How Did Pope Julius Use Art to Promote His Religious Messages

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The papacy of Pope Julius 2 (Giuliano della Rovere), at the start of the sixteenth century, was an important period for the patronage of the arts in Italia, specially the visual arts, and Julius was ane of the near active and significant patrons of his fourth dimension.

Contents

• 1 Pope Julius II
• ii Julius' commissions
• 3 Imagery of Julius 2
  • 3.one Raphael'south Portrait
• 4 Julius II and his Artists
  • 4.one The Tomb
• v Julius II's Motivation behind his Patronage
• half dozen Works cited

Pope Julius 2

Julius Ii was pope betwixt 1503 and 1513. The time of his papal rule coincided with the age known as the Loftier Renaissance. A contemporary writer of della Rovere, Vasari, coined this term, and it is still used today. Artists such as Michelangelo, Raphael and Bramante were at the acme of their careers during this time, and all contributed to projects in the Vatican under Julius 2's patronage. While Julius 2 may best be remembered as the "Warrior Pope", or for his Machiavellian tactics, he was also given the name of "the Renaissance Pope." He modeled his patronage practices on those of his uncle Pope Sixtus IV (1471-84), and began amassing large personal and public fine art collections and commissioning the building of numerous civic and religious buildings when he served equally a key and Key Archbishop under Pope Nicholas V and Pope Innocent 8 respectively. His additions to the art collection of the Vatican may exist Julius Two'due south most impressive venture. He commissioned such projects as the painting of the Sistine Chapel's ceiling, the reconstruction of St. Peter'due south Basilica, and the frescoes of the Stanza della Segnatura and Stanza d'Eliodoro, known equally the Raphael Rooms, including the School of Athens. His reasons for commissioning these, as well as other fine art works were varied. They served political, spiritual and aesthetic purposes. Also, during his papacy, the pb up to the Protestant Reformation produced increased tension in Christianity, which caused the Cosmic Church to lose influence and political power in Europe. Several of his predecessors were poor, unjust, and impious rulers who caused people to doubtfulness the papal seat and the Vatican's monopoly on religion. For these reasons, among others, Julius requested the magnificent and powerful images that are all the same and so recognizable today. Julius Two died February 21, 1513; several of his commissions were still underway or unfinished by the time of his death.

Julius' commissions

• 1503-1512 - The Cortile del Dais in The Vatican Metropolis
• 1505-(1545) - Julius' tomb
• 1505-(1570s) - St Peter's Basilica
• 1508-1512 - The Sistine Chapel ceiling
• 1509-(1516) - Raphael'southward Stanze in the Vatican Palace
• 1511 - Raphael's Portrait following the loss of Bologna

Imagery of Julius Ii

Template:Infobox Painting

During his reign, Julius II utilized his iconic status to his advantage, displaying his involvement in the arts by placing himself on medals, emblems, and past commissioning specific artworks containing his image. Choosing to committee objects such as medals or coins is quite different from, having a cocky-portrait created. A medal or money can exist representative of an "antitype" or "modern counterpart" to typical, readable typologies that commonly announced in art. The "types" can serve as a lawmaking to decode antiquity, Renaissance or fifty-fifty Bizarre art.

The most noticeable cocky-referencing image trend on the coins and works of art commissioned by Julius II was the "Della Rovere oak." In Italian "rovere" ways oak, derived from the Latin "robur," meaning strength or oak tree. The Spernadino medal of Giuliano Della Rovere (1488) is a prime instance of a representation of the "Della Rovere oak". In addition, the giant oak in the Belvedere Courtyard was deputed by Julius in 1504 to be incorporated into Bramante's design for the three-tiered area. The Della Rovere coat of artillery bore an oak tree and the family was referenced with the emblem of the acorn, which had mythological, Christian, and Republican Roman iconographic associations. In reality, however, Julius did not belong to the Della Rovere clan, which was established in Vinovo, about Turino. His uncle Sixtus Iv was from a family of merchants and Julius II's own father was a fisherman. Sixtus IV had fabricated a lineage associated with the Della Rovere counts when he was a cardinal and saw an opportunity to ascend to the papal throne.

Raphael's Portrait

For full commodity, see Portrait of Pope Julius Ii (Raphael)

In 1511, Julius commissioned two portraits of him by the master Raphael. One is in the Uffizi Gallery in Florence and the other in the National Gallery (London), the latter beingness the more famous of the ii. Several years later its completion, Vasari would comment how information technology was 'true and lifelike in every way', and the limerick became influential, seen in subsequently portraits such as Titian's 'Pope Paul Three' of 1543. Julius' long beard was a sign that he had recently lost the state of Bologna, and helps to appointment the painting, as the beard is recorded every bit being shaved off in March 1512.

Julius Two and his Artists

Julius first came to appreciate Michelangelo's work after seeing The Pietá exterior of the St Peter Basilica, and as such deputed him for several fundamental projects:

The Tomb

The tomb was originally deputed in 1505 yet was not completed until 1545 in a much reduced scale:

• 1505 - Commissioned by Julius; Michelangelo spends half dozen months choosing marble at Carrara

• 1506 - Michelangelo returns to Rome due to a lack of funds available for the projection, and is dismissed by and angry and biting Julius. Michelangelo moves to Florence until Julius threatens to wage war on the country unless he returns, which he does.

