The Sistine Chapel
Echoes of Creation and Judgment: A journey through Renaissance artistry and papal history.
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A Monument Through Time
Origins and Construction
Originally known as the Cappella Magna ('Great Chapel'), the Sistine Chapel derives its name from Pope Sixtus IV, who commissioned its construction between 1473 and 1481. Built on the site of the older Cappella Maggiore, which had fallen into disrepair, the current structure was designed by Baccio Pontelli and built under the supervision of Giovannino de Dolci. Its proportions are considered significant within Renaissance architectural principles.
Consecration and Early Decoration
The chapel was consecrated on August 15, 1483, coinciding with the Feast of the Assumption of Mary. Its initial decoration featured frescoes by prominent Renaissance artists like Botticelli, Perugino, Pinturicchio, Ghirlandaio, and Rosselli, depicting scenes from the lives of Moses and Christ, complemented by papal portraits.
Papal Functions
Serving as the chapel of the Papal Chapel (Cappella Pontificia), it was historically the venue for significant papal ceremonies and gatherings of the Papal Court. Today, it remains the site of the papal conclave, the process for electing a new pope.
The Seat of Papal Elections
The Conclave Process
The Sistine Chapel is famously the venue for the papal conclave, where the College of Cardinals elects a new pope. A chimney installed in the roof signals the outcome: white smoke indicates a successful election, while black smoke signifies that no candidate has yet secured the required two-thirds majority.
Secrecy and Security
To ensure the secrecy of the conclave, electronic signal jamming equipment is installed beneath a temporary raised floor. Cardinals are lodged in the Domus Sanctae Marthae, but they convene in the Sistine Chapel for the voting process, maintaining a tradition dating back centuries.
Historical Significance
The first conclave held in the Sistine Chapel was in 1492, electing Pope Alexander VI. This tradition underscores the chapel's central role in the continuity of the papacy and the Catholic Church.
Architectural Dimensions
Proportions and Design
The chapel measures approximately 40.9 meters (134 ft) long and 13.4 meters (44 ft) wide, with a ceiling height of about 20.7 meters (68 ft). Its dimensions are thought to reflect Renaissance architectural ideals, possibly based on the Golden Ratio. The exterior is notably unadorned, a common feature of medieval and Renaissance churches, with large buttresses added to support the structure.
Interior Features
The interior boasts a shallow cross vault ceiling, originally painted blue with gold stars. The pavement is decorated in opus alexandrinum, a mosaic style using marble and colored stones. A marble screen, or transenna, divides the chapel into two sections, separating the sanctuary area from the main congregation space.
UNESCO World Heritage
The Sistine Chapel is an integral part of Vatican City, designated a UNESCO World Heritage site. Its cultural and artistic significance is recognized globally, contributing to the site's criteria of artistic achievement and historical testimony.
A Symphony of Frescoes
Early Masterpieces (1481-1482)
The initial phase of decoration involved frescoes on the side walls, depicting parallel cycles: the Life of Moses (southern wall) and the Life of Christ (northern wall). Artists like Perugino, Botticelli, Ghirlandaio, and Rosselli contributed significantly to these narrative scenes, establishing the chapel's artistic foundation.
Gallery of Popes
Above the narrative scenes, the upper tier features a Gallery of Popes, painted concurrently with the main cycles. These portraits reinforce the lineage and authority of the papacy, integral to the chapel's function.
Raphael's Tapestries
Commissioned by Pope Leo X, Raphael designed ten large tapestries between 1515 and 1520 to hang on the lower walls. These depict scenes from the lives of St. Peter and St. Paul. Although the original cartoons are preserved in London, the tapestries themselves are used on special occasions.
Narratives on the Walls
Southern Wall: Life of Moses
This wall features scenes such as Moses Leaving for Egypt (Perugino), The Trials of Moses (Botticelli), The Crossing of the Red Sea (Rosselli/Ghirlandaio/Tucci), Descent from Mount Sinai (Rosselli/Piero di Cosimo), Punishment of the Rebels (Botticelli), and Testament and Death of Moses (Signorelli/della Gatta).
