St. Peter’s rebuilding and, 337–38, 348–49
“Julius Excluded from Heaven” (Erasmus), 130n
Julius Tomb, San Pietro in Vincoli, xiii, 169, 190, 194, 197, 199, 205, 206, 211, 220, 231–32, 251, 254, 266n, 355, 378
contracts for, 16n, 188–89, 201, 263, 265, 266
delays in work on, 136–37, 148, 160, 196, 229–30, 314
Michelangelo chosen to design, 130–31
Michelangelo’s first designs for, 135
Michelangelo’s loss of interest in, 266
search for marble for, 136
statues for, 197–98, 199, 200–201
Lagraulas, Cardinal Jean Bilhères de, 55–56, 63, 131
Pietà commissioned by, 56–57, 59–60
Landino, Cristoforo, 244n, 261
Landucci, Luca, 103, 109
Laocoön group, 71n, 166n, 378
Lapo, Lapo d’Antonio di, 144, 145
Last Judgment:
in Christian eschatology, 277–78
medieval depictions of, 278, 280, 300
Renaissance depictions of, 278–80
Last Judgment, The (Giotto), 279
Last Judgment, The (Michelangelo), 256, 257, 268–77, 279n, 280–84, 378
Aretino’s attack on, 302–3, 308
canted wall of, 270–71
cartoons for, 274
censorship of, 275n, 309, 350, 371, 372
compression of, 276
controversy surrounding, 208, 273, 291–92, 300–304, 308, 327, 357
as embodiment of religious upheaval, 280, 294, 300, 301
Jesus Christ in, 281–82
Michelangelo’s self-portrait in, 283–84
as monument to artistic freedom, 309
nudity in, 275n, 291, 292, 301–2, 307
painting of, 272
Paul III and, 327
response to, 4–5, 153n
stripped-down palette of, 275
Vasari on, 308–9
Virgin Mary in, 282–83, 301
Last Supper, The (Leonardo), 114–15, 124
Laurentian Library, 225, 228, 235, 329, 340, 341, 370, 377
idiosyncratic design of, 328
League of Cognac, 244–45
Leah (Michelangelo), 266n
Leda and the Swan (Michelangelo), 272
Leo X, Pope, 22, 29, 45, 177n, 189–90, 203, 209, 215, 221n, 265, 293
character of, 190
death of, 227, 228, 324
election of, 192
in 1515 visit to Florence, 202, 204
and Medici’s return to Florence, 191–92
on Michelangelo, 3
Michelangelo’s relationship with, 190, 193, 201–2, 206–7, 236
Raphael and, 193–94, 205
St. Peter’s rebuilding and, 323–24, 326
and sale of indulgences, 323
San Lorenzo facade and, 204, 206, 210–11
Leonardo da Vinci, 5, 18–19, 25, 32, 88, 91, 99, 110, 111, 131, 157, 163, 248, 322, 341, 351
David drawing of, 114
death of, 288
Michelangelo’s rivalry with, 83–84, 89, 112–14, 117, 118, 120, 122–23, 124, 222
as military engineer, 84, 113
sfumato of, 117
uncompleted projects of, 113, 120, 124
visual perception as interest of, 117
Leoni, Diomede, 367
Libyan Sibyl, 182
Lippi, Giovanni, 66, 99
Lives of the Artists (Vasari), 16, 72, 75, 257
Loggia dei Lanzi, 99
Lombardo, Tullio, 38
Lotti, Lodovico di Guglielmo, 144, 145
Lottini, Giovan Francesco, 365–66
Louis XII, king of France, 175, 191
Louvre, 197, 355n
lunettes, 151, 152, 182–83, 271
Luther, Martin, 45, 233, 234, 245, 280, 293, 294, 304, 323–24
“faith alone” doctrine of, 296
Maccabees, Books of, 153n, 184
Machiavelli, Niccolò, 103–4, 109, 113, 131, 191n, 192, 228, 244, 245, 253, 354, 377
Maderno, Carlo, 339, 340, 346
Madonna and Child (Michelangelo; unfinished), 237
Madonna and Child with St. Anne, The (Leonardo), 114–15
Madonna of the Rocks, The (Leonardo), 114–15
Madonna of the Stairs (Michelangelo), 14, 24–25, 26, 68, 115, 376
Madrid, Treaty of (1526), 244
Malaspina, Alberico, Marquis of Carrara, 211
Malenotti, Bastiano, 347
Malermi, Niccolò, 153n
Man, Renaissance concept of, 105–8, 111, 179, 200, 219
Mannerism, 218–19, 225
Marcellus II, Pope, 3–4, 337–38, 350
Marchesi, Giovanni de’, 266n
Marcus Aurelius, statue of, 330, 332
