Sol pur col foco il fabbro il ferro’
(Only fire forges iron/to match the beauty shaped within the mind)
Michelangelo, Sonnet 62’1
The architectural drawings of Michelangelo depict spaces and parts of buildings, often
staircases and archways or desks, and on the same sheet of paper he also drew fragments
of human figures, arms, legs, torsos, heads, etc. I believe that this suggests his concern
for the actual lived experience of human situations and reveals the primary importance of
corporeality and perception in his work. Michelangelo was less concerned with making
buildings look like human bodies, and with the implied relationship this had in the
Renaissance with divine geometry and cosmology. I contend that his drawing practice
reveals his concerns for the relationships between the material presence of phenomena
and the articulation of ideas and forms which he considered to be latent within places,
situations and things.
Michelangelo criticized the contemporary practice of replicating building designs
regardless of their situation. The emphasis Alberti placed upon design drawings relegated
construction to the carrying out of the architect’s instructions, and drawings were used to
establish geometrical certainty and perfection.
Michelangelo believed that ‘where the plan is entirely changed in form, it is not only permissible but necessary in consequence
entirely to change the adornments and likewise their corresponding portions; the means
are unrestricted (and may be chosen) at will (or: as adornments require)’.2 In
emphasizing choice, Michelangelo recovers the process of design from imitation and
interpretation of the classical canon, and instead celebrates human attributes such as
intuition and perception as essential to creativity.
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