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Michelangelo Buonarroti
b Caprese 1475 d Rome 1564 Born: March 6, 1475 Caprese, Italy Died: February 18, 1564 Rome, Italy Italian artist Michelangelo was one of the greatest sculptors of the Italian Renaissance and one of its greatest painters and architects. Early life Michelangelo Buonarroti was born on March 6, 1475, in Caprese, Italy, a village where his father, Lodovico Buonarroti, was briefly serving as a Florentine government agent. The family moved back to Florence before Michelangelo was one month old. Michelangelo's mother died when he was six. From his childhood Michelangelo was drawn to the arts, but his father considered this pursuit below the family's social status and tried to discourage him. However, Michelangelo prevailed and was apprenticed (worked to learn a trade) at the age of thirteen to Domenico Ghirlandaio (1449?C1494), the most fashionable painter in Florence at the time. After a year Michelangelo's apprenticeship was broken off. The boy was given access to the collection of ancient Roman sculpture of the ruler of Florence, Lorenzo de' Medici (1449?C1492). He dined with the family and was looked after by the retired sculptor who was in charge of the collection. This arrangement was quite unusual at the time. Early works Michelangelo's earliest sculpture, the Battle of the Centaurs (mythological creatures that are part man and part horse), a stone work created when he was about seventeen, is regarded as remarkable for the simple, solid forms and squarish proportions of the figures, which add intensity to their violent interaction. Soon after Lorenzo died in 1492, the Medici family fell from power and Michelangelo fled to Bologna. In 1494 he carved three saints for the church of San Domenico. They show dense forms, in contrast to the linear forms which were then dominant in sculpture. Rome After returning to Florence briefly, Michelangelo moved to Rome. There he carved a Bacchus for a banker's garden of ancient sculpture. This is Michelangelo's earliest surviving large-scale work, and his only sculpture meant to be viewed from all sides. In 1498 the same banker commissioned Michelangelo to carve the Piet?? now in St. Peter's. The term piet?? refers to a type of image in which Mary supports the dead Christ across her knees. Larger than life size, the Piet?? contains elements which contrast and reinforce each other: vertical and horizontal, cloth and skin, alive and dead, female and male. Florence On Michelangelo's return to Florence in 1501 he was recognized as the most talented sculptor of central Italy. He was commissioned to carve the David for the Florence Cathedral. Michelangelo's Battle of Cascina was commissioned in 1504; several sketches still exist. The central scene shows a group of muscular soldiers climbing from a river where they had been swimming to answer a military alarm. This fusion of life with colossal grandeur henceforth was the special quality of Michelangelo's art. From this time on, Michelangelo's work consisted mainly of very large projects that he never finished. He was unable to turn down the vast commissions of his great clients which appealed to his preference for the grand scale. Pope Julius II (1443?C1513) called Michelangelo to Rome in 1505 to design his tomb, which was to include about forty life-size statues. Michelangelo worked on the project off and on for the next forty years. Sistine Chapel In 1508 Pope Julius II commissioned Michelangelo to decorate the ceiling of the chief Vatican chapel, the Sistine. The traditional format of ceiling painting contained only single figures. Michelangelo introduced dramatic scenes and an original framing system, which was his earliest architectural design. The chief elements are twelve male and female prophets (the latter known as sibyls) and nine stories from Genesis. Michelangelo stopped for some months halfway along. When he returned to the ceiling, his style underwent a shift toward a more forceful grandeur and a richer emotional tension than in any previous work. The images of the Separation of Light and Darkness, and Ezekiel illustrate this greater freedom and mobility. After the ceiling was completed in 1512, Michelangelo returned to the tomb of Julius and carved a Moses and two Slaves. His models were the same physical types he used for the prophets and their attendants in the Sistine ceiling. Julius's death in 1513 halted the work on his tomb. Pope Leo X, son of Lorenzo de' Medici, proposed a marble facade for the family parish church of San Lorenzo in Florence to be decorated with statues by Michelangelo. After four years of quarrying and designing the project was canceled. Medici Chapel In 1520 Michelangelo was commissioned to execute the Medici Chapel for two young Medici dukes. It contains two tombs, each with an image of the deceased and two allegorical (symbolic) figures: Day and Night on one tomb, and Morning and Evening on the other. A library, the Biblioteca Laurenziana, was built at the same time on the opposite side of San Lorenzo to house Pope Leo X's books. The entrance hall and staircase are some of Michelangelo's most astonishing architecture, with recessed columns resting on scroll brackets set halfway up the wall and corners stretched open rather than sealed. Poetry Michelangelo wrote many poems in the 1530s and 1540s. Approximately three hundred survive. The earlier poems are on the theme of Neoplatonic love (belief that the soul comes from a single undivided source to which it can unite again) and are full of logical contradictions and intricate images. The later poems are Christian. Their mood is penitent (being sorrow and regretful); and they are written in a simple, direct style. Last Judgment In 1534 Michelangelo left Florence for the last time, settling in Rome. The next ten years were mainly given over to painting for Pope Paul III (1468?C1549).

