Tattoo Design

tribal wing tattoos - tips for new tattoo

You have decided that you want a tribal wing tattoos but you aren't necessarily sure how to start your research. This type of tattoo has become quite popular with tribal tattoo lovers. But before you head down to your local tattoo parlour and drop your hard earned money, you may want to do some research first. The truth is this research can mean the difference between a great tattoo that you're happy with or a disappointing tattoo. Would you like to know more?

My biggest concern is that I don't want you to do what everyone else does and that is start your research for artwork by using Google images. Google images isn't a bad place for ideas, but because everyone uses this method you run the risk of duplicating someone else's tattoo. And I am sure that isn't what you want.

The best piece of advice I can give you is to invest in a paid tattoo site. A paid tattoo site gives use so many resources before you get your tattoo. You will gain access to artists that specialize in tribal tattoo artwork. You can work with one of these artists to come up with something unique for your new ink. You also gain access to a huge community of tattoo enthusiasts that will be able to answer any questions or concerns you may have. These paid tattoo sites also have reviews of local tattoo parlors so you can find the right parlor for your new tribal tattoo.

Girl Tattoo For Back Body

Wow.......innovation is very good for our ...

"...Star differs from star in glory..."

(Vincent Van Gogh, "Starry Night over the Rhone," 1888)

I Corinthians 15:40-44:

"There are both heavenly bodies and earthly bodies, but the glory of the heavenly is one thing, and that of the earthly is another. There is one glory of the sun, and another glory of the moon, and another glory of the stars; indeed, star differs from star in glory. So it is with the resurrection of the dead. What is sown is perishable, what is raised is imperishable. It is sown in dishonor, it is raised in glory. It is sown in weakness, it is raised in power. It is sown a physical body, it is raised a spiritual body. If there is a physical body, there is also a spiritual body."

I had a magnificent set of evenings over Memorial Day weekend sitting out among the moon and the stars--even sleeping out all night in my yard one night, it was so glorious--and seeing the lightning bugs begin their summer debut for the season. It was simply a magnificent weekend to be a speck in God's Universe. The sheer size and awesome timelessness of the "big" things in nature--the sky, the stars, the ocean, just to name a few--have always been the major spiritual grounding rods for me, my entire life. People just don't do it for me the way nature does.

I looked at the stars these last few nights and pondered the paradoxical dance that "people" seem to occupy in my existence, thinking how each star, in its own way, is its own "person." How like the stars in the sky, we are called to community, and how each of us in our own way feels called to individuals in that community. Yet for me, the paradox has always been nothing gets my goat like people sometimes. I can only handle people for so long, and then that secular monastic in me takes over and I retreat to my safe hermitage of my country life. There is my daily retreat from work, as well as "add on" forms like my occasional "silent Saturday morning," and my "stay-cation retreats where I never leave home." Yet I never feel "un-called" to be a part of a community. When I am home alone, after a certain amount of time enjoying my alone-ness, I think of what it is I am supposed to "do next" when I enter back into community. When I am in that community, after a while I start daydreaming of what I want to do next in my "alone time." Each needs the other, and truthfully, each feeds the other.

On one of those nights, I sat out and thought about different people with each star--what they were experiencing in their lives, and how it is that I am supposed to combine with them to light up the sky, yet maintain my own individual "star-ness." Each one of us with the incarnational light of God within us, but manifested in so many unique ways.

There seem to be at least three kinds of stars in my life experience. Most valued are the "stars I can always see"--for instance, in the winter, I can always find the constellation Orion, and in the summer I can always fix my gaze on Scorpio. They are like the people in my life who have now been my friends for three decades or more. How we relate to each other has changed drastically over the years--sometimes not even close to the roles in which our relationships started out--but we somehow can always adjust. Sometimes their light is very intense and intimate in my life, and vice versa; other times, the light is dimmer. But they are constants. They are appreciated for both their longevity and their versatility.

