"Interviewer: The examination of two emotional journeys, namely those concerning the artist's relationships with Tommaso de' Cavalieri and Vittoria Colonna, proved to be very interesting. Graziella Magherini: Buonarroti dedicated some very beautiful sonnets to Tommaso, written in the Neoplatonic style, with a refined sensitivity that was an integral part of Florentine Humanism. However, psychoanalytic observation reveals clear homoerotic feelings, albeit disguised. The comparison with the drawings that the artist gave to the young man is extraordinary. I am referring to The Rape of Ganymede, The Punishment of Titus and The Bacchanalia of the Putti. These are truly eloquent works. There are two versions of ‘Ganymede’: in the first, Ganymede resists Zeus in an ambivalent mix of desire and fear, while in the second he offers himself in sweet abandon, in an attitude pervaded by ecstasy and bliss. In The Punishment of Titus, the protagonist, struck by the eagle, becomes a metaphor for Michelangelo's sense of guilt. But even more extraordinary is the drawing with the Bacchanalia of the Putti. Here we are faced with an expression of regressed levels. Naked children linger in bacchanalia, dragging a dead deer here, carrying a pig there; a child urinates in a wine jug; young people are lost, without dignity... In the lower part of the work, the contrast is striking. There is a naked man sleeping uncovered, in an atmosphere of profound sadness, in a pose that closely resembles, for example, the Drunken Moses in the istine Chapel; and there is a hideous female satyr with flaccid breasts. What emerges clearly is a depressed paternal role on the one hand, and a sense of emptied motherhood on the other, in an almost phallic mother figure that combines the male and female roles. In short, the drawings are direct, sensorial: unlike the sonnets, which, as I mentioned, also contain an underlying materiality of the flesh."