80 pages • 2-hour read
The Agony and the Ecstasy: A Novel of Michelangelo
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Character Analysis
Michelangelo Buonarroti
The Agony and the Ecstasy is a fictionalized telling of the life of Michelangelo Buonarroti. The novel’s version of Michelangelo is a tortured genius, a devout and conflicted spiritual seeker, a stubborn craftsman dedicated to perfection, and a man in constant tension with the political and religious forces of his time. From the beginning of the novel, Michelangelo’s identity is inseparable from his creative drive. Stone presents him not merely as a talented artist, but as someone for whom art is a sacred calling, a vocation that transcends worldly concerns such as religious squabbles between the Medici and Savonarola. Even when Michelangelo takes part in the political machinations around him, he does so in service of his art. The title itself, The Agony and the Ecstasy, reflects this duality: the pain and the joy that Michelangelo experiences through his relentless pursuit of artistic perfection, with little heed paid to anything else.
Michelangelo is defined by his reluctance to compromise, even when it would ease his burdens. His resistance to painting the Sistine Chapel ceiling, for example, is not just about the physical strain or his inexperience with fresco, but about staying true to himself as a sculptor. He wants to work in marble, and the world seems to conspire against this desire, even when he is producing works that will go down in history. Nevertheless, he undertakes the project and pours himself into it, turning it into a masterpiece of unprecedented scope and vision. He is unable to do anything other than dedicate himself completely to the project, even when he dislikes it. He would rather fire his entire studio and dedicate years of his life to the chapel ceiling than produce something that does not measure up to his standards. This constant conflict between divine inspiration and practical necessity—the need to cultivate relationships with those in power, the need to provide for his father and brothers—constitutes the agony and ecstasy of his creative life.
Another major dimension of Michelangelo’s portrayal in the novel is his complex spiritual life. The novel does not present him as conventionally pious, but rather as deeply introspective and spiritually driven. His work, especially later in life, becomes increasingly tied to his religious beliefs and philosophical reflections, to the extent that his religiosity is often questioned by conservative members of the Church. The Sistine Chapel ceiling and The Last Judgment are painted not merely as commissions, but as expressions of his internal quest for divine understanding. Michelangelo’s faith is intense but fraught with doubt and struggle. Yet his relationship with God is presented not as one of submissive faith, but of constant dialogue and questioning. His seeks spirituality through his art; in his stubborn mind, there is no other possible way in which he might express his faith. In this sense, Michelangelo becomes a symbol of Renaissance humanism, reaching toward the divine not through dogma but through reason, creativity, and personal experience. Fortunately for Michelangelo, he is so talented that even the most conservative Popes struggle to repress or censor his work, as it is loved by the public.
Michelangelo’s personal life, as rendered by Stone, is marked by isolation. He is portrayed as a man often misunderstood, but one who is often alone by choice. His intense dedication to his craft alienates him from others, yet it also fuels his greatness. This loneliness is not simply circumstantial: It is intrinsic to his character. He chooses solitude in order to create, yet he suffers from it, embodying the agony that the title references. His most poignant relationships are with a few select individuals who offer emotional connection, such as his deep platonic bond with the Vittoria Colonna. Their intellectual and spiritual companionship provides Michelangelo with a rare sense of understanding and acceptance. Sexuality is treated delicately but not ignored: Michelangelo’s love for Tomasso and his admiration of the male form are treated as possible evidence of same-sex attraction. Since this fictionalized Michelangelo is dedicated wholly to his craft, however, these urges are never explicitly acted upon. As such, Michelangelo retains an almost virginal purity—particularly in his later years—which underscores the religious nature of his artistic pursuits.
Francesco Granacci
Francesco Granacci was an Italian Renaissance painter and a close friend of Michelangelo Buonarroti. Born in Florence, he trained in the workshop of Domenico Ghirlandaio, and in the novel, he is responsible for helping Michelangelo to secure his apprenticeship. This profound influence over the direction of Michelangelo’s life continues through Granacci’s conversations with Ludovico. While Ludovico is angry that his son wishes to pursue a career in art, Granacci defends his friend. He argues for Michelangelo as a brilliant artist, encouraging Michelangelo to defy his father. As such, Granacci can be credited with helping Michelangelo achieve his dreams. Through his friendship, he provides essential introductions, defenses, and encouragements that Michelangelo may not have the strength or the belief to offer to himself.
Granacci is portrayed as a loyal and down-to-earth companion to Michelangelo. He serves as both a peer and a foil to Michelangelo’s driven and often tormented genius. The novel presents Granacci as generous, friendly, and practical, as someone who deeply admires Michelangelo’s talent but is also content with a quieter artistic life. Granacci offers warmth and stability, and his unwavering support serves as a reminder of the importance of friendship and encouragement amidst the struggles of artistic ambition.
Whereas Granacci is a fierce defender of Michelangelo’s talent, he has a pragmatic understanding of his own skills. He is apprenticed to Ghirlandaio for longer than Michelangelo, but he lacks his friend’s drive, passion, and natural talent. He considers himself a mediocre painter at best, and he is content to forge a living from his career, rather than striving to create an immortal body of work as Michelangelo does. At the same time, however, he enjoys his work, and he raises a happy family. Granacci makes a happy life for himself, even if he is less celebrated than Michelangelo. His simple contentment makes him a foil for Michelangelo. As the title of the novel suggests, Michelangelo’s art leads to a constant tension between the agony and the ecstasy of creation. For Granacci, art is simply a means to an end. He may not enjoy the ecstasy that so thrills Michelangelo, but he does not suffer from the agony either. Instead, he is happy with his mild success and his family in a way that Michelangelo may never be able to understand.
