in the second half of the 5th Century CE - between the Roman withdrawal and the founding of Anglo-Saxon kingdoms. ]] The Britons (sometimes Brythons or British) were the Celtic people living in Great Britain from the Iron Age through the Early Middle Ages. They spoke the Insular Celtic language known as British or Brythonic. They lived throughout Britain south of about the Firth of Forth; after the 5th century Britons also migrated to continental Europe, where they established the settlements of Brittany in France and the obscure Britonia in what is now Galicia, Spain.

The earliest evidence for the Britons and their language in historical sources dates to the Iron Age. The term Pritani may have reached Pytheas from the Gauls, who possibly used it as their term for the inhabitants of the islands.

The Latin name in the early Roman Empire period was Britanni or Brittanni, following the Roman conquest in AD 43.

Welsh Brython was introduced into English usage by John Rhys in 1884 as a term unambiguously referring to the P-Celtic speakers of Great Britain, as complementing Goidel; hence the adjective Brythonic referring to the group of languages. Brittonic is a more recent coinage (first attested 1923 according to the Oxford English Dictionary) intended to refer to the ancient Britons specifically.

(In non-historical usage Briton and British describe a citizen of the United Kingdom – the British people; it is a collective term for the English, Scottish, Welsh, and Cornish, as well as some people from Northern Ireland.)

Language

The Britons were speakers of the Brythonic (or Brittonic) languages. Brythonic languages are believed to have been spoken throughout the island of Britain. According to early mediaeval historical tradition, such as The Dream of Macsen Wledig, the post-Roman Celtic-speakers of Armorica were colonists from Britain, resulting in the Breton language, a language related to Welsh and identical to Cornish in the early period and still used today. Thus the area today is called Brittany (Br. Breizh, Fr. Bretagne, derived from Britannia).

The Brythonic languages developed from Proto-Celtic, after it was introduced to the British Isles from the continent. The first form of the Brythonic languages is believed to be British. After the Roman conquest of Britain, the British language adopted some words from Latin; hence it is sometimes termed Romano-British in this period.

Some linguists have invented the terms Western and Southwestern Brythonic to classify subsequent developments of the British language. The Western and Southwestern developed into Cumbric, Welsh, Cornish, and Breton in Gaul. While Welsh, Cornish and Breton survive today, Cumbric became extinct in the 12th century.

In his book The Origins of the British, Stephen Oppenheimer suggests that the inhabitants of Britain did not uniformly speak Celtic languages, and that there may have been pre-Roman British tribes who spoke Germanic languages such as Old English. His cited evidence for this is a lack of Celtic placenames in eastern England and certain anomalies in the English language that he suggests may have developed prior to the conventional dates for the arrival of the Anglo-Saxons in Britain. Oppenheimer suggests the Old English language may have already been developing in Britain before the arrival of Anglo-Saxons, and may therefore be a native development.

Territory

Throughout their existence, the territory inhabited by the Britons was composed of numerous ever-changing areas controlled by tribes. The extent of their territory before and during the Roman period is unclear, but is generally believed to include the whole of the island of Great Britain, as far north as the Clyde-Forth isthmus. The territory north of this was largely inhabited by the Picts, although a portion of it was eventually absorbed into the Gaelic kingdom of Dál Riata. The Isle of Man was originally inhabited by Britons also, but eventually it became Gaelic territory. Meanwhile, Ireland is generally believed to have been entirely Gaelic throughout this period.

In 43 the Roman Empire invaded Britain. The British tribes initially opposed the Roman legions, but by 84 the Romans had decisively conquered southern Britain and had pushed into what is now southern Scotland. In 122 they fortified the northern border with Hadrian's Wall, which spanned across what is now Northern England. In 142 Roman forces pushed north again and began construction of the Antonine Wall, which ran between the Forth-Clyde isthmus, but they retreated back to Hadrian's Wall after only twenty years. Although the native Britons mostly kept their land, they were subject to the Roman governors. The Roman Empire retained control of "Britannia" until its departure about AD 430.

