again ran his fingers along its contours, it was the most alive substance in the world, rhythmic, responsive, tractable: warm, resilient, colorful, vibrant. He was in love with stone.鈥�
Michelangelo portrait by Volterra
Michelangelo di Lodovico Buonarroti Simoni was born in Florence on March 6th, 1475. It was a fortuitous time to be born. He was coming of age just as the Renaissance was beginning to take full flight. His family was an ancient family, as old as the famous Medici family, but they have fallen on hard times by the time 惭颈肠丑别濒补苍驳别濒辞鈥檚 father became the patriarch. There had never been artists in the family, so the desire, nay the need, to create that existed in the young Michelangelo did not come from tradition, but from a new flame within him.
He wanted to become a sculptor in an age when sculpting was nearly extinct. He wanted a chisel in his hand, not a paintbrush. He wanted white chips beneath his feet. He wanted to be immortal. After all, fire, water, and the passage of time destroyed paint, but stone lasted forever.
Donatello died in 1466, but despite never meeting him or receiving the benefit of his teaching, the influence of Donatello was undeniable. Much later, when Michelangelo got the chance to carve a statue that was supposed to represent Florence, he knew that it must be David.
I was mesmerized by David鈥檚 hand when I took this picture in Florence back in 1992. You must see the statue in person to fully comprehend how amazing it is.
That statue grew beyond representing Florence. To many historians that statue symbolizes the whole Renaissance.
The title of this book The Agony and the Ecstasy makes me think of a daytime soap opera with overblown tragedy and illicit affairs driving the daily plot. The life of Michelangelo certainly reflects the title. There are so many twists and turns in the narrative of this artist's life. There are so many critical moments where, if fate had intervened differently, the world might not have ever known the name Michelangelo.
Everyone wanted him to paint because that was what was in fashion. He could make a living painting. No one was interested in buying new marble statues. Buyers rich enough to afford sculptures were only interested in old Greek statues, freshly pulled from their earthy graves. Michelangelo tried; he really did try to do what everyone wanted him to do, but the only time he truly felt alive, truly felt he was fulfilling his mission in life, was when he was liberating a figure from stone.
The marble called to him, and once his hands were on the stone, he merely had to lean close enough to catch the whispers of who was in the stone. 鈥滺e had the impression that, no matter how honestly a sculptor designed, it would come to nothing if it did not agree with the basic nature of the block. In this sense a sculptor could never be completely master of his fate, as a painter could be. Paint was fluid, it could bend around corners. Marble was solidity itself. The marble sculptor had to accept the rigorous discipline of a partnership. The marble and he were one. They spoke to each other. And for him the feel of marble was the supreme sensation. No gratification of any other sense, taste, sight, sound, smell, could approach it.鈥�
Irving Stone waited six years to begin writing this novel. He arranged for Dr. Charles Speroni, an Italian professor at the University of California, to translate all four hundred and ninety-five surviving Michelangelo letters as well as the records and art contracts that he kept. Stone wanted to be sure that the portrait he carved of Michelangelo by writing this book was based on as much hard data as he could find. Irving also, to add more authenticity, lived in Italy for several years as he was working on this novel so that he could see, taste, and feel the world that made Michelangelo.
Irving Stone
Some would disagree with Stone鈥檚 positive portrayal of Lorenzo de鈥橫edici, but any man who collects ten thousand books and manuscripts to form the largest library since Alexandria is going to receive more veneration than cynicism from me. He held Florence together for his entire life, without holding any office, as did his father and his grandfather. He wasn鈥檛 the last of the great de鈥橫edici鈥檚, but let's just say that there was a long drought after his death. His successor, his oldest son, was known as Piero the Unfortunate if that gives you any indication of how well he followed the father known as The Magnificent.
Lorenzo, as he did for many artists of the era, took the young Michelangelo under his protection and allowed him the freedom to express himself in stone. He recognized the passion in the young man. Unlike many powerful people that Michelangelo was going to be forced to work with, Lorenzo understood that all that was required of him was to stay out of the young artist鈥檚 way. It was quite the contrast with one of the later popes that Michelangelo worked for. Julius II insisted that he produce just about anything but stone sculptures. He forced him to be a bronze caster, an architect, an engineer, and most famously a *phewy*, let me get the paint off my tongue, the painter of the Sistine Chapel.
Michelangelo was also a poet, not just a dabbler, but a really accomplished poet.
鈥漌ere it mine, that shaggy fleece that stays,
Woven and wrought into a vestment fair,
Around her beauteous bosom in such bliss!
ALl through the day she鈥檇 clasp me! Would I were
The shoes that bear her burden! When the ways
Were wet with rain, her feet I then would kiss!鈥�
Michelangelo liked women, but preferred males for sculpting. 鈥滻 find all beauty and structural power in the male. Take a man in any action, jumping, wrestling, throwing a spear, plowing, bend him into any position and the muscles, the distribution of weight and tension, have their symmetry. For me, a woman to be beautiful or exciting must be absolutely still.鈥�
鈥淧erhaps you just haven't put them in the proper positions.鈥�
Michelangelo was not immune to the allures of women. 鈥漇he makes my flesh crawl; I mean the flesh inside my flesh.鈥� He had affairs with women, lifelong affairs that, even when they hadn鈥檛 seen each other in decades, their desire for each other still burned with a soft flame. They were women impossible to be with (crafty he was), either because of their station in life or in one case because she was the mistress of a powerful man. He had no interest in marriage. He would have made a poor husband after all. He could love them, but he would always cheat on them with the white marble flesh of his craft.
Michelangelo was feeling a bit lustful when he created this version of the fable of Leda and the Swan.
He was a contemporary of Leonardo da Vinci and Raphael. Da Vinci is held up as the prime example of a Renaissance man, certainly deserved, but until I read this book, I鈥檇 forgotten just how much alike he and Michelangelo were in the breadth of their abilities. These three talented men knew each other, but had little to do with each other. Michelangelo was such a loner. He was always so focused on his current project and usually pining for other projects already bubbling in his mind. By the time Mich (after spending this much time with him I feel I can take a few liberties with a nickname) died, he had 80 years worth of projects designed and ready to be made.
鈥滿an Passes. Only works of art are immortal.鈥�
You will feel like you know Michelangelo by the time you finish this book. Irving Stone casts his spells and puts flesh on the bones of a long dead artist and made me feel like I was walking the streets of Bologna, Florence, and Rome, with my hand on the shoulder of a genius. So much so that at one point I blew my nose and found only marble dust in the tissue. 鈥滻鈥檒l put my hand in fire鈥� if it鈥檚 not true. I was most impressed with 惭颈肠丑别濒补苍驳别濒辞鈥檚 work ethic and perseverance. His ideas consumed him, but even when he had to leave his true calling because of the whims of more powerful men, whatever task they asked him to do, he did it to the very best of his abilities. Even unpleasant tasks he felt had to be done right. They had to be done with artistry and genius.
If you wish to see more of my most recent book and movie reviews, visit
I also have a Facebook blogger page at:
November 3, 2021
The Agony and the Ecstasy, Irving Stone
The Agony and the Ecstasy (1961) is a biographical novel of Michelangelo Buonarroti written by American author Irving Stone.
After Ghirlandaio looks at 惭颈肠丑别濒补苍驳别濒辞鈥檚 sketches of Christ drawn with a stonemason as the model, he tells Michelangelo the story of Donatello showing his newly carved crucifix to Brunelleschi.
Brunelleschi observes that it seems to him Donatello has, 鈥減ut a plowman on the cross, rather than the body of Jesus Christ, which was most delicate in all its parts."
Donatello, upset by his friend鈥檚 criticism, challenges Brunelleschi to make Christ鈥檚 figure himself. When Brunelleschi presents his own, newly finished crucifix, 鈥淒onatello, who could not take his eyes off the beautiful Christ, answered, 鈥業t is your work to make Christs, and mine to make plowmen.鈥欌€�
Michelangelo, familiar with both carvings, tells Ghirlandaio that he 鈥減referred Donatello鈥檚 plowman to Brunelleschi鈥檚 ethereal Christ, which was so slight that it looked as though it had been created to be crucified. With Donatello鈥檚 figure, the crucifixion had come as a horrifying surprise鈥�.鈥�
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毓賳賵丕賳: 乇賳噩 賵 爻乇賲爻鬲蹖 丿丕爻鬲丕賳 夭賳丿诏蹖 賲蹖讴賱 丌賳跇貨 賳賵蹖爻賳丿賴: 丕蹖乇賵蹖賳诏 丕爻鬲賵賳貨 賲鬲乇噩賲: 賲丨賲丿丨爻蹖賳 亘丕噩賱丕賳 賮乇禺蹖貨 鬲賴乇丕賳貙 丕爻丕胤蹖乇貙 爻丕賱1372貙 丿乇 趩賴丕乇 噩賱丿 賵 丿乇1300氐貨 卮丕亘讴 丿賵乇賴9643311961貨 趩丕倬 丿賵賲 爻丕賱1379貨
毓賳賵丕賳: 乇賳噩 賵 爻乇賲爻鬲蹖 丿丕爻鬲丕賳 夭賳丿诏蹖 賲蹖讴賱 丌賳跇貨 賳賵蹖爻賳丿賴: 丕蹖乇賵蹖賳诏 丕爻鬲賵賳貨 賲鬲乇噩賲 丌乇賲丕賳賵卮 亘丕亘丕禺丕賳蹖丕賳爻貨 鬲賴乇丕賳貙 爻賲蹖乇貙 爻丕賱1393貨 丿乇656氐貨 卮丕亘讴9789642201389貨
賲蹖讴賱 丌賳跇貙 丿乇 乇賵夭 卮卮賲 賲丕賴 賲丕乇爻 爻丕賱1475賲蹖賱丕丿蹖 夭丕丿賴 卮丿賳丿貨 丿乇 卮卮 爻丕賱诏蹖 賲丕丿乇卮丕賳 乇丕 丕夭 丿爻鬲 丿丕丿賳丿貙 倬丿乇卮 趩賳丿蹖 卮賴乇丿丕乇 芦讴丕倬夭乇禄 賵 芦卮蹖賵夭蹖禄 亘賵丿貨 丿丕蹖賴 蹖 芦賲蹖讴賱 丌賳跇禄 夭賳蹖 爻賳诏鬲乇丕卮貙 丕夭 丕賴丕賱蹖 芦爻鬲賱蹖賳 蹖丕賳賵禄 亘賵丿賳丿貨 賴賳诏丕賲 鬲丨氐蹖賱 鬲賳賴丕 亘賴 賳賯丕卮蹖 丿賱 爻倬乇丿貨 亘賴 賲丿乇爻賴 蹖 倬蹖讴乇爻丕夭蹖貙 讴賴 芦賱賵乇丕賳 丿賵 賲丿蹖爻蹖賳禄貙 丿乇 亘丕睾賴丕蹖 芦爻賳 賲丕乇讴禄 丿丕蹖乇 讴乇丿賴 亘賵丿貙 賵丕乇丿 卮丿貨 賵 噩夭賵 賴賵丕禺賵丕賴丕賳 賲噩爻賲賴 爻丕夭蹖貙 賵 丨噩丕乇蹖 芦蹖賵賳丕賳 亘丕爻鬲丕賳禄 诏乇丿蹖丿貨 丿乇 賲丕賴 賲丕乇爻 爻丕賱1505賲蹖賱丕丿蹖 芦賲蹖讴賱 丌賳跇禄貙 亘賴 賮乇賲丕賳 芦跇賵賱 丿賵賲禄貙 亘賴 芦乇賲禄 乇賮鬲貙 賵 丿賵乇丕賳 倬乇 丕賮鬲禺丕乇 夭賳丿诏蹖 禺賵丿 乇丕 丌睾丕夭 讴乇丿貙 丕賵 亘蹖卮 丕夭 賴賲賴 芦讴丕賵丕賱蹖賵乇蹖禄貙 乇丕 丿賵爻鬲 丿丕卮鬲貙 賵 毓卮賯卮 亘賴 丕賵 丕夭 丿蹖诏乇丕賳 倬丕蹖丿丕乇鬲乇 亘賵丿貨 芦讴丕賵丕賱蹖賵乇蹖禄 賳蹖夭貙 亘賴 丕爻鬲丕丿卮 賵賮丕丿丕乇貙 賵 亘乇 亘丕賱蹖賳 賲乇诏 丕賵 賳蹖夭 丨囟賵乇 丿丕卮鬲貙 賵 亘乇 芦賲蹖讴賱 丌賳跇禄 賳賮賵匕 丿丕卮鬲貙 丕夭 爻丕賱1534賲蹖賱丕丿蹖貙 毓卮賯 亘賴 賲匕賴亘貙 鬲賲丕賲 賵噩賵丿 芦賲蹖讴賱 丌賳跇禄 乇丕貙 賮乇丕 诏乇賮鬲貨 乇賵夭 賴噩丿賴賲 賲丕賴 賮賵乇蹖賴 爻丕賱1564賲蹖賱丕丿蹖貙 丿乇 芦乇賲禄 丿乇诏匕卮鬲賳丿貨 乇賳噩 賵 爻乇賲爻鬲蹖貙 乇丕 賳賵蹖爻賳丿賴貙 亘丕 丕爻鬲賮丕丿賴 丕夭 賲鬲賳 趩賴丕乇氐丿賵賳賵丿賵倬賳噩 賳丕賲賴 蹖 芦賲蹖讴賱 丌賳跇禄貙 丿賮鬲乇賴丕蹖 丕賵貙 賵 賯乇丕乇丿丕丿賴丕蹖蹖 讴賴 亘乇丕蹖 丕噩乇丕蹖 爻賮丕乇卮賴丕蹖 賴賳乇蹖貙 亘爻鬲賴 亘賵丿賳丿貙 賵 賳蹖夭貙 亘丕 亘賴乇賴 噩賵蹖蹖 丕夭 亘丕蹖诏丕賳蹖 丕爻賳丕丿 芦賮賱賵乇丕賳爻禄貙 賵 賲噩賲賵毓賴 丌孬丕乇 芦賲蹖讴賱 丌賳跇禄貙 賵 卮噩乇賴 賳丕賲賴 蹖 丕噩丿丕丿 丕賵貙 賵 丿蹖诏乇 賲賳丕亘毓 賲賵噩賵丿貙 丿乇 亘丕乇賴 蹖 賴賳乇 賵 丕賳丿蹖卮賴 蹖 賴賳乇賲賳丿 倬蹖讴乇鬲乇丕卮貙 賳賵卮鬲賴 丕爻鬲
丕夭 丌孬丕乇 賲蹖讴賱 丌賳跇: 芦賲丕丿賵賳丕 乇賵蹖 倬賱賴 - 賳賯卮鈥屫з嗀ж槽� 乇賵蹖 賲乇賲乇 - 賮賱賵乇丕賳爻 - 禺丕賳賴 亘賵賳丕乇賵鬲蹖 - 鬲丕乇蹖禺 爻丕賱1489賲蹖賱丕丿蹖- 爻丕賱1492賲蹖賱丕丿蹖禄貨 芦噩賳诏 丿賵倬蹖讴乇 - 賳賯卮鈥屫з嗀ж槽� 乇賵蹖 賲乇賲乇 - 賮賱賵乇丕賳爻 - 禺丕賳賴 亘賵賳丕乇賵鬲蹖 - 鬲丕乇蹖禺 爻丕賱1492賲蹖賱丕丿蹖 - 爻丕賱1493賲蹖賱丕丿蹖禄貨 芦亘丕禺賵爻 賲爻鬲 - 鬲賳丿蹖爻 - 乇锟斤拷 - 鬲丕乇蹖禺 爻丕賱1496賲蹖賱丕丿蹖 - 爻丕賱1497賲蹖賱丕丿蹖禄貨 芦倬蹖 蹖鬲丕 - 鬲賳丿蹖爻 - 賮賱賵乇丕賳爻 - 鬲丕乇蹖禺 爻丕賱1498賲蹖賱丕丿蹖 - 爻丕賱1499賲蹖賱丕丿蹖禄貨 芦丿丕賵賵丿 - 鬲賳丿蹖爻 - 賮賱賵乇丕賳爻 - 鬲丕乇蹖禺 爻丕賱1501賲蹖賱丕丿蹖 - 爻丕賱1504賲蹖賱丕丿蹖禄貨 芦賲噩爻賲賴 亘乇丕蹖 賲賯亘乇賴 蹖 倬丕倬 - 亘乇丿诏丕賳 丿乇 丨丕賱 賲乇诏 - 鬲賳丿蹖爻 賲賵爻蹖 - 鬲丕乇蹖禺 爻丕賱1505賲蹖賱丕丿蹖 - 爻丕賱1515賲蹖賱丕丿蹖禄貨 芦賳賯丕卮蹖 爻賯賮 讴賱蹖爻丕蹖 爻蹖讴爻鬲蹖賳蹖 - 乇賲 - 鬲丕乇蹖禺 爻丕賱1508賲蹖賱丕丿蹖 - 爻丕賱1512賲蹖賱丕丿蹖禄貨 芦賲賯亘乇賴 蹖 禺丕賳賵丕丿诏蹖 賲丿蹖趩蹖 - 賮賱賵乇丕賳爻 - 鬲丕乇蹖禺 爻丕賱1520賲蹖賱丕丿蹖 - 爻丕賱1534賲蹖賱丕丿蹖禄貨 芦讴鬲丕亘禺丕賳賴 蹖 賲丿蹖趩蹖 - 賱賵乇賳爻蹖丕賳丕 - 賮賱賵乇丕賳爻 - 鬲丕乇蹖禺 爻丕賱1524賲蹖賱丕丿蹖 - 爻丕賱1526賲蹖賱丕丿蹖禄貨 芦氐丨賳賴 蹖 乇爻鬲丕禺蹖夭 - 賳賯丕卮蹖 - 乇賲 - 讴賱蹖爻丕蹖 爻蹖讴爻鬲蹖賳蹖 - 鬲丕乇蹖禺 爻丕賱1534賲蹖賱丕丿蹖- 爻丕賱1541賲蹖賱丕丿蹖禄貨 芦賲毓賲丕乇蹖 诏賳亘丿 讴賱蹖爻丕蹖 倬鬲乇夭 - 乇賲 - 鬲丕乇蹖禺 爻丕賱1547賲蹖賱丕丿蹖禄貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 19/09/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 11/08/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The Agony and the Ecstasy (1961) is a biographical novel of Michelangelo Buonarroti written by American author Irving Stone.
After Ghirlandaio looks at 惭颈肠丑别濒补苍驳别濒辞鈥檚 sketches of Christ drawn with a stonemason as the model, he tells Michelangelo the story of Donatello showing his newly carved crucifix to Brunelleschi.
Brunelleschi observes that it seems to him Donatello has, 鈥減ut a plowman on the cross, rather than the body of Jesus Christ, which was most delicate in all its parts."
Donatello, upset by his friend鈥檚 criticism, challenges Brunelleschi to make Christ鈥檚 figure himself. When Brunelleschi presents his own, newly finished crucifix, 鈥淒onatello, who could not take his eyes off the beautiful Christ, answered, 鈥業t is your work to make Christs, and mine to make plowmen.鈥欌€�
Michelangelo, familiar with both carvings, tells Ghirlandaio that he 鈥減referred Donatello鈥檚 plowman to Brunelleschi鈥檚 ethereal Christ, which was so slight that it looked as though it had been created to be crucified. With Donatello鈥檚 figure, the crucifixion had come as a horrifying surprise鈥�.鈥�
鬲丕乇蹖禺 禺賵丕賳卮: 爻丕賱1978賲蹖賱丕丿蹖
毓賳賵丕賳: 乇賳噩 賵 爻乇賲爻鬲蹖 : 丿丕爻鬲丕賳 夭賳丿诏蹖 賲蹖讴賱 丌賳跇貨 賳賵蹖爻賳丿賴: 丕蹖乇賵蹖賳诏 丕爻鬲賵賳貨 賲鬲乇噩賲 賵 鬲賱禺蹖氐 倬乇賵蹖夭 丿丕乇蹖賵卮貨 鬲賴乇丕賳貙 丕賲蹖乇讴亘蹖乇貙 爻丕賱1343貙 丿乇570氐貨 趩丕倬 丿賵賲 爻丕賱1344貨 趩丕倬 爻賵賲 爻丕賱1357貨 趩丕倬 趩賴丕乇賲 爻丕賱1361貨 丿乇567氐貨 趩丕倬 倬賳噩賲 爻丕賱1395貨 丿乇704氐貨 卮丕亘讴9789640018309貨 賲賵囟賵毓 爻乇诏匕卮鬲賳丕賲賴 賲蹖讴賱 丌賳跇 - 丕夭 爻丕賱1475賲蹖賱丕丿蹖 鬲丕 爻丕賱1546賲蹖賱丕丿蹖 - 爻丿賴 20賲
毓賳賵丕賳: 乇賳噩 賵 爻乇賲爻鬲蹖 丿丕爻鬲丕賳 夭賳丿诏蹖 賲蹖讴賱 丌賳跇貨 賳賵蹖爻賳丿賴: 丕蹖乇賵蹖賳诏 丕爻鬲賵賳貨 賲鬲乇噩賲: 賲丨賲丿丨爻蹖賳 亘丕噩賱丕賳 賮乇禺蹖貨 鬲賴乇丕賳貙 丕爻丕胤蹖乇貙 爻丕賱1372貙 丿乇 趩賴丕乇 噩賱丿 賵 丿乇1300氐貨 卮丕亘讴 丿賵乇賴9643311961貨 趩丕倬 丿賵賲 爻丕賱1379貨
毓賳賵丕賳: 乇賳噩 賵 爻乇賲爻鬲蹖 丿丕爻鬲丕賳 夭賳丿诏蹖 賲蹖讴賱 丌賳跇貨 賳賵蹖爻賳丿賴: 丕蹖乇賵蹖賳诏 丕爻鬲賵賳貨 賲鬲乇噩賲 丌乇賲丕賳賵卮 亘丕亘丕禺丕賳蹖丕賳爻貨 鬲賴乇丕賳貙 爻賲蹖乇貙 爻丕賱1393貨 丿乇656氐貨 卮丕亘讴9789642201389貨
賲蹖讴賱 丌賳跇貙 丿乇 乇賵夭 卮卮賲 賲丕賴 賲丕乇爻 爻丕賱1475賲蹖賱丕丿蹖 夭丕丿賴 卮丿賳丿貨 丿乇 卮卮 爻丕賱诏蹖 賲丕丿乇卮丕賳 乇丕 丕夭 丿爻鬲 丿丕丿賳丿貙 倬丿乇卮 趩賳丿蹖 卮賴乇丿丕乇 芦讴丕倬夭乇禄 賵 芦卮蹖賵夭蹖禄 亘賵丿貨 丿丕蹖賴 蹖 芦賲蹖讴賱 丌賳跇禄 夭賳蹖 爻賳诏鬲乇丕卮貙 丕夭 丕賴丕賱蹖 芦爻鬲賱蹖賳 蹖丕賳賵禄 亘賵丿賳丿貨 賴賳诏丕賲 鬲丨氐蹖賱 鬲賳賴丕 亘賴 賳賯丕卮蹖 丿賱 爻倬乇丿貨 亘賴 賲丿乇爻賴 蹖 倬蹖讴乇爻丕夭蹖貙 讴賴 芦賱賵乇丕賳 丿賵 賲丿蹖爻蹖賳禄貙 丿乇 亘丕睾賴丕蹖 芦爻賳 賲丕乇讴禄 丿丕蹖乇 讴乇丿賴 亘賵丿貙 賵丕乇丿 卮丿貨 賵 噩夭賵 賴賵丕禺賵丕賴丕賳 賲噩爻賲賴 爻丕夭蹖貙 賵 丨噩丕乇蹖 芦蹖賵賳丕賳 亘丕爻鬲丕賳禄 诏乇丿蹖丿貨 丿乇 賲丕賴 賲丕乇爻 爻丕賱1505賲蹖賱丕丿蹖 芦賲蹖讴賱 丌賳跇禄貙 亘賴 賮乇賲丕賳 芦跇賵賱 丿賵賲禄貙 亘賴 芦乇賲禄 乇賮鬲貙 賵 丿賵乇丕賳 倬乇 丕賮鬲禺丕乇 夭賳丿诏蹖 禺賵丿 乇丕 丌睾丕夭 讴乇丿貙 丕賵 亘蹖卮 丕夭 賴賲賴 芦讴丕賵丕賱蹖賵乇蹖禄貙 乇丕 丿賵爻鬲 丿丕卮鬲貙 賵 毓卮賯卮 亘賴 丕賵 丕夭 丿蹖诏乇丕賳 倬丕蹖丿丕乇鬲乇 亘賵丿貨 芦讴丕賵丕賱蹖賵乇蹖禄 賳蹖夭貙 亘賴 丕爻鬲丕丿卮 賵賮丕丿丕乇貙 賵 亘乇 亘丕賱蹖賳 賲乇诏 丕賵 賳蹖夭 丨囟賵乇 丿丕卮鬲貙 賵 亘乇 芦賲蹖讴賱 丌賳跇禄 賳賮賵匕 丿丕卮鬲貙 丕夭 爻丕賱1534賲蹖賱丕丿蹖貙 毓卮賯 亘賴 賲匕賴亘貙 鬲賲丕賲 賵噩賵丿 芦賲蹖讴賱 丌賳跇禄 乇丕貙 賮乇丕 诏乇賮鬲貨 乇賵夭 賴噩丿賴賲 賲丕賴 賮賵乇蹖賴 爻丕賱1564賲蹖賱丕丿蹖貙 丿乇 芦乇賲禄 丿乇诏匕卮鬲賳丿貨 乇賳噩 賵 爻乇賲爻鬲蹖貙 乇丕 賳賵蹖爻賳丿賴貙 亘丕 丕爻鬲賮丕丿賴 丕夭 賲鬲賳 趩賴丕乇氐丿賵賳賵丿賵倬賳噩 賳丕賲賴 蹖 芦賲蹖讴賱 丌賳跇禄貙 丿賮鬲乇賴丕蹖 丕賵貙 賵 賯乇丕乇丿丕丿賴丕蹖蹖 讴賴 亘乇丕蹖 丕噩乇丕蹖 爻賮丕乇卮賴丕蹖 賴賳乇蹖貙 亘爻鬲賴 亘賵丿賳丿貙 賵 賳蹖夭貙 亘丕 亘賴乇賴 噩賵蹖蹖 丕夭 亘丕蹖诏丕賳蹖 丕爻賳丕丿 芦賮賱賵乇丕賳爻禄貙 賵 賲噩賲賵毓賴 丌孬丕乇 芦賲蹖讴賱 丌賳跇禄貙 賵 卮噩乇賴 賳丕賲賴 蹖 丕噩丿丕丿 丕賵貙 賵 丿蹖诏乇 賲賳丕亘毓 賲賵噩賵丿貙 丿乇 亘丕乇賴 蹖 賴賳乇 賵 丕賳丿蹖卮賴 蹖 賴賳乇賲賳丿 倬蹖讴乇鬲乇丕卮貙 賳賵卮鬲賴 丕爻鬲
丕夭 丌孬丕乇 賲蹖讴賱 丌賳跇: 芦賲丕丿賵賳丕 乇賵蹖 倬賱賴 - 賳賯卮鈥屫з嗀ж槽� 乇賵蹖 賲乇賲乇 - 賮賱賵乇丕賳爻 - 禺丕賳賴 亘賵賳丕乇賵鬲蹖 - 鬲丕乇蹖禺 爻丕賱1489賲蹖賱丕丿蹖- 爻丕賱1492賲蹖賱丕丿蹖禄貨 芦噩賳诏 丿賵倬蹖讴乇 - 賳賯卮鈥屫з嗀ж槽� 乇賵蹖 賲乇賲乇 - 賮賱賵乇丕賳爻 - 禺丕賳賴 亘賵賳丕乇賵鬲蹖 - 鬲丕乇蹖禺 爻丕賱1492賲蹖賱丕丿蹖 - 爻丕賱1493賲蹖賱丕丿蹖禄貨 芦亘丕禺賵爻 賲爻鬲 - 鬲賳丿蹖爻 - 乇锟斤拷 - 鬲丕乇蹖禺 爻丕賱1496賲蹖賱丕丿蹖 - 爻丕賱1497賲蹖賱丕丿蹖禄貨 芦倬蹖 蹖鬲丕 - 鬲賳丿蹖爻 - 賮賱賵乇丕賳爻 - 鬲丕乇蹖禺 爻丕賱1498賲蹖賱丕丿蹖 - 爻丕賱1499賲蹖賱丕丿蹖禄貨 芦丿丕賵賵丿 - 鬲賳丿蹖爻 - 賮賱賵乇丕賳爻 - 鬲丕乇蹖禺 爻丕賱1501賲蹖賱丕丿蹖 - 爻丕賱1504賲蹖賱丕丿蹖禄貨 芦賲噩爻賲賴 亘乇丕蹖 賲賯亘乇賴 蹖 倬丕倬 - 亘乇丿诏丕賳 丿乇 丨丕賱 賲乇诏 - 鬲賳丿蹖爻 賲賵爻蹖 - 鬲丕乇蹖禺 爻丕賱1505賲蹖賱丕丿蹖 - 爻丕賱1515賲蹖賱丕丿蹖禄貨 芦賳賯丕卮蹖 爻賯賮 讴賱蹖爻丕蹖 爻蹖讴爻鬲蹖賳蹖 - 乇賲 - 鬲丕乇蹖禺 爻丕賱1508賲蹖賱丕丿蹖 - 爻丕賱1512賲蹖賱丕丿蹖禄貨 芦賲賯亘乇賴 蹖 禺丕賳賵丕丿诏蹖 賲丿蹖趩蹖 - 賮賱賵乇丕賳爻 - 鬲丕乇蹖禺 爻丕賱1520賲蹖賱丕丿蹖 - 爻丕賱1534賲蹖賱丕丿蹖禄貨 芦讴鬲丕亘禺丕賳賴 蹖 賲丿蹖趩蹖 - 賱賵乇賳爻蹖丕賳丕 - 賮賱賵乇丕賳爻 - 鬲丕乇蹖禺 爻丕賱1524賲蹖賱丕丿蹖 - 爻丕賱1526賲蹖賱丕丿蹖禄貨 芦氐丨賳賴 蹖 乇爻鬲丕禺蹖夭 - 賳賯丕卮蹖 - 乇賲 - 讴賱蹖爻丕蹖 爻蹖讴爻鬲蹖賳蹖 - 鬲丕乇蹖禺 爻丕賱1534賲蹖賱丕丿蹖- 爻丕賱1541賲蹖賱丕丿蹖禄貨 芦賲毓賲丕乇蹖 诏賳亘丿 讴賱蹖爻丕蹖 倬鬲乇夭 - 乇賲 - 鬲丕乇蹖禺 爻丕賱1547賲蹖賱丕丿蹖禄貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 19/09/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 11/08/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
June 27, 2011
Oh good lord. No wonder I'm reading this book so slowly. I have to keep putting it down and fanning myself. Here's the young Michelangelo carving marble for the first time:
"He had removed the outer shell. Now he dug into the mass, entered in the biblical sense."
