Editing Mannerism (section)

===Origins and models===
This period has been described as a "natural extension"<ref name="ReferenceB" /> of the art of [[Andrea del Sarto]], Michelangelo, and Raphael. Michelangelo developed his style at an early age, a deeply original one that was greatly admired at first, then often copied and imitated by other artists of the era.<ref name="ReferenceB" /> One of the qualities most admired by his contemporaries was his ''[[terribilità]]'', a sense of awe-inspiring grandeur, and subsequent artists attempted to imitate it.<ref name="ReferenceB" /> Other artists learned Michelangelo's impassioned and highly personal style by copying the works of the master, a standard way that students learned to paint and sculpt. His [[Sistine Chapel ceiling]] provided examples for them to follow, in particular his representation of collected figures often called ''[[ignudi]]'' and of the [[Libyan Sibyl]], his [[vestibule (Architecture)|vestibule]] to the [[Laurentian Library]], the figures on his [[Medici Chapel (Michelangelo)|Medici tombs]], and above all his ''[[The Last Judgment (Michelangelo)|Last Judgment]]''. The later Michelangelo was one of the great models of Mannerism.<ref name="ReferenceB" /> Young artists broke into his house and stole drawings from him.<ref name="autogenerated1">Giorgio Vasari, Lives of the Most Eminent Painters, Sculptors, and Architects.</ref> In his book ''Lives of the Most Eminent Painters, Sculptors, and Architects'', Giorgio Vasari noted that Michelangelo stated once: "Those who are followers can never pass by whom they follow".<ref name="autogenerated1"/>

====The competitive spirit====
The competitive spirit was cultivated by patrons who encouraged sponsored artists to emphasize virtuosic technique and to compete with one another for commissions. It drove artists to look for new approaches and dramatically illuminated scenes, elaborate clothes and compositions, elongated proportions, highly stylized poses, and a lack of clear perspective. [[Leonardo da Vinci]] and [[Michelangelo]] were each given a commission by [[Gonfaloniere of Justice|Gonfaloniere]] [[Piero Soderini]] to decorate a wall in the [[Palazzo Vecchio|Hall of Five Hundred]] in Florence. These two artists were set to paint side by side and compete against each other,<ref name="Battle of Cascina">{{cite web |last1=Redazione |title=The Battle of Cascina: when Michelangelo competed with Leonardo da Vinci. |url=https://www.finestresullarte.info/en/works-and-artists/the-battle-of-cascina-when-michelangelo-competed-with-leonardo-da-vinci |website=Finestre sull' Arte |publisher=Danae Project srl. |access-date=March 6, 2025}}</ref> fueling the incentive to be as innovative as possible.{{citation needed|date=February 2023}}
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|[[File:La batalla de Cascina - Sangallo.jpg|thumb|upright=1.2|alt=copy of lost painting that had been by Michelangelo|Copy after lost original, Michelangelo's ''Battaglia di Cascina'', by [[Bastiano da Sangallo]], originally intended by Michelangelo to compete with Leonardo's entry for the same commission]]
|[[File:Peter Paul Ruben's copy of the lost Battle of Anghiari.jpg|thumb|upright=1.2|alt=copy of lost painting that had been by Leonardo da Vinci|Copy after lost original, [[Leonardo da Vinci]]'s ''[[The Battle of Anghiari (Leonardo)|Battaglia di Anghiari]]'', by [[Rubens]], originally intended by Leonardo to compete with Michelangelo's entry for the same commission]]
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