Around the time of the Roman departure, the Germanic-speaking Anglo-Saxons began a migration to the Eastern coast of Britain, where they established their own kingdoms. Eventually, the Brythonic language in these areas was replaced by that of the Anglo-Saxons . At the same time, some Britons established themselves in what is now called Brittany. There they set up their own small kingdoms and the Breton language developed there from Insular Celtic rather than Gaulish. They also retained control of Cornwall and Northwest England, where Kingdoms such as Dumnonia and Rheged survived. By the end of the 1st millennium, the Anglo-Saxons and Gaels had conquered most of the British territory in Britain, and the language and culture of the native Britons had largely been extinguished, remaining only in Wales, Cornwall, parts of Cumbria and Eastern Galloway.

Mythology and religion

tree, considered magical by the ancient Britons]]

Notable Britons

Arthur – Romano-British war leader of debatable historicity.

Boudica – Queen of the Iceni, who led the failed rebellion against Roman occupation in 60 AD.

Cadwallon ap Cadfan - King of Gwynedd, fought against the Anglo-Saxons.

Caratacus – a leader of the defence against the Roman conquest of Britain.

Cartimandua – Queen of the Brigantes during and after the Roman invasion.

Cassivellaunus – led the defence against Julius Caesar's second expedition to Britain in 54 BC.

Coel Hen - the "Old King Cole" of the popular nursery rhyme.

Cogidubnus – a British client-king, later made a citizen of Rome and awarded Fishbourne Roman Palace.

Commius – historical King of the Belgic nation of the Atrebates, initially in Gaul, then in Britannia, during the 1st century BC.

Cunedda – post-Roman King and progenitor of the Kingdom of Gwynedd.

Cunobelinus – historical King of southern Britain between the first and second Roman invasions. The basis for Shakespeare's Cymbeline.

King Lot - grandfather of St Kentigern, and eponymous king of Lothian.

Mailoc - Bishop of Britonia (Galicia) in the 6th century AD

Saint Patrick - a Romano-Briton and Christian missionary, who is the most generally recognized patron saint of Ireland or the Apostle of Ireland,

Pelagius – an influential Christian monk and theologian, whose thought was branded heresy later in life.

Prasutagus – husband of Boudica.

Togodumnus – a leader of the defence against the Roman conquest of Britain.

Urien – King of Rheged (modern Lancashire and Cumbria).

Vortigern – warlord and King in the 5th century AD. Best known for inviting the Jutes to Kent.

See also

Albion

Anglo-Saxons

Armorica

British

Alternative words for British

British Isles

British Isles (terminology)

Britonia

Brynaich

Caledonia

Celtic nations

Corieltauvi

Cornish people

Cornovii (Cornish)

Cornovii (Midlands)

Cornovii (Caithness)

Devon

Dumnonia

Dumbarton

Elmet

English people

Gododdin

Hibernia

History of the British Isles

Irish people

Kingdom of Strathclyde

King of the Britons

List of Celtic tribes

List of legendary kings of Britain

Rheged

Roman Britain

Selgovae

Scottish people

Wales

Welsh language

Welsh people

Votadini

Yr Hen Ogledd

Notes

References

External links

BBC - History - Native Tribes of Britain

DNA from ethnic Britons found in Ireland

Category:Celtic culture Category:Iron Age Britain Category:Roman Britain Category:Sub-Roman Britain

Coordinates	16°48′″N96°09′″N
Bgcolour	#EEDD82
Name	Michelangelo
Caption	Portrait of Michelangelo by Jacopino del Conte (after 1535) at the age of 60
Birth name	Michelangelo di Lodovico Buonarroti Simoni
Birth date	March 06, 1475
Birth place	near Arezzo, Caprese, Tuscany
Death date	February 18, 1564
Death place	Rome, Italy
Nationality	Italian
Field	sculpture, painting, architecture, and poetry
Training	Apprentice to Domenico Ghirlandaio
Movement	High Renaissance
Works	David, The Creation of Adam, Pietà
Signature	Michelangelo Signature2.svg

, 1546]] from the Sistine Chapel ceiling]] Michelangelo di Lodovico Buonarroti Simoni Two biographies were published of him during his lifetime; one of them, by Giorgio Vasari, proposed that he was the pinnacle of all artistic achievement since the beginning of the Renaissance, a viewpoint that continued to have currency in art history for centuries. In his lifetime he was also often called Il Divino ("the divine one"). One of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and it was the attempts of subsequent artists to imitate Michelangelo's impassioned and highly personal style that resulted in Mannerism, the next major movement in Western art after the High Renaissance.

