Delphic Sibyll

by Michelangelo Buonarroti

Title

Delphic Sibyll

Artist

Michelangelo Buonarroti

Medium

Photograph - Painting

Description

The Delphic Sibyl was a mythical woman from before the Trojan Wars (c. 11th century BC) mentioned by Pausanias writing in the 2nd century AD about stories he had heard locally. The Sibyl would have predated the real Pythia, the oracle and priestess of Apollo, originating from around the 8th century BC.

There were several prophetic women called Sibyls and male figures called Bakis in the Graeco-Roman world. The most famous Sibyl was located at Cumae and the most famous Bakis at Boeotia.

Pausanias claimed that the Sibyl was "born between man and goddess, daughter of sea monsters and an immortal nymph". He said that the Sibyl came from the Troad to Delphi before the Trojan War, "in wrath with her brother Apollo", lingered for a time at Samos, visited Claros and Delos, and died in the Troad, after surviving nine generations of men. After her death, it was said that she became a wandering voice that still brought to the ears of men tidings of the future wrapped in dark riddles.

Michelangelo Buonarroti (1475-1564) was the greatest sculptor of the Italian Renaissance and one of its greatest painters and architects.

Michelangelo Buonarroti was born on March 6, 1475, in Caprese, a village where his father was briefly serving as a Florentine government agent. The family, of higher rank than most from which artists came in Florence, had been bankers, but Michelangelo's grandfather had failed, and his father, too genteel for trade, lived on the income from his land and a few official appointments. Michelangelo's mother died when he was 6.

After grammar school, Michelangelo was apprenticed at the age of 13 to Domenico Ghirlandaio, the most fashionable painter in Florence. That this should have happened is surprising, and no satisfactory explanation has been proposed. Michelangelo's implication in his old age that he had to overcome his family's opposition is likely to be mythical in part. In any case, after a year his apprenticeship was broken off, and an even odder arrangement followed: the boy was given access to the collection of ancient Roman sculpture of the ruler of Florence, Lorenzo de' Medici, dined with the family, and was looked after by the retired sculptor who was in charge of the collection. This arrangement was quite unprecedented at the time.

Michelangelo's earliest sculpture, a stone relief executed when he was about 17, in its composition echoes the Roman sarcophagi of the Medici collection and in its subject, the Battle of the Centaurs, a Latin poem a court poet read to him. Compared to the sarcophagi, Michelangelo's work is 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 fell from power and Michelangelo fled the city. In Bologna in 1494 he obtained a small but distinguished commission to carve the three saints needed to complete the elaborate tomb of St. Dominic in the church of S. Domenico. They too show dense forms, which contrast with the linear forms, either decorative or realistic, then dominant in sculpture, but are congruent with the work of Nicola Pisano, who had begun the tomb about 1265. On returning home Michelangelo found Florence dominated by the famous ascetic monk Savonarola. Michelangelo was in contact with the junior branch of the Medici family, and he carved a Cupid (lost) which he took to Rome to sell, palming it off as an ancient work.

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August 11th, 2016

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