Illustrations

1. The Wennerberg experience

Fig. 1.1 Michelangelo, Last Judgement, 1535–1541. Sistine Chapel, Rome. Fresco. (Photo: Alamy Stock Photo)

Fig. 1.2 Michelangelo’s Last Judgement during the celebration of Tenebrae in the Sistine Chapel. (Reconstruction: Petter Lönegård)

Fig. 1.3 Gunnar Wennerberg, Arrangement of Candles in the Sistine Chapel, 1852. Uppsala University Library X 309 c:1, fol. 117. Pen drawing. (Photo: Uppsala University Library)

Fig. 1.4 Michelangelo’s Last Judgement during the celebration of Tenebrae in the Sistine Chapel. (Reconstruction: Petter Lönegård)

2. Practices and theories of siting

Fig. 2.1 Richard Serra, Tilted Arc, 1981. Foley Federal Plaza, New York. Corten steel. (Photo: Getty Images)

Fig. 2.2 Eva Hesse, Untitled (Rope Piece), 1970. Whitney Museum of American Art. Rope, latex, string, wire. (Photo: Getty Images)

3. Early works

Fig. 3.1 Agesander, Polydoros & Athenodoros, Laocoön Group, Roman copy of Hellenistic original. The Vatican Museums, Rome. Marble. (Photo: Alamy Stock Photo)

Fig. 3.2 Michelangelo, Battle of the Centaurs, c.1492. Casa Buonarroti, Florence. Marble. (Photo: Alamy Stock Photo)

Fig. 3.3 Antonio del Pollaiuolo, Battle of the Nudes, 1465–1475. Engraving. (Photo: British Museum)

Fig. 3.4 Michelangelo, Bacchus, c.1496–1497. Barghello, Florence. Marble. (Photo: Alamy Stock Photo)

Fig. 3.5 Maarten van Heemskerck, Michelangelo’s Bacchus in the Sculpture Garden of Jacobo Galli, c.1535. Kupferstichkabinett, Berlin. Pen drawing. (Photo: bpk-Bildagentur)

4. The Pietà in Rome

Fig. 4.1 Michelangelo, Pietà, 1497–1500. Saint Peter’s, Rome. Marble. (Photo: Shutterstock)

Fig. 4.2 Nicolò dell’Arca, Lamentation of Christ, c.1463–1470. Santa Maria della Vita, Bologna. Terracotta. (Photo: Bildarchiv Foto Marburg)

Fig. 4.3 Giacomo di Cozzarelli, Lamentation of Christ, 1490s. Chiesa dell’Osservanza, Siena. Terracotta. (Photo: Alinari Archives)

Fig. 4.4 Unknown artist, Pietà, nineteenth century. San Silvestro in Capite, Rome. Painted stone. (Photo: Peter Gillgren)

5. The Sistine Chapel ceiling

Fig. 5.1 Plan of the Papal Chapels. (Figure: Petter Lönegård)

Fig. 5.2 Filippo Juvara, Sistine Chapel during Mass, 1711. From Osservazioni per ben regolare il coro de i cantori della Cappella pontificia by Andrea Adami, Rome 1711. Engraving. (Photo: Musikverket)

Fig. 5.3 Michelangelo, Sistine Chapel ceiling, 1508–1512. Sistine Chapel, Rome. Fresco. (Photo: Vatican Museums)

Fig. 5.4 Michelangelo, Detail from the Sistine Chapel ceiling with the monochrome ignudi of the spandrels, 1508–1512. Sistine Chapel, Rome. Fresco. (Photo: Alamy Stock Photo)

Fig. 5.5 Michelangelo, Detail from the Sistine Chapel ceiling with the Creation of Adam, 1508–1512. Sistine Chapel, Rome. Fresco. (Photo: Alamy Stock Photo)

Fig. 5.6 Direction of figures in the first part of the Sistine Chapel ceiling. (Figure: Petter Lönegård)

6. Portraits of the artist

Fig. 6.1 Raphael, School of Athens, 1510. The Vatican Museums, Rome. Fresco. (Photo: Wikimedia Commons)

Fig. 6.2 Unknown artist, Portrait of Michelangelo at the Age of 23, 1498. Print. (Photo: British Museum)

Fig. 6.3 Unknown artist, Portrait of Michelangelo, 1527. Print. (Photo: Peter Gillgren)