Really? He's fucking the marble? Apparently, yes...
"In this act of creation there was needed the thrust, the penetration, the beating and pulsating upward to a mighty climax, the total possession. It was not merely an act of love, it was the act of love: the mating of his own inner patterns to the inherent forms of the marble; an insemination in which he planted seed, created the living work of art."
Does anybody have a cigarette?
***
Two weeks later: Finally finished. Four stars -- as promised, it's full of agony, it's full of ecstasy. It's very full of history! Very enjoyable, and I learned a huge amount! But the writing is just so overwrought that I removed a star.
"He had removed the outer shell. Now he dug into the mass, entered in the biblical sense."
Really? He's fucking the marble? Apparently, yes...
"In this act of creation there was needed the thrust, the penetration, the beating and pulsating upward to a mighty climax, the total possession. It was not merely an act of love, it was the act of love: the mating of his own inner patterns to the inherent forms of the marble; an insemination in which he planted seed, created the living work of art."
Does anybody have a cigarette?
***
Two weeks later: Finally finished. Four stars -- as promised, it's full of agony, it's full of ecstasy. It's very full of history! Very enjoyable, and I learned a huge amount! But the writing is just so overwrought that I removed a star.
January 26, 2024
One should not become an artist because he can, but because he must. It is only for those who would be miserable without it.
~~
The Pieta
There are books ~~ very few books ~~ that overtake you. Some books have that kind of power. Especially if you have that weird relationship with the book that nothing else can compensate, and if you lie down with it and get up with it for a long time, it is inevitable that you feel at a loss when you finish reading it. 's is one such book.
For me, a good read is one where the author succeeds in creating the characters so well that I can associate with them and be a part of the story. Stone definitely succeeds in doing so. I was so engrossed in the book.
I experienced what Michelangelo experienced; I was a member his inner circle. I dined with the Medici. I spent time with Popes and the cardinals of the church. I lived in 16th century Italy. I was with Michelangelo as he created his sculptures, paintings and other works. I have the vibrant and fluid language of to thank for this.
Bacchus
So why did I decide to read The Agony and the Ecstasy? Well, largely due to my mother. She has mentioned Stone as being one of her favorite authors several times. So, when the opportunity arose to read the largely forgotten Stone, I jumped at it. I was not disappointed, and understood why my mother loved his writing.
is slowly plotted ~~ as so many American writers of the 30s, 40s and 50s were want to do ~~ it鈥檚 a very straightforward recounting of the major events in 惭颈肠丑别濒补苍驳别濒辞鈥檚 life, and the people who populated his world ~~ the despised Da Vinci, the even more despised Raphael, the Medicis, Popes galore, French Kings, heretics, revolutionaries, reformationists ~~ including Martin Luther, and more Medicis.
Cleopatra
What truly makes > stellar are the lyrical, beautiful descriptions of both the process of sculpting, and 惭颈肠丑别濒补苍驳别濒辞鈥檚 sculptures and paintings themselves. The reader is transported as we learn how difficult it is to mine marble, how to transport it, how to choose a piece without inclusions by watching the sunrise through it. Then Michelangelo picks up his hammers and chisels ~~ made afresh for each sculpture ~~ and Stone masterfully takes us inside the mind of the master, so that we feel we understand the exact places to carve away the snowy grain of the marble to achieve the desired effect ~~ the reader tastes the marble dust at the back of their own throat.
Reading is about as close as we鈥檙e likely to get to one of the greatest creative minds who ever lived. When I next travel to Italy, will make the journey with me as travel guide. has made me yearn to see these great sculptures and frescos, which he describes with such authority and conviction.
Madonna of Bruges
My one complaint here is that Stone writes Michelangelo as a heterosexual male. He was not. whether he was bi or homosexual exclusively is unknown. Stone avoids stating outright whether Michelangelo had a sexual relationship with Tommaso dei Cavalieri, the man he wrote dozens of passionate sonnets to. Their love is portrayed as platonic, but when one reads these sonnets, it is clear there was much more to their relationship than Stone shares ~~ it was a love that was powerful and sexually charged. I suspect this was due to the time in which it was published ~~ 1961.
In the end, The Agony and the Ecstasy portrays Michelangelo the man, as both both a visionary artist and a son, brother, friend and lover; Stone makes human. It is humanity, as well as the injustice of his time that make Stone's depiction of 惭颈肠丑别濒补苍驳别濒辞鈥檚 story so powerful.
The Torment of Saint Anthony
~~
The Pieta
There are books ~~ very few books ~~ that overtake you. Some books have that kind of power. Especially if you have that weird relationship with the book that nothing else can compensate, and if you lie down with it and get up with it for a long time, it is inevitable that you feel at a loss when you finish reading it. 's is one such book.
For me, a good read is one where the author succeeds in creating the characters so well that I can associate with them and be a part of the story. Stone definitely succeeds in doing so. I was so engrossed in the book.
I experienced what Michelangelo experienced; I was a member his inner circle. I dined with the Medici. I spent time with Popes and the cardinals of the church. I lived in 16th century Italy. I was with Michelangelo as he created his sculptures, paintings and other works. I have the vibrant and fluid language of to thank for this.
Bacchus
So why did I decide to read The Agony and the Ecstasy? Well, largely due to my mother. She has mentioned Stone as being one of her favorite authors several times. So, when the opportunity arose to read the largely forgotten Stone, I jumped at it. I was not disappointed, and understood why my mother loved his writing.
is slowly plotted ~~ as so many American writers of the 30s, 40s and 50s were want to do ~~ it鈥檚 a very straightforward recounting of the major events in 惭颈肠丑别濒补苍驳别濒辞鈥檚 life, and the people who populated his world ~~ the despised Da Vinci, the even more despised Raphael, the Medicis, Popes galore, French Kings, heretics, revolutionaries, reformationists ~~ including Martin Luther, and more Medicis.
Cleopatra
What truly makes > stellar are the lyrical, beautiful descriptions of both the process of sculpting, and 惭颈肠丑别濒补苍驳别濒辞鈥檚 sculptures and paintings themselves. The reader is transported as we learn how difficult it is to mine marble, how to transport it, how to choose a piece without inclusions by watching the sunrise through it. Then Michelangelo picks up his hammers and chisels ~~ made afresh for each sculpture ~~ and Stone masterfully takes us inside the mind of the master, so that we feel we understand the exact places to carve away the snowy grain of the marble to achieve the desired effect ~~ the reader tastes the marble dust at the back of their own throat.
Reading is about as close as we鈥檙e likely to get to one of the greatest creative minds who ever lived. When I next travel to Italy, will make the journey with me as travel guide. has made me yearn to see these great sculptures and frescos, which he describes with such authority and conviction.
Madonna of Bruges
My one complaint here is that Stone writes Michelangelo as a heterosexual male. He was not. whether he was bi or homosexual exclusively is unknown. Stone avoids stating outright whether Michelangelo had a sexual relationship with Tommaso dei Cavalieri, the man he wrote dozens of passionate sonnets to. Their love is portrayed as platonic, but when one reads these sonnets, it is clear there was much more to their relationship than Stone shares ~~ it was a love that was powerful and sexually charged. I suspect this was due to the time in which it was published ~~ 1961.
In the end, The Agony and the Ecstasy portrays Michelangelo the man, as both both a visionary artist and a son, brother, friend and lover; Stone makes human. It is humanity, as well as the injustice of his time that make Stone's depiction of 惭颈肠丑别濒补苍驳别濒辞鈥檚 story so powerful.
The Torment of Saint Anthony
October 18, 2007
欧宝娱乐 crashed on me - I didn't realize the five stars were posted but not my review. You may be wondering why I rated this book so highly.
The book made Michelangelo and his times really come alive for me. I feel like I personally know, like and respect Michelangelo as a person. He was so recognizably human with family issues, rivalries, loyal friends, treacherous friends and, above all this fierce driving passion for his art, especially sculpture. He was born with a gift and a genius that he acted on. He was passionate, cranky, demanding, willful, opinionated, determined, driven, and unwilling to accept anything short of perfection. Yet he did what he needed to do to pay the bills - sometimes setting his pet projects aside for years. For the first time in my life I am interested in visiting the Sistine Chapel to see his painstakingly and brilliantly executed ceiling frescoe and to view his famous marble sculpture of David (with the broken arm).
Plus on occasion I'm a sucker for epic historical novels. Michelangelo lived from 1475 - 1565 which was a fascinating period of history - Christopher Columbus gets mentioned in passing (some guy who recently set sail in three tiny ships westbound to find India), Raphael and so many other famous names from the Renaissance. Michelangelo had no use for Leonardo da Vinci whom he considered to be a society-seeking dandy and snob. I think most of this information is probably true as the book was extremely well researched with lots of primary sources, such as Michelangelo's 400+ letters.
The book also gets inside his head as an artist as he designs and executes all of his work, especially his most beloved marble sculptures. I had no idea there are so many grades of marble and never thought about how arduous it was to extract the right marble out of the Roman hills. Or to move the finished sculptures to their designated locations.
The dense writing and length (760 pages) made it a slog for me to get through - but an exciting slog and I find myself thinking a lot about it. That's why I gave it five stars.
The book made Michelangelo and his times really come alive for me. I feel like I personally know, like and respect Michelangelo as a person. He was so recognizably human with family issues, rivalries, loyal friends, treacherous friends and, above all this fierce driving passion for his art, especially sculpture. He was born with a gift and a genius that he acted on. He was passionate, cranky, demanding, willful, opinionated, determined, driven, and unwilling to accept anything short of perfection. Yet he did what he needed to do to pay the bills - sometimes setting his pet projects aside for years. For the first time in my life I am interested in visiting the Sistine Chapel to see his painstakingly and brilliantly executed ceiling frescoe and to view his famous marble sculpture of David (with the broken arm).
Plus on occasion I'm a sucker for epic historical novels. Michelangelo lived from 1475 - 1565 which was a fascinating period of history - Christopher Columbus gets mentioned in passing (some guy who recently set sail in three tiny ships westbound to find India), Raphael and so many other famous names from the Renaissance. Michelangelo had no use for Leonardo da Vinci whom he considered to be a society-seeking dandy and snob. I think most of this information is probably true as the book was extremely well researched with lots of primary sources, such as Michelangelo's 400+ letters.
The book also gets inside his head as an artist as he designs and executes all of his work, especially his most beloved marble sculptures. I had no idea there are so many grades of marble and never thought about how arduous it was to extract the right marble out of the Roman hills. Or to move the finished sculptures to their designated locations.
The dense writing and length (760 pages) made it a slog for me to get through - but an exciting slog and I find myself thinking a lot about it. That's why I gave it five stars.
March 13, 2009
Even with Art History 101 under my belt, I was shocked to learn of his monumental contributions to sculpture, paint, architecture and even politics. But I was even more inspired by the incredible challenges he overcame throughout all of his 90 years of life. Nothing came easy. What an inspiration! Here is a quote from his death bed:
"Life has been good. God did not create me to abandon me. I have loved marble, yes, and paint too. I have loved architecture, and poetry too. I have loved my family and my friends. I have loved God, the forms of the earth and the heavens, and people too. I have loved life to the full, and now I love death as its natural termination. Il Magnifico would be happy: for me, the forces of destruction never overcame creativity."
It took me 13 months to read this book, and I will miss it (him).
PS: If you are going to read it, make a chart with four columns-Family, Medici, Friends, Enemies. There are many people with long Italian names, and they all remain relevant throughout his life
"Life has been good. God did not create me to abandon me. I have loved marble, yes, and paint too. I have loved architecture, and poetry too. I have loved my family and my friends. I have loved God, the forms of the earth and the heavens, and people too. I have loved life to the full, and now I love death as its natural termination. Il Magnifico would be happy: for me, the forces of destruction never overcame creativity."
It took me 13 months to read this book, and I will miss it (him).
PS: If you are going to read it, make a chart with four columns-Family, Medici, Friends, Enemies. There are many people with long Italian names, and they all remain relevant throughout his life
August 22, 2024
The "agony" and the "ecstasy" of "THE AGONY AND THE ECSTASY"!
I wonder if Stone would feel honoured or slighted at my brash theft of HIS title THE AGONY AND THE ECSTASY, as the basis for my review of his wonderful work!
Irving Stone's THE AGONY AND THE ECSTASY is an enormous, comprehensive re-creation of the life and death of Michelangelo Buonarroti, one of the acknowledged world giants of art. Not only has he allowed us to share Michelangelo's triumphs as a sculptor, painter, architect and poet but he has also compelled us to weep as we suffer with Michelangelo through his struggles with a petulant and greedy family, exile, political and artistic disgrace, chronic financial difficulties and the loss of love made even more poignant by its never having truly been experienced in the first place!
Were the events of this man's life not breathtaking or compelling enough on their own, Stone has also provided us with a lushly detailed portrait of the immensely complicated background of Renaissance Europe - the madness of Savonarola's puritanical tyranny over Florence and his fanatical revolt against the Roman Catholic church; the Medici family's reign over Florence and virtual stranglehold on the papacy and the church bureaucracy; the turbulent camaraderie (or was that spiteful, ruthless competition?) with other artistic greats of the same period such as da Vinci and Raphael; and the political machinations of the ruthless Borgia family.
That Stone can create magnificent prose, the "ecstasy" as it were, is beyond question! Time and again I was awestruck at Stone's creative abilities as a wordsmith. Witness this brilliant re-working of an often used metaphor for time which, in the hands of a less talented writer, may have become merely hackneyed:
"Time was not a mountain but a river; it changed its rate of flow as well as its course. It could become swollen, overflow its banks, or dry to a trickle; it could run clean and pure along its bed or become laden with silt and throw up debris along the shore."
On the other hand, the novel's "agony" was its intimidating length and Stone's absolute refusal to be anything less than comprehensive, scholarly and absolutely accurate in the tiniest detail. While Stone ultimately avoided the fatal trap, this compulsively detailed chronology constantly threatened to push the novel from entertaining and informative into the realm of list-making tedium.
That said, THE AGONY AND THE ECSTASY is an extraordinary piece of literature and any patient reader will come to its conclusion feeling uplifted, more knowledgeable and well repaid for the effort!
Paul Weiss
I wonder if Stone would feel honoured or slighted at my brash theft of HIS title THE AGONY AND THE ECSTASY, as the basis for my review of his wonderful work!
Irving Stone's THE AGONY AND THE ECSTASY is an enormous, comprehensive re-creation of the life and death of Michelangelo Buonarroti, one of the acknowledged world giants of art. Not only has he allowed us to share Michelangelo's triumphs as a sculptor, painter, architect and poet but he has also compelled us to weep as we suffer with Michelangelo through his struggles with a petulant and greedy family, exile, political and artistic disgrace, chronic financial difficulties and the loss of love made even more poignant by its never having truly been experienced in the first place!
Were the events of this man's life not breathtaking or compelling enough on their own, Stone has also provided us with a lushly detailed portrait of the immensely complicated background of Renaissance Europe - the madness of Savonarola's puritanical tyranny over Florence and his fanatical revolt against the Roman Catholic church; the Medici family's reign over Florence and virtual stranglehold on the papacy and the church bureaucracy; the turbulent camaraderie (or was that spiteful, ruthless competition?) with other artistic greats of the same period such as da Vinci and Raphael; and the political machinations of the ruthless Borgia family.
That Stone can create magnificent prose, the "ecstasy" as it were, is beyond question! Time and again I was awestruck at Stone's creative abilities as a wordsmith. Witness this brilliant re-working of an often used metaphor for time which, in the hands of a less talented writer, may have become merely hackneyed:
"Time was not a mountain but a river; it changed its rate of flow as well as its course. It could become swollen, overflow its banks, or dry to a trickle; it could run clean and pure along its bed or become laden with silt and throw up debris along the shore."
On the other hand, the novel's "agony" was its intimidating length and Stone's absolute refusal to be anything less than comprehensive, scholarly and absolutely accurate in the tiniest detail. While Stone ultimately avoided the fatal trap, this compulsively detailed chronology constantly threatened to push the novel from entertaining and informative into the realm of list-making tedium.
That said, THE AGONY AND THE ECSTASY is an extraordinary piece of literature and any patient reader will come to its conclusion feeling uplifted, more knowledgeable and well repaid for the effort!
Paul Weiss
November 3, 2019
At the age of thirteen, Michelangelo enters the workshop of painter Ghirlandaio and studies the fresco painting technique. Son of a surly bourgeois father of noble descent, lost his mother at an early age, Michelangelo eventually becomes fascinated by the texture of marble and wishes to release, the trapped forms which, according to his neo-Platonic worldview, are already hidden inside the raw material.
A book is not big enough to fit the magnitude of Michelangelo Buonarroti's artistic genius, the complexity of his character, and the interpretation of his immense work. Irving Stone does an exquisite work in presenting the life and deeds of the great sculptor and painter who produced masterpieces such as the Piet脿 of St. Peter's Basilica, the Giant David of Florence and Cappella Sistina's frescoes.
螠慰蠀 蟺萎蟻蔚 蟽蠂蔚未蠈谓 蟿苇蟽蟽蔚蟻喂蟼 渭萎谓蔚蟼 谓伪 蟿慰 蟿蔚位蔚喂蠋蟽蠅. 螝伪喂 蟽蟿慰 蟿苇位慰蟼 蟿蠅谓 776 蟽蔚位委未蠅谓 苇蟺喂伪蟽伪 蟿慰谓 蔚伪蠀蟿蠈 渭慰蠀 谓伪 蟺伪蟻伪蟺慰谓喂苇蟿伪喂, 蔚蟺蔚喂未萎 蟿慰 苇蟻纬慰 伪蠀蟿蠈 未蔚谓 萎蟿伪谓 渭蔚纬伪位蠉蟿蔚蟻慰 蟽蔚 苇魏蟿伪蟽畏, 萎胃蔚位伪 伪魏蠈渭伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 蟺位畏蟻慰蠁慰蟻委蔚蟼, 伪魏蠈渭伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 鈥� 魏伪蟿维 尾维胃慰蟼 蔚委蠂蔚 纬委谓蔚喂 魏慰渭渭维蟿喂 蟿畏蟼 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿维蟼 渭慰蠀 蟽蔚 蟽畏渭蔚委慰 蟺慰蠀 未蔚谓 萎胃蔚位伪 谓伪 蟿蔚位蔚喂蠋蟽蔚喂.
螖蔚谓 伪蟻魏蔚委 苇谓伪 尾喂尾位委慰 纬喂伪 谓伪 蠂蠅蟻苇蟽蔚喂 蟿慰 渭苇纬蔚胃慰蟼 蟿畏蟼 魏伪位位喂蟿蔚蠂谓喂魏萎蟼 喂未喂慰蠁蠀螑伪蟼 蟿慰蠀 Michelangelo Buonarroti (1475-1564), 蟿畏谓 蟺慰位蠀蟺位慰魏蠈蟿畏蟿伪 蟿慰蠀 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀 魏伪喂 蟿畏谓 蔚蟻渭畏谓蔚蠀蟿喂魏萎 蟺蟻慰蟽苇纬纬喂蟽畏 蟿慰蠀 蟿蔚蟻维蟽蟿喂慰蠀 苇蟻纬慰蠀 蟿慰蠀. 螣 Irving Stone 魏维谓蔚喂 渭喂伪 蔚尉伪委蟽喂伪 未慰蠀位蔚喂维 蟽蟿畏 渭蠀胃喂蟽蟿慰蟻畏渭伪蟿喂魏萎 伪谓伪蟺伪蟻维蟽蟿伪蟽畏 蟿畏蟼 味蠅萎蟼 蟿慰蠀 蟽蟺慰蠀未伪委慰蠀 纬位蠉蟺蟿畏 魏伪喂 味蠅纬蟻维蠁慰蠀 蟺慰蠀 渭伪蟼 蠂维蟻喂蟽蔚 伪蟻喂蟽蟿慰蠀蟻纬萎渭伪蟿伪 蠈蟺蠅蟼 畏 Piet脿 蟿畏蟼 螔伪蟽喂位喂魏萎蟼 蟿慰蠀 螒纬委慰蠀 螤苇蟿蟻慰蠀, 蟿慰谓 纬委纬伪谓蟿伪 螖伪尾委未 蟿畏蟼 桅位蠅蟻蔚谓蟿委伪蟼, 蟿喂蟼 蟿慰喂蠂慰纬蟻伪蠁委蔚蟼 蟿畏蟼 Cappella Sistina, 魏伪喂 蟽畏渭伪蟿慰未蠈蟿畏蟽蔚 渭蔚 蟿慰 苇蟻纬慰 蟿慰蠀 蟿畏谓 蔚蟺慰蠂萎 蟿慰蠀 螣蠀渭伪谓喂蟽渭慰蠉 魏伪喂 蟿畏蟼 螒谓伪纬苇谓谓畏蟽畏蟼 渭蔚 蠈位蔚蟼 蟿喂蟼 伪谓蟿喂蠁维蟽蔚喂蟼, 蟿喂蟼 蟽蠀纬魏蟻慰蠉蟽蔚喂蟼 魏伪喂 蟿喂蟼 蟺慰位喂蟿喂魏苇蟼 魏伪喂 蟺慰位喂蟿喂蟽渭喂魏苇蟼 蟺伪蟻伪渭苇蟿蟻慰蠀蟼 蟺慰蠀 蟿畏 蠂伪蟻伪魏蟿畏蟻委味慰蠀谓.