• 1508 - It is rumoured that Bramante and Raphael, apparently jealous of Michelangelo's commission, convince the Pope that it is bad luck to accept his tomb built in his lfetime, and that Michelangelo'southward time would be better spent on the Sistine Chapel ceiling in the Vatican Palace (assuming that Michelangelo, primarily a sculptor, would have great difficulty in completing a painting of such calibration).

• 1512 - Michelangelo completes the Sistine Chapel ceiling project and returns to the tomb.

• 1513 - Between 1512 and 1513, Michelangelo completes iii sculptures for the project: the 'Dying Slave' and the 'Rebellious Slave' (now in the Louvre, Paris, and 'Moses' which is at present a part of the last design. Afterwards these sculptures are completed, Julius dies and the new Pope Leo X abandons the project.

• 1516 - A new contract is agreed between Michelangelo and Julius' heirs who demand the completion of the project.

• 1520s - Carves 'Victory' and iv unfinished slaves, which at present sit in the Acaddemia in Florence with the David

• 1532 - A second new contract is signed by Michelangelo which involves a wall-tomb.

• 1542 - The wall-tomb is begun by Michelangelo afterwards final details are negotiated with Julius' grandson.

• 1545 - The final tomb is completed, and installed in San Pietro in Vincoli in Rome; it includes the original 'Moses' sculpture along with 'Leah' and 'Rachel' (probably completed by Mich'south assistants) on the lower level, and several other sculptures (definitiely not by Michelangelo) on the upper level.

One of Pope Julius Ii's largest and virtually well known commissions was the reconstruction of St. Peter's Basilica, beginning in 1506. When Julius took the papal part, the condition of the Church was extremely poor, and he took the opportunity to aggrandize it, modernize it, and leave his impression forever on the Vatican. Julius hired Donato Bramante to blueprint the Basilica, a prominent builder and artist of the day. This was seen as a surprise move at the time, many thought Giuliano da Sangallo was the forepart runner for the commission. Della Rovere wanted the splendor of the new Cathedral to inspire awe in the masses, produce back up for Catholicism and prove to his enemies he was a pious and devoted man. Bramante not only would fulfill these expectations with his design, just also with his grapheme, which may explain why della Rovere chose him over Sangallo. "Bramante wanted to build a Basilica that would 'surpass in beauty, invention, art and design, as well as in grandeur, richness and adornment all the buildings that had been erected in that city'" (Scotti, 47).

Raphael came to work for the Pope because of his friendship with Bramante. Bramante had been in Rome working for the Pope when he sent a letter to Raphael telling him that he had convinced Julius to allow Raphael to paint the Stanza della Segnatura. Raphael who had been working on other commissions in Florence immediately dropped his projects and moved to Rome to work for the Pope, simply when he arrived he establish many great artists painting in the Stranza della Segnatura. When he finished the Vatican Library, he amazed Julius Ii then much that according to Vasari he chose "to destroy all the scenes painted by other masters from the past and nowadays, and then that Raphael lonely would exist honoured to a higher place all those who laboured on the paints which had been done up to that time"(Vasari, 314).

Interior of the Sistine Chapel

Julius Two's Motivation behind his Patronage

Generally, scholars take taken one of two sides regarding the many magnificent commissions of Julius II. The get-go, more widely accustomed viewpoint is that Julius was an improvident patron. He was known past scholars to be a patron purely for selfish motives, imposing aspirations, and a grandiose self-epitome. (Gosman, 43). Scholars accept that the probable and foremost reason was that it would exist a style to forever get out his mark on the Catholic Church. Many argue that Julius was using art to further extend his ain Papacy, as well equally the office of Popes to come. Julius 2'southward Papacy is frequently looked down upon for information technology is common formulation that he was keen for glory, which is cogitating in his nickname, "The Warrior Pope" (Gosman, fifty). The Pope was an extremely proud and motivated man, who aspired to be remembered as one of the greatest popes in history. Building the largest Cathedral, Saint Peter's Basilica, in the globe would certainly add to the Pope'southward résumé. Many too discredit Julius II for having repeatedly identified himself with Julius Caesar. His want to emulate Caesar and his extravagant patronage further the negative connotations (Scholars take drawn this conclusion from the medal his had made for Saint Peters with himself on the back and his self called proper name of Julius). (Gosman, 44) Another reason for these commissions is said to be a blatant endeavor to display his and the Church building's wealth. Essentially, Julius Ii was advertising the bountifulness of Catholicism. Information technology is argued that he tried to win the masses over with grand and majestic marvels that would inspire awe, reverence and even fear. Mod scholars also argue that the Pope was attempting to show his piety in the eyes of both the Church and the people. Julius II was not regarded equally an extremely "religious" man; many, in fact, thought of him equally the opposite. In Julius's eyes constructing such a big religious site would help him show his devotion to God and the Church building. Scholars believe that Julius II was well aware that the artwork he was commissioning could convey powerful letters, and thus the reason he was commissioning them. The second, less mutual stance is that Julius's principal motive for his patronage was for his own personal aesthetic pleasure (Gosman, 45). One scholar defends Julius II'south patronage by stating;

