On May 10, 1508, I agreed to complete the painting of the Sistine Chapel ceiling as commissioned by Pope Julius. Despite my initial hesitations due to my background in architecture and sculpture rather than fresco painting, I accepted the opportunity and challenge. While there may be more qualified artists for this project, Julius specifically chose me for it. As a result, I will endeavor to create one of the most remarkable fresco paintings ever produced (Brandes, 254).
The scaffolding Bramante created for the work was terrible. It required holes in my ceiling, which made it impossible for me to paint a beautiful artwork. So, I had it dismantled and designed a new structure. My innovative scaffold became stronger as more weight was placed on it. I installed floor boards on slanted columns separated by wooden wedges. Perhaps Julius made the right choice in hiring me. I brought in assistants from Florence to help with the frescos and the technique, as I am not very knowledgeable in that area. I began working on the cartoons for the frescos. Painting these 12 boring Apostles that I was commissioned to do was a challenge; I needed to find a way to make them more interesting. However, as we started painting the frescos, I became disheartened by the idea of the 12 apostles. I was upset and confused because I knew that it wasn’t the right concept for the ceiling.
During my conversation with Julius today, we discussed the project at hand. I expressed that I found it inadequate to solely paint the Apostles. When he inquired about my reasoning, I explained that even the Apostles were impoverished. In response, Julius granted me the freedom to paint as I desired. However, I am still unsure of what direction to take. Today, while lost in reverie outdoors, I had a vision for the ceiling. I plan to depict the Creation of Man and the Creation of the Universe. To connect the existing frescoes on the walls to the ceiling frescoes, I will illustrate events preceding the two epochs of Sub lege and Sub gracia. My masterpiece will feature numerous dramatic biblical occurrences, including the Separation of Light from Darkness, the Creation of the Sun, Moon, and Stars, the Creation of the Waters and Animals, the Creation of Adam and Eve, the Fall of Man and Expulsion from Paradise, the Sacrifice of Noah, the Flood, and the Intoxication of Noah.
I made the decision to send my assistants back to Florence because it is my personal vision and responsibility to paint this ceiling. Today, I began working on The Drunkenness of Noah, a painting that requires me to assume an uncomfortable position. Sometimes, I wonder why I am here, but I am resolute in my determination to paint this ceiling not for the pope or the Romans, but out of pride in my own work. To accurately depict Noah’s reality, he will be shown collapsed on the ground next to a jug of wine. His sons will be present to offer support and comfort as he tries to comprehend God’s plan for him and his family. Noah is a contemplative man with many thoughts, and that is exactly how I aim to portray him in this artwork.
Currently, I am working on a painting called The Flood that evokes strong emotions within me. It portrays a crowd of people gripped with fear and terror as they face imminent destruction. This impending disaster threatens to wipe them away from the earth. My goal is to capture the power of the wind and its ability to uproot trees and force people to seek refuge on higher ground, creating an impression of a ferocious storm. The depiction of the great flood in this painting is remarkably realistic and believable.
In my next fresco, titled The Fall of Man, I delve into the temptation faced by Adam and Eve to eat from the Tree of Knowledge, as well as their subsequent expulsion from paradise. To visually distinguish these two events, I position the Tree of Knowledge at the center of the painting with its branches stretching across the top. On one side, Eve reaches out to pluck fruit from the tree while a serpent entices both her and Adam. In this fresco, I focus on meticulously portraying Adam’s muscle structure, drawing upon my skills in sculpture and fresco painting.
On the right side of the fresco, an angel is present with a sword in hand. The angel is fully clothed and is expelling Adam and Eve from the garden while cursing them. To portray Eve’s sorrow, I depicted her leaning over and concealing her face. Conversely, Adam extends his hand to symbolize his desire for the angel to depart and put an end to the humiliation. Despite Julius’ persistent interest in viewing my frescos, I am adamant about withholding their exhibition until they are completed. A masterpiece like this should not be unveiled prematurely, similar to how one should refrain from consuming a pie that is only partially baked. As each day and week passes, the situation worsens; therefore, I may have no choice but to succumb to Julius’ request and allow him to witness the progress achieved thus far.
I have just completed The Creation of Man, one of my most beautiful works. This painting portrays God as a human figure creating Adam in His own image. By humanizing the divine, I aimed to foster understanding and bring people closer to their God. The fresco depicts God above Adam, reaching out with His hand to touch Adam’s hand as a symbol of the connection between man and God. It is my personal favorite fresco that I have ever created. Julius insisted on seeing my work again and asked me to remove the scaffold. However, I refused because the project was not even halfway finished. I explained that an unfinished artwork would not be appreciated or understood. Julius became angry and threatened to throw me off the scaffold. Reluctantly, I gave in and allowed the scaffold to be torn down.
On November 1, 1509, Julius made the chapel open to the public after my scaffold was removed. People from all over Rome flooded into the chapel to see the result of my almost year-long work. The chapel received great appreciation from most of the visitors, although I don’t place much importance on their opinions. It would be satisfying to receive payment for my accomplishments thus far and take a month’s leave to return to Florence. However, the Pope is too stubborn and impatient to grant me these requests at the moment. Nonetheless, I will complete the ceiling as soon as possible. Throughout the project, I strived to maintain a consistent painting style across the entire ceiling. My intention was to create a watercolor effect by avoiding certain colors and using a variety of others.
I incorporated different colors into my painting to avoid using pure reds, blues, and whites. The whites I applied had a bluish, yellowish, or sometimes a brownish tint, so that no pure color would stand out and distract the viewer. Rather than using gold, I used various shades of color to simulate its appearance. When Julius questioned why I didn’t use real gold, I explained that the prophets I depicted were impoverished and lacked gold. Julius, who had a strong materialistic inclination and admiration for expensive attire and jewelry, failed to comprehend the reality of poverty. (Brandes, 274). Having completed my work on the Sistine Chapel ceiling, I shall return to Florence to continue my practice there. I believe that what I have created in this chapel is something truly exceptional. Through my artwork, I have successfully conveyed my emotions and conveyed a message for humanity to witness. This remarkable piece of art is a product of my imagination, and I am extremely satisfied with the final result.
