Animus Anima - Talisman of Michelangelo
Animus Anima - Talisman of Michelangelo
Animus Anima - Talisman of Michelangelo
Animus Anima - Talisman of Michelangelo
Animus Anima - Talisman of Michelangelo
Animus Anima - Talisman of Michelangelo
Animus Anima - Talisman of Michelangelo
Animus Anima - Talisman of Michelangelo

Animus Anima - Talisman of Michelangelo


Dating back to the late years of the 1400’s, this bronze, patterned pendant has beautiful natural patina and is still in very good structural condition.


For the consideration of the serious collector, it is our distinct honor to present this incredibly rare piece of metaphysical history.

This incredible museum quality Talisman is from our Premier collection, and is a remarkably unique treasure brimming with sacred magick from the depths of the Middle Ages and Medieval history, referred to as Animus Anima.

This is for the serious collector who is ready to embark on a journey of which the sweeping effects thereof will echo throughout their legacy.

From the personal collection of one of the world’s foremost artists, this talisman comes from one of the greatest painters and sculptors to have ever graced the world with their life and legacy – the one and only Michelangelo. The sacred power within this though is much older than the talisman, or Michelangelo himself.

Michelangelo’s rise was unparalleled, described in an introduction by the scholar David Hemsoll to Giorgio Vasari’s Life of Michelangelo as:

“The fame and Influence of Michelangelo Buonarroti were as immediate as they were unprecedented. It is not surprising, therefore, that he was the only living artist Giorgio Vasari included in the first edition of Lives of the Most Excellent Painters, Sculptors and Architects, published in 1550”

(Giorgio Vasari was one of the foremost artists of 16th century Italy, renowned not only as a painter, draftsman, and architect, but also as the author of Lives of the Most Eminent Painters, Sculptors, and Architects, a series of artist biographies that formed the basis for modern art history.)

Now, history likes to write Michelangelo’s family as being very average middle class for some reason, however, they were much more well off than most.

Born to a family of bankers, living in the small village of Caprese near Arezzo, Tuscany, Michelangelo’s family had been bankers that belonged to minor nobility in Florence for several generations. His father was successful, much more successful than most, however, he had such a massive preoccupation and almost obsessive fixation with elevating the family’s social status. He held government positions/jobs from time to time, owned a small farm, as well as a marble quarry, could afford nannies, medical care, etc, yet he was still never satisfied with his family’s social status. By the time Michelangelo was born, the family had lost its patrimony and status though, which he just couldn’t bear. It bothered him so much and changed him as a person, making him very difficult to please.

With that aside, several months after Michelangelo’s birth, his family returned to Florence to their permanent home where Michelangelo lived in his early years.

Michelangelo had a difficult childhood. Of course, part of this was because his father was stern, quite demanding, and not exactly the warmest fatherly figure, but Michelangelo’s mother, Francesca, suffered from a prolonged illness, and died when he was just six years old, not long after the birth of his youngest brother, Gismondo. On top of that, his father sent him away to live with a nanny while his mom was ill, in the town of Settignano.

Needless to say, although his family was blessed, it was still a pretty rough ordeal for a small child to go through. However, it was this moment in time that altered the fate of Michelangelo’s life forever.

Before leaving his childhood home, his dying mother, and his family, his mother gave this talisman to the young Michelangelo. It had been passed down to her from her husband’s family when she and Ludovico became pregnant with their first child as a family heirloom of the Buonarroti’s, who were descendants of The Great Countess, Mathilde de Canossa.

It is difficult to fully articulate the full spectrum of who Mathilde de Canossa really was, but I will try my best to summarize in a way that does her justice.

Matilda was born the same year that the Holy Roman Emperor Henry III (who was ruler of the German states), was crowned in Rome. Well educated thanks to her mother, Beatrice of Lorraine, as well as the monk Hildebrand (who later became Pope Gregory VII), she was the embodiment of a Renaissance (Wo)Man ages before the Renaissance itself even came to be; the fullest extent of what Animus Anima is, means, and manifests.

A woman of considerable resources, courageous integrity and unshakable convictions, Matilda was a powerful ruler of extensive lands and the most fiercely loyal supporter of the papal cause during the lengthy dispute between the popes and the German emperors (the Investiture Conflict). One of the most important women and governing figures of the Italian Middle Ages, Matilda reigned in a period of constant political and literal battles, Roman Catholic excommunications, all the while being able to demonstrate an innate and impeccably skilled strategic leadership capacity in both diplomatic and military matters. She would go out to battle herself, leading her squadrons with just as much natural ease and skill as she had in settling debates, creating needlework that is worthy of the finest of the worlds museums, speaking Italian, German, Latin and French…. no matter what she set out to do, she did it successfully, while remaining true to herself. She was a literal badass who refused to be ordered around, who insisted on ruling her lands, fighting her own battles, and standing for what and whom she believed in. You can read more about her in this delightfully, colorfully written article here:


Now, this talisman does not come from Mathilde de Canossa herself, however, this piece was crafted from hers. The same power which made her the legendary figure she is flows through this talisman, the sacred power of Animus Anima.



