The Sculpture – Rediscovery of a Masterpiece by Michelangelo
Wooden sculpture, created in the 16th century as a model for the imposing bronze sculpture depicting Pope Julius II, which was commissioned by him and installed on the tympanum of the San Petronio Basilica in 1508.
Carved wooden figure, painted with remnants of the former paint and gilding.
three-quarter figure representation
Three-quarter figure representation with a flat back for placement in a niche and hollowed out at the back to avoid stress cracks in the wood.
Height 72 cm, width in the base area 40 cm, depth 16 cm
The head
Lively, dynamic, almost contemporary, the head of the Pope figure is a testament to Michelangelo’s mastery. The nose, and above all the masterfully carved open mouth and the eyes, right down to the beard, are perfectly modeled with great precision, giving the figure great liveliness and presence.
Tiara and beard
For Michelangelo, the tiara and beard in the context of the Renaissance signified authority and reflected his deep understanding of the representation of power, wisdom and authority. The tiara stands for papal and ecclesiastical power, while the beard refers to divine wisdom and prophetic authority. Michelangelo used these attributes not only to represent physical beauty, but as symbols with spiritual and political meaning.
The tiara is traditionally a symbol of papal authority and power. Popes wore the papal tiara (also called the triregnum), a triple crown, as a sign of their secular and spiritual rule. Michelangelo, who worked in close contact with the Catholic Church, especially with Popes Julius II and Leo X, created numerous works related to this. A prominent example that indicates papal authority is the tomb of Pope Julius II, also commissioned by him.
In Renaissance art and symbolism, the beard is an attribute of wisdom, authority and divine power. Michelangelo often used the beard as an expression of these qualities in his sculptures.
The Agraffe
In papal dress, the agraffe is a decorative and functional clasp that holds the pectoral (the papal mantle or mozzetta) together. It is used to fasten the various parts of the papal garb to the chest, particularly the cloak or cape that the Pope wears over the cassock.
The agraffe is elaborately designed, often made of gold or silver, and may be decorated with precious stones or religious symbols. It contributes to the solemn and dignified appearance of the Pope and emphasizes his role as spiritual leader.
The agraffe is a meaningful decorative element that underlines dignity and authority.
Chest area
Overall, Michelangelo uses the chest area of his sculptures as a central location to convey both physical strength and emotional and spiritual depth.
The Blessing Hand
The blessing hand is considered a spiritual symbol in the Christian church.
It embodies the communication of divine powers and makes it visible that the person depicted is a channel of divine blessing. The blessing hand therefore serves as an expression of faith, hope and connection between heaven and the believers on earth.
The feet
The depiction of the feet is another characteristic feature of Michelangelo’s exceptional craftsmanship and his deep study of human anatomy. Michelangelo created the feet of his sculptures with the same precision and attention as other parts of the body, and their design contributes significantly to the balance, dynamism and expressiveness of his figures.