Rome – A new study is rewriting the understanding of Michelangelo’s final years, suggesting the Renaissance master didn’t destroy hundreds of sketches, drawings, and sculptures as previously believed, but rather entrusted them to a network of students and friends for safekeeping. The findings, spearheaded by independent researcher Valentina Salerno, have ignited a search for these potentially lost works, with the Vatican itself now involved in the effort.
Salerno’s research, detailed in her study “Michelangelo gli ultimi giorni” (Michelangelo’s Last Days), involved meticulously comparing dozens of documents from Italian and international archives. The core revelation centers on the belief that Michelangelo actively planned for the preservation of his artistic output, rather than its destruction. According to Salerno, documents describe a hidden room designed to house these precious materials, secured by a complex multi-key system. “One of the documents found describes the existence of a room in which goods were hidden,” Salerno told Italian news outlet Il Messaggero, “which contained material so valuable as to require a multiple key system for its opening.” However, she notes, that room has remained empty for over 400 years.
The research has already begun to yield results. At a Christie’s auction in London on , the sketch for the foot of the Sibyl Lybica was sold, with auction house historians independently following the same attribution trail identified by Salerno. She described feeling a “tuffo al cuore” – a pang in her heart – upon learning of the sale, confirming the validity of her research.
The scope of this rediscovery extends beyond individual artworks. The Vatican’s involvement, initiated by Cardinal Mauro Gambetti, the Archpriest of St. Peter’s Basilica, underscores the significance of the findings. Gambetti has established a scientific committee comprised of leading experts from major museums worldwide, a group that continued its work even during the recent Conclave. This committee is tasked with evaluating potential avenues for further research into Michelangelo’s previously unknown works.
The Fabbrica di San Pietro (the office responsible for the maintenance of St. Peter’s Basilica) has formally acknowledged the research. In a statement released today, the office clarified that a scientific committee was established in anticipation of the 550th anniversary of Michelangelo’s birth in , to assess any potential investigations into the artist’s oeuvre. The committee is now specifically examining the possibility of locating these newly identified, previously unknown works.
Michelangelo di Lodovico Buonarroti Simoni, born in Caprese in and passing away in Rome on , remains one of the most influential figures in Western art. Known for his sculptures like the Pietà (1498-1499) and David (1501-1504), as well as his monumental frescoes on the ceiling of the Sistine Chapel (1508-1512) and The Last Judgment (1536-1541), Michelangelo embodied the ideals of the High Renaissance. His work, deeply rooted in classical antiquity, continues to inspire artists and captivate audiences centuries later.
While Michelangelo is often celebrated as a sculptor and painter, his architectural contributions are equally significant. His design for the Laurentian Library, for example, is considered a pioneering example of Mannerist architecture. He also served as the architect of St. Peter’s Basilica in his later years, succeeding Antonio da Sangallo the Younger at the age of 71.
The implications of Salerno’s research are far-reaching. The potential recovery of these lost works could reshape our understanding of Michelangelo’s artistic process, his influences, and his legacy. The Vatican’s commitment to the investigation suggests a serious effort to uncover these hidden treasures, promising a new chapter in the study of one of history’s greatest artists. The hunt is now on to locate the works, scattered after being hidden away centuries ago, and bring them back into the light.
This discovery arrives alongside other recent rediscoveries in the art world. Spain’s Prado Museum recently confirmed the authenticity of a lost Caravaggio painting, “Ecce Homo,” which had been slated for auction in . These instances highlight the ongoing potential for uncovering previously unknown masterpieces, challenging established narratives and enriching our appreciation of art history.
