An Observation of Renaissance Artifacts: The Sistine Chapel Frescoes and Juleum Novum in Helmstedt

By: Valchrista Mitchell

ENGL 496A: Senior Seminar

28 April 2015

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When discussing the Renaissance, a modern individual would assume this term is strictly

meant to encompass the complex and fascinating works of multiple Italian architects, artists, and

sculptors preceding the Age of Enlightenment. Unfortunately, many are not aware that the

renaissance style does not cloister within the boundaries of Italy, but has spread throughout the

majority of European countries. While we may consider Italian renaissance art as classical or

traditional in a sense, artists outside of this domain have taken the initiative to replicate this

fantastic style and put their own regional tastes into the works. As much as we enjoy having a

sense of familiarity with what we believe to know, the renaissance ideology is what gives us that

peace of mind when travelling from Germany to Belgium to England; the areas may appear

starkly different geographically but the subtleties and similarities found in their versions of

renaissance art support the unison of like-minded observers and artists who appreciate the

several varieties.

As amazing and delightful it would be to cover all facets of the Renaissance influence

across Europe, that would require a greater knowledge of the artists and the era that I do not

possess as of yet. I do, however, know that discussing a work constructed by Italian artists

differs greatly from a discussion about a German or English artist. That is not to say that these

men are any more or less worthy than those commonly associated with and based in Italy, but

rather that they possess a different vision of what denotes grandeur in a work of art. Specifically,

the sensibilities—whether cultural or religious-- are prevalent in their corresponding eras in the

areas of Italian paintings and German architecture. Here I would like to discuss and analyze the

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importance of Italian Renaissance paintings and their influence on later interpretations of the

style through architecture, namely the interior of the Sistine Chapel in Vatican City, Italy with

the Juleum Library in Helmstedt, Germany. With these two artifacts, each conveys what the

obvious ideologies of the time are, but also reveals the importance of idiosyncrasies found in

virtually all pieces of renaissance art.

It is crucial that in order to understand the art well, one has to fully comprehend the artist

who created it. As for the many beautiful frescos that adorn the interior of the Sistine Chapel, the

artist is none other than the renowned Michelangelo Buonarroti. A majority of written will

seldom discuss who Michelangelo the person is and only favor to exemplify his paintings,

sculptures, and several other works of art. While this does allow us to retain the depth of his

techniques and skill during the era, it only further leads to an assumption that these artists are

only an end to means, useful only to create but not worthy enough to know personally.

Fortunately, we find a man passionately involved in his works when speaking of

Michelangelo. Ascanio Condivi, known as the original biographer of Michelangelo, states how

the young artist would live his life in solitude:

“Michelangelo had consecrated himself not only to sculpture and painting, but to all other arts

with such devouring energy that he had to separate himself almost entirely from the society of

men. For that reason many people considered him proud, and others eccentric or mad. In reality

it was his love of work alone, his labour without respite, which made him solitary, for he was so

filled by the joy and rapture which his work gave him that the society of men did not offer him

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any pleasure but rather bored him by distracting him from his own thoughts. Like the great

Scipio, he was never less lonely than when he was alone.” 1

Like most of his contemporaries at the time we can observe a man obsessed with his craft, but

there only stands a man of his art. From looking at his most famous works, it is easy to tell that

this man is never preoccupied with other affairs and I believe that those distractions would

surface as oversights in his work. His imitations of his master’s work in marble—having never

before touched a stone and chisel—always astonished them, with the young artists even going so

far as to knock out and reset the mouth of a smiling elderly man to further portray the realistic

nature he knew as the only form of artistic expression.2 He would strive to create works that

would be deemed eternal but realized this could not be accomplished with external objects such

as paint and marble. He in fact despised painting in comparison to sculpture, seeing the practice

as less pure because of tis seductive quality, its illusive magic which imitates the appearance of

things and merely creates illusions.3 For Michelangelo, painting is more than just an attempt to

garner the attention of the masses, as he also despised Flemish paintings and how they lack

appeal. As Michelangelo says:

