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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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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References.
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Jonah
Biblical and Quranic prophet
Jonah the son of Amittai or Jonas ( , lit. 'dove') is a Jewish prophet in the Hebrew Bible hailing from Gath-hepher in the Northