Interior of the Sistine ChapelThe Chapel was commissioned by Pope Sixtus IV as a replacement for the old Cappella Magna and was built to emulate the dimensions of the Temple of Solomon. The construction was directed by Giovanni Dolci by the end of the fifteenth century, but it’s location would cause trouble in the future. Once finished, Sixtus IV consecrated the new chapel and dedicated it to the assumption of the Virgin on 15 August 1483. For the original chapel, Sixtus IV had Pietro Perugino, Sandro Botticelli, Domenica Ghirlandaio, Cosimo Rosselli, Luca Signorelli, and Pier Matteo d’Amelia paint the walls and ceiling in fresco. They were well known artists of their time and were actually sent as a gesture of goodwill by Lorenzo de’ Medici after the war with Florence ended in 1480. With the exception of d’Amelia who was charged with the ceiling, the other artists were given the task of painting the walls. They chose to paint the stories of Christ and Moses starting from the altar and ending on the entrance walls.
Exterior of the chapelAlthough it is now considered one of Michelangelo’s finest pieces, the sculptor was initially very reluctant and resentful of the commission. Michelangelo had always considered himself more of a sculptor than a painter and thus hated being diverted away from sculpting Julius II’s tomb, dubbed the Tragedy of the Tombs. He was utterly convinced that Bramante and other rivals had conspired and whispered into the Pope’s ears to have Michelangelo redirected from his beloved tomb project to that of the Sistine renovation. Michelangelo’s reluctance and suspicions began longer before Julius asked him to do the Sistine. Some of his suspicion began when Bramante’s plan for the new St. Peter’s was chosen over Giuliano da Sangallo’s plan, Michelangel’s friend and mentor. The Sangallo and Bramante competition had consequences for every painter and sculptor in Rome because whoever won would get the wide-ranging powers of patronage as well as influence at the papal court; Bramante got the upper hand when his design was accepted. Bramante’s win had an effect on Michelangelo’s work on the tomb, because the Basilica project was huge it put the tomb on hold. While trying to get a hearing with the pope to get reimbursements for tomb marble freight charges, he overheard that the pope didn’t want to spend more on the tomb. Ever since, Michelangelo was convinced that his sudden fall from grace was the work of Bramante.
Portrait of Michelangelo done by Jacopino del ConteAdditionally, renovation was difficult not only in its enormity and complexity, but also because the artist had to deal with il papa terrible’s temper and demands. Both the patron and artist clashed continually because of their fiery personalities. It has been said that Julius II had actually threatened to throw Michelangelo off of the scaffolding in one of their rows. With his heart devoted to sculpture, Michelangelo had little experience with a paintbrush much less with the skill needed for frescos, but he eventually completed the Stories of Genesis. While comic, a poem Michelangelo sends to a friend describes his hardship in painting the ceiling:
My beard toward heaven, I feel the back of my brain
Upon my neck, I grow the breast of a Harpy;
my brush, above my face continually,
Makes it a splendid floor by dripping down… (Ross)
Painting on wet plaster was already well known in the 2nd millennium BC with the Etruscans and Romans. The meaning of fresco “fresh” comes from the fact that the painter always works on fresh plaster which requires precise preparation and timing. Fresco painting consists of laying down a layer of plaster and then painting over it to allow it to absorb the color. One major problem and hurdle a painter has is the time available to paint the plaster: plaster only stays wet, depending on the weather, for no longer than 12 to 24 hours. Michelangelo initially experienced some hurdles in painting in buon fresco, but he was a quick learner. One can observe his mastery of the skill through the lack of stencils used in later paintings, quickness in completing the project, and the growing complexity of his painted subjects.
Michelangelo’s suspicion was made worse by the presence of Raphael, Bramante’s protégé. Raphael had been commissioned by the Pope Julius II to work on a series of rooms in the Vatican too. Michelangelo constantly tried to guard his work from peeking eyes before it was finished like those of Pope Julius and Raphael. Then after the walls were finished and Pope Julius II has passed, Pope Leo X commissioned Raphael to create ten tapestries depicting the Acts of St. Peter and St. Paul. These were to be hung below the stories of Christ and Moses. The tapestries were first displayed with frescoes in 1519. These tapestries would later be removed from the Sistine Chapel during the Sack of Rome and once later recovered be placed in another area of the Chapel.
