Two Michelangelo and one subject

The two Michelangelo that I consider for this essay are Michelangelo Buonarroti and Michelangelo Merisi called Caravaggio; two very important artist consequent over time, but twice busied for one subject, a pictorial subject, this is Crucifixion of Saint Peter. I consider these pictures no certainly for subject bus because one, this is the first, this is Crucifixion of Buonarroti(Fig.1) was model for second painting in Cerasi chapel(Fig.2). we must consider very attentive influences and model; the first over time 1546-1550 and second between 1600 and 1601, then Caravaggio seen certainly two frescos of Michelangelo Buonarroti and he took some valid advisement, such he has took figure of torturer that is bent under cross, Caravaggio has took this figure from figure that digs field for cross of saint Peter on the fresco of Pauline chapel(Fig.3), Caravaggio has seen this figure and he has modified posture and he has worked more realism(Fig.4), and regard postures he has took posture of Saint Peter of Michelangelo, very similar, head is bent forward and cross is on diagonal position furthermore; the figure of Michelangelo that has grasped a cross arm(Fig.5) on fresco of Michelangelo is same figure of Caravaggio this is figure that  pulls the rope over shoulders(Fig.6). Then Caravaggio has took Michelangelo and he has rendered more realistic a model that has had some notes of realism.

Alessandro Lusana  

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Truth and religion

The personal letters often have some question personal and universal, but almost never are sincere; everybody has written a letter to wife, girlfriend, or boyfriend, we are always very kindle and lovers until three years of marriage; after that we have satisfied our needs, sons and pleasure, every feeling is further memory. But we can find also some exception during time, Medieval age, when sentiment was not present, it was an tool necessary to justify marriage, or matters to poetries, Dante Alighieri is example; then we can consider sentiment and passion alone literary tools. We can read the letters of Heloise to Pieter Abelard(1079-1142), two religious, very cultured, twice known Latin and Greek and they had a son, Astrolabio, and written at 11^th century these letters; these letters have much sentiment and truth regard religion: in 4^th letter Heloise says: “I have lied to you furthers both you and other. You as other seen to me a religion devotion sentiment that was hypocrisy”, truth sentiment that we can find on this letter when Heloise says: “Don’t believe that I not need you and you cures”, this confession is important because shows that feeling of woman and man, to this case, was sincere. Besides he confesses one nature of love which is human both male and female, he says on fifth letter: “The my love, the love which aims to sin is was physical attraction no love. To you I have satisfied  my desires, and I loved about you”.

Alessandro Lusana

 

Fiorentini before and after

I suspect, on contrary, I know that I have bored for Domenico Fiorentini, but he has, involuntary, bored me, and very much, because I find, sometime some fresco and his work, then I hope that I have ended to this fresco, that was commissioned by Battenti Company in church of saint Michael Archangel of Sermoneta(Fig.1), but peculiarity of this painting is one, this is second painting, this is Pity(Fig.2) is following to Cross fixion(Fig.1), then it is a sort of Via Crucis that has two moments alone, but it is sufficient for members of this religious company, this is before pain and after sorrow, because this company ordered that every member to Saint Wednesday they must whip them self; then paint and sorrow as Christ, this is Cross fixion and sorrow of Madonna; all this way is suggested by two fresco that remembered to members religious charges of Company. I identified Fiorentini on this painting owing to felts of sheet of Piety(Fig.2), too cured so much these remember those of Saint John Baptist on the other painting of Fiorentini(Fig.3). The body of Christ is very similar to body of Christ in the Cross fixion in same church, with date 1799(Figs.4-5), same muscles and same density, although body of Christ of Pity is not much looking(Fig.2); same fingers that we find again on the altarpiece dated 1799(Figs.6-8). Then Fiorentini has painted this fresco is same date of this altarpiece, then on 1799 of some years after, whereas on the door of Battenti has worked during his youth. 

Alessandro Lusana    

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