So, you’re probably wondering what Animus Anima is, exactly? Both anima and animus each have their own spectrum of meaning, which do overlap, however, though there is nuance.

The Animus Anima relates to our inner being and soul life – not entirely, strictly the soul as in modern metaphysical terms as something which lives on beyond our physical existence, but also, soul as in the inner force that animates us.

Animus is more about movement, will, the force that moves; its about action, change. It tends to relate to a higher function of the human life like attention and character, feeling, will, etc.

Anima, on the other hand, is more about the inner nature, the force that justifies; it is about being, about knowing the reasons. Anima is much more oriented towards the very base function of life. Anima can sometimes be used to designate life itself.

Jung's theoretical expansions of animus and anima parallels much of what animus and anima are referring to in this talisman, in the sense of self awareness and the integration of one’s shadow allowing one to overcome thoughts of who they ought to be and accept themselves for who they really are in order to access one’s fullest potential. Jung’s writings of the animus and anima heavily relate to the masculine and feminine archetypes in a much more earthly, gender role based way, with the anima being the personification of all female psychological tendencies in men, and the animus being the personification of all male psychological tendencies in women, both of which always expressing what one lacks and forming part of the collective unconscious as archetypes or collectively inherited patterns of behavior.

It is the same paralleled in this talisman in a metaphysical context. The Animus Anima uses ancient, sacred magick tied to the Papacy to integrate both masculine and feminine energies within, upgrading the spiritual DNA – the DNA that science does not yet understand, all that science considers to be “junk”, non-coding. This unlocks such expressions which enable the blessed soul who possesses this rare, ancient power, to access the collective unconscious and the unlimited integration of expansion. It gives those who unlock its power the ability to understand and experience life through the lens of the collective. All things that one is lacking will become renewed, enhancing one’s ability to be receptive of dormant interactions and expressions, in all states of consciousness. Such transformative power inspires one’s innermost qualities, strengthens weaknesses, and unveils a mindscape of discoveries - things that cannot be learned in a book or via a Google search.

It is the power of the Animus Anima which transforms the inner workings of the one who possesses it, and thus, the outward effects on all their life, their legacy. It is this which made Mathilde de Canossa the epitome of the Renaissance Woman before such a term even existed, what carried her lineage in prosperity to Michelangelo, making him the Renaissance Man he was, the success his legacy still is to this day.

The way in which Animus Anima envelops the blessed, fortunate one to possess its power is so well integrated that it all feels natural, and does not draw suspicion. Step by step, opportunity by opportunity, blessing by blessing, success after success – all these moments and pivotal, life altering changes come about from the Animus Anima and its effects within YOU. It unlocks your fullest potential in ways most can only ever but dream of. However, not a soul will be able to tell that you’ve experienced any form of divine magickal intervention. It cannot be detected by even the most skilled, experienced masters. It is an undetectable expansion that cannot be stopped, cannot be intercepted, cannot be corrupted, cannot be taken, cannot be reversed.


There is debate as to whom exactly from Mathilde and Michelangelo’s ancestral ties first cast this piece within the centuries between them, but what is known for a fact, is that it was made from the talisman given to Mathilde when her father died, when she too was also just six years old, the same age Michelangelo was when his mother died and he was given this talisman.

Mathilde’s father, Margrave Bonifacio III of Tuscany, did not meet the same fate of illness as Michelangelo’s mother did though. He ruled over a large swath of land in Northern Italy, holding extensive power. He supported Papal authority over Imperial – specifically, Pope Gregory’s authority over Henry III. Henry III wanted to seize his valuable lands and wealth. He was, after all, who sent imperial agents to kill him.

After he was murdered by Henry’s imperial agents via poisoned arrow to the neck, Matilda inherited his titles and estates (technically her brother Frederick did first, but he died rather abruptly). It was at that point Matilda was given her talisman, from the monk Hildebrand.

From there on out, things changed for Matilda, in every way.

Now, to protect her daughter’s inheritance as well as her own rights, Matilda’s mother married the Duke of Lower Lorraine, Godfrey – also known as Godfrey the Bearded. Henry just couldn’t stand the fact Beatrice married Godfrey, saying the marriage must have been forced, which Beatrice obviously denied. Then Henry said the marriage wasn’t valid because he didn’t give permission for them to marry. Then, he went so far as to have both Beatrice and Matilda arrested, for “marrying a traitor” and for “insubordination”.

