Michelangelo’s Moses and Da Vinci’s Virgin of the Rocks
Michelangelo’s Moses (1513-1516)
Created by Michelangelo, a prominent artist of the 16th century, Moses embodies the Neoplatonist concept that “the most beautiful leads man to good.” Michelangelo possessed an intuitive ability to perceive the final form within a block of marble. Around 1495, he moved to Rome and began his career. Pope Julius II became his patron, commissioning various works, including sculptures for the Pope’s unfinished mausoleum. Moses was created for this mausoleum.
This marble sculpture, located in the church of San Pietro in Vincoli (St. Peter in Chains) in Rome, is designed to be viewed from a powerful low-angle perspective (sotto in sù). It depicts Moses as a bearded, seated old man. His nervous fingers intertwine with his beard, he supports the Tablets of the Law on his knees, and he appears ready to unleash his pent-up anger upon his people.
The muscular strength, the intensity of his gaze, and the overall tension conveyed by the figure reflect a deep understanding of psychology. The work is highly sculptural and finished with perfect polishing. It breaks from the harmony and balance of the Early Renaissance, foreshadowing Mannerism.
Its composition features a gesture of the hand pulling back the beard, symbolizing power against primal instincts. His facial expression displays *terribilità*, a kind of awe-inspiring power. The figure has a slight *contrapposto* with arms and legs. Two lines and curves, or zig-zags, are apparent:
- The first extends from the head, down the beard, to the hand and arm holding the tablets.
- The second begins in the right arm and continues down the leg, resting on the left side.
To achieve symmetrical curved lines, Michelangelo employed a long, exuberant, titanic beard. His anatomy expresses movement. It is a symbol of anger and indignation, of contained violence. Life seems to pulsate within it. Legend says that after completing the sculpture, Michelangelo struck it, commanding it to “speak.”
Leonardo da Vinci’s Virgin of the Rocks
The Virgin of the Rocks was painted by Leonardo da Vinci using thick tempera with some oil on panel. It was intended as the centerpiece of a triptych, but Leonardo did not complete the side panels. Created in 1483 in Milan, it was acquired by the Duke of Milan, Ludovico Sforza. After Louis XII conquered Milan, the painting was taken to France, and it is now in the Louvre Museum.
The figures – the Virgin Mary, the infant Jesus, and John the Baptist – are depicted with Mary’s right hand resting on John’s shoulder as he kneels in worship of Jesus. The angel Uriel is beside Jesus, pointing at John. They are situated in a landscape whose details reveal 15th-century realism, including scientific observations of stratified rocks, and meticulously drawn flowers and shrubs.
The Virgin’s face is positioned at the intersection of the two diagonals of the composition, forming the apex of a pyramid. The gestures create bonds between the figures, unifying the group. The four heads are arranged in a circle, with the Virgin’s navel at its center.
Leonardo employed *sfumato*, a technique to soften and blend the edges, creating timeless figures. He achieved a three-dimensional effect by using low tones for larger areas and more intense colors for smaller spaces. The composition’s shapes and light guide the viewer from the foreground to a distant background that vanishes into the distance. There is a second version of this painting in the National Gallery in London, with some altered elements.
Key features of the painting include:
- Chiaroscuro: Leonardo masterfully uses light and shadow to illuminate the figures and darken the background.
- Precise Lines: When a light form is against a dark background, the outline is very precise. However, if the figure is in shadow, the silhouette becomes indistinct.
- Atmospheric Perspective: The effects of light and shade, the dense and mysterious rocks, and the blurred, vaporous background create a sense of depth and unity.