 

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Michelangelo Buonarroti Porta Pia begun oil painting

Painting ID::  62912

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Michelangelo Buonarroti
Porta Pia begun
1562 - Porta Pia, Rome Traces of Michelangelo's architectural activities are found in some parts of Rome. There are, for example, the sombre, crenellated bastions of the Porta Pia, where it is evident that the architect was primarily a sculptor. The central section, belonging to the 19th century, greatly weakens the dignified appearance of the original. Artist: MICHELANGELO Buonarroti Title: Porta Pia Date: 1501-1550 Italian , graphics : other
   
   
     

 

 

Michelangelo Buonarroti Last Judgment oil painting

Painting ID::  62913

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Michelangelo Buonarroti
Last Judgment
1537-41 Fresco Cappella Sistina, Vatican The picture shows the Archangel St Michael with the Book of Elects. Artist: MICHELANGELO Buonarroti Title: Last Judgment (detail) Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti Last Judgment oil painting

Painting ID::  62914

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Michelangelo Buonarroti
Last Judgment
1537-41 Fresco Cappella Sistina, Vatican The picture shown is a detail of the lower right part depicting Charon. Artist: MICHELANGELO Buonarroti Title: Last Judgment (detail) Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti Ignudo oil painting

Painting ID::  62915

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Michelangelo Buonarroti
Ignudo
1509 Fresco Cappella Sistina, Vatican The picture shows the head of the Ignudo at the upper right corner of 1he Drunkenness of Noah (above the Delphic Sibyl). Artist: MICHELANGELO Buonarroti Title: Ignudo (detail) Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti The Delphic Sibyl oil painting

Painting ID::  62916

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Michelangelo Buonarroti
The Delphic Sibyl
1509 Fresco Cappella Sistina, Vatican In the center of the face - seen frontally, half in the light and half in a moderate shadow - there are traces of a crossincised to mark the vertical axis of the oval and the alignment of the eyes. Artist: MICHELANGELO Buonarroti Title: The Delphic Sibyl (detail) Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti The Erythraean Sibyl oil painting

Painting ID::  62917

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Michelangelo Buonarroti
The Erythraean Sibyl
1509 Fresco Cappella Sistina, Vatican Artist: MICHELANGELO Buonarroti Title: The Erythraean Sibyl (detail) Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti Ignudo oil painting

Painting ID::  62918

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Michelangelo Buonarroti
Ignudo
Vatican The picture shows the Ignudo at the lower left corner of the Sacrifice of Noah (above the Erythraean Sibyl). The ignudi in the third bay are painted with greater fluency and the modeling is more delicate - with greater attention being paid to the reflections and the subtle effects of light and shade - than those of the first bay. Moreover, their poses are no longer wholly symmetrical. In fact, in the two figures on the left, only the lower part of the body is symmetrical, while the twisting of the bust and the head are expressions of contrapposto. The right arms of both are, however, extended toward the centre in order to hold the ribbon supporting the medallion. On the other hand, the ignudi on the right lean out toward the exterior, and the only difference between them appears to be the position of their arms. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti Ignudo oil painting

Painting ID::  62919

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Michelangelo Buonarroti
Ignudo
Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the upper right corner of the Sacrifice of Noah (above the prophet Isaiah). The ignudi in the third bay are painted with greater fluency and the modeling is more delicate - with greater attention being paid to the reflections and the subtle effects of light and shade - than those of the first bay. Moreover, their poses are no longer wholly symmetrical. In fact, in the two figures on the left, only the lower part of the body is symmetrical, while the twisting of the bust and the head are expressions of contrapposto. The right arms of both are, however, extended toward the centre in order to hold the ribbon supporting the medallion. On the other hand, the ignudi on the right lean out toward the exterior, and the only difference between them appears to be the position of their arms. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti Ignudo oil painting

Painting ID::  62920

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Michelangelo Buonarroti
Ignudo
1509-10 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower left corner of the Creation of Eve (above the prophet Ezekiel). In the four ignudi of the fifth bay who hold the yellow ribbons interwoven with the bronze-coloured medallions, the use of contrapposta with a variety of gestures and poses has now been replaced the symmetrical arrangement of figures. The relationship between the figures, placed opposite each other in pairs, is based on increasingly free and complex rhythmical correspondences, with rotating movements and pronounced bendings of the limbs. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti Ignudo oil painting

Painting ID::  62921

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Michelangelo Buonarroti
Ignudo
1509-10 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower right corner of the Creation of Eve (above the Cumaean Sibyl). In the four ignudi of the fifth bay who hold the yellow ribbons interwoven with the bronze-coloured medallions, the use of contrapposta with a variety of gestures and poses has now been replaced the symmetrical arrangement of figures. The relationship between the figures, placed opposite each other in pairs, is based on increasingly free and complex rhythmical correspondences, with rotating movements and pronounced bendings of the limbs. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti The Cumaean Sibyl oil painting

Painting ID::  62922

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Michelangelo Buonarroti
The Cumaean Sibyl
1510 Fresco, 375 x 380 cm Cappella Sistina, Vatican The Cumaean Sibyl oppresses by the sheer weight of her bulk and a commanding ugliness. With the open folio bound in green and her two genii gazing at its pages over her shoulders she has become one of the Fates, a towering shape with human features. Whenever Sibyls are mentioned, the Cumaea at once comes to mind. In the art of Michelangelo and other painters her powerful presence overshadows every other Sibyl, even her younger and more beautiful sisters, such as the Delphica. Artist: MICHELANGELO Buonarroti Title: The Cumaean Sibyl Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti he Persian Sibyl oil painting

Painting ID::  62923

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Michelangelo Buonarroti
he Persian Sibyl
1511 Fresco, 400 x 380 cm Cappella Sistina, Vatican Primordial, totally detached, her eyes focused on things outside this world, and she herself almost a cave of mystery - such is the Persica of the Sistine Chapel. Something of Leonardo's chiaroscuro has crept into her composition. She is a presence still more powerful and secretive, magical and abstracted than the Cumaean Sibyl. Artist: MICHELANGELO Buonarroti Title: The Persian Sibyl Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti Ignudo oil painting

Painting ID::  62924

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Michelangelo Buonarroti
Ignudo
Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower left corner of the Separation of the Earth from the Waters (above the Persian Sibyl). The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti Ignudo oil painting

Painting ID::  62925

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Michelangelo Buonarroti
Ignudo
1511 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the lower right corner of the Separation of the Earth from the Waters (above the prophet Daniel). The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti Ignudo oil painting

Painting ID::  62926

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Michelangelo Buonarroti
Ignudo
1511 Fresco Cappella Sistina, Vatican The picture shows the Ignudo at the upper right corner of the Separation of the Earth from the Waters (above the prophet Daniel). The poses of the pairs of ignudi become gradually more dynamic and agitated. The two above the Persian Sibyl (at the left) bend backward in opposite directions, while one of those above the prophet Daniel (at right) bends forward, casting an apprehensive glance at the viewer, and the other raises his arm in a movement reminiscent of Hellenistic sculptures of dancing fauns. Artist: MICHELANGELO Buonarroti Title: Ignudo Date: 1501-1550 Italian , painting : religious
   
   
     

 

 

Michelangelo Buonarroti Exterior of the Sistine Chapel oil painting

Painting ID::  62931

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Michelangelo Buonarroti
Exterior of the Sistine Chapel
1475-83 - Cappella Sistina, Vatican This is a reconstruction of the original design of the Sistine Chapel seen from the northwest corner, with the crenellations and chemin-de-ronde, before the addition of the buttresses on the long walls, and before the altar wall windows were closed and other buildings raised alongside. Artist: MICHELANGELO Buonarroti Painting Title: Exterior of the Sistine Chapel , 1501-1550 Painting Style: Italian , , religious
   
