Rachel Evans
The Vatican Museums and galleries are home to a plethora of marble sculptures, with marble being one of the most popular materials in sculpting since the Bronze Age. The Vatican's marble artworks include Michelangelo's Pietà, a Carrara marble sculpture of Jesus and Mary at Mount Golgotha, as well as replicas of Greek bronze statues, such as the statue of Laocoön and his two sons. In addition to sculptures, the intricate floors of the Vatican also showcase beautiful inlaid marble mosaics, with various colours of marble cut and laid to create pictures.
| Characteristics | Values |
|---|---|
| Marble sculptures in the Vatican | Michelangelo's Pietà (1498-1499), a Carrara marble sculpture of Jesus and Mary at Mount Golgotha |
| Michelangelo's David | |
| Unknown artist, Pinecone (made of bronze but placed on a marble base) | |
| Unknown artist, Multi-breasted statue (white marble) | |
| Unknown artist, Helena's sarcophagus (red porphyry marble) | |
| Unknown artist, Laocoön and His Two Sons (1st century BC, marble replica of a Greek bronze original) | |
| Unknown artist, Myron (460 B.C., marble) | |
| Marble floors in the Vatican | Inlaid marble floors with intricate designs and mosaics |
| Various colours of marble cut and laid to create pictures |
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What You'll Learn
The Vatican Museums contain a variety of marble sculptures
The Vatican Museums contain a plethora of marble sculptures, including some of the most famous sculptures in the world. The museums trace their origins to a single marble sculpture, Laocoön and His Sons, purchased in the 16th century. This sculpture depicts the Trojan priest Laocoön and his two sons being attacked by giant serpents. Another famous marble sculpture in the Vatican Museums is the Pietà by Michelangelo, a Carrara marble sculpture of Jesus and Mary at Mount Golgotha, representing the "Sixth Sorrow" of the Virgin Mary. The Apollo Belvedere, a 4th-century BC marble statue of the Greek god Apollo, is also housed in the Vatican Museums and is considered highly influential in the development of art history.
The Vatican Museums also contain a red marble papal throne, previously housed in the Basilica of Saint John Lateran. In addition, the museums hold a collection of sarcophagi, including one made of red porphyry marble, which was the colour reserved for emperors. The Vatican Museums are also home to Nero's Bathtub, a deep red/purple porphyry marble artefact, which is considered one of the most precious works in the museums.
The Sistine Chapel, located within the Vatican Museums, features frescoes by Michelangelo, including the famous Last Judgement on the altar wall. The museums also contain the Gallery of Maps, the Raphael Rooms, and the Room of the Biga, which houses a marble statue by Myron from 460 B.C. The Vatican Museums offer a unique mix of architectural masterworks and a diverse art collection, spanning centuries and encompassing different mediums and styles.
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Marble sculptures have been popular since the Bronze Age
Marble sculptures have been a popular medium of artistic expression since the Bronze Age. The unique properties of marble have made it a preferred choice for sculptors across the ages. Marble is a metamorphic rock that is initially soft and malleable, allowing sculptors to chisel intricate details with relative ease. Over time, it hardens into a durable material, making it ideal for creating long-lasting artworks.
The use of marble in sculpture dates back to ancient times, with notable examples from Ancient Greece and Rome. During the Archaic Period of Ancient Greek art (8th century to 500 BCE), artists began to experiment with marble, creating figures with more realism than previous periods. However, it was during the Classical Period (500 BCE to 323 BCE) that marble sculptures truly flourished. Greek artists of this time demonstrated a remarkable attention to detail, showcasing their skills through intricate drapery and refined chiseling techniques. The 'Elgin Marbles' from this period (ca. 447–438 BCE) are a testament to the sophistication of Ancient Greek marble sculpture.
The Greeks' passion for marble influenced the Romans, who began to create marble reproductions of Greek bronze sculptures. During the Imperial Roman period (31 BCE–476 AD), marble sculptures became increasingly popular, reflecting the Roman fascination with idealised human forms and their desire to edify individuals. The 'Apollo Belvedere' (350–325 BCE), a Roman copy in marble of a Greek original, is a notable example of this period.
Marble sculptures continued to be created throughout the Middle Ages, with artists in Italy utilising locally sourced marble or salvaging it from ancient ruins. During this time, the focus shifted from life-sized figures and mythological subjects to religious motifs, such as small figurines and altarpieces adorned with relief carvings.
The Renaissance witnessed a revival and transformation of marble sculpture. Artists like Michelangelo Buonarroti approached marble with a unique vision, aiming to "free the human form trapped inside the block." His renowned sculpture 'Pietà' (1498–1499), housed in St. Peter's Basilica, Vatican City, captures the moment when Jesus, taken down from the cross, is given to his mother Mary. Michelangelo's innovative aesthetic interpretation of the Pietà balances early naturalism with Renaissance ideals of classical beauty.
Today, marble remains a favoured medium for sculptors, who continue to explore and push the boundaries of this timeless art form. Artists such as Massimiliano Pelletti and Patricia Guinois Messica are innovating by using unconventional types of marble while maintaining ties to traditional techniques. The enduring popularity of marble sculptures can be attributed to the stone's ability to absorb light, creating a soft, translucent effect that lends itself beautifully to artistic expression.
