Papa Julius II

Julius II, izvorno ime Giuliano della Rovere, (rođen 5. prosinca 1443., Albisola, Republika Genova - umro 21. veljače 1513, Rim), najveći umjetnički zaštitnik papinske loze (vladao 1503–13) i jedan od najvažnijih moćni vladari njegova doba. Iako je vodio vojne napore kako bi spriječio francusku dominaciju nad Italijom, Julius je najvažniji zbog bliskog prijateljstva s Michelangelom i zbog pokroviteljstva drugih umjetnika, uključujući Bramantea i Raphaela. Naručio je Michelangelov "Mojsije" i slike u Sikstinskoj kapeli i Rafaelovim freskama u Vatikanu.

Rani život

Giuliano je bio sin osiromašenog Rafaella della Rovere, jedini brat pape Sixtus IV. Godine 1468. postao je franjevac, a 1471. godine Sixtus IV ga je učinio kardinalom. Giuliano je u ovom uredu pokazao sve atribute ljubaznosti i pokvarenosti beskrupuloznog renesansnog princa. Papa mu je odredio šest biskupa u Francuskoj i tri u Italiji, zajedno s obiljem bogatih opatija i dobročinstava. Kardinal, koji nije imao zanimanja za duhovne aktivnosti, postao je izvanredan zaštitnik umjetnosti. Svojim štićenicima prikazan je u vrhunskoj freski Mextzo IV iz Mextla IV u Vatikanskom muzeju.

Nakon smrti Sixtusa IV., Za kojeg je Giuliano naručio brončani grob Antonia Pollaiuola, sada u vatikanskom grobu Svetog Petra, kardinalov kandidat, slabi Inocent VIII, izabran je podmićivanjem. Kad je Rodrigo Borgia, izabran papa za Aleksandra VI 1492. godine, zavjerovao Giulianovo atentat, Giuliano je pobjegao 1494. na dvor Karla VIII. U Francuskoj. Pratio je francuskog kralja u njegovoj ekspediciji protiv Napulja u nadi da će i Karlo svrgnuti Aleksandra VI. Nakon što je pratio Karla na njegovu prisilnom povratku u Francusku, Giuliano je sudjelovao u invaziji Luja XII na Italiju 1502. Aleksandar VI dva puta ga pokušao iskoristiti.

Nakon smrti pape Borgia 1503. godine, Giuliano se vratio u Rim, nakon što je bio 10 godina u egzilu, a nakon kratkog pontifikata Pija III., Uz liberalnu pomoć SIMONIJE, izabran je u listopadu 1503. za papu Julija II. Odmah nakon njegove izbora, odredio je da svi budući simsko-papski izbori budu nevažeći i podliježu kazni.

Političke aktivnosti

Julius II viewed as the main task of his pontificate the restoration of the Papal States, which had been reduced to ruin by the Borgias. Large portions of it had been appropriated by Venice after Alexander VI’s death. As a first step as pope, Julius subjugated Perugia and Bologna in the autumn of 1508. Then, in March 1509, he joined the League of Cambrai, an anti-Venetian alliance formed in December 1508 between Louis XII, who then ruled Milan, Emperor Maximilian I, and Ferdinand II of Spain, who had been king of Naples since 1503. The league troops defeated Venice in May 1509 near Cremona, and the Papal States were restored.

Having become an exponent of Italian national consciousness, Julius II proposed to drive the French from Italy, but his second war, which lasted from September 1510 to May 1511, was unsuccessful. Several cardinals defected to Louis XII and called a schismatic council, to which Julius responded by summoning the fifth Lateran Council. After concluding an alliance with Venice and Ferdinand II of Spain and Naples in October 1511, he opened the council in May 1512 at the Lateran Palace. Louis XII had defeated the troops of the alliance at Ravenna in April 1512, but the situation changed when Swiss troops were sent to the Pope’s aid. The territories in northern Italy occupied by the French revolted, the French left the country, and the Papal States were augmented by the acquisition of Parma and Piacenza. Toward the end of his life, he viewed with concern the replacement of French by Spanish efforts to attain supremacy in Italy. Julius II was Italy’s saviour.