Fig. 6.4 Michelangelo, Prophet Jeremiah, c.1512. Sistine Chapel, Rome. Fresco. (Photo: Alamy Stock Photo)

Fig. 6.5 Giuliano Bugiardini, Portrait of Michelangelo, 1522. The Louvre, Paris. Oil on panel. (Photo: Scala Archives)

Fig. 6.6 Raphael, Detail from the School of Athens with Self Portrait, 1510. The Vatican Museums. Fresco. (Photo: Alamy Stock Photo)

7. The Medici Chapel

Fig. 7.1 Michelangelo, Medici Chapel, 1519–1533. San Lorenzo, Florence. (Photo: Bildarchiv Foto Marburg)

Fig. 7.2 Ground plan of the Medici Chapel. (Figure: Petter Lönegård)

Fig. 7.3 Giuseppe Pera, Medici Chapel. From Viaggio pittorico della Toscana by Francesco Fontani, Florence 1827. Print. (Photo: Åsa Deleau Wiklund)

Fig. 7.4 Michelangelo, Madonna with Saint Cosmo and Saint Damian, 1521–1534. San Lorenzo, Florence. Marble. (Photo: Wikimedia Commons)

Fig. 7.5 Michelangelo, Tomb of Lorenzo de’ Medici, 1521–1569. San Lorenzo, Florence. Marble. (Photo: Alinari Archives)

Fig. 7.6 Michelangelo, Tomb of Giuliano de’ Medici, 1521–1569. San Lorenzo, Florence. Marble. (Photo: Alinari Archives)

Fig. 7.7 Unknown artist, Cleopatra, Roman copy of Hellenistic original. The Vatican Museums, Rome. Marble. (Photo: Bildarchiv Foto Marburg)

Fig. 7.8 Federico Zuccaro, Draughtsmen at the Belvedere Court, c.1570. Gabinetto dei Disegni e delle Stampe, Uffizi, Florence. Red chalk drawing. (Photo: Alamy Stock Photo)

Fig. 7.9 Giovanni Giacomo de Rossi, Sleeping Nymph. Nymphaeum, Villa Carpi, Rome. Engraving. (Photo: Wikimedia Commons)

Fig. 7.10 Michelangelo, Night, 1521–1534. San Lorenzo, Florence. Marble. (Photo: Bildarchiv Foto Marburg)

Fig. 7.11 Michelangelo, Night (alternative view), 1521–1534. San Lorenzo, Florence. Marble. (Photo: Bildarchiv Foto Marburg)

Fig. 7.12 Baccio Bandinelli, Orpheus, c.1515–1518. Medici-Riccardi Palace, Florence. Marble. (Photo: Scala Archives)

Fig. 7.13 Battista da Sangallo (?) after Michelangelo, Project for the Medici Chapel, c.1520. Gabinetto dei Disegni e delle Stampe, Uffizi, Florence. Inv. no. 607E. Pen drawing. a. Recto. b. Verso. (Photo: Galleria Uffizi Fotografico)

Fig. 7.14 Federico Zuccaro, Draughtsmen in the Medici Chapel, c.1570. The Louvre, Paris. Black and red chalk drawing. (Photo: RMN – Grand Palais)

Fig. 7.15 The Medici Chapel during Mass. (Reconstruction: Petter Lönegård)

Fig. 7.16 Michelangelo, Lorenzo de’ Medici, 1521–1533. San Lorenzo, Florence. Marble. (Photo: Wikimedia Commons)

8. The tomb of Pope Julius II

Fig. 8.1 Michelangelo, The tomb of Pope Julius II, 1505–1545. San Pietro in Vincoli, Rome. Marble. (Photo: Shutterstock)

Fig. 8.2 Michelangelo, Moses, 1505–1545. San Pietro in Vincoli, Rome. Marble. (Photo: Shutterstock)

Fig. 8.3 Direction of standing figures of the Julius monument. (Figure: Petter Lönegård)

Fig. 8.4 Direction of sitting figures of the Julius monument. (Figure: Petter Lönegård)

Fig. 8.5 Direction of all figures of the Julius monument. (Figure: Petter Lönegård)

Fig. 8.6 Anonymous, The Tomb of Pius III in Old Saint Peter’s, c.1503. From De Sacris Aedifici by Giovanni Ciampini, Rome 1693. Print. (Photo: Wikimedia Commons)

Fig. 8.7 The tomb of Pope Julius II in San Pietro in Vincoli. (Reconstruction: Petter Lönegård)