“Good painting is noble and devout in itself, for among the wise nothing tends more to elevate

the soul or to raise it towards devotion than the difficulty of that perfection which approached

God and becomes one with him. Good painting is but a copy of this perfection, a shadow of his

pencil, a music, a melody, and only a very keen intelligence can feel the difficulty of it. That is

1Romain Rolland and Frederick Street, Michelangelo (New York: Duffield & Company, 1915), 142-143.2 Vasari, Giorgio, and Julia Conaway Bondanella, “Michelangelo” in The Lives of the Artists. (Oxford: Oxford University Press, 1998), 417-4183 Rolland and Street, Michelangelo, 150

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why it is so rare and why so few people can attain it or know how to produce it. Painting is the

music of God, the inner reflection of his luminous perfection.”4

This statement, combined with Condivi’s biographical description, provides a clear notion as to

why Michelangelo’s frescos within the Sistine Chapel resonate so brilliantly with the Catholic

community as well as renaissance art enthusiasts.

In the creation of the frescos in the Sistine Chapel, several Italian painters had been

commissioned to create biblical scenes. After learning of Michelangelo’s opinion on painting—

and his preference for sculpture—that I find queer that he would be commissioned to paint the

ceiling of such a grand space. His contemporaries, namely Bramante, had set the artist up for

failure, hoping that his downfall would influence the rise of Raphael. The first plan was simply

to represent the figures of the twelve apostles in the lunettes and to fill the rest of the space with

an ornamental decoration. In his displeasure of having others after being plunged into a project

he had no desire of undertaking, decided to paint not only the ceiling, but the walls of the chapel

down to the old frescoes.5 To put it into perspective, the entirety of the Sistine Chapel ceiling

decoration consists of about one hundred and seventy-five picture units; nine scenes from

Genesis, four from the Old Testament histories, seven prophets and five sibyls on thrones, forty

ancestors of Christ, ten medallions depicting scenes from the Old Testament, and a multitude of

nude figures adorning the remaining areas of the ceiling.6 The pictures are not in strictly

chronological order. If they are perceived as three groups, then the pictures in each of the three

units expand upon each other, in the same way as was usual in medieval paintings and stained

4 Rolland and Street, Michelangelo, 152-1535 Romain Rolland, “Project Gutenberg EBook of Michelangelo”, 386 Malcolm Bull, The Iconography of the Sistine chapel, The Burlington Magazine 130, no. 1025 (1988): 597.

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glass. The three sections of Creation, Downfall and Fate of Humanity appear in reverse order,

when read from the entrance of the chapel. However, each individual scene is painted to be

viewed when looking towards the altar. This is not easily apparent when viewing a reproduced

image of the ceiling, but becomes clear when the viewer looks upward at the vault.7

Of these figures and visions from the Bible, in the paintings of Adam grouped in the

center of the ceiling that is, are what most people would agree are Michelangelo’s greatest work,

the pinnacle of art. The figure of Adam stands out against a solitary peak, alone with God, who

comes forward from a crowd of angels through the calm sky. The limbs that spring to life at the

divine touch, the fair body that seems, in its inertia, to be still part of the very earth, are at once

one of the greatest symbols and easiest lessons that the human mind has imaged to teach us that

it is ever our tragic lot to struggle between the materialism of our bodies and the efforts of our

imprisoned souls to wing their way to our divine Creator.8 When we observe this series of

paintings of “The Creation of Adam”, “The Creation of Eve”, and “The Fall” alongside

Michelangelo’s version of the “Last Judgement”, we can understand the total exhaustion felt by

him and truly understand his statement of inner reflection of having God within him to replicate

such a profound moment. The painting is awesome, making me believe that Michelangelo felt

that he and God had become an experience of the Creator and his physical guiding light.

