By Angela K. Nickerson
From St. Peter’s Basilica to the Capitoline Hill, this particular resource—part biography, half background, and half shuttle guide—provides an intimate portrait of the connection among Michelangelo and town he restored to inventive greatness. Lavishly illustrated and richly informative, this shuttle better half tells the tale of Michelangelo’s meteoric upward thrust, his occupation marked via successive creative breakthroughs, his tempestuous family with robust consumers, and his austere yet passionate deepest existence. offering highway maps that permit readers to navigate the town and become aware of Rome as Michelangelo knew it, every one bankruptcy specializes in a specific paintings that surprised Michelangelo’s contemporaries and glossy travelers alike.
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Additional info for A Journey Into Michelangelo's Rome
35 This navigation between seemingly separate systems of signification, discussed in medieval semiological theory, drives medieval allegorization. To this extent, “twelfth-century allegorization [ . . ”36 Whitman takes the viewpoint that this process does more than attempt to verify concepts through appeal to the auctores. 37 Whitman suggests that this division between the pagan and Christian significations of a figure further complicates the expression of concepts in medieval allegories. He provides various examples which could be attached to the sun as an example of divine signification.
Longinus’ On the Sublime, importantly, shows that the sublime is not a strictly modern concept. The presence or absence of the sublime is linked to the philosophical conditions and aesthetic preoccupations of different eras. S. Lewis, for instance, denies the sublime as an aesthetic category available to the medieval imagination. He centralizes, instead, beauty and the sacramental symbol. In The Discarded Image, Lewis employs exactly this image of the contemplation of the night sky to articulate the primary distinction between the medieval and modern conceptualization of the infinite.
Indeed, the symbolic interpretation of language is no less venerable than the symbolism of number. But antique studies of rhetoric did not give rise to a cosmic symbolism comparable to Pythagorean mathematics and number theory, the reason being inherent in the respective possibilities of number and language as images of perfection. Nevertheless, belief in the symbolic value of revered texts was part of the classical heritage of the Christian Middle Ages. 19 Allegory thus serves as the semiotic system par excellence.
A Journey Into Michelangelo's Rome by Angela K. Nickerson