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.