Enola Gay
US Army Air Forces Boeing B-29 airplane that dropped the first atomic bomb
The Enola Gay () is a Boeing B-29 Superfortress bomber, named after Enola Gay Tibbets, the mother of the pilot, Colonel Paul Tibbets. On 6 August 1945, during the final stages of World War II, it became the first aircraft to drop an atomic bomb in warfare. The bomb, code-named "Little Boy", was targeted at the city of Hiroshima, Japan, and destroyed about three-quarters of the city. "Enola Gay" participated in the second nuclear attack as the weather reconnaissance aircraft for the primary target of Kokura. Clouds and drifting smoke resulted in Nagasaki, a secondary target, being bombed instead.
After the war, the "Enola Gay" returned to the United States, where it was operated from Roswell Army Air Field, New Mexico. In May 1946, it was flown to Kwajalein for the Operation Crossroads nuclear tests in the Pacific, but was not chosen to make the test drop at Bikini Atoll. Later that year, it was transferred to the Smithsonian Institution and spent many years parked at air bases exposed to the weather and souvenir hunters, before its 1961 disassembly and storage at a Smithsonian facility in Suitland, Maryland.
In the 1980s, veterans groups engaged in a call for the Smithsonian to put the aircraft on display, leading to an acrimonious debate about exhibiting the aircraft without a proper historical context. The cockpit and nose section of the aircraft were exhibited at the National Air and Space Museum (NASM) on the National Mall, for the bombing's 50th anniversary in 1995, amid controversy. Since 2003, the entire restored B-29 has been on display at NASM's Steven F. Udvar-Hazy Center. The last survivor of its crew, Theodore Van Kirk, died on 28 July 2014 at the age of 93.
World War II.
Early history.
The "Enola Gay" (Model number B-29-45-MO, Serial number 44-86292, Victor number 82) was built by the Glenn L. Martin Company (later part of Lockheed Martin) at its bomber plant in Bellevue, Nebraska, located at Offutt Field, now Offutt Air Force Base. The bomber was one of the first fifteen B-29s built to the "Silverplate" specification— of 65 eventually completed during and after World War II—giving them the primary ability to function as nuclear "weapon delivery" aircraft. These modifications included an extensively modified bomb bay with pneumatic doors and British bomb attachment and release systems, reversible pitch propellers that gave more braking power on landing, improved engines with fuel injection and better cooling, and the removal of protective armor and gun turrets.
"Enola Gay" was personally selected by Colonel Paul W. Tibbets Jr., the commander of the 509th Composite Group, on 9 May 1945, while still on the assembly line. The aircraft was accepted by the United States Army Air Forces (USAAF) on 18 May 1945 and assigned to the 393d Bombardment Squadron, Heavy, 509th Composite Group. Crew B-9, commanded by Captain Robert A. Lewis, took delivery of the bomber and flew it from Omaha to the 509th base at Wendover Army Air Field, Utah, on 14 June 1945.
Thirteen days later, the aircraft left Wendover for Guam, where it received a bomb-bay modification, and flew to North Field, Tinian, on 6 July. It was initially given the Victor (squadron-assigned identification) number 12, but on 1 August, was given the circle R tail markings of the 6th Bombardment Group as a security measure and had its Victor number changed to 82 to avoid misidentification with actual 6th Bombardment Group aircraft. During July, the bomber made eight practice or training flights and flew two missions, on 24 and 26 July, to drop pumpkin bombs on industrial targets at Kobe and Nagoya. "Enola Gay" was used on 31 July on a rehearsal flight for the actual mission.
The partially assembled Little Boy gun-type fission weapon L-11, weighing , was contained inside a wooden crate that was secured to the deck of the . Unlike the six uranium-235 target discs, which were later flown to Tinian on three separate aircraft arriving 28 and 29 July, the assembled projectile with the nine uranium-235 rings installed was shipped in a single lead-lined steel container weighing that was locked to brackets welded to the deck of Captain Charles B. McVay III's quarters. Both the L-11 and projectile were dropped off at Tinian on 26 July 1945.
Hiroshima mission.
On 5 August 1945, during preparation for the first atomic mission, Tibbets assumed command of the aircraft and named it after his mother, Enola Gay Tibbets, who, in turn, had been named for the heroine of a novel. When it came to selecting a name for the plane, Tibbets later recalled that: <templatestyles src="Template:Blockquote/styles.css" />... my thoughts turned at this point to my courageous red-haired mother, whose quiet confidence had been a source of strength to me since boyhood, and particularly during the soul-searching period when I decided to give up a medical career to become a military pilot. At a time when Dad had thought I had lost my marbles, she had taken my side and said, "I know you will be all right, son."
In the early morning hours, just prior to the 6 August mission, Tibbets had a young Army Air Forces maintenance man, Private Nelson Miller, paint the name just under the pilot's window. Regularly assigned aircraft commander Robert A. Lewis was unhappy to be displaced by Tibbets for this important mission and became furious when he arrived at the aircraft on the morning of 6 August to see it painted with the now-famous nose art.
Hiroshima was the primary target of the first nuclear bombing mission on 6 August, with Kokura and Nagasaki as alternative targets. "Enola Gay", piloted by Tibbets, took off from North Field, in the Northern Mariana Islands, about six hours' flight time from Japan, accompanied by two other B-29s, "The Great Artiste", carrying instrumentation, and a then-nameless aircraft later called "Necessary Evil", commanded by Captain George Marquardt, to take photographs. The director of the Manhattan Project, Major General Leslie R. Groves Jr., wanted the event recorded for posterity, so the takeoff was illuminated by floodlights. When he wanted to taxi, Tibbets leaned out the window to direct the bystanders out of the way. On request, he gave a friendly wave for the cameras.
After leaving Tinian, the three aircraft made their way separately to Iwo Jima, where they rendezvoused at and set course for Japan. The aircraft arrived over the target in clear visibility at . Navy Captain William S. "Deak" Parsons of Project Alberta, who was in command of the mission, armed the bomb during the flight to minimize the risks during takeoff. His assistant, Second Lieutenant Morris R. Jeppson, removed the safety devices 30 minutes before reaching the target area.
The release at 08:15 (Hiroshima time) went as planned, and the Little Boy took 53 seconds to fall from the aircraft flying at to the predetermined detonation height about above the city. "Enola Gay" traveled before it felt the shock waves from the blast. Although buffeted by the shock, neither "Enola Gay" nor "The Great Artiste" was damaged.
The detonation created a blast equivalent to . The U-235 weapon was considered very inefficient, with only 1.7% of its fissile material reacting. The radius of total destruction was about , with resulting fires across . Americans estimated that of the city were destroyed. Japanese officials determined that 69% of Hiroshima's buildings were destroyed and another 6–7% damaged. Some 70,000–80,000 people, 30% of the city's population, were killed by the blast and resultant firestorm, and another 70,000 injured. Out of those killed, 20,000 were soldiers and 20,000 were Korean slave laborers.
"Enola Gay" returned safely to its base on Tinian to great fanfare, touching down at 2:58 pm, after 12 hours 13 minutes. "The Great Artiste" and "Necessary Evil" followed at short intervals. Several hundred people, including journalists and photographers, had gathered to watch the planes return. Tibbets was the first to disembark and was presented with the Distinguished Service Cross on the spot.
Nagasaki mission.
The Hiroshima mission was followed by another atomic strike. Originally scheduled for 11 August, it was brought forward by two days to 9 August owing to a forecast of bad weather. This time, a nuclear bomb code-named "Fat Man" was carried by B-29 "Bockscar", piloted by Major Charles W. Sweeney. "Enola Gay", flown by Captain George Marquardt's Crew B-10, was the weather reconnaissance aircraft for Kokura, the primary target. "Enola Gay" reported clear skies over Kokura, but by the time "Bockscar" arrived, the city was obscured by smoke from fires from the conventional bombing of Yahata by 224 B-29s the day before. After three unsuccessful passes, "Bockscar" diverted to its secondary target, Nagasaki, where it dropped its bomb. In contrast to the Hiroshima mission, the Nagasaki mission has been described as tactically botched, although the mission did meet its objectives. The crew encountered a number of problems in execution and had very little fuel by the time they landed at the emergency backup landing site Yontan Airfield on Okinawa.
Crews.
Hiroshima mission.
"Enola Gay"'s crew on 6 August 1945 consisted of 12 men. The crew was:
Asterisks denote regular crewmen of the "Enola Gay".
Of mission commander Parsons, it was said: "There is no one more responsible for getting this bomb out of the laboratory and into some form useful for combat operations than Captain Parsons, by his plain genius in the ordnance business."
Nagasaki mission.
For the Nagasaki mission, "Enola Gay" was flown by Crew B-10, normally assigned to "Up An' Atom":
Source: Campbell, 2005, pp. 134, 191–192.
Subsequent history.
On 6 November 1945, Lewis flew the "Enola Gay" back to the United States, arriving at the 509th's new base at Roswell Army Air Field, New Mexico, on 8 November. On 29 April 1946, "Enola Gay" left Roswell as part of the Operation Crossroads nuclear weapons tests in the Pacific. It flew to Kwajalein Atoll on 1 May. It was not chosen to make the test drop at Bikini Atoll and left Kwajalein on 1 July, the date of the test, reaching Fairfield-Suisun Army Air Field, California, the next day.
The decision was made to preserve the "Enola Gay", and on 24 July 1946, the aircraft was flown to Davis–Monthan Air Force Base, Tucson, Arizona, in preparation for storage. On 30 August 1946, the title to the aircraft was transferred to the Smithsonian Institution and the "Enola Gay" was removed from the USAAF inventory. From 1946 to 1961, the "Enola Gay" was put into temporary storage at a number of locations. It was at Davis-Monthan from 1 September 1946 until 3 July 1949, when it was flown to Orchard Place Air Field, Park Ridge, Illinois, by Tibbets for acceptance by the Smithsonian. It was moved to Pyote Air Force Base, Texas, on 12 January 1952, and then to Andrews Air Force Base, Maryland, on 2 December 1953, because the Smithsonian had no storage space for the aircraft.
