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See also | Michelangelo | Florence |

Secondhand book for sale
Scanned image of the book’s front cover

Anton Gill.
Il Gigante: Michelangelo, Florence and the David, 1492-1504.

Published London: Review, 2002.
ISBN 0747235759;
ISBN-13: 9780747235750.
Binding: hardback, perfect bound.
Size: 140x221x30mm.
Page count: [xi],338pp inc. 22 monochrome illustrations, plus 8 pages of colour plates.
Main language: English.
Overall condition fair to good: this copy shows the usual wear after long-term storage, some mild scuffs and marks etc. on the exterior, some foxing on the page edges; text pages printed on low-grade paper, so rather yellowed with age; otherwise looks in good order internally, text appears to be free of marking.


This item £6.00
P&P inc.
within the UK
(delivery outside the UK not currently available)

[Publisher’s price for paperback £7.99]
Weight without packaging: 565g.

How to order this book


At the turn of the 16th century Italy was a turbulent territory made up of independent states, each at war with or intriguing against its neighbour. There were the proud, cultivated and degenerate Sforzas in Milan and, in Rome, the corrupt Spanish family of the Borgia whose head, Rodrigo, ascended to St. Peter’s throne as Pope Alexander VI. In Florence, a golden age of culture and sophistication ended with the death of the greatest of the Medici family, Lorenzo the Magnificent, giving way to an era of uncertainty, cruelty and religious fundamentalism.

In the midst of this turmoil, there existed the greatest concentration of artists that Europe has ever known. Influenced by the rediscovery of ancient cultures of Greece and Rome, artists and thinkers such as Botticelli and Leonardo da Vinci threw off the shackles of the Middle Ages to produce one of the most creative periods in history — the Renaissance.

This is the story of twelve years when war, plague, famine and chaos made their mark on a volatile Italy, and when a young, erratic genius, Michelangelo Buonarroti, made his great statue — the David. It was to become a symbol not only of the independence and defiance of the city of Florence but also of the tortured soul who created it.

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