The Sistine Chapel ceiling , painted by Michelangelo between 1508 and 1512, at the commission of Pope Julius II, is one of the most renowned artworks of the High Renaissance. The ceiling is that of the large Papal Chapel built within the Vatican between 1477 and 1480 by Pope Sixtus IV after whom it is named the Sistine Chapel. The chapel is the location for Papal Conclaves and many important services.
The ceiling's various painted elements comprise part of a larger scheme of decoration within the Sistine Chapel which includes the large fresco The Last Judgment on the sanctuary wall, also by Michelangelo, wall paintings by a team of the most highly regarded painters of the late 15th century including Botticelli and Perugino, and a set of large tapestries by Raphael, the whole illustrating much of the doctrine of the Catholic Church.
Central to the ceiling decoration are nine scenes from the Book of Genesis of which the Creation of Adam is the best known, having an iconic standing equalled only by Leonardo da Vinci's Mona Lisa , the hands of God and Adam being reproduced in countless imitations.
Context and History
Pope Julius II was a "warrior pope" who in his papacy undertook an aggressive campaign for political control, to unite and empower Italy under the leadership of the Church. He invested in symbolism to display his temporal power such as his procession, in the Classical manner, through a triumphal arch in a chariot after one of his many military victories. It was Julius who began the rebuilding of St. Peter's Basilica in 1506, as the most potent symbol of the source of papal power.
In the same year, 1506, Julius II conceived a program to paint the ceiling of the Sistine Chapel. The walls of the chapel had been decorated twenty years earlier. The lowest of three levels is painted to resemble draped hangings. The middle level contains a complex scheme of frescoes illustrating the Life of Christ on the right side and the Life of Moses on the left side. It was carried out by some of the most renowned Renaissance painters: Botticelli, Ghirlandaio, Perugino, Pinturicchio, Signorelli and Cosimo Rosselli. The upper level of the walls contains the windows, between which are painted pairs of illusionistic niches with representations of the first thirty-two popes. A draft by Matteo d'Amelia indicates that the ceiling was painted blue like that of the Arena Chapel and decorated with gold stars, possibly representing the zodiacal constellations. It is probable that because the chapel was the site of regular meetings and Masses of an elite body of officials known as the Papal Chapel who would observe the decorations and interpret their theological and temporal significance, it was Pope Julius' intention and expectation that the iconography of the ceiling was to read with many layers of meaning.
Michelangelo, who was not primarily a painter but a sculptor, was reluctant to take on the work. Also, he was occupied with a very large sculptural commission for the Pope's own tomb. The Pope was adamant, leaving Michelangelo no choice but to accept. But a war with the French broke out, diverting the attention of the Pope, and Michelangelo fled from Rome to continue sculpting. The tomb sculptures, however, were never to be finished because in 1508 the Pope returned to Rome victorious and summoned Michelangelo to begin work on the ceiling. The contract was signed on 10 May 1508.
The scheme proposed by the pope was for twelve large figures of the Apostles to occupy the pendentives. However Michelangelo negotiated for a grander, much more complex scheme and was finally permitted, in his own words, "to do as I liked". His scheme for the ceiling eventually comprised some three hundred figures and took four years to execute, being completed in 1512. It is unknown and is the subject of much speculation among art historians as to whether Michelangelo was really able to "do as he liked". It has been suggested that Egidio da Viterbo was a consultant for the Theology.. Many writers consider that Michelangelo had the intellect, the Biblical knowledge and the powers of invention to have devised the scheme himself. This is supported by Condivi's statement that Michelangelo read and reread the Old Testament while he was painting the ceiling, drawing his inspiration from the words of the scripture, rather than from the established traditions of sacral art.
Michelangelo's scheme realised
Method
In order to reach the chapel's ceiling, Michelangelo designed his own scaffold, a flat wooden platform on brackets built out from holes in the wall near the top of the windows, rather than being built up from the floor which would have involved a massive structure and would have meant that the chapel was unavailable for services. Mancinelli speculates that this was in order to cut the cost of timber. According to Michelangelo's pupil and biographer Ascanio Condivi, the brackets and frame which supported the steps and flooring were all put in place at the beginning of the work and a lightweight screen, possibly cloth, was suspended beneath them to catch plaster drips, dust and splashes of paint. Only half the building was scaffolded at a time and the platform was moved as the painting was done in stages. The areas of the wall covered by the scaffolding still appear as unpainted areas across the bottom of the lunettes. The holes were re-used to hold scaffolding in the latest restoration.
Contrary to popular belief, he painted in a standing position, not lying on his back. According to Vasari, "The work was carried out in extremely uncomfortable conditions, from his having to work with his head tilted upwards". Michelangelo described his physical discomfort in a humorous sonnet accompanied by a little sketch (see section Quotations).
The painting technique employed was fresco, in which the paint is applied to damp plaster. Michelangelo had been apprenticed in the workshop of Domenico Ghirlandaio, one of the most competent and prolific of Florentine fresco painters, at the time that the latter was employed on a fresco cycle at Santa Maria Novella and whose work was represented on the walls of the Sistine Chapel. At the outset, the plaster, intonaco , began to grow mold because it was too wet. Michelangelo had to remove it and start again. He then tried a new formula created by one of his assistants, Jacopo l'Indaco, which resisted mold, and entered the Italian building tradition.
Because he was painting fresco , the plaster was laid in a new section every day, called a giornata . At the beginning of each session, the edges would be scraped away and a new area laid down. The edges between giornate remain slightly visible, thus they give a good idea of how the work progressed. It was customary for fresco painters to use a full-sized detailed drawing, a cartoon , to transfer a design onto a plaster surface – many frescoes show little holes made with a stiletto, outlining the figures. Here Michelangelo broke with convention; once confident the intonaco had been well applied, he drew directly onto the ceiling. His energetic sweeping outlines can be seen scraped into some of the surfaces, while on others a grid is evident, indicating that he enlarged directly onto the ceiling from a small drawing.
Michelangelo painted onto the damp plaster using a wash technique to apply broad areas of colour, then as the surface became drier, he revisited these areas with a more linear approach, adding shade and detail with a variety of brushes. For some textured surfaces, such as facial hair and woodgrain, he used a broad brush with bristles as sparse as a comb. Altogether, Michelangelo's techniques show the skill that one would expect of Ghirlandaio's greatest pupil. He employed all the finest workshop methods and best innovations, combining them with a diversity of brushwork and breadth of skill far exceeding that of the meticulous Ghirlandaio.
The work commenced at the end of the building furthest from the altar, with the latest of the narrative scenes, and progressed towards the altar with the scens of the Creation. The first three scenes, from the story of Noah, contain a much larger number of small figures than the later panels. This is partly because of the subject matter, which deals with the fate of Humanity, but also because all the figures at that end of the ceiling, including the prophets and Ignudi , are smaller than in the central section. As the scale got larger, Michelangelo's style became broader, the final narrative scene of God in the act of Creation was painted in a single day.
The bright colours and broad,
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