Today, 133 carÂdiÂnals from around the world enter the conÂclave to deterÂmine the next pope, durÂing which they’ll cast their votes in the SisÂtine Chapel. Despite being one of the most famous tourist attracÂtions in Europe, the SisÂtine Chapel still serves as a venue for such imporÂtant offiÂcial funcÂtions, just as it has since its comÂpleÂtion in 1481. When its nameÂsake Pope SixÂtus IV comÂmisÂsioned it, he also ordered its walls covÂered in fresÂcoes by some of the finest artists of that periÂod of the RenaisÂsance, includÂing SanÂdro BotÂtiÂcelÂli, DomeniÂco Ghirlandaio, and CosiÂmo RosselÂli. He also made the unusuÂal choice of havÂing the cross-vault ceilÂing covÂered by a blue-and-gold paintÂing of the night sky, ably exeÂcutÂed by PierÂmatÂteo LauÂro de’ ManÂfreÂdi da Amelia.
No longer do the carÂdiÂnals vote for their next leader under the stars, nor have they for about half a milÂlenÂniÂum. Even if you’ve nevÂer set foot in the SisÂtine Chapel, you sureÂly know it as the buildÂing whose ceilÂing was paintÂed by MichelanÂgeÂlo, lying flat on a scafÂfold all the while (a pleasÂing but highÂly doubtÂful image in the colÂlecÂtive culÂturÂal memÂoÂry).
In fact, that masÂter of RenaisÂsance masÂters didÂn’t touch his brush to the place until 1508. He’d been brought in by a latÂer pope, Julius II, after havÂing first resistÂed the comÂmisÂsion, insistÂing that he was a sculpÂtor first, not a painter. ForÂtuÂnateÂly for RenaisÂsance art enthuÂsiÂasts, not only did Julius II preÂvail upon MichelanÂgeÂlo, so, nearÂly thirÂty years latÂer, did Paul III, who had him paint over the altar the work that turned out to be the Last JudgÂment.
In the video at the top of the post, hisÂtoÂry-and-archiÂtecÂture YouTuÂber Manuel BraÂvo (preÂviÂousÂly feaÂtured here on Open CulÂture for his explaÂnaÂtions of hisÂtoric places like Venice, PomÂpeii, the CatheÂdral of SanÂta Maria del Fiore, and St. Peter’s BasilÂiÂca, which was also touched by the hand of MichelanÂgeÂlo) narÂrates a 3D virÂtuÂal tour of the SisÂtine Chapel. That forÂmat makes it posÂsiÂble to see not only its numerÂous works of BibÂliÂcal art, by MichelanÂgeÂlo and a host of othÂer painters besides, from every posÂsiÂble angle, but also the buildÂing itself just as it would have looked in eras past, even before MichelanÂgeÂlo made his conÂtriÂbuÂtion. The more you underÂstand each indiÂvidÂual eleÂment, the betÂter you can appreÂciÂate this “verÂiÂtaÂble DivÂina ComÂmeÂdia of the RenaisÂsance,” as BraÂvo calls it, when next you can see it in perÂson. That, of course, will only be after the conÂclave finÂishÂes up: in a few hours, or days, or weeks, or maybe — a pheÂnomÂeÂnon not unexÂamÂpled in the hisÂtoÂry of the church — a few years.
RelatÂed conÂtent:
Michelangelo’s David: The FasÂciÂnatÂing StoÂry Behind the RenaisÂsance MarÂble CreÂation
A Secret Room with DrawÂings AttribÂuted to MichelanÂgeÂlo Opens to VisÂiÂtors in FloÂrence
Michelangelo’s IllusÂtratÂed GroÂcery List
Based in Seoul, ColÂin Marshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂter Books on Cities and the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles. FolÂlow him on the social netÂwork forÂmerÂly known as TwitÂter at @colinmarshall.