This time of imprisonment though proved to be a blessing in disguise, for it allowed nothing but time for Animus Anima to shower it’s power on Matilda. It’s energetic effects so expansive and transformative to her, that she had an effect on her mother!

After about a year of imprisonment, and conversations with Pope Victor II, he convinced Henry to release Beatrice and Matilda. After this whole ordeal with Henry, naturally, Matilda and Beatrice returned to Italy, and turned their backs on the crown completely.

And so, it was nothing but papal support for Mathilde and her mother, fostering the closest of ties with the papacy. Being that Matilda was still very young, her Mother acted on her behalf for most legal affairs. However, though young she was, it soon became profoundly evident that Matilda’s aptitude, skill and overall general fluency in the art of diplomacy and law, debate and strategy, far surpassed that of those once hired for counsel. The power of Animus Anima made Mathilde like a force of nature, unstoppable as wildfire in the wind, as gracefully, effortlessly adaptable as the snowcapped mountain tops melting into the first clear, cold stream at the first signs of spring. The rest of her life is, quite literally, history.


Although Michelangelo’s family owned the marble quarry and the small farm there in the small town near Florence where he was sent away to live with a nanny after receiving his talisman, Michelangelo had no one around him to call family. He missed his mother dearly.

But, this nanny and her husband became like a 2nd family to him before long.

And as "luck" would have it, that nanny’s husband was a stonecutter. He would bring Michelangelo along to watch the men carve away. And it was by this twist of fate that Michelangelo first fell in love with stone.

Michelangelo once said to Giorgio Vasari, "If there is some good in me, it is because I was born in the subtle atmosphere of your country of Arezzo. Along with the milk of my nurse I received the knack of handling chisel and hammer, with which I make my figures."

It was there, that everything changed for Michelangelo. It was there that he gained his love of sculpture and marble.

Michelangelo’s father, however, did not anticipate this happening. He was thoroughly appalled at the mere thought of his son becoming an artist, as at the time, artists were thought of as common laborers with no promise of social status. He insisted his 5 sons go into business and amass a large family fortune. He sent Michelangelo to study grammar with the humanist Francesco da Urbino in Florence, but, he showed no interest in school.

Eventually accepting his son’s obvious talent (thanks to the Animus Anima), his dad then “managed” to arrange Michelangelo to apprentice in painting with Domenico Ghirlandaio (and in sculpture with Bertoldo di Giovanni, but that part isn’t really relevant to this talisman). He even “managed” to persuade Ghirlandaio to pay the 14 year old apprentice, which was extremely, extremely unusual at the time.

I say, “managed” because, like with Matilda and her mother, the power of Animus Anima had already well established itself with Michelangelo, and its magick worked through him to his father.

Michelangelo’s first “big break” came In 1489 when Lorenzo de' Medici, the ruler of Florence, recruited him through Ghirlandaio. For the next 2 years (1490 to 1492), Michelangelo attended Lorenzo's school, living in the palace of the Medici where he studied the greatest artworks of his day.

The picture perfect education for the creation of a master artist, the Medici family’s humanist university celebrated the human body in all of its natural beauty, whilst teaching their students philosophy of the great Masters of ancient Greece. It was the most intellectually, artistically, intrinsically fertile of environments for Michelangelo to have possibly experienced during that period of his life. It literally could not have been any better nor any more ideal.

It truly is incredible when you think about it. By the age of 13, the Animus Anima helped pave the way for Michelangelo’s artistic genius, as well as the attention of Lorenzo de Medici. He created not one, but two unrivaled masterpieces — David, and the Pieta, before the age of 30 which both received immediate critical acclaim.

“When all was finished, it cannot be denied that this work [“David”] has carried off the palm from all other statues, modern or ancient, Greek or Latin; no other artwork is equal to it in any respect, with such just proportion, beauty and excellence did Michelagnolo finish it.” — Giorgio Vasari

DaVinci himself was part of the committee in Florence that decided David was just too perfect to be placed way up on a building (which was the original plan for the piece). Michelangelo was truly on another level.

ALSO, let’s not forget the fact that Michelangelo was not a painter when asked to paint the Sistine Chapel. Do you know how many paintings Michelangelo made before he was asked to paint the Sistine Chapel? FOUR. Do you know how many frescoes he’d done? ZERO. None. There were literally dozens of other, technically more qualified artists, masters who had already created many paintings and frescoes, yet Michelangelo was the one asked to do it! 

