Michelangelo's Sistine Chapel: Art, History, and Restoration

Michelangelo's Sistine Chapel and The Last Judgement

Michelangelo Buonarroti (Caprese, 1475 – Rome, 1564). Period: 1508-1512. Renaissance. Technique: Fresco painting. Theme: Biblical. Location: Vatican City.

Michelangelo, a painter, sculptor, architect, and designer, was connected to the Medici family from childhood, learning in the workshop of painter Domenico Ghirlandaio and studying sculpture at the Medici gardens school under Bertoldo di Giovanni.

After the death of his patron, Lorenzo de' Medici, in 1492, Michelangelo resided in Bologna until 1496. He then moved to Rome, where he solidified his reputation by undertaking significant papal commissions, alongside notable works in Florence.

Formal Description

The Sistine Chapel's vault measures 36x13 meters. The roof is divided by ten transverse arches, painted with nine sectors divided into three registers by the intersection of false cornices. Figures are arranged on this painted architecture, with simple landscapes in some central scenes. In other scenes, and in the great fresco of the Last Judgment, the characters are placed on monochrome backgrounds, lacking architectural or landscape references.

Michelangelo compensates for this lack of perspective by perfectly capturing the anatomy and volumetry of the human body. His muscular and robust characters evoke the spirit of classical antiquity, showcasing his skill as a sculptor. A prime example of this combination of volume and dynamic expression is the Creation of Adam and Eve, the most famous fresco, which conveys the magic of one of the most important moments in the Judeo-Christian tradition. The Last Judgement is a technical peak with over 400 figures.

The figures emerge from a cell with a floating, bluish energy, creating an extraordinary sense of security. The characters are positioned in several painted layers, accentuated by foreshortening techniques that anticipate Mannerism and Baroque styles. This creates an incredible feeling of movement and reinforces the tension and drama of the scene. The expressiveness of their faces (terribilità) is also striking, especially the terrifying face of Christ.

Regarding color, the violet-green hues (liturgical colors) in the vault and the ochre tones of the naked bodies in the Last Judgment are notable. In 1564, the Church requested that the intimate parts be covered. At the end of the 20th century, restoration revealed strong and light colors, according to the original vision.

Thematic Elements