Moses (marble sculpture)

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Moses (marble sculpture)발음듣기

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[Beth Harris] And we've entered the church.발음듣기

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And in the back corner, to the right of the altar, is the version that ended up as the tomb of Pope Julius II with the figure by Michelangelo of Moses.발음듣기

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[Steven Zucker] And that accounts for the real popularity of this church now.발음듣기

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There's a lot of people here.발음듣기

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And they're all - or virtually all - here, to see the Michelangelo.발음듣기

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[Beth Harris] And not the relics of Saint Peter's chains, which probably would have drawn much more interest just a few hundred years ago.발음듣기

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[Steven Zucker] And is the namesake of the church. That's right.발음듣기

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But I'm not sure Michelangelo would've been entirely satisfied with what he made here.발음듣기

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Because this is actually really a fraction of what he had originally expected this tomb to be.발음듣기

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[Beth Harris] He made very grandiose designs for the tomb of Pope Julius II.발음듣기

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So Pope Julius II commissioned Michelangelo to design and sculpt figures for the tomb.발음듣기

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It might seem kind of weird for us today to have someone plan their own tomb as elaborately.발음듣기

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[Steven Zucker] It seems rather Egyptian, doesn't it?발음듣기

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[Beth Harris] It does.발음듣기

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But rulers did that.발음듣기

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They commissioned their tomb all the better to ensure that their memory and their achievements lived on in posterity.발음듣기

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[Steven Zucker] Let's take a look at this sculpture. He's towering.발음듣기

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[Beth Harris] He is towering.발음듣기

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I think he's eight feet sitting down.발음듣기

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So one could only imagine how tall he would be standing up.발음듣기

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[Steven Zucker] He's wearing classical garb.발음듣기

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He's got a massive head.발음듣기

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You just can't overstate the muscularity and the sense of power of this figure.발음듣기

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[Beth Harris] He's frighteningly powerful.발음듣기

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You can see these bulging muscles in his arms.발음듣기

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He's a seated figure, and yet there's nothing relaxed about him.발음듣기

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He's filled with power and energy.발음듣기

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[Steven Zucker] And in fact, as I look at it, I really see this as a figure in transition as so many of Michelangelo's figures are.발음듣기

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And he is seated.발음듣기

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But he's, in my mind at least, about to stand.발음듣기

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[Beth Harris] Yeah.발음듣기

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He does look like he's pushed his left leg back in order to prepare to rise.발음듣기

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[Steven Zucker] And it seems to me he's rising in anger.발음듣기

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Under his right arm, you can see the two tablets of the law.발음듣기

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[Beth Harris] The Ten Commandments.발음듣기

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[Steven Zucker] I've always imagined that he's about to rise and throw them down onto the ground to shatter them in his anger.발음듣기

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He's come back down from the mountain from his audience with God.발음듣기

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And he's received the laws.발음듣기

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And he sees the Israelites, who he's left behind, have reverted from the monotheism that he is preaching to a polytheism worshipping the golden calf.발음듣기

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And it's his anger and his fury that I think Michelangelo is capturing so beautifully.발음듣기

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[Beth Harris] He does appear to be staring at something with a lot of - [STEVEN ZUCKER] Intensity.발음듣기

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[Beth Harris] Intensity.발음듣기

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The figure seems almost alive - the way he pulls his leg back.발음듣기

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His left arm comes in front of his body.발음듣기

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His right hand pulls his beard.발음듣기

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His head turns to the left.발음듣기

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Not a part of his body that's not -발음듣기

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[STEVEN ZUCKER] Animated.발음듣기

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[Beth Harris] --in motion.발음듣기

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[Steven Zucker] Engaged. That's right.발음듣기

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And actually really supporting the complexity of the composition of the sculpture as a whole.발음듣기

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[Beth Harris] Right.발음듣기

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And that's something that I think about as just typical of the High Renaissance is that kind of new complexity of the human body.발음듣기

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And you can think about in the early Renaissance, artists just sort of figuring out contrapposto for the first time since the ancient Greeks and Romans.발음듣기

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And here we have something so much more complicated.발음듣기

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[Steven Zucker] It's almost a seated contrapposto.발음듣기

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But even in the beard, even in the expression, which give energy and velocity and just a kind of extraordinary movement [? throughout ?] the figure and contrast areas of really deep carving creating very rich shadows.발음듣기

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This very dramatic of alternation between dark and light, between textures, all of which, I think, in a sense energizes this figure.발음듣기

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[Beth Harris] It's too bad that Michelangelo had many other responsibilities and was unable to complete all of the figures that he intended for the tomb of Pope Julius II.발음듣기

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But the ones that he started - and the one that he finished, Moses - and others that he started, like the slaves for the tomb, are just among his masterpieces.발음듣기

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[Steven Zucker] It is breathtaking.발음듣기

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