File:The life of Michelangelo Buonarroti - based on studies in the archives of the Buonarroti family at Florence (1911) (14762133494).jpg

Identifier: lifeofmichelange02symo (find matches)
Title: The life of Michelangelo Buonarroti : based on studies in the archives of the Buonarroti family at Florence
Year: 1911 (1910s)
Authors: Symonds, John Addington, 1840-1893 Michelangelo Buonarroti, 1475-1564
Subjects: Michelangelo Buonarroti, 1475-1564
Publisher: New York : C. Scribners London : Macmillan
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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he Adonis undoubtedly is,the strained, distorted attitude seems to require someexplanation. That might have been given by thetrampling form and robes of a Genius. Still it is 1 L^CEuvre et la Vie, p. 78. Michelangelo put wings to his Victoriesin the first sketch for the tomb. 2 The group is in Serravezza marble. See Heath Wilson, p. 243.We have no right to construct allegories in order to explain difficultiesin works of art. Yet, if I were to seek one here, and to recogniseMichelangelos self in the old man, I should prefer to think that he hadheard the story of a Greek sculptor who, loving a beautiful young man,depicted himself as the youths captive, or the captive to eternal beautyincarnated in him :— Methought in dreams I wrestled yester-morn,A greybeard with a youngster, I with thee :I stumbled and was bound, a bruised man,Thy captive, glorying in captivity.This is a parable which I will plan,For men of after-time to muse upon,In Parian marble or Pentelican. Just below the Moses,
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Victory—Florence. THE ADONIS. 91 difficult to comprehend why the left arm and hand,finished, I feel almost sure, by Michelangelo, shouldhave been so carefully executed. The Genius, ifdraped, would have hidden nearly the whole of thatpart of the statue. The face of this Adonis dis-plays exactly the same type as that of the so-calledVictory and of Giuliano de Medici. Here the typeassumes singular loveliness. CHAPTEK XII. I. Early history of Vittoria Colonna.—Her marriage to the Marquisof Pescara.—His career and death.—Her subsequent life in semireligious retirement.—Friendships with Catholic Eeformers andmen of letters.—The points of contact between her and Michel-angelo.—Evangelical piety and love of poetry.—Their exchangeof verses.—The drawings he made for her.—2. Two letters fromMichelangelo to the Marchioness.—A Sonnet.—Four of her lettersaddressed to him.—3. Francis of Hollands Dialogues, with aglimpse into Vittoria Colonnas circle, and an account of Miche

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