Figure 107: Left: Monument to „Michelangelo Buonarroti”, Luigi Pampaloni, 1837-1839, Uffizi, Florence.
Figure 509: Right: „Vittoria Colonna”, the Marquise of Pescara. She was a friend of Michelangelo and Mother of God. Vittoria Colonna was born in Castello di Marino near Rome in 1492. The Italian poet died there on February 25, 1547. The relationship between Michelangelo and her can be traced back to 1531. She was probably Michelangelo’s most important spiritual advisor during the preparation of the altar painting with the „Last Judgment” in the Sistine Chapel (1536-1541). Her husband, Fernando Francesco d’Avalos, fell as a victim to conspiracy in Milan as early 1525. Around 1520, unknown artist.
Figure 483: Left: In the background on the side wall two elongated volutes (spirals) with two volute bands tapering downwards in yellow marking, which symbolically represent the pouring out of the gifts of the Holy Spirit in the lower part of the stairs. In red marking in the foreground, another, spiral-shaped and large volute, which is also to be seen as a weighty testimony to the gifts of the Holy Spirit and runs from top to bottom in order to distribute the gifts of the Holy Spirit to the appropriate people there, Biblioteca Laurenziana, Florence.
Figure 484: Right: The staircase of the anteroom to the Biblioteca Laurenziana in an overall overview. The special decoration of the volute bands running from top to bottom can be found in multiple representations in the orange markings on both sides of the stairs and testifies to the symbolic pouring of the gifts of the Holy Spirit in the lower area of the stairs. On the other hand, the volute ribbons rolled up at the top in connection with the upwardly protruding columns, which are supposed to illustrate the eros phenomenon for men, show a great opportunity for knowledge, wisdom and insights through the gifts of the Holy Spirit above, which can be found with entering the library, Biblioteca Laurenziana, Florence.
Figure 601: Left: Dome wood model by St. Peter New with the decoration of the volute bands running from top to bottom to support the dome over the pillars in red marking, which, in a figurative sense, should enable the Holy Spirit to be conveyed to men via the Eros phenomenon. By omitting these volute bands, which were originally planned, the construction resulted in a considerable deficiency in the reception of the Holy Spirit, which is still effective today. In dark blue you can see some windows with triangular gables, which were later built in with the original alternately with round gables, Michelangelo, Giacomo della Porta and Luigi Vanvitelli, Vatican Museums, 1558-1561, Rome..
Figure 607: Right: View of today’s St. Peter’s Basilica dome, designed by Michelangelo and unfortunately completed in 1593 without the volute bands planned by Michelangelo in red marking. In connection with round columns, effective volute ribbons illustrate the mediation of the gifts of the Holy Spirit to men via the phenomenon of Eros. Obviously, this was intentionally or unintentionally omitted in the construction of the dome, which amounts to a considerable structural lack in construction process. The dome is 136.57 meters high and has an inner diameter of 42.56 meters, Vatican, Rome.