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{{Short description|Italian religious official (1463–1544)}}
{{Infobox Christian leader
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'''Biagio da Cesena''' (1463–1544) was a 16th-century [[Italian people|Italian]] official who served as Papal Master of Ceremonies. He is widely known for his negative reaction to the nude figures presented in [[Michelangelo|Michelangelo's]] painting of [[The Last Judgment (Michelangelo)|The Last Judgment]].
'''Biagio Martinelli''' ([[Cesena]] 1463 – [[Rome]] 1544), better known as '''Biagio da Cesena''' (meaning "from Cesena", his native city), was a 16th-century [[Italian people|Italian]] priest and Vatican official who served as Papal Master of Ceremonies. He is widely known for his negative reaction to the nude figures presented in [[Michelangelo]]'s fresco of ''[[The Last Judgment (Michelangelo)|The Last Judgment]]'' in the [[Sistine Chapel]].


In 1518 da Cesena became Papal Master of Ceremonies to [[Pope]] [[Leo X]]. He would also act in this role to Popes [[Adrian VI]], [[Clement VII]], and [[Paul III]].<ref name=Norman>{{Citation
In 1518, Biagio became Papal Master of Ceremonies to [[Pope Leo&nbsp;X]]. He would also act in this role to [[Pope Adrian VI|Popes Adrian VI]], [[Clement&nbsp;VII]], and [[Paul&nbsp;III]].<ref name=Norman>{{Citation
| author = Land, Norman E. | publication-date = Summer 2013 | title = Source: Notes in the History of Art | work = A Concise History of the Tale of Michelangel and Biagio da Cesena | volume = Vol 32 | issue = Num 4 | publisher = Ars Brevis Foundation, Inc. | jstor = 41955680 }}</ref>
| author = Land, Norman E. | date = Summer 2013 | title = Source: Notes in the History of Art | work = A Concise History of the Tale of Michelangelo and Biagio da Cesena | volume = 32 | number = 4 | pages = 15–19 | publisher = Ars Brevis Foundation, Inc. | jstor = 41955680 }}</ref>


After the completion of ''The Last Judgment'' da Cesena said of the fresco, ''"...it was mostly disgraceful that in so sacred a place there should have been depicted all those nude figures, exposing themselves so shamefully."'' da Cesena went on to say the painting was more suitable ''"for the public baths and taverns"'' than a Papal chapel. In response, Michelangelo worked Cesena's face into the scene as [[Minos]], judge of the underworld (far bottom-right corner of the painting) with [[Donkey ears]] (i.e. indicating foolishness), while his nudity is covered by a coiled snake. It was widely said that when Cesena complained to the Pope, the pontiff joked that his jurisdiction did not extend to hell and the portrait would have to remain.<ref>Reported by [[Lodovico Domenichi]] in ''[https://books.google.com/books?id=_2g8AAAAcAAJ&pg=RA5-PA668 Historia di detti et fatti notabili di diversi Principi & huommi privati moderni]'' (1556), p. 668</ref>
In a story well known from the 16th century onwards, in a number of slightly different versions, Biagio is said to have complained about ''The Last Judgment'', saying "it was disgraceful that in so sacred a place there should have been depicted all those nude figures, exposing themselves so shamefully". Biagio went on to say that the painting was more suitable "for the public baths and taverns" than a papal chapel. In response, Michelangelo worked Biagio's face into the scene as [[Minos]], judge of the underworld (in the far bottom-right corner of the fresco) with [[donkey ears]] (indicating foolishness), while his nudity is covered by a coiled snake biting his penis. It was widely said that when Biagio complained to Pope Paul III, the pontiff joked that his jurisdiction did not extend to hell and the portrait would have to remain.<ref>Norman</ref>

The story is given in [[Vasari]]'s ''[[Lives of the Artists]]'', and expanded in his 2nd edition. But Vasari does not mention the Pope's response. This was first reported by [[Lodovico Domenichi]].<ref>Norman; in Domenichi's ''[https://books.google.com/books?id=_2g8AAAAcAAJ&pg=RA5-PA698 Historia di detti et fatti notabili di diversi Principi & huommi privati moderni]'', "Papa Paolo Terzo", (1556), pp. 698–699 (misnumbered by the printer as "668"; the numbering on the pages goes "... 697, 668, 699...)</ref> However, it was often added to Vasari's text in later editions of his book.<ref name="Norman" />


==References==
==References==
{{reflist}}
{{Reflist}}

{{Authority control}}


{{DEFAULTSORT:da Cesena, Biagio}}
{{DEFAULTSORT:Biagio da Cesena}}
[[Category:Italian Roman Catholics]]
[[Category:16th-century Italian Roman Catholic priests]]
[[Category:16th-century Italian people]]
[[Category:16th-century Roman Catholic priests]]
[[Category:1463 births]]
[[Category:1463 births]]
[[Category:1544 deaths]]
[[Category:1544 deaths]]
[[Category:People from Cesena]]

Latest revision as of 16:32, 1 August 2024

Biagio da Cesena
Papal Master of Ceremonies
DioceseRome
Personal details
NationalityItalian
DenominationRoman Catholic

Biagio Martinelli (Cesena 1463 – Rome 1544), better known as Biagio da Cesena (meaning "from Cesena", his native city), was a 16th-century Italian priest and Vatican official who served as Papal Master of Ceremonies. He is widely known for his negative reaction to the nude figures presented in Michelangelo's fresco of The Last Judgment in the Sistine Chapel.

In 1518, Biagio became Papal Master of Ceremonies to Pope Leo X. He would also act in this role to Popes Adrian VI, Clement VII, and Paul III.[1]

In a story well known from the 16th century onwards, in a number of slightly different versions, Biagio is said to have complained about The Last Judgment, saying "it was disgraceful that in so sacred a place there should have been depicted all those nude figures, exposing themselves so shamefully". Biagio went on to say that the painting was more suitable "for the public baths and taverns" than a papal chapel. In response, Michelangelo worked Biagio's face into the scene as Minos, judge of the underworld (in the far bottom-right corner of the fresco) with donkey ears (indicating foolishness), while his nudity is covered by a coiled snake biting his penis. It was widely said that when Biagio complained to Pope Paul III, the pontiff joked that his jurisdiction did not extend to hell and the portrait would have to remain.[2]

The story is given in Vasari's Lives of the Artists, and expanded in his 2nd edition. But Vasari does not mention the Pope's response. This was first reported by Lodovico Domenichi.[3] However, it was often added to Vasari's text in later editions of his book.[1]

References

[edit]
  1. ^ a b Land, Norman E. (Summer 2013), "Source: Notes in the History of Art", A Concise History of the Tale of Michelangelo and Biagio da Cesena, vol. 32, no. 4, Ars Brevis Foundation, Inc., pp. 15–19, JSTOR 41955680
  2. ^ Norman
  3. ^ Norman; in Domenichi's Historia di detti et fatti notabili di diversi Principi & huommi privati moderni, "Papa Paolo Terzo", (1556), pp. 698–699 (misnumbered by the printer as "668"; the numbering on the pages goes "... 697, 668, 699...)
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