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By Angela K. Nickerson

From St. Peter’s Basilica to the Capitoline Hill, this exact resource—part biography, half historical past, and half go back and forth guide—provides an intimate portrait of the connection among Michelangelo and town he restored to creative greatness. Lavishly illustrated and richly informative, this shuttle spouse tells the tale of Michelangelo’s meteoric upward thrust, his occupation marked by means of successive creative breakthroughs, his tempestuous family members with strong consumers, and his austere yet passionate inner most existence. delivering road maps that let readers to navigate the town and become aware of Rome as Michelangelo knew it, each one bankruptcy makes a speciality of a specific paintings that surprised Michelangelo’s contemporaries and sleek travelers alike.

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Extra resources for A Journey Into Michelangelo's Rome

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Outside, the occasional siren wails by, breaking the city’s summer quiet. Rick is scrupulous in his narration, speaking with the easy authority and occasional impatience of a man accustomed to being listened to. He has spent his professional life studying, teaching about, and advising on Latin America, but he first got involved with Guatemala about fifteen years ago, when his son played soccer with the son of Guatemalan expatriates. This acquaintance eventually brought him to Washington to work at the Roosevelt Center for American Policy Studies, a now-defunct think tank that aimed to educate citizens on policy issues.

He sighs deeply, though it’s not clear if from the weight of that knowledge or from frustration that others don’t see it the same way. “If you don’t like that, change your government”—which is what Harbury was trying to do. Rick continued to ask questions that he assumes the CIA found “inconvenient” up to February 1995, when he learned that the source of the reports was none other than Roberto Alpírez, the Guatemalan colonel and CIA informant who had been connected to the murder of Michael DeVine.

I’m leery of making sweeping declarations for this country too, since, if nothing else, these accounts illustrate how various Americans are in their thought and expression. I began this book with the working title “A Democracy of Voices” because I liked the way the phrase sounded, but that turned out to be exactly what I found. The voices don’t always agree, among themselves or with me, which is as it should be. Democracy is messy, and these stories are meant to make room for the necessary contradictions.

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