(b. 1475, Caprese, d. 1564, Roma)
Cappella Sistina, Vatican
In planning the architectural design Michelangelo first had to accommodate his program to the pre-existing building, including the windows, which were the source of light for his decoration. The wreath of openings still provides the principal viewing light.
Michelangelo devised a long central area framed by a fictive marble cornice and separated into nine sections by broad pilaster strips bent across the ceiling, also in imitation white marble. Sections of alternating dimensions are framed between wider and narrower bands. Within them Michelangelo varied the size of the actual narratives, giving only the smaller ones a marble frame. Four ignudi (male nudes), among the most admired elements of the ceiling, ostensibly support ribbons attached to large medallions painted to look like bronze. Twenty in all, they are in different poses, producing, together with the Prophets and Sibyls, a "handbook" of alternatives for the seated figure for later artists.
At the corners of the ceiling Michelangelo has painted four salvation subjects, including David and Goliath and Judith and Holofernes. Triangular-shaped compartments are repeated in a continuous band along the entire border of the ceiling; they contain bronze-colored nudes that alternate with the renowned Prophets and Sibyls set into marble thrones which, in turn, have paired marble putti in a variety of poses and positions that expand upon the tradition of Donatello and Luca della Robbia. The ancestors of Christ are painted on the flat side walls, the only section of the decoration that did not require the visual adjustments posed by painting on a curved surface.