   
     

 

 

Michelangelo Buonarroti Eleazar oil painting

Painting ID::  62933

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Michelangelo Buonarroti
Eleazar
1511-12 Fresco Cappella Sistina, Vatican In the left part of the lunette, Matthan, in the background, seems to be turning with an expression of astonishment or apprehension toward his wife, who, seated and seen in profile, plays with the child Jacob, who frisks on her knee. Artist: MICHELANGELO Buonarroti Painting Title: Eleazar - Matthan (detail) , 1501-1550 Painting Style: Italian , , religious
   
   
     

 

 

Michelangelo Buonarroti Eleazar oil painting

Painting ID::  62934

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Michelangelo Buonarroti
Eleazar
1511-12 Fresco Cappella Sistina, Vatican Eleazar, father of Matthan is generally believed to be the young man on the right. His head is seen in profile, and he appears to be immersed in his thoughts; his torso is seen frontally; his legs are crossed; his left arm is outstretched, his wrist lying across his raised right ankle, while his right arm, resting on a yellow cushion, is folded, his hand touching his shoulder. Behind him are visible the heads of a woman and a child. Artist: MICHELANGELO Buonarroti Painting Title: Eleazar - Matthan (detail) , 1501-1550 Painting Style: Italian , , religious
   
   
     

 

 

Michelangelo Buonarroti Jacob oil painting

Painting ID::  62935

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Michelangelo Buonarroti
Jacob
1511-12 Fresco, 215 x 430 cm Cappella Sistina, Vatican "Matthan begat Jacob. Jacob begat Joseph, the husband of Mary, of whom was born Jesus, who is called Christ." (Matthew 1:15-16) At the top of the entrance wall of the chapel, to the right of the viewer, next to the Eleazar-Matthan lunette, there is the one concluding the genealogical sequence of the ancestors of Christ in the Gospel of St Matthew. Sullen and perplexed, wrapped in a huge yellow ochre cloak and seemingly withdrawn, the old man - generally believed to be Jacob - dominates the family group on the left due to his expressive power and the quality of the colour. Similarly, on the right, the female figure, usually thought to be Mary, is more prominent than the other members of the Holy Family and the child holding a mirror. Behind Mary in the shadow, Joseph holds the Christ child, who stretches out an arm toward the round mirror held out at the height of his face by a naked female child, possibly an allegory of the Church. The compositional schemes of the two neighbouring lunettes correspond: in both there is a female figure in the foreground seen in full, or half, profile and facing the outer wall of the chapel, and a male figure, on the internal side, with his torso seen frontally. Artist: MICHELANGELO Buonarroti Painting Title: Jacob - Joseph , 1501-1550 Painting Style: Italian , , religious
   
   
     

 

 

Michelangelo Buonarroti Jacob oil painting

Painting ID::  62936

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Michelangelo Buonarroti
Jacob
1511-12 Fresco Cappella Sistina, Vatican Mary, wrapped in a rose mantle which covers her yellow dress and its greenish shadows, wearing an exotic hairdress, turns toward the spectator. She is more prominent than the other members of the Holy Family behind her in the shadow: Joseph and the Christ child. Artist: MICHELANGELO Buonarroti Painting Title: Jacob - Joseph (detail) , 1501-1550 Painting Style: Italian , , religious
   
   
     

 