Patron of the arts

The enduring impact of the life of Julius II stemmed from his gift for inspiring great artistic creations. His name is closely linked with those of such great artists as Bramante, Raphael, and Michelangelo. With his wealth of visionary ideas, he contributed to their creativity. Following an overall plan, he added many fine buildings to Rome and laid the groundwork in the Vatican Museum for the world’s greatest collection of antiquities. Among the innumerable Italian churches that benefitted from his encouragement of the arts was Sta. Maria del Popolo in Rome, for which he commissioned Andrea Sansovino to create sepulchres for a number of cardinals and Pinturicchio to paint the frescoes in the apse. Donato Bramante became the architect of Julius’ fortifications in Latium, of the two galleries that form the Belvedere Court, and of other Vatican buildings. Around 1503 the Pope conceived the idea of building a new basilica of St. Peter, the first model of which Bramante created. Its foundation stone was laid on April 18, 1506.

The Pope’s friendship with Michelangelo, begun in 1506, was enduring despite recurrent strains imposed on their relations by the two overly similar personalities. Their relationship was so close that the Pope became, in fact, Michelangelo’s intellectual collaborator. Of Julius’ tomb only the “Moses” in the church of S. Pietro in Vincoli, in Rome, was completed; the Pope is, however, not interred there but in St. Peter’s, along with the remains of Sixtus IV. The famous bronze statue of the Pope for the church of S. Petronio in Bologna, completed in 1508, was destroyed in 1511. In 1508 Michelangelo was prevailed upon by Julius to begin his paintings on the ceiling of the Sistine Chapel, which were unveiled in October 1512. The paintings, which represent a climax in Western art, were, in form and conception, a product of the artistic symbiosis of Michelangelo and the Pope.

By 1509 Raphael, introduced to Julius, had begun his masterpieces for the Pope, the frescoes in three rooms of the Vatican. Spiritual references to the person and the pontificate of Julius II are evident in one of the rooms (the Stanza della Segnatura), where earthly and celestial wisdom are juxtaposed in the “School of Athens” and the “Disputa,” while the beauty of creativity is represented in the “Parnassus.” The theme of another room (the Stanza d’Eliodoro), which could be called a transcendental “political” biography of the Pope, is still more personal. “The Expulsion of Heliodorus from the Temple” symbolizes the expulsion of the French and the subjugation of all the church’s enemies, with Julius II depicted witnessing the scene from his portable throne. Closely related to this is the “Liberation of St. Peter,” in which light and darkness serve to symbolize the historic events of the pontificate. The third great fresco in this room, the “Mass of Bolsena,” shows the Pope kneeling, rather than enthroned, in commemoration of his veneration of the corporale (communion cloth) of Bolsena in the cathedral of Orvieto. In addition to these fresco portraits, there is one by Raphael in the Uffizi gallery in Florence, one of the masterpieces of portraiture, which shows the Pope not as the victorious Moses springing to his feet, as Michelangelo portrayed him, but as a resigned, pensive old man at the end of an adventurous, embattled life. Michelangelo’s chalk drawing of the Pope in the Uffizi gallery approaches it in quality.

As cardinal, Julius II fathered at least one illegitimate daughter, Felice. He made four members of the Della Rovere family cardinals, only one of whom achieved any importance. From the marriage of the Pope’s only brother, Giovanni, to the daughter and heiress of Duke Federigo of Montefeltro descended the dukes of Urbino.

The Pope added wisely to the church’s treasures. Although he had little of the priest in him, he was concerned toward the end only with the church’s grandeur. He wished for greatness for the papacy rather than for the pope, and he wished for peace in Italy. The Swiss historian Jacob Burckhardt called him the “saviour of the papacy,” because Alexander VI had greatly endangered its existence for the sake of his family interests.