Life and works

Early life

Michelangelo was born on 6 March 1475 in Caprese near Arezzo, Tuscany. (Today, Caprese is known as Caprese Michelangelo). For several generations, his family had been small-scale bankers in Florence, but his father, Lodovico di Leonardo di Buonarroti di Simoni, failed to maintain the bank's financial status, and held occasional government positions. The Buonarrotis claimed to descend from the Countess Mathilde of Canossa; this claim remains unproven, but Michelangelo himself believed it. Several months after Michelangelo's birth, the family returned to Florence, where Michelangelo was raised. At later times, during the prolonged illness and after the death of his mother in 1481 when he was just six years old, Michelangelo lived with a stonecutter and his wife and family in the town of Settignano, where his father owned a marble quarry and a small farm. The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches and seek the company of painters. When Michelangelo was only fourteen, his father persuaded Ghirlandaio to pay his apprentice as an artist, which was highly unusual at the time. When in 1489 Lorenzo de' Medici, de facto ruler of Florence, asked Ghirlandaio for his two best pupils, Ghirlandaio sent Michelangelo and Francesco Granacci. From 1490 to 1492, Michelangelo attended the Humanist academy which the Medici had founded along Neo Platonic lines. Michelangelo studied sculpture under Bertoldo di Giovanni. At the academy, both Michelangelo's outlook and his art were subject to the influence of many of the most prominent philosophers and writers of the day including Marsilio Ficino, Pico della Mirandola and Poliziano. At this time, Michelangelo sculpted the reliefs Madonna of the Steps (1490–1492) and Battle of the Centaurs (1491–1492). The latter was based on a theme suggested by Poliziano and was commissioned by Lorenzo de Medici. While both were apprenticed to Bertoldo di Giovanni, Pietro Torrigiano struck the 17-year-old on the nose, and thus caused that disfigurement which is so conspicuous in all the portraits of Michelangelo.

Early adulthood

Lorenzo de' Medici's death on 8 April 1492 brought a reversal of Michelangelo's circumstances. Michelangelo left the security of the Medici court and returned to his father's house. In the following months he carved a wooden crucifix (1493), as a gift to the prior of the Florentine church of Santo Spirito, who had permitted him some studies of anatomy on the corpses of the church's hospital. Between 1493 and 1494 he bought a block of marble for a larger than life statue of Hercules, which was sent to France and subsequently disappeared sometime circa 18th century. During the half year he spent in Florence he worked on two small statues, a child St. John the Baptist and a sleeping Cupid. According to Condivi, Lorenzo di Pierfrancesco de' Medici, for whom Michelangelo had sculpted St. John the Baptist, asked that Michelangelo "fix it so that it looked as if it had been buried" so he could "send it to Rome...pass [it off as] an ancient work and...sell it much better." Both Lorenzo and Michelangelo were unwittingly cheated out of the real value of the piece by a middleman. Cardinal Raffaele Riario, to whom Lorenzo had sold it, discovered that it was a fraud, but was so impressed by the quality of the sculpture that he invited the artist to Rome. This apparent success in selling his sculpture abroad as well as the conservative Florentine situation may have encouraged Michelangelo to accept the prelate's invitation. at the age of 21. On 4 July of the same year, he began work on a commission for Cardinal Raffaele Riario, an over-life-size statue of the Roman wine god, Bacchus. However, upon completion, the work was rejected by the cardinal, and subsequently entered the collection of the banker Jacopo Galli, for his garden.

In November of 1497, the French ambassador in the Holy See commissioned one of his most famous works, the Pietà and the contract was agreed upon in August of the following year. The contemporary opinion about this work – "a revelation of all the potentialities and force of the art of sculpture" – was summarized by Vasari: "It is certainly a miracle that a formless block of stone could ever have been reduced to a perfection that nature is scarcely able to create in the flesh."

In Rome, Michelangelo lived near the church of Santa Maria di Loreto. Here, according to the legend, he fell in love with Vittoria Colonna, marchioness of Pescara and a poet. His house was demolished in 1874, and the remaining architectural elements saved by the new proprietors were destroyed in 1930. Today a modern reconstruction of Michelangelo's house can be seen on the Janiculum hill. It is also during this period that skeptics allege Michelangelo executed the sculpture Laocoön and His Sons which resides in the Vatican. , completed by Michelangelo in 1504, is one of the most renowned works of the Renaissance.]]