Lorenzo de’ Medici
Lorenzo de’ Medici, also known as Lorenzo the Magnificent, was a powerful Florentine statesman, diplomat, and patron of the arts during the Italian Renaissance. According to The Agony and the Ecstasy, he was the richest man in the world and the most powerful man in Florence. From the perspective of a young Michelangelo, he was the most authoritative, commanding, and intellectual presence in a rapidly changing world. As the head of the influential Medici banking family, Lorenzo effectively rules Florence from behind the scenes, using his wealth and influence to support the flourishing of art, philosophy, and humanist scholarship. This manner of rule stands in stark contrast to that of his descendants. Men like Piero and Alessandro try to impose themselves on Florence. They feel entitled to rule the city, while Lorenzo was able to rule the city because he was loved by its people. His power, his wealth, and his love of the arts are inextricably bound together in the figure of a ruthless but intellectual ruler who understands the people he governs. Though Lorenzo is an all-powerful politician, approaching the status of an autocrat, he portrays himself as a humble intellectual. His public lack of entitlement and his apparent humility (even if they are performed for the public) permit him to rule in a way that his descendants can never replicate.
Lorenzo was a poet and intellectual himself, deeply committed to the ideals of Renaissance humanism. He cultivates a vibrant cultural environment by patronizing artists such as Botticelli, Leonardo da Vinci, and especially the young Michelangelo. Recognizing Michelangelo’s talent early on, Lorenzo brings the teenage sculptor into his household, offering him an education and access to the elite circles of Florence. This act of mentorship is crucial to Michelangelo’s development and future success. He becomes, in effect, the father that Michelangelo always wanted. While Lorenzo dies early in the novel, his memory never fades from Michelangelo’s mind. Whether he is working on a statue of Hercules or the Medici sacristy, Michelangelo is always mindful of his first patron. At the same time, he is constantly resentful of his actual father, who feels entitled to Michelangelo’s money and who is a perpetually draining influence on Michelangelo’s life. Lorenzo embodies everything that Michelangelo wants from a father, damning his actual father by comparison.
Lorenzo may occupy an idealized place in Michelangelo’s thoughts, but he is not without contradictions. He claims to be invested in humanist principles and seeks to bring the Classical world into his presence, yet he is willing to undermine the supposedly democratic Republic of Florence to maintain his own power. Any democratic principles that he espouses are undermined by his own self-serving actions, to the extent that his patronage of the arts is part of a propaganda campaign to maintain power. Lorenzo’s patronage plays a dual role. Not only does it satisfy his own artistic interests, but it helps him to maintain the public support that his autocratic rule requires. Similarly, his humanist principles are undermined on his deathbed. His long rivalry with Savonarola is turned on its head when he asks the priest for his blessing. He wishes to pass into the next world in a state of grace. Michelangelo, watching from a hidden position, does not understand how Lorenzo could make peace with his enemy and betray his own ideals in such a fashion. Though Michelangelo is forgiving of many of Lorenzo’s contradictions, this scene sticks in his mind for many years. Though he loves Lorenzo, Michelangelo struggles to comprehend this final scene, evidence of his struggles to empathize with people’s hidden nuances. He prefers the idealized statue of Lorenzo that he sculpts in his mind over the actual Lorenzo, wrought with trifling contradictions.
Tommaso dei Cavalieri
Tommaso de’ Cavalieri was a Roman nobleman, artist, and art collector. In The Agony and the Ecstasy, he becomes a significant figure in the later period of Michelangelo’s life due to his profound and enduring relationship with the protagonist. Their bond, which began in 1532 when Michelangelo was 57 and Tommaso around 23, becomes one of the most significant emotional connections in the Michelangelo’s life. From Michelangelo’s perspective, Tommaso is notable for his exceptional beauty, intelligence, and refined manners, qualities that deeply inspire Michelangelo’s artistic and poetic expressions. He not only makes Michelangelo feel many years younger, but he inspires a series of sonnets, all centered on his love for the young nobleman. Michelangelo also teaches Tommaso to paint and dedicates to him a series of drawings on mythological and allegorical subjects, which contain Michelangelo’s most pronounced depictions of secular love. Their relationship, often interpreted as deeply affectionate and possibly romantic, remained close throughout their lives, with Cavalieri present at Michelangelo’s death in 1564.
In the novel, Tommaso is portrayed as a devoted companion during Michelangelo’s later years. The novel emphasizes the importance of their friendship amidst Michelangelo’s solitary existence, highlighting how Cavalieri’s presence provides personal solace and emotional support to the artist. While the novel does not delve deeply into the nuances of their relationship, it acknowledges the significance of Cavalieri in Michelangelo’s life, portraying him as a source of comfort and inspiration during the artist’s final years. As with many of the most beloved figures in Michelangelo’s life, his love for Tommaso cannot be separated from his work. Tommaso facilities his art; he both inspires Michelangelo and his provides technical and logistical support. Michelangelo struggles to untangle his love for art from his love for individuals throughout the novel, but Tommaso represents the person in which these loves do not need to be untangled. In Tommaso, Michelangelo is able to love someone who also provides practical assistance in furthering his artistic ambitions. His love for Tommaso is as much about Tommaso’s artistic assistance as it is about Tommaso’s personality.
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