Michelangelo, Antiquities, and the Renaissance Art Market

Introduction: Antiquities and Their Cultural Significance

The preservation of antiquities plays an important role for humanity. Antiquities connect us with our past and remind us of who we were, who we are today, and how we arrived at where we are. The preservation of antiquities is not a new idea; the stewardship of ancient objects has always been considered an important responsibility. This role was often reserved for those who held positions of power in contemporary society, and as a result, the stewardship of antiquities became a status symbol as early as the Middle Ages. The importance of antiquities in human society, and the love of them, led to the desire to reproduce many of the great works that marked important civilizations and important people.

The idea of reproducing likenesses of important antiques was not new to the people who surrounded Michelangelo and his patrons. Although Michelangelo was considered to be one of the most original artists of all time, many of his pieces were inspired by ancient works of art from earlier eras. One of the greatest mysteries surrounding this already enigmatic figure of Renaissance society is his claim to be among the most original artists in the world. It might have been difficult to prove that his inspiration derived from earlier pieces during the time of their creation, as very few people had the means to travel the world and see them firsthand. However, we now know that many of his pieces were undoubtedly inspired by older works from times gone by. This paper supports the thesis that Michelangelo's engagement with reproductions of antiquities was driven more by the external market that existed for such pieces than by his own personal admiration and love of them.

Antique Inspiration and the Definition of Antiquities

That Michelangelo was an admirer of antiquities is apparent from their inclusion in his work. Throughout his life, Michelangelo relied on classical prototypes both for inclusion in his compositions and as a source of inspiration and stylistic reference for his original works (Ronen, p. 336). It is evident that Michelangelo must have either seen original pieces or studied someone else's drawings in order to create his works. Michelangelo claimed to work entirely from memory; however, several scholars now argue that he carefully destroyed his original preparatory drawings in order to create the illusion of innate genius (Ronen, p. 336). Whether or not this is true remains one of the great mysteries of the art world.

Michelangelo was said to be divinely inspired, but it is now evident that ancient works often helped to enhance that inspiration. One of the finest examples is found in the Fall of Man, part of the Sistine Chapel ceiling. Elements of that composition derive from a bas-relief from Benevento dedicated to Hercules by the Augur P. Lunius Lanuarius. Michelangelo must have been acquainted with this piece in order to incorporate it into the Sistine Chapel (Ronen, p. 336).

This brings us to a few fundamental questions, the first being: what qualifies as antique sculpture? Throughout history, the definition of what constitutes an antique has changed. In contemporary society, many collectors acquire antiques and antique sculpture for their private collections. Only the wealthy can afford the most prized possessions, but many people can assemble modest collections. This was not always the case. In the past, the collection of antiques was considered a pastime of the wealthy, and antiquities were regarded as important status symbols and a way to display one's power and prestige. The most prized antiquities are still displayed proudly as symbols of power and success. The definition of what qualifies as an antique has shifted throughout the ages and depends, in part, on the purpose and perspective of the collector.

In today's market, an antique is generally regarded as something over fifty years old, though this definition may vary depending on the item. The older and rarer the piece, the greater its value. People collect antiques because they hold some form of value — not always monetary. Sometimes people collect antiques for their intrinsic worth or the emotional associations attached to them. The same was true in the time of Michelangelo: people collected antiquities for a wide variety of reasons.

Greek and Roman sculptures, pottery, and other antiquities were considered prized possessions during the time of Michelangelo (Kent). They represented a glorious period in Italy's past and the roots of the civilization that Michelangelo and his contemporaries inhabited. They were symbolic of Italy's legacy and past glory. Michelangelo's contemporaries enjoyed collecting classical works, as can be seen in both the style of his original compositions and in the specific objects he chose to depict.

During the fifteenth and sixteenth centuries, collecting antiques fell within the realm of the middle-class elite, who paid considerable sums to suit their tastes and display their wealth and prestige (Edmonds). The invention of the printing press opened the market to a new class of collectors, but for the most part, during Michelangelo's lifetime, antiquities remained in the hands of the upper middle class (Edmonds). It is worth noting that, according to Edmonds, the work of many sculptors began first as a printed representation of the work to come.

Antiquities were held in high regard by the upper middle class and the upper-class elite as status symbols. Sculpture and painting served as a means to demonstrate to the world the power and status one had attained, much as expensive automobiles function today (Kent). The possession of antiquities did not extend to the lower classes until recent times, and even now the collecting of antiquities remains largely a pursuit of those who can afford it.

Works Cited

Art Institute of Chicago. The Medici, Michelangelo, and the Art of Late Renaissance Florence. Exhibition. November 9, 2002 through February 2, 2003.

Bruce, D. Drawings by Michelangelo at the Courtauld Gallery. Contemporary Review, Summer 2010.

Edmonds, R. Antiques and Collecting: Pressing engagements; Renaissance printing processes brought fine art to the burgeoning middle classes. The Birmingham Post (England). November 4, 2000.

Freedman, L. Michelangelo's Reflections on Bacchus. Artibus et Historiae, Vol. 24, No. 47, pp. 121–135. IRSA s.c., 2003.

Haughton, N. Perceptions of beauty in Renaissance art. Journal of Cosmetic Dermatology, Vol. 3. Blackwell Publishing Ltd., pp. 229–233.

Kent, D. Cosimo de' Medici and the Florentine Renaissance: The Patron's Oeuvre. New Haven: Yale University, 2000.

Lemley, K. Michelangelo and the Medici. University paper.

Library of Congress. Rome Reborn: The Vatican Library & Renaissance Culture. Archaeology. July 27, 2010.

Ronen, A. An Antique Prototype for Michelangelo's Fall of Man. Journal of the Warburg and Courtauld Institutes, Vol. 37, pp. 356–358. 1974. The Warburg Institute.

Symonds, J. The Life of Michelangelo Buonarroti in Two Volumes. Vol. II. New York: Charles Scribner's Sons, 1901.