Now, it is important to note that though this expands and integrates one’s masculine and feminine to the fullest capacity of inner possibility, know that as a human being, we still have our faults, personalities, preferences, etc. You will still be You, just far more capable!

Michelangelo, for example, was known for his pessimism and crankiness, however, he still cared deeply for his family and friends. William Wallace describes him as, “a permanent pessimist in his personal life and an unrealistic optimist in his professional life.” Even his servants and assistants he cared for dearly and fostered very close relationships with them and their families. When Urbini, his faithful assistant of 25 years died in his Michelangelo’s arms, he established a fund for his children.

For as much as he had resented his father’s obsessive fixation with family status when he was young, in his later years he implored much the same upon his family, in particular his nephew, Lionardo, his estate successor.

It is also true that while Michelangelo was wildly successful, he really did not flaunt his wealth, and he has been, in fact, referred to as a penny pincher! Really though, he just knew the importance of saving and investing his money to not only just build but to maintain and grow wealth in ways that would last generations. The power of the Animus Anima instilled with him a balance which most all other of the artists of his time lacked. Being smart and wise with his wealth was far more important to him than living in excess. It really wasn’t even a question or an option in his mind.

At that time, a decent yearly salary for a skilled worker was 50 large gold florins. Michelangelo was paid 1,600 large gold florins for the Sistine Chapel. Paid Herculean prices for his work in his twenties, his net lifetime income after taxes and expenses was more than 50,000 large gold florins, which was absolutely unprecedented for artists in his lifetime.

He purchased real estate, houses, farms, quite the estate in Tuscany, and homes in Florence which are now the Casa Buonarroti museum on Via Ghibellina. When Michelangelo died in February of 1564 at nearly 89 years old (outliving most other major artists including Leonardo da Vinci and Raphael), his official inventory of possessions was recorded, as was customary back then. His official list was generally quite modest, a horse, 24 shirts - 5 of which were new (he had a thing for fine fabrics and high quality shirts, preferably black), two beds, basic household items, some unfinished statues, and a large, locked walnut chest that held 66 pounds of gold.


All of his books, writings, jewelry, and most precious sentimental and sacred possessions were not included in this official inventory, naturally.

The Animus Anima helped Michelangelo integrate his shadows, his lacking feminine, his unbalanced masculine, to become a legend who still is a household name to this day, over half a millennium later. Paid a fortune to paint the Sistine Chapel with zero frescoes under his belt, in the most prestigious commission from the most powerful patron on earth – the Pope. It was a job any artist would kill for, yet Michelangelo literally hated it. Here is part of a letter he once wrote to a friend about it:

“I’ve already grown a goiter from this torture,
hunched up here like a cat in Lombardy
(or anywhere else where the stagnant water’s poison).
My stomach’s squashed under my chin, my beard’s
pointing at heaven, my brain’s crushed in a casket,
my breast twists like a harpy’s. My brush,
above me all the time, dribbles paint
so my face makes a fine floor for droppings!

My haunches are grinding into my guts,
my poor ass strains to work as a counterweight,
every gesture I make is blind and aimless.
My skin hangs loose below me, my spine’s
all knotted from folding over itself.
I’m bent taut as a Syrian bow.

Because I’m stuck like this, my thoughts
are crazy, perfidious tripe:
anyone shoots badly through a crooked blowpipe.
My painting is dead.
Defend it for me, Giovanni, protect my honor.
I am not in the right place — I am not a painter.”

Though he thought he was unqualified, and he was frustrated with the experience, learning on the fly as he went, he still did it, and it is still one of the most enduring artworks on earth.

Don’t forget to keep in mind what might happen in your own life if you try something you think you’re not “qualified” to do! The Animus Anima has such profoundly significant, positive effect upon your life, your presence, and will draw forth and create opportunities for you in which you can grow and benefit in life and legacy.

This rare opportunity to have a direct link to Animus Anima, Michelangelo, and Mathilde de Canossa, is not one you will find anywhere else. All that is needed is the Animus Anima – and you will experience the means to explore and discover all that is within yourself, to see and experience the world in a new light, and that of life itself, in a way very few people ever have or ever will.

There is a path for each individual in this life, and ways to make dreams possible, for the universe is full of magick & mystery, and fathoms of untold treasures. But the power of the Animus Anima is unlike any other, and will transform you into a true Renaissance Man. 

Thank you for your interest in this Metaphysical treasure. If you have any questions or concerns, please do not hesitate to ask, I am always happy to help in any way I can.

I understand that this is a higher priced piece, but I am more than happy to work with you to accommodate. An energetic duplication transference is possible with this piece, in which it's Metaphysical properties could be replicated into a different physical object. I am also happy to go over offers, and for long term loyal clients, payment installments