Statue of David

Michelangelo returned to Florence in 1499–1501. Things were changing in the republic after the fall of anti-Renaissance Priest and leader of Florence, Girolamo Savonarola (executed in 1498) and the rise of the gonfaloniere Piero Soderini. He was asked by the consuls of the Guild of Wool to complete an unfinished project begun 40 years earlier by Agostino di Duccio: a colossal statue portraying David as a symbol of Florentine freedom, to be placed in the Piazza della Signoria, in front of the Palazzo Vecchio. Michelangelo responded by completing his most famous work, the Statue of David in 1504. This masterwork, created out of a marble block from the quarries at Carrara that had already been worked on by an earlier hand, definitively established his prominence as a sculptor of extraordinary technical skill and strength of symbolic imagination.

Also during this period, Michelangelo painted the Holy Family and St John, also known as the Doni Tondo or the Holy Family of the Tribune: it was commissioned for the marriage of Angelo Doni and Maddalena Strozzi and in the 17th century hung in the room known as the Tribune in the Uffizi. He also may have painted the Madonna and Child with John the Baptist, known as the Manchester Madonna and now in the National Gallery, London.

Sistine Chapel ceiling

; the work took approximately four years to complete (1508–1512)]] In 1505 Michelangelo was invited back to Rome by the newly elected Pope Julius II. He was commissioned to build the Pope's tomb. Under the patronage of the Pope, Michelangelo had to constantly stop work on the tomb in order to accomplish numerous other tasks. Because of these interruptions, Michelangelo worked on the tomb for 40 years. The tomb, of which the central feature is Michelangelo's statue of Moses, was never finished to Michelangelo's satisfaction. It is located in the Church of S. Pietro in Vincoli in Rome.

During the same period, Michelangelo took the commission to paint the ceiling of the Sistine Chapel, which took approximately four years to complete (1508–1512). According to Michelangelo's account, Bramante and Raphael convinced the Pope to commission Michelangelo in a medium not familiar to the artist. This was done in order that he, Michelangelo, would suffer unfavorable comparisons with his rival Raphael, who at the time was at the peak of his own artistry as the primo fresco painter. However, this story is discounted by modern historians on the grounds of contemporary evidence, and may merely have been a reflection of the artist's own perspective.

Michelangelo was originally commissioned to paint the 12 Apostles against a starry sky, but lobbied for a different and more complex scheme, representing creation, the Downfall of Man and the Promise of Salvation through the prophets and Genealogy of Christ. The work is part of a larger scheme of decoration within the chapel which represents much of the doctrine of the Catholic Church.

The composition eventually contained over 300 figures and had at its center nine episodes from the Book of Genesis, divided into three groups: God's Creation of the Earth; God's Creation of Humankind and their fall from God's grace; and lastly, the state of Humanity as represented by Noah and his family. On the pendentives supporting the ceiling are painted twelve men and women who prophesied the coming of the Jesus. They are seven prophets of Israel and five Sibyls, prophetic women of the Classical world.

Among the most famous paintings on the ceiling are The Creation of Adam, Adam and Eve in the Garden of Eden, the Great Flood, the Prophet Isaiah and the Cumaean Sibyl. Around the windows are painted the ancestors of Christ.

Under Medici popes in Florence

(centre) with Rachel and Leah on his sides]] In 1513 Pope Julius II died and his successor Pope Leo X, of the Medici family, commissioned Michelangelo to reconstruct the façade of the Basilica of San Lorenzo in Florence and to adorn it with sculptures. Michelangelo agreed reluctantly. The three years Michelangelo spent in creating drawings and models for the facade, as well as attempting to open a new marble quarry at Pietrasanta specifically for the project, were among the most frustrating in his career, as work was abruptly canceled by his financially strapped patrons before any real progress had been made. The basilica lacks a façade to this day.

