The Meaning of the Ten Medallions in Michelangelo's Program for the Sistine Ceiling

The present study analyzes the role and meaning of the ten medallions in the overall context of the Sistine ceiling.
The medallions, created by Michelangelo between 1508 and 1512, were a part of the complete program commissioned by Pope Julius II.
The reason for isolating the medallions from the rest of the ceiling is that the medallions, different in form and technique from the rest of Michelangelo's creation, are considered to be an entity within themselves. This original approach to the study of the medallions calls for an innovative methodology based on an interdisciplinary approach. By employing biblical scholarship, art history methodology, philosophical and theological conceptions, and historical data, this study is able to examine the medallions from a maximally broad perspective. Evidence is cited to support the hypothesis that the medallions were created intentionally by Michelangelo according to the format and technique of ancient medallions. The medallions typically were used for commemorative purposes on sarcophagi in ancient Rome. They portrayed the person's characteristic features and were coined for special occasions.
The theme of the medallions of the Sistine ceiling is based on events recorded in the Book of Kings, as Vasari has correctly pointed out; and the subject centers in the images of two army commanders. One is Jehu, the Israelite army commander, whose appearance on the political stage was predicted by the prophet Elijah. According to the biblical tradition, Jehu was rewarded with the kingship for destroying the corrupt house of Ahab. The second is Joab, Kind David's army commander, who, having taken upon himself the right to obey or disobey both the King and the Lord, was killed on the altar in the House of the Lord.
Julius II, Michelangelo's patron, was also renowned as an illustrious army commander. His Rovere family symbol was oak leaf wreaths. Michelangelo used oak leaf wreaths to enclose the medallions. These data support the theory that Michelangelo used the images of the two army commanders to represent allegorically the dualistic nature of his patron.
Artists of the Renaissance frequently included a representation of their patrons in their artistic work. Michelangelo, however, portrayed two opposing representations of Julius II through the images of the two army commanders, Joab and Jehu. On the basis of this analysis, Michelangelo can be seen to be expressing his personal opinion of Julius II's military involvement. He seems to be inviting the Pope to choose to be commemorated positively as Jehu or negatively as Joab.