Then there are the stars that once were a major focus, but I now no longer pay much attention to. I really don't pay much attention to the Big Dipper, the Little Dipper, or the North Star itself, per se. But there was a time I always looked for them. They are like the people who were once very involved and intimate in my life--old lovers, intense best friends, etc.--and somehow no longer figure much into the tapestry other than to be a thread once cherished, but no longer. Some of these fizzled out in a supernova of conflict, whereas others just sort of atrophied and slowly burned to extinction. Sometimes their light returns--but it is almost never of the same intensity that it once was, nor does my need to tend to that light return with the same intensity. I appreciate those stars for the history they have given me, even if it includes hard lessons.

Finally, there are the stars I just got around to noticing, like the time I first recognized all of Ursa Major, rather than just its "dipper." The first time I realized the dipper could be converted to a bear, it was an exciting time. It made the sky seem a little bigger than it used to be. I think about the gifts and talents in people I just now got around to appreciating in people who have been around me all along, or about the new people that come into my life over the years, and something about them challenge me to tend their light and let them tend mine. I appreciate those stars because they represent hope and promise.

Even the stars are perishable--which enhances my knowledge that people are perishable. It makes me understand the urgency of the Gospel of Mark, and in Paul's letters. If even stars are perishable, then people definitely are. Yet timelessness and infinity rides within all of them. What a beautiful, but messy, dance it all is!

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Tattoos Pictures

That Mysterious Critter called the Trinity

In that odd way that only people who have worked around a hospital can appreciate, I have found the fact that Trinity Sunday coinciding with Memorial Day Weekend (Or, as I like to call it, "Opening day of major trauma season,")--rather amusing.

I've got a confession. I find thinking about the Trinity too long, rather traumatic. My clergy Facebook friends find preaching about the Trinity on Trinity Sunday rather traumatic. Most of them refer in some way that it is a week where they feel compelled to teach those in the pews about the Trinity, and have to admit they really don't understand much about the Trinity.

Now, I can handle the diagram above. It's pretty straightforward and simple. I recognize God is in all three entities, and each of the three entities are not in each other--well...sorta. One person told me in a recent discussion, "I know I'm not my brother and I know I'm not my sister, but the family DNA is in all of us." That is kind of what the diagram parallels. I agree with all of that. But that's where it ends.

Here's my heresy...

I have this nagging feeling that the Trinity is a representational being--like the wave or particle theory of light. Although I would be the first to tell you that the Trinity and the statements in the Nicene Creed (well, except for that add-on about proceeding from the Father AND the Son--the Son half of the filioque was tacked on later to the Creed) are "true," I would tell you I think the reality lies behind the Trinity, and the Trinity is what we use to explain what is actually a single entity made of infinite parts.

For instance...

Light, in some ways, behaves like a wave. In other ways, it behaves like a particle. Odds on, it's something that is neither or both a wave or a particle. But we can function in our world, make great discoveries and inventions involving the spectrum of light, by acting like it is a wave when it's useful and convenient, and acting like it's a particle when it's useful and convenient. The fact that it probably is NOT exactly what we theorize it to be isn't relevant. We don't sit and bemoan that it's not "true." Truth is perception, more than anything.

But the fact that the Hebrew Bible has between 40 and 70 words (depending on which rabbi you consult) that describe one aspect of what Christians attribute to a function of the Holy Spirit, or God the Father, or the Messiah, makes me suspicious that the Trinity is to Christian thought what the wave or particle theory is to light--a representation we can wrap our brains around, at least to a basic degree, that allow us to be connected relationally to God, and not just function in that world, but imagine, invent, and share with others in community.

Did you ever notice humans, by and large, no matter what their culture, like "threes?" We like to think bad news comes in threes. We tend to use threes in literature, in our phraseology. Many things in science, if you repeat them three times, creates a greater than two standard deviations level of confidence, statistically. We tend to only start to "get" things after the third time we've experienced something. We say, "three's a charm." I used to think that was a function of Judeo-Christian culture, until I learned that many other religions--Hinduism, Buddhism, Paganism, ancient Celtic religion, ancient Norse religion, etc.--also have many examples of the significance of the number three.

