But he also knew his predecessor Julius II, for whom he made a famous tomb featuring Moses with horns, a Vulgate mistranslation from the Hebrew for beams of light. Having grown up in Florence, making sculptures like the Greek, he was noticed by Lorenzo Medici and, he grew up knowing Leo X, Lorenzo's son. Even when his son had obtained great fame (and always sent him money), the father considered his work with 'bewildered incredulity' (194). Turns out M was the only Renaissance artist from aristocratic roots, his father claiming lineage from the Duke of Canossa, and strongly objecting to his son's becoming an artisan/ artist. Even if we disapprove his life, we must approve Aretino's death: 'in his sixties he roared too vehemently at a bawdy joke, had apoplexy, and died'(121).Д¬lark's Michelangelo is rich. Of course, Aretino filled his house in Venice with women and boys-evidently he had asked the Duke of Mantua to send him a boy he fancied (120). He entertained the Papal court until he got into a terrible fight with the husband of a wife he had seduced, and the Pope sent him away. Still, Aretino was such a good writer that he was summoned to Rome by the man he had supported for the papacy, the second Medici pope, Clement VII. Plumb's chapter on the Image of Man covers from Alberti's sense of grandeur to Aretino's bisexual amorality. Probably the stockings were made by women all over the city, at home. For fascinating maps of where each guild tended to live, see online Burr Litchfield's 'Florence Ducal Capital 1530-1630.' For example, the shoemakers tended to live all over the city, all men, whereas the hosiers concentrated toward the center city, most on the Via di Calzaiuoli between Piazza Signoria and the Duomo. Earlier, by the 13C, the guilds grew central: the lanuoli (wool), sete (silk-weavers), notaio (notaries, still overpayed in modern IT), and bankers (including money-changers, with a balance).

Plumb's chapter on Renaissance Florence notes it was dominated by 'the sword and the florin': banking, and to build that, military defenses against neighbors. Origo writes like a Renaissance humanist, вЂњSuccess comes most swiftly and completely not to the greatest or perhaps even the ablest men, but to those whose gifts are most completely in harmony with the taste of their timeвЂќ(241). Plumb's chapter on Renaissance Florence notes it was dominated by 'the sword and the florin': banking, and to build A book divided, augmented: first half by Plumb, second half, chapter biographies by Origo on Pius II, Kenneth Clark on Michelangelo, Bronowski on Leonardo. A highly readable and engaging volume, THE ITALIAN RENAISSANCE is a perfect introduction to the movement that shaped the Western world.moreДЄ book divided, augmented: first half by Plumb, second half, chapter biographies by Origo on Pius II, Kenneth Clark on Michelangelo, Bronowski on Leonardo. Bronowski, Maria Bellonci, and many more, who have further illuminated the lives of some of the era's most unforgettable personalities, from Petrarch to Pope Pius II, Michelangelo to Isabella d'Este, Machiavelli to Leonardo.

Plumb's impressive and provocative narrative is accompanied by contributions from leading historians, including Morris Bishop, J. Bronowski, Maria Bellonci, and many more, who hav Spanning an age that witnessed great achievements in the arts and sciences, this definitive overview of the Italian Renaissance will both captivate ordinary readers and challenge specialists. Spanning an age that witnessed great achievements in the arts and sciences, this definitive overview of the Italian Renaissance will both captivate ordinary readers and challenge specialists.

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