Within the Italian Renaissance, alongside Michelangelo, we find a plethora of these

artists devoted to their crafts because of one; their appreciation for imitation of natural qualities

akin to God and two; the exceedingly large amounts of time and energy spent on projects to 7 "Sistine Chapel Ceiling." World Heritage Encyclopedia. 1986.8 James Grey and Thomas Kennedy, The Vatican: It’s History—its Treasures, ed. Ernesto Begni (New York: Letters and Arts Publishing, 1914), 88.

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reflect their skill and propensity among their colleagues. From here, we would want to believe

that because this style spread across the European countries so effortlessly that there is a formula

based upon the work early artists like Michelangelo; however, because of regional tastes and of

course time differences, we should observe later renaissance pieces as things of growth and

change.

Moving towards the west, we find a new set of master builders and a change of scenery.

Whereas we previously see a great attention to naturalistic interpretation in painted forms,

peculiarities of German Romanesque architecture are their great height and the noble proportions

of the interiors, with the finely balanced grouping of the cupolas, towers, and turrets of the

exterior.9  These details—given the region—are of course inherent features of Gothic

architecture, usually associated with Western Europe. But when it is asserted that Gothic

architecture is of Romanesque descent a truth is insisted upon in a paradoxical language, for the

name ‘Romanesque’ implies Roman or Greek origin, whereas the name ‘Gothic’ is applied as a

term of reproach to any building whose style is neither classical pure and simple, nor akin to

classical art.10 I believe this outright degradation of the style does not truly reflect the

architectural magnificence that is found in these German buildings; it is not so much a

comparison of what the Romans or Italians created but how the Germans are able to contribute to

the artistic movement.

In the course of looking through the number of Northern buildings in Germany, I decided

upon a lesser known building known as Juleum, now a library and tourist attraction that was

once the University of Helmstedt. Unfortunately little is known of the building’s architect, Paul 9 Arthur Bell, “EBook of Architecture”, 2012.10 Edith A. Browne, Gothic Architecture (London: A. and C. Black, 1906), 8.

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Francke, who is also responsible for the designs of other famous renaissance buildings including

Wolfenbüttel and Castle Salder.11Overall, it seems that German architects have just as great as a

passion for their work as the Italians, as T. Roger Smith notes that ‘The German architects

display an exuberant fancy, a great love of the picturesque, and even the grotesque, and a strong

predilection for creating artificial difficulties in order to enjoy the pleasure of surmounting them.

Their work is full of unrest; they attach small value to the artistic quality of breadth, and destroy

the value of the plain surfaces of their buildings as contrasts to the openings, by cutting them up

into moldings and enrichments of various sorts.12 While I do find this lack knowledge on

Francke himself as a hindrance, I do believe it is an opportunity to get a better sense of the

structure, taking advantage of my knowledge of the Gothic and the Weser (Northern German)

renaissance to form an idea of why he makes certain stylistic choices and chooses to leave others

out.

Approaching this building gives an obvious sense of Gothic influence as a soaring tower

acts as a centerpiece for this building. Upon closer inspection, one notices the use of a

symmetrical pattern; both the left and right are symmetrical from the main rooftop but abruptly

become distinct as we approach the main entrance and ornamental windows on the ground level.

Speaking of the windows, there are only few windows that grace the façade of this building,

strange considering that a key feature of most renaissance buildings is the presence of several

windows. This could be a matter of the building’s original purpose as a lecture hall for scholar

attending the university rather than housing wealthy elites of German society.

11 Elmar Arnhold, “Francke, Paul” in Braunschweigisches Biographies: 8th to 18th century, trans. John Jarck (Appelhans: Braunschweig 2006), 227.12 Bell, “EBook of Architecture”, 2012.

