12/17/2023 0 Comments Tomb of pope julius ii![]() ![]() ![]() ![]() Montini, Le tombe dei Papi, Rome, 1957, p. Huntley, Andrea Sansovino, Cambridge, Massachusetts, 1935, pp. Middeldorf, 'Two Sansovino drawings' in The Burlington Magazine, 64, 1934, pp. ![]() Talman (Lugt, Supplement 2884A, which is Talman's mark) bought 1880 from A. Inscribed in ink in an old hand, probably that of J Talman, 'Giov. The following is the full text of the entry:ĭesign for the tomb of a cardinal with the arms of Julius II on top, and a scale underneath Ward-Jackson, Peter, Italian Drawings, Volume One: 14th-16th Century, London, 1979, cat."Andrea Sansovino and the design for a funerary monument for Leo X". Van Gogh and Chagall rank highly in my esteem as well, but Michelangelo…no lie: I swooned. So did the statue of David (and the gallery of figures emerging from the marble leading up to it). I’ve seen it twice in my life and both times I stood there in the crowd, looking up at its immensity and grandeur, and I swooned like the heroine of a Victorian novel it quite literally took my breath away. Halfway through the book, I realize that I’m enjoying it as much as I am because I love the Sistine Chapel. I’m loving all the minutiae about the creation of the Sistine Chapel, from detailed information about pigments (did you know ‘ultramarine’ is so called because it describes the place far from the sea (as the name suggests) - Afghanistan! - where the lapis is quarried that’s used to make it), to the political intrigues surrounding Pope Julius II (The Warrior Pope!) and the office politics of the renaissance art world. I’ll be in Rome with students in April, so I’m reading Ross King’s Michelangelo and the Pope’s Ceiling. It has occurred to me that Michelangelo might be my favorite artist. How could such a powerful pope be kept at bay for so long? Answer: Michelangelo was, oddly, just as powerful. Later, as the months went by and he couldn’t see the ceiling due to the canvas that stretched across the chapel sixty feet below the workspace (meant to keep any drippings from interrupting a Mass or making a mess), Julius attempted on several occasions to sneak up the scaffolding to get a look at what was going on. His reputation must have been astounding, because the Warrior Pope did back off. Said he knew what to paint, and that the Pope was going to have to trust him. Not long after he started work, he was forced to get a little testy with the Pope: he told Julius to butt out and stop being such a micromanager. After several pleas, the Pope finally resorted to an ultimatum, and, reluctantly, Michelangelo returned, but not to resume work on the tomb: he was brought back to to fresco the ceiling of the Sistine Chapel which had been damaged due to a shoddy foundation - despite the fact that he was a sculptor and not a frescoist. And then he wanted him back, but Michelangelo said no. He first brought Michelangelo to Rome to work on his ostentatious tomb, but then he had a change of heart and sent him packing. He had a nasty temper and beat messengers who brought him bad news…and sometimes hurt those who brought good news by clapping them on the back with pleasure. When Julius wanted to bring the Papal States that had either gone rogue or been taken over by foreign rulers back into his pontifical fold, he sent out an army and rode at the head of it - armed - himself. I mean, Pope Julius II was not the peaceful shepherd that is Pope Francis I. What is surprising is the degree to which the Pope gave in to Michelangelo’s demands. Based on the title of the book, it should be no surprise that there was tension between the artist and the pontiff. Michelangelo and Pope Julius II on a good day.ġ. Relationship with the Pope. ![]()
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