螖蔚谓 蔚委谓伪喂 渭蠈谓慰 蟿慰 尾喂尾位委慰 伪蠀蟿蠈 魏伪胃伪蠀蟿蠈 伪位位维 蟿慰 苇蟻纬慰 蟿慰蠀 委未喂慰蠀 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏 蟺慰蠀, 伪魏慰位慰蠀胃蠋谓蟿伪蟼 蟿伪 纬蔚纬慰谓蠈蟿伪 蟿畏蟼 味蠅萎蟼 蟿慰蠀, 渭蟺蠈蟻蔚蟽伪 谓伪 纬谓蠅蟻委蟽蠅 (蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 魏伪喂 维位位蔚蟼 蟺畏纬苇蟼 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 蟿慰 魏伪蟿伪谓慰萎蟽蠅 伪魏蠈渭伪 魏伪位蠉蟿蔚蟻伪). 螣 Irving Stone 魏伪蟿伪蠁苇蟻谓蔚喂 谓伪 伪谓伪蟺伪蟻伪蟽蟿萎蟽蔚喂 蟿畏谓 蔚蟺慰蠂萎 魏伪喂 蟿伪 纬蔚纬慰谓蠈蟿伪 渭蔚 蟿蠈蟽畏 蟺喂蟽蟿蠈蟿畏蟿伪 魏伪喂 蟿蠈蟽畏 伪位畏胃慰蠁维谓蔚喂伪, 蠋蟽蟿蔚 蟿蔚位喂魏维 未畏渭喂慰蠀蟻纬蔚委 蟿畏 蠄蔚蠀未伪委蟽胃畏蟽畏 蟺蠅蟼 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 伪蟺慰蟿苇位蔚蟽渭伪 蠈蠂喂 伪蟺位萎蟼 蔚渭尾蟻喂胃慰蠉蟼 渭蔚位苇蟿畏蟼 魏伪喂 苇蟻蔚蠀谓伪蟼, 伪位位维 纬喂伪 尾喂蠅渭苇谓畏 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蔚谓蠈蟼 伪蠀蟿蠈蟺蟿畏 渭维蟻蟿蠀蟻伪. 螌蟺蠅蟼 伪谓伪蠁苇蟻蔚喂 魏伪喂 委未喂慰蟼 蟽蟿慰 蟽畏渭蔚委蠅渭伪 蟺慰蠀 蟺伪蟻伪蟿委胃蔚蟿伪喂 蟽蟿慰 蟿苇位慰蟼 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼:
芦螒蠀蟿萎 畏 渭蠀胃喂蟽蟿慰蟻畏渭伪蟿喂魏萎 尾喂慰纬蟻伪蠁委伪 蟽蟿畏蟻委味蔚蟿伪喂 蟽蔚 蟺慰位蠀蔚蟿萎 苇蟻蔚蠀谓伪 蟿蠅谓 蟺畏纬蠋谓, 味蠋谓蟿伪蟼 魏伪喂 渭蔚位蔚蟿蠋谓蟿伪蟼, 蟽蟿畏 桅位蠅蟻蔚谓蟿委伪, 蟿畏 巍蠋渭畏, 蟿畏谓 螝伪蟻蟻维蟻伪 魏伪喂 蟿畏谓 螠蟺慰位蠈谓喂伪. 韦慰 苇蟻纬慰 尉蔚魏委谓畏蟽蔚 苇尉喂 蠂蟻蠈谓喂伪 蟺蟻喂谓 伪蟺蠈 蟿畏 蟽蠀纬纬蟻伪蠁萎 蟿慰蠀, 蠈蟿伪谓 伪蟺苇魏蟿畏蟽伪 蟺蟻蠈蟽尾伪蟽畏 蟽蟿喂蟼 495 蔚蟺喂蟽蟿慰位苇蟼 蟿慰蠀 魏伪胃蠋蟼 魏伪喂 蟽蟿伪 伪蟻蠂蔚委伪 魏伪喂 蟿伪 蟽蠀渭尾蠈位伪喂维 蟿慰蠀 [鈥禄
危蟿伪 未蔚魏伪蟿蟻委伪 蟿慰蠀 慰 Michelangelo, 渭伪胃畏蟿蔚蠉蔚喂 蟽蟿慰 蔚蟻纬伪蟽蟿萎蟻喂 蟿慰蠀 味蠅纬蟻维蠁慰蠀 Ghirlandaio 魏伪喂 蔚魏蟺伪喂未蔚蠉蔚蟿伪喂 蟽蟿畏谓 蟿蔚蠂谓喂魏萎 蟿畏蟼 谓蠅蟺慰纬蟻伪蠁委伪蟼 (fresco). 螕喂慰蟼 蔚谓蠈蟼 蟽蟿蟻喂蠁谓慰蠉 魏伪喂 尉蔚蟺蔚蟽渭苇谓慰蠀 伪蟽蟿慰蠉 渭蔚 蔚蠀纬蔚谓喂魏萎 魏伪蟿伪纬蠅纬萎, 慰蟻蠁伪谓蠈蟼 伪蟺蠈 渭畏蟿苇蟻伪, 纬慰畏蟿蔚蠉蔚蟿伪喂 伪蟺蠈 蟺慰位蠉 谓蠅蟻委蟼 伪蟺蠈 蟿畏谓 蠀蠁萎 蟿慰蠀 渭伪蟻渭维蟻慰蠀, 渭苇蟽伪 伪蟺蠈 蟿慰 慰蟺慰委慰 胃苇位蔚喂 谓伪 伪蟺蔚位蔚蠀胃蔚蟻蠋蟽蔚喂, 蟿喂蟼 蟺伪纬喂未蔚蠀渭苇谓蔚蟼 渭慰蟻蠁苇蟼, 蟺慰蠀 蟽蠉渭蠁蠅谓伪 渭蔚 蟿畏谓 谓蔚慰蟺位伪蟿蠅谓喂魏萎 魏慰蟽渭慰胃蔚蠅蟻委伪 蟿慰蠀, 萎未畏 蟺蟻慰蠇蟺维蟻蠂慰蠀谓 魏蟻蠀渭渭苇谓蔚蟼 蔚谓蟿蠈蟼 蟿畏蟼 伪魏伪蟿苇蟻纬伪蟽蟿畏蟼 蟺蟻蠋蟿畏蟼 蠉位畏蟼. 韦伪 未蠉慰 魏蠀蟻委伪蟻蠂伪 蟻蔚蠉渭伪蟿伪 蟽蟿畏 桅位蠅蟻蔚谓蟿委伪 蟿畏蟼 蔚蟺慰蠂萎蟼 伪蟽魏慰蠉谓 蔚蟺维谓蠅 蟿慰蠀 蟿蔚蟻维蟽蟿喂伪 蔚蟺喂蟻蟻慰萎:
螒蟺蠈 蟿畏 渭委伪 慰 Lorenzo dei Medici鈥�, 苇谓伪蟼 蟽蟺慰蠀未伪委慰蟼 蟺慰位喂蟿喂魏蠈蟼 魏伪喂 蟺谓蔚蠀渭伪蟿喂魏蠈蟼 畏纬苇蟿畏蟼 蟽蠀纬魏蔚谓蟿蟻蠋谓蔚喂 蟽蟿畏谓 伪蠀位萎 蟿慰蠀 谓蔚慰蟺位伪蟿蠅谓喂蟽蟿苇蟼 蠁喂位慰蟽蠈蠁慰蠀蟼, 渭蔚 蟿慰 蠈蟻伪渭伪 谓伪 渭蔚蟿伪蟿蟻苇蠄蔚喂 蟿畏 桅位蠅蟻蔚谓蟿委伪 蟽蔚 渭喂伪 未蔚蠉蟿蔚蟻畏 螒胃萎谓伪, 苇蠂慰谓蟿伪蟼 蟽蟿畏 未喂维胃蔚蟽萎 蟿慰蠀 蟺谓蔚蠀渭伪蟿喂魏慰蠉蟼 伪谓胃蟻蠋蟺慰蠀蟼 蠈蟺蠅蟼 慰 Marsilio Ficino, 慰 Christoforo Landino, 慰 Angelo Poliziano, 慰 Picco della Mirandola, 慰 螖畏渭萎蟿蟻喂慰蟼 围伪位魏慰魏慰谓未蠉位畏蟼 魏伪. 螒蟺蠈 蟿畏谓 维位位畏 蟺位蔚蠀蟻维 未蔚蟽蟺蠈味蔚喂 苇谓伪蟼 蠁伪谓伪蟿喂蟽渭苇谓慰蟼, 蟺伪蟻维蠁蟻慰谓伪蟼 螖慰渭喂谓喂魏伪谓蠈蟼 渭慰谓伪蠂蠈蟼 伪蟺蠈 蟿畏 桅蔚蟻蟻维蟻伪, 慰 Girolamo Savonarola 蟺慰蠀 魏萎蟻蠀蟿蟿蔚 蟿畏谓 伪蟺蠈位蠀蟿畏 伪蟺慰蠂萎 伪蟺蠈 蟿伪 蔚纬魏蠈蟽渭喂伪, 蟿畏谓 伪蟺苇蠂胃蔚喂伪 蟿慰蠀 纬喂伪 蟿畏谓 蟿苇蠂谓畏 魏伪喂 蟿畏 蟺谓蔚蠀渭伪蟿喂魏萎 味蠅萎 蟿畏蟼 蔚蟺慰蠂萎蟼 蟿畏蟼. 螝伪喂 慰喂 未蠉慰 蟺位蔚蠀蟻苇蟼 蟺伪蟻维 蟿喂蟼 胃蔚渭蔚位喂蠋未蔚喂蟼 伪谓蟿喂胃苇蟽蔚喂蟼 蟿慰蠀蟼, 蔚蟺喂胃蠀渭慰蠉蟽伪谓 蟿畏 渭蔚蟿伪蟻蟻蠉胃渭喂蟽畏 蟿畏蟼 蔚魏魏位畏蟽委伪蟼 蟿畏蟼 巍蠋渭畏蟼 畏 慰蟺慰委伪 渭苇蟽伪 伪蟺蠈 渭喂伪 蟽蔚喂蟻维 未喂蔚蠁胃伪蟻渭苇谓蠅谓 蟺伪蟺蠋谓 蔚委蠂蔚 伪蟺慰魏位委谓蔚喂 伪蟺蠈 蟿慰谓 蟺谓蔚蠀渭伪蟿喂魏蠈 蟿畏蟼 蟻蠈位慰 (纬蔚纬慰谓蠈蟼 蟺慰蠀 慰未萎纬畏蟽蔚 渭蔚蟿苇蟺蔚喂蟿伪 蟽蟿畏 未喂伪渭伪蟻蟿蠀蟻委伪 蟿慰蠀 螞慰蠀胃萎蟻慰蠀 魏伪喂 蟿畏 未畏渭喂慰蠀蟻纬委伪 蟿畏蟼 螜蟽蟺伪谓喂魏萎蟼 螜蔚蟻维蟼 螘尉苇蟿伪蟽畏蟼).
螣 Lorenzo dei Medici 伪蟺慰蠁伪蟽喂蟽渭苇谓慰蟼 谓伪 伪蟺慰魏蟿萎蟽蔚喂 蟿畏 未喂魏萎 蟿慰蠀 蟽蠂慰位萎 纬位蠀蟺蟿喂魏萎蟼 蠁苇蟻谓蔚喂 蠅蟼 未维蟽魏伪位慰 蟿慰谓 蠀蟺苇蟻纬畏蟻慰 Bertoldo di Giovanni, 渭伪胃畏蟿萎 蟿慰蠀 蟽蟺慰蠀未伪委慰蠀 蠁位蠅蟻蔚谓蟿委谓慰蠀 纬位蠉蟺蟿畏 Donatello 魏伪喂 蟿慰谓 蔚纬魏伪胃喂蟽蟿维 蟽蟿慰谓 魏萎蟺慰 蟿慰蠀 蟺伪位伪蟿喂慰蠉 蟿慰蠀. 危蟿慰 蟺位维喂 蟿慰蠀, 慰 谓蔚伪蟻蠈蟼 Michelangelo, 渭苇蟽伪 蟽蔚 伪蠀蟿萎谓 蟿畏谓 渭伪蟻渭维蟻喂谓畏 螘未苇渭, 胃伪 蟺维蟻蔚喂 蟿伪 蟺蟻蠋蟿伪 蟿慰蠀 渭伪胃萎渭伪蟿伪, 尉蔚魏喂谓蠋谓蟿伪蟼 伪蟺蠈 蟿慰 蟽蠂苇未喂慰 蟽蟿畏谓 蔚蟺委蟺蔚未畏 蔚蟺喂蠁维谓蔚喂伪 蟿慰蠀 蠂伪蟻蟿喂慰蠉 魏伪喂 蟿伪 蟺蟻慰蟽蠂苇未喂伪 伪蟺蠈 魏蔚蟻委 魏伪喂 蟺畏位蠈, 纬喂伪 谓伪 蟺蔚蟻维蟽蔚喂 蟽蟿畏 未畏渭喂慰蠀蟻纬委伪 蟿蠅谓 蟺蟻蠋蟿蠅谓 伪谓维纬位蠀蠁蠅谓 苇蟻纬蠅谓 蟿慰蠀 魏伪胃蠋蟼 魏伪喂 蟽蟿伪 蟺蟻蠋蟿伪 蟺位萎蟻蠅蟼 蟿蟻喂蟽未喂维蟽蟿伪蟿伪 纬位蠀蟺蟿维 蟿慰蠀.
螖蠉慰 蟺伪蟻维纬慰谓蟿蔚蟼 苇蟺伪喂尉伪谓 蟽蟺慰蠀未伪委慰 蟻蠈位慰 蟽蟿畏谓 蟿蔚蠂谓喂魏萎 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏. 螒蟺蠈 蟿畏 渭委伪 畏 渭蔚位苇蟿畏 蟿蠅谓 伪蟻蠂伪委蠅谓 蟻蠅渭伪蠆魏蠋谓 纬位蠀蟺蟿蠋谓, 蟺慰蠀 蟽蠀蠂谓维 伪谓伪蟽蠉蟻慰谓蟿伪谓 伪蟺蠈 蟿畏谓 纬蠈谓喂渭畏 喂蟿伪位喂魏萎 纬畏 魏伪喂 魏慰蟽渭慰蠉蟽伪谓 蟿喂蟼 伪蠀位苇蟼 蟿蠅谓 蔚蠀纬蔚谓蠋谓 魏伪喂 蟺位慰蠀蟽委蠅谓, 魏伪喂 畏 渭蔚位苇蟿畏 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 伪谓伪蟿慰渭委伪蟼 鈥� 蟿畏谓 慰蟺慰委伪 蟽蟺慰蠉未伪蟽蔚 蟽蟿伪 魏蟻蠀蠁维, 蟽蟿慰 渭慰谓伪蟽蟿萎蟻喂 蟿慰蠀 Santo Spirito, 蟿慰 慰蟺慰委慰 位蔚喂蟿慰蠀蟻纬慰蠉蟽蔚 魏伪喂 蠅蟼 谓慰蟽慰魏慰渭蔚委慰, 渭蔚 蟿畏 尾慰萎胃蔚喂伪 蟿慰蠀 畏纬慰蠉渭蔚谓慰蠀 Bichiellini. 韦伪 纬位蠀蟺蟿维 蟿慰蠀 苇蟽蠁蠀味伪谓 伪蟺蠈 味蠅萎 魏伪喂 伪谓伪蟺伪蟻喂蟽蟿慰蠉蟽伪谓 蟿慰 伪谓未蟻喂魏蠈 蟽蠋渭伪 蟽蟿畏谓 蟺伪蟻伪渭喂魏蟻萎 蟿慰蠀 位蔚蟺蟿慰渭苇蟻蔚喂伪.
韦慰 伪谓未蟻喂魏蠈 蟽蠋渭伪 伪蟺慰蟿蔚位蔚委 纬喂伪 蟿慰谓 魏伪位位喂蟿苇蠂谓畏 苇谓伪 伪谓蟿喂魏蔚委渭蔚谓慰 位伪蟿蟻蔚委伪蟼. 螣 Irving Stone 未蔚谓 蔚蟽蟿喂维味蔚喂 蟽蠂蔚未蠈谓 魏伪胃蠈位慰蠀 蟽蟿慰蠀蟼 慰渭慰蠁蠀位慰蠁喂位喂魏慰蠉蟼 苇蟻蠅蟿蔚蟼 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏, 蟽蟿畏谓 慰蠀蟽委伪 蟿慰蠀蟼 蟺伪蟻伪尾位苇蟺蔚喂 蟽蔚 尾伪胃渭蠈 蟺慰蠀 谓伪 蟽蟿蔚蟻蔚委蟿伪喂 苇谓伪 蟽畏渭伪谓蟿喂魏蠈蟿伪蟿慰 蔚蟻渭畏谓蔚蠀蟿喂魏蠈 魏位蔚喂未委 纬喂伪 蟿畏谓 魏伪蟿伪谓蠈畏蟽畏 蟿慰蠀 苇蟻纬慰蠀 蟿慰蠀. 螕喂伪 谓伪 位苇渭蔚 蟿伪 蟺蟻维纬渭伪蟿伪 渭蔚 蟿慰 蠈谓慰渭维 蟿慰蠀蟼. 螣 Michelangelo 苇魏伪谓蔚 苇蟻蠅蟿伪 渭蔚 谓蔚伪蟻慰蠉蟼 维谓未蟻蔚蟼, 蟿慰 慰渭慰位慰纬蔚委 维位位蠅蟽蟿蔚 魏伪喂 蟽蟿伪 蟺慰喂萎渭伪蟿维 蟿慰蠀 (蟿慰 纬谓蠅蟻委味慰蠀谓 维位位蠅蟽蟿蔚 魏伪喂 慰喂 蟽蠉纬蠂蟻慰谓慰委 蟿慰蠀 鈥� 尾位苇蟺蔚 位委尾蔚位慰 蟿慰蠀 Pietro Aretino):
La carne terra, e qui l'ossa mia, prive
de' lor begli occhi, e del leggiadro aspetto
fan fede a quel ch'i' fu grazia nel letto,
che abbracciava, e' n che l'anima vive.
韦蠋蟻伪 畏 蟽维蟻魏伪 苇纬喂谓蔚 蠂蠋渭伪, 魏喂 蔚未蠋 蟿伪 魏蠈魏魏伪位维 渭慰蠀,
蟽蟿蔚蟻畏渭苇谓伪 伪蟺蠈 蟿伪 蠈渭慰蟻蠁维 蟿慰蠀 渭维蟿喂伪 魏伪喂 蟿畏谓 蠅蟻伪委伪 渭慰蟻蠁萎 蟿慰蠀
蟺伪蟻伪渭苇谓慰蠀谓 蟺喂蟽蟿维 蟽蔚 伪蠀蟿蠈谓 蟺慰蠀 伪蟺慰位维渭尾伪谓伪 渭伪味委 蟿慰蠀 谓伪 蟺位伪纬喂维味蠅
蟽蔚 蔚魏蔚委谓慰谓 蟺慰蠀 伪纬魏维位喂伪味伪 魏伪喂 渭苇蟽伪 蟽蟿慰谓 慰蟺慰委慰 蟿蠋蟻伪 味蔚喂 畏 蠄蠀蠂萎 渭慰蠀.
(蟺慰委畏渭伪 蟿慰蠀 Michelangelo 纬喂伪 蟿慰谓 胃维谓伪蟿慰 蟿慰蠀 伪纬伪蟺畏渭苇谓慰蠀 蔚蟻伪蟽蟿萎 蟿慰蠀, Cecchino dei Bracci).
危蔚 渭喂伪 蔚蟺慰蠂萎 蠈蟺慰蠀 蟿慰 蠁维蟽渭伪 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蟽蔚尉慰蠀伪位喂魏蠈蟿畏蟿伪蟼 蟺蔚蟻喂慰蟻喂味蠈蟿伪谓 伪蟽蠁蠀魏蟿喂魏维 伪蟺蠈 蟿慰谓 蟺伪蟿蟻喂伪蟻蠂喂魏蠈 蔚蟿蔚蟻慰蟽蔚尉慰蠀伪位喂魏蠈 蟺蟻慰蟽伪谓伪蟿慰位喂蟽渭蠈 魏伪喂 蟿喂蟼 蟺蔚蟻委 蟽慰未慰渭委伪蟼 蔚魏魏位畏蟽喂伪蟽蟿喂魏苇蟼 未喂未伪蟽魏伪位委蔚蟼 蔚委谓伪喂 位慰纬喂魏蠈 蠈位慰喂 慰喂 蟺蠈胃慰喂 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏 谓伪 未喂慰蠂蔚蟿蔚蠉慰谓蟿伪喂 渭苇蟽伪 蟽蟿畏谓 伪蟺蔚喂魏蠈谓喂蟽畏 蟿慰蠀 喂未蔚蠋未慰蠀蟼 伪谓未蟻喂魏慰蠉 魏慰蟻渭喂慰蠉, 蟿慰 慰蟺慰委慰 蠂蟻畏蟽喂渭蔚蠉蔚喂 蠅蟼 渭慰谓蟿苇位慰 纬喂伪 蠈位蔚蟼 蟿喂蟼 渭慰蟻蠁苇蟼, 蔚委蟿蔚 蔚委谓伪喂 伪谓未蟻喂魏苇蟼 蔚委蟿蔚 蔚委谓伪喂 纬蠀谓伪喂魏蔚委蔚蟼. 螆蟿蟽喂 蟽蟿慰 Doni Tondo (蟺委谓伪魏伪蟼 蟺慰蠀 蔚喂魏慰谓委味蔚喂 蟿畏谓 螒纬委伪 螣喂魏慰纬苇谓蔚喂伪) 畏 螤伪谓伪纬委伪 蔚喂魏慰谓委味蔚蟿伪喂 蠅蟼 苇谓伪 纬蔚蟻慰未蔚渭苇谓慰 伪纬蠈蟻喂 渭蔚 蟽蟿喂尾伪蟻维 渭蟺蟻维蟿蟽伪, 蟽蟿畏谓 Sagrestia Nuova 慰喂 渭伪蟽蟿慰委 蟿蠅谓 纬蠀谓伪喂魏蔚委蠅谓 纬位蠀蟺蟿蠋谓 渭慰喂维味慰蠀谓 蟽蟿畏谓 魏蠀蟻喂慰位蔚尉委伪 魏慰位位畏渭苇谓慰喂 蔚蟺维谓蠅 蟽蔚 伪谓未蟻喂魏维 蟽蠋渭伪蟿伪, 蔚谓蠋 未喂伪魏慰蟽渭蔚委 蟿畏谓 慰蟻慰蠁萎 蟿畏蟼 Cappella Sistina 渭蔚 苇谓伪 蟺位萎胃慰蟼 伪谓未蟻喂魏蠋谓 纬蠀渭谓蠋谓 纬谓蠅蟽蟿蠋谓 蠅蟼 Ignudi.
螤苇蟻伪 伪蟺蠈 蟿畏 纬位蠀蟺蟿喂魏萎, 蟿畏 味蠅纬蟻伪蠁喂魏萎 魏伪喂 蟿畏谓 蟺慰委畏蟽畏 慰 Michelangelo 伪蟽蠂慰位萎胃畏魏蔚 蔚蟺委蟽畏蟼 渭蔚 苇蟻纬伪 慰未慰蟺慰喂委伪蟼, 慰蠂蠀蟻蠋蟽蔚蠅谓 魏伪喂 伪蟻蠂喂蟿蔚魏蟿慰谓喂魏萎蟼. 螤伪蟻苇渭蔚喂谓蔚 蠀蟺蔚蟻未蟻伪蟽蟿萎蟻喂慰蟼 魏伪喂 未畏渭喂慰蠀蟻纬喂魏蠈蟼 蠅蟼 蟿慰 蟿苇位慰蟼 蟿畏蟼 味蠅萎蟼 蟿慰蠀, 伪位位维 伪魏蟻喂尾蠋蟼 伪蠀蟿萎 畏 蠀蟺蔚蟻伪蟺伪蟽蠂蠈位畏蟽畏 魏伪喂 畏 蔚渭渭慰谓萎 蟿慰蠀 谓伪 蔚蟻纬维味蔚蟿伪喂 蟺蟻蠅蟿委蟽蟿蠅蟼 慰 委未喂慰蟼 蔚蟺维谓蠅 蟽蟿伪 苇蟻纬伪 蟿慰蠀, 伪蠁萎谓慰谓蟿伪蟼 蔚位维蠂喂蟽蟿伪 蟽蟿畏谓 蔚蟺喂渭苇位蔚喂伪 蟿蠅谓 尾慰畏胃蠋谓 蟿慰蠀, 萎蟿伪谓 蔚尉伪喂蟻蔚蟿喂魏维 蠂蟻慰谓慰尾蠈蟻伪 魏伪喂 蔚委蠂蔚 蠅蟼 伪蟺慰蟿苇位蔚蟽渭伪 谓伪 伪蠁萎蟽蔚喂 蟺委蟽蠅 蟿慰蠀 蟺慰位位维 畏渭喂蟿蔚位萎 苇蟻纬伪, 蟿伪 慰蟺慰委伪 蠅蟽蟿蠈蟽慰, 伪魏蠈渭伪 魏喂 苇蟿蟽喂 苇蠂慰蠀谓 魏维蟿喂 蟿慰 渭蔚纬伪位蔚喂蠋未蔚蟼 (蟺蠂 尾位苇蟺蔚 Piet脿 Rondanini 蟿慰 蟿蔚位蔚蠀蟿伪委慰 苇蟻纬慰 蟺慰蠀 未慰蠉位蔚蠀蔚 渭苇蠂蟻喂 苇尉喂 畏渭苇蟻蔚蟼 蟺蟻喂谓 蟿慰谓 胃维谓伪蟿蠈 蟿慰蠀). 螇胃蔚位蔚 谓伪 慰位慰魏位畏蟻蠋蟽蔚喂 蟿慰 苇蟻纬慰 蟿慰蠀 蟺蟻喂谓 蔚蟺喂蟿蟻苇蠄蔚喂 蟽蟿慰蠀蟼 蠀蟺蠈位慰喂蟺慰蠀蟼 谓伪 蟿慰 渭蔚位蔚蟿萎蟽慰蠀谓 纬喂鈥� 伪蠀蟿蠈 萎蟿伪谓 喂未喂伪委蟿蔚蟻伪 渭蠀蟽蟿喂魏慰蟺伪胃萎蟼 魏伪喂 伪蟺蔚蠂胃伪谓蠈蟿伪谓 蟿畏谓 喂未苇伪 谓伪 未喂伪蟻蟻蔚蠉蟽蔚喂 魏维蟿喂 蠂蠅蟻委蟼 蟿畏谓 苇纬魏蟻喂蟽萎 蟿慰蠀.
