Criticism on the frescoes for the Pauline Chapel

The frescoes done for the Pauline chapel were done for one of the artist's most discerning patrons, yet generally are considered among the least successful of Michelangelo's works. They are mainly criticized because they disobey conventional rules about composition, scale, and figural proportion. These faults however are greatly exaggerated when viewed from "ideal" frontal views which are most commonly shown in all prints and photographs. When viewed as Michelangelo anticipated, it drastically changes these "faults."

The paintings in the Pauline chapel stand out because of their incredible size, monumental figures, and surprising coloration. Michelangelo probably decided to work on the Conversion painting first because the East wall was far better lit. The light reinforced the narrative dealing with a bright flash of light. The lighting for the Crucifixion was never as good, due to re-modelings, the area's light was limited, only for a brief period in the morning did the light shine on it. It is a disturbing subject that is hard to grasp entirely, the dark plays with the story line just as the light plays with the other painting. The only time you can see all of the painting without having light shining directly in your eyes, is near sundown, the same time Michelangelo chose to represent the scene taking place. The painting is only fully visible when the actual light begins to match the conditions in the fresco. I found this particularly interesting that Michelangelo considered the exact lighting so carefully. 

Conversion of St. Paul

Crucifixion of Peter

On top of how Michelangelo carefully considered the way light would hit the frescoes in the chapel, he also took into consideration the shape of the structure. He took advantage of the narrow space and how the spectator would move through the chapel and be able to view the paintings. Photographs flatten the three-dimensional effects which he created, however they do show the changes in composition and proportions of the figures. In the Conversion of Saint Paul, Michelangelo places Saul on the left hand side of the composition. It appears off center when viewed frontally, but when seen obliquely, as Michelangelo planned for when people would see it in the chapel it looks correct. You see the action occurring and then a diagonal moves across the landscape which you can follow as you continue walking into the chapel. The action changes as you continue walking into the chapel, forcing the viewer to look back and forth at the paintings across from one another. Figures that are prominent from the door appear insignificant from the altar and vice versa. The paintings achieve a narrative consistency and and animation previously unattained in history painting. 

(William E. Wallace Narrative and Religious Expression in Michelangelo's Pauline Chapel Vol. 10, no. 10 pp 107-121)

Crucifixion of St. peter

The Crucifixion of St. Peter was the second painting Michelangelo painted for the Pauline Chapel, and his final fresco done before his death. In August 1545 the second wall was prepared for the fresco on the right hand side of the chapel but it's unknown when he actually started painting it. The Pope made a visit in mid October of 1549 and the fresco was still unfinished. That winter on November 10, he died. Perhaps Michelangelo himself was the influence of the change to the subject of the imitation of crucifixion of Christ, reflecting himself in the subject of Peter. 

Crucifixion of St. Peter 

Peter, one of Jesus's apostles was in Rome when his followers urged him to flee before he could be killed. While he was leaving, he encountered Jesus in a dream. Jesus was walking towards Rome when Peter asked where he was going. Jesus replied, "To Rome to be crucified again.," Peter was ashamed of himself and returned to Rome to die a martyrs death. He felt unworthy of being crucified the same way as Jesus so he asked to be crucified upside-down.

Michelangelo chose to represent the moment when the Roman soldiers were raising the cross. Peter is leaning upward and looking out, he engages the eyes of the viewer. The figures act like puppets in the hands of God. The crucifiers seem to act out divine necessity without feeling or ill will. Onlookers accept Peter's suffering.

(Howard Hibbard: Michelangelo, second edition)

Detail of Peter

Detail of viewers

Detail of soldiers on horses

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Michelangelo's Last Judgement, by Hall

Hall discusses Michelangelo's depiction of the Last Judgement for the Sistine Chapel versus what other artists did with the same story. It was thought that with Michelangelo's painting, it brought a message about Rome "coming back to life." The fresco took him five years to complete. The painting was supposed to represent the second coming of Christ, the final day, and universal resurrection. It was difficult to understand exactly how to represent the scene, the holiness and religious aspect of it. Christ was to be in the center, showing his power and authority. His composition gained dynamic energy as he played with different poses and gestures. He strays away from tradition by adding nude figures, which are said to be "akin and of ideal strength," not representing a full array of bodies and ages. Hall writes, "if we are made in God's image, then we will bear the image of God in heaven." I feel that this statement shows that it is okay that Michelangelo portrayed the bodies with ideal strength and similarities. Michelangelo put himself in the painting, taking on the role of Bartholomew. He will not have to spend eternity in his failing body (which he had complained about after painting the vault for the Sistine Chapel) but rather regain a new one during the resurrection. Michelangelo used references and experience from his previous paintings to build upon them and create The Last Judgement.