It was hoped that the Air Force would guard the plane, but, lacking hangar space, it was left outdoors on a remote part of the air base, exposed to the elements. Souvenir hunters broke in and removed parts. Insects and birds then gained access to the aircraft. Paul E. Garber of the Smithsonian Institution became concerned about the "Enola Gay"'s condition, and on 10 August 1960, Smithsonian staff began dismantling the aircraft. The components were transported to the Smithsonian storage facility at Suitland, Maryland, on 21 July 1961.
The "Enola Gay" remained at Suitland for many years. By the early 1980s, two veterans of the 509th, Don Rehl and his former navigator in the 509th, Frank B. Stewart, began lobbying for the aircraft to be restored and put on display. They enlisted Tibbets and Senator Barry Goldwater in their campaign. In 1983, Walter J. Boyne, a former B-52 pilot with the Strategic Air Command, became director of the National Air and Space Museum, and he made the "Enola Gay"'s restoration a priority. Looking at the aircraft, Tibbets recalled, was a "sad meeting. [My] fond memories, and I don't mean the dropping of the bomb, were the numerous occasions I flew the airplane ... I pushed it very, very hard and it never failed me ... It was probably the most beautiful piece of machinery that any pilot ever flew."
Restoration.
Restoration of the bomber began on 5 December 1984, at the Paul E. Garber Preservation, Restoration, and Storage Facility in Suitland-Silver Hill, Maryland. The propellers that were used on the bombing mission were later shipped to Texas A&M University. One of these propellers was trimmed to for use in the university's Oran W. Nicks Low Speed Wind Tunnel. The lightweight aluminum variable-pitch propeller is powered by a 1,250 kVA electric motor, providing a wind speed up to . Two engines were rebuilt at Garber and two at San Diego Air & Space Museum. Some parts and instruments had been removed and could not be located. Replacements were found or fabricated, and marked so that future curators could distinguish them from the original components.
Exhibition controversy.
The "Enola Gay" became the center of a controversy at the Smithsonian Institution when the museum planned to put its fuselage on public display in 1995 as part of an exhibit commemorating the 50th anniversary of the atomic bombing of Hiroshima. The exhibit, "The Crossroads: The End of World War II, the Atomic Bomb and the Cold War," was drafted by the Smithsonian's National Air and Space Museum staff, and arranged around the restored "Enola Gay".
Critics of the planned exhibit, especially those of the American Legion and the Air Force Association, charged that the exhibit focused too much attention on the Japanese casualties inflicted by the nuclear bomb, rather than on the motives for the bombing or the discussion of the bomb's role in ending the conflict with Japan. The exhibit brought to national attention many long-standing academic and political issues related to retrospective views of the bombings. After attempts to revise the exhibit to meet the satisfaction of competing interest groups, the exhibit was canceled on 30 January 1995. Martin O. Harwit, Director of the National Air and Space Museum, was compelled to resign over the controversy. He later reflected that
<templatestyles src="Template:Blockquote/styles.css" />The dispute was not simply about the atomic bomb. Rather, the dispute was sometimes a symbolic issue in a "culture war" in which many Americans lumped together the seeming decline of American power, the difficulties of the domestic economy, the threats in world trade and especially Japan's successes, the loss of domestic jobs, and even changes in American gender roles and shifts in the American family. To a number of Americans, the very people responsible for the script were the people who were changing America. The bomb, representing the end of World War II and suggesting the height of American power was to be celebrated. It was, in this judgment, a crucial symbol of America's "good war", one fought justly for noble purposes at a time when America was united. Those who in any way questioned the bomb's use were, in this emotional framework, the enemies of America.
The forward fuselage went on display on 28 June 1995. On 2 July 1995, three people were arrested for throwing ash and human blood on the aircraft's fuselage, following an earlier incident in which a protester had thrown red paint over the gallery's carpeting. The exhibition closed on 18 May 1998 and the fuselage was returned to the Garber Facility for final restoration.
Complete restoration and display.
Its restoration work began in 1984, and eventually required 300,000 staff hours. While the fuselage was on display, from 1995 to 1998, work continued on the remaining unrestored components. The aircraft was shipped in pieces to the National Air and Space Museum's Steven F. Udvar-Hazy Center in Chantilly, Virginia from March–June 2003, with the fuselage and wings reunited for the first time since 1960 on 10 April 2003 and assembly completed on 8 August 2003. The aircraft has been on display at the Udvar-Hazy Center since the museum annex opened on 15 December 2003. As a result of the earlier controversy, the signage around the aircraft provided only the same succinct technical data as is provided for other aircraft in the museum, without discussion of the controversial issues. It read:<templatestyles src="Template:Blockquote/styles.css" />
Boeing's B-29 Superfortress was the most sophisticated propeller-driven bomber of World War II, and the first bomber to house its crew in pressurized compartments. Although designed to fight in the European theater, the B-29 found its niche on the other side of the globe. In the Pacific, B-29s delivered a variety of aerial weapons: conventional bombs, incendiary bombs, mines, and two nuclear weapons.
On 6 August 1945, this Martin-built B-29-45-MO dropped the first atomic weapon used in combat on Hiroshima, Japan. Three days later, Bockscar (on display at the U.S. Air Force Museum near Dayton, Ohio) dropped a second atomic bomb on Nagasaki, Japan. "Enola Gay" flew as the advance weather reconnaissance aircraft that day. A third B-29, "The Great Artiste", flew as an observation aircraft on both missions.
<templatestyles src="Template:Blockquote/styles.css" />"Transferred from the U.S. Air Force"
Wingspan:
Length:
Height:
Weight, empty:
Weight, gross:
Top speed:
Engines: 4 Wright R-3350-57 Cyclone turbo-supercharged radials, 2,200 hp
Crew: 12 (Hiroshima mission)
Armament: two .50 caliber machine guns
Ordnance: Little Boy atomic bomb
Manufacturer: Martin Co., Omaha, Nebraska, 1945
A19500100000
The display of the "Enola Gay" without reference to the historical context of World War II, the Cold War, or the development and deployment of nuclear weapons aroused controversy. A petition from a group calling themselves the Committee for a National Discussion of Nuclear History and Current Policy bemoaned the display of "Enola Gay" as a technological achievement, which it described as an "extraordinary callousness toward the victims, indifference to the deep divisions among American citizens about the propriety of these actions, and disregard for the feelings of most of the world's peoples". It attracted signatures from notable figures including historian Gar Alperovitz, social critic Noam Chomsky, whistle blower Daniel Ellsberg, physicist Joseph Rotblat, writer Kurt Vonnegut, producer Norman Lear, actor Martin Sheen and filmmaker Oliver Stone.
References.
Notes.
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Citations.
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Bibliography.
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Further reading.
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Little Boy
Atomic bomb dropped on Hiroshima
Little Boy was a type of atomic bomb created by the United States as part of the Manhattan Project during World War II. The name is also often used to describe the specific bomb (L-11) used in the bombing of the Japanese city of Hiroshima by the Boeing B-29 Superfortress "Enola Gay" on 6 August 1945, making it the first nuclear weapon used in warfare, and the second nuclear explosion in history, after the Trinity nuclear test. It exploded with an energy of approximately and had an explosion radius of approximately which caused widespread death across the city. It was a gun-type fission weapon which used uranium that had been enriched in the isotope uranium-235 to power its explosive reaction.
Little Boy was developed by Lieutenant Commander Francis Birch's group at the Los Alamos Laboratory. It was the successor to a plutonium-fueled gun-type fission design, Thin Man, which was abandoned in 1944 after technical difficulties were discovered. Little Boy used a charge of nitrocellulose to fire a hollow cylinder (the "bullet") of highly enriched uranium through an artillery gun barrel into a solid cylinder (the "target") of the same material. The design was highly inefficient: the weapon used on Hiroshima contained of uranium, but less than a kilogram underwent nuclear fission. Unlike the implosion design developed for the Trinity test and the Fat Man bomb design that was used against Nagasaki, which required sophisticated coordination of shaped explosive charges, the simpler but inefficient gun-type design was considered almost certain to work, and was never tested prior to its use at Hiroshima.
After the war, numerous components for additional Little Boy bombs were built. By 1950, at least five weapons were completed; all were retired by November 1950.
Naming the bomb.
There are two primary accounts of how the first atomic bombs got their names. Los Alamos Laboratory and Project Alberta physicist Robert Serber stated, many decades after the fact, that he had named the first two atomic bomb designs during World War II based on their shapes: Thin Man and Fat Man. The "Thin Man" was a long, thin device, and its name came from the Dashiell Hammett detective novel and series of movies about "The Thin Man". The "Fat Man" was round and fat so it was named after Kasper Gutman, a rotund character in Hammett's 1930 novel "The Maltese Falcon", played by Sydney Greenstreet in the 1941 film version. Little Boy was named by others as an allusion to Thin Man since it was based on its design. It was also sometimes referred to as the "Mark I" nuclear bomb design, with "Mark II" referring to the abandoned Thin Man, and "Mark III" to the "Fat Man."
In September 1945, another Project Alberta physicist, Norman F. Ramsey, stated in his brief "History of Project A," that the early bomb ballistic test shapes designs were referred to as "Thin Man" and "Fat Man" by (unspecified) "Air Force representatives" for "security reasons," so that their communications over telephones sounded "as if they were modifying a plane to carry Roosevelt (the Thin Man) and Churchill (the Fat Man)," as opposed to modifying the B-29s to carry the two atomic bomb shapes as part of Project Silverplate in late 1943.
Another explanation of the names, from a classified United States Air Force history of Project Silverplate from the 1950s, implies a possible reconciliation of the two versions: that the terms "Thin Man" and "Fat Man" were first developed by someone at or from Los Alamos (i.e., Serber), but were consciously adopted by the officers in Silverplate when they were adopting their own codenames for their own project (including "Silverplate"). As Silverplate involved modifying B-29s for a secret purpose, deliberately using codenames that would align with modifying vehicles for Roosevelt and Churchill would serve their needs well.
Development.
Early gun-type design work.