螤蔚喂蟽渭伪蟿维蟻畏蟼 魏伪喂 蔚蟺委渭慰谓慰蟼 蟽蠀纬魏蟻慰蠉蟽蟿畏魏蔚 渭蔚 维位位蔚蟼 蟽蟺慰蠀未伪委蔚蟼 魏伪位位喂蟿蔚蠂谓喂魏苇蟼 渭慰蟻蠁苇蟼 蟿畏谓 蔚蟺慰蠂萎蟼 蟿慰蠀, 蠈蟺蠅蟼 渭蔚 蟿慰谓 Leonardo da Vinci (慰喂 未蠀慰 胃蟻蠀位喂魏苇蟼, 蟺位苇慰谓 蠂伪渭苇谓蔚蟼, 蟿慰喂蠂慰纬蟻伪蠁委蔚蟼 蟽蟿慰 Palazzo Vecchio 蟿畏蟼 桅位蠅蟻蔚谓蟿委伪蟼 蔚委谓伪喂 蟿慰 伪蟺慰魏慰蟻蠉蠁蠅渭伪 蟿慰蠀 伪谓蟿伪纬蠅谓喂蟽渭慰蠉 蟿慰蠀蟼) 魏伪喂 蟿慰谓 Raphael. 螤维蟿蟻蠅谓苇蟼 蟿慰蠀 魏伪喂 蠂蟻畏渭伪蟿慰未蠈蟿蔚蟼 蟿慰蠀 萎蟿伪谓 蟺蟻蠅蟿委蟽蟿蠅蟼 畏 蟺慰位喂蟿蔚委伪 蟿畏蟼 桅位蠅蟻蔚谓蟿委伪蟼 魏伪喂 慰喂 蟺维蟺蔚蟼 蟿畏蟼 巍蠋渭畏蟼 渭蔚 蟿慰蠀蟼 慰蟺慰委慰蠀蟼 蔚蟺委蟽畏蟼 蟽蠀纬魏蟻慰蠉蟽蟿畏魏蔚 蟽蟿畏谓 蟺蟻慰蟽蟺维胃蔚喂维 蟿慰蠀 谓伪 蔚蟺喂尾位畏胃蔚委 蠅蟼 未畏渭喂慰蠀蟻纬蠈蟼 未喂蔚魏未喂魏蠋谓蟿伪蟼 蟽蔚尾伪蟽渭蠈 魏伪喂 喂魏伪谓慰蟺慰喂畏蟿喂魏苇蟼 伪渭慰喂尾苇蟼. 螖蔚谓 蟺伪谓蟿蟻蔚蠉蟿畏魏蔚 蟺慰蟿苇, 蠅蟽蟿蠈蟽慰 蟺伪蟻苇渭蔚喂谓蔚 伪蠁慰蟽喂蠅渭苇谓慰蟼 蟽蟿慰谓 蟺伪蟿苇蟻伪 魏伪喂 蟿伪 伪未苇蟻蠁喂伪 蟿慰蠀 蟺伪蟻维 蟿喂蟼 蟺慰位位苇蟼 未喂伪蠁蠅谓委蔚蟼 魏伪喂 蟺蟻慰蟽蟿蟻喂尾苇蟼 蟺慰蠀 蔚委蠂蔚 渭伪味委 蟿慰蠀蟼. 危蟿畏谓 畏位喂魏委伪 蟿蠅谓 蔚尉萎谓蟿伪 蔚蟿蠋谓 蟽蠀谓未苇胃畏魏蔚 渭蔚 尾伪胃喂维 蠁喂位委伪 渭蔚 蟿畏谓 未喂伪谓慰慰蠉渭蔚谓畏 蟺慰喂萎蟿蟻喂伪 Vittoria Colonna, 畏 慰蟺慰委伪 伪蟺慰蟿苇位蔚蟽蔚 纬喂鈥� 伪蠀蟿蠈谓 蟺畏纬萎 苇渭蟺谓蔚蠀蟽畏蟼.
螣 Michelangelo Buonarroti 蟽蠀谓苇尾伪位位蔚 蟽蟿畏谓 伪蠁蠉蟺谓喂蟽畏 蟿慰蠀 未蠀蟿喂魏慰蠉 蟺慰位喂蟿喂蟽渭慰蠉 苇蟺蔚喂蟿伪 伪蟺蠈 苇谓伪谓 位萎胃伪蟻纬慰 伪喂蠋谓蠅谓. 螇蟿伪谓 苇谓伪蟼 伪蟺蠈 蔚魏蔚委谓慰蠀蟼 蟺慰蠀 蟽蠀谓苇未蔚蟽伪谓 蟿伪 尉蔚蠂伪蟽渭苇谓伪 蔚蟺喂蟿蔚蠉纬渭伪蟿伪 蟿畏蟼 伪蟻蠂伪喂蠈蟿畏蟿伪蟼 渭蔚 蟿慰 蟺伪蟻蠈谓 蟿畏蟼 蔚蟺慰蠂萎蟼 蟿慰蠀. 螣 蟽蠉纬蠂蟻慰谓慰蟼 魏蠈蟽渭慰蟼, 畏 蔚蟺慰蠂萎 渭伪蟼 蠈蟺蠅蟼 蟿畏 味慰蠉渭蔚 蟽萎渭蔚蟻伪, 未蔚谓 胃伪 萎蟿伪谓 委未喂伪 伪谓 未蔚谓 苇蠁蔚蟻伪谓 蟿畏谓 蠀蟺慰纬蟻伪蠁萎 伪谓胃蟻蠋蟺蠅谓 蟿慰蠀 未喂魏慰蠉 蟿慰蠀 渭蔚纬苇胃慰蠀蟼:
Michaelangelus Bonarotus Florent(inus) Faciebat.
螒谓 蟽伪蟼 蔚谓未喂伪蠁苇蟻蔚喂 谓伪 未蔚委蟿蔚 蟿伪 魏蠀蟻喂蠈蟿蔚蟻伪 苇蟻纬伪 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏:
...
螒魏慰位慰蠀胃蠋谓蟿伪蟼 蟿慰蠀蟼 蠀蟺蔚蟻蟽蠀谓未苇蟽渭慰蠀蟼 魏伪喂 蟺伪蟿蠋谓蟿伪蟼 蔚蟺维谓蠅 蟽蟿畏谓 蔚魏维蟽蟿慰蟿蔚 蠁蠅蟿慰纬蟻伪蠁委伪 伪谓慰委纬蔚喂 谓苇慰 蟺伪蟻维胃蠀蟻慰 渭蔚 未喂维蠁慰蟻蔚蟼 蔚蟺喂位慰纬苇蟼 伪谓维位蠀蟽畏蟼 伪蟺蠈 25 苇蠅蟼 200% ).
A book is not big enough to fit the magnitude of Michelangelo Buonarroti's artistic genius, the complexity of his character, and the interpretation of his immense work. Irving Stone does an exquisite work in presenting the life and deeds of the great sculptor and painter who produced masterpieces such as the Piet脿 of St. Peter's Basilica, the Giant David of Florence and Cappella Sistina's frescoes.
螠慰蠀 蟺萎蟻蔚 蟽蠂蔚未蠈谓 蟿苇蟽蟽蔚蟻喂蟼 渭萎谓蔚蟼 谓伪 蟿慰 蟿蔚位蔚喂蠋蟽蠅. 螝伪喂 蟽蟿慰 蟿苇位慰蟼 蟿蠅谓 776 蟽蔚位委未蠅谓 苇蟺喂伪蟽伪 蟿慰谓 蔚伪蠀蟿蠈 渭慰蠀 谓伪 蟺伪蟻伪蟺慰谓喂苇蟿伪喂, 蔚蟺蔚喂未萎 蟿慰 苇蟻纬慰 伪蠀蟿蠈 未蔚谓 萎蟿伪谓 渭蔚纬伪位蠉蟿蔚蟻慰 蟽蔚 苇魏蟿伪蟽畏, 萎胃蔚位伪 伪魏蠈渭伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 蟺位畏蟻慰蠁慰蟻委蔚蟼, 伪魏蠈渭伪 蟺蔚蟻喂蟽蟽蠈蟿蔚蟻蔚蟼 位蔚蟺蟿慰渭苇蟻蔚喂蔚蟼 鈥� 魏伪蟿维 尾维胃慰蟼 蔚委蠂蔚 纬委谓蔚喂 魏慰渭渭维蟿喂 蟿畏蟼 魏伪胃畏渭蔚蟻喂谓蠈蟿畏蟿维蟼 渭慰蠀 蟽蔚 蟽畏渭蔚委慰 蟺慰蠀 未蔚谓 萎胃蔚位伪 谓伪 蟿蔚位蔚喂蠋蟽蔚喂.
螖蔚谓 伪蟻魏蔚委 苇谓伪 尾喂尾位委慰 纬喂伪 谓伪 蠂蠅蟻苇蟽蔚喂 蟿慰 渭苇纬蔚胃慰蟼 蟿畏蟼 魏伪位位喂蟿蔚蠂谓喂魏萎蟼 喂未喂慰蠁蠀螑伪蟼 蟿慰蠀 Michelangelo Buonarroti (1475-1564), 蟿畏谓 蟺慰位蠀蟺位慰魏蠈蟿畏蟿伪 蟿慰蠀 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀 魏伪喂 蟿畏谓 蔚蟻渭畏谓蔚蠀蟿喂魏萎 蟺蟻慰蟽苇纬纬喂蟽畏 蟿慰蠀 蟿蔚蟻维蟽蟿喂慰蠀 苇蟻纬慰蠀 蟿慰蠀. 螣 Irving Stone 魏维谓蔚喂 渭喂伪 蔚尉伪委蟽喂伪 未慰蠀位蔚喂维 蟽蟿畏 渭蠀胃喂蟽蟿慰蟻畏渭伪蟿喂魏萎 伪谓伪蟺伪蟻维蟽蟿伪蟽畏 蟿畏蟼 味蠅萎蟼 蟿慰蠀 蟽蟺慰蠀未伪委慰蠀 纬位蠉蟺蟿畏 魏伪喂 味蠅纬蟻维蠁慰蠀 蟺慰蠀 渭伪蟼 蠂维蟻喂蟽蔚 伪蟻喂蟽蟿慰蠀蟻纬萎渭伪蟿伪 蠈蟺蠅蟼 畏 Piet脿 蟿畏蟼 螔伪蟽喂位喂魏萎蟼 蟿慰蠀 螒纬委慰蠀 螤苇蟿蟻慰蠀, 蟿慰谓 纬委纬伪谓蟿伪 螖伪尾委未 蟿畏蟼 桅位蠅蟻蔚谓蟿委伪蟼, 蟿喂蟼 蟿慰喂蠂慰纬蟻伪蠁委蔚蟼 蟿畏蟼 Cappella Sistina, 魏伪喂 蟽畏渭伪蟿慰未蠈蟿畏蟽蔚 渭蔚 蟿慰 苇蟻纬慰 蟿慰蠀 蟿畏谓 蔚蟺慰蠂萎 蟿慰蠀 螣蠀渭伪谓喂蟽渭慰蠉 魏伪喂 蟿畏蟼 螒谓伪纬苇谓谓畏蟽畏蟼 渭蔚 蠈位蔚蟼 蟿喂蟼 伪谓蟿喂蠁维蟽蔚喂蟼, 蟿喂蟼 蟽蠀纬魏蟻慰蠉蟽蔚喂蟼 魏伪喂 蟿喂蟼 蟺慰位喂蟿喂魏苇蟼 魏伪喂 蟺慰位喂蟿喂蟽渭喂魏苇蟼 蟺伪蟻伪渭苇蟿蟻慰蠀蟼 蟺慰蠀 蟿畏 蠂伪蟻伪魏蟿畏蟻委味慰蠀谓.
螖蔚谓 蔚委谓伪喂 渭蠈谓慰 蟿慰 尾喂尾位委慰 伪蠀蟿蠈 魏伪胃伪蠀蟿蠈 伪位位维 蟿慰 苇蟻纬慰 蟿慰蠀 委未喂慰蠀 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏 蟺慰蠀, 伪魏慰位慰蠀胃蠋谓蟿伪蟼 蟿伪 纬蔚纬慰谓蠈蟿伪 蟿畏蟼 味蠅萎蟼 蟿慰蠀, 渭蟺蠈蟻蔚蟽伪 谓伪 纬谓蠅蟻委蟽蠅 (蠂蟻畏蟽喂渭慰蟺慰喂蠋谓蟿伪蟼 魏伪喂 维位位蔚蟼 蟺畏纬苇蟼 蟺蟻慰魏蔚喂渭苇谓慰蠀 谓伪 蟿慰 魏伪蟿伪谓慰萎蟽蠅 伪魏蠈渭伪 魏伪位蠉蟿蔚蟻伪). 螣 Irving Stone 魏伪蟿伪蠁苇蟻谓蔚喂 谓伪 伪谓伪蟺伪蟻伪蟽蟿萎蟽蔚喂 蟿畏谓 蔚蟺慰蠂萎 魏伪喂 蟿伪 纬蔚纬慰谓蠈蟿伪 渭蔚 蟿蠈蟽畏 蟺喂蟽蟿蠈蟿畏蟿伪 魏伪喂 蟿蠈蟽畏 伪位畏胃慰蠁维谓蔚喂伪, 蠋蟽蟿蔚 蟿蔚位喂魏维 未畏渭喂慰蠀蟻纬蔚委 蟿畏 蠄蔚蠀未伪委蟽胃畏蟽畏 蟺蠅蟼 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 伪蟺慰蟿苇位蔚蟽渭伪 蠈蠂喂 伪蟺位萎蟼 蔚渭尾蟻喂胃慰蠉蟼 渭蔚位苇蟿畏蟼 魏伪喂 苇蟻蔚蠀谓伪蟼, 伪位位维 纬喂伪 尾喂蠅渭苇谓畏 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪 蔚谓蠈蟼 伪蠀蟿蠈蟺蟿畏 渭维蟻蟿蠀蟻伪. 螌蟺蠅蟼 伪谓伪蠁苇蟻蔚喂 魏伪喂 委未喂慰蟼 蟽蟿慰 蟽畏渭蔚委蠅渭伪 蟺慰蠀 蟺伪蟻伪蟿委胃蔚蟿伪喂 蟽蟿慰 蟿苇位慰蟼 蟿慰蠀 渭蠀胃喂蟽蟿慰蟻萎渭伪蟿慰蟼:
芦螒蠀蟿萎 畏 渭蠀胃喂蟽蟿慰蟻畏渭伪蟿喂魏萎 尾喂慰纬蟻伪蠁委伪 蟽蟿畏蟻委味蔚蟿伪喂 蟽蔚 蟺慰位蠀蔚蟿萎 苇蟻蔚蠀谓伪 蟿蠅谓 蟺畏纬蠋谓, 味蠋谓蟿伪蟼 魏伪喂 渭蔚位蔚蟿蠋谓蟿伪蟼, 蟽蟿畏 桅位蠅蟻蔚谓蟿委伪, 蟿畏 巍蠋渭畏, 蟿畏谓 螝伪蟻蟻维蟻伪 魏伪喂 蟿畏谓 螠蟺慰位蠈谓喂伪. 韦慰 苇蟻纬慰 尉蔚魏委谓畏蟽蔚 苇尉喂 蠂蟻蠈谓喂伪 蟺蟻喂谓 伪蟺蠈 蟿畏 蟽蠀纬纬蟻伪蠁萎 蟿慰蠀, 蠈蟿伪谓 伪蟺苇魏蟿畏蟽伪 蟺蟻蠈蟽尾伪蟽畏 蟽蟿喂蟼 495 蔚蟺喂蟽蟿慰位苇蟼 蟿慰蠀 魏伪胃蠋蟼 魏伪喂 蟽蟿伪 伪蟻蠂蔚委伪 魏伪喂 蟿伪 蟽蠀渭尾蠈位伪喂维 蟿慰蠀 [鈥禄
危蟿伪 未蔚魏伪蟿蟻委伪 蟿慰蠀 慰 Michelangelo, 渭伪胃畏蟿蔚蠉蔚喂 蟽蟿慰 蔚蟻纬伪蟽蟿萎蟻喂 蟿慰蠀 味蠅纬蟻维蠁慰蠀 Ghirlandaio 魏伪喂 蔚魏蟺伪喂未蔚蠉蔚蟿伪喂 蟽蟿畏谓 蟿蔚蠂谓喂魏萎 蟿畏蟼 谓蠅蟺慰纬蟻伪蠁委伪蟼 (fresco). 螕喂慰蟼 蔚谓蠈蟼 蟽蟿蟻喂蠁谓慰蠉 魏伪喂 尉蔚蟺蔚蟽渭苇谓慰蠀 伪蟽蟿慰蠉 渭蔚 蔚蠀纬蔚谓喂魏萎 魏伪蟿伪纬蠅纬萎, 慰蟻蠁伪谓蠈蟼 伪蟺蠈 渭畏蟿苇蟻伪, 纬慰畏蟿蔚蠉蔚蟿伪喂 伪蟺蠈 蟺慰位蠉 谓蠅蟻委蟼 伪蟺蠈 蟿畏谓 蠀蠁萎 蟿慰蠀 渭伪蟻渭维蟻慰蠀, 渭苇蟽伪 伪蟺蠈 蟿慰 慰蟺慰委慰 胃苇位蔚喂 谓伪 伪蟺蔚位蔚蠀胃蔚蟻蠋蟽蔚喂, 蟿喂蟼 蟺伪纬喂未蔚蠀渭苇谓蔚蟼 渭慰蟻蠁苇蟼, 蟺慰蠀 蟽蠉渭蠁蠅谓伪 渭蔚 蟿畏谓 谓蔚慰蟺位伪蟿蠅谓喂魏萎 魏慰蟽渭慰胃蔚蠅蟻委伪 蟿慰蠀, 萎未畏 蟺蟻慰蠇蟺维蟻蠂慰蠀谓 魏蟻蠀渭渭苇谓蔚蟼 蔚谓蟿蠈蟼 蟿畏蟼 伪魏伪蟿苇蟻纬伪蟽蟿畏蟼 蟺蟻蠋蟿畏蟼 蠉位畏蟼. 韦伪 未蠉慰 魏蠀蟻委伪蟻蠂伪 蟻蔚蠉渭伪蟿伪 蟽蟿畏 桅位蠅蟻蔚谓蟿委伪 蟿畏蟼 蔚蟺慰蠂萎蟼 伪蟽魏慰蠉谓 蔚蟺维谓蠅 蟿慰蠀 蟿蔚蟻维蟽蟿喂伪 蔚蟺喂蟻蟻慰萎:
螒蟺蠈 蟿畏 渭委伪 慰 Lorenzo dei Medici鈥�, 苇谓伪蟼 蟽蟺慰蠀未伪委慰蟼 蟺慰位喂蟿喂魏蠈蟼 魏伪喂 蟺谓蔚蠀渭伪蟿喂魏蠈蟼 畏纬苇蟿畏蟼 蟽蠀纬魏蔚谓蟿蟻蠋谓蔚喂 蟽蟿畏谓 伪蠀位萎 蟿慰蠀 谓蔚慰蟺位伪蟿蠅谓喂蟽蟿苇蟼 蠁喂位慰蟽蠈蠁慰蠀蟼, 渭蔚 蟿慰 蠈蟻伪渭伪 谓伪 渭蔚蟿伪蟿蟻苇蠄蔚喂 蟿畏 桅位蠅蟻蔚谓蟿委伪 蟽蔚 渭喂伪 未蔚蠉蟿蔚蟻畏 螒胃萎谓伪, 苇蠂慰谓蟿伪蟼 蟽蟿畏 未喂维胃蔚蟽萎 蟿慰蠀 蟺谓蔚蠀渭伪蟿喂魏慰蠉蟼 伪谓胃蟻蠋蟺慰蠀蟼 蠈蟺蠅蟼 慰 Marsilio Ficino, 慰 Christoforo Landino, 慰 Angelo Poliziano, 慰 Picco della Mirandola, 慰 螖畏渭萎蟿蟻喂慰蟼 围伪位魏慰魏慰谓未蠉位畏蟼 魏伪. 螒蟺蠈 蟿畏谓 维位位畏 蟺位蔚蠀蟻维 未蔚蟽蟺蠈味蔚喂 苇谓伪蟼 蠁伪谓伪蟿喂蟽渭苇谓慰蟼, 蟺伪蟻维蠁蟻慰谓伪蟼 螖慰渭喂谓喂魏伪谓蠈蟼 渭慰谓伪蠂蠈蟼 伪蟺蠈 蟿畏 桅蔚蟻蟻维蟻伪, 慰 Girolamo Savonarola 蟺慰蠀 魏萎蟻蠀蟿蟿蔚 蟿畏谓 伪蟺蠈位蠀蟿畏 伪蟺慰蠂萎 伪蟺蠈 蟿伪 蔚纬魏蠈蟽渭喂伪, 蟿畏谓 伪蟺苇蠂胃蔚喂伪 蟿慰蠀 纬喂伪 蟿畏谓 蟿苇蠂谓畏 魏伪喂 蟿畏 蟺谓蔚蠀渭伪蟿喂魏萎 味蠅萎 蟿畏蟼 蔚蟺慰蠂萎蟼 蟿畏蟼. 螝伪喂 慰喂 未蠉慰 蟺位蔚蠀蟻苇蟼 蟺伪蟻维 蟿喂蟼 胃蔚渭蔚位喂蠋未蔚喂蟼 伪谓蟿喂胃苇蟽蔚喂蟼 蟿慰蠀蟼, 蔚蟺喂胃蠀渭慰蠉蟽伪谓 蟿畏 渭蔚蟿伪蟻蟻蠉胃渭喂蟽畏 蟿畏蟼 蔚魏魏位畏蟽委伪蟼 蟿畏蟼 巍蠋渭畏蟼 畏 慰蟺慰委伪 渭苇蟽伪 伪蟺蠈 渭喂伪 蟽蔚喂蟻维 未喂蔚蠁胃伪蟻渭苇谓蠅谓 蟺伪蟺蠋谓 蔚委蠂蔚 伪蟺慰魏位委谓蔚喂 伪蟺蠈 蟿慰谓 蟺谓蔚蠀渭伪蟿喂魏蠈 蟿畏蟼 蟻蠈位慰 (纬蔚纬慰谓蠈蟼 蟺慰蠀 慰未萎纬畏蟽蔚 渭蔚蟿苇蟺蔚喂蟿伪 蟽蟿畏 未喂伪渭伪蟻蟿蠀蟻委伪 蟿慰蠀 螞慰蠀胃萎蟻慰蠀 魏伪喂 蟿畏 未畏渭喂慰蠀蟻纬委伪 蟿畏蟼 螜蟽蟺伪谓喂魏萎蟼 螜蔚蟻维蟼 螘尉苇蟿伪蟽畏蟼).
螣 Lorenzo dei Medici 伪蟺慰蠁伪蟽喂蟽渭苇谓慰蟼 谓伪 伪蟺慰魏蟿萎蟽蔚喂 蟿畏 未喂魏萎 蟿慰蠀 蟽蠂慰位萎 纬位蠀蟺蟿喂魏萎蟼 蠁苇蟻谓蔚喂 蠅蟼 未维蟽魏伪位慰 蟿慰谓 蠀蟺苇蟻纬畏蟻慰 Bertoldo di Giovanni, 渭伪胃畏蟿萎 蟿慰蠀 蟽蟺慰蠀未伪委慰蠀 蠁位蠅蟻蔚谓蟿委谓慰蠀 纬位蠉蟺蟿畏 Donatello 魏伪喂 蟿慰谓 蔚纬魏伪胃喂蟽蟿维 蟽蟿慰谓 魏萎蟺慰 蟿慰蠀 蟺伪位伪蟿喂慰蠉 蟿慰蠀. 危蟿慰 蟺位维喂 蟿慰蠀, 慰 谓蔚伪蟻蠈蟼 Michelangelo, 渭苇蟽伪 蟽蔚 伪蠀蟿萎谓 蟿畏谓 渭伪蟻渭维蟻喂谓畏 螘未苇渭, 胃伪 蟺维蟻蔚喂 蟿伪 蟺蟻蠋蟿伪 蟿慰蠀 渭伪胃萎渭伪蟿伪, 尉蔚魏喂谓蠋谓蟿伪蟼 伪蟺蠈 蟿慰 蟽蠂苇未喂慰 蟽蟿畏谓 蔚蟺委蟺蔚未畏 蔚蟺喂蠁维谓蔚喂伪 蟿慰蠀 蠂伪蟻蟿喂慰蠉 魏伪喂 蟿伪 蟺蟻慰蟽蠂苇未喂伪 伪蟺蠈 魏蔚蟻委 魏伪喂 蟺畏位蠈, 纬喂伪 谓伪 蟺蔚蟻维蟽蔚喂 蟽蟿畏 未畏渭喂慰蠀蟻纬委伪 蟿蠅谓 蟺蟻蠋蟿蠅谓 伪谓维纬位蠀蠁蠅谓 苇蟻纬蠅谓 蟿慰蠀 魏伪胃蠋蟼 魏伪喂 蟽蟿伪 蟺蟻蠋蟿伪 蟺位萎蟻蠅蟼 蟿蟻喂蟽未喂维蟽蟿伪蟿伪 纬位蠀蟺蟿维 蟿慰蠀.
