Since childhood, reading has been one of my most constant obsessions. I have been known to go without sleep, shirk deadlines (just ask my old teachers), and even fake-sick (sorry Ma) in order to avoid putting my book down. However, every story is made better by sharing. What you’re about to read (assuming you still are) is nothing more than my reaction to one of my most recent literary conquests.
Michelangelo and the Pope’s Ceiling is a non-fiction indulgence produced by Ross King. Though he has penned quite a collection of historically relevant books, this was my first time reading his work. I must say, it won’t be my last. King is a Canadian writer who has produced both historical fiction and non-fiction. I must confess, every time I have mentioned this book to someone I called him Rick Ross first. Though his style is easy to read, it isn’t quite as lyrical as that. Be sure to follow the link to his website to see the full list of his work.
Now to the book itself. We are all familiar with the marvel of the Sistine Chapel. It’s a titan of art history classes everywhere and as such, we all know the story. Or at least, that’s what I thought.
For instance, I’ve always been romanced by the image of Michelangelo laying on his back as he toiled away, completely alone. However, Ross King blew that common myth apart by detailing exactly how Michelangelo engineered his own scaffold, (which became a sort of model for future artists) that allowed him to stand and lean slightly back. Also, Michelangelo employed an ever-changing team artists that helped to execute his designs.
Engineering and managing a team of equally egotistical worker bees aren’t necessarily tasks we immediately associate with painting. That’s one of the most interesting aspects of this book. King details the technical challenges that Michelangelo faced and reveals the scientific processes undertaken to overcome those obstacles. Not only was it Michelangelo’s job to solve the physics of the puzzle before him, but he also played chemist, mixing and testing chemicals to create the paints and plasters.
These accomplishments are even more impressive considering Michelangelo wasn’t even a painter. He was a sculptor! Because of this, Michelangelo had to suffer quite a learning curve when he began work on the project. King shares details of the artist’s toils and the result is mind-blowing (and no, that’s not a hyperbole).
According to King, the initial panel, Noah’s Flood, took Michelangelo almost four weeks to complete. He even removed almost the whole left side of the panel and had to redo it a secco. In contrast, King shares that God Separating Light from Darkness stands as a testament of the artist’s mastery of buon fresco. Not only was Michelangelo able to paint the figure of God in a perfectly foreshortened, contrapposto pose; but he also completed the sixty square foot panel in one day, partially in freehand. Like I said, mind-blowing.
As neat as all of that is, my favorite thing about reading Michelangelo and the Pope’s Ceiling was Ross King’s ability to recreate Michelangelo’s Rome. Technical obstacles weren’t the only challenges the master sculptor faced. For one thing, his family was a bit of a nightmare. King’s descriptions of the antics of Michaelangelo’s brothers and father had me huffing with frustration. Other times, I couldn’t help but giggle while King drew comparisons between the surly and antisocial Michelangelo, and that suave crowd favorite, Raphael.
All that being said, probably the biggest (and most obvious) challenge the artist faced was the very Pope that commissioned him to do the project, Pope Julius II. Fun fact: King shares a great nickname for this illustrious Pope: Il papa terribile. The Pope demanded Michelangelo undertake painting the ceiling of the chapel, despite heavy opposition and the artist’s obvious lack of experience. Also, like the Borgia Pope before him, Julius was a fan of waging war; which sometimes meant Michelangelo would have to hound His Holiness for weeks to obtain payment.
Keeping all of this in mind, it should be noted that Michelangelo seems to have succeeded in his overwhelming task despite everything, even himself. It’s no secret, he wasn’t really a warm and friendly guy. King reaffirms these impressions of the artist by including anecdotes and letters which reveal Michelangelo to be a challenge to himself. He wasn’t a happy person and certainly didn’t seem to take pains to be nice. The fact that his relationship with Pope Julius II was fraught with tension was due as much to the artist’s doing as to that of il papa terribile.
There’s so much more to this story than our high school teachers told us. Thankfully, Ross King has laid it all out for us. It’s an engaging tale with a star-studded cast that includes names like Da Vinci and Ghirlandaio. It’s definitely a lot more interesting than an old guy painting alone in a church. But I don’t want to spoil it for you completely, so be sure to give it a chance! I can confidently say that I will be returning to Ross King on my reading list in the future.
I’m always on the lookout for a good read, so let me know if you have any suggestions! I’d love to hear what you’re reading also so please share in the comments!