Because of its perceived simplicity, the gun-type nuclear weapon design was the first approach pursued by the scientists working on bomb design during the Manhattan Project. In 1942, it was not yet known which of the two fissile materials pathways being simultaneously pursued—uranium-235 or plutonium-239—would be successful, or if there were significant differences between the two fuels that would impact the design work. Coordination with British scientists in May 1942 convinced the American scientists, led by J. Robert Oppenheimer, that the atomic bomb would not be difficult to design and that the difficulty would lie only in the production of fuel. Calculations in mid-1942 by theoretical physicists working on the project reinforced the idea that an ordinary artillery gun barrel would be able to impart sufficient velocity to the fissile material projectile.
Several different weapon designs, including autocatalytic assembly, a nascent version of implosion, and alternative gun designs (e.g., using high explosives as a propellent, or creating a "double gun" with two projectiles) were pursued in the early years of the project, while the facilities to manufacture fissile material were being constructed. The belief that the gun design would be an easy engineering task once fuel was available led to a sense of optimism at Los Alamos, although Oppenheimer established a small research group to study implosion as a fallback in early 1943. A full ordnance program for gun-design development was established by March 1943, with expertise provided by E.L. Rose, an experienced gun designer and engineer. Work was begun to study the properties of barrels, internal and external ballistics, and tampers of gun weapons. Oppenheimer led aspects of the effort, telling Rose that "at the present time [May 1945] our estimates are so ill founded that I think it better for me to take responsibility for putting them forward." He soon delegated the work to Naval Captain William Sterling Parsons, who, along with Ed McMillan, Charles Critchfield, and Joseph Hirschfelder would be responsible for rendering the theory into practice.
Concern that impurities in reactor-bred plutonium would make predetonation more likely meant that much of the gun-design work was focused on the plutonium gun. To achieve high projectile velocities, the plutonium gun was long with a narrow diameter (suggesting its codename as the Thin Man) which created considerable difficulty in its ballistics dropping from aircraft and fitting it into the bomb bay of a B-29.
In early 1944, Emilio G. Segrè and his P-5 Group at Los Alamos received the first samples of plutonium produced from a nuclear reactor, the X-10 Graphite Reactor at Clinton Engineer Works in Oak Ridge, Tennessee. Analyzing it, they discovered that the presence of the isotope plutonium-240 (Pu-240) raised the rate of spontaneous fission of the plutonium to an unacceptable amount. Previous analyses of plutonium had been made from samples created by cyclotrons and did not have as much of the contaminating isotope. If reactor-bred plutonium was used in a gun-type design, they concluded, it would predetonate, causing the weapon to destroy itself before achieving the conditions for a large-scale explosion.
From Thin Man to Little Boy.
As a consequence of the discovery of the Pu-240 contamination problem, in July 1944 almost all research at Los Alamos was redirected to the implosion-type plutonium weapon, and the laboratory was entirely reorganized around the implosion problem. Work on the gun-type weapon continued under Person's Ordnance (O) Division, for use exclusively with highly enriched uranium as a fuel. All the design, development, and technical work at Los Alamos was consolidated under Lieutenant Commander Francis Birch's group.
In contrast to the plutonium implosion-type nuclear weapon and the plutonium gun-type fission weapon, the uranium gun-type weapon was much simpler to design. As a high-velocity gun was no longer required, the overall length of the gun barrel could be dramatically decreased, and this allowed the weapon to fit into a B-29 bomb bay without difficulty. Though not an optimal use of fissile material compared to the implosion design, it was seen as a nearly guaranteed weapon.
The design specifications were completed in February 1945, and contracts were let to build the components. Three different plants were used so that no one would have a copy of the complete design. The gun and breech were made by the Naval Gun Factory in Washington, D.C.; the target case and some other components by the Naval Ordnance Plant in Center Line, Michigan; and the tail fairing and mounting brackets by the Expert Tool and Die Company in Detroit, Michigan. The bomb, except for the uranium payload, was ready at the beginning of May 1945. Manhattan District Engineer Kenneth Nichols expected on 1 May 1945 to have enriched uranium "for one weapon before August 1 and a second one sometime in December", assuming the second weapon would be a gun type; designing an implosion bomb for enriched uranium was considered, and this would increase the production rate. The enriched uranium projectile was completed on 15 June, and the target was completed on 24 July. The target and bomb pre-assemblies (partly assembled bombs without the fissile components) left Hunters Point Naval Shipyard, California, on 16 July aboard the heavy cruiser , arriving on 26 July. The target inserts followed by air on 30 July.
Although all of its components had been individually tested, no full test of a gun-type nuclear weapon occurred before the Little Boy was dropped over Hiroshima. The only test explosion of a nuclear weapon concept had been of an implosion-type device employing plutonium as its fissile material, which took place on 16 July 1945 at the Trinity nuclear test. There were several reasons for not testing a Little Boy type of device. Primarily, there was the issue of fissile material availability. K-25 at Clinton Engineer Works was designed to produce around 30 kilograms of enriched uranium per month, and the Little Boy design used over 60 kilograms per bomb. So testing the weapon would incur a considerable delay in use of the weapon. (By comparison, B Reactor at the Hanford Site was designed to produce around 20 kilograms of plutonium per month, and each Fat Man bomb used around 6 kilograms of material.) Because of the simplicity of the gun-type design, laboratory testing could establish that its parts worked correctly on their own: for example, dummy projectiles could be shot down the gun barrel to make sure they were "seated" correctly onto a dummy target. Absence of a full-scale test in the implosion-type design made it much more difficult to establish whether the necessary simultaneity of compression had been achieved. While there was at least one prominent scientist (Ernest O. Lawrence) who advocated for a full-scale test, by early 1945 Little Boy was regarded as nearly a sure thing and was expected to have a higher yield than the first-generation implosion bombs.
Though Little Boy incorporated various safety mechanisms, an accidental detonation of a fully-assembled weapon was very possible. Should the bomber carrying the device crash, the hollow "bullet" could be driven into the "target" cylinder, possibly detonating the bomb from gravity alone (though tests suggested this was unlikely), but easily creating a critical mass that would release dangerous amounts of radiation. A crash of the B-29 and subsequent fire could trigger the explosives, causing the weapon to detonate. If immersed in water, the uranium components were subject to a neutron moderator effect, which would not cause an explosion but would release radioactive contamination. For this reason, pilots were advised to crash on land rather than at sea. Ultimately, Parsons opted to keep the explosives out of the Little Boy bomb until after the B-29 had taken off, to avoid the risk of a crash that could destroy or damage the military base from which the weapon was launched.
Design.
The Little Boy was in length, in diameter and weighed approximately . The design used the gun method to explosively force a hollow sub-critical mass of enriched uranium and a solid target cylinder together into a super-critical mass, initiating a nuclear chain reaction. This was accomplished by shooting one piece of the uranium onto the other by means of four cylindrical silk bags of cordite powder. This was a widely used smokeless propellant consisting of a mixture of 65 percent nitrocellulose, 30 percent nitroglycerine, 3 percent petroleum jelly, and 2 percent carbamite that was extruded into tubular granules. This gave it a high surface area and a rapid burning area, and could attain pressures of up to . Cordite for the wartime Little Boy was sourced from Canada; propellant for post-war Little Boys was obtained from the Picatinny Arsenal. The bomb contained of enriched uranium. Most was enriched to 89% but some was only 50% uranium-235, for an average enrichment of 80%. Less than a kilogram of uranium underwent nuclear fission, and of this mass only was transformed into several forms of energy, mostly kinetic energy, but also heat and radiation.
Assembly details.
Inside the weapon, the uranium-235 material was divided into two parts, following the gun principle: the "projectile" and the "target". The projectile was a hollow cylinder with 60% of the total mass (). It consisted of a stack of nine uranium rings, each in diameter with a bore in the center, and a total length of , pressed together into the front end of a thin-walled projectile long. Filling in the remainder of the space behind these rings in the projectile was a tungsten carbide disc with a steel back. At ignition, the projectile slug was pushed along the , smooth-bore gun barrel. The slug "insert" was a 4-inch cylinder, 7 inches in length with a axial hole. The slug comprised 40% of the total fissile mass (). The insert was a stack of six washer-like uranium discs somewhat thicker than the projectile rings that were slid over a 1-inch rod. This rod then extended forward through the tungsten carbide plug, impact-absorbing anvil, and nose plug backstop, eventually protruding out of the front of the bomb casing. This entire target assembly was secured at both ends with locknuts.
When the hollow-front projectile reached the target and slid over the target insert, the assembled super-critical mass of uranium would be completely surrounded by a tamper and neutron reflector of tungsten carbide and steel, both materials having a combined mass of . Neutron initiators inside the assembly were activated by the impact of the projectile into the target.
Counter-intuitive design.
The material was split almost in half, with at one end a group of rings of highly enriched uranium with 40% of the supercritical mass, and at the other end another group of slightly larger rings with 60% of the supercritical mass, which was fired onto the smaller group, with four polonium-beryllium neutron initiators to make the supercritical mass explode.
A hole in the center of the larger piece dispersed the mass and increased the surface area, allowing more fission neutrons to escape, thus preventing a premature chain reaction. But, for this larger, hollow piece to have minimal contact with the tungsten carbide tamper, it must be the projectile, since only the projectile's back end was in contact with the tamper prior to detonation. The rest of the tungsten carbide tamper surrounded the sub-critical mass target cylinder (called the "insert" by the designers) with air space between it and the insert. This arrangement packs the maximum amount of fissile material into a gun-assembly design.
For the first fifty years after 1945, every published description and drawing of the Little Boy mechanism assumed that a small, solid projectile was fired into the center of a larger, stationary target. However, critical mass considerations dictated that in Little Boy the more extensive, hollow piece would be the projectile. Hollow cylinders have higher critical masses than solid pieces of fissile material, because any neutrons encountered by or generated by the material are more likely to get scattered in the air than to continue a chain reaction. The larger piece would also avoid the effects of neutron reflection from the tungsten carbide tamper until it was fully joined with the rest of the fuel. Once joined and with its neutrons reflected, the assembled fissile core would comprise more than two critical masses of uranium-235. In 2004, John Coster-Mullen, a truck driver and model maker from Illinois who had studied every photograph and document on the Hiroshima bomb to make an accurate model, corrected earlier published accounts.