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Marble was used to create replicas of Greek bronze statues
Marble was a common material used in sculptures at the Vatican, such as the Pietà by Michelangelo, a Carrara marble sculpture of Jesus and Mary at Mount Golgotha.
Marble was also used in the ancient world to create replicas of Greek bronze statues. The Romans admired the sculptors of classical Greece, and it is reasonable to assume that many Roman marble statues were copies of antique Greek masterpieces. Adolf Furtwängler, in his Meisterwerke der griechischen Plastik (1893), promoted the value of Roman marble sculptures as copies of lost Greek works. He advanced a method of "copy-criticism", which recognised that Roman sculptures often adhered closely to styles first developed in classical Greece.
One example is the Doryphoros ('Spear Bearer') by Polykleitos, a renowned naked bronze sculpture from around the time of the Parthenon (c. 440 BC). One of its marble copies was found in Pompeii and has been illustrated in many handbooks of Greek art. Another example is the Diskobolos ('Discus Thrower') by Myron, which was also identified in Roman copies.
The scarcity of Greek bronze discoveries and the reliance on presumed marble replicas have given the extant bronzes an allure and mystique. For instance, the two Riace Bronzes, pulled out of the sea in 1972, are famous bearded warriors from the 5th century BC whose original context is unknown. In the pursuit of the lost master sculptors, they have been attributed to various artists, including Pheidias, Polykleitos, and Myron.
However, it is important to note that marble-carving is a reductive process that does not offer the same dynamism and subtlety as bronze sculpture. Bronze sculpture starts with the modelling of clay and wax, while marble-carving is unforgiving, with one false move potentially ruining the entire piece.
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The term 'marble' to Romans meant all polished stones
Marble was a highly prized material in ancient Rome, with quarries in the eastern territories offering a wide range of colours, including black, grey, green, red, yellow, and blue. The ancient term "marmaros" was applied to any stone that could be highly polished, and the Romans were known for their extensive use of marble in architecture and sculpture.
The Romans inherited and refined Hellenistic building practices, developing advanced technical expertise with limes and concretes. They perfected the use of "mouldable" marbles, utilising marble dust (a calciferous rock) in lime mortars to create panels that could be plastered onto walls and pillar cores. This technique, combined with the use of marble slabs for cladding, transformed Roman buildings from brick and stone to gleaming marble. Caesar Augustus famously boasted, "I found Rome a city of bricks and left it a city of marble."
The Romans also mixed different marble dusts to mimic various types of marble, and they filled marble columns with mortar and hardcore to strengthen them. The calciferous properties of marble created a strong bond with lime mortars, ensuring the durability of their structures. The use of marble in Roman architecture extended beyond aesthetics; it served a symbolic purpose as well. Exotic marble, with its vibrant colours and veining, was employed by Rome's first emperor, Augustus, and his successors, to signify the power and reach of the empire.
The Romans also used rare and expensive stones such as porphyry, basanite, and alabaster for statues and busts of emperors, their families, and the gods and goddesses they worshipped. These materials, with their elevated status, reflected the importance of their subjects. Additionally, costly marble was even used to create representations of conquered "barbarian" races, reinforcing the message of Roman dominance and power.
In conclusion, the term "marble" to Romans encompassed all highly polished stones, and they developed innovative techniques to incorporate marble into their architecture and sculpture, leaving a lasting legacy of beautiful and symbolic structures that still captivate us today.
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Marble floors in the Vatican are intricate and detailed
Marble has been a popular material in sculpting since the invention of metal tools during the Bronze Age. The Vatican Museums and galleries are filled with astonishing marble sculptures. Marble is a metamorphic rock derived from limestone, with many unique properties that make it a perfect material not just for sculpture, but also for architecture, paint, and chemical uses.
The intricate and detailed marble floors in the Vatican are a testament to the beauty and complexity of this art form. Inlaid with various colours of marble cut and laid to create pictures, these floors offer a unique perspective on the skill and craftsmanship of Renaissance artists. One visitor to the Vatican noted that the floors, with their intricate inlaid marble, were far more interesting than anything else in the building.
The floors depict scenes and art instead of simple geometric patterns. The mosaics are made of thousands of tiny pieces of marble that come together to form a picture. This technique is similar to painting but with stone. The floors in the Sistine Chapel, for example, are adorned with beautiful eagles.
The use of marble in the Vatican is not limited to the floors. The museums and galleries are filled with marble sculptures, and marble was also used in architecture during the Renaissance. One notable example is the statue of David by Michelangelo, a masterpiece created using marble.
The various colours of marble used in the Vatican's floors and sculptures add to their intricate beauty. In addition to the pure white Carrara marble commonly used for sculptures, there are other types of marble with a broad and vibrant colour palette, such as alabaster, granite, or porphyry.
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Frequently asked questions
The Vatican Museums and galleries are filled with marble sculptures. Some examples include Michelangelo's Pietà, a Carrara marble sculpture of Jesus and Mary at Mount Golgotha, and a marble replica of a Greek bronze statue depicting the Trojan priest Laocoön and his two sons being attacked by serpents.
There are three types of marble, with pure white Carrara marble being the main type used for sculptures. Other types of marble used include red porphyry marble and white marble.
The floors of the Vatican are made of intricate inlaid marble, with various colours of marble cut and laid to create pictures. The marble used in the floors may have been stolen or recycled from the Forum.
