page_title: Art patronage of Julius II
section_title: Motivation behind Julius II's Patronage
hierarchical_section_title: Art patronage of Julius II / Motivation behind Julius II's Patronage
context_page_description: Pope Julius II, commissioned a series of highly influential art and architecture projects in the Vatican. The painting of the Sistine Chapel ceiling by Michelangelo and of various rooms by Raphael in the Apostolic Palace are considered among the masterworks that mark the High Renaissance in Rome. His decision to rebuild St Peter's led to the construction of the present basilica.
  Julius died in 1513, and except for the Sistine Chapel ceiling, which he lived to see finished, his very largest commissions were finished after his death.
context_section_description: Generally, scholars have taken one of two sides regarding the many magnificent commissions of Julius II.  The first, more widely accepted viewpoint is that Julius was an extravagant patron.  He was known by scholars to be a patron purely for selfish motives, imposing aspirations, and a grandiose self-image. (Gosman, 43).  Scholars accept that the probable and foremost reason was that it would be a way to forever leave his mark on the Catholic Church. 
   Many argue that Julius was using art to further extend his own Papacy, as well as the role of Popes to come.  Julius II’s Papacy is frequently criticized, for it is a common conception that he was keen for glory, which is reflective in his nickname, “The Warrior Pope” (Gosman, 50).  The Pope was extremely proud and aspired to be remembered as one of the greatest popes in history.  Building Saint Peter’s Basilica, the largest church in the world, certainly added to the Pope’s résumé.   
  Many also criticize Julius II for having repeatedly identified himself with Julius Caesar.  His desire to emulate Caesar and his extravagant patronage further the negative connotations. Scholars have drawn this conclusion from the medal Julius had made for Saint Peter's with himself on the back, as well as his self-chosen name of Julius. (Gosman, 44)    The second, less common stance, is that Julius’s main motive for his patronage was for his own personal aesthetic pleasure (Gosman, 45).  One scholar defends Julius II's patronage by stating:
  It must not be forgotten that not all messages conveyed in works commissioned by a patron, let alone those merely addressed to him, can be read as a communication by the patron of his thinking and claims and aspirations.  To say this is not to deny that messages may be read into them, but it should not be assumed that patrons would necessarily have cared about or understood or been motivated by theories and statements about their power and authority that may be coded into the works of art they paid for. (Gosman, 61)
  Some scholars argue that these works can not be literally taken as a guide to the ideas of the Pope himself.  These scholars point out that it was not solely the patron pulling the strings behind these imposing works of art, but a group of people working together.  For example, Julius appears in several of Raphael’s frescoes, and it is known that he approved his placement in them.  However, many modern scholars interpret this fact to mean that Julius simply desired to be painted in the frescoes.  (Gosman, 55) Julius was, according to some scholars, a man who appreciated art, took pleasure in building, and merely wanted to create grand places in which to live, and that this motivation was much more important than the desire to project political ideas and images of his power. (Gosman, 55)
caption: The Sistine Chapel ceiling by Michelangelo, "an artistic vision without precedent"
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