Fuze system.
The fuzing system was designed to trigger at the most destructive altitude, which calculations suggested was . It employed a three-stage interlock system:
Rehearsals.
The Little Boy pre-assemblies were designated L-1, L-2, L-3, L-4, L-5, L-6, L-7, and L-11. Of these, L-1, L-2, L-5, and L-6 were expended in test drops. The first drop test was conducted with L-1 on 23 July 1945. It was dropped over the sea near Tinian in order to test the radar altimeter by the B-29 later known as "Big Stink", piloted by Colonel Paul W. Tibbets, the commander of the 509th Composite Group. Two more drop tests over the sea were made on 24 and 25 July, using the L-2 and L-5 units in order to test all components. Tibbets was the pilot for both missions, but this time the bomber used was the one subsequently known as "Jabit". L-6 was used as a dress rehearsal on 29 July. The B-29 "Next Objective", piloted by Major Charles W. Sweeney, flew to Iwo Jima, where emergency procedures for loading the bomb onto a standby aircraft were practiced. This rehearsal was repeated on 31 July, but this time L-6 was reloaded onto a different B-29, "Enola Gay", piloted by Tibbets, and the bomb was test dropped near Tinian. L-11 was the assembly used for the Hiroshima bomb, and was fully assembled with its nuclear fuel by 31 July.
Bombing of Hiroshima.
Parsons, the "Enola Gay"'s weaponeer, was concerned about the possibility of an accidental detonation if the plane crashed on takeoff, so he decided not to load the four cordite powder bags into the gun breech until the aircraft was in flight. After takeoff, Parsons and his assistant, Second Lieutenant Morris R. Jeppson, made their way into the bomb bay along the narrow catwalk on the port side. Jeppson held a flashlight while Parsons disconnected the primer wires, removed the breech plug, inserted the powder bags, replaced the breech plug, and reconnected the wires. Before climbing to altitude on approach to the target, Jeppson switched the three safety plugs between the electrical connectors of the internal battery and the firing mechanism from green to red. The bomb was then fully armed. Jeppson monitored the bomb's circuits.
The bomb was dropped at approximately 08:15 (JST) on 6 August 1945. After falling for 44.4 seconds, the time and barometric triggers started the firing mechanism. The detonation happened at an altitude of . It was less powerful than the Fat Man, which was dropped on Nagasaki, but the damage and the number of victims at Hiroshima were much higher, as Hiroshima was on flat terrain, while the hypocenter of Nagasaki lay in a small valley. According to figures published in 1945, 66,000 people were killed as a direct result of the Hiroshima blast, and 69,000 were injured to varying degrees. Later estimates put the deaths as high as 140,000 people. The United States Strategic Bombing Survey estimated that out of 24,158 Imperial Japanese Army soldiers in Hiroshima at the time of the bombing, 6,789 were killed or missing as a result of the bombing.
The exact measurement of the explosive yield of the bomb was problematic since the weapon had never been tested. President Harry S. Truman officially announced that the yield was . This was based on Parsons's visual assessment that the blast was greater than what he had seen at the Trinity nuclear test. Since that had been estimated at , speech writers rounded up to 20 kilotons. Further discussion was then suppressed, for fear of lessening the impact of the bomb on the Japanese. Data had been collected by Luis Alvarez, Harold Agnew, and Lawrence H. Johnston on the instrument plane, "The Great Artiste", but this was not used to calculate the yield at the time. More rigorous estimates of the bomb yield and conventional bomb equivalent were made when more data was acquired following the end of the war. A 1985 study estimated the bomb's yield was around .
Physical effects.
After being selected in April 1945, Hiroshima was spared conventional bombing to serve as a pristine target, where the effects of a nuclear bomb on an undamaged city could be observed. While damage could be studied later, the energy yield of the untested Little Boy design could be determined only at the moment of detonation, using instruments dropped by parachute from a plane flying in formation with the one that dropped the bomb. Radio-transmitted data from these instruments indicated a yield of about 15 kilotons.
Comparing this yield to the observed damage produced a rule of thumb called the lethal area rule. Approximately all the people inside the area where the shock wave carried such an overpressure or greater would be killed. At Hiroshima, that area was in diameter.
The damage came from three main effects: blast, fire, and radiation.
Blast.
The blast from a nuclear bomb is the result of X-ray-heated air (the fireball) sending a shock wave or pressure wave in all directions, initially at a velocity greater than the speed of sound, analogous to thunder generated by lightning. Knowledge about urban blast destruction is based largely on studies of Little Boy at Hiroshima. Nagasaki buildings suffered similar damage at similar distances, but the Nagasaki bomb detonated from the city center over hilly terrain that was partially bare of buildings.
In Hiroshima, almost everything within of the point directly under the explosion was completely destroyed, except for about 50 heavily reinforced, earthquake-resistant concrete buildings, only the shells of which remained standing. Most were completely gutted, with their windows, doors, sashes, and frames ripped out. The perimeter of severe blast damage approximately followed the contour at .
Later test explosions of nuclear weapons with houses and other test structures nearby confirmed the 5 psi overpressure threshold. Ordinary urban buildings experiencing it were crushed, toppled, or gutted by the force of air pressure. The picture at right shows the effects of a nuclear bomb-generated 5 psi pressure wave on a test structure in Nevada in 1953.
A major effect of this kind of structural damage was that it created fuel for fires that were started simultaneously throughout the severe destruction region.
Fire.
The first effect of the explosion was blinding light, accompanied by radiant heat from the fireball. The Hiroshima fireball was in diameter, with a surface temperature of , about the same temperature as at the surface of the sun. Near ground zero, everything flammable burst into flame. One famous, anonymous Hiroshima victim, sitting on stone steps from the hypocenter, left a permanent shadow, having absorbed the fireball heat that permanently bleached the surrounding stone. Simultaneous fires were started throughout the blast-damaged area by fireball heat and by overturned stoves and furnaces, electrical shorts, etc. Twenty minutes after the detonation, these fires had merged into a firestorm, pulling in surface air from all directions to feed an inferno which consumed everything flammable.
The Hiroshima firestorm was roughly in diameter, corresponding closely to the severe blast-damage zone. (See the USSBS map, right.) Blast-damaged buildings provided fuel for the fire. Structural lumber and furniture were splintered and scattered about. Debris-choked roads obstructed firefighters. Broken gas pipes fueled the fire, and broken water pipes rendered hydrants useless. At Nagasaki, the fires failed to merge into a single firestorm, and the fire-damaged area was only one-quarter as great as at Hiroshima, due in part to a southwest wind that pushed the fires away from the city.
As the map shows, the Hiroshima firestorm jumped natural firebreaks (river channels), as well as prepared firebreaks. The spread of fire stopped only when it reached the edge of the blast-damaged area, encountering less available fuel. The Manhattan Project report on Hiroshima estimated that 60% of immediate deaths were caused by fire, but with the caveat that "many persons near the center of explosion suffered fatal injuries from more than one of the bomb effects."
Radiation.
Local fallout is dust and ash from a bomb crater, contaminated with radioactive fission products. It falls to earth downwind of the crater and can produce, with radiation alone, a lethal area much larger than that from blast and fire. With an air burst, the fission products rise into the stratosphere, where they dissipate and become part of the global environment. Because Little Boy was an air burst above the ground, there was no bomb crater and no local radioactive fallout.
However, a burst of intense neutron and gamma radiation came directly from the fission of the uranium. Its lethal radius was approximately , covering about half of the firestorm area. An estimated 30% of immediate fatalities were people who received lethal doses of this direct radiation, but died in the firestorm before their radiation injuries would have become apparent. Over 6,000 people survived the blast and fire, but died of radiation injuries. Among injured survivors, 30% had radiation injuries from which they recovered, but with a lifelong increase in cancer risk. To date, no radiation-related evidence of heritable diseases has been observed among the survivors' children.
After the surrender of Japan was finalized, Manhattan Project scientists began to immediately survey the city of Hiroshima to better understand the damage, and to communicate with Japanese physicians about radiation effects in particular. The collaboration became the Atomic Bomb Casualty Commission in 1946, a joint U.S.–Japanese project to track radiation injuries among survivors. In 1975 its work was superseded by the Radiation Effects Research Foundation.
In 1962, scientists at Los Alamos created a mockup of Little Boy known as "Project Ichiban" in order to answer some of the unanswered questions about the exact radiation output of the bomb, which would be useful for setting benchmarks for interpreting the relationship between radiation exposure and later health outcomes. But it failed to clear up all the issues. In 1982, Los Alamos created a replica Little Boy from the original drawings and specifications. This was then tested with enriched uranium but in a safe configuration that would not cause a nuclear explosion. A hydraulic lift was used to move the projectile, and experiments were run to assess neutron emission.
Conventional weapon equivalent.
After hostilities ended, a survey team from the Manhattan Project that included William Penney, Robert Serber, and George T. Reynolds was sent to Hiroshima to evaluate the effects of the blast. From evaluating the effects on objects and structures, Penney concluded that the yield was 12 ± 1 kilotons. Later calculations based on charring pointed to a yield of 13 to 14 kilotons. In 1953, Frederick Reines calculated the yield as . Based on the Project Ichiban data, and the pressure-wave data from "The Great Artiste", the yield was estimated in the 1960s at 16.6 ± 0.3 kilotons. A review conducted by a scientist at Los Alamos in 1985 concluded, on the basis of existing blast, thermal, and radiological data, and then-current models of weapons effects, that the best estimate of the yield was with an uncertainty of 20% (±3 kt). By comparison, the best value for the Nagasaki bomb was evaluated as with an uncertainty of 10% (±2 kt), the difference in uncertainty owing to having better data on the latter.