"It must not be forgotten that not all letters conveyed in works commissioned by a patron, permit alone those merely addressed to him, can be read as a communication by the patron of his thinking and claims and aspirations. To say this is not to deny that letters may exist read into them, merely it should not exist assumed that patrons would necessarily have cared about or understood or been motivated by theories and statements virtually their power and authorisation that may be coded into the works of fine art they paid for". (Gosman, 61)

Scholars fence that these works tin not be literally taken equally a guide to the ideas of the Pope himself. These scholars indicate out that it was not solely the patron pulling the strings behind these imposing works of art, but a group of people working together. For example, Julius appears in several of Raphael'southward frescos, it is a known fact that he approved his placement there. However, mod scholars are only inferring that this is with his instruction with facts to support the notion that Julius did indeed desire to be painted in the frescos. (Gosman, 55) Julius was, according to some scholars, a man who appreciated art, took pleasure in building, and just wanted to create 1000 places to live in which are much more important than the want to project political ideas and the images of his power. (Gosman, 55)

Works cited

• "Cappella Sistina." Lubilaeum. 8 Dec. 1994. 5 February. 2007 <http://www.christusrex.org/www1/sistine/0-Tour.html>.
• De Tolnay, Charles. Michelangelo, Vol. IV: The Tomb of Julius Two. Princeton: Princeton University P, 1945.
• Felix, Gilbert. The Pope, His Banker, and Venice. President and Fellows of Harvard College, 1980.
• Frank, Isabelle. "Cardinal Giuliano Della Rovere and Melozzo Da Forli At SS.
• Apostoli." Zeitschrift FüR Kunstgeschichte (1996): 97-122. JSTOR. Tutt Library, Colorado Springs, CO. five February. 2007 <http://www.jstor.org>.
• Goldwaite, Richard A. Wealth and the Need for Art in Italian republic, 1300-1600. Baltimore: The Johns Hopkins University P, 1993.
• Gosman, Martin, ed. "The Patronage of Pope Julius II." Princes and Princely Culture 1450-1650. Danvers, MA: Koniklijke Brill NV, 2005. 43-61.
• Hall, Marcia, ed. Raphael's School of Athens. Cambridge: Cambridge University P, 1997.
• Hersey, George L. High Renaissance Art in St. Peter's and the Vatican. Chicago: The University of Chicago P.
• Hoover, Sharon R. "Pope Julius II." Tour of Italy. May 1999. 5 Feb. 2007 <http://touritaly.org/magazine/people01/jul01.htm>.
• Jokinen, Anniina. "Julius II." Luminarium. fifteen Mar. 2003. five Feb. 2007 <http://www.luminarium.org/encyclopedia/julius2.htm>.
• King, Ross. Michelangelo and the Pope'south Ceiling. London: Chatto and Windus, 2002.
• Minnich, Nelson H. "Julius 2 (1503-xiii)." The Great Popes Through History. Ed. Frank J. Coppa. 1 vols. Westport: Greenwood P, 2002.
• Partridge, Loren, and Randolph Starn. A Renaissance Likeness. London: University of California P, 1980.
• Pastor, Ludwig. The History of the Popes, from the close of the Middle Ages, Vol. VI, 2nd ed. St. Louis: Kegan Paul, Trench, Trubner, and Co., Ltd., 1902.
• "Pope Julius II." Who 2? v Feb. 2007 <http://www.who2.com/juliusii.html>.
• Reynolds, Christopher. Papa; Patronage and the Music of St. Peter'southward, 1380-1513. Berkeley: Academy of California P, 1995.
• Scotti, R.a. Basilica the Splendor and the Scandal: Edifice St. Peter's. New York, NY: Penguin Group, 2006.
• Shaw, Christine. "The Patronage of Pope Julius II." Princes and Princely Culture 1450-1650 2 (2005): 43-61.
• Shaw, Christine. Julius Ii: The Warrior Pope. Cambridge MA: Blackwell Publishers, 1993.
• Vasari, Giorgio. The Lives of the Artists . Trans. Julia C. Bondanella and Peter Bondanella. Oxford: Oxford Upward, 1991.
• Verstegen, Ian, ed. Patronage and Dynasty: The Rise of the Della Rovere in Renaissance Italy. Missouri: Truman State Academy P, 2007.
• Weiss, Roberto. "The Medals of Pope Julius 2 (1503-1513)." Periodical of the Warburg and Courtauld Institutes (1965): 163-182. JSTOR. Tutt Library, Colorado Springs, CO. v Feb. 2007 <http://www.jstor.org/view/00754390/ap030044/03a00090/0>.
• Zucker, Marking J. "Raphael and the Beard of Pope Julius Two,." The Art Bulletin (1977): 524-533. JSTOR. Tutt Library, Colorado Springs, CO. 5 Feb. 2007 <http://world wide web.jstor.org/view/00043079/sp020279/02x5116t/0>.

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