Marriage of the Virgin (Raphael), 322
Masaccio, 27, 39, 134, 222, 368
Matthew, Gospel of, 150n, 277
Maxentius, Basilica of, 319, 323
Mechtild of Hackeborn, 70
Medici, Alessandro de’, duke of Florence, 246, 252, 353, 354
Medici, Cardinal Giulio de’, see Clement VII, Pope
Medici, Catherine de’, queen consort of France, 215n, 255, 317
Medici, Cosimo de’, duke of Florence, 19, 110, 204, 215, 224, 333, 347, 353–54, 355, 356, 365–66, 367, 368, 370
Medici, Giovanni de’, see Leo X, Pope
Medici, Giovanni de’ Bicci de’, 204, 215, 224
Medici, Giuliano de’, duke of Nemours, 191, 214–15, 217n
tomb of, 238–39, 253
Medici, Giuliano de’ (Il Magnifico’s brother), 204, 215
Medici, Ippolito de’, 246
Medici, Lorenzo de’, duke of Urbino, 201, 215, 217n, 228
tomb of, 238, 239, 253
Medici, Lorenzo de’ (Il Magnifico), 12, 25, 38, 134, 147, 204, 215, 263, 327, 351, 370
as art patron, 19–20, 35
art school established by, 19–21
circle of, 22–23, 29, 150
death of, 29
and Michelangelo’s move to Medici Palace, 21–22, 150
Medici, Lorenzo di Pierfrancesco de’, 40, 48, 215n
Medici, Piero de’, 29, 30–31, 33, 36, 39, 191n
Medici family, 9, 12, 97, 102, 103, 217, 227–28
return to power of, 191–92
Medici Palace, xii, 19, 221n, 263
Michelangelo’s residence at, 21–25, 29, 62, 134, 189, 193
Medici Tombs, San Lorenzo, Florence, 169n, 187, 215, 217–29, 232, 235–36, 251, 252, 328, 332, 340, 341, 365, 372, 377
allegorical program of, 239–43, 244, 253
as autobiographical, 241
delays in work on, 244
innovative design of, 225–26, 236
Madonna and Child in, 237, 238, 239
Mannerism of, 218–19, 225
Michelangelo’s loss of interest in, 253, 254–55
suspension of work on, 265
as temple of melancholy, 219, 237
tomb of Giuliano in, 238–39, 253
tomb of Lorenzo in, 238, 239, 253
unbalanced quality of, 236–37, 253
Meleghino, Jacopo, 274
Michelangelo Buonarroti, iv, xiv
account book of, 154
anatomical studies of, 31–33, 64, 340–41
architecture as understood by, 340–41
Aretino and, 289–91, 302–3, 308
artist as seen by, 285–86
artistic independence cherished by, 149–50
austere lifestyle of, 86, 136, 160, 189
birth of, 7–8
Bramante’s rivalry with, 133, 138, 140, 162, 334
broken nose of, 27–29
Buonarroto’s correspondence with, 137, 144, 145, 165n, 183, 201–2, 204
Buoninsegni’s correspondence with, 206–7, 208–9, 236
Cavalieri and, see Cavalieri, Tommaso de’
as chief engineer of Florence’s defenses, 248�
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childhood of, 13
Clement VII’s relationship with, 148n, 235–36, 251, 252
Colonna’s relationship with, 297, 299–300, 353, 364
and cult of personality, 5–7, 232–33, 262, 373
death of, 367
in decision to become artist, 15–16
on demands of art, 4
egotism of, 1–2, 3–4, 6, 7, 15, 25, 27–28, 39, 71, 73, 74, 181–82, 315
in fall from Sistine scaffolding, 275
fame as goal of, 15, 70–71, 90
fame of, 287–89, 347, 357, 373
family background of, 7–9, 359, 361
family loyalty of, 54–55, 85, 176, 213, 359
in 1501 return to Florence, 84, 87
in 1505 return to Rome, 131, 133
in 1506 flight to Florence, 138–39, 141–42, 314
in 1508 return to Rome, 146
in 1517 return to Florence, 211
in 1534 return to Rome, 255
first sojourn in Rome of, 42, 44–77, 83
financial security achieved by, 266–67, 287, 347
Florentine heritage as source of pride for, 12–13
forgeries by, 18, 40–41
in 1494 flight from Florence, 37–39
frequent abandonment of projects by, 58–59, 77, 85–86
funeral of, 370–71
fuoriusciti and, 353–56
generosity of, 5–6, 272–73, 359
