Michelangelo's Influence On Tommaso

During a time of rigid heteronormative societal policies, homosexual relations, which were considered to be sodomy, were severely punishable crimes. Despite the vigilant regulation of non-procreative relationships, homosexual love vigorously persisted during the 1400 and 1500’s. According to documentation from the Office of the Night, a Florentine criminal institution which possessed the sole duty of identifying and punishing sodomites, approximately 400 people were convicted for homosexuality and “55 to 60 people [were] condemned for homosexual relations” (Rocke 4). Although these numbers seem rather minuscule, it is safe to assume that a greater amount than those who were caught partook in this common practice. For example, the famous
Fascinated by his brilliance, Michelangelo articulates that through Tommaso’s writing, Tommaso appears “so far from being only just born” and seems to have “been in the world a thousand other times” (252). With acute word choices, Michelangelo composes passionate masterpieces. Although the letters appear to be surprisingly formal, Michelangelo still meticulously expresses his feelings. The constant use of fiery imagery habitually appears, not only in Michelangelo’s letters but also in his poetry. Tommaso mimics the styles of Michelangelo in his responses, employing fire imagery and replying in similar formats as. In a letter addressed to Michelangelo dating back to July 28, 1533, Tommaso communicates “the measureless love” he bears for Michelangelo and speaks of “light[ing] a new and stronger flame, if that indeed were possible” (Cavalieri I). Furthermore, Tommaso dramatically communicates that Michelangelo’s adoration “nourishes both [his] body and soul, filling the one and the other with such sweetness that neither weariness nor fear of death is felt” by him while thinking of Michelangelo
Due to the fact that his letters are more formal and restricted, Michelangelo’s poetry can be perceived as forward and obvious. For example, in one of his first sonnets to Cavalieri, Michelangelo blatantly states that he has “come to enjoy [Tommaso] closer by” and continues to express his fondness for the young man not only for his “beautiful face” but for his “intelligence” (Buonarroti 38). Similar to his letters, Michelangelo consistently implements fiery metaphors, such as “fire that consumes me” and “to show my flame, let this be sufficient” which evoke amorous features in his writing (70). In a sonnet inscribed to Tommaso, Michelangelo depicts than when he first saw Tommaso he thought “that in this fostering phoenix’s warm sun, [he’d] be renewed by fire, in which [he would] burn” (38). Just as a phoenix rises from the ashes, Michelangelo describes the restorative sensations and rebirth he has received by virtue of their passionate relationship. Furthermore, through his fire symbols, Michelangelo communicates some possibly subconscious sexual desires. Although Michelangelo remained chaise and devoted to his artwork for his complete life, his poetry suggests underlying erotic feelings for his lover