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Essentially, there are no direct correlations to the preceding style of renaissance

architecture, only fragments of previous influence pieced together with their already established

techniques. It is easy to tell that these architects have less of an interest to fully imitate the

Italians as they fully realize the beauty and adequacy of their innovations coupled with foreign

tastes. What interests them is an examination of how best the classic details could be applied to

their traditional buildings13; notice how the pattern adorning the central tower resembles the

binding of a book’s edge as it creases the intersecting walls. Although this building does not fit

into the conventional category of the renaissance, it does allow for a unique glimpse of

combining traditional features with borrowed ones.

Once the entirety of the building is taken in, there lies the beautiful sculptural detail of

several ancient figures that famously adorn other Renaissance buildings. As this is an institution

of higher knowledge, it only makes sense that the figures depicted are ones in relation to the

classical philosophical arts. At the main entrance located on the southern side of this building,

directly next to the main tower, stands five figures of the seven liberal arts decorated into a

classical Roman pediment accordingly: "Astronomy" with celestial sphere in the center,

"grammar" pen and table in the upper left, "Arithmetic" with table and figures in the upper right,

"Music" with lute on the lower left and "geometry" with compass and role on the lower right.14

Although these figures are not biblical in nature as is Adam in Michelangelo’s frescos, they are

inherently Renaissance, harkening back to the original notion of sampling the artistic style that

once graced the craftsmanship of the of buildings in the ancient world. I admire the pediment

13 Richard H. Pretz, Architecture of the Renaissance 2nd edition (Georgia: Georgia Institute of Technology, 1956), 61.14 Sabine Ahrens, Academia Julia – Die Universität Helmstedt 1576–1810 (Wolfenbüttel: Veröffentlichung Der Kreismuseen Helmstedt, 2000), 4.

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greatly, as the vivid colors in contrast with the white marble statues radiates a sense of

philosophical mysticism, drawing one to surrender to the delights and power that these

knowledgeable, iconic figures have to offer. I believe this pediment is the crown jewel of this

structure, providing a complex centerpiece with the backdrop of a sensibly designed yet rigid

looking institution.

Aside from the obvious categories of painting verses architecture, these two pieces of

Renaissance work are distinct in more covert ways than one would imagine. Just going through

the process of finding these two pieces almost seemed like a tedious task; for a majority of works

in both Germany and Italy, the art never actually trail from the standard that was set for the

period. Every German church and building foretold a heavily laden background of Italian Gothic

influence while every Italian painting is wrought with history of biblical beginnings. I found

these unique in their own mediums, but—at least for Michelangelo’s fresco—could not find it

unique in contrast to the other works I kept stumbling upon. I feel like this is in part because of

the cultural importance of Christianity for the Italians and the ongoing witch trials happening

during the construction of the Juleum Novum.

For a majority of the Renaissance, the main focus is always a sense of devotion; devotion

to nature, devotion to craftsmanship, even devotion to religious or secular beliefs. In these two

genres we find similar outlets for creating magnificence in the name of a personal or societal

beliefs, however, these differences are more than what we can obviously sense on the surface. In

order to understand what cannot be seen, we must look not only at the artists and their work, but

delve into a greater understanding of their environments than what we have previously explored.

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As mentioned previously, Michelangelo believes that his artistic skill a reflection of God

and His natural ability for recreating natural beauty. Although, Michelangelo is considered to be

a part of the several educated peoples of Italy who have access to the written scripture and can

display it through the means of artistic illustration. For those outside of the educated circle-- the

lower, uneducated class-- this means hearing biblical scripture from whomever is willing and

available to teach them. Many Christian theologians have argued eloquently for the usefulness

of art in providing inspiration and in serving didactic purposes in conveying biblical narratives

and messages in visual and appealing form. Pope Gregory I ("the Great," 590–604) was an early

advocate of the educational possibilities of the visual arts, stating, "To adore images is one thing;

to teach with their help what should be adored is another. What Scripture is to the educated,

images are to the ignorant, who see through them what they must accept; they read in them what

they cannot read in books.”15 The importance of Christianity is not something meant for only the

educated to comprehend and take advantage of, especially in Renaissance era Italy. Despite their

own personal gain in being able to act as a representative of God’s on creative prowess, these

artists believe that through their blessed hands, everyone can experience the saving grace that is

the Bible.