My theory--and that's all it is--is that for some reason, humans brains are hard-wired to be ok with three. Maybe it is because it's simply one more than what we can grasp in our own two hands. It's manageable. So when the Trinity was being "figured out," people like the folks who came up with the Nicene Creed sat there pondering this God with infinite faces and forms, and gravitated to explaining it in an iconic representation that is the default human level of understanding--three.

So for me, the Trinity is simply a three-pronged representation of an infinite concept--and here is where some people are going to shove me into the Express Lane to Hell for saying this, but I'm going to say it anyway--the Trinity seems to me to be more of a functional theory than an actual fact. There is truth in it, but the truth actually lies BEHIND it, not IN it, and I am willing to accept the "model" because it allows me to function in my world of "understanding my relationship with God." To accept the Trinity as "truth" also means I must accept the mystery that it is a representation of a bigger reality that I cannot possibly understand.

It's why I don't trust anyone who claims he/she can "explain" the Trinity to me. I think part of accepting the truth of the Trinity is to also accept that my brain, in my living human form, cannot possibly understand it, but I can understand enough of it to function as one of God's children within the confines of what it represents. To say "I believe in the Trinity"--to say the Nicene Creed and mean what I say--means I believe the reality it represents is only fully fathomable in the next world.

I'll be honest--this is a hard realization for me. I like to think I'm smart enough to "figure most everything out." But to accept that I cannot possibly figure this one out, is to accept another part of my life as a child of God--faith. Faith that this representation can take me everywhere I need to go, to live in service to God--and in that, I believe.

Kanji Tattoos designs for girls | unlimited tattoo

When choosing kanji symbols is that they are only one of three writing systems used in Japan --which is where kanji is used (not China). Kanji is the oldest and most complicated of the three writing systems( kanji, hiragana and katakana). The other systems are hiragana and katakana, with katakana being the most familiar to westerners. Why the most familiar? Because katakana is used specifically to write foreign words (and science words and a few other things) and foreign names.Characters can be written both vertically and horizontally. Here are some Kanji Tattoo Symbols pictures.

Japan:Kanji Tattoo Symbols

Tattoo on leg women

Tattoo on leg women

wrist tattoos for girls | designs tattoo

People love get character tattoos on their wrist, and these are really cool.

This is a cool tattoo owned by i'mcool said:it means a lot to me and i've wanted it for a long time now. i'm so happy that i've finally done it.
(this is for every person that plays an important role in my life.
and it is also to remind myself that when there is no one else there i have the strength within myself.....corny.....but true.)
And here are more tattoos on wrist.
wrist Tattoos for women

pictures of wrist tattoos .

Tattoos on wrist

Dragon Tattoo in Back Men | Horikyo Tattoo Design

Dragon Tattoo in Back Men | Horikyo Tattoo Design

Koi and Shogun Tattoo in Back | Horikyo Tattoo Design

Koi and Shogun Tattoo in Back | Horikyo Tattoo Design

unique back tattoo | Horikyo Tattoo Design

unique back tattoo | Horikyo Tattoo Design

Other Top Festival Tattoo | Horikyo Tattoo Design

Other Top Festival Tattoo | Horikyo Tattoo Design

Full Collor Back Tattoo Girls | Horikyo Tattoo Design

Full Collor Back Tattoo Girls | Horikyo Tattoo Design

Phoenik Sexy Back Tattoo | Horikyo Tattoo

Phoenik Sexy Back Tattoo | Horikyo Tattoo

Sexy Back Goddess Tattoo | Horikyo Tattoo

Back Japanese Tattoo | Horikyo Tattoo Design

Back Japanese Tattoo | Horikyo Tattoo Design

extream tattoos for girls | tattoos girls

free Cobra tattoo designs Cobra tattoo designs image@istockphoto.com
Do you love snake tattoo?If you love the awesome snake tattoo, you must love the king cobra tattoo!Right.The cobra tattoo is really cool!Here are some cobra tattoo pictures for you.If you want to have a new tattoo, you may consider this if you want.But, before you do this tattoo, should know the meaning of cobra tattoos!
tribal Cobra tattoo designs
tribal Cobra tattoo image@deviantart.com _by_shwokeeshplat
What's the meaning of Cobra Tattoo ?
The meaning of Cobra Tattoos:they embodied such women’s characteristics as mysteriousness, intuition and unpredictability. For men a cobra means power and wisdom, but it is also a sign of insidiousness, slyness and darkness. Such tattoo can mean protectiveness over the people whose initials are inked or it can be a tattoo made in loving memory of those who are gone that shows that the tattoo owner will never forget them.