Apparently not the least embarrassed by this turnabout, the Medici later came back to Michelangelo with another grand proposal, this time for a family funerary chapel in the Basilica of San Lorenzo. Fortunately for posterity, this project, occupying the artist for much of the 1520s and 1530s, was more fully realized. . Saint Bartholomew is shown holding the knife of his martyrdom and his flayed skin. The face of the skin is recognizable as Michelangelo.]] In 1527, the Florentine citizens, encouraged by the sack of Rome, threw out the Medici and restored the republic. A siege of the city ensued, and Michelangelo went to the aid of his beloved Florence by working on the city's fortifications from 1528 to 1529. The city fell in 1530 and the Medici were restored to power. Completely out of sympathy with the repressive reign of the ducal Medici, Michelangelo left Florence for good in the mid-1530s, leaving assistants to complete the Medici chapel.

Last works in Rome

The fresco of The Last Judgment on the altar wall of the Sistine Chapel was commissioned by Pope Clement VII, who died shortly after assigning the commission. Paul III was instrumental in seeing that Michelangelo began and completed the project. Michelangelo labored on the project from 1534 to October 1541. The work is massive and spans the entire wall behind the altar of the Sistine Chapel. The Last Judgment is a depiction of the second coming of Christ and the apocalypse; where the souls of humanity rise and are assigned to their various fates, as judged by Christ, surrounded by the Saints.

Once completed, the depictions of nakedness in the papal chapel was considered obscene and sacrilegious, and Cardinal Carafa and Monsignor Sernini (Mantua's ambassador) campaigned to have the fresco removed or censored, but the Pope resisted. After Michelangelo's death, it was decided to obscure the genitals ("Pictura in Cappella Ap.ca coopriantur"). So Daniele da Volterra, an apprentice of Michelangelo, was commissioned to cover with perizomas (briefs) the genitals, leaving unaltered the complex of bodies. When the work was restored in 1993, the conservators chose not to remove all the perizomas of Daniele, leaving some of them as a historical document, and because some of Michelangelo’s work was previously scraped away by the touch-up artist's application of “decency” to the masterpiece. A faithful uncensored copy of the original, by Marcello Venusti, can be seen at the Capodimonte Museum of Naples. , although it was unfinished when he died.]] Censorship always followed Michelangelo, once described as "inventor delle porcherie" ("inventor of obscenities", in the original Italian language referring to "pork things"). The infamous "fig-leaf campaign" of the Counter-Reformation, aiming to cover all representations of human genitals in paintings and sculptures, started with Michelangelo's works. To give two examples, the marble statue of Cristo della Minerva (church of Santa Maria sopra Minerva, Rome) was covered by added drapery, as it remains today, and the statue of the naked child Jesus in Madonna of Bruges (The Church of Our Lady in Bruges, Belgium) remained covered for several decades. Also, the plaster copy of the David in the Cast Courts (Victoria and Albert Museum) in London, has a fig leaf in a box at the back of the statue. It was there to be placed over the statue's genitals so that they would not upset visiting female royalty.

In 1546, Michelangelo was appointed architect of St. Peter's Basilica in the Vatican, and designed its dome. As St. Peter's was progressing there was concern that Michelangelo would pass away before the dome was finished. However, once building commenced on the lower part of the dome, the supporting ring, the completion of the design was inevitable. Michelangelo died in Rome at the age of 88 (three weeks before his 89th birthday). His body was brought back from Rome for interment at the Basilica of Santa Croce, fulfilling the maestro's last request to be buried in his beloved Tuscany.

Last sketch found

On 7 December 2007, Michelangelo's red chalk sketch for the dome of St Peter's Basilica, his last before his death in 1564, was discovered in the Vatican archives. It is extremely rare, since he destroyed his designs later in life. The sketch is a partial plan for one of the radial columns of the cupola drum of Saint Peter's.

Disputed works

A number of works attributed to Michelangelo are disputed. These include the paintings, The Manchester Madonna, the London Deposition, and The Torment of Saint Anthony, newly acquired by the Kimbell Art Museum, USA (previously attributed to "Workshop of Domenico Ghirlandaio", and having had two previously unsuccessful attempts at attribution to the hand of Michelangelo). In addition, the Cupid sculpture "rediscovered" in the French Embassy in New York in 1996 (now on loan to the Metropolitan Museum of Art) has also been inconclusively attributed to Michelangelo.