Imagery has always played a prominent role in the history of Christianity, that ideal being

amplified during this period is nothing we would deem unusual in the slightest. But, in our

modern perspective we view the Renaissance in accordance to the Italians as evoking the concept

15 Leslie D. Ross. Art and Architecture of the World's Religions (Santa Barbara, California: Greenwood Publishing Group, 2009), 236.

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of naturalism rather than a Christian ideology of spreading the Word.16 Renaissance theory

defines art as a form of knowledge; exactly what Pope Gregory hoped would be conveyed in the

many works that have been produced since his time. While Michelangelo observes his art as

knowledge of what the Bible has given to the world, I like to think of his frescos as knowledge of

a young, pure religious devotion.

Modern artistry, for the majority, is usually presented as a means to please the masses in

popular culture or an abstraction of how we perceive the world around us. For Michelangelo, he

originally felt his talent unfitting but still undertook the project despite his earlier apprehensions.

I believe that his change of heart is lees about displeasing his contemporaries and more about the

strength of his religious devotion through the arts. A reformation in the arts is apparent, but not

as much as the notion of catering to ideologies than to conform to a cultural phenomenon. This

religious devotion remains salient throughout the entirety of the Renaissance as it spread farther

into Northern Europe. This does not denote the ideals of every architect, sculptor, and painting

thereon, for with areal changes also come personal ideological changes.

For the Juleum Novum, the architecture speaks more to the notion of classical Roman

philosophy, with figures of the Philosophical faculty or the Seven Liberal Arts that include

Arithmetic, Grammar, and Astronomy above its southern main entrance. Like Michelangelo’s

frescos we observe a devotion, but one of secular beliefs rather than religious. The

expression artes liberales does not mean “arts” as we understand the word in the context of these

created artifacts, but the branches of knowledge which are taught in the schools during this

16 James Elkins and Robert Williams. "Italian Renaissance Art and the Systematicity of Representation." In Renaissance Theory (New York: Routledge, 2008), 166.

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period.17 Here, we see a literal interpretation of knowledge and its subjects in comparison to

knowledge of the Bible; the beneficiaries of this building are not in opposition of God’s grace

but are instead knowers of God, elevating themselves above the level of devout followers of the

Christian faith.18 Francke himself may or may not have been a strictly religious individual, but I

feel as though his passion stems from creation in and of itself. When looking at his other

architectural feats, Francke tends to focus more on the potential of the completed building with

the addition of features found in other Renaissance pieces than of any sense of satisfying an

internal allegiance to a religious affiliation. I see it as a great respect to the original Roman and

Greek forms in which the Renaissance is born from.

Looking at the term, “renaissance” means rebirth, essentially summing up the era’s

progress but also adding relevance to Francke’s architectural decisions on the Juleum. Although

Renaissance artists did not use the term itself to identify the historical period in which they live,

they possess a general awareness of the distinctiveness of their own time; this includes

information in regards to their regional approaches to classical antiquity. Early Renaissance art,

religion, philosophy, and social and political institutions continue to exert a strong influence

throughout the period, but men of the period quite consciously reject much in early cultural

practices of the French and Italians and attempt to resurrect ancient culture within their own. 19

17 Otto Willmann, "The Seven Liberal Arts", CATHOLIC ENCYCLOPEDIA: February 10, 2012. Accessed April 26, 2015. http://www.newadvent.org/cathen/01760a.htm.18Ross, Art and Architecture of the World's Religions, 240.19 Wayne A. Rebhom, "Renaissance" In Dictionary of Italian Literature, ed. Peter E. Bondanella (Westport: Greenwood, 2015) http://ezproxy.library.arizona.edu/login?qurl=http%3A%2F%2Fliterati.credoreference.com.ezproxy1.library.arizona.edu%2Fcontent%2Fentry%2Fgwitalian%2Frenaissance%2F0