螖蠉慰 蟺伪蟻维纬慰谓蟿蔚蟼 苇蟺伪喂尉伪谓 蟽蟺慰蠀未伪委慰 蟻蠈位慰 蟽蟿畏谓 蟿蔚蠂谓喂魏萎 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏. 螒蟺蠈 蟿畏 渭委伪 畏 渭蔚位苇蟿畏 蟿蠅谓 伪蟻蠂伪委蠅谓 蟻蠅渭伪蠆魏蠋谓 纬位蠀蟺蟿蠋谓, 蟺慰蠀 蟽蠀蠂谓维 伪谓伪蟽蠉蟻慰谓蟿伪谓 伪蟺蠈 蟿畏谓 纬蠈谓喂渭畏 喂蟿伪位喂魏萎 纬畏 魏伪喂 魏慰蟽渭慰蠉蟽伪谓 蟿喂蟼 伪蠀位苇蟼 蟿蠅谓 蔚蠀纬蔚谓蠋谓 魏伪喂 蟺位慰蠀蟽委蠅谓, 魏伪喂 畏 渭蔚位苇蟿畏 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 伪谓伪蟿慰渭委伪蟼 鈥� 蟿畏谓 慰蟺慰委伪 蟽蟺慰蠉未伪蟽蔚 蟽蟿伪 魏蟻蠀蠁维, 蟽蟿慰 渭慰谓伪蟽蟿萎蟻喂 蟿慰蠀 Santo Spirito, 蟿慰 慰蟺慰委慰 位蔚喂蟿慰蠀蟻纬慰蠉蟽蔚 魏伪喂 蠅蟼 谓慰蟽慰魏慰渭蔚委慰, 渭蔚 蟿畏 尾慰萎胃蔚喂伪 蟿慰蠀 畏纬慰蠉渭蔚谓慰蠀 Bichiellini. 韦伪 纬位蠀蟺蟿维 蟿慰蠀 苇蟽蠁蠀味伪谓 伪蟺蠈 味蠅萎 魏伪喂 伪谓伪蟺伪蟻喂蟽蟿慰蠉蟽伪谓 蟿慰 伪谓未蟻喂魏蠈 蟽蠋渭伪 蟽蟿畏谓 蟺伪蟻伪渭喂魏蟻萎 蟿慰蠀 位蔚蟺蟿慰渭苇蟻蔚喂伪.
韦慰 伪谓未蟻喂魏蠈 蟽蠋渭伪 伪蟺慰蟿蔚位蔚委 纬喂伪 蟿慰谓 魏伪位位喂蟿苇蠂谓畏 苇谓伪 伪谓蟿喂魏蔚委渭蔚谓慰 位伪蟿蟻蔚委伪蟼. 螣 Irving Stone 未蔚谓 蔚蟽蟿喂维味蔚喂 蟽蠂蔚未蠈谓 魏伪胃蠈位慰蠀 蟽蟿慰蠀蟼 慰渭慰蠁蠀位慰蠁喂位喂魏慰蠉蟼 苇蟻蠅蟿蔚蟼 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏, 蟽蟿畏谓 慰蠀蟽委伪 蟿慰蠀蟼 蟺伪蟻伪尾位苇蟺蔚喂 蟽蔚 尾伪胃渭蠈 蟺慰蠀 谓伪 蟽蟿蔚蟻蔚委蟿伪喂 苇谓伪 蟽畏渭伪谓蟿喂魏蠈蟿伪蟿慰 蔚蟻渭畏谓蔚蠀蟿喂魏蠈 魏位蔚喂未委 纬喂伪 蟿畏谓 魏伪蟿伪谓蠈畏蟽畏 蟿慰蠀 苇蟻纬慰蠀 蟿慰蠀. 螕喂伪 谓伪 位苇渭蔚 蟿伪 蟺蟻维纬渭伪蟿伪 渭蔚 蟿慰 蠈谓慰渭维 蟿慰蠀蟼. 螣 Michelangelo 苇魏伪谓蔚 苇蟻蠅蟿伪 渭蔚 谓蔚伪蟻慰蠉蟼 维谓未蟻蔚蟼, 蟿慰 慰渭慰位慰纬蔚委 维位位蠅蟽蟿蔚 魏伪喂 蟽蟿伪 蟺慰喂萎渭伪蟿维 蟿慰蠀 (蟿慰 纬谓蠅蟻委味慰蠀谓 维位位蠅蟽蟿蔚 魏伪喂 慰喂 蟽蠉纬蠂蟻慰谓慰委 蟿慰蠀 鈥� 尾位苇蟺蔚 位委尾蔚位慰 蟿慰蠀 Pietro Aretino):
La carne terra, e qui l'ossa mia, prive
de' lor begli occhi, e del leggiadro aspetto
fan fede a quel ch'i' fu grazia nel letto,
che abbracciava, e' n che l'anima vive.
韦蠋蟻伪 畏 蟽维蟻魏伪 苇纬喂谓蔚 蠂蠋渭伪, 魏喂 蔚未蠋 蟿伪 魏蠈魏魏伪位维 渭慰蠀,
蟽蟿蔚蟻畏渭苇谓伪 伪蟺蠈 蟿伪 蠈渭慰蟻蠁维 蟿慰蠀 渭维蟿喂伪 魏伪喂 蟿畏谓 蠅蟻伪委伪 渭慰蟻蠁萎 蟿慰蠀
蟺伪蟻伪渭苇谓慰蠀谓 蟺喂蟽蟿维 蟽蔚 伪蠀蟿蠈谓 蟺慰蠀 伪蟺慰位维渭尾伪谓伪 渭伪味委 蟿慰蠀 谓伪 蟺位伪纬喂维味蠅
蟽蔚 蔚魏蔚委谓慰谓 蟺慰蠀 伪纬魏维位喂伪味伪 魏伪喂 渭苇蟽伪 蟽蟿慰谓 慰蟺慰委慰 蟿蠋蟻伪 味蔚喂 畏 蠄蠀蠂萎 渭慰蠀.
(蟺慰委畏渭伪 蟿慰蠀 Michelangelo 纬喂伪 蟿慰谓 胃维谓伪蟿慰 蟿慰蠀 伪纬伪蟺畏渭苇谓慰蠀 蔚蟻伪蟽蟿萎 蟿慰蠀, Cecchino dei Bracci).
危蔚 渭喂伪 蔚蟺慰蠂萎 蠈蟺慰蠀 蟿慰 蠁维蟽渭伪 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蟽蔚尉慰蠀伪位喂魏蠈蟿畏蟿伪蟼 蟺蔚蟻喂慰蟻喂味蠈蟿伪谓 伪蟽蠁蠀魏蟿喂魏维 伪蟺蠈 蟿慰谓 蟺伪蟿蟻喂伪蟻蠂喂魏蠈 蔚蟿蔚蟻慰蟽蔚尉慰蠀伪位喂魏蠈 蟺蟻慰蟽伪谓伪蟿慰位喂蟽渭蠈 魏伪喂 蟿喂蟼 蟺蔚蟻委 蟽慰未慰渭委伪蟼 蔚魏魏位畏蟽喂伪蟽蟿喂魏苇蟼 未喂未伪蟽魏伪位委蔚蟼 蔚委谓伪喂 位慰纬喂魏蠈 蠈位慰喂 慰喂 蟺蠈胃慰喂 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏 谓伪 未喂慰蠂蔚蟿蔚蠉慰谓蟿伪喂 渭苇蟽伪 蟽蟿畏谓 伪蟺蔚喂魏蠈谓喂蟽畏 蟿慰蠀 喂未蔚蠋未慰蠀蟼 伪谓未蟻喂魏慰蠉 魏慰蟻渭喂慰蠉, 蟿慰 慰蟺慰委慰 蠂蟻畏蟽喂渭蔚蠉蔚喂 蠅蟼 渭慰谓蟿苇位慰 纬喂伪 蠈位蔚蟼 蟿喂蟼 渭慰蟻蠁苇蟼, 蔚委蟿蔚 蔚委谓伪喂 伪谓未蟻喂魏苇蟼 蔚委蟿蔚 蔚委谓伪喂 纬蠀谓伪喂魏蔚委蔚蟼. 螆蟿蟽喂 蟽蟿慰 Doni Tondo (蟺委谓伪魏伪蟼 蟺慰蠀 蔚喂魏慰谓委味蔚喂 蟿畏谓 螒纬委伪 螣喂魏慰纬苇谓蔚喂伪) 畏 螤伪谓伪纬委伪 蔚喂魏慰谓委味蔚蟿伪喂 蠅蟼 苇谓伪 纬蔚蟻慰未蔚渭苇谓慰 伪纬蠈蟻喂 渭蔚 蟽蟿喂尾伪蟻维 渭蟺蟻维蟿蟽伪, 蟽蟿畏谓 Sagrestia Nuova 慰喂 渭伪蟽蟿慰委 蟿蠅谓 纬蠀谓伪喂魏蔚委蠅谓 纬位蠀蟺蟿蠋谓 渭慰喂维味慰蠀谓 蟽蟿畏谓 魏蠀蟻喂慰位蔚尉委伪 魏慰位位畏渭苇谓慰喂 蔚蟺维谓蠅 蟽蔚 伪谓未蟻喂魏维 蟽蠋渭伪蟿伪, 蔚谓蠋 未喂伪魏慰蟽渭蔚委 蟿畏谓 慰蟻慰蠁萎 蟿畏蟼 Cappella Sistina 渭蔚 苇谓伪 蟺位萎胃慰蟼 伪谓未蟻喂魏蠋谓 纬蠀渭谓蠋谓 纬谓蠅蟽蟿蠋谓 蠅蟼 Ignudi.
螤苇蟻伪 伪蟺蠈 蟿畏 纬位蠀蟺蟿喂魏萎, 蟿畏 味蠅纬蟻伪蠁喂魏萎 魏伪喂 蟿畏谓 蟺慰委畏蟽畏 慰 Michelangelo 伪蟽蠂慰位萎胃畏魏蔚 蔚蟺委蟽畏蟼 渭蔚 苇蟻纬伪 慰未慰蟺慰喂委伪蟼, 慰蠂蠀蟻蠋蟽蔚蠅谓 魏伪喂 伪蟻蠂喂蟿蔚魏蟿慰谓喂魏萎蟼. 螤伪蟻苇渭蔚喂谓蔚 蠀蟺蔚蟻未蟻伪蟽蟿萎蟻喂慰蟼 魏伪喂 未畏渭喂慰蠀蟻纬喂魏蠈蟼 蠅蟼 蟿慰 蟿苇位慰蟼 蟿畏蟼 味蠅萎蟼 蟿慰蠀, 伪位位维 伪魏蟻喂尾蠋蟼 伪蠀蟿萎 畏 蠀蟺蔚蟻伪蟺伪蟽蠂蠈位畏蟽畏 魏伪喂 畏 蔚渭渭慰谓萎 蟿慰蠀 谓伪 蔚蟻纬维味蔚蟿伪喂 蟺蟻蠅蟿委蟽蟿蠅蟼 慰 委未喂慰蟼 蔚蟺维谓蠅 蟽蟿伪 苇蟻纬伪 蟿慰蠀, 伪蠁萎谓慰谓蟿伪蟼 蔚位维蠂喂蟽蟿伪 蟽蟿畏谓 蔚蟺喂渭苇位蔚喂伪 蟿蠅谓 尾慰畏胃蠋谓 蟿慰蠀, 萎蟿伪谓 蔚尉伪喂蟻蔚蟿喂魏维 蠂蟻慰谓慰尾蠈蟻伪 魏伪喂 蔚委蠂蔚 蠅蟼 伪蟺慰蟿苇位蔚蟽渭伪 谓伪 伪蠁萎蟽蔚喂 蟺委蟽蠅 蟿慰蠀 蟺慰位位维 畏渭喂蟿蔚位萎 苇蟻纬伪, 蟿伪 慰蟺慰委伪 蠅蟽蟿蠈蟽慰, 伪魏蠈渭伪 魏喂 苇蟿蟽喂 苇蠂慰蠀谓 魏维蟿喂 蟿慰 渭蔚纬伪位蔚喂蠋未蔚蟼 (蟺蠂 尾位苇蟺蔚 Piet脿 Rondanini 蟿慰 蟿蔚位蔚蠀蟿伪委慰 苇蟻纬慰 蟺慰蠀 未慰蠉位蔚蠀蔚 渭苇蠂蟻喂 苇尉喂 畏渭苇蟻蔚蟼 蟺蟻喂谓 蟿慰谓 胃维谓伪蟿蠈 蟿慰蠀). 螇胃蔚位蔚 谓伪 慰位慰魏位畏蟻蠋蟽蔚喂 蟿慰 苇蟻纬慰 蟿慰蠀 蟺蟻喂谓 蔚蟺喂蟿蟻苇蠄蔚喂 蟽蟿慰蠀蟼 蠀蟺蠈位慰喂蟺慰蠀蟼 谓伪 蟿慰 渭蔚位蔚蟿萎蟽慰蠀谓 纬喂鈥� 伪蠀蟿蠈 萎蟿伪谓 喂未喂伪委蟿蔚蟻伪 渭蠀蟽蟿喂魏慰蟺伪胃萎蟼 魏伪喂 伪蟺蔚蠂胃伪谓蠈蟿伪谓 蟿畏谓 喂未苇伪 谓伪 未喂伪蟻蟻蔚蠉蟽蔚喂 魏维蟿喂 蠂蠅蟻委蟼 蟿畏谓 苇纬魏蟻喂蟽萎 蟿慰蠀.
螤蔚喂蟽渭伪蟿维蟻畏蟼 魏伪喂 蔚蟺委渭慰谓慰蟼 蟽蠀纬魏蟻慰蠉蟽蟿畏魏蔚 渭蔚 维位位蔚蟼 蟽蟺慰蠀未伪委蔚蟼 魏伪位位喂蟿蔚蠂谓喂魏苇蟼 渭慰蟻蠁苇蟼 蟿畏谓 蔚蟺慰蠂萎蟼 蟿慰蠀, 蠈蟺蠅蟼 渭蔚 蟿慰谓 Leonardo da Vinci (慰喂 未蠀慰 胃蟻蠀位喂魏苇蟼, 蟺位苇慰谓 蠂伪渭苇谓蔚蟼, 蟿慰喂蠂慰纬蟻伪蠁委蔚蟼 蟽蟿慰 Palazzo Vecchio 蟿畏蟼 桅位蠅蟻蔚谓蟿委伪蟼 蔚委谓伪喂 蟿慰 伪蟺慰魏慰蟻蠉蠁蠅渭伪 蟿慰蠀 伪谓蟿伪纬蠅谓喂蟽渭慰蠉 蟿慰蠀蟼) 魏伪喂 蟿慰谓 Raphael. 螤维蟿蟻蠅谓苇蟼 蟿慰蠀 魏伪喂 蠂蟻畏渭伪蟿慰未蠈蟿蔚蟼 蟿慰蠀 萎蟿伪谓 蟺蟻蠅蟿委蟽蟿蠅蟼 畏 蟺慰位喂蟿蔚委伪 蟿畏蟼 桅位蠅蟻蔚谓蟿委伪蟼 魏伪喂 慰喂 蟺维蟺蔚蟼 蟿畏蟼 巍蠋渭畏蟼 渭蔚 蟿慰蠀蟼 慰蟺慰委慰蠀蟼 蔚蟺委蟽畏蟼 蟽蠀纬魏蟻慰蠉蟽蟿畏魏蔚 蟽蟿畏谓 蟺蟻慰蟽蟺维胃蔚喂维 蟿慰蠀 谓伪 蔚蟺喂尾位畏胃蔚委 蠅蟼 未畏渭喂慰蠀蟻纬蠈蟼 未喂蔚魏未喂魏蠋谓蟿伪蟼 蟽蔚尾伪蟽渭蠈 魏伪喂 喂魏伪谓慰蟺慰喂畏蟿喂魏苇蟼 伪渭慰喂尾苇蟼. 螖蔚谓 蟺伪谓蟿蟻蔚蠉蟿畏魏蔚 蟺慰蟿苇, 蠅蟽蟿蠈蟽慰 蟺伪蟻苇渭蔚喂谓蔚 伪蠁慰蟽喂蠅渭苇谓慰蟼 蟽蟿慰谓 蟺伪蟿苇蟻伪 魏伪喂 蟿伪 伪未苇蟻蠁喂伪 蟿慰蠀 蟺伪蟻维 蟿喂蟼 蟺慰位位苇蟼 未喂伪蠁蠅谓委蔚蟼 魏伪喂 蟺蟻慰蟽蟿蟻喂尾苇蟼 蟺慰蠀 蔚委蠂蔚 渭伪味委 蟿慰蠀蟼. 危蟿畏谓 畏位喂魏委伪 蟿蠅谓 蔚尉萎谓蟿伪 蔚蟿蠋谓 蟽蠀谓未苇胃畏魏蔚 渭蔚 尾伪胃喂维 蠁喂位委伪 渭蔚 蟿畏谓 未喂伪谓慰慰蠉渭蔚谓畏 蟺慰喂萎蟿蟻喂伪 Vittoria Colonna, 畏 慰蟺慰委伪 伪蟺慰蟿苇位蔚蟽蔚 纬喂鈥� 伪蠀蟿蠈谓 蟺畏纬萎 苇渭蟺谓蔚蠀蟽畏蟼.
螣 Michelangelo Buonarroti 蟽蠀谓苇尾伪位位蔚 蟽蟿畏谓 伪蠁蠉蟺谓喂蟽畏 蟿慰蠀 未蠀蟿喂魏慰蠉 蟺慰位喂蟿喂蟽渭慰蠉 苇蟺蔚喂蟿伪 伪蟺蠈 苇谓伪谓 位萎胃伪蟻纬慰 伪喂蠋谓蠅谓. 螇蟿伪谓 苇谓伪蟼 伪蟺蠈 蔚魏蔚委谓慰蠀蟼 蟺慰蠀 蟽蠀谓苇未蔚蟽伪谓 蟿伪 尉蔚蠂伪蟽渭苇谓伪 蔚蟺喂蟿蔚蠉纬渭伪蟿伪 蟿畏蟼 伪蟻蠂伪喂蠈蟿畏蟿伪蟼 渭蔚 蟿慰 蟺伪蟻蠈谓 蟿畏蟼 蔚蟺慰蠂萎蟼 蟿慰蠀. 螣 蟽蠉纬蠂蟻慰谓慰蟼 魏蠈蟽渭慰蟼, 畏 蔚蟺慰蠂萎 渭伪蟼 蠈蟺蠅蟼 蟿畏 味慰蠉渭蔚 蟽萎渭蔚蟻伪, 未蔚谓 胃伪 萎蟿伪谓 委未喂伪 伪谓 未蔚谓 苇蠁蔚蟻伪谓 蟿畏谓 蠀蟺慰纬蟻伪蠁萎 伪谓胃蟻蠋蟺蠅谓 蟿慰蠀 未喂魏慰蠉 蟿慰蠀 渭蔚纬苇胃慰蠀蟼:
Michaelangelus Bonarotus Florent(inus) Faciebat.
螒谓 蟽伪蟼 蔚谓未喂伪蠁苇蟻蔚喂 谓伪 未蔚委蟿蔚 蟿伪 魏蠀蟻喂蠈蟿蔚蟻伪 苇蟻纬伪 蟿慰蠀 魏伪位位喂蟿苇蠂谓畏:
...
螒魏慰位慰蠀胃蠋谓蟿伪蟼 蟿慰蠀蟼 蠀蟺蔚蟻蟽蠀谓未苇蟽渭慰蠀蟼 魏伪喂 蟺伪蟿蠋谓蟿伪蟼 蔚蟺维谓蠅 蟽蟿畏谓 蔚魏维蟽蟿慰蟿蔚 蠁蠅蟿慰纬蟻伪蠁委伪 伪谓慰委纬蔚喂 谓苇慰 蟺伪蟻维胃蠀蟻慰 渭蔚 未喂维蠁慰蟻蔚蟼 蔚蟺喂位慰纬苇蟼 伪谓维位蠀蟽畏蟼 伪蟺蠈 25 苇蠅蟼 200% ).
December 20, 2021
Irving Stone's The Agony and the Ecstasy was a magnificent literary biographical novel of the renowned and beloved artist Michelangelo. It beautifully details the complexity, not only of the man, but a lifetime of his works, including the many and famous sculptures from Carrara marble, paintings, frescos and architecture, not only in Florence, but in Bologna and Rome. Michelangelo's large body of work included his iconic sculptures of David and the Pieta. Although he preferred other forms of artistic expression over painting, some of his most famous frescos include the beautiful ceiling in the Sistine Chapel as well as The Last Judgment on the altar wall. At the age of 74, Michelangelo became the architect of St. Peter's Basilica that occupied the remainder of his life. He worked on models of the dome he envisioned over the nave of St. Peter's so it could be completed after his death. I loved this book and I'm looking forward to another trip to Italy to once again enjoy these timeless artistic works of Michelangelo, but this time with a much greater understanding, appreciation and awe of the artist.
"White marble was the heart of the universe, the purest substance created by God; not merely a symbol of God but a portrait, God's way of manifesting himself. Only a divine hand could create such noble beauty. He felt himself a part of the white purity before him, felt its integrity as though it were his own."
"Art for me is a torment, grievous when it goes bad, ecstatic when it goes well; but always it possesses me. When I have finished with a day of work I am a husk. Everything that was inside of me is now inside the marble or fresco. That is why I have nothing to give elsewhere."
"Every work of art is a self-portrait. They have tremendous emotional impact; it's as though I must project myself into their unfinished forms, complete them by my own thinking and feeling."
". . . he was content. He had come into the autumn of his life: a man has his seasons, even as had the earth. Was the harvesting of autumn less important than the seeding of spring? Each without the other was meaningless."
"St. Peter's . . . He entered the church through its front portal, walked in the strong Roman sunshine down the wide nave, stood below the center of the dome, just over the tomb of St. Peter. He felt his soul leave his body, rise upward into the dome, becoming part of it: part of space, of time, of heaven and of God."
"White marble was the heart of the universe, the purest substance created by God; not merely a symbol of God but a portrait, God's way of manifesting himself. Only a divine hand could create such noble beauty. He felt himself a part of the white purity before him, felt its integrity as though it were his own."
"Art for me is a torment, grievous when it goes bad, ecstatic when it goes well; but always it possesses me. When I have finished with a day of work I am a husk. Everything that was inside of me is now inside the marble or fresco. That is why I have nothing to give elsewhere."
"Every work of art is a self-portrait. They have tremendous emotional impact; it's as though I must project myself into their unfinished forms, complete them by my own thinking and feeling."
". . . he was content. He had come into the autumn of his life: a man has his seasons, even as had the earth. Was the harvesting of autumn less important than the seeding of spring? Each without the other was meaningless."
"St. Peter's . . . He entered the church through its front portal, walked in the strong Roman sunshine down the wide nave, stood below the center of the dome, just over the tomb of St. Peter. He felt his soul leave his body, rise upward into the dome, becoming part of it: part of space, of time, of heaven and of God."
February 3, 2023
I discovered this Irving Stone title in high school many many years ago, but I had not read the book again since then so it was fresh, new, and incredibly stunning for me. We meet Michelangelo when he is thirteen, and follow him through his almost tortured life until he dies at age 88. In between we see him become an Artist like no other before or since. We learn Art History, Italian History, Vatican History, and meet an incredible number of Popes, all of whom keep Michelangelo on a short leash. I can only imagine what he could have created if he had been allowed to concentrate on the marble the way he so intensely desired to do.
But every Pope, from Julius II to Pius IV, expected Michelangelo to create specific projects just for them. For example, he never wanted to paint the Sistine Chapel, he was ordered to do that job, with the promise that when he was done he could return to his sculpture. He could easily have given less than 100% of himself to the work, but Michelangelo was a true artist. Plus he also knew that He was a victim of his own integrity, which forced him to do his best, even when he would have preferred to do nothing at all. So he created a treasure for the ages. And did so every time he was forced away from his one true passion: working the marble.
My reading of the book this time was enriched by keeping my laptop nearby and referring to it frequently. I researched artists whose work influenced Michelangelo such as Donatello, whose bronze David left our young artist speechless when he first saw it. I would stop reading many times just to examine the pictures of Michelangelo's works. Stone has frequent passages describing the thought process as Michelangelo developed his ideas for each piece, then the physical act of creation, where man and stone seemed to merge. (Although I have to admit that the author's descriptions of the actual sculpting did seem a bit over the top. I can understand the creation metaphors, but Stone's intensely sexual language in these sections felt more than a little creepy.) But the point is that to go from the printed page to a computer image of the piece was amazing, and helped me appreciate the details of the artwork, Michelangelo's genius, and even my computer better than ever.
And just think, Michelangelo was not a big burly man, the kind I have always imagined a sculptor to be. He wasn't even a tall, thin man like Charlton Heston, who played the role in the movie of this book.
Michelangelo was only five feet four inches tall, and when working obsessively (the only way he knew how) he weighed less than 100 pounds of pure muscle and will power by the time he was finished. And yet, he was a true giant of his era and for all time.
But every Pope, from Julius II to Pius IV, expected Michelangelo to create specific projects just for them. For example, he never wanted to paint the Sistine Chapel, he was ordered to do that job, with the promise that when he was done he could return to his sculpture. He could easily have given less than 100% of himself to the work, but Michelangelo was a true artist. Plus he also knew that He was a victim of his own integrity, which forced him to do his best, even when he would have preferred to do nothing at all. So he created a treasure for the ages. And did so every time he was forced away from his one true passion: working the marble.