Then in the late 1530s, the chapel again underwent another remodeling. It was to be the altar wall that would be transformed. Michelangelo was again commissioned, however, this time by Pope Paul III. This alteration would cause the loss of 15th century frescoes: the Nativity scene and Birth and Finding of Moses. Michelangelo’s Last Judgment was completed in 1540. Despite the Last Judgment’s arresting and solemn message, contemporaries had violent reactions concerning the nudity of some of the key figures, such as St. Peter. This argument led the Congregation of the Council of Trent in 1564 to have some of the figures nude parts painted over with clothing. Daniele da Volterra was charged with the task, which earned him the nickname of il braghettone (the breeches-painter). Volterra’s modifications were the first of many additional concealments.
The ceiling and the altar wall were not the only faces of the chapel to be changed. In the latter half of the 16th century the entrance wall would next experience a face lift. However it was not a complete overhaul like that of the ceiling and altar wall. Hendrik van den Broeck repainted the Resurrection of the Christ whereas Matteo da Lecce redid the Discussion over the body of Moses which had been done originally by Ghirlandiao and Signorelli respectively. This repainting was necessary after the door collapsed in 1522.
Like most objects in life, the chapel is not immune to the trials of time, damage, and age. The frescoes especially those on the ceiling were did not look as grand as they once had from age and soot build-up from the candles and papal ceremonies. Because of its importance as the place where new popes are elected, in 1980 the Vatican launched a massive restoration of the frescoes of the Sistine Chapel. Repair also included marble parts, screens, and the coat of arms of Sixtus IV. However, the Vatican’s undertaking was met with controversy. Most protests originated from people’s fear that restoring the frescoes, especially the ceiling done by Michelangelo, would alter or damage what Michelangelo had originally intended. One of the anti-restoration arguments was that the project would remove the finishing and toning that Michelangelo had applied. Once restoration was complete, it was reopened to the public in 1999; the frescoes had been restored to most of the original buon frescoes (Michelangelo had been known to work exclusively in true fresco) and if there were any fresco secco found they were left untouched in the restoration. Unfortunately even then, anti-restorers were concerned that the restoration had given the frescoes less depth and modified the brightness of the colors. They were concerned that Michelangelo had intended the colors to be more somber and darker.
The Walls & Ceiling
To follow the dimensions of the Temple of Solomon given in the Old Testament, Dolci constructed the chapel to meet the 40.5 m by 20.7 m by 13 m rectangular requirements. The exterior of the chapel compared to the grandeur of the interior was simple and unadorned. Because of its importance and centrality to the Pope, it had a considerable fortress-like superstructure with walls at the base ten feet thick and a long top with crenellations to allow for soldiers to protect it if necessary. Before Julius renovated the cracking ceiling, a series of rooms above the vault served as living quarters for soldiers and later as a prison.
It was the frescoed walls and ceilings that drew the masses to the Pope’s chapel. The original team of artists had painted the walls with twelve paintings to illustrate the stories of Christ and Moses. The North wall portrayed the life of Christ. Initially before any repainting had occurred, the altar wall would have depicted the Natiivity scene. However after Michelangelo’s Last Judgement, Christ’s story begins with Baptism and ends with the Resurrection on the entrance. The South wall depicts Moses’ story. Much like Christ’s first story image, the first painting (Birth and Finding of Moses) was replaced by Michelangelo and instead begins at His Journey and ends at Discussion Over Body. Above the scenes are the series of pontiffs in various religious activities like blessings and the frescoes alternate between the two walls. Then above these pontiffs are the lunettes which show the forefathers of Christ.
Despite the beauty of the wall frescoes, Michelangelo’s frescoes are what garner the most attention. Before Julius II had the ceiling renovated, the 5000 square feet flattened barrel vault ceiling would have been painted a blue with golden stars. The ceiling fresco is composed of four aspects: Sibyls and Prophets, Webs, Pendentives, and the Central Stories (Genesis). Eight webs depict figures that most scholars think complete the images of the Ancestors of Christ found in the lunettes below, but accurate identities remains in limbo. As for the prophets and sibyls, they are seated and alternate. They are identified by the labeled texts below them. Next the Pendentives illustrate the salvation of the people of Israel. In the center are the Nine Genesis stories: Drunkenness of Noah, The Flood, Sacrifice of Noah, Original Sin & Banishment, Creation of Eve, Creation of Adam, Creation of Sun & Moon, and the Separation of Light & Darkness.
