Michelangelo and the Pope's Ceiling by Ross King research project

            As I mentioned in my previous blog entry, I have came across new evidence that Bramante may have had other intentions relating to Michelangelo painting the ceiling of the Sistine Chapel than originally thought.  In Ross King’s book, ‘Michelangelo and The Pope’s Ceiling’, he says, “Bramante knew that Michelangelo not only lacked valuable experience in the tricky art of fresco but also understood little of the technique by which frescoists created illusionistic effects on high, curved surfaces.  Painters of vaults, such as Andrea Mantegna, would portray bodies in a receding perspective – lower limbs in the foreground, heads in the background – so that they appeared to be suspended in the air above the spectator.  Mastery of this virtuoso method of foreshortening, often known as ‘di sotto in su’ (from below upward), was notoriously difficult.”  When knowing this apparent lack of a particular skill of Michelangelo’s, it makes sense that Bramante was worried about him painting the ceiling of the Sistine Chapel.  Along with Pope Julius II, he had dedicated much of himself to rebuilding Rome.  From this account, it seems as though he was genuinely worried about the outcome of the frescos.  He was trying to avoid a disaster that could possibly taint the atmosphere of one of the most significant chapels to the Christian faith. 

            However, it seems as though Piero Rosselli openly disagreed with Bramante’s opinions regarding Michelangelo’s painting techniques.  On page 27, Ross King quotes Piero Rosselli saying to the Pope, “Holy father, he has never spoken to Michelangelo, and if anything he has just told you is true, I would like you to cut off my head.” Although it is not evident that a decision on the Sistine Chapel ceiling was made that night when they were all talking, it did come about the Pope Julius II summoned Michelangelo to Rome to begin work on the now magnificent frescos. 

Research project: "Michelangelo and the Pope's Ceiling", Ross King

            Besides the fact that they were both extremely talented artists, Michelangelo and his competitor, Bramante could not be more different.  Bramante was a handsome, extroverted man who became extremely rich over the years in his life.  Michelangelo on the other hand lived a modest life.  Michelangelo was known for being annoyed by others easily, and created enemies quite quickly. 

            At the beginning of my research on the Michelangelo and the pope’s ceiling, I came across a common belief that it was Bramante that convinced Pope Julius II to  commission Michelangelo to paint the ceiling of the Sistine Chapel.  It was said that Bramante resented Michelangelo’s skill as a sculptor, and this was his way of distracting the pope away from having Michelangelo do projects that he would excel in.  He knew that Michelangelo was a sculptor, not a painter.  Therefore he would either refuse the project, or do a horrible job of it.  Either way, it would be an embarrassment to Michelangelo’s name, and that was believed to be Bramante’s true intention.  This would also distract away from Bramante’s apparent botch job designing St. Peter.  He apparently spent too much money right off the bat, which left him with a smaller budget, and therefore forced him to make unsafe budget cuts for the structure.

            After further researching this topic, I have found that although Pope Julius II was indeed considering Michelangelo to work on the Sistine Chapel, it may have been so that Bramante’s participation in the endeavor was quite unlike what it was said to have been.

            In Ross King’s book, Michelangelo and The Pope’s Ceiling, he says, “One of Julius’s main ambitions as pope was to recapture the grandeur that was Rome.  Rome was known as caput mundi, the “capital of the world”, but when Julius was elected in 1503 this title was wishful thinking.  The city was a vast ruin.” (page 15).  Rome’s fresh water had been compromised, and diseases such as malaria and plague’s became an epidemic.  The city was an utter disaster, and Pope Julius II made it his mission to rectify what was once a great city, especially under the rule of his uncle, Pope Sixtux IV. 

            Bramante’s involvement with Pope Julius II was that the two of them planned to rebuild the city together.  The Pope wanted to construct several buildings and monuments, grand in size that would redeem some of Rome’s pristine, and make it a more suitable place for the church and comfortable for it’s occupants.  Under the Pope’s rule, Bramante continued to revive Rome through architectural exploration.

            One structure that was particularlly dear to the Pope’s heart was the Sistine Chapel, because is uncle, Pop Sixtus IV was involved in overseeing some changes to a small chapel inside of it, where the Sistine Chapel got it’s name.  Twenty-one years after the Sistine Chapel was constructed, there started to become cracking in the vault.  This was confusing because the architect, Baccio Pontelli, who constructed the building had made certain that the structure was solid.  It happened to not be any of his doing, but rather the structure had been placed on faulty soil. 

            After alterations were made to the Sistine Chapel in order to ensure it’s safety, the chapel itself became a great interest of Pope Julius II.  Now this is where the story differs from common belief.  When suggesting Michelangelo to be the one to paint the ceiling of the Sistine Chapel, Bramante said to the Pope, “Holy Father, nothing will come of it, because I have talked of it much to Michelangelo, and he has said to me many times that he does not wish to attend to the chapel.” (Page 21).  According to this account by Bramante, he said that Michelangelo only wanted to work on the tomb, nothing else.