ABSTRACT
This conclusion presents an overview of the key concepts covered in the preceding chapters of this book. The book contextualizes Michelangelo's poetry and spirituality within the framework of the religious spirit of sixteenth century Italy to shed new light on the artist's religious beliefs and unique language of art. It considers the theological and literary analyses which draw upon reformist and Protestant theological writings, as well as on Vittoria Colonna's spiritual lyrics, to focus at Michelangelo the poet in order to discern his true religiousness and offers a new reading of his most controversial artistic production between 1536 and ca.1545/1550. The book suggests that, in the second quarter of the sixteenth century, Michelangelo's poetry and aesthetic conception were significantly inspired by the revived theologia crucis of evangelical spirituality, rather than by the theologia gloriae of Catholic teaching.
