Book One: The Studio The Agony and the Ecstasy (novel)

wooden crucifix @ santa croce donatello, 1406–08



wooden crucifix @ santa maria novella brunelleschi, 1410–15

after ghirlandaio looks @ michelangelo’s sketches of christ drawn stonemason model, tells michelangelo story of donatello s showing newly carved crucifix brunelleschi. brunelleschi observes seems him donatello has, “put plowman on cross, rather body of jesus christ, delicate in parts . donatello, upset friend’s criticism, challenges brunelleschi make christ’s figure himself. when brunelleschi presents own, newly finished crucifix, “donatello, not take eyes off beautiful christ, answered, ‘it work make christs, , mine make plowmen.’” michelangelo, familiar both carvings, tells ghirlandaio “preferred donatello’s plowman brunelleschi’s ethereal christ, slight looked though had been created crucified. donatello’s figure crucifixion had come horrifying surprise….”

ghirlandaio working on sketches baptism of christ , 1 of scenes in fresco of tornabuoni choir. though ghirlandaio never mentions conversation figure of christ again, michelangelo sees preferred christ in ghirlandaio’s finished figure: “the legs twisted in angular position, little knock-kneed; chest, shoulders , arms of man had carried logs , built houses; rounded, protruding stomach had absorbed quantity of food: in power , reality far outdistancing of still-life set figures ghirlandaio had yet painted tornabuoni choir.” (from book two, same painting) michelangelo “sketched roughhewn young contandino in fields, naked except brache, kneeling take off clodhoppers; flesh tones sunburned amber, figure clumsy, graceless bumpkin muscles; face transfused light young lad gazed @ john. behind him did 2 white-bearded assistants john, beauty in faces , rugged power in figures. experimented flesh tones paint pots, enjoyed culminating physical effort of bringing figures life, clothing them in warm-colored lemon-yellow , rose robes.”