On March 6, 2025, the birthday of Michelangelo Buonarroti (1475–1564) will mark its 550th anniversary.
Fittingly, a recent discovery is making waves in the art world just in time for this milestone. A wooden sculpture discovered at an art fair is believed to be attributed to the Renaissance genius. The seemingly inconspicuous figure, depicting Pope Julius II seated on a throne and carved from linden wood, could turn out to be a sensational find. Experts suggest that it may be the lost model for the monumental bronze statue of Julius II that Michelangelo once created for the Basilica of San Petronio in Bologna.
The universal genius Michelangelo di Lodovico Buonarroti Simoni – better known as Michelangelo – is one of the most significant artists of the Italian High Renaissance. Born in 1475 in Caprese (Tuscany) and passing away in Rome in 1564, he was a painter, sculptor, architect, and poet.
He gained renown in his twenties: in 1499, he completed the Pietà, a moving marble sculpture of the grieving Virgin Mary holding the dead Christ, which can still be seen today in St. Peter’s Basilica in Rome. Shortly afterward, he created the over five-meter-tall David (1501–1504), arguably the most famous symbol of the Republic of Florence. Michelangelo’s reputation as an exceptional artist was solidified when he was commissioned by the Vatican to paint the ceiling of the Sistine Chapel (1508–1512). The ceiling fresco, featuring scenes from The Creation, including the iconic Creation of Adam, remains one of the most recognized artworks in the world. With his diverse oeuvre, which also includes architectural masterpieces such as the dome of St. Peter’s Basilica, Michelangelo shaped the course of art history like few others.
However, a gap in Michelangelo’s catalog of works seemed until recently to be permanent: In 1508, Pope Julius II – a significant patron of Renaissance art – commissioned the artist to create an over-life-sized bronze statue of himself. This eleven-foot-high statue was placed above the main portal of the Basilica of San Petronio in Bologna, depicting Julius II in a majestic pose: seated on a throne, with one hand raised in blessing and the other resting on the Keys of St. Peter. Yet, just three years later, in 1511, the monumental statue fell victim to a rebellion by the citizens of Bologna. Furious insurgents toppled the papal statue from the church’s entrance and completely destroyed it; the bronze parts were melted down. Aside from a sketchy drawing preserved in the Cabinet des Dessins in the Louvre in Paris, no trace of Michelangelo’s Julius statue had been found since.
This is where the recent discovery comes into play: In 2023, an unknown wooden figure surfaced at an antiques fair in France – mistakenly cataloged as a Renaissance Saint Peter. However, its appearance piqued the curiosity of art historians. Extensive research led to the astonishing hypothesis that the polychrome wooden sculpture could actually be Michelangelo’s own model for the Julius II statue.
The figure shows Pope Julius II seated in the same pose described in historical accounts of the bronze statue: the right hand raised in blessing, while the left originally held the papal key. Stylistically, the work aligns with Michelangelo’s creative period. The statue impresses with the dynamic drapery of the garments and an individually crafted facial expression – including a slightly open mouth – details that hint at the hand of a sculptor of Michelangelo’s caliber.
Art historians are increasingly convinced that this could be a long-lost masterpiece of the Florentine artist. The owners of the wooden sculpture had the artifact thoroughly examined. “We assume this is the lost model Michelangelo created for the monumental bronze statue of Julius II,” explains Klaus Rössler, the owners’ spokesperson. Rössler considers the discovery a “milestone in art history.” The owners are thrilled to finally present the work to the public after so many years. The fact that this chance discovery is being revealed in the artist’s anniversary year makes it “all the more special.”
Whether the attribution to Michelangelo can ultimately be scientifically confirmed remains to be seen through further analyses. However, the potential sensation is already electrifying the art world and adding a spectacular highlight to the 550th anniversary celebrations of the Renaissance master.
Further details on the discovery, research, and history of the sculpture have been published online by the owners at “Michelangelo’s Lost Masterpiece” (michelangelo-lost-masterpiece.com).
One thing is certain: Half a millennium after his death, Michelangelo continues to make headlines – and pose new mysteries for art history.