Architectural work

Michelangelo worked on many projects that had been started by other men, most notably in his work at St Peter's Basilica, Rome. The Campidoglio, designed by Michelangelo during the same period, rationalized the structures and spaces of Rome's Capitoline Hill. Its shape, more a rhomboid than a square, was intended to counteract the effects of perspective. The major Florentine architectural projects by Michelangelo are the unexecuted façade for the Basilica of San Lorenzo, Florence and the Medici Chapel (Capella Medicea) and Laurentian Library there, and the fortifications of Florence. The major Roman projects are St. Peter's, Palazzo Farnese, San Giovanni dei Fiorentini, the Sforza Chapel (Capella Sforza) in the Basilica di Santa Maria Maggiore, Porta Pia and Santa Maria degli Angeli.

Laurentian Library

Around 1530 Michelangelo designed the Laurentian Library in Florence, attached to the church of San Lorenzo. He produced new styles such as pilasters tapering thinner at the bottom, and a staircase with contrasting rectangular and curving forms.

Medici Chapel

Michelangelo designed the Medici Chapel and in fact used his own discretion to create its composition. The Medici Chapel has monuments in it dedicated to certain members of the Medici family. Michelangelo never finished the project, so his pupils later completed it. Lorenzo the Magnificent was buried at the entrance wall of the Medici Chapel. Sculptures of the "Madonna and Child" and the Medici patron saints Cosmas and Damian were set over his burial. The "Madonna and child" was Michelangelo's own work. The concealed corridor with wall drawings of Michelangelo under the New Sacristy discovered in 1976.

Personal life

In his personal life, Michelangelo was abstemious. He told his apprentice, Ascanio Condivi: "However rich I may have been, I have always lived like a poor man." Condivi said he was indifferent to food and drink, eating "more out of necessity than of pleasure" He may not have minded, since he was by nature a solitary and melancholy person. He had a reputation for being bizzarro e fantastico because he "withdrew himself from the company of men."

Sexuality

, accomplished.]] While clearly having a keen appreciation for the nude form resurgent in the Renaissance, fundamental to Michelangelo's art is his love of male beauty which seems to have particularly attracted him both aesthetically and emotionally. In part, this was an expression of the Renaissance idealization of masculinity. But in Michelangelo's art there is clearly a sensual response to this aesthetic.

The sculptor's expressions of love have been characterized as both Neoplatonic and openly homoerotic; recent scholarship seeks an interpretation which respects both readings, yet is wary of drawing absolute conclusions. One example of the conundrum is Cecchino dei Bracci, whose death, only a year after their meeting in 1543, inspired the writing of forty eight funeral , which by some accounts allude to a relationship that was not only romantic but physical as well: :{| | style="width:160px;"|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. |The flesh now earth, and here my bones, Bereft of handsome eyes, and jaunty air, Still loyal are to him I joyed in bed, Whom I embraced, in whom my soul now lives. |} According to others, they represent an emotionless and elegant re-imagining of Platonic dialogue, whereby erotic poetry was seen as an expression of refined sensibilities (Indeed, it must be remembered that professions of love in 16th century Italy were given a far wider application than now). Some young men were street wise and took advantage of the sculptor. Febo di Poggio, in 1532, peddled his charms—in answer to Michelangelo's love poem he asks for money. Earlier, Gherardo Perini, in 1522, had stolen from him shamelessly. Michelangelo defended his privacy above all. When an employee of his friend Niccolò Quaratesi offered his son as apprentice suggesting that he would be good even in bed, Michelangelo refused indignantly, suggesting Quaratesi fire the man.

The greatest written expression of his love was given to Tommaso dei Cavalieri (c. 1509–1587), who was 23 years old when Michelangelo met him in 1532, at the age of 57. Cavalieri was open to the older man's affection: I swear to return your love. Never have I loved a man more than I love you, never have I wished for a friendship more than I wish for yours. Cavalieri remained devoted to Michelangelo until his death.

Michelangelo dedicated to him over three hundred sonnets and , constituting the largest sequence of poems that he composed. Some modern commentators assert that the relationship was merely a Platonic affection, even suggesting that Michelangelo was seeking a surrogate son. However, their homoerotic nature was recognized in his own time, so that a decorous veil was drawn across them by his grand nephew, Michelangelo the Younger, who published an edition of the poetry in 1623 with the gender of pronouns changed. John Addington Symonds, the early British homosexual activist, undid this change by translating the original sonnets into English and writing a two-volume biography, published in 1893.