To put these numerical differences into context, it is necessary to know that the acute effects of nuclear detonations, especially the blast and thermal effects, do not scale linearly, but generally as a cubic root. Specifically, the distance of these effects scale as a function of the yield raised to an exponential power of <templatestyles src="Fraction/styles.css" />1⁄3. So the range of the overpressure damage expected from a detonated 12 kiloton weapon with a height of burst at would be expected to be , whereas a 20 kiloton weapon would have the same range extend to , a difference of only . The areas affected for each would be and , respectively. As such, the practical differences in effects at these yield ranges are smaller than may at first appear, if one assumes that there is a linear relationship between yield and damage.
Although Little Boy exploded with the energy equivalent of around 15 kilotons of TNT, in 1946 the Strategic Bombing Survey estimated that the same blast and fire effect could have been caused by 2.1 kilotons of conventional bombs distributed evenly over the same target area: "220 B-29s carrying 1.2 kilotons of incendiary bombs, 400 tons of high-explosive bombs, and 500 tons of anti-personnel fragmentation bombs." Since the target was spread across a two-dimensional plane, the vertical component of a single spherical nuclear explosion was largely wasted. A cluster bomb pattern of smaller explosions would have been a more energy-efficient match to the target.
Post-WWII.
When the war ended, it was not expected that the inefficient Little Boy design would ever again be required, and many plans and diagrams were destroyed. However, by mid-1946 the Hanford Site reactors were suffering badly from the Wigner effect. Faced with the prospect of no more plutonium for new cores and no more polonium for the initiators for the cores that had already been produced, the Director of the Manhattan Project, Major General Leslie R. Groves, ordered that some Little Boys be prepared as an interim measure until a solution could be found. No Little Boy assemblies were available, and no comprehensive set of diagrams of the Little Boy could be found, although there were drawings of the various components, and stocks of spare parts.
At Sandia Base, three Army officers, Captains Albert Bethel, Richard Meyer, and Bobbie Griffin attempted to re-create the Little Boy. They were supervised by Harlow W. Russ, an expert on Little Boy who served with Project Alberta on Tinian, and was now leader of the Z-11 Group of the Los Alamos Laboratory's Z Division at Sandia. Gradually, they managed to locate the correct drawings and parts, and figured out how they went together. Eventually, they built six Little Boy assemblies. Although the casings, barrels, and components were tested, no enriched uranium was supplied for the bombs. By early 1947, the problem caused by the Wigner effect was on its way to solution, and the three officers were reassigned.
The Navy Bureau of Ordnance began in 1947 to produce 25 "revised" Little Boy mechanical assemblies for use by the nuclear-capable Lockheed P2V Neptune aircraft carrier aircraft (which could be launched from, but not land on, the "Midway"-class aircraft carriers). Components were produced by the Naval Ordnance Plants in Pocatello, Idaho, and Louisville, Kentucky. Enough fissionable material was available by 1948 to build ten projectiles and targets, although there were only enough initiators for six. However, no actual fissionable components were produced by the end of 1948, and only two outer casings were available. By the end of 1950, only five complete Little Boy assemblies had been built. All were retired by November 1950.
The Smithsonian Institution displayed a Little Boy (complete, except for enriched uranium), until 1986. The Department of Energy took the weapon from the museum to remove its inner components, so the bomb could not be stolen and detonated with fissile material. The government returned the emptied casing to the Smithsonian in 1993. Three other disarmed bombs are on display in the United States; another is at the Imperial War Museum in London.
Notes.
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References.
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Michelangelo
Italian artist and architect (1475–1564)
Michelangelo di Lodovico Buonarroti Simoni (6March 1475 – 18February 1564), known mononymously as Michelangelo, was an Italian sculptor, painter, architect, and poet of the High Renaissance. Born in the Republic of Florence, his work was inspired by models from classical antiquity and had a lasting influence on Western art. Michelangelo's creative abilities and mastery in a range of artistic arenas define him as an archetypal Renaissance man, along with his rival and elder contemporary, Leonardo da Vinci. Given the sheer volume of surviving correspondence, sketches, and reminiscences, Michelangelo is one of the best-documented artists of the 16th century. He was lauded by contemporary biographers as the most accomplished artist of his era.
Michelangelo achieved fame early. Two of his best-known works, the "Pietà" and "David", were sculpted before the age of 30. Although he did not consider himself a painter, Michelangelo created two of the most influential frescoes in the history of Western art: the scenes from Genesis on the ceiling of the Sistine Chapel in Rome, and "The Last Judgment" on its altar wall. His design of the Laurentian Library pioneered Mannerist architecture. At the age of 71, he succeeded Antonio da Sangallo the Younger as the architect of St. Peter's Basilica. Michelangelo transformed the plan so that the Western end was finished to his design, as was the dome, with some modification, after his death.
Michelangelo was the first Western artist whose biography was published while he was alive. Three biographies were published during his lifetime. One of them, by Giorgio Vasari, proposed that Michelangelo's work transcended that of any artist living or dead, and was "supreme in not one art alone but in all three".
In his lifetime, Michelangelo was often called ("the divine one"). His contemporaries admired his "terribilità"—his ability to instill a sense of awe in viewers of his art. Attempts by subsequent artists to imitate the expressive physicality of Michelangelo's style contributed to the rise of Mannerism, a short-lived movement in Western art between the High Renaissance and the Baroque.
Life.
Early life, 1475–1488.
Michelangelo di Lodovico Buonarroti Simoni was born on 6 March 1475 in Caprese, known today as Caprese Michelangelo, a small town situated in Valtiberina, near Arezzo, Tuscany. For several generations, his family had been small-scale bankers in Florence; but the bank failed, and his father Ludovico briefly took a government post in Caprese. At the time of Michelangelo's birth, his father was the town's judicial administrator and "podestà" (local administrator) of Chiusi della Verna. Michelangelo's mother was Francesca di Neri del Miniato di Siena. The Buonarrotis claimed to descend from the Countess Matilde di Canossa—a claim that remains unproven, but which Michelangelo believed.
Several months after Michelangelo's birth, the family returned to Florence, where he was raised. During his mother's later prolonged illness, and after her death in 1481 (when he was six years old), Michelangelo lived with a nanny and her husband, a stonecutter, in the town of Settignano, where his father owned a marble quarry and a small farm. There the young boy gained his love for marble. As his biographer Giorgio Vasari quotes him:
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Apprenticeships, 1488–1492.
As a young boy, Michelangelo was sent to the city of Florence to study grammar under the Humanist Francesco da Urbino. Michelangelo showed no interest in his schooling, preferring to copy paintings from churches and seek the company of other painters. Florence was at that time Italy's greatest centre of the arts and learning. Art was sponsored by the (the town council), the merchant guilds, and wealthy patrons such as the Medici and their banking associates. The Renaissance, a renewal of Classical scholarship and the arts, had its first flowering in Florence. In the early 15th century, the architect Filippo Brunelleschi, having studied the remains of Classical buildings in Rome, had created two churches, San Lorenzo's and Santo Spirito, which embodied the Classical precepts. The sculptor Lorenzo Ghiberti had laboured for 50 years to create the north and east bronze doors of the Baptistry, which Michelangelo was to describe as "The Gates of Paradise". The exterior niches of the Church of Orsanmichele contained a gallery of works by the most acclaimed sculptors of Florence: Donatello, Ghiberti, Andrea del Verrocchio, and Nanni di Banco. The interiors of the older churches were covered with frescos (mostly in Late Medieval, but also in the Early Renaissance style), begun by Giotto and continued by Masaccio in the Brancacci Chapel, both of whose works Michelangelo studied and copied in drawings.
During Michelangelo's childhood, a team of painters had been called from Florence to the Vatican to decorate the walls of the Sistine Chapel. Among them was Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing and portraiture who had the largest workshop in Florence. In 1488, at the age of 13, Michelangelo was apprenticed to Ghirlandaio. The next year, his father persuaded Ghirlandaio to pay Michelangelo as an artist, which was rare for someone that young. When in 1489, Lorenzo de' Medici, "de facto" ruler of Florence, asked Ghirlandaio for his two best pupils, Ghirlandaio sent Michelangelo and Francesco Granacci.
From 1490 to 1492, Michelangelo attended the Platonic Academy, a Humanist academy founded by the Medicis. There, his work and outlook were influenced by many of the most prominent philosophers and writers of the day, including Marsilio Ficino, Pico della Mirandola and Poliziano. At this time, Michelangelo sculpted the reliefs "Madonna of the Stairs" and "Battle of the Centaurs", the latter based on a theme suggested by Poliziano and commissioned by Lorenzo de' Medici. Michelangelo worked for a time with the sculptor Bertoldo di Giovanni. When he was 17, another pupil, Pietro Torrigiano, struck him on the nose, causing the disfigurement that is conspicuous in the portraits of Michelangelo.
Bologna, Florence, and Rome, 1492–1499.
Lorenzo de' Medici's death on 8 April 1492 changed Michelangelo's circumstances. He left the security of the Medici court and returned to his father's house. In the following months he carved a polychrome wooden "Crucifix" (1493), as a gift to the prior of the Florentine church of Santo Spirito, which had allowed him to do some anatomical studies of the corpses from the church's hospital. This was the first of several instances during his career that Michelangelo studied anatomy by dissecting cadavers.
Between 1493 and 1494, Michelangelo bought a block of marble, and carved a larger-than-life statue of Hercules. On 20 January 1494, after heavy snowfalls, Lorenzo's heir, Piero de Medici, commissioned a statue made of snow, and Michelangelo again entered the court of the Medici. In the same year, the Medici were expelled from Florence as the result of the rise of Savonarola. Michelangelo left the city before the end of the political upheaval, moving to Venice and then to Bologna. In Bologna, he was commissioned to carve several of the last small figures for the completion of the Shrine of St. Dominic, in the church dedicated to that saint. At this time Michelangelo studied the robust reliefs carved by Jacopo della Quercia around the main portal of the Basilica of St Petronius, including the panel of "The Creation of Eve", the composition of which was to reappear on the Sistine Chapel ceiling. Towards the end of 1495, the political situation in Florence was calmer; the city, previously under threat from the French, was no longer in danger as Charles VIII had suffered defeats. Michelangelo returned to Florence but received no commissions from the new city government under Savonarola. He returned to the employment of the Medici. During the half-year he spent in Florence, he worked on two small statues, a child "St. John the Baptist" and a sleeping "Cupid". According to Condivi, Lorenzo di Pierfrancesco de' Medici, for whom Michelangelo had sculpted "St. John the Baptist", asked that Michelangelo "fix it so that it looked as if it had been buried" so he could "send it to Rome ... pass [it off as] an ancient work and ... sell it much better." Both Lorenzo and Michelangelo were unwittingly cheated out of the real value of the piece by a middleman. Cardinal Raffaele Riario, to whom Lorenzo had sold it, discovered that it was a fraud, but was so impressed by the quality of the sculpture that he invited the artist to Rome. This apparent success in selling his sculpture abroad as well as the conservative Florentine situation may have encouraged Michelangelo to accept the prelate's invitation.