My reading of the book this time was enriched by keeping my laptop nearby and referring to it frequently. I researched artists whose work influenced Michelangelo such as Donatello, whose bronze David left our young artist speechless when he first saw it. I would stop reading many times just to examine the pictures of Michelangelo's works. Stone has frequent passages describing the thought process as Michelangelo developed his ideas for each piece, then the physical act of creation, where man and stone seemed to merge. (Although I have to admit that the author's descriptions of the actual sculpting did seem a bit over the top. I can understand the creation metaphors, but Stone's intensely sexual language in these sections felt more than a little creepy.) But the point is that to go from the printed page to a computer image of the piece was amazing, and helped me appreciate the details of the artwork, Michelangelo's genius, and even my computer better than ever.
And just think, Michelangelo was not a big burly man, the kind I have always imagined a sculptor to be. He wasn't even a tall, thin man like Charlton Heston, who played the role in the movie of this book.
Michelangelo was only five feet four inches tall, and when working obsessively (the only way he knew how) he weighed less than 100 pounds of pure muscle and will power by the time he was finished. And yet, he was a true giant of his era and for all time.
July 5, 2019
I took delight in the legend, I cherished just as much the reality. A remarkable, wonderful and true story-telling about Agony and Ecstasy. And, to the same extent, I liked the constant striving to split up from the existence of this demiurge the exact detail from the legend itself.
And yet, however impressive is in its proportions the list of titles of books dedicated to the life and creation work of the great Florentine artist, despite researches and although numerous papers have been brought out to light in the nearly five centuries that separate us from his death, we cannot help looking with astonishment at the personality of the one who is gloriously identified with the era of passion and of striving to the truth, which is the Renaissance.
The legend perhaps took birth on that day of September 19, 1510, when Pope Julius II commanded to take down the scaffolding from the Sistine Chapel. To the frightful eyes of those present it was revealed a real struggle of the man and the universe. His creation, the unravelling of the elements from the primordial chaos, the first encounter of shadow and light, the first gesture of man, worn and pained, a whole tragic epopee: this is what brought Michelangelo from the biblical legend and the gift of his time. Not only the bodies of men were tailored down to new canons, healthy and powerful bodies, dominating in a glorious strain the whole scene of Genesis. The inner dimensions of this new god - the man, the creator of the world, were of greatness that surpassed that of ancient or biblical divinities.
A supreme homage to the human personality, the fresco on the Sistine vault was a moment full of significance in the history of the Renaissance. It elevates a passionate hymn of pure, magnificent human beauty ... The artist was confused, even by his contemporaries, with his work, thus becoming a mythical hero. His creation is overwhelming, so the rather short and frail man began to resemble his characters, and crossed the time being represented in the posterity consciousness with a healthy and high athlete, with large shoulders, resembling his Moses and David, and not as Nicodim the short and with crooked nose, the self-portrait of Pieta from Florence. This is undoubtedly a side aspect: the legend of Michelangelo encompassed not only life, but also part of his work.
Irving Stone sought to restore the truth in the most eloquent circumstances of a life of agony and ecstasy. Agony in the original sense of the word, that is of battle, that Milton once used to portray another titan, Samson Agonistes.
As for the sources of Michelangelo's creation, interpretations of its meanings, the writer sometimes inclines (which, after all, is normal within the genre chosen by Stone) to more spectacular solutions. It is tempting, for example, to speak for such a tumultuous, passionate personality about the breaking of any bridge between his creation work and the older traditions. And, since most of the artist's work famous researchers have contributed to the prolongation of the legend, to the preservation of this myth of Michelangelo's existence, or even to some imprecision in the appreciation of his work, it is equally understood that an author of romantic biographies, such is Irving Stone, could not afford to give up the charming pages that such an occasion could have provided him with.
The ideal of the artist approaches that of Donatello, rejecting the picturesque and gentle in the art of his first master Ghirlandaio. It has Giovanni Bertoldo as master of the art of sculpture, who was Donatello's apprentice. Along with the modest Bertoldo, his 15th-century masters will be the sculptors of the Greek and Roman antiquities, whose works will have the opportunity to contemplate them in the gardens of Lorenzo de 'Medici. From this happy meeting, led by the scholars gathered around Magnifico, the first works of Michelangelo appeared.
Angelo Poliziano, the Florentine humanist, urged him to carve a "Fight of the Centaurs", a subject detached from the friezes of the ancient Greek temples. There was the meeting of the young artist with Plato's ideas, a meeting where, in the footsteps of famous celebrities of Michelangelo, Irving Stone was referring. The remark is old, it was made by Vasari and Condivi, sculptor's contemporary biographers.
At Michelangelo, tragic comes from the very condition of man, wrapped in a hostile destiny, while his thirst is heading for liberation from the chains in which he is locked by stronger powers than himself. The theme of human suffering as a pained whirlwind crossed the entire work of the Titan. The "dying slave" is a symbol of this Renaissance period illustrated by Michelangelo. The resignation of the saint Sebastian, pierced by the arrows, is otherwise interpreted in the sculpture of 1512. Even though he is not trying to free himself from the chains, a tragic impulse is revealed in the attitude of the one who is destined to death.
Michelangelo has not lived, like Rafael, the serenity of his creation. For him, the ultimate act of releasing the idea from the cover of the stone, the bold flight of thought, often means suffering and sadness. His artistic ideal planted in direct participation in the people's aspirations of his time, was too high for his works, which we are seeing today with silent tingles, have meant something other than steps cut into a hard stone, in the dazzling way to the supreme majesty. He had once dreamed of sculpting an entire mountain, and so even the dome of St. Peter's Cathedral was just a small work of what Michelangelo's genius knew. His despair, embodied in the allegorical statues from Giuliano and Lorenzo's graves, Lorenzo Magnifico's son and nephew, is dominated by the statue of the Thinker, that symbol of victorious reason, which, like the ancient Minerva, carries the fighter helmet.
In Michelangelo's youthful sculpture - David - who defended the freedom of his people, looks stoutly, with an incomparable dignity to his enemy, same as often has seen his enemies throughout whole life Michelangelo himself.
Often, his art has caused him unimaginable physical pain. Followed by the obsession of his own physical ugliness, with his nose deformed by that barbarian blow that made Torrigiani's colleague more famous than his few sculptures in Spain, Michelangelo suffered horribly on the scaffolding of Sistine.
Irving Stone sometimes talks about Michelangelo's creation - as did, especially in the last decades, other commentaries - as an expression of mystic ecstasy. A personalist mystique that would raise to the surface from the turbulent depths of the subconscious images in which the artist recognizes, shattering, a sign that he is chosen to speak in the name of supreme forces. That's what Freud and Merejkovski thought about da Vinci.
Michelangelo is, like all the great creators of his time, a rationalist. Human thinking is, in his opinion, the only force able to uncover nature and man.
Michelangelo's personality is Faustian. Not only in the sense of the untiring search for the truth, the supreme truth, the cosmic, and the human truth; but also in the sense of love for human activity, carried out on multiple plans.
Perhaps, at the time of his death, on that February 1564, Michelangelo, looking at the amazing work he produced during his long life, could have whispered, "Stop, moment, you are so beautiful!"
And yet, however impressive is in its proportions the list of titles of books dedicated to the life and creation work of the great Florentine artist, despite researches and although numerous papers have been brought out to light in the nearly five centuries that separate us from his death, we cannot help looking with astonishment at the personality of the one who is gloriously identified with the era of passion and of striving to the truth, which is the Renaissance.
The legend perhaps took birth on that day of September 19, 1510, when Pope Julius II commanded to take down the scaffolding from the Sistine Chapel. To the frightful eyes of those present it was revealed a real struggle of the man and the universe. His creation, the unravelling of the elements from the primordial chaos, the first encounter of shadow and light, the first gesture of man, worn and pained, a whole tragic epopee: this is what brought Michelangelo from the biblical legend and the gift of his time. Not only the bodies of men were tailored down to new canons, healthy and powerful bodies, dominating in a glorious strain the whole scene of Genesis. The inner dimensions of this new god - the man, the creator of the world, were of greatness that surpassed that of ancient or biblical divinities.
A supreme homage to the human personality, the fresco on the Sistine vault was a moment full of significance in the history of the Renaissance. It elevates a passionate hymn of pure, magnificent human beauty ... The artist was confused, even by his contemporaries, with his work, thus becoming a mythical hero. His creation is overwhelming, so the rather short and frail man began to resemble his characters, and crossed the time being represented in the posterity consciousness with a healthy and high athlete, with large shoulders, resembling his Moses and David, and not as Nicodim the short and with crooked nose, the self-portrait of Pieta from Florence. This is undoubtedly a side aspect: the legend of Michelangelo encompassed not only life, but also part of his work.
Irving Stone sought to restore the truth in the most eloquent circumstances of a life of agony and ecstasy. Agony in the original sense of the word, that is of battle, that Milton once used to portray another titan, Samson Agonistes.
As for the sources of Michelangelo's creation, interpretations of its meanings, the writer sometimes inclines (which, after all, is normal within the genre chosen by Stone) to more spectacular solutions. It is tempting, for example, to speak for such a tumultuous, passionate personality about the breaking of any bridge between his creation work and the older traditions. And, since most of the artist's work famous researchers have contributed to the prolongation of the legend, to the preservation of this myth of Michelangelo's existence, or even to some imprecision in the appreciation of his work, it is equally understood that an author of romantic biographies, such is Irving Stone, could not afford to give up the charming pages that such an occasion could have provided him with.
The ideal of the artist approaches that of Donatello, rejecting the picturesque and gentle in the art of his first master Ghirlandaio. It has Giovanni Bertoldo as master of the art of sculpture, who was Donatello's apprentice. Along with the modest Bertoldo, his 15th-century masters will be the sculptors of the Greek and Roman antiquities, whose works will have the opportunity to contemplate them in the gardens of Lorenzo de 'Medici. From this happy meeting, led by the scholars gathered around Magnifico, the first works of Michelangelo appeared.
Angelo Poliziano, the Florentine humanist, urged him to carve a "Fight of the Centaurs", a subject detached from the friezes of the ancient Greek temples. There was the meeting of the young artist with Plato's ideas, a meeting where, in the footsteps of famous celebrities of Michelangelo, Irving Stone was referring. The remark is old, it was made by Vasari and Condivi, sculptor's contemporary biographers.
At Michelangelo, tragic comes from the very condition of man, wrapped in a hostile destiny, while his thirst is heading for liberation from the chains in which he is locked by stronger powers than himself. The theme of human suffering as a pained whirlwind crossed the entire work of the Titan. The "dying slave" is a symbol of this Renaissance period illustrated by Michelangelo. The resignation of the saint Sebastian, pierced by the arrows, is otherwise interpreted in the sculpture of 1512. Even though he is not trying to free himself from the chains, a tragic impulse is revealed in the attitude of the one who is destined to death.
Michelangelo has not lived, like Rafael, the serenity of his creation. For him, the ultimate act of releasing the idea from the cover of the stone, the bold flight of thought, often means suffering and sadness. His artistic ideal planted in direct participation in the people's aspirations of his time, was too high for his works, which we are seeing today with silent tingles, have meant something other than steps cut into a hard stone, in the dazzling way to the supreme majesty. He had once dreamed of sculpting an entire mountain, and so even the dome of St. Peter's Cathedral was just a small work of what Michelangelo's genius knew. His despair, embodied in the allegorical statues from Giuliano and Lorenzo's graves, Lorenzo Magnifico's son and nephew, is dominated by the statue of the Thinker, that symbol of victorious reason, which, like the ancient Minerva, carries the fighter helmet.
In Michelangelo's youthful sculpture - David - who defended the freedom of his people, looks stoutly, with an incomparable dignity to his enemy, same as often has seen his enemies throughout whole life Michelangelo himself.
Often, his art has caused him unimaginable physical pain. Followed by the obsession of his own physical ugliness, with his nose deformed by that barbarian blow that made Torrigiani's colleague more famous than his few sculptures in Spain, Michelangelo suffered horribly on the scaffolding of Sistine.
Irving Stone sometimes talks about Michelangelo's creation - as did, especially in the last decades, other commentaries - as an expression of mystic ecstasy. A personalist mystique that would raise to the surface from the turbulent depths of the subconscious images in which the artist recognizes, shattering, a sign that he is chosen to speak in the name of supreme forces. That's what Freud and Merejkovski thought about da Vinci.
Michelangelo is, like all the great creators of his time, a rationalist. Human thinking is, in his opinion, the only force able to uncover nature and man.
Michelangelo's personality is Faustian. Not only in the sense of the untiring search for the truth, the supreme truth, the cosmic, and the human truth; but also in the sense of love for human activity, carried out on multiple plans.
Perhaps, at the time of his death, on that February 1564, Michelangelo, looking at the amazing work he produced during his long life, could have whispered, "Stop, moment, you are so beautiful!"
June 22, 2023
鄞 噩賱丿貙 郾鄄酃郾 氐賮丨賴 亘丕賱丕禺乇賴 鬲賲賵賲 卮丿!
鄞.鄣 丕夭 鄣
芦賵 丕诏乇 賮賯胤 亘賴 賲賵乇丿 倬匕蹖乇卮 賯乇丕乇 诏乇賮鬲賳 讴丕乇 禺賵蹖卮 丕夭 噩丕賳亘 丿蹖诏乇丕賳 禺卮賳賵丿 賲蹖卮丿 趩賴 趩蹖夭蹖 丕夭 丕賵 賲蹖賲丕賳丿責禄
鄞.鄣 丕夭 鄣
芦賵 丕诏乇 賮賯胤 亘賴 賲賵乇丿 倬匕蹖乇卮 賯乇丕乇 诏乇賮鬲賳 讴丕乇 禺賵蹖卮 丕夭 噩丕賳亘 丿蹖诏乇丕賳 禺卮賳賵丿 賲蹖卮丿 趩賴 趩蹖夭蹖 丕夭 丕賵 賲蹖賲丕賳丿責禄
February 25, 2011
Finished: I am giving this 4 out of 5 stars. I learned a lot and this book will push me on to reading more about Italy in the 1500s, more about the Medici, more about the Borgia family, more about the Popes, more about Charles V,the Holy Roman Emperor. History was made VERY interesting. It was not difficult to keep track of the numerous people. It isn't necessary to keep a list of friends, foes, family and Medicis. The reader learns a lot about the internecine religious battles of the times. And of course you learn about Michelangelo. He became very real to me. I really did come to care for him. I admire his passion for sculpture, his determination to do any job, whether he liked it or not, to his best ability. I admire his loyalty to his friends and family. Why not 5 stars? Well that is because the writing style had no magic. It didn't sparkle. You get a history text book, albeit engagingly told.
Through page 551:Previously I said that I was not really drawn into caring about the main characters. That is no longer true. I totally love Michelangelo. Wow, what a guy. My heart bleeds for him.
Through page 501: If the Pope wants you to make a bronze statue, well then you make a bronze statue. If the Pope wants you to paint, what choice do you have but to paint! I admire Michelangelo's attempts to oppose Pope Julius II. And now I finally understand what pushed Michelangelo from marble to painting...... I actually feel sorry for Michelangelo. Also the competition between, Michelangelo and da Vinci was illuminating. The competition and how it was resolved says alot about both artists.
Through page 392: I am just wondering, how does Stone know so much about Michelangelo's thoughts behind each sculpture. For Michelangelo's David it is said:
"For him(Michelangelo), then, it was David's decision (to kill Goliath) that made him a giant, not the (actual) killing of Goliath."
How does Stone know Michelangelo's inner thoughts? Maybe notes at the end will clarify. Probably they are simply plausible conjectures, but I am not so sure I am convinced of their veracity. This is nothing new. An art critic's in-depth analysis often drives me crazy.
Even though I have a critical mind, it doesn't mean I am not enjoying the book.
Through page 336:I love the following quote. Michelangelo has just shown his brother, Buonarroto, his Bacchus statue.His brother's sole reply was to ask if people liked it.
"That was all. Michelangelo observed to himself, 'He doesn't have the faintest notion of what sculpture is about. His only interest is that people approve of what I have done, so that I can be happy, and get more work.....none of which he will ever understand. He is a true Buonarroti, blind to the meaning of art. But he loves me.'"
A good definition of familial love and relationships.
This book is a delightful learning experience, but one does not fall in love with any of the characters. That is OK. What you get from the learning is enough. You respect Michelangelo and admire his dedication.
Through page 293: It is well-known that Michelangelo was a homosexual. It is a bit disturbing that this side of his character is not clearly revealed. If this isn't discussed, what else is missing? THAT is what has been bothering me! His homosexuality is only subtely revealed in the following quote:
"One afternoon Leo asked, 'Wouldn't you like to sketch some women? There are several baths for both sexes in the city walls (Rome), run by prostitutes, but with quite respectable clienteles.'"
Michelangelo replies: "I have no interest in the female form."
"You're summarily dismissing half the figures in the world," answers Leo.
And Michelangelo counters: "Roughly, yes. ....But I find all beauty and structural power in the male. Take a man in any action, jumping, wrestling, throwing a spear, plowing, bend him into any position and the muscles, the distribution of weight and tension, have their symmetry. For me, a woman to be beautiful or exciting must be absolutely still."
Leo jokes, "Perhaps you haven't put them into the proper position."
"Michelangelo smiled. 'Yes, I have. I find it a sight for love but not for sculpture.'"
So far that is as close as one gets to the question of Michelangelo's true sexual appetite. Hmmph! I also find Michelangelo's view irritating!
Another thing I should mention is that the Italian names aren't the easiest to keep straight. Someone recommended making a chart with people, categorizing them as family, Medici, friend or enemmy. This does help, but also add columns for artists, religious and political figures.
Through page 246 of 776: This book does an excellent job of teaching me history about Florence at the end of the 1400s, about the Medici family and about the religious conflicts taking place. This is another book that makes me happy about not being religious. Most importantly it teaches about the strivings of Michelangelo. I am so terribly impressed by his dedication. Sculpture is ALL he can possibly think about. You stand back in awe reading about what he does to learn how to scuplture. Utterly amazing. I am so glad I have seen the Piet脿 in
St. Peter's Cathedral in the Vatican City and the Sistine Chapel's ceiling.... I also really have enjoyed reading about Lorenzo Medici, who was his patron, who took him in as a family member. Lorenzo, perhaps not as outstanding as Cosimo Medici, but still a wonderful leader of Florence. Wonderful b/c he truly loved Florence and did his utmost to promote art and beauty and thinking in the city. I wouldn't say the language is particularly exceptional, but the information is excellent. I really don't like Michelangelo's father - a money grubbing individual who couldn't care less about art! And he sired Michelangelo. They couldn't be more opposites in character! Laura, how far have you come in the book.
Through page 551:Previously I said that I was not really drawn into caring about the main characters. That is no longer true. I totally love Michelangelo. Wow, what a guy. My heart bleeds for him.
Through page 501: If the Pope wants you to make a bronze statue, well then you make a bronze statue. If the Pope wants you to paint, what choice do you have but to paint! I admire Michelangelo's attempts to oppose Pope Julius II. And now I finally understand what pushed Michelangelo from marble to painting...... I actually feel sorry for Michelangelo. Also the competition between, Michelangelo and da Vinci was illuminating. The competition and how it was resolved says alot about both artists.
Through page 392: I am just wondering, how does Stone know so much about Michelangelo's thoughts behind each sculpture. For Michelangelo's David it is said:
"For him(Michelangelo), then, it was David's decision (to kill Goliath) that made him a giant, not the (actual) killing of Goliath."
How does Stone know Michelangelo's inner thoughts? Maybe notes at the end will clarify. Probably they are simply plausible conjectures, but I am not so sure I am convinced of their veracity. This is nothing new. An art critic's in-depth analysis often drives me crazy.
Even though I have a critical mind, it doesn't mean I am not enjoying the book.
Through page 336:I love the following quote. Michelangelo has just shown his brother, Buonarroto, his Bacchus statue.His brother's sole reply was to ask if people liked it.
"That was all. Michelangelo observed to himself, 'He doesn't have the faintest notion of what sculpture is about. His only interest is that people approve of what I have done, so that I can be happy, and get more work.....none of which he will ever understand. He is a true Buonarroti, blind to the meaning of art. But he loves me.'"
A good definition of familial love and relationships.
This book is a delightful learning experience, but one does not fall in love with any of the characters. That is OK. What you get from the learning is enough. You respect Michelangelo and admire his dedication.
Through page 293: It is well-known that Michelangelo was a homosexual. It is a bit disturbing that this side of his character is not clearly revealed. If this isn't discussed, what else is missing? THAT is what has been bothering me! His homosexuality is only subtely revealed in the following quote:
"One afternoon Leo asked, 'Wouldn't you like to sketch some women? There are several baths for both sexes in the city walls (Rome), run by prostitutes, but with quite respectable clienteles.'"
Michelangelo replies: "I have no interest in the female form."
"You're summarily dismissing half the figures in the world," answers Leo.
And Michelangelo counters: "Roughly, yes. ....But I find all beauty and structural power in the male. Take a man in any action, jumping, wrestling, throwing a spear, plowing, bend him into any position and the muscles, the distribution of weight and tension, have their symmetry. For me, a woman to be beautiful or exciting must be absolutely still."
Leo jokes, "Perhaps you haven't put them into the proper position."
"Michelangelo smiled. 'Yes, I have. I find it a sight for love but not for sculpture.'"
So far that is as close as one gets to the question of Michelangelo's true sexual appetite. Hmmph! I also find Michelangelo's view irritating!
Another thing I should mention is that the Italian names aren't the easiest to keep straight. Someone recommended making a chart with people, categorizing them as family, Medici, friend or enemmy. This does help, but also add columns for artists, religious and political figures.
Through page 246 of 776: This book does an excellent job of teaching me history about Florence at the end of the 1400s, about the Medici family and about the religious conflicts taking place. This is another book that makes me happy about not being religious. Most importantly it teaches about the strivings of Michelangelo. I am so terribly impressed by his dedication. Sculpture is ALL he can possibly think about. You stand back in awe reading about what he does to learn how to scuplture. Utterly amazing. I am so glad I have seen the Piet脿 in
St. Peter's Cathedral in the Vatican City and the Sistine Chapel's ceiling.... I also really have enjoyed reading about Lorenzo Medici, who was his patron, who took him in as a family member. Lorenzo, perhaps not as outstanding as Cosimo Medici, but still a wonderful leader of Florence. Wonderful b/c he truly loved Florence and did his utmost to promote art and beauty and thinking in the city. I wouldn't say the language is particularly exceptional, but the information is excellent. I really don't like Michelangelo's father - a money grubbing individual who couldn't care less about art! And he sired Michelangelo. They couldn't be more opposites in character! Laura, how far have you come in the book.
May 12, 2020
Este libro permanece en mi mente como una de las mejores lecturas de mi vida.
Biograf铆a novelada de Miguel 脕ngel. Vivimos la vida del artista como si estuvi茅ramos en su piel, inmersos en el panorama art铆stico del Renacimiento en Florencia y Roma, con sus luces (la explosi贸n art铆stica en todas sus formas) y sombras (Savonarola, el Saco de Roma). La dura etapa de aprendizaje en Florencia bajo el patrocinio de la Familia M茅dici, sus conflictos con Leonardo, su pugna entre su habilidad natural para la escultura y su empe帽o en destacar el la Pintura y la Arquitectura, que finalmente le llev贸 al Olimpo de los m谩s grandes, siempre con una energ铆a inagotable. Sus conflictos con su ego铆sta familia que le explota de forma vergonzosa, su traslado a Roma y su relaci贸n de amor y odio con los distintos papas cuyos encargos finalmente acaban desembocando en algunas de las mejores obras de arte de todos los tiempos, su ambig眉edad sexual..........todo esto desplegado como un fresco extraordinario de esta 茅poca y de este genio del arte, que merece ser le铆do y disfrutado.
Biograf铆a novelada de Miguel 脕ngel. Vivimos la vida del artista como si estuvi茅ramos en su piel, inmersos en el panorama art铆stico del Renacimiento en Florencia y Roma, con sus luces (la explosi贸n art铆stica en todas sus formas) y sombras (Savonarola, el Saco de Roma). La dura etapa de aprendizaje en Florencia bajo el patrocinio de la Familia M茅dici, sus conflictos con Leonardo, su pugna entre su habilidad natural para la escultura y su empe帽o en destacar el la Pintura y la Arquitectura, que finalmente le llev贸 al Olimpo de los m谩s grandes, siempre con una energ铆a inagotable. Sus conflictos con su ego铆sta familia que le explota de forma vergonzosa, su traslado a Roma y su relaci贸n de amor y odio con los distintos papas cuyos encargos finalmente acaban desembocando en algunas de las mejores obras de arte de todos los tiempos, su ambig眉edad sexual..........todo esto desplegado como un fresco extraordinario de esta 茅poca y de este genio del arte, que merece ser le铆do y disfrutado.
May 28, 2020
o carte pasionant膬, despre via葲a lui michelangelo. ceea ce mi-a pl膬cut a fost 卯ncercarea autorului s膬 surprind膬 psihologia sculptorului prin 卯ntreb膬rile pe care 葯i le punea sie葯i 卯nainte de o lucrare. mi-a mai 卯ntregit imaginea despre rena葯terea florentin膬.
December 3, 2017
This is a thoroughly well-researched historical novel about the life of Michelangelo. What an incredible time in history! Michelangelo was definitely passionate and driven when it came to his art. He finished the Piet脿 when he was just twenty-five years old! This depicts the body of Christ on the lap of his mother Mary after the Crucifixion.
Detail of Piet脿
[image error]
He finished the statue of David before he was thirty.
Sculpting marble was what he loved most and most of his works were sculptures. He painted the Sistine ceiling alone over a four-year period. He felt driven by God to create.
He also had to face many challenges 鈥� and I assume that鈥檚 what 鈥淭he Agony鈥� part of the title is referring to. His obstacles included: his money-grubbing family members and all their demands, pettiness, and drama; his own financial troubles; various corrupt popes; as well as wars. I was amazed that he managed to get much done with all the craziness around him.
