Both years. This hints at the level

Both Michelangelo and Bramante were commissioned by the Vatican
to work on projects such as tombs, monuments and frescoes of a religious
nature, on a large scale. Their work often took years to complete, for example
the work on the popes tomb taking 40 years, and St Peters Basilica, a combined
effort, enduring over 100 years. This hints at the level of detail and amount
of thought gone into the design process and intended vision.


Michelangelo felt he was called to sculpt. To him it was  “…to unveil the spiritual significance of physical
beauty”. He approached each project from a range of views but the artist
believed sculpture was the primary manner in which God shared his grace with
mankind.  “Among his early works, the Pieta
proclaimed his unprecedented ability to transform marble from a slab of stone
to a brilliant evocation of the human experience.” – Michelangelo Paints
the Sistine Chapel,” EyeWitness to History,

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From 1508-1512 Michelangelo painted a fresco on the ceiling
of the Sistine Chapel, under the patronage of Pope Julius II. Though Michelangelo
felt sculpting was his true calling, his work on the ‘Creation of Adam’ allowed
him to demonstrate his ability as a painter. He remaining dedicated to its
sacred vision for 4 years. However his work also suggests to elements of an
architects approach, with his use of the space. This work of art reflects many different  elements of his genius.  “At a deeper level, the artist realized that
this single project had allowed him to show his genius not only in painting but
also in architecture and sculpture. The architect had skilfully divided the
space to its most effective use, the sculptor had employed his understanding of
the expressive power of the human body. And the painter had brought to life,
through colour, line, and compositional relationships, the majestic works of
the Creator.” – Lauren Mitchell Ruehring “Michelangelo Biography” 20
August 2007.

31 December 2017


For four decades, and under  harassment from the Pope’s heirs, and a tempestuous
relationship with the Pope himself,  Michelangelo worked on Julius II’s tomb. Work
was interrupted when funds had to be diverted to Bramante’s rebuilding of St.
Peters. Plans changed through-out the build,  with the original plan included a free
standing 3 level structure with 40 statues, but after the popes death the
project was scaled down and featured far less statues. The most famous
sculpture associated with the tomb is the figure of Moses, which Michelangelo
felt was his most lifelike creation. The intended motive was respected, just on
a smaller scale. “The project was continually interrupted, but Michelangelo’s
genius was not wasted, for elements from his early plans for the tomb found
their way into his massive frescoes on the Sistine ceiling. In turn, his work
on the ceiling would serve as inspiration for the daring sculptural style that
would characterize the final version of the tomb. The plans for the monument marked
the first time Michelangelo combined architecture and sculpted figures. In
1545, the tomb was completed on a reduced scale with Moses serving as a
commanding centrepiece.” – “Michelangelo Biography” 20


August 2007.

31 December 2017


Julius was one of the great patrons of Renaissance art and
architecture. In 1505 he decided to tear down St. Peters Basilica and rebuild
it entirely. This was an important building which had existed since the dawn of
Christianity. He appointed Donato d’Agnolo Bramante (1444–1514) to draw up
plans for the new basilica. His plans were met with opposition and there were
many who thought it should be preserved. Because of this “…the new structure
recalls the old: the piers that support the modern dome, rest on the
foundations of the Constantinian nave, echoing its width.”  The motive of this build was to honour the
previous building and respect its religious significance, with the Renaissance
style of architecture. For this reason the new basilica resembles and recalls
its predecessor.


Bramante’s plan was space-molding architecture whose massive
crossing piers and large barrel vaults derived from imperial models. These
elements alluded to Rome’s glorious past and suggested both the continuity of
the papacy and the church’s triumph over paganism, the architectural inventions
of which it appropriated.