‘How often’, wrote Sigmund Freud in 1914, ‘have I mounted the steep steps from the unlovely Corso Cavour to the lonely piazza where the church stands, and have essayed to support the angry scorn of the heroic glance.’ The gaze that the founder of psychoanalysis struggled to withstand belonged to Michelangelo’s Moses, centrepiece of the tomb of Julius II in the basilica of San Pietro in Vincoli.
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