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Michelangelo Buonarroti
b Caprese 1475 d Rome 1564 Born: March 6, 1475 Caprese, Italy Died: February 18, 1564 Rome, Italy Italian artist Michelangelo was one of the greatest sculptors of the Italian Renaissance and one of its greatest painters and architects. Early life Michelangelo Buonarroti was born on March 6, 1475, in Caprese, Italy, a village where his father, Lodovico Buonarroti, was briefly serving as a Florentine government agent. The family moved back to Florence before Michelangelo was one month old. Michelangelo's mother died when he was six. From his childhood Michelangelo was drawn to the arts, but his father considered this pursuit below the family's social status and tried to discourage him. However, Michelangelo prevailed and was apprenticed (worked to learn a trade) at the age of thirteen to Domenico Ghirlandaio (1449?C1494), the most fashionable painter in Florence at the time. After a year Michelangelo's apprenticeship was broken off. The boy was given access to the collection of ancient Roman sculpture of the ruler of Florence, Lorenzo de' Medici (1449?C1492). He dined with the family and was looked after by the retired sculptor who was in charge of the collection. This arrangement was quite unusual at the time. Early works Michelangelo's earliest sculpture, the Battle of the Centaurs (mythological creatures that are part man and part horse), a stone work created when he was about seventeen, is regarded as remarkable for the simple, solid forms and squarish proportions of the figures, which add intensity to their violent interaction. Soon after Lorenzo died in 1492, the Medici family fell from power and Michelangelo fled to Bologna. In 1494 he carved three saints for the church of San Domenico. They show dense forms, in contrast to the linear forms which were then dominant in sculpture. Rome After returning to Florence briefly, Michelangelo moved to Rome. There he carved a Bacchus for a banker's garden of ancient sculpture. This is Michelangelo's earliest surviving large-scale work, and his only sculpture meant to be viewed from all sides. In 1498 the same banker commissioned Michelangelo to carve the Piet?? now in St. Peter's. The term piet?? refers to a type of image in which Mary supports the dead Christ across her knees. Larger than life size, the Piet?? contains elements which contrast and reinforce each other: vertical and horizontal, cloth and skin, alive and dead, female and male. Florence On Michelangelo's return to Florence in 1501 he was recognized as the most talented sculptor of central Italy. He was commissioned to carve the David for the Florence Cathedral. Michelangelo's Battle of Cascina was commissioned in 1504; several sketches still exist. The central scene shows a group of muscular soldiers climbing from a river where they had been swimming to answer a military alarm. This fusion of life with colossal grandeur henceforth was the special quality of Michelangelo's art. From this time on, Michelangelo's work consisted mainly of very large projects that he never finished. He was unable to turn down the vast commissions of his great clients which appealed to his preference for the grand scale. Pope Julius II (1443?C1513) called Michelangelo to Rome in 1505 to design his tomb, which was to include about forty life-size statues. Michelangelo worked on the project off and on for the next forty years. Sistine Chapel In 1508 Pope Julius II commissioned Michelangelo to decorate the ceiling of the chief Vatican chapel, the Sistine. The traditional format of ceiling painting contained only single figures. Michelangelo introduced dramatic scenes and an original framing system, which was his earliest architectural design. The chief elements are twelve male and female prophets (the latter known as sibyls) and nine stories from Genesis. Michelangelo stopped for some months halfway along. When he returned to the ceiling, his style underwent a shift toward a more forceful grandeur and a richer emotional tension than in any previous work. The images of the Separation of Light and Darkness, and Ezekiel illustrate this greater freedom and mobility. After the ceiling was completed in 1512, Michelangelo returned to the tomb of Julius and carved a Moses and two Slaves. His models were the same physical types he used for the prophets and their attendants in the Sistine ceiling. Julius's death in 1513 halted the work on his tomb. Pope Leo X, son of Lorenzo de' Medici, proposed a marble facade for the family parish church of San Lorenzo in Florence to be decorated with statues by Michelangelo. After four years of quarrying and designing the project was canceled. Medici Chapel In 1520 Michelangelo was commissioned to execute the Medici Chapel for two young Medici dukes. It contains two tombs, each with an image of the deceased and two allegorical (symbolic) figures: Day and Night on one tomb, and Morning and Evening on the other. A library, the Biblioteca Laurenziana, was built at the same time on the opposite side of San Lorenzo to house Pope Leo X's books. The entrance hall and staircase are some of Michelangelo's most astonishing architecture, with recessed columns resting on scroll brackets set halfway up the wall and corners stretched open rather than sealed. Poetry Michelangelo wrote many poems in the 1530s and 1540s. Approximately three hundred survive. The earlier poems are on the theme of Neoplatonic love (belief that the soul comes from a single undivided source to which it can unite again) and are full of logical contradictions and intricate images. The later poems are Christian. Their mood is penitent (being sorrow and regretful); and they are written in a simple, direct style. Last Judgment In 1534 Michelangelo left Florence for the last time, settling in Rome. The next ten years were mainly given over to painting for Pope Paul III (1468?C1549).