The Last Judgment adorns the alter wall of the Sistine. Christ is at the center and stands as the dominant figure of this painting. There are about 390 figures surrounding Christ. Near and above him are the Saints and His elect, such as St. Peter with his keys and the Madonna. In the middle are the souls who are judged as well as trumpeting angels and fighting demons. Below this scene are the damned being shipped away by Charon and Minos.
The Last JudgmentFunction and Message?
The Chapel simply began as a place for the Pope's worship, but it was designed to accommodate liturgical activities of the Catholic church while also glorifying the Pope’s authority. The Sistine came to replace the Holy of Holies of the old Lateran church palace as the churches’ needs had outgrown it. The chapel was commonly used as a meeting place for the College of Cardinals. It is known for the location of the Papal conclaves where a new pope is elected. During a conclave, white smoke arises from the chimney signaling election of a pope, whereas black smoke indicates an unsuccessful election. This smoke ceremony is no longer done now inside the chapel, but they do still send out the smoke signal from the top of the chapel. The conclave provided for the cardinals space for where they can hear mass, eat, sleep, and pass time. In current times because there are too many Cardinals they now have separate places for these daily activities. As for religious services, the Chapel continues to host the important services of the Papal Calendar.
While the function of the chapel itself is clear and the art in it to instill piety, many have theorized Michelangelo’s Last Judgment also has a function or message. It is meant to be solemn and somewhat fearful as it looms over the viewers by instilling piety and respect for God’s authority. Many also theorize that because the prophets and sibyls are illustrated currently doing their respective jobs the message is the continuous wait for redemption.
Impact Then & Now
No matter the chapel’s various stages of renovation, the chapel was greatly influential and an attraction. For example, Raphael while working on another project at the Vatican happened to catch a glimpse of Michelangelo’s work and was inspired by the complex interaction of the subjects depicted in the images. You can see a difference in style in Raphael’s works as he does the apartment rooms in the Vatican; the change in the level of interaction between the characters especially in Transfiguration. It is a testament to Michelangelo's ability with to paint the figure of man in so many different forms of interactions. His work would be a source of inspiration for future artists and become one of the hallmarks of the Renaisannce.
Another reason the chapel continues to be so influential to the world is its religious significance to Christians – religion is a source of unification and division in our world. Michelangelo also gives an inspiring depiction of God, Christ, and so many other religious figures in Christianity. Appreciation for arts is also another prominent reason why this monument is still provocative today. The sheer task of painting such an endeavor and the skill required by painting the frescoes is astounding. Moreover, modern viewers are still attracted to the monument because of its historical draw and complexity. Additionally, the Sistine is a bridge; it has become a way for us to reconnect with our history and remember one of the achievements of the past.
Creation of AdamReflection
Even though I had had some cursory knowledge about the Sistine, a more detailed look into its history revealed so much more interesting details. It was the complexity that Michelangelo needed to execute in creating these frescoes and his initial reluctance and unfamiliarity with doing frescoes that surprised me most. I had always assumed that he jumped into the commission with enthusiasm, but to discover that he was forced and initially had no skill with painting is impressive. I was very interested in seeing his growth in the buon fresco style through the paintings. The Last Judgment really solidified how much he has mastered not only the skill of fresco painting, but also the form of man. His achievement shows that anything is possible with enough determination and devotion. Another aspect of the monument that interested me was the restoration program. After viewing comparison images of the before and after frescoes, I was left wondering about the controversy. Did the restoration really take away from the frescoes? I don’t think so. I am grateful that the Vatican has given us and future generations a chance to appreciate the beauty of Michelangelo’s work.
Works Cited
King, Ross. Michelangelo and the Pope’s Ceiling. Pimlico. London, 2003.
Manca, Joseph. Michelangelo as Painter: A Historiographic Perspective. Artibus et Historiae. IRSA s.c. Vol. 16, No. 31 (1995), pp. 111-123. http://www.jstor.org/stable/1483500
Monfasani, John. A Description of the Sistine Chapel under Pope Sixtus IV. Artibus et Historiae. Vol. 4, No. 7 (1983), pp. 9-18. http://www.jstor.org/stable/1483178
Robertson, Charles. Bramante, Michelangelo and the Sistine Ceiling. Journal of the Warburg and Courtauld Institute. Warburg Institute. 1986. pp. 91-105. http://www.jstor.org/stable/751291
Simons, Marlise. Vatican Restorers Are Ready for 'Last Judgment'. The New York Times. 19 June 1991. 21 July 2010. http://www.nytimes.com/1991/06/19/arts/vatican-restorers-are-ready-for-last-judgment.html?sec=&spon=&pagewanted=all
