Abstract
Bacchus (Florence, Bargello) is one of the main works executed by Michelangelo during his first stay in Rome. Though the work is originally made for Cardinal Riario, afterwards bought by Jacopo Galli, probably in the autumn of 1497. Based on his study of Michelangelo's works of sculpture, drawing and so on, the author analyses form and style of Bacchus, and concludes that Michelangelo made it as the mixed type of the ancient statues of Bacchus, Satyr and Hercules seen in Rome. It also shows the pseudo-classical trick as proved by Heemskerk sketch and pseudoclassical sensuality, common to the late Quattrocento works. And in it he skillfully uses form and style of his early works, such as Centauromachia, Hercules, St. Spirit Crucifix, Sleeping Cupid, etc. And it is definitely classical. Thus it becomes clear that Bacchus shows the important turning point in his early development of style, which is moreover observed by the development of his early drawing style. Bacchus is also interpreted in the light of neo-platonism. It shows clearly sensual ecstatic mysteries, which reminded Vasari of androgynous characters. According to the author's opinion, Bacchus represents a prisonner of sensuality, whose facial expression suggests that the evil ecstasy of Eros becomes a kind of brute, as many platonists say (Plato, Ficino, etc.). And 'animal skin' is interpreted as death, Satyr as sensual pleasure, Bacchus as brutal ecstasy which leads to death (Condivi). Then Bacchus can be understood as one of the earlier works of the neo-platonist, Michelangelo.