tribal temporary tattoos

Temporary tattoos appear as many tribal cultures for long history but it has been popular in recent years among people especially young girls and kids. The procedure is easy and everyone can be a tattooist. Generally, all ranging in how realistic they appear, how temporary tattoo they are, how simple they are to apply and how much they cost, temporary tattoos conclude decal tattoos, airbrush tattoos and henna tattoos.

permanent tattoos, which also called traditional tattoo, originated from thousand years ago and had been extremely popular in centuries. Many people are crazy about it. Honestly, we must admit that after finished, the tattoo will really be attractive. But the processing is full of pain which is the biggest problem putting many people who want to get one off.

Japanese Back Tattoo for Sexy Girls | Horikyo Tattoo Design

Japanese Back Tattoo for Sexy Girls | Horikyo Tattoo Design

Michael Angelo’s Amazing Paintings On The Sistine Chapel

Michelangelo (full name: Michelangelo di Lodovico Buonarroti Simoni) was born at Caprese, a village in Florentine territory, where his father, named Ludovico Buonarroti Simoni was the resident magistrate. A few weeks after Michelangelo's birth the family returned to Florence, and, in 1488, after overcoming parental opposition he was formally apprenticed to Domenico Ghirlandaio for a term of three years. Later in life Michelangelo tried to suppress this fact, probably to make it seem that he had never had an ordinary workshop training; for it was he more than anyone else who introduced the idea of the 'Fine Arts' having no connection with the craft that painting had always previously been.

His stay in the Ghirlandaio shop must also have coincided with his beginning to work as a sculptor in the Medici Garden, where antiques from their collection were looked after by Bertoldo. Although this connection drew him into the Medici circle as a familiar, the account by Vasari of an established 'school' is now discredited. It must, however, have been Ghirlandaio who taught him the elements of fresco technique, and it was probably also in that shop that he made his drawings after the great Florentine masters of the past (copies after Giotto and Masaccio; now in the Louvre, in Munich, and in Vienna). Michelangelo produced at least two relief sculptures by the time he was 16 years old, the Battle of the Centaurs and the Madonna of the Stairs (both 1489-92, Casa Buonarroti, Florence), which show that he had achieved a personal style at a very early age.

In 1492, Lorenzo de' Medici died. Michelangelo then studied anatomy with the help of the Prior of the Hospital of Sto Spirito, for whom he appears to have carved a wooden crucifix for the high altar. A wooden crucifix found there (now in the Casa Buonarroti) has been attributed to him by some scholars. The next few years were marked by the expulsion of the Medici and the gloomy Theocracy set up under Savonarola, but Michelangelo avoided the worst of the crisis by going to Bologna and, in 1496, to Rome. He settled for a time in Bologna, where in 1494 and 1495 he executed several marble statuettes for the Arca (Shrine) di San Domenico in the Church of San Domenico.

In Rome he carved the first of his major works, the Bacchus (Florence, Bargello) and the St Peter's Pietà, which was completed by the turn of the century. It is highly finished and shows that he had already mastered anatomy and the disposition of drapery, but above all it shows that he had solved the problem of the representation of a full-grown man stretched out nearly horizontally on the lap of a woman, the whole being contained in a pyramidal shape.