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Similar to my discussion of Michelangelo and modern artists is how I perceive Francke’s

approach to Renaissance art as one wholly stemming from an individual devotion to classical art

and creation rather than an erection of analogous work in the face of popular cultural

phenomenon. When an artist enjoys their craft, that information is readily noticeable in how they

adapt to the several trends and the significance they place upon them. Francke could have just as

easily replicated the style and dedication to the biblical figures as the Italians had done, but he

proceeds in a manner befitting of his talent and of his own ideological preferences.

Separate, these pieces seem wrought in keeping up with a cultural fascination with

classical antiquity, resulting in drastically different interpretations involving either the stylistic

choices made of the Roman and Greeks through visual or spiritual tastes inherently found in the

art. Together, these artistic specimens, which in connexion with each other convey the same

modes of thought and feeling, despite differing periods of tastes, have a great stimulus for the

intellect, and are worth understanding in greater detail.20 They remind us that art is not a one-

dimensional concept based upon one person’s definition or regional preference. I enjoy their

dependency on the classical, yet I love the commitment to their own personal esteem for the

Christianity and architectural nuances, respectively.

My overall appreciation for the Renaissance style and cultural movement has greatly

increased since the beginning of this journey of looking through a more educated lens. Before, I

would not have the literal capacity to describe and contrast these two obviously different pieces,

let alone give them the proper descriptive detail that each of these artists deserves.

20 Walter Pater, Renaissance 6th ed. (London: Macmillan and Co., Limited, 1919), 2.

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Michelangelo’s work in the Sistine Chapel now reveals a more passionately devout man than just

a critically acclaimed Renaissance master of sculpture. The same can be said for Paul Francke’s

prowess in architecture; once a completely unknown name is now the center of my pursuit of

gaining a greater knowledge not only of this man but of other architects whose personal

backgrounds and motivations have become lost to the annals of time. Of course I realize how

unlike The Creation of Adam is to a university main building, but I also realize how these two

are related by the interplay of classical influence and style, making them seem less like specific

plot points in a timeline and more like a continuous ribbon of how one form of artistic expression

can expand into several unique facets of regional and cultural suggestions.

For the people who are responsible for the creation and continuation of this movement,

they know not how much their work has and will continue to inspire innovative thought and

invention in the art world, from recreating the style of naturalism to the restoration and revival of

several buildings, paintings, and sculptures almost completely erased from our observant eyes.

As I mentioned before, the term translates into rebirth, which I feel like that is happening to my

preconceived notions about the period. This is not something found purely in the ceilings of

churches, the streets of London, nor upon the walls of the wealthy elite. The Renaissance is an

ideology that provides a foundation for the artistic geniuses like Paul Francke and Michelangelo

Buonarroti to display masterpieces that could not prevail nor thrive without this movement as the

main infrastructure.

For us the Renaissance is the name of a many-sided but yet united movement, in which

the love of the things of the intellect and the imagination for their own sake, the desire for a more

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liberal and comely way of conceiving life, make themselves felt, urging those who experience

this desire to search out first one and then another means of intellectual or imaginative

enjoyment.21 In it we find an unparalleled sense of humanism, naturalism, and brilliant

convocation of masterful craftsmanship not limited to the boundaries of the Italian sphere but a

basic optimism about man, social idealism, enthusiasm over the recovery of classical culture, and

a belief that it could be harmonized with medieval institutions and particularly Christianity.

While that is not true for the entirety of the Renaissance movement, it does describe the essence

in which these frescos of Michelangelo and University of Francke become pillars of beautiful

depictions of quintessential Renaissance masterpieces in their own right.

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18th Century, Braunschweig: Appelhans, 2006. 227.

21 Pater, Renaissance 6th ed., 2.

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