Northern Wall: Life of Christ
Complementing the Moses cycle, this wall includes The Baptism of Christ (Perugino), Temptations of Christ (Botticelli), Vocation of the Apostles (Ghirlandaio), Sermon on the Mount (Rosselli), Delivery of the Keys (Perugino), and The Last Supper (Rosselli).
Eastern Wall: Later Additions
The eastern wall, above the altar, originally featured scenes now largely obscured by Michelangelo's The Last Judgment. It currently displays Resurrection of Christ (Hendrick van den Broeck) and Disputation over Moses' Body (Matteo da Lecce).
Michelangelo's Genius
The Ceiling (1508-1512)
Commissioned by Pope Julius II, Michelangelo painted the vast ceiling, transforming it into one of humanity's greatest artistic achievements. Despite initial reluctance, he created a complex scheme featuring nine scenes from Genesis, prophets, sibyls, and the ancestors of Christ, covering over 5,000 square feet with more than 300 figures.
The Last Judgment (1535-1541)
Later, Michelangelo returned to paint the monumental fresco, The Last Judgment, on the altar wall under Pope Paul III. This powerful depiction of Christ's second coming, with its dynamic composition and dramatic portrayal of salvation and damnation, replaced earlier works and significantly altered the chapel's visual narrative.
Artistic Process and Controversy
Michelangelo's innovative techniques and the sheer scale of his work were groundbreaking. The nudity in The Last Judgment sparked controversy, leading to later censorship (the "Fig-Leaf Campaign") and the addition of drapery by Daniele da Volterra. Michelangelo famously depicted his critic, Biagio da Cesena, as Minos in the fresco.
Preserving the Masterpieces
The Great Restoration
A major restoration project, beginning in 1984 and concluding in 1994, meticulously cleaned the Sistine Chapel ceiling and The Last Judgment. This extensive work removed centuries of accumulated grime, smoke, and overpainting, revealing the vibrant colors and details intended by Michelangelo.
Debates and Discoveries
The restoration process generated considerable debate regarding the techniques used and the extent of cleaning. While revealing the brilliance of the original frescoes, some critics feared the methods were too aggressive. However, the project provided invaluable insights into Michelangelo's techniques, primarily buon fresco.
Revealing Original Intent
The cleaning uncovered details previously hidden, such as the bright colors in the Ancestors of Christ in the lunettes, and clarified the original composition and palette. The restoration ultimately aimed to present the frescoes as close as possible to their original state.
Recreating the Sacred Space
UK Reproduction
A notable full-size reproduction of the Sistine Chapel ceiling exists at English Martyrs' Catholic Church in Goring-by-Sea, England, painted by Gary Bevans.
Mexican Replica
The Mexican government commissioned a full-scale architectural and photographic replica of the chapel, utilizing millions of high-definition photographs. This replica, displayed in Mexico City, offered visitors an immersive experience with light-and-sound demonstrations explaining the frescoes.
Harmonies of the Chapel
The Sistine Chapel Choir
The chapel is renowned for its choir, which traditionally performs without instrumental accompaniment. Music is often initiated by the lead singer choosing the starting pitch, a practice dating back to a 1630 visitation.
Historic Performances
In a break from tradition, violinist Rosemary Siemens became the first solo instrumentalist to perform in the chapel in 2014. Later, U2 guitarist The Edge performed in 2016, marking the first contemporary rock concert. Cecilia Bartoli also made history as the first woman to perform with the choir in 2017.
Words of Awe
Goethe's Impression
Without having seen the Sistine Chapel one can form no appreciable idea of what one man is capable of achieving.
โ Johann Wolfgang Goethe
Vasari's Praise
This work has been and truly is a beacon of our art, and it has brought such benefit and enlightenment to the art of painting that it was sufficient to illuminate a world which for so many hundreds of years had remained in the state of darkness.
โ Giorgio Vasari
Sources
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References
References
- Ekelund, Hรยฉbert & Tollison 2006, p.ย 313
- Stevens, Abel & Floy, James. "Allegri's Miserere". The National Magazine, Carlton & Phillip, 1854. 531.
- Cheney, Iris. Review of "Raphael's Cartoons in the Collection of Her Majesty The Queen and the Tapestries for the Sistine Chapel" by John Shearman. The Art Bulletin, Volume 56, No. 4, December 1974. 607รขยย609.
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