The Pietà made his name and he returned to Florence in 1501 as a famous sculptor, remaining there until 1505. During these years he was extremely active, carving the gigantic David (1501-4, now in the Accademia), the Bruges Madonna (Bruges, Notre Dame), and beginning the series of the Twelve Apostles for the Cathedral which was commissioned in 1503 but never completed (the St Matthew now in the Accademia is the only one which was even blocked in). At about this time he painted the Doni Tondo of the Holy Family with St John the Baptist (Florence, Uffizi) and made the two marble tondi of the Madonna and Child (Florence, Bargello; London, Royal Academy).

After the completion of the David in 1504 he began to work on the cartoon of a huge fresco in the Council Hall of the new Florentine Republic, as a pendant to the one already commissioned from Leonardo da Vinci. Both remained unfinished and the grandiose project of employing the two greatest living artists on the decoration of the Town Hall of their native city came to nothing. Of Michelangelo's fresco, which was to represent the Battle of Cascina, an incident in the Pisan War, we now have a few studies by him and copies of a fragment of the whole full-scale cartoon which once existed (the best copy is the painting in Lord Leicester's Collection, Holkham, Norfolk). The cartoon, which is known as the Bathers, was for many years the resort of every young artist in Florence and, by its exclusive stress on the nude human body as a sufficient vehicle for the expression of alt emotions which the painter can depict, had an enormous influence on the subsequent development of Italian art - especially Mannerism - and therefore on European art as a whole. This influence is more readily detectable in his next major work, the ceiling of the Sistine Chapel. In fact, however, the Battle of Cascina was left incomplete because the Signoria of Florence found it expedient to comply with a request from the masterful Pope Julius II, who was anxious to have a fitting tomb made in his lifetime.

The Julius Monument was, in Michelangelo's own view, the Tragedy of the Tomb. This was partly because Michelangelo and Julius had the same ardent temperament - they admired each other greatly - and very soon quarrelled, and partly because after the death of Julius in 1513, Michelangelo was under constant pressure from successive Popes to abandon his contractual obligations and work for them while equally under pressure from the heirs of Julius, who even went so far as to accuse him of embezzlement. The original project for a vast free-standing tomb with forty figures was substantially reduced by a second contract (1513), drawn up after Julius's death; under this contract the Moses, which is the major figure on the extant tomb, was prepared as a subsidiary figure. Two others, the Slaves in the Louvre, were made under this contract but were subsequently abandoned. The third contract (1516) was followed by a fourth (1532), and a fifth and final one in 1542, under the terms of which the present miserably mutilated version of the original conception was carried out by assistants, under Michelangelo's supervision, in S. Pietro in Vincoli (Julius's titular church) in 1545. Michelangelo was then 70 and had spent nearly forty years on the tomb.

Meanwhile, the original quarrel of 1506 with Julius was made up and Michelangelo executed a colossal bronze statue of the Pope as an admonition to the recently conquered Bolognese (who destroyed it as soon as they could, in 1511). In 1508, back in Rome, he began his most important work, the ceiling of the Sistine Chapel in the Vatican for Julius, who, as usual, was impatient to see it finished. Dissatisfied with the normal working methods and with the abilities of the assistants he had engaged, Michelangelo determined to execute the whole of this vast work virtually alone. Working under appalling difficulties (amusingly described in one of his own poems), most of the time leaning backwards and never able to get far enough away from the ceiling to be able to see what he was doing, he completed the first half (the part nearer to the door) in 1510. The whole enormous undertaking was completed in 1512, Michelangelo being by then so practised that he was able to execute the second half more rapidly and freely. It was at once recognized as a supreme work of art, even at the moment when Raphael was also at work in the Vatican Stanze. From then on Michelangelo was universally regarded as the greatest living artist, although he was then only 37 and this was in the lifetimes of Leonardo and Raphael (who was even younger). From this moment, too, dates the idea of the artist as in some sense a superhuman being, set apart from ordinary men, and for the first time it was possible to use the phrase 'il divino Michelangelo' without seeming merely blasphemous.