Michelangelo arrived in Rome on 25 June 1496 at the age of 21. On 4 July of the same year, he began work on a commission for Cardinal Riario, an over-life-size statue of the Roman wine god "Bacchus". Upon completion, the work was rejected by the cardinal, and subsequently entered the collection of the banker Jacopo Galli, for his garden. In November 1497, the French ambassador to the Holy See, Cardinal Jean de Bilhères-Lagraulas, commissioned him to carve a "Pietà", a sculpture showing the Virgin Mary grieving over the body of Jesus. The subject, which is not part of the Biblical narrative of the Crucifixion, was common in religious sculpture of medieval northern Europe and would have been very familiar to the Cardinal. The contract was agreed upon in August of the following year. Michelangelo was 24 at the time of its completion. It was soon to be regarded as one of the world's great masterpieces of sculpture, "a revelation of all the potentialities and force of the art of sculpture". Contemporary opinion was summarised by Vasari: "It is certainly a miracle that a formless block of stone could ever have been reduced to a perfection that nature is scarcely able to create in the flesh." Michelangelo's only work known to have been signed, his name on Mary's sash, it is now located in St Peter's Basilica.
Florence, 1499–1505.
Michelangelo returned to Florence in 1499. The Republic was changing after the fall of its leader, anti-Renaissance priest Girolamo Savonarola, who was executed in 1498, and the rise of the "gonfaloniere" Piero Soderini. Michelangelo was asked by the consuls of the Guild of Wool to complete an unfinished project begun 40 years earlier by Agostino di Duccio: a colossal statue of Carrara marble portraying David as a symbol of Florentine freedom to be placed on the gable of Florence Cathedral. Michelangelo responded by completing his most famous work, the statue of "David", in 1504. The masterwork definitively established his prominence as a sculptor of extraordinary technical skill and strength of symbolic imagination. A team of consultants, including Botticelli, Leonardo da Vinci, Filippino Lippi, Pietro Perugino, Lorenzo di Credi, Antonio and Giuliano da Sangallo, Andrea della Robbia, Cosimo Rosselli, Davide Ghirlandaio, Piero di Cosimo, Andrea Sansovino and Michelangelo's dear friend Granacci, was called together to decide upon its placement, ultimately the Piazza della Signoria, in front of the Palazzo Vecchio. It now stands in the Academia while a replica occupies its place in the square. In the same period of placing the "David", Michelangelo may have been involved in creating the sculptural profile on Palazzo Vecchio's façade known as the Importuno di Michelangelo. The hypothesis of Michelangelo's possible involvement in the creation of the profile is based on the strong resemblance of the latter to a profile drawn by the artist, datable to the beginning of the 16th century, now preserved in the Louvre.
With the completion of the "David" came another commission. In early 1504 Leonardo da Vinci had been commissioned to paint "The Battle of Anghiari" in the council chamber of the Palazzo Vecchio, depicting the battle between Florence and Milan in 1440. Michelangelo was then commissioned to paint the "Battle of Cascina". The two paintings are very different: Leonardo depicts soldiers fighting on horseback, while Michelangelo has soldiers being ambushed as they bathe in the river. Neither work was completed and both were lost forever when the chamber was refurbished. Both works were much admired, and copies remain of them, Leonardo's work having been copied by Rubens and Michelangelo's by Bastiano da Sangallo.
Also during this period, Michelangelo was commissioned by Angelo Doni to paint a "Holy Family" as a present for his wife, Maddalena Strozzi. It is known as the "Doni Tondo" and hangs in the Uffizi Gallery in its original magnificent frame, which Michelangelo may have designed. He also may have painted the Madonna and Child with John the Baptist, known as the "Manchester Madonna" and now in the National Gallery, London.
Tomb of Julius II, 1505–1545.
In 1505 Michelangelo was invited back to Rome by the newly elected Pope Julius II and commissioned to build the Pope's tomb, which was to include forty statues and be finished in five years. Under the patronage of the pope, Michelangelo experienced constant interruptions to his work on the tomb in order to accomplish numerous other tasks.
The commission for the tomb forced the artist to leave Florence with his planned "Battle of Cascina" painting unfinished. By this time, Michelangelo was established as an artist; both he and Julius II had hot tempers and soon argued. On 17 April 1506, Michelangelo left Rome in secret for Florence, remaining there until the Florentine government pressed him to return to the pope.
Although Michelangelo worked on the tomb for 40 years, it was never finished to his satisfaction. It is located in the Church of San Pietro in Vincoli in Rome and is most famous for the central figure of Moses, completed in 1516. Of the other statues intended for the tomb, two, known as the "Rebellious Slave" and the "Dying Slave", are now in the Louvre.
Sistine Chapel ceiling, 1508 –1512.
During the same period, Michelangelo painted the ceiling of the Sistine Chapel, which took approximately four years to complete (1508–1512). According to Condivi's account, Bramante, who was working on the building of St. Peter's Basilica, resented Michelangelo's commission for the pope's tomb and convinced the pope to commission him in a medium with which he was unfamiliar, in order that he might fail at the task. Michelangelo was originally commissioned to paint the Twelve Apostles on the triangular pendentives that supported the ceiling, and to cover the central part of the ceiling with ornament. Michelangelo persuaded Pope Julius II to give him a free hand and proposed a different and more complex scheme, representing the Creation, the Fall of Man, the Promise of Salvation through the prophets, and the genealogy of Christ. The work is part of a larger scheme of decoration within the chapel that represents much of the doctrine of the Catholic Church.
The composition stretches over 500 square metres of ceiling and contains over 300 figures. At its centre are nine episodes from the Book of Genesis, divided into three groups: God's creation of the earth; God's creation of humankind and their fall from God's grace; and lastly, the state of humanity as represented by Noah and his family. On the pendentives supporting the ceiling are painted twelve men and women who prophesied the coming of Jesus, seven prophets of Israel, and five Sibyls, prophetic women of the Classical world. Among the most famous paintings on the ceiling are The Creation of Adam, Adam and Eve in the Garden of Eden, the Deluge, the Prophet Jeremiah, and the Cumaean Sibyl.
Florence under Medici popes, 1513 – early 1534.
In 1513, Pope Julius II died and was succeeded by Pope Leo X, the second son of Lorenzo de' Medici. From 1513 to 1516, Pope Leo was on good terms with Pope Julius's surviving relatives, so encouraged Michelangelo to continue work on Julius's tomb, but the families became enemies again in 1516 when Pope Leo tried to seize the Duchy of Urbino from Julius's nephew Francesco Maria I della Rovere. Pope Leo then had Michelangelo stop working on the tomb, and commissioned him to reconstruct the façade of the Basilica of San Lorenzo in Florence and to adorn it with sculptures. He spent three years creating drawings and models for the façade, as well as attempting to open a new marble quarry at Pietrasanta specifically for the project. In 1520, the work was abruptly cancelled by his financially strapped patrons before any real progress had been made. The basilica lacks a façade to this day.
In 1520, the Medici came back to Michelangelo with another grand proposal, this time for a family funerary chapel in the Basilica of San Lorenzo. For posterity, this project, occupying the artist for much of the 1520s and 1530s, was more fully realised. Michelangelo used his own discretion to create the composition of the Medici Chapel, which houses the large tombs of two of the younger members of the Medici family, Giuliano, Duke of Nemours, and Lorenzo, his nephew. It also serves to commemorate their more famous predecessors, Lorenzo the Magnificent and his brother Giuliano, who are buried nearby. The tombs display statues of the two Medici and allegorical figures representing "Night" and "Day", and "Dusk" and "Dawn". The chapel also contains Michelangelo's "Medici Madonna". In 1976, a concealed corridor was discovered with drawings on the walls that related to the chapel itself.
Pope Leo X died in 1521 and was succeeded briefly by the austere Adrian VI, and then by his cousin Giulio Medici as Pope Clement VII. In 1524, Michelangelo received an architectural commission from the Medici pope for the Laurentian Library at San Lorenzo's Church. He designed both the interior of the library itself and its vestibule, a building utilising architectural forms with such dynamic effect that it is seen as the forerunner of Baroque architecture. It was left to assistants to interpret his plans and carry out construction. The library was not opened until 1571, and the vestibule remained incomplete until 1904.
In 1527, Florentine citizens, encouraged by the sack of Rome, threw out the Medici and restored the republic. A siege of the city ensued, and Michelangelo went to the aid of his beloved Florence by working on the city's fortifications from 1528 to 1529. The city fell in 1530, and the Medici were restored to power, with the young Alessandro Medici as the first Duke of Florence. Pope Clement, a Medici, sentenced Michelangelo to death. It is thought that Michelangelo hid for two months in a small chamber under the Medici chapels in the Basilica of San Lorenzo with light from just a tiny window, making many charcoal and chalk drawings which remained hidden until the room was rediscovered in 1975, and opened to small numbers of visitors in 2023. Michelangelo was eventually pardoned by the Medicis and the death sentence lifted, so that he could complete work on the Sistine Chapel and the Medici family tomb. He left Florence for Rome in 1534. Despite Michelangelo's support of the republic and resistance to the Medici rule, Pope Clement reinstated an allowance that he had previously granted the artist and made a new contract with him over the tomb of Pope Julius.
Rome, 1534–1546.
In Rome, Michelangelo lived near the church of Santa Maria di Loreto. It was at this time that he met the poet Vittoria Colonna, marchioness of Pescara, who was to become one of his closest friends until her death in 1547.
