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Sistine Chapel

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The Sistine chapel was created by Michelangelo in 1506 after Pope Julius II saw his fame grow. This wonderful piece is inside the Vatican, head place of the Roman Catholic church. We find that the Pope was a very headstrong individual from his accounts from his right hand assistant Cardinal Alidosi, who was actually killed by Julius' nephew. From this we see that the Pope was very powerful and persuasive.

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Pope Julius II and Michelangelo had a very interesting relationship between the two of them. Other than the Sistine chapel, Michelangelo was commissioned to create Julius' tomb made of 40 statues. The original chapel was made in 1475 by Sixtus IV, in light of Rome's exile during Avignon rule. Seemingly Michelangelo made this piece because his strong ties to the Pope and his insisting on progressing the church.

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While there were many people that admired the beauty of this chapel, more than 3 million tourist come from around the world today to see the mural. This painting was meant for all people to enjoy its vastness but one group sticks out that may have found more faith based meaning, the Christians/Catholics. This place has become a tourist attraction for those all around the world, but at its roots it was a place to come and worship god.

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The meaning of the mural in all of its glory highlights the events and history of the Christian faith. The painting in timeline fashion starts with the beginning being Genesis. Then came the foundation which is compiled of stories from Moses and Christ, and even popes and the ancestors of Christ. It then goes into the prophecies and then finally coming to the last judgement. Christians used this as a place to worship but also see the history that they have put their faith into created through artistic paintings.

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We see from Michelangelo's work that the people during this time were heavily embedded into their faith. Pope Julius was very determined to progress through times and expand the Catholic church. We can also see patronage through this work because it commissioned by the Pope to have Michelangelo do this piece. But we know that during this time the people of Europe, especially those in the Italian peninsula, were rooted in the Catholic church. Finally, we can also see the power of the pope and how his relationship with Michelangelo created this work.

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In Rzepinska's, she tells us a little back story of Michelangelo and who he was a person during the renaissance period. She states the Michelangelo was an avid learner from other renaissance men. She also states that Michelangelo was a reader of the old and new testament of the bible, he was a very devout man of faith. We see a resemblance of what historians would call a renaissance, he studied countless number of other's work and his faith was strong. At the top of it all Michelangelo was a famous artist which points to the foundation of renaissance culture and also the faith based art points to that conclusion as well.

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I believe what we have learned about the targeted renaissance that was aimed for a smaller group of people. But in this case we see that Michelangelo was a part of that movement in some way or another. This piece alone points to the foundation of renaissance art. The deep-rooted history of Christianity and also the style of art he chose. Whether or not this deems a renaissance for all, it points to the fact that there was a renaissance for Michelangelo.

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Beck , James. “Cardinal Alidosi, Michelangelo, and the Sistine Ceiling.” Shibboleth Authentication Request, 1990, www-jstor-org.proxy.library.kent.edu/stable/1483399?seq=1.

Careri, G. (2007). Time of History and Time out of History: The Sistine Chapel as ‘Theoretical Object.’ Art History, 30(3), 326–348. https://doi-org.proxy.library.kent.edu/10.1111/j.1467-8365.2007.00548.x

Ferris, A. A. (1985). Michelangelo’s Sistine Ceiling: a Portrait of the Renaissance (thesis).

Romaine, J. (2006). Scripture on the Ceiling. Christian History & Biography, 91, 22–26.

Rzepińska, M. (1994). The Divine Wisdom of Michelangelo in The Creation of Adam. Artibus et Historiae, 15(29), 181–187. https://doi-org.proxy.library.kent.edu/10.2307/1483492