I can鈥檛 recommend this book unless if you鈥檙e eager to learn about Michelangelo, that period of time in history, or if you just love art history. It got excessively long (more than 700 pages long) and I felt bogged down by way too many repetitive details. However, for me it鈥檚 not the length that bothered me. When it comes to loving books, length is never an issue. In fact, if I love a book, I don鈥檛 want it to end. This book just didn鈥檛 draw me in the way that I had hoped. Am I happy that I read it? Yes. Did I love it? Not necessarily.
Some of my favorite quotes:
鈥淕od was the first sculptor; He made the first figure: man. And when He wanted to give His laws, what material did He use? Stone.鈥�
鈥淭he Tuscan treats stone with the tenderness that a lover reserves for his sweetheart.鈥�
鈥淗e had always loved God. In his darkest hours he cried out, 鈥楪od did not create us to abandon us.鈥� His faith in God sustained him; and now he must make manifest to the world who God was, what he looked and felt like, wherein lay His divine power and grace. His God must not be special or peculiar or particular, but God the Father to all men, one whom they could accept, honor, adore.鈥�
Detail of Piet脿
[image error]
He finished the statue of David before he was thirty.
Sculpting marble was what he loved most and most of his works were sculptures. He painted the Sistine ceiling alone over a four-year period. He felt driven by God to create.
He also had to face many challenges 鈥� and I assume that鈥檚 what 鈥淭he Agony鈥� part of the title is referring to. His obstacles included: his money-grubbing family members and all their demands, pettiness, and drama; his own financial troubles; various corrupt popes; as well as wars. I was amazed that he managed to get much done with all the craziness around him.
I can鈥檛 recommend this book unless if you鈥檙e eager to learn about Michelangelo, that period of time in history, or if you just love art history. It got excessively long (more than 700 pages long) and I felt bogged down by way too many repetitive details. However, for me it鈥檚 not the length that bothered me. When it comes to loving books, length is never an issue. In fact, if I love a book, I don鈥檛 want it to end. This book just didn鈥檛 draw me in the way that I had hoped. Am I happy that I read it? Yes. Did I love it? Not necessarily.
Some of my favorite quotes:
鈥淕od was the first sculptor; He made the first figure: man. And when He wanted to give His laws, what material did He use? Stone.鈥�
鈥淭he Tuscan treats stone with the tenderness that a lover reserves for his sweetheart.鈥�
鈥淗e had always loved God. In his darkest hours he cried out, 鈥楪od did not create us to abandon us.鈥� His faith in God sustained him; and now he must make manifest to the world who God was, what he looked and felt like, wherein lay His divine power and grace. His God must not be special or peculiar or particular, but God the Father to all men, one whom they could accept, honor, adore.鈥�
March 8, 2014
rating: 4.5/5
I have conflicted feelings regarding this novel. There is just so much to love, so much that has made a profound emotional and intellectual impact on me. And yet in some aspects it seems incomplete, the presentation of Michelangelo Buonarroti's character is lacking a dimension.
I must clarify something before I go on, even though reading this book required research into Michelangelo's artwork and the politics during the period of Renaissance during which he lived, I am by no means qualified to speak on behalf of the accuracy of the biographical information. All my thoughts below refer to Michelangelo as presented by Irving Stone and discuss his presentation of the character, they are not meant to say anything meaningful regarding the real Michelangelo (especially since I am shamefully quite ignorant of much of the historical specifics of the time period or Michelangelo's life, nor am I one to do more than only make assumptions about a person who lived 500 years ago). Now that I've gotten my little disclaimer out of the way, on to the review...
First, the wonderful... This novel transported me straight into the mind of an amazing artist, drawing vividly emotional passages of a relationship between a sculptor and his marble, an artist and his art. It was beautiful and agonizing (the title fits this novel brilliantly!), it let me experience as close to creating a striking sculpture as my un-artistic self possibly ever could. Stone has a beautiful way with words and he made art alive in his prose, a living, breathing creature of creation. It was breathtaking...
I appreciate a variety of art forms, but have always seemed to be stumped by visual art such as paintings and sculpture. I just can't seem to "see" what others do and that may be tied to my ability of barely being able to draw stick figures. However, I found myself pulling up images of Michelangelo's works of art and staring at them while reading about the process of their creation and the emotional impact on the artist as well as the emotional depth he reached into to create them. I found myself looking at art in a different way, started "seeing" things I've never "seen" before. It helped me open my eyes to art, and not just Michelangelo's. I started looking at other artists' works and found myself having a different set of eyes. I'll never forget this experience and the effect it's had on my appreciation of art.
But beware, unless you are familiar with Italian Renaissance history during that time period, you will need to do research to fully understand what's occurring. Despite this, I enjoyed researching the time period and getting immersed fully into this world. Stone presents a region torn between the old and new. The Catholic Church is being split with the protestant reformation movement, corruption at the highest levels, wars, inquisitions, tensions between conservatives and reformers, freedom of expression/art and modesty/tradition, etc. Michelangelo stumbles through this hectic world with a vision straddling between the Church he was raised with and art inspired by the sculptures and writings of the ancient Greeks; a constant struggle between getting paid commissions and freedom of art. As the powers of the Church push and pull against the old and new, art is being commissioned and burned, appreciated and scorned. Powerful families, like the Medici family, grapple for power bringing wars and discord to Florence, Rome. Stone does an amazing job bringing us right into the fray (although some supplemental information needs to be obtained from additional research).
However, the characterization of Michelangelo seemed incomplete. The most glaring lapse was the confusion surrounding Michelangelo's sexuality. I understand the novel was published in 1961, that the times were different. Honestly, for the purposes of reading a novel such as this I really don't care what Michelangelo's sexuality really was. But it seemed like Stone wasn't even sure how he wanted to present Michelangelo's sexuality so he gave him a confused mix of everything.
I get it, homosexuality wasn't as acceptable when Stone wrote the book, especially when writing about someone as famous and admired as Michelangelo (someone who by now is more legend than man). But forcing random acts of heterosexuality in such a half-assed way while the rest of the novel vibrates with homoerotic undertones is frustrating and leaves a scattered and incomplete picture of Michelangelo. It left me exasperated and detracted from the rest of this magnificent novel. Despite my extended rant, I really did love this book and it has made a significant impact on the way I look at art and the Renaissance. I still highly recommend it, warts and all.
I have conflicted feelings regarding this novel. There is just so much to love, so much that has made a profound emotional and intellectual impact on me. And yet in some aspects it seems incomplete, the presentation of Michelangelo Buonarroti's character is lacking a dimension.
I must clarify something before I go on, even though reading this book required research into Michelangelo's artwork and the politics during the period of Renaissance during which he lived, I am by no means qualified to speak on behalf of the accuracy of the biographical information. All my thoughts below refer to Michelangelo as presented by Irving Stone and discuss his presentation of the character, they are not meant to say anything meaningful regarding the real Michelangelo (especially since I am shamefully quite ignorant of much of the historical specifics of the time period or Michelangelo's life, nor am I one to do more than only make assumptions about a person who lived 500 years ago). Now that I've gotten my little disclaimer out of the way, on to the review...
First, the wonderful... This novel transported me straight into the mind of an amazing artist, drawing vividly emotional passages of a relationship between a sculptor and his marble, an artist and his art. It was beautiful and agonizing (the title fits this novel brilliantly!), it let me experience as close to creating a striking sculpture as my un-artistic self possibly ever could. Stone has a beautiful way with words and he made art alive in his prose, a living, breathing creature of creation. It was breathtaking...
I appreciate a variety of art forms, but have always seemed to be stumped by visual art such as paintings and sculpture. I just can't seem to "see" what others do and that may be tied to my ability of barely being able to draw stick figures. However, I found myself pulling up images of Michelangelo's works of art and staring at them while reading about the process of their creation and the emotional impact on the artist as well as the emotional depth he reached into to create them. I found myself looking at art in a different way, started "seeing" things I've never "seen" before. It helped me open my eyes to art, and not just Michelangelo's. I started looking at other artists' works and found myself having a different set of eyes. I'll never forget this experience and the effect it's had on my appreciation of art.
But beware, unless you are familiar with Italian Renaissance history during that time period, you will need to do research to fully understand what's occurring. Despite this, I enjoyed researching the time period and getting immersed fully into this world. Stone presents a region torn between the old and new. The Catholic Church is being split with the protestant reformation movement, corruption at the highest levels, wars, inquisitions, tensions between conservatives and reformers, freedom of expression/art and modesty/tradition, etc. Michelangelo stumbles through this hectic world with a vision straddling between the Church he was raised with and art inspired by the sculptures and writings of the ancient Greeks; a constant struggle between getting paid commissions and freedom of art. As the powers of the Church push and pull against the old and new, art is being commissioned and burned, appreciated and scorned. Powerful families, like the Medici family, grapple for power bringing wars and discord to Florence, Rome. Stone does an amazing job bringing us right into the fray (although some supplemental information needs to be obtained from additional research).
However, the characterization of Michelangelo seemed incomplete. The most glaring lapse was the confusion surrounding Michelangelo's sexuality. I understand the novel was published in 1961, that the times were different. Honestly, for the purposes of reading a novel such as this I really don't care what Michelangelo's sexuality really was. But it seemed like Stone wasn't even sure how he wanted to present Michelangelo's sexuality so he gave him a confused mix of everything.
I get it, homosexuality wasn't as acceptable when Stone wrote the book, especially when writing about someone as famous and admired as Michelangelo (someone who by now is more legend than man). But forcing random acts of heterosexuality in such a half-assed way while the rest of the novel vibrates with homoerotic undertones is frustrating and leaves a scattered and incomplete picture of Michelangelo. It left me exasperated and detracted from the rest of this magnificent novel. Despite my extended rant, I really did love this book and it has made a significant impact on the way I look at art and the Renaissance. I still highly recommend it, warts and all.
June 15, 2019
Sul treno per andare al Carnevale di Venezia, con il mio fidanzato di allora circa fine anni 鈥�80, lui prende lo zaino e ne tira fuori un volumone grosso grosso cui facevo il filo da un po鈥� e me lo porge. Apprezzai tantissimo il dono ma soprattutto pensai che adesso avremmo dovuto girare per due giorni attraverso le calli Veneziane tra Maschere, madamine e frittelle, gravati di un peso aggiuntivo nella borsa. Mi sono sempre chiesta ma aspettare a darmelo al ritorno magari no? Ah quell'incredibile fantasia visionaria degli Acquari e il loro fantastico senso di irrealt脿. A prescindere dal piacevole ricordo, una biografia di Michelangelo Buonarroti bellissima.
December 29, 2008
This is a book I got in Florence after having admired the works of Michelangelo. A wonderful reading experience - I found myself reading slower and slower towards the end, because I did not want to finish reading the book! Every time I opened it and started reading, it was like entering a secret gate to 16th century Italy.
August 15, 2019
Il papa e il marmo
Libro ben scritto, ha il merito di accendere l鈥檃ttenzione su un artista unico per capacit脿 creative, potenza realizzatrice e devozione all鈥檃rte, con nessuna concessione a quello che riteneva futile: Michelangelo. Bello leggere il libro e guardare le opere su internet e sui libri.
Mi fa sorridere il fatto che un busto di Bruto (non finito), che nei libri 猫 a malapena menzionato, sia per me la pi霉 bella opera contenuta nel museo del Bargello, giusto per dire di quanto MB stacchi gli altri scultori.
Si tratta di una biografia romanzata, utile per ripercorrere vita e opere dell鈥檃rtista nel travagliato 鈥�500 italiano, credo complessivamente abbastanza corretta. E鈥� anche interessante per rinfrescarsi le idee sulla vita artistica dell鈥檈poca a Firenze e Roma e i vari architetti e pittori che furono contemporanei. Fa riflettere sull鈥檌nflusso determinante che il carattere di una persona ha su vita e opere, nel senso che M, pur avendo spaziato dalla prediletta scultura a pittura, architettura e ingegneria (San Pietro in primo luogo) ed essendo introdotto presso almeno 4 papi e Carlo V, fu sempre altamente sottopagato, ricattato e inseguito: per aver speso pochissime delle sue sovrumane energie a comportarsi in modo prudente.
Mi ha per貌 disturbato l鈥檃more giovanile fra Michelangelo e Contessina de鈥� Medici, perch茅 non 猫 documentato in maniera attendibile e sembra messo l矛 perch茅 il giovane Michelangelo si sar脿 pure innamorato, e la sua innamorata sar脿 stata una fanciulla speciale e poche potevano essere pi霉 speciali di una figlia di Lorenzo il Magnifico. Necessariamente alcune parti della lunga vita di MB non sono raccontate; tuttavia mi pare che le dissolvenze non siano molto armoniose. Si pu貌 aggiungere che l鈥檕rigine del tormento era il papa di turno che lo distoglieva dall鈥檕pera alla quale stava lavorando per altre commissioni e l鈥檈stasi era davanti al marmo.
Libro ben scritto, ha il merito di accendere l鈥檃ttenzione su un artista unico per capacit脿 creative, potenza realizzatrice e devozione all鈥檃rte, con nessuna concessione a quello che riteneva futile: Michelangelo. Bello leggere il libro e guardare le opere su internet e sui libri.
Mi fa sorridere il fatto che un busto di Bruto (non finito), che nei libri 猫 a malapena menzionato, sia per me la pi霉 bella opera contenuta nel museo del Bargello, giusto per dire di quanto MB stacchi gli altri scultori.
Si tratta di una biografia romanzata, utile per ripercorrere vita e opere dell鈥檃rtista nel travagliato 鈥�500 italiano, credo complessivamente abbastanza corretta. E鈥� anche interessante per rinfrescarsi le idee sulla vita artistica dell鈥檈poca a Firenze e Roma e i vari architetti e pittori che furono contemporanei. Fa riflettere sull鈥檌nflusso determinante che il carattere di una persona ha su vita e opere, nel senso che M, pur avendo spaziato dalla prediletta scultura a pittura, architettura e ingegneria (San Pietro in primo luogo) ed essendo introdotto presso almeno 4 papi e Carlo V, fu sempre altamente sottopagato, ricattato e inseguito: per aver speso pochissime delle sue sovrumane energie a comportarsi in modo prudente.
Mi ha per貌 disturbato l鈥檃more giovanile fra Michelangelo e Contessina de鈥� Medici, perch茅 non 猫 documentato in maniera attendibile e sembra messo l矛 perch茅 il giovane Michelangelo si sar脿 pure innamorato, e la sua innamorata sar脿 stata una fanciulla speciale e poche potevano essere pi霉 speciali di una figlia di Lorenzo il Magnifico. Necessariamente alcune parti della lunga vita di MB non sono raccontate; tuttavia mi pare che le dissolvenze non siano molto armoniose. Si pu貌 aggiungere che l鈥檕rigine del tormento era il papa di turno che lo distoglieva dall鈥檕pera alla quale stava lavorando per altre commissioni e l鈥檈stasi era davanti al marmo.
February 1, 2022
袩懈褖薪芯, 屑邪褖邪斜薪芯, 蟹褉械谢懈褖薪芯.
April 27, 2024
Irving Stone's "The Agony and The Ecstasy" is one of the best books I've read in a long time. It hits all the right marks and can be viewed as a superb example of several different genres. It's a wonderful biographical historical fiction, it's a wonderful novel, it's a great book for lovers of art history and history in general, and it is a wonderful book for those interested in the wonderful city of Florence, Italy, as this will truly lend even the simplest stroll through the city a wonderful historical background. A true pleasure to read.
Michelangelo di Lodovico Buonarroti Simoni was born in 1475 in the small city of Caprese. While Michelangelo was a gifted genius, the rest of the Buonarroti-Simoni clan leaves so much to be desired and is a constant combination of drag, hamper, and headache. None of the males are of much worth and the father, Lodovico, is an enormous pain in the ass. Still, Michaelangelo was a devout son and family member, much to his personal ills later.
Michaelangelo's gifts as a sculptor are obvious to anyone who has seen his towering David in the Uffizi Gallery of Florence. This book delves deeply into his personal turmoil as the time spent away from carving marble is the literal "Agony" of the title and the "Ecstasy" is the release from creating amazing works.
Michaelangelo was not only a gifted sculptor, but he was also a genius artist and I was stunned by the sheer grandeur of the Sistine Chapel in the Vatican. Michaelangelo was also a very talented architect and poet. If you are interested in art and the creative process, you will love this book.
But as a historian, I rejoiced in the sheer history of this tale. Michaelangelo kept company with giants and his personal relationships and direct experiences span the great figures of Florence. Michaelangelo's personal road will cross paths with luminaries like Lorenzo de' Medici (Lorenzo the Magnificent) and Leonardo da Vinci, to famous religious figures such as Fra Savaranola (Of the Bonfire of Vanities) and Pope Alexander VI ( Roderic de Borgia). In fact, it will be Michaelangelo's unfortunate love/hate relationship with the Pontif that will define him as he will have to deal with, as an artist, over a dozen Popes including:
Pope Paul II (Pietro Barbo )
Pope Sixtus IV (Francesco della Rovere)
Pope Innocent VIII ( Giovanni Battista Cybo)
Pope Alexander VI (Roderic Llan莽ol i de Borja)
Pope Pius III (Francesco Todeschini Piccolomini)
Pope Julius II (Giuliano della Rovere,)
Pope Leo X (Giovanni di Lorenzo de' Medici)
Pope Adrian VI (Aryaen Floriszoon Boeyens )
Pope Clement VII (Giulio di Giuliano de' Medici )
Pope Paul III (Alessandro Farnese)
Pope Julius III (Giovanni Maria Ciocchi del Monte )
Pope Marcellus II (Marcello Cervini degli Spannochi)
Pope Paul IV (Giovanni Pietro Carafa)
Pope Pius IV (Giovanni Angelo Medici)
Quite the list and quite the pain-in-the-ass, but it also resulted in some of the greatest works of art in the world. Thus the scope of this story is grand and the telling of it rich. You can not go wrong with this wonderful book on any level. Highly recommended.
Michelangelo di Lodovico Buonarroti Simoni was born in 1475 in the small city of Caprese. While Michelangelo was a gifted genius, the rest of the Buonarroti-Simoni clan leaves so much to be desired and is a constant combination of drag, hamper, and headache. None of the males are of much worth and the father, Lodovico, is an enormous pain in the ass. Still, Michaelangelo was a devout son and family member, much to his personal ills later.
Michaelangelo's gifts as a sculptor are obvious to anyone who has seen his towering David in the Uffizi Gallery of Florence. This book delves deeply into his personal turmoil as the time spent away from carving marble is the literal "Agony" of the title and the "Ecstasy" is the release from creating amazing works.
Michaelangelo was not only a gifted sculptor, but he was also a genius artist and I was stunned by the sheer grandeur of the Sistine Chapel in the Vatican. Michaelangelo was also a very talented architect and poet. If you are interested in art and the creative process, you will love this book.
But as a historian, I rejoiced in the sheer history of this tale. Michaelangelo kept company with giants and his personal relationships and direct experiences span the great figures of Florence. Michaelangelo's personal road will cross paths with luminaries like Lorenzo de' Medici (Lorenzo the Magnificent) and Leonardo da Vinci, to famous religious figures such as Fra Savaranola (Of the Bonfire of Vanities) and Pope Alexander VI ( Roderic de Borgia). In fact, it will be Michaelangelo's unfortunate love/hate relationship with the Pontif that will define him as he will have to deal with, as an artist, over a dozen Popes including:
Pope Paul II (Pietro Barbo )
Pope Sixtus IV (Francesco della Rovere)
Pope Innocent VIII ( Giovanni Battista Cybo)
Pope Alexander VI (Roderic Llan莽ol i de Borja)
Pope Pius III (Francesco Todeschini Piccolomini)
Pope Julius II (Giuliano della Rovere,)
Pope Leo X (Giovanni di Lorenzo de' Medici)
Pope Adrian VI (Aryaen Floriszoon Boeyens )
Pope Clement VII (Giulio di Giuliano de' Medici )
Pope Paul III (Alessandro Farnese)
Pope Julius III (Giovanni Maria Ciocchi del Monte )
Pope Marcellus II (Marcello Cervini degli Spannochi)
Pope Paul IV (Giovanni Pietro Carafa)
Pope Pius IV (Giovanni Angelo Medici)
Quite the list and quite the pain-in-the-ass, but it also resulted in some of the greatest works of art in the world. Thus the scope of this story is grand and the telling of it rich. You can not go wrong with this wonderful book on any level. Highly recommended.
June 7, 2007
In the wake of , the field of art history has had a curious relationship with pop culture, especially mainstream literature. These books remain infinitely more accessible to readers than scholarly writings, and are marketed as if they carry the same amount of factual evidence, but with an enticing story so no one gets bored (overlooking the fact that the subjects were real people, and even as geniuses, were inherently boring).
The result is a public that feels informed, but in fact has a sensationalized understanding of artists as heroes and their work as divine manifestations, which serves no purpose except to sell books.
is no different, except that it predates by about forty years. It discusses the life of Renaissance artist Michelangelo Buonarroti, and its depiction of Michelangelo as a divine figure among us, like Giorgio Vasari's, is largely responsible for Michelangelo's popularity today.
So why did I pick up this book in the first place? Simply to make an abstract moral point on a literature-based networking site made up of people with relatively the same intellectual and financial status as myself?
No. I can postulate about the publishing industry's negative effects on our culture's self-perception until the cows come home, but the reason I picked this book up is because I cannot remove myself from pop culture. I read it on the reccomendation of art history professors who told me it was upwards towards fabulous. I read it based on comments from family members and friends who talked about the enjoyable experience of artist biography.
What a mistake. The book was published in 1961, a time when our understanding of Michelangelo was completely different. Part of this was a result of scholars' refusal to accept the homosexual undertones of his work and life due to contemporary morality. Even so, Stone's bibliography is primarily made up of books published in the nineteenth century, which seems to me to be a direct refusal of any real understanding of Michelangelo, ignoring important biographical information revealed about Michelangelo during the first half of the twentieth century (such as the location of his childhood home) and instead selecting certain outdated facts which create a more easily understood narrative.
Yet the purposeful ignorance behind this book is more of a disservice to Michelangelo than other contemporary pop-art history books. A deeper understanding of Michelangelo is neither boring nor confusing but instead gives a more precise explanation for his interest in the human body, muscle and flesh, passion, death, intense joy, melancholy, stone, resurrection, and other ideas left untouched by his contemporaries. This picture of Michelangelo is more human, more relatable than that portrayed by Stone's novel, which inherently blocks the reader from truly understanding Michelangelo and instead forces them on their knees at the altar of a cultural genius.
The result is a public that feels informed, but in fact has a sensationalized understanding of artists as heroes and their work as divine manifestations, which serves no purpose except to sell books.
is no different, except that it predates by about forty years. It discusses the life of Renaissance artist Michelangelo Buonarroti, and its depiction of Michelangelo as a divine figure among us, like Giorgio Vasari's, is largely responsible for Michelangelo's popularity today.
So why did I pick up this book in the first place? Simply to make an abstract moral point on a literature-based networking site made up of people with relatively the same intellectual and financial status as myself?
No. I can postulate about the publishing industry's negative effects on our culture's self-perception until the cows come home, but the reason I picked this book up is because I cannot remove myself from pop culture. I read it on the reccomendation of art history professors who told me it was upwards towards fabulous. I read it based on comments from family members and friends who talked about the enjoyable experience of artist biography.
What a mistake. The book was published in 1961, a time when our understanding of Michelangelo was completely different. Part of this was a result of scholars' refusal to accept the homosexual undertones of his work and life due to contemporary morality. Even so, Stone's bibliography is primarily made up of books published in the nineteenth century, which seems to me to be a direct refusal of any real understanding of Michelangelo, ignoring important biographical information revealed about Michelangelo during the first half of the twentieth century (such as the location of his childhood home) and instead selecting certain outdated facts which create a more easily understood narrative.
Yet the purposeful ignorance behind this book is more of a disservice to Michelangelo than other contemporary pop-art history books. A deeper understanding of Michelangelo is neither boring nor confusing but instead gives a more precise explanation for his interest in the human body, muscle and flesh, passion, death, intense joy, melancholy, stone, resurrection, and other ideas left untouched by his contemporaries. This picture of Michelangelo is more human, more relatable than that portrayed by Stone's novel, which inherently blocks the reader from truly understanding Michelangelo and instead forces them on their knees at the altar of a cultural genius.
June 1, 2022
Great biographical novel about Michelangelo.
Irving Stone is a fantastic writer.
Irving Stone is a fantastic writer.
April 4, 2019
The only Irving Stone story I've re-read and re-read. Wonderful history and fascinating characters coming to life.
***
page 87
"'I have never realized,' said Michelangelo, 'architecture is almost as great an art as sculpture.'
"Bertoldo smiled indulgently. 'Giuliano da Sangallo, the finest architect in Tuscany, would tell you that architecture is sculpture: the desighning of forms to occupy space. If the architect is not a sculptor all he gets is enclosed walls. ..."
(During this conversation Michelangelo is still a young teen.)
***
The standard netswiped Kirkus
"KIRKUS REVIEW
While previous works on Michelangelo either never fulfilled the picture of the man or were beyond the means of the average reader, this extraordinary work is fully rewarding on every count. Against the surging many-threaded setting of the Renaissance, Michelangelo emerges with his own many-sided genius. In addition, Stone writes out of intimate personal acquaintance with techniques of the artistic triumphs of Michelangelo."
***
page 87
"'I have never realized,' said Michelangelo, 'architecture is almost as great an art as sculpture.'
"Bertoldo smiled indulgently. 'Giuliano da Sangallo, the finest architect in Tuscany, would tell you that architecture is sculpture: the desighning of forms to occupy space. If the architect is not a sculptor all he gets is enclosed walls. ..."
(During this conversation Michelangelo is still a young teen.)
***
The standard netswiped Kirkus
"KIRKUS REVIEW
While previous works on Michelangelo either never fulfilled the picture of the man or were beyond the means of the average reader, this extraordinary work is fully rewarding on every count. Against the surging many-threaded setting of the Renaissance, Michelangelo emerges with his own many-sided genius. In addition, Stone writes out of intimate personal acquaintance with techniques of the artistic triumphs of Michelangelo."