Ghirlandaio as first teacher of, 17, 18, 19, 155
Giovansimone’s correspondence with, 145, 175–76
hands-on approach to marble purchases by, 58, 136, 197, 205
health problems of, 2, 252, 310, 327–28, 347, 355, 360, 366
homosexuality of, 52–54
idiosyncratic iconography of, 169, 173
image of artist revolutionized by, 2–3, 4, 6, 194, 374
as indifferent student, 14
Julius II and, see Julius II, Pope
legacy of, 373–74
Leo X’s relationship with, 190, 193, 201–2, 206–7, 236
Leonardo’s rivalry with, 83–84, 89, 112–14, 117, 118, 120, 122–23, 124, 222
life viewed as struggle by, 200
Lionardo’s correspondence with, 1–2, 248n, 272–73, 307, 310, 348, 352, 355–56, 360–62, 366
Lionardo’s relationship with, 360–61
Lodovico and, see Buonorroti, Lodovico
at Lorenzo de Medici’s art school, 20–21
loyalty to Florence of, 89, 95
Macel de’ Corvi house of, 189, 254, 263, 267, 285
as magister operae, 332n
male beauty celebrated by, 111–12, 179
Mannerism of, 218–19
at Medici Palace, 21–25, 29, 62, 134, 150, 189, 193
melancholic temperament of, 5, 160, 219–20, 241–42, 251, 254, 311, 357, 362, 363, 365
on merits of painting vs. sculpture, 25, 358–59
as military engineer, 351
misogyny of, 361
and mother’s death, 14
Neoplatonism and, 94n-95n, 172, 260, 284, 356
paintings of, as essentially sculptural, 117
paranoia of, 157–58, 161–62, 174, 314, 348
on patrons, 49–50
patrons’ relationships with, 3–4, 96, 110, 186, 215, 229, 235, 327
Paul III’s relationship with, 267, 304, 308, 327, 336
perfectionism of, 58–59, 196, 201, 208, 228, 242, 347
personal hygiene of, 5
Piazza Rusticucci house of, 136, 160
piety of, 35–36, 53, 181–82, 283, 284, 295
poetry of, 4, 6, 28, 36, 47, 61, 112, 158–59, 184–85, 187, 220, 240, 242–43, 254, 255, 259–60, 283, 299, 310–11, 351n, 356, 357–58, 365, 371
portraits of, iv, xiv
property bought by, 177, 361
quarrelsomeness of, 3, 5–6, 85, 188, 194, 209–10, 242, 357, 360, 366
Raphael’s rivalry with, 194–96, 222, 269
religious struggles of, 283, 294–95, 299–300, 310–11, 364
and Renaissance concept of artist, 366, 371–72
in return to father’s house, 29–30
in Roman society, 287
St. Peter’s rebuilding and, 327–28, 332–38, 339, 340–44, 346–52, 372, 373
sculpture as metaphor in poetry of, 61
secretiveness of, 62, 90, 113, 162, 173, 335–36, 347
self-confidence of, 174
self-doubt of, 6, 15, 36, 157–58, 160
sexual desire seen as sinful by, 36, 53, 112, 220, 260, 284, 294
social snobbery of, 9
solitude prized by, 5
stonecutters admired by, 13
on subtractive process of sculpture, 61
terribilità of, 4, 39, 194, 200, 285
tomb of, 373, 377
unfinished work of, 231–33
unrealistic promises made by, 6, 55–56, 89, 201, 229–30
Vasari and, see Vasari, Giorgio
working methods of, 62–63
workshop of, 228
see also specific works
Michi, Giovanni, 156n
Milan, Duchy of, 12
Mini, Antonio, 272
Mini, Giovan Battista, 252
modello, 57n
models, for sculpture, 57–58
Mona Lisa (Leonardo), 63, 113
Monciatto, Francesco, 99
Montelupo, Raffaello da, 237
Montorsoli, Giovanni, 236–37
Morone, Cardinal Giovanni, 371
Moses (Michelangelo), 39, 197, 198, 199, 200, 266n, 378
Museo dell’ Opera del Duomo, Florence, xii, 377
Myron, 107
mysticism, Pietàs and, 70
Naples, Kingdom of, 12, 36
Natural History (Pliny), 73, 166n
Neoplatonism, 62, 94n-95n, 168, 172, 198, 232, 244n, 258, 260, 284, 356
Nicholas V, Pope, 315
Night (Michelangelo), 25
Noah, 170, 171, 172, 179–80
Ochino, Bernardino, 296–97, 297n
Office for the Dead, 284
On Painting (Alberti), 31, 55, 117n, 150
On the Art of Building (Alberti), 55, 321