The Sistine Ceiling is a shallow barrel vault divided up by painted architecture into a series of alternating large and small panels which appear to be open to the sky. These are the Histories. Each of the smaller panels is surrounded by four figures of nude youths - the Slaves, or Ignudi - who are represented as seated on the architectural frame and who are not of the same order of reality as the figures in the Histories, since their system of perspective is different. Below them are the Prophets and Sibyls, and still lower, the figures of the Ancestors of Christ. The whole ceiling completes the chapel decoration by representing life on earth before the Law: on the walls is an earlier cycle of frescoes, painted in 1481-82, representing the Life of Moses (i.e. the Old Dispensation) and the Life of Christ (the New Dispensation). The Histories begin over the altar and work away from it (though they were painted in the reverse direction): the first scene represents God alone, in the Primal Act of Creation, and the story continues through the rest of the Creation to the Fall, the Flood, and the Drunkenness of Noah, representing the human soul at its furthest from God. The whole conception owes much to the Neoplatonic philosophy current in Michelangelo's youth in Florence, perhaps most in the idea of the Ignudi, perfect human beauty, on the level below the Divine story. Below them come the Old Testament Prophets and the Seers of the ancient world who foretold the coming of Christ; while the four corners have scenes from the Old Testament representing Salvation. The Prophet Jonah is above the altar, since his three days in the whale were held to prefigure the Resurrection. On the lowest parts - and very freely painted - are the human families who were the Ancestors of Christ. There can be no doubt that the splendour of the conception and the size of the task distracted Michelangelo from the Tomb, but he at once returned to it as soon as the ceiling was finished, from 1513 to 1516, when he returned to Florence to work for the Medici. (For details on the frescoes in the Sistine Chapel take a guided tour.)

His new master was Pope Leo X, the younger son of Lorenzo de Medici, who had known Michelangelo from boyhood; he now commissioned him to complete the façade of S. Lorenzo, the family church in Florence. Michelangelo wasted four years on this and it came to nothing. In 1520 he began planning the Medici Chapel, a funerary chapel in honour of four of the Medici - two of them by no means the most glorious of their family. The chapel is attached to S. Lorenzo. Leo X died in 1521 and it was not until after the accession of another Medici Pope, Clement VII, in 1523 that the project was resumed. Work began in earnest in 1524 and at the same time he was commissioned to design the Laurenziana Library in the cloister of the same church. Both these buildings are turning-points in architectural history, but the sculptural decoration of the chapel (an integral part of the architecture) was never completed, although the figures of Giuliano and Lorenzo de' Medici set over their tombs, eternally symbolizing the Active and the Contemplative Life, above the symbols of Time and Mortality - Day and Night, Dawn and Evening - are among his finest creations. The unfinished Madonna was meant to be the focal point of the chapel.

In 1527, the Medici were again expelled from Florence, and Michelangelo, who was politically a Republican in spite of his close ties with the Medici, took an active part in the 1527-29 war against the Medici up to the capitulation in 1530 (although in a moment of panic he had fled in 1529) and supervised Florentine fortifications. During the months of confusion and disorder in Florence, when he was proscribed for his participation in the struggle, it would appear that he was hidden by the Prior of S. Lorenzo. A number of drawings on the walls of a concealed crypt under the Medici Chapel have been attributed to him, and ascribed to this period. After the reinstatement of the Medici he was pardoned, and set to work once more on the Chapel which was to glorify them until, in 1534, he left Florence and settled in Rome for the thirty years remaining to him.

He was at once commissioned to paint his next great work, the Last Judgement on the altar wall of the Sistine Chapel, which affords the strongest possible contrast with his own Ceiling. He began work on it in 1536. In the interval there had been the Sack of Rome and the Reformation, and the confident humanism and Christian Neoplatonism of the Ceiling had curdled into the personal pessimism and despondency of the Judgement. The very choice of subject is indicative of the new mood, as is the curious fact that the mouth of Hell gapes over the altar itself where, during services, stands a crucifix symbolizing Christ standing between Man and Doom. It was unveiled in 1541 and caused a sensation equalled only by his own work of thirty years earlier, and was the only work by him to be as much reviled as praised, and only narrowly to escape destruction, though it did not escape the mutilation of having many of the nude figures 'clothed' after his death. Most of the ideas of Mannerism are traceable implicitly or explicitly in the Judgement and, more than ever, it served to imprint the idea that the scope of painting is strictly limited to the exploitation of the nude, preferably in foreshortened - and therefore difficult - poses. Paul III, who had commissioned the Judgement, immediately commissioned two more frescoes for his own chapel, the Cappella Paolina; these were begun in 1542 and completed in 1550. They represent the Conversion of St Paul and the Crucifixion of St Peter.

