Today is the anniversary of the birth in 1443 of Giuliano della Rovere who is better known as Pope Julius II. He is one of the most unique and influential pontiffs in Church History. Nicknamed the “Warrior Pope,” Julius won significant military victories while emerging as one of the most influential patrons of the arts in European History. In addition to extending the size and power of the Papal States, he commissioned some of the most renowned works of the Renaissance by three of the era’s greatest artists: Michelangelo, Raphael, and Bramante. Julius also had a notoriously bad temper which earned him another less flattering moniker: “Papa Terribile”.

In 2011, my wife and I toured the Vatican and our guide told a most interesting story relating to that second nickname. Julius commissioned the painting of the ceiling of the Sistine Chapel and two years into the project, he was impatient for work to be completed. He accosted Michelangelo asking when the project would be completed to which the artist responded: “When I can.” Unsatisfied with the answer, Julius rapped Michelangelo on the forehead with his staff admonishing him to hurry up. Michelangelo ultimately exacted a crafty revenge. He placed a secret message in the ceiling preserved for the ages which will be revealed below (a tease I know, but I promise it’s a good one). I have wondered about the veracity of this story ever since and in honor of Julius’ birthday I decided to find an answer.

Italy in the Early 1500s

In 1503, the Sacred College of Cardinals elected Cardinal Giuliano della Rovere, to succeed Pope Alexander VI. Della Rovere took the name Julius II supposedly in honor of Pope Julius I but his rivals claimed he really meant it as a tribute to Julius Caesar. Whether this assertion is true or not, Julius followed Caesar’s example in expanding the influence of Rome. Popes of this era were not just spiritual leaders, they were also secular rulers of a political entity, the Papal States. In the 15th and 16th century, two great European houses: the Hapsburgs (Spain and the Holy Roman Empire) and the Valois (France) vied for control of Italy the long-lasting Italian Wars.

The conflict drew much of Europe into a complicated web of shifting alliances, political intrigue and military campaigns. Without getting mired in the details, Julius at least twice led armies into battle adding the Romagna region in northern Italy, Naples, Parma, and Piacenza to Papal State territories. He also wrested Milan and Florence from foreign control restoring the Sforzas and de Medici to their traditional power bases. In the process Julius earned the nickname of “Warrior Pope” for riding into battle complete with armor and a sword.

The Warrior Pope as Patron of the Arts

The successful military campaigns generated great wealth that Julius used to celebrate his status as a latter-day Julius Caesar. He recruited some of the world’s greatest artists to restore Rome to its former glory. Among many building and beautification projects, Julius laid the cornerstone for a new St. Peter’s Basilica in 1506 designed by Donato Bramante. Combining many ancient influences including the Pantheon, Hippodrome and others, St. Peter’s holds the distinction of being the world’s largest Christian Church and is a masterpiece of Renaissance architecture. It also boasts a world-class art collection and a collection of Greek and Roman statuary that rivals or exceeds any other.

Julius also employed prominent artists. Raphael created most of his famous works in the Vatican at the Pope’s behest including the Raphael Rooms. As an older man when elected to the papacy, Julius contemplated his death early in his reign and hired the well-known Florentine sculptor Michelangelo in 1504 to create his tomb to be placed in St. Peter’s.

Michelangelo had just completed of one of his greatest works, the colossus of David, and Julius undoubtedly had high hopes. However, the project quickly bogged down into a contest of wills between the Pope and the sculptor. It seems Michelangelo could easily match Julius’ bad temperament and stubbornness. The two argued over designs and payment for two years until Julius threw Michelangelo out of his palace in 1506 causing the latter to return to Florence in a rage.

Painting the Ceiling of the Sistine Chapel

Julius recalled Michelangelo in 1508 with a surprising and unwelcome proposal. Instead of completing his tomb, the Pope wanted Michelangelo to paint the ceiling of the modestly decorated Sistine Chapel. At first, Michelangelo refused claiming to be a sculptor, not a painter. Julius prevailed though with a promise that Michelangelo could return the tomb after completing the ceiling.

