An exploration of the ways in which Michelangelo created himself.

Renaissance sculptor Pietro Torrigiano has long held a place in the public imagination as the man who broke Michelangelo’s nose. Indeed, he is known more for that story than for his impressive prowess as an artist. This engagingly written and deeply researched study by Felipe Pereda, a leading expert in the field, teases apart legend and history and reconstructs Torrigiano’s work as an artist. Torrigiano was, in fact, one of the most fascinating characters of the sixteenth century. After fighting in the Italian wars under Cesare Borgia, the Florentine artist traveled across four countries, working for such patrons as Margaret of Austria in the Netherlands and the Tudors in England. Toriggiano later went to Spain, where he died in prison, accused of heresy by the Inquisition for breaking a sculpture of the Virgin and Child that he had made with his own hands. In the course of his travels, Torrigiano played a crucial role in the dissemination of the style and the techniques that he learned in Florence, and he interacted with local artisanal traditions and craftsmen, developing a singular terracotta modeling technique that is both a response to the authority of Michelangelo and a unique testimony to artists’ mobility in the period. As Pereda shows, Torrigiano’s life and work constitute an ideal example to rethink the geography of Renaissance art, challenging us to reconsider the model that still sees the Renaissance as expanding from an Italian center into the western periphery.

From St. Peter’s Basilica to the Capitoline Hill, this unique resource—part biography, part history, and part travel guide—provides an intimate portrait of the relationship between Michelangelo and the city he restored to artistic greatness. Lavishly illustrated and richly informative, this travel companion tells the story of Michelangelo’s meteoric rise, his career marked by successive artistic breakthroughs, his tempestuous relations with powerful patrons, and his austere but passionate private life. Providing street maps that allow readers to navigate the city and discover Rome as Michelangelo knew it, each chapter focuses on a particular work that amazed Michelangelo’s contemporaries and modern tourists alike.

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It was Michelangelo's talent and imagination that created the Pieta, the famous statue of David, and the Sistine Chapel's ceilings. What was his life like before he became famous? Readers discover the story of Michelangelo Buonarroti, a man who sculpted with materials others abandoned, whose first official piece of art was really a fraud, and who hid his own likeness in many of his paintings. This artistic genius was as fascinating as he was skilled, and his life is presented to readers through engaging main text and sidebars, annotated quotes from art historians, and examples of his most famous works.

This collection opens with an inquiry into the assumptions and methods of the historical study of culture, comparing the new cultural history with the old. Thirteen essays follow, each defining a problem within a particular culture. In the first section, Biography and Autobiography, three scholars explore historically changing types of self-conception, each reflecting larger cultural meanings; essays included examine Italian Renaissance biographers and the autobiographies of Benjamin Franklin and Mohandas Gandhi. A second group of contributors explore problems raised by the writing of history itself, especially as it relates to a notion of culture. Here examples are drawn from the writings of Thucydides, Jacob Burckhardt, and the art historians Alois Riegl and Josef Strzygowski. In the third section, Politics, Nationalism, and Culture, the essays explore relationships between cultural creativity and national identity, with case studies focusing on the Holy Roman Emperor Maximilian I, the place of Castile within the national history of Spain, and the impact of World War I on work of Thomas Mann. The final section, Cultural Translation, raises the complex questions of cultural influence and the transmission of traditions over time through studies of Philo of Alexandria's interpretation of the Hebrew Bible, Erasmus' use of Socrates, Jean Bodin's conception of Roman law, and adaptations of the Hebrew Bible for American children.