Opera del Duomo, 83, 84, 88, 90, 91, 97, 98, 99, 377
Orange, Prince of, 248
Orlando Furioso (Ariosto), 1, 7
Orvieto Cathedral, 279
Ostia, 351
Otto di Guardia, 103
Palace of the Priors, see Palazzo della Signoria
Palazzo dei Conservatori, Rome, 330
Palazzo della Signoria (Palazzo Vecchio), Florence, xii, 80, 97, 99, 100, 101, 102, 118, 206
David moved to ringhiera of, 102–4
Palazzo del Senatore, Rome, 330
Palazzo Farnese, Rome, xiii, 333n, 379
Palazzo Medici, see Medici Palace
Palazzo Nuovo, Rome, 330
Paleotti, Cardinal Gabriele, 303
Pallavicino, Cardinal, 317
Pantheon, 319, 323
Papal States, 12, 143, 234, 351
Paragone (Leonardo), 32, 119
Parmigianino, 218n
Passerini, Cardinal, 246
patrons:
artists’ relationships with, 150, 186, 194
Michelangelo’s relationships with, 3–4, 96, 110, 186, 215, 229, 327
Paul, Saint, 150
Paul III, Pope, 29, 263, 264, 291, 296, 325, 333n
Campidoglio and, 328, 330
character of, 265
death of, 307, 337
election of, 264
Last Judgment and, 327
Michelangelo employed by, 266–67
Michelangelo’s relationship with, 267, 304, 308, 327, 336
nepotism of, 307
Protestant Reformation and, 293n
Roman Inquisition established by, 293–94, 308
St. Peter’s rebuilding and, 326–27, 336, 346
Paul IV, Pope, 257, 294, 350–51, 379
Inquisition a
nd, 294, 308
Paul V, Pope, 346
Pavia, battle of (1525), 234
Pazzi Conspiracy, 204, 207
pendentives, 151, 152n, 153
Perini, Gherardo, 290
perspective, Michelangelo’s use of, in Sistine Ceiling, 153–54, 178–79
Perugia, 143
Perugino, 123, 147, 150n, 163, 170, 271–72, 322
Peruzzi, Baldassare, 325, 326
Peter, Saint, 317
Phaedo, The (Plato), 284n
Phlegethon, 244n
Piagnoni (Weepers), 35
Piazza della Signoria, 110, 376
Piazza Rusticucci, 136, 160
Piazza San Marco, 19
Piccolomini, Cardinal Francesco, see Pius III, Pope
Piccolomini Library, Siena, 123
Piccolomini Monument, Siena, 88–89, 131
Pico della Mirandola, Giovanni, 25, 37, 62, 105–6, 150, 172, 179, 232
Piero d’Argenta, 59
Piero del Massaio, 19
Piero di Cosimo, 99, 147
Pietà (Michelangelo), 43, 56–77, 85, 90n, 98, 108, 111, 115, 131, 165, 200, 232, 288, 304, 372, 377
anatomical mastery of, 64
contract for, 43, 56–57, 63
depiction of Christ in, 64–65
depiction of Mary in, 65–68, 69
drapery of, 67–68
histrionics eschewed in, 69, 70–71
Michelangelo’s signature on, 72–74, 77
as most finished of Michelangelo’s works, 77
present location of, 63
search for marble for, 58–60
as self-consciously artistic, 76–77
success of, 84, 87
as technical showpiece, 64, 77
see also Florentine Pietà; Rondanini Pietà
Pietà (Sebastiano), 195n
Pietàs:
emotional appeal of, 69–70
German origins of, 57, 70
mystical powers of, 69–70
Pietrasanta, 196–97, 210–11, 214, 228
pietra serena, 222, 224
Pinturicchio, 123, 147
Pisa, 36, 82, 109, 113
Pisano, Giovanni, 74
Pisano, Niccolò, 39
Pistoia Cathedral, 74
Pitti Tondo (Michelangelo), 90n, 114, 115, 376
Pius II, Pope, 88
Pius III, Pope, 88, 129–30
Pius IV, Pope, 349, 368, 372
plague, 54, 80, 248
Plato, 164, 284n
Platonic Theology (Ficino), 62
Pliny the Elder, 71n, 73, 166n
Plotinus, 94
Pole, Cardinal Reginald, 296, 297, 300
Poliziano, Angelo, 22, 23, 25, 74, 150
Pollaiuolo, Antonio, 74, 83, 144
Pontormo, 218n
poor, Michelangelo’s generosity toward, 273
Pope Julius II (Raphael), 132, 177–78
Pope Leo X with Cardinals Giulio de’ Medici (Clement VII) and Luigi de’ Rossi (Raphael), 203
Pope Paul III (Titian), 264
Porta Pia, 379
Portrait of Michelangelo (Daniele da Volterra), iv
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