The sonnets are the first large sequence of poems in any modern tongue addressed by one man to another, predating Shakespeare's sonnets to the fair youth by fifty years. {| |- | :I feel as lit by fire a cold countenance :That burns me from afar and keeps itself ice-chill; :A strength I feel two shapely arms to fill :Which without motion moves every balance. ::— (Michael Sullivan, translation) |}

Late in life he nurtured a great love for the poet and noble widow Vittoria Colonna, whom he met in Rome in 1536 or 1538 and who was in her late forties at the time. They wrote sonnets for each other and were in regular contact until she died.

It is impossible to know for certain whether Michelangelo had physical relationships (Condivi ascribed to him a "monk-like chastity"), but through his poetry and visual art we may at least glimpse the arc of his imagination.

See also

Michelangelo phenomenon

Renaissance art

Restoration of the Sistine Chapel frescoes

The asteroid 3001 Michelangelo and a crater on the planet Mercury were named after Michelangelo.

The 1965 feature film The Agony and the Ecstasy features the story of Michelangelo and his travails in painting the Sistine Chapel. He is portrayed in the film by Charlton Heston.

Portraits of Michelangelo

Footnotes

:a. Michelangelo's father marks the date as 6 March 1474 in the Florentine manner ab Incarnatione. However, in the Roman manner, ab Nativitate, it is 1475. :b. Sources disagree as to how old Michelangelo was when he departed for school. De Tolnay writes that it was at ten years old while Sedgwick notes in her translation of Condivi that Michelangelo was seven. :c. The Strozzi family acquired the sculpture Hercules. Filippo Strozzi sold it to Francis I in 1529. In 1594, Henry IV installed it in the Jardin d'Estang at Fontainebleau where it disappeared in 1713 when the Jardin d'Estange was destroyed. :d. Vasari makes no mention of this episode and Paolo Giovio's Life of Michelangelo indicates that Michelangelo tried to pass the statue off as an antique himself.

References

Further reading

Einem, Herbert von (1973). Michelangelo. Trans. Ronald Taylor. London: Methuen.

Gilbert, Creighton (1994). Michelangelo On and Off the Sistine Ceiling. New York: George Braziller.

Hibbard, Howard (1974). Michelangelo. New York: Harper & Row.

Hirst, Michael and Jill Dunkerton. (1994) The Young Michelangelo: The Artist in Rome 1496–1501. London: National Gallery Publications.

Pietrangeli, Carlo, et al. (1994). The Sistine Chapel: A Glorious Restoration. New York: Harry N. Abrams

Saslow, James M. (1991). The Poetry of Michelangelo: An Annotated Translation. New Haven and London: Yale University Press.

Seymour, Charles, Jr. (1972). Michelangelo: The Sistine Chapel Ceiling. New York: W. W. Norton.

Summers, David (1981). Michelangelo and the Language of Art. Princeton University Press.

Tolnay, Charles de. (1964). The Art and Thought of Michelangelo. 5 vols. New York: Pantheon Books.

Wilde, Johannes (1978). Michelangelo: Six Lectures. Oxford: Clarendon Press.

External links

Where to find Michelangelo's works in Florence

"The Divine Michelangelo – Timeline of Michelangelo's Life and Major Works"

Michelangelo in the "A World History of Art"

Michelangelo in the "Vatican Secret Archives" A letter by Michelangelo

Photographs of details at the Campidoglio

The Digital Michelangelo Project

The BP Special Exhibition Michelangelo Drawings – closer to the master

Michelangelo's Drawings: Real or Fake? How to decide if a drawing is by Michelangelo.

Models he used to make his sculptures and paintings

, suggesting Michelangelo's coded use of his knowledge of anatomy.

"Michelangelo: The Man and the Myth"

Category:1475 births Category:1564 deaths Category:Architects of Roman Catholic churches Category:Artist authors Category:Italian architects Category:Italian ecclesiastical architects Category:Italian painters Category:Italian Roman Catholics Category:Italian sculptors Category:People celebrated in the Lutheran liturgical calendar Category:People from the Province of Arezzo Category:Renaissance artists Michelangelo Buonarroti Category:Roman Catholic Church painters Category:Roman Catholic Church sculptors Category:Tuscan painters