Painting a 12,000 square foot composition in fresco on a vaulted ceiling with rounded corners 68 feet above the floor presented a great challenge. Michelangelo had to distort the images to make them appear realistic from the ground. Completing the project took four years of determined work, an impressive feat in a short timeframe. Nine stories from the Book of Genesis decorate the space with God extending His finger to grant Adam life as the centerpiece. Around the scenes, Michelangelo painted important biblical characters. In all, 323 figures appear in the composition. The figures are twelve feet tall and fittingly resemble statuary. They are symbolic pillars for important Old Testament stories portrayed as the foundation of the modern Church. They imply a powerful base for the creation of the universe and of Man.

It was customary for an artist to incorporate his sponsor into a large art piece of this nature and Michelangelo followed tradition. Michelangelo depicted Julius as he prophet Zechariah reading with two children or angels looking over his shoulder. As the prophet who predicted Christ’s founding of the Catholic Church, Zechariah held immense importance to Renaissance Christians. Zechariah foretold Christ entering Jerusalem and becoming: “The BRANCH; [who] shall grow up out of his place, and he shall build the temple of the LORD” [1] The reference to Christ as “the Branch” held significance for Julius as his family crest included oak branches. Associating Julius with Zechariah’s prediction connected Christ as the founder of Christianity and Julius as the founder of a new Roman state. Michelangelo placed Julius/Zechariah directly above the door of the eastern entrance with the della Rovere crest resting directly below.

The prominent depiction and placement implies that Michelangelo gave his sponsor a fitting and central place in his great work. It was no surprise that Michelangelo reported to his father in a letter that the Pope was “well-pleased” with the final product. As with the tomb though, work on the ceiling did not proceed smoothly. Julius frequently harassed Michelangelo over the pace of work. With his health failing, Julius had a pressing interest in seeing the project completed (he died in 1513, less than a year after completion of the ceiling).

I found the tour guide’s story in Giorgio Vasari’s 1550 biography of Michelangelo. Vasari’s account is brief but confirms that after being told the painting would be done “When I can,” Julius struck Michelangelo saying “When I can, indeed; when I can!” [2] Vasari did not record where Julius struck Michelangelo, but it must have been quite a blow. An hour after the incident, Vasari relates that a papal envoy found the artist in his workshop preparing to return to Florence. The envoy brought a payment of 500 ducats and an apology from the Pope which assuaged Michelangelo. From other sources, I found frequent references to the “Papa Terribile’s” quick temper and brutish behavior. He had a bad habit of striking messengers who brought bad news for example. Even when in a good mood, Julius was known to treat others roughly. It seems likely the event occurred substantially as claimed.

The Revenge

I mentioned that Michelangelo took revenge for Julius’ frequent abuse. The children behind Zechariah/Julius imply innocence and purity. But go back and look again, there is a devilish detail. One child has his arm around the other in what appears to be a fist. On closer examination, one can see the thumb inserted between the fore and middle fingers.

So what? Well, this thumb placement is actually an Italian Renaissance gesture known as the fig, the modern-day equivalent to the middle finger. An elderly and dying Pope Julius II understandably did not notice the gesture, it is one of thousands of small details in a sea of unrivalled artistic expression. But there it is, Michelangelo’s private revenge, an obscene gesture directed at his nemesis.

I hope this was not too long and the payout was worth the read. That little private joke was not Michelangelo’s only secret message in his work. There are many others, but that is a tale for another post.

Footnotes:

[1] Vasari, Giorgio, The Life of Michelangelo Buonarroti. Project Gutenberg, 2004, p. 47. http://www.freeinfosociety.com/media/pdf/4760.pdf

[2] Zechariah 9:12; King James Version

Sources:

Anonymous, “Fresco Painting.” Encyclopedia Britannica, https://www.britannica.com/art/fresco-painting

Baumgartner, Frederic J., Behind Closed Doors, A History of the Papal Elections. New York: Palgrave MacMillan, 2003.

Shaw, Christine, Julius II, The Warrior Pope. England: Crux Publishing, 2015.

Vasari, Giorgio, The Life of Michelangelo Buonarroti. Project Gutenberg, 2004. http://www.freeinfosociety.com/media/pdf/4760.pdf

All images are in the public domain and thus subject to Fair Use Laws.

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