Shortly before his death in 1534, Pope Clement VII commissioned Michelangelo to paint a fresco of "The Last Judgment" on the altar wall of the Sistine Chapel. His successor, Pope Paul III, was instrumental in seeing that Michelangelo began and completed the project, which he laboured on from 1534 to October 1541. The fresco depicts the Second Coming of Christ and his Judgement of the souls. Michelangelo ignored the usual artistic conventions in portraying Jesus, showing him as a massive, muscular figure, youthful, beardless and naked. He is surrounded by saints, among whom Saint Bartholomew holds a drooping flayed skin, bearing the likeness of Michelangelo. The dead rise from their graves, to be consigned either to Heaven or to Hell.
Once completed, the depiction of Christ and the Virgin Mary naked was considered sacrilegious, and Cardinal Carafa and Monsignor Sernini (Mantua's ambassador) campaigned to have the fresco removed or censored, but the Pope resisted. At the Council of Trent, shortly before Michelangelo's death in 1564, it was decided to obscure the genitals and Daniele da Volterra, an apprentice of Michelangelo, was commissioned to make the alterations. An uncensored copy of the original, by Marcello Venusti, is in the Capodimonte Museum of Naples.
Michelangelo worked on a number of architectural projects at this time. They included a design for the Capitoline Hill with its trapezoid piazza displaying the ancient bronze statue of Marcus Aurelius. He designed the upper floor of the Palazzo Farnese and the interior of the Church of Santa Maria degli Angeli, in which he transformed the vaulted interior of an Ancient Roman bathhouse. Other architectural works include San Giovanni dei Fiorentini, the Sforza Chapel (Capella Sforza) in the Basilica di Santa Maria Maggiore and the Porta Pia.
St Peter's Basilica, 1546–1564.
While still working on the "Last Judgment", Michelangelo received yet another commission for the Vatican. This was for the painting of two large frescos in the Cappella Paolina depicting significant events in the lives of the two most important saints of Rome, the "Conversion of Saint Paul" and the "Crucifixion of Saint Peter". Like the "Last Judgment", these two works are complex compositions containing a great number of figures. They were completed in 1550. In the same year, Giorgio Vasari published his "Vita", including a biography of Michelangelo.
In 1546, Michelangelo was appointed architect of St. Peter's Basilica, Rome. The process of replacing the Constantinian basilica of the 4th century had been underway for fifty years and in 1506 foundations had been laid to the plans of Bramante. Successive architects had worked on it, but little progress had been made. Michelangelo was persuaded to take over the project. He returned to the concepts of Bramante, and developed his ideas for a centrally planned church, strengthening the structure both physically and visually. The dome, not completed until after his death, has been called by Banister Fletcher, "the greatest creation of the Renaissance".
As construction was progressing on St Peter's, there was concern that Michelangelo would die before the dome was finished. However, once building commenced on the lower part of the dome, the supporting ring, the completion of the design was inevitable.
Personal life.
Faith.
Michelangelo was a devout Catholic whose faith deepened at the end of his life. Along with Raphael, he was enrolled in the Secular Franciscan Order.
His poetry includes the following closing lines from what is known as poem 285 (written in 1554): "Neither painting nor sculpture will be able any longer to calm my soul, now turned toward that divine love that opened his arms on the cross to take us in."
Personal habits.
Michelangelo was moderate in his personal life, and once told his apprentice, Ascanio Condivi: "However rich I may have been, I have always lived like a poor man." Michelangelo's bank accounts and numerous deeds of purchase show that his net worth was about 50,000 gold ducats, more than many princes and dukes of his time. Condivi said he was indifferent to food and drink, eating "more out of necessity than of pleasure" and that he "often slept in his clothes and ... boots." His biographer Paolo Giovio says, "His nature was so rough and uncouth that his domestic habits were incredibly squalid, and deprived posterity of any pupils who might have followed him." This, however, may not have affected him, as he was by nature a solitary and melancholy person, , a man who "withdrew himself from the company of men."
Relationships and poetry.
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It is impossible to know whether Michelangelo had any physical relationships. Understanding about his sexuality is rooted in his art, especially his poetry. He wrote more than three hundred sonnets and madrigals. About sixty are addressed to men – "the first significant modern corpus of love poetry from one man to another".
The longest sequence, displaying deep loving feeling, was written to the young Roman patrician Tommaso dei Cavalieri (c. 1509–1587), who was 23 years old when Michelangelo first met him in 1532, at the age of 57. In his "Lives of the Artists", Vasari observed: "But infinitely more than any of the others he loved M. Tommaso de' Cavalieri, a Roman gentleman, for whom, being a young man and much inclined to these arts, [Michelangelo] made, to the end that he might learn to draw, many most superb drawings of divinely beautiful heads, designed in black and red chalk; and then he drew for him a Ganymede rapt to Heaven by Jove's Eagle, a Tityus with the Vulture devouring his heart, the Chariot of the Sun falling with Phaëthon into the Po, and a Bacchanal of children, which are all in themselves most rare things, and drawings the like of which have never been seen." Some scholars downplay the relationship between Michelangelo and Cavalieri as one of platonic friendship. The poems to Cavalieri make up the first large sequence of poems in any modern tongue addressed by one man to another; they predate by 50 years Shakespeare's sonnets to the fair youth:
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Cavalieri replied: "I swear to return your love. Never have I loved a man more than I love you, never have I wished for a friendship more than I wish for yours." Cavalieri remained devoted to Michelangelo until his death.
In 1542, Michelangelo met Cecchino dei Bracci who died only a year later, inspiring Michelangelo to write 48 funeral epigrams. Some of the objects of Michelangelo's affections, and subjects of his poetry, took advantage of him: the model Febo di Poggio asked for money in response to a love-poem, and a second model, Gherardo Perini, shamelessly stole from him.
The nature of the poetry has been a source of discomfort to later generations. Michelangelo's grandnephew, Michelangelo Buonarroti the Younger, published the poems in 1623 with the gender of pronouns changed; he also removed words or in other instances insisted that Michelangelo's poems be read allegorically and philosophically, a judgment some modern scholars still repeat today. It was not until John Addington Symonds translated the poems into English in 1893 that the original genders were restored. Since then it has become more accepted that his poems should be understood at face value, that is, as indicating his personal feelings and a preference by him for young men over women. The Elizabeth Jennings translation, "The Sonnets of Michelangelo", is considered the standard version.
Late in life, Michelangelo nurtured a friendship with the poet and noble widow Vittoria Colonna, whom he met in Rome in 1536 or 1538 and who was in her late forties at the time. They wrote sonnets for each other and were in regular contact until she died. These sonnets mostly deal with the spiritual issues that occupied them. Condivi, who in his biography was preoccupied with downplaying Michelangelo's attraction to men, alleged Michelangelo said his sole regret in life was that he did not kiss the widow's face in the same manner that he had her hand.
Feuds with other artists.
In a letter from late 1542, Michelangelo blamed the tensions between Julius II and him on the envy of Bramante and Raphael, saying of the latter, "all he had in art, he got from me". According to Gian Paolo Lomazzo, Michelangelo and Raphael met once: the former was alone, while the latter was accompanied by several others. Michelangelo commented that he thought he had encountered the chief of police with such an assemblage, and Raphael replied that he thought he had met an executioner, as they are wont to walk alone.
Works.
Madonna and Child.
The "Madonna of the Stairs" is Michelangelo's earliest known work in marble. It is carved in shallow relief, a technique often employed by the master-sculptor of the early 15th century, Donatello, and others such as Desiderio da Settignano. While the Madonna is in profile, the easiest aspect for a shallow relief, the child displays a twisting motion that was to become characteristic of Michelangelo's work. The "Taddei Tondo" of 1502 shows the Christ Child frightened by a Bullfinch, a symbol of the Crucifixion. The lively form of the child was later adapted by Raphael in the "Bridgewater Madonna". The "Madonna of Bruges" was, at the time of its creation, unlike other such statues depicting the Virgin proudly presenting her son. Here, the Christ Child, restrained by his mother's clasping hand, is about to step off into the world. The "Doni Tondo", depicting the Holy Family, has elements of all three previous works: the frieze of figures in the background has the appearance of a low-relief, while the circular shape and dynamic forms echo the Taddeo Tondo. The twisting motion present in the "Madonna of Bruges" is accentuated in the painting. The painting heralds the forms, movement and colour that Michelangelo was to employ on the ceiling of the Sistine Chapel.
Male figure.
The kneeling "Angel" is an early work, one of several that Michelangelo created as part of a large decorative scheme for the Arca di San Domenico in the church dedicated to that saint in Bologna. Several other artists had worked on the scheme, beginning with Nicola Pisano in the 13th century. In the late 15th century, the project was managed by Niccolò dell'Arca. An angel holding a candlestick, by Niccolò, was already in place. Although the two angels form a pair, there is a great contrast between the two works, the one depicting a delicate child with flowing hair clothed in Gothic robes with deep folds, and Michelangelo's depicting a robust and muscular youth with eagle's wings, clad in a garment of Classical style. Everything about Michelangelo's "Angel" is dynamic. Michelangelo's "Bacchus" was a commission with a specified subject, the youthful God of Wine. The sculpture has all the traditional attributes, a vine wreath, a cup of wine and a fawn, but Michelangelo ingested an air of reality into the subject, depicting him with bleary eyes, a swollen bladder and a stance that suggests he is unsteady on his feet. While the work is plainly inspired by Classical sculpture, it is innovative for its rotating movement and strongly three-dimensional quality, which encourages the viewer to look at it from every angle.
In the so-called "Dying Slave", Michelangelo again utilised the figure with marked contrapposto to suggest a particular human state, in this case waking from sleep. With the "Rebellious Slave", it is one of two such earlier figures for the Tomb of Pope Julius II, now in the Louvre, that the sculptor brought to an almost finished state. These two works were to have a profound influence on later sculpture, through Rodin who studied them at the Louvre. The "Atlas Slave" is one of the later figures for Pope Julius' tomb. The works, known collectively as "The Captives", each show the figure struggling to free itself, as if from the bonds of the rock in which it is lodged. The works give a unique insight into the sculptural methods that Michelangelo employed and his way of revealing what he perceived within the rock.