August 10, 2016
It's a brilliant & thoroughly researched account of a multi-talented artist who suffered and worked till extremities. Michelangelo's life and his artwork is truly inspiring. He did everything what he believed he could not or should I say he was made to do it by pontiffs. Nonetheless, he excelled in everything.
Too many Italian names while reading becomes a little annoying but then I got used to it gradually. Highly recommended.
Too many Italian names while reading becomes a little annoying but then I got used to it gradually. Highly recommended.
September 16, 2008
丕蹖乇賵蹖賳诏 丕爻鬲賵賳 賲孬賱 賴賲蹖卮賴 鬲賵蹖 夭賳丿诏蹖 賳丕賲賴 賳賵蹖爻蹖 卮丕賴讴丕乇 賲蹖 讴賳賴!!
丕蹖賳 亘丕乇 賴賲 夭賳丿蹖诏 賲蹖讴賱 丌賳跇 乇賵 鬲賵蹖 讴鬲丕亘 乇賵蹖 氐賮丨賴 賲蹖丕乇賴..鬲丕 賯亘賱 丕夭 禺賵賳丿賳 丕蹖賳 讴鬲丕亘 賴蹖趩 毓賱丕賯賴 丕蹖 亘賴 梅蹖讴乇 鬲乇丕卮蹖 賳丿丕卮鬲賲 賵賱蹖 亘毓丿卮 毓賱丕賯賲賳丿 卮丿賲
丕蹖賳 亘丕乇 賴賲 夭賳丿蹖诏 賲蹖讴賱 丌賳跇 乇賵 鬲賵蹖 讴鬲丕亘 乇賵蹖 氐賮丨賴 賲蹖丕乇賴..鬲丕 賯亘賱 丕夭 禺賵賳丿賳 丕蹖賳 讴鬲丕亘 賴蹖趩 毓賱丕賯賴 丕蹖 亘賴 梅蹖讴乇 鬲乇丕卮蹖 賳丿丕卮鬲賲 賵賱蹖 亘毓丿卮 毓賱丕賯賲賳丿 卮丿賲
February 4, 2022
Finished 02/03/2022
I picked this up when I was much younger, 19, 20 years old. Barely stumbled through it and retained nothing. For awhile now it's been one of those modern classics that I always intended to go back to as a more mature (hopefully?) adult and see all the genius and amazingness that catapulted this into classic territory.
Well. This time around I definitely grasped the subject matter a lot better, I'm pretty sure the first time around I just read words without lending any brain power to deciphering them. You know like when you're distracted and you read a page 3x and you realize you read the words but don't have a single idea what they said? Ya, that's how I got through it the first time around, so this time I at least understood what I was reading. Still though, if I'm being entirely truthful I'd have to admit that my 3 star rating is actually being generous. I hate to say this, because I did feel that at the core of the story there was something special, and the subject matter of course is no triviality.
I am not particularly artistically inclined, and I had literally zero knowledge of Michelangelo or his works other than seeing The David in Florence & then also my experience sneaking pics of the Sistine Chapel in Italy & getting kicked out by Italian police shoving assault rifles in my back and forcing me to delete the pics from my phone (which is stupid because the actual reason for not allowing pics inside is because the flashes can be erosive to the art, so making me delete a pic I had already taken was just redundant. But whatever this is off topic.) I am not a particular fan of Michelangelo's, classical art like that just goes over my head, so why I chose to read this biographical book on the artist, I'm not really sure, but I felt it was a classic I had to check off the list. And so checked it is!
What tripped me up with this was just how convoluted this was, and on top of the endless Italian names and references, it made it difficult for me to ever get into a reading groove. I crawled through this, tiny bit by tiny bit. I shouldn't have expected anything especially fast paced considering the subject matter, but there were just bits that really just hardcore dragged and felt aimless & meandering. That in itself wouldn't have been enough for a low rating though as I realize this was never going to be plot centric.
I have to admit that for like the first quarter of this book, I thought this was a fictionalized/imagined/reimagined account of Michelangelo's life, so I was constantly googling things to see which parts were true and which were embellished/made up, and eventually when things kept checking out it occurred to me to confirm that this was actually fiction, and what do you know, I realized it was in fact an actual biography of Michelangelo. Nice Jenelle. The layout was novel-esque, which naturally added to my confusion, but once I had my ah-ha moment and finally understood what I was reading, I kinda sorta almost liked this layout for a biography, the idea of a single cohesive storyline rather than the typical increments divided by subject or time span.
One major and significant failing in the Agony and the Ecstasy, is the portrayal or lack thereof of the well known homosexual undertones in Michelangelo's work. Of course I realized that TAATE was published in the very early 60's, and so the way info was snipped & skewed to suit the morality of the times would obviously be an issue. But knowing what we know now, leaving something out that we know is so significant winds up making TAATE look and feel just plain ol antiquated and incorrect. After pausing here and there to do a little research alongside my reading, it became pretty obvious that Michelangelo's sexuality plays a substantial role in not just his art, but also the curiosities and passions that fueled his art, things like his interest in flesh, anatomy, death, intense joy and melancholy, spirituality & transcendence. Not being able to tell his story truthfully & having to suppress & conceal such a defining & crucial element of his story docked TAATE major points, it's basically akin to reading a decades old middle school history book, like the kind that depicted Thanksgiving as this friendly feast between colonizers and native Americans, devoid completely of all the genocide, disease, starvation, hostility, cannibalism, greed and enslavement that was in reality the defining events of the time, it's basically the same thing.
There is still plenty here to learn about and engross yourself in, though the absence of all mention of his homosexual tendencies was conspicuous and was for me jarring, just knowing that so much of what was written was missing a key component, but as far as the setting and location, that was probably the book's highlight for me, my introduction to the Medici family & the culture & the detailed accounting of all his works. Though it was at times sliiightly oversaturated with these details, like we literally go down the line of every single one of his significant works & are totally submerged in info about each painting/sculpture/piece etc. There was a lot of great insight here, but again, without any mention of his homosexuality we wind up missing out on a lot as well.
I also really enjoyed the realistic depictions of Michelangelo, I actually found it funny because on the one end, artistically, it's obvious that Stone sort of thinks Michelangelo can do no wrong. There's seemingly no trial an error, mess ups, drafts or revisions. I mean come on, working with stone?!?! Nobody just gets up and carves out the David on his first try. We DO get plenty of oddly descriptive and sexualized accounting of his chiseling, hitting, tapping, carving, etc etc, but in terms of being an artist, Stone obviously idolizes him. But on the other end of things, as a person, Stone manages to depict Michelangelo with a little more honesty, revealing his whiny, irritable, nagging side. It was all together just fascinating to pick up all these bits of Michelangelo that make up a whole, to learn all about this historical figure who has always been larger than life and go into depth about all his contributions to the various arts: sculpting, painting, architecture, even politics. He was undeniably a genius and getting into the mind of somebody so brilliant is always going to be interesting.
And back to the "sexualized accounting of his chiseling" really quickly. When I said that I was not joking, in fact I was under selling it. He straight up is f*cking the stone. Like full on sex scene complete with thrusts and humps and pulsating and climaxes. I kid you not. I can't say that I all together hated it though, there was something well, sexy about it. Not the actual idea of supposedly penetrating stone, which obviously is impossible you'd either break your dick or break the stone, but just the all consuming love and passion for an art form such as stone work, the idea of loving something so wholly and entirely and passionately that it also encompasses your sexual side. I wholly believe that Michelangelo was capable of this level of intensity and passion, so not only did I find it sexy but it also rang true.
All in all, I found enough here to immerse myself in and absorb despite my misgivings and complaints. It absolutely was not the easiest read, it was totally a slog and a half for a good chunk of the time but I managed to make it through, I really wanted to give it a higher rating but the reality is just that for me the reading experience just never exceeded that of a 3 star, and the 3 stars was TAATE at it's best, at it's worst it was closer to 2 stars. Had I been an art buff who was interested in Michelangelo mainly as an artist, this book probably would've hit a little better, but I was definitely more interested in him on a personal level, & historically as well, and unfortunately it was in those departments that I think Stone was deficient. Without ever even mentioning his homosexuality he does the reader the disservice of never painting an adequate or truthful picture. I'm going to give Stone the benefit of the doubt and assume that it was just a sign of the times, publishing in 1961, we were coming straight out of a hyper traditional decade and had yet to hit the sexual revolution, so I'm going to believe that Stone was simply writing a book for his time, just like most authors would do, and that it wasn't some indication of his own personal homophobia. Though a quick google search showed me that Stone apparently adamantly refused to admit that Michelangelo was a homosexual and went so far as to call the charge slander. SMH. Oh well. I'm still going to say that some accounting for the times has to be made. Regardless of how wrong or right it may have been, it was what it was, and Irving Stone was a product of his station and the times. At the end of the day, I think if one wants to read an unmitigated biographical account of Michelangelo's life and work, there are surely more accurate and comprehensive works out there.
I picked this up when I was much younger, 19, 20 years old. Barely stumbled through it and retained nothing. For awhile now it's been one of those modern classics that I always intended to go back to as a more mature (hopefully?) adult and see all the genius and amazingness that catapulted this into classic territory.
Well. This time around I definitely grasped the subject matter a lot better, I'm pretty sure the first time around I just read words without lending any brain power to deciphering them. You know like when you're distracted and you read a page 3x and you realize you read the words but don't have a single idea what they said? Ya, that's how I got through it the first time around, so this time I at least understood what I was reading. Still though, if I'm being entirely truthful I'd have to admit that my 3 star rating is actually being generous. I hate to say this, because I did feel that at the core of the story there was something special, and the subject matter of course is no triviality.
I am not particularly artistically inclined, and I had literally zero knowledge of Michelangelo or his works other than seeing The David in Florence & then also my experience sneaking pics of the Sistine Chapel in Italy & getting kicked out by Italian police shoving assault rifles in my back and forcing me to delete the pics from my phone (which is stupid because the actual reason for not allowing pics inside is because the flashes can be erosive to the art, so making me delete a pic I had already taken was just redundant. But whatever this is off topic.) I am not a particular fan of Michelangelo's, classical art like that just goes over my head, so why I chose to read this biographical book on the artist, I'm not really sure, but I felt it was a classic I had to check off the list. And so checked it is!
What tripped me up with this was just how convoluted this was, and on top of the endless Italian names and references, it made it difficult for me to ever get into a reading groove. I crawled through this, tiny bit by tiny bit. I shouldn't have expected anything especially fast paced considering the subject matter, but there were just bits that really just hardcore dragged and felt aimless & meandering. That in itself wouldn't have been enough for a low rating though as I realize this was never going to be plot centric.
I have to admit that for like the first quarter of this book, I thought this was a fictionalized/imagined/reimagined account of Michelangelo's life, so I was constantly googling things to see which parts were true and which were embellished/made up, and eventually when things kept checking out it occurred to me to confirm that this was actually fiction, and what do you know, I realized it was in fact an actual biography of Michelangelo. Nice Jenelle. The layout was novel-esque, which naturally added to my confusion, but once I had my ah-ha moment and finally understood what I was reading, I kinda sorta almost liked this layout for a biography, the idea of a single cohesive storyline rather than the typical increments divided by subject or time span.
One major and significant failing in the Agony and the Ecstasy, is the portrayal or lack thereof of the well known homosexual undertones in Michelangelo's work. Of course I realized that TAATE was published in the very early 60's, and so the way info was snipped & skewed to suit the morality of the times would obviously be an issue. But knowing what we know now, leaving something out that we know is so significant winds up making TAATE look and feel just plain ol antiquated and incorrect. After pausing here and there to do a little research alongside my reading, it became pretty obvious that Michelangelo's sexuality plays a substantial role in not just his art, but also the curiosities and passions that fueled his art, things like his interest in flesh, anatomy, death, intense joy and melancholy, spirituality & transcendence. Not being able to tell his story truthfully & having to suppress & conceal such a defining & crucial element of his story docked TAATE major points, it's basically akin to reading a decades old middle school history book, like the kind that depicted Thanksgiving as this friendly feast between colonizers and native Americans, devoid completely of all the genocide, disease, starvation, hostility, cannibalism, greed and enslavement that was in reality the defining events of the time, it's basically the same thing.
There is still plenty here to learn about and engross yourself in, though the absence of all mention of his homosexual tendencies was conspicuous and was for me jarring, just knowing that so much of what was written was missing a key component, but as far as the setting and location, that was probably the book's highlight for me, my introduction to the Medici family & the culture & the detailed accounting of all his works. Though it was at times sliiightly oversaturated with these details, like we literally go down the line of every single one of his significant works & are totally submerged in info about each painting/sculpture/piece etc. There was a lot of great insight here, but again, without any mention of his homosexuality we wind up missing out on a lot as well.
I also really enjoyed the realistic depictions of Michelangelo, I actually found it funny because on the one end, artistically, it's obvious that Stone sort of thinks Michelangelo can do no wrong. There's seemingly no trial an error, mess ups, drafts or revisions. I mean come on, working with stone?!?! Nobody just gets up and carves out the David on his first try. We DO get plenty of oddly descriptive and sexualized accounting of his chiseling, hitting, tapping, carving, etc etc, but in terms of being an artist, Stone obviously idolizes him. But on the other end of things, as a person, Stone manages to depict Michelangelo with a little more honesty, revealing his whiny, irritable, nagging side. It was all together just fascinating to pick up all these bits of Michelangelo that make up a whole, to learn all about this historical figure who has always been larger than life and go into depth about all his contributions to the various arts: sculpting, painting, architecture, even politics. He was undeniably a genius and getting into the mind of somebody so brilliant is always going to be interesting.
And back to the "sexualized accounting of his chiseling" really quickly. When I said that I was not joking, in fact I was under selling it. He straight up is f*cking the stone. Like full on sex scene complete with thrusts and humps and pulsating and climaxes. I kid you not. I can't say that I all together hated it though, there was something well, sexy about it. Not the actual idea of supposedly penetrating stone, which obviously is impossible you'd either break your dick or break the stone, but just the all consuming love and passion for an art form such as stone work, the idea of loving something so wholly and entirely and passionately that it also encompasses your sexual side. I wholly believe that Michelangelo was capable of this level of intensity and passion, so not only did I find it sexy but it also rang true.
All in all, I found enough here to immerse myself in and absorb despite my misgivings and complaints. It absolutely was not the easiest read, it was totally a slog and a half for a good chunk of the time but I managed to make it through, I really wanted to give it a higher rating but the reality is just that for me the reading experience just never exceeded that of a 3 star, and the 3 stars was TAATE at it's best, at it's worst it was closer to 2 stars. Had I been an art buff who was interested in Michelangelo mainly as an artist, this book probably would've hit a little better, but I was definitely more interested in him on a personal level, & historically as well, and unfortunately it was in those departments that I think Stone was deficient. Without ever even mentioning his homosexuality he does the reader the disservice of never painting an adequate or truthful picture. I'm going to give Stone the benefit of the doubt and assume that it was just a sign of the times, publishing in 1961, we were coming straight out of a hyper traditional decade and had yet to hit the sexual revolution, so I'm going to believe that Stone was simply writing a book for his time, just like most authors would do, and that it wasn't some indication of his own personal homophobia. Though a quick google search showed me that Stone apparently adamantly refused to admit that Michelangelo was a homosexual and went so far as to call the charge slander. SMH. Oh well. I'm still going to say that some accounting for the times has to be made. Regardless of how wrong or right it may have been, it was what it was, and Irving Stone was a product of his station and the times. At the end of the day, I think if one wants to read an unmitigated biographical account of Michelangelo's life and work, there are surely more accurate and comprehensive works out there.
April 17, 2021
袦懈泻械谢邪薪写卸械谢芯 鈥� 谐械薪懈褟褌, 泻芯泄褌芯 褌胁芯褉械褕械 蟹邪 胁械褔薪芯褋褌褌邪:
袗 褉芯屑邪薪褗褌 褋械 械 褉邪蟹锌褉芯褋褌褉褟谢 褋褉械写 薪械屑邪谢泻芯 薪邪 斜褉芯泄 写械褋械褌懈谢械褌懈褟, 胁 泻芯懈褌芯 褋械 褋谢褍褔胁邪褌 泻邪泻胁懈 谢懈 薪械 懈薪褌褉懈谐褍胁邪褖懈 懈褋褌芯褉懈褔械褋泻懈 褋褗斜懈褌懈褟 懈 锌芯谢懈褌懈褔械褋泻懈 芯斜褉邪褌懈, 泻芯懈褌芯 锌褉褟泻芯 褋械 芯褌褉邪蟹褟胁邪褌 薪邪 袦懈泻械谢邪薪写卸械谢芯 懈 薪械谐芯胁芯褌芯 褌胁芯褉褔械褋褌胁芯. 袣邪褌芯 褔械褉胁械薪邪 薪懈褕泻邪 锌褉械蟹 褑褟谢邪褌邪 泻薪懈谐邪 锌褗泻 褋械 械 锌褉芯褋褌褉褟谢芯 薪械芯写芯斜褉械薪懈械褌芯 薪邪 斜邪褖邪 屑褍 泻褗屑 薪械写芯褋褌芯泄薪懈褌械 褋锌芯褉械写 薪械谐芯 蟹邪薪懈屑邪薪懈褟 薪邪 褋懈薪邪 屑褍, 薪芯 懈 薪械锌芯泻谢邪褌懈屑芯褌芯 褍斜械卸写械薪懈械 薪邪 褌胁芯褉械褑邪, 褔械 褌褉褟斜胁邪 写邪 懈蟹锌褉邪褖邪 泻芯谢泻芯 褋械 屑芯卸械 锌芯胁械褔械 锌邪褉懈 薪械屑褍 懈 薪邪 斜褉邪褌褟褌邪 褋懈, 写芯褉懈 泻芯谐邪褌芯 谐懈 薪褟屑邪 懈 褌褉褟斜胁邪 写邪 谐懈 胁蟹械屑邪 薪邪蟹邪械屑. 袧械谐芯胁懈褌械 褋褌褉邪薪褋褌胁邪薪懈褟 屑械卸写褍 肖谢芯褉械薪褑懈褟 懈 袪懈屑 胁 褋懈薪褏褉芯薪 褋 锌芯褉械写薪懈褌械 蟹邪胁芯械胁邪褌械谢薪懈 褋褌褉械屑械卸懈 薪邪 屑械褋褌薪懈褌械 胁谢邪写械褌械谢懈, 褔褍卸写懈褌械 褑邪褉懈 懈谢懈 薪褟泻芯泄 芯褌 锌邪锌懈褌械 锌芯蟹胁芯谢褟胁邪褌 薪邪 小褌芯褍薪 写邪 芯锌懈褕械 褉邪蟹泻褗褋邪薪邪褌邪 袠褌邪谢懈褟 芯褌 褌芯蟹懈 锌械褉懈芯写, 泻芯泄褌芯 械 谢械褋薪芯 写邪 斜褗写械 械褌懈泻械褌懈褉邪薪 锌芯蟹懈褌懈胁薪芯 泻邪褌芯 鈥溞犘敌叫笛佇靶窖佲€�, 薪芯 胁褋褗褖薪芯褋褌 械 屑薪芯谐芯 褌褉褍写械薪 懈 褋谢芯卸械薪 蟹邪 芯谐褉芯屑薪邪 褔邪褋褌 芯褌 薪邪褋械谢械薪懈械褌芯. 袥懈褔薪懈褟褌0 卸懈胁芯褌 薪邪 袦懈泻械谢邪薪写卸械谢芯 械 褋褗胁褋械屑 褋谢邪斜芯 蟹邪褋械谐薪邪褌, 屑邪泻邪褉 褔械 蟹邪 写褉邪屑邪褌懈蟹褗屑 小褌芯褍薪 胁屑褗泻胁邪 谐芯谢械屑懈 谢褞斜芯胁懈 褌褍泻-褌邪屑械, 褋邪屑芯 械写薪邪 芯褌 泻芯懈褌芯 斜懈胁邪 泻芯薪褋褍屑懈褉邪薪邪, 邪 蟹邪 胁谢械褔械薪懈械褌芯 泻褗屑 褋胁芯褟 锌芯谢, 芯褌褉邪蟹械薪芯 胁 褋褌懈褏芯胁械褌械 屑褍, 褋锌芯屑械薪邪胁邪 械写胁邪 褋 锌芯谢芯胁懈薪 褍褋褌邪 泻褗屑 泻褉邪褟 薪邪 泻薪懈谐邪褌邪.
袠蟹写邪褌械谢褋褌胁芯 "袠蟹褌芯泻-袟邪锌邪写"
袗 褉芯屑邪薪褗褌 褋械 械 褉邪蟹锌褉芯褋褌褉褟谢 褋褉械写 薪械屑邪谢泻芯 薪邪 斜褉芯泄 写械褋械褌懈谢械褌懈褟, 胁 泻芯懈褌芯 褋械 褋谢褍褔胁邪褌 泻邪泻胁懈 谢懈 薪械 懈薪褌褉懈谐褍胁邪褖懈 懈褋褌芯褉懈褔械褋泻懈 褋褗斜懈褌懈褟 懈 锌芯谢懈褌懈褔械褋泻懈 芯斜褉邪褌懈, 泻芯懈褌芯 锌褉褟泻芯 褋械 芯褌褉邪蟹褟胁邪褌 薪邪 袦懈泻械谢邪薪写卸械谢芯 懈 薪械谐芯胁芯褌芯 褌胁芯褉褔械褋褌胁芯. 袣邪褌芯 褔械褉胁械薪邪 薪懈褕泻邪 锌褉械蟹 褑褟谢邪褌邪 泻薪懈谐邪 锌褗泻 褋械 械 锌褉芯褋褌褉褟谢芯 薪械芯写芯斜褉械薪懈械褌芯 薪邪 斜邪褖邪 屑褍 泻褗屑 薪械写芯褋褌芯泄薪懈褌械 褋锌芯褉械写 薪械谐芯 蟹邪薪懈屑邪薪懈褟 薪邪 褋懈薪邪 屑褍, 薪芯 懈 薪械锌芯泻谢邪褌懈屑芯褌芯 褍斜械卸写械薪懈械 薪邪 褌胁芯褉械褑邪, 褔械 褌褉褟斜胁邪 写邪 懈蟹锌褉邪褖邪 泻芯谢泻芯 褋械 屑芯卸械 锌芯胁械褔械 锌邪褉懈 薪械屑褍 懈 薪邪 斜褉邪褌褟褌邪 褋懈, 写芯褉懈 泻芯谐邪褌芯 谐懈 薪褟屑邪 懈 褌褉褟斜胁邪 写邪 谐懈 胁蟹械屑邪 薪邪蟹邪械屑. 袧械谐芯胁懈褌械 褋褌褉邪薪褋褌胁邪薪懈褟 屑械卸写褍 肖谢芯褉械薪褑懈褟 懈 袪懈屑 胁 褋懈薪褏褉芯薪 褋 锌芯褉械写薪懈褌械 蟹邪胁芯械胁邪褌械谢薪懈 褋褌褉械屑械卸懈 薪邪 屑械褋褌薪懈褌械 胁谢邪写械褌械谢懈, 褔褍卸写懈褌械 褑邪褉懈 懈谢懈 薪褟泻芯泄 芯褌 锌邪锌懈褌械 锌芯蟹胁芯谢褟胁邪褌 薪邪 小褌芯褍薪 写邪 芯锌懈褕械 褉邪蟹泻褗褋邪薪邪褌邪 袠褌邪谢懈褟 芯褌 褌芯蟹懈 锌械褉懈芯写, 泻芯泄褌芯 械 谢械褋薪芯 写邪 斜褗写械 械褌懈泻械褌懈褉邪薪 锌芯蟹懈褌懈胁薪芯 泻邪褌芯 鈥溞犘敌叫笛佇靶窖佲€�, 薪芯 胁褋褗褖薪芯褋褌 械 屑薪芯谐芯 褌褉褍写械薪 懈 褋谢芯卸械薪 蟹邪 芯谐褉芯屑薪邪 褔邪褋褌 芯褌 薪邪褋械谢械薪懈械褌芯. 袥懈褔薪懈褟褌0 卸懈胁芯褌 薪邪 袦懈泻械谢邪薪写卸械谢芯 械 褋褗胁褋械屑 褋谢邪斜芯 蟹邪褋械谐薪邪褌, 屑邪泻邪褉 褔械 蟹邪 写褉邪屑邪褌懈蟹褗屑 小褌芯褍薪 胁屑褗泻胁邪 谐芯谢械屑懈 谢褞斜芯胁懈 褌褍泻-褌邪屑械, 褋邪屑芯 械写薪邪 芯褌 泻芯懈褌芯 斜懈胁邪 泻芯薪褋褍屑懈褉邪薪邪, 邪 蟹邪 胁谢械褔械薪懈械褌芯 泻褗屑 褋胁芯褟 锌芯谢, 芯褌褉邪蟹械薪芯 胁 褋褌懈褏芯胁械褌械 屑褍, 褋锌芯屑械薪邪胁邪 械写胁邪 褋 锌芯谢芯胁懈薪 褍褋褌邪 泻褗屑 泻褉邪褟 薪邪 泻薪懈谐邪褌邪.
袠蟹写邪褌械谢褋褌胁芯 "袠蟹褌芯泻-袟邪锌邪写"
October 7, 2019
5+ 蟹胁械蟹写懈, 邪泻芯 懈屑邪褕械, 褌邪蟹懈 泻薪懈谐邪 谐懈 蟹邪褋谢褍卸邪胁邪! 袠蟹泻谢褞褔懈褌械谢薪芯 屑械 锌芯谐褗谢薪邪 懈 胁锌械褔邪褌谢懈. 袨褖械 锌褉械写懈 写邪 褟 蟹邪胁褗褉褕邪 锌芯褉褗褔邪褏 写胁械 薪邪 褋褗褖懈褟 邪胁褌芯褉. 袙懈薪邪谐懈 褋褗屑 芯斜懈褔邪谢邪 写邪 褔械褌邪 蟹邪 褏褍写芯卸薪懈褑懈, 薪芯 褌邪蟹懈 械 斜褉懈谢褟薪褌薪邪!
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