9. The nature of sculpture

---

10. The cave of Vulcan

Fig. 10.1 Giorgio Vasari, Vulcan’s Forge, c.1570. The Louvre, Paris. Pen drawing. (Photo: RMN – Grand Palais)

Fig. 10.2 Daniele da Volterra, Portrait of Michelangelo, c.1544. Metropolitan Museum of Art, New York. Oil on panel. (Photo: Metropolitan Museum of Art)

11. David

Fig. 11.1 Michelangelo, David, 1501–1504. Galleria dell’Accademia, Florence. Marble. (Photo: Shutterstock)

12. Via negativa

Fig. 12.1 Michelangelo, Saint Matthew, 1504–1508. Galleria dell’Accademia, Florence. Marble. (Photo: Bildarchiv Foto Marburg)

Fig. 12.2 Michelangelo, Rebellious Slave, c.1514. The Louvre, Paris. Marble. (Photo: Bildarchiv Foto Marburg)

Fig. 12.3 Michelangelo, Crouching Boy, c.1530. The Hermitage, Saint Petersburg. Marble. (Photo: Alinari Archives)

13. The late pietàs

Fig. 13.1 Michelangelo, Pietà, 1550s. Santa Maria del Fiore, Florence. Marble. (Photo: Alamy Stock Photo)

Fig. 13.2 Cherubino Alberti, Michelangelo’s Pietà, c.1550. Engraving. (Photo: British Museum)

Fig. 13.3 Michelangelo, Pietà Rondanini, 1560s. Castello Sforzesco, Milan. Marble. (Photo: Shutterstock)

Fig. 13.4 Michelangelo, The Crucifixion with the Virgin and Saint John, 1562–1564. The British Museum, London. Black chalk drawing with white highlights. (Photo: British Museum)

14. Visible and non-visible bodies

---

15. The Last Judgement

Fig. 15.1 Unknown artist, Pythagoras discovering and demonstrating the relation between musical intervals. From Theorica musicae by Franchino Gaffurio, Milan 1492. Woodcut. (Photo: Wikimedia Commons)

Fig. 15.2 Michelangelo’s Last Judgement with arrangement of lights and lightholders during the celebration of Tenebrae in the Sistine Chapel. (Reconstruction: Petter Lönegård)

Fig. 15.3 Marcello Venusti, Michelangelo’s Last Judgement, 1549. Museo di Capodimonte, Naples. Tempera on panel. (Photo: Alamy Stock Photo)

16. Sistine Chapel installations

Fig. 16.1 a. Unknown artist after Perugino, Assumption of the Virgin, c.1480. Albertina, Vienna. Pen drawing. (Photo: Albertina)
b. School of Raphael, Coronation of the Virgin, c.1540. Vatican Museums, Rome. Tapestry. (Photo: Vatican Museums)

Fig. 16.2 a. Pieter van Aelst after Raphael, Miraculous Draught of Fishes, 1515–1516. Vatican Museums, Rome. Tapestry. (Photo: Getty Images)
b. Pieter van Aelst after Raphael, Conversion of Saint Paul, 1515–1516. Vatican Museums, Rome. Tapestry. (Photo: Vatican Museums)

Fig. 16.3 Michelangelo, Study for the Last Judgement, c.1535. Casa Buonarroti, Florence. Red chalk drawing. (Photo: Alinari Archives)

Fig. 16.4 Conrad Martin Metz, Detail from the lower part of Michelangelo’s Last Judgement, 1803. Print. (Photo: British Museum)

17. Coda

Fig. 17.1 Ground plan of Cappella Paolina, c.1540. (Figure: Petter Lönegård)

Fig. 17.2 Michelangelo, Conversion of Saint Paul, 1542–1545. Cappella Paolina, Rome. Fresco. (Photo: Getty Images)

Fig. 17.3 Michelangelo, Crucifixion of Saint Peter, 1546–1550. Cappella Paolina, Rome. Fresco. (Photo: Getty Images)

Fig. 17.4 Michelangelo, Palaces and Piazza of the Campidoglio, 1537. Rome. (Photo: Bildarchiv Foto Marburg)

Fig. 17.5 Unknown artist, The Triumph of Marcus Aurelius, c.180. Capitoline Museums, Rome. Marble relief. (Photo: Alinari Archives)

Fig. 17.6 Étienne Dupérac, Palaces and Piazza of Campidoglio, 1568. Engraving. (Photo: British Museum)