Sistine Chapel ceiling.
The Sistine Chapel ceiling was painted between 1508 and 1512. The ceiling is a flattened barrel vault supported on twelve triangular pendentives that rise from between the windows of the chapel. The commission, as envisaged by Julius II, was to adorn the pendentives with figures of the twelve apostles. Michelangelo, who was reluctant to take the job, persuaded the Pope to give him a free hand in the composition. The resultant scheme of decoration awed his contemporaries and has inspired other artists ever since. The scheme is of nine panels illustrating episodes from the Book of Genesis, set in an architectonic frame. On the pendentives, Michelangelo replaced the proposed Apostles with Prophets and Sibyls who heralded the coming of the Messiah.
Michelangelo began painting with the later episodes in the narrative, the pictures including locational details and groups of figures, the "Drunkenness of Noah" being the first of this group. In the later compositions, painted after the initial scaffolding had been removed, Michelangelo made the figures larger. One of the central images, "The Creation of Adam" is one of the best known and most reproduced works in the history of art. The final panel, showing the "Separation of Light from Darkness" is the broadest in style and was painted in a single day. As the model for the Creator, Michelangelo has depicted himself in the action of painting the ceiling.
As supporters to the smaller scenes, Michelangelo painted twenty youths who have variously been interpreted as angels, as muses, or simply as decoration. Michelangelo referred to them as "ignudi". The figure reproduced may be seen in context in the above image of the "Separation of Light from Darkness".
In the process of painting the ceiling, Michelangelo made studies for different figures, of which some, such as that for "The Libyan Sibyl" have survived, demonstrating the care taken by Michelangelo in details such as the hands and feet. The prophet Jeremiah, contemplating the downfall of Jerusalem, is a self-portrait.
Figure compositions.
Michelangelo's relief of the "Battle of the Centaurs", created while he was still a youth associated with the Medici Academy, is an unusually complex relief in that it shows a great number of figures involved in a vigorous struggle. Such a complex disarray of figures was rare in Florentine art, where it would usually only be found in images showing either the Massacre of the Innocents or the Torments of Hell. The relief treatment, in which some of the figures are boldly projecting, may indicate Michelangelo's familiarity with Roman sarcophagus reliefs from the collection of Lorenzo Medici, and similar marble panels created by Nicola and Giovanni Pisano, and with the figurative compositions on Ghiberti's Baptistry Doors.
The composition of the "Battle of Cascina" is known in its entirety only from copies, as the original cartoon, according to Vasari, was so admired that it deteriorated and was eventually in pieces. It reflects the earlier relief in the energy and diversity of the figures, with many different postures, and many being viewed from the back, as they turn towards the approaching enemy and prepare for battle.
In "The Last Judgment" it is said that Michelangelo drew inspiration from a fresco by Melozzo da Forlì in Rome's Santi Apostoli. Melozzo had depicted figures from different angles, as if they were floating in the Heaven and seen from below. Melozzo's majestic figure of Christ, with windblown cloak, demonstrates a degree of foreshortening of the figure that had also been employed by Andrea Mantegna, but was not usual in the frescos of Florentine painters. In "The Last Judgment" Michelangelo had the opportunity to depict, on an unprecedented scale, figures in the action of either rising heavenward or falling and being dragged down.
In the two frescos of the Pauline Chapel, "The Crucifixion of St. Peter" and "The Conversion of Saul", Michelangelo has used the various groups of figures to convey a complex narrative. In the "Crucifixion of Peter" soldiers busy themselves about their assigned duty of digging a post hole and raising the cross while various people look on and discuss the events. A group of horrified women cluster in the foreground, while another group of Christians is led by a tall man to witness the events. In the right foreground, Michelangelo walks out of the painting with an expression of disillusionment.
Architecture.
Michelangelo's architectural commissions included a number that were not realised, notably the façade for Brunelleschi's Church of San Lorenzo in Florence, for which Michelangelo had a wooden model constructed, but which remains to this day unfinished rough brick. At the same church, Giulio de' Medici (later Pope Clement VII) commissioned him to design the Medici Chapel and the tombs of Giuliano and Lorenzo Medici. Pope Clement also commissioned the Laurentian Library, for which Michelangelo also designed the extraordinary vestibule with columns recessed into niches, and a staircase that appears to spill out of the library like a flow of lava, according to Nikolaus Pevsner, "... revealing Mannerism in its most sublime architectural form".
In 1546 Michelangelo produced the highly complex ovoid design for the pavement of the Campidoglio and began designing an upper storey for the Farnese Palace. In 1547 he took on the job of completing St Peter's Basilica, begun to a design by Bramante, and with several intermediate designs by several architects. Michelangelo returned to Bramante's design, retaining the basic form and concepts by simplifying and strengthening the design to create a more dynamic and unified whole. Although the late 16th-century engraving depicts the dome as having a hemispherical profile, the dome of Michelangelo's model is somewhat ovoid and the final product, as completed by Giacomo della Porta, is more so.
Final years.
In his old age, Michelangelo created a number of "Pietàs" in which he apparently reflects upon mortality. They are heralded by the "Victory", perhaps created for the tomb of Pope Julius II but left unfinished. In this group, the youthful victor overcomes an older hooded figure, with the features of Michelangelo. The "Pietà of Vittoria Colonna" is a chalk drawing of a type described as "presentation drawings", as they might be given as a gift by an artist, and were not necessarily studies towards a painted work. In this image, Mary's upraised arms and hands are indicative of her prophetic role. The frontal aspect is reminiscent of Masaccio's fresco of the Holy Trinity in the Basilica of Santa Maria Novella, Florence. In the "Florentine Pietà", Michelangelo again depicts himself, this time as the aged Nicodemus lowering the body of Jesus from the cross into the arms of Mary his mother and Mary Magdalene. Michelangelo smashed the left arm and leg of the figure of Jesus. His pupil Tiberio Calcagni repaired the arm and drilled a hole in which to fix a replacement leg which was not subsequently attached. He also worked on the figure of Mary Magdalene.
The last sculpture that Michelangelo worked on (six days before his death), the "Rondanini Pietà," could never be completed because Michelangelo carved it away until there was insufficient stone. The legs and a detached arm remain from a previous stage of the work. As it remains, the sculpture has an abstract quality, in keeping with 20th-century concepts of sculpture.
Michelangelo died in Rome on 18 February 1564, at the age of 88. His body was taken from Rome for interment at the Basilica of Santa Croce, fulfilling the maestro's last request to be buried in his beloved Florence. His heir Lionardo Buonarroti commissioned Vasari to design and build the "Tomb of Michelangelo", a monumental project that cost 770 scudi, and took over 14 years to complete. Marble for the tomb was supplied by Cosimo I de' Medici, Duke of Tuscany, who had also organized a state funeral to honour Michelangelo in Florence.
Legacy.
Michelangelo, with Leonardo da Vinci and Raphael, is one of the three giants of the Florentine High Renaissance. Although their names are often cited together, Michelangelo was younger than Leonardo by 23 years, and eight years older than Raphael. Because of his reclusive nature, he had little to do with either artist and outlived both of them by more than 40 years. Michelangelo took few sculpture students. He employed Granacci, who was his fellow pupil at the Medici Academy, and became one of several assistants on the Sistine Chapel ceiling. Michelangelo appears to have used assistants mainly for the more manual tasks of preparing surfaces and grinding colours. Despite this, his works were to have a great influence on painters, sculptors and architects for many generations to come.
While Michelangelo's "David" is the most famous male nude of all time, some of his other works have had perhaps even greater impact on the course of art. The twisting forms and tensions of the "Victory", the "Bruges Madonna" and the "Medici Madonna" make them the heralds of the Mannerist art. The unfinished giants for the tomb of Pope Julius II had profound effect on sculptors such as Rodin and Henry Moore.
Michelangelo's vestibule of the Laurentian Library was one of the earliest buildings to use classical forms in a plastic and expressive manner. This dynamic quality was later to find its major expression in his centrally planned St. Peter's, with its giant order, its rippling cornice and its upward-launching pointed dome. The dome of St. Peter's was to influence the building of churches for many centuries, including Sant'Andrea della Valle in Rome and St Paul's Cathedral, London, as well as the civic domes of public buildings and state capitals across the United States.
Artists who were directly influenced by Michelangelo include Raphael, whose monumental treatment of the figure in the "School of Athens" and "The Expulsion of Heliodorus from the Temple" owes much to Michelangelo, and whose fresco of "Isaiah" in Sant'Agostino closely imitates the older master's prophets. Other artists, such as Pontormo, drew on the writhing forms of the "Last Judgment" and the frescoes of the Cappella Paolina.
The Sistine Chapel ceiling was a work of unprecedented grandeur, both for its architectonic forms, to be imitated by many Baroque ceiling painters, and also for the wealth of its inventiveness in the study of figures. Vasari wrote:
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Prophet Jonah (Michelangelo)
Fresco on the Sistine Chapel ceiling
The Prophet Jonah is one of the seven Old Testament prophets painted by the Italian High Renaissance master Michelangelo on the Sistine Chapel ceiling in the Vatican Palace of Vatican City.
Between 1508 and 1512, under the patronage of Pope Julius II, the artist Michelangelo painted the chapel's ceiling, a project that changed the course of Western art and is regarded as one of the major artistic accomplishments of human civilization. These frescoes portray various scenes from the Old Testament of the Christian Bible, including "The Creation of Adam", the life of Noah, and seven major and minor prophets, of whom one is Jonah.
This particular fresco is painted above the High Altar. Art historians generally interpret this prime position as being because the story of Jonah (who was swallowed for three days by a large fish before being miraculously restored) was seen as prefiguring that of Christ's death and resurrection.
"The Prophet Jonah" is opposite the fresco of the prophet Zachariah.
Behind the figure of Jonah, Michelangelo has painted a large fish (a tarpon), a reference to the fact that in the Book of Jonah, Jonah is swallowed by one.
References.
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