{"version":"1.0","provider_name":"Mandragora","provider_url":"https:\/\/www.mandragora.it\/en\/","author_name":"redazione Mandragora","author_url":"https:\/\/www.mandragora.it\/en\/author\/mandragora\/","title":"La Piet\u00e0 di Michelangelo a Firenze - Mandragora","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"qEHpfWwqDK\"><a href=\"https:\/\/www.mandragora.it\/en\/prodotto\/la-pieta-di-michelangelo-a-firenze\/\">La Piet\u00e0 di Michelangelo a Firenze<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.mandragora.it\/en\/prodotto\/la-pieta-di-michelangelo-a-firenze\/embed\/#?secret=qEHpfWwqDK\" width=\"600\" height=\"338\" title=\"&#8220;La Piet\u00e0 di Michelangelo a Firenze&#8221; &#8212; Mandragora\" data-secret=\"qEHpfWwqDK\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.mandragora.it\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/www.mandragora.it\/wp-content\/uploads\/2018\/10\/pietamichelangelo.jpg","thumbnail_width":791,"thumbnail_height":1024,"description":"by J. Wasserman with essays by F. Trinchieri Camiz, T. Verdon, P. Rockwell technical studies: ENEA, Opificio delle Pietre Dure, IBM  photograhs by Aurelio Amendola  revised edition of Michelangelo\u2019s Florence Piet\u00e0 (Princeton University Press, 2003)  According to Vasari\u2019s account, the elderly Michelangelo sculpted the Florence Piet\u00e0 for his own tomb and carved Nicodemus, the figure rising in the middle of the group to sustain Christ\u2019s body, as a self-portrait. After years of sporadic and tormented work, however, he mutilated the work in a fit of rage and then gave it to a servant, who in turn sold it to the Florentine banker Francesco Bandini. Restored by Tiberio Calcagni, the sculpture was set in the garden of the Bandini villa on the Quirinal Hill in Rome. Over a century later Cosimo III de\u2019 Medici had it brought to Florence, where it was placed first in San Lorenzo, then in the cathedral and, finally, in the Museo dell\u2019Opera di Santa Maria del Fiore.  Published in the United States by Princeton University Press (Michelangelo\u2019s Florence Piet\u00e0, Princeton, N.J., 2003) and revised for this edition, Jack Wasserman\u2019s study starts with a critical analysis of Vasari\u2019s words and the unanswered questions they raise, going on to examine the story of one of Michelangelo\u2019s most intense and widely debated masterpieces. Through an unprecedented combination of technical, historical and archival analysis, Wasserman arrives at an original interpretation of the work\u2014from its genesis to its destruction\u2014and its fame throughout the ages.  This interdisciplinary work draws on a number of contributions: an essay by art historian Franca Trinchieri Camiz reconstructs the sculpture\u2019s Roman period; its religious meaning is examined in an iconographic study by Timothy Verdon, an art historian and canon of the Florence cathedral; sculptor Peter Rockwell offers a fascinating reconstruction of the techniques and instruments used by the artist; Pietro Moioli for ENEA and the researchers from the Opificio delle Pietre Dure in Florence illustrate the results of the scientific studies done on the Piet\u00e0; IBM, inWne, describes the development of the virtual model of the sculpture, thus serving as an instrument that can profoundly update studies in art history.  Digital version available on   ita &gt; http:\/\/digital.casalini.it\/9788874614370"}