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Moses (Michelangelo)

Michelangelo's marble Moses, with horns and flowing beard.

Moses (Michelangelo)

Wikipedia / Wikimedia Commons

Moses is a marble sculpture by the Italian High Renaissance artist Michelangelo, created circa 1513–1515. Housed in the Basilica of San Pietro in Vincoli in Rome, it depicts the biblical figure Moses with horns on his head, based on a description in chapter 34 of Exodus in the Vulgate. Commissioned in 1505 by Pope Julius II for his tomb, the statue was part of a massive initial design calling for over 40 statues, though the final design placed Moses in the center of the bottom tier. The work is notable for its emotional intensity and technical virtuosity, and has been the subject of extensive interpretation, including a well-known 1914 essay by Sigmund Freud.

Artist
Michelangelo
Date
c. 1513–1515
Medium
Marble
Location
Basilica of San Pietro in Vincoli, Rome
Commissioned by
Pope Julius II
Subject
Moses with horns

Lore & Background

Pope Julius II commissioned Michelangelo to build his tomb in 1505, and the statue of Moses was completed circa 1513–1515, though the tomb was finally completed in 1545. The initial design was massive, calling for over 40 statues, with Moses intended for a tier about 3.74 meters high opposite a figure of St. Paul. In the final design, Moses sits in the center of the bottom tier. The statue depicts Moses with horns on his head, based on a description in chapter 34 of Exodus in the Vulgate, the Latin translation of the Bible used at that time. Some scholars believe the horns may hold an antisemitic implication, while others view it as a convention based on a translation error.

Reader's Guide

The Moses sculpture is significant for its technical mastery and emotional depth, as noted by Giorgio Vasari, who wrote that the beard's hairs are so soft and downy that the chisel seems to have become a brush. Sigmund Freud's 1914 essay interprets the statue as depicting Moses after descending from Mount Sinai, having controlled his anger upon seeing the Hebrews worshipping the Golden Calf. Freud argues that Moses is shown in a complex psychological state, with the remains of a movement that has already taken place, rather than the inception of violent action. Another interpretation by Malcolm Macmillan and Peter J. Swales relates the sculpture to the second set of Tables and the events in Exodus 33 and 34, arguing that Moses is holding blank tablets and depicts the moment when Moses sees God. The statue's power has made it popular since the 16th century, with Rome's Jewish population reportedly adopting it as their own according to Vasari.

Did You Know?

Frequently Asked Questions

What is the Moses sculpture by Michelangelo?

It is a life-sized marble statue of the biblical prophet Moses, carved by Michelangelo around 1513 to 1515. The work stands in Rome's Basilica of San Pietro in Vincoli and is widely regarded as one of the High Renaissance's most powerful standalone sculptures.

Why does Michelangelo's Moses have horns on his head?

The horns derive from the Vulgate Latin rendering of Exodus chapter 34, which describes Moses's face as 'horned' after he descended from Mount Sinai. Michelangelo followed that specific textual tradition rather than the alternative reading that the face was radiant or shining.

Who commissioned the statue and what was it originally meant for?

Pope Julius II commissioned the piece in 1505 as part of an ambitious tomb project that initially called for more than forty statues. In the final layout, Moses was placed at the center of the monument's bottom tier.

Where can visitors see Michelangelo's Moses today?

The sculpture has stood in the Basilica of San Pietro in Vincoli in Rome since its completion in the mid-1510s. It remains on public view inside that church to this day.

What makes this Moses stand out from other Renaissance religious sculptures?

Scholars and art fans point to its raw emotional tension and the extraordinary skill in carving coiled, almost explosive musculature out of a single block of marble. That sense of restrained, barely contained energy set it apart from the calmer devotional figures common in the period.

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