Titian's Venus of Urbino, by Goffen

Titian's career took off in Venice when he studied painting under Giovanni Bellini. He quickly became well known and recognized as an international painter. Besides many of the portraits he painted, he was well known for his nude woman, particularly, Venus of Urbino from 1538. This nude was considered much more scandalous than other nudes painted at the time. Male forms were predominantly shown nude, causing discussion about his subject matter and whether or not it was pornographic and if Titian was a misogynist.

Because prostitution was practiced at the time, it isn't clear whether or not the subject of the painting is based off a prostitute and if so, what implications come with that. The female figure is lying down on a bed, supported by pillows. She engages with the viewer, looking directly at them while her breasts are fully exposed. The red showing on the corner of the bed draw your eye back to the same red on the servants dress. Though Titian did use prostitutes to pose for paintings, does it matter that they were prostitutes, or is it more of an investigation on the female form and Titian's interest in portraying woman differently than ordinary renaissance portraits. For me, the painting does not evoke an erotic or sexual feeling, however is obviously more sensual than other portraits of woman for the time it was painted. I think Titian was interested in exploring new ideas and breaking new boundaries, though it will never be perfectly clear what exactly Titian had in mind when he was painting it.

The Conversion Of Paul

Originally, it was thought that Michelangelo was painting his own rendition of "Christ Giving the Keys to Saint Peter." Vasari wrote about this, but it was in fact not true. The two frescoes chosen to be painted were, "The Conversion of Paul" and "Crucifixion of Peter." "Conversion of Paul" is the first fresco we will be taking a look at. It is the first painting he did for the chapel on the left hand side.

(Howard Hibbard's Michelangelo, second edition)

Conversion of Paul

The story goes like this: 

Saul of Tarsus, a Pharisee in Jerusalem after the crucifixion and resurrection of Christ, swore to wipe out the new Christian church, called The Way. He got letters from the high priest authorizing him to arrest any followers of Jesus in the city of Damascus. On the Damascus Road, Saul and his companions were struck down by a blinding light. Saul heard a voice say, "Saul, Saul, why do you persecute me?" When Saul asked who was speaking to him, the voice replied, "I am Jesus, whom you are persecuting. Now get up and go to the city, and you will be told what you must do." The men with Saul heard the sound but not the vision of Christ that Saul did. Saul was blinded and led by the men to Damascus to a man named Judas. For three days Saul was blind and did not eat or drink anything. Jesus appeared in a vision to a disciple in Damascus named Ananias and told him to go to Saul. Ananias was afraid because he knew about Saul's bad reputation with the church. Jesus repeated his command and explained that Saul was his chosen instrument to deliver the gospel to the gentiles, their kings, and the people of Israel. Ananias found Saul at Judas' house, praying for help. Ananias laid his hands on Saul, telling him Jesus had sent him to restore his sight and that Saul might be filled with the Holy Spirit. Scales fell from Saul's eyes and he could see again. He arose and was baptized into the Christian faith. Saul ate, regained his strength, and stayed with the Damascus disciples for three days. After his conversion, Saul changed his name to Paul.  

This story became a familiar subject in the following years due to Michelangelo's painting. Michelangelo was following recent artistic tradition in showing a horse in his fresco even though it was not mentioned in the scripture (Michelangelo was particularly fond of horses) An empty area behind the horse in the fresco references a spot where Saul may have been struck down by the blinding light. In the foreground lies blinded Saul, the horse bolting to the rear, and an entourage of figures reacting to the event. They form a circular composition in the painting. In the sky is another circular group formed around flying Christ whose right hand casts the beam of light at Saul's head. In the distance is Damascus - this and the companion fresco are Michelangelo's first paintings to show real depth and space comparable to others paintings during the Renaissance. 

Detail of Saul

Detail of Christ

Sketch for Conversion of Paul

Pauline Chapel and Michelangelo

The Cappella Paolina was commissioned in 1538 by the order of Pope Paul III and completed in 1540 by Antonio da Sangallo the Younger. The chapel served as both the chapel of Sacrament and Conclave. It was dedicated to the Feast of the Conversion of St. Paul, a festival to show particular devotion. Given the ceremonial and personal significance to the chapel, the Pope required the church be given special attention to its decorations, and he could think of no greater painter than Michelangelo for the job.
Michelangelo was still finishing up work for Pope Julius II's tomb when he was asked by the pope to start a new project. The project consisted of two frescoes to be painted on the side walls of the new Cappella Paolina (The Pauline Chapel), in the Vatican, just near the Sistine Chapel. This had been something voiced by Paul III before Michelangelo had even finished the last judgement. He had been urged to start the paintings earlier but Michelangelo did not agree with this. Michelangelo had quoted, "One paints with the head and not with the hands... until my affair is settled, I can do no good work." Michelangelo's tomb project got delayed due to an illness, pushing the frescoes to be done for the Pauline Chapel even further.

Inside the Cappella Paolina