Michelangelo was now 75 years old. Earlier, in 1538-39, plans were under way for the remodeling of the buildings surrounding the Campidoglio (Capitol) on the Capitoline Hill, the civic and political heart of the city of Rome. Although Michelangelo's program was not carried out until the late 1550s and not finished until the 17th century, he designed the Campidoglio around an oval shape, with the famous antique bronze equestrian statue of the Roman emperor Marcus Aurelius in the center. For the Palazzo dei Conservatori he brought a new unity to the public building façade, at the same time that he preserved traditional Roman monumentality. However, since 1546 he had been increasingly active as an architect; in particular, he was Chief Architect to St Peter's and was doing more there than had been done for thirty years. This was the greatest architectural undertaking in Christendom, and Michelangelo did it, as he did all his late works, solely for the glory of God.

In his last years he made a number of drawings of the Crucifixion, wrote much of his finest poetry, and carved the Pietà (now in Florence Cathedral Museum) which was originally intended for his own tomb, as well as the nearly abstract Rondanini Pietà (Milan, Castello). This last work, in which the very forms of the Dead Christ actually merge with those of His Mother, is charged with an emotional intensity which contemporaries recognized as Michelangelo's 'terribilità'. He was working on it to within a few days of his death, in his 89th year, on 18 February 1564. There is a whole world of difference between it and the 'beautiful' Pietà in St Peter's, carved some sixty-five years earlier.

Unlike any previous artist, Michelangelo was the subject of two biographies in his own lifetime. The first of these was by Vasari, who concluded the first (1550) edition of his 'Vite' with the Life of one living artist, Michelangelo. In 1553 there appeared a 'Life of Michelangelo' by his pupil Ascanio Condivi (English translations 1903, 1976 and 1987); this is really almost an autobiography, promoted by Michelangelo to correct some errors of Vasari and to shift the emphasis in what Michelangelo regarded as a more desirable direction. Vasari, however, became more and more friendly with Michelangelo and was also his most devoted and articulate admirer, so that the very long Life which appears in Vasari's second edition (1568), after Michelangelo's death, gives us the most complete biography of any artist up to that time and is a trustworthy guide to the feelings of contemporaries about the man who can lay claim to be the greatest sculptor, painter and draughtsman that has ever lived, as well as one of the greatest architects and poets. He is the archetype of genius.

Pure fresco was his preferred painting technique; he despised oil-painting, though the now authenticated unfinished Entombment (London, National Gallery) is in oil over a tempera underpainting. The Doni Tondo is in tempera. In sculpture, his usual method was to outline his figure on the front of the block and, as he himself wrote, to 'liberate the figure imprisoned in the marble', by working steadily inwards, with perhaps a few more finished details. Occasionally he made drawings for parts of a figure, and a few small wax models survive as well as one large one, made for the guidance of assistants working on the Medici Chapel figures. The four abandoned Slaves intended for a later version of the Julius Tomb (Florence, Accademia) and the two marble tondi left unfinished in 1505 provide fine examples of his direct carving technique and his consistent use of various sizes of claw chisel. No modelli exist for any paintings or frescoes, and only one cartoon (London, British Museum), made to help Condivi, has survived.

Apart from the works mentioned above, there are others in Florence (Bargello, Santo Spirito - the house of his family, which contains relics of him - and Palazzo della Signoria) and in Siena, Rome (Santa Maria sopra Minerva), and St Petersburg (The Hermitage). There are also some 500 drawings by him, the majority of which are in Windsor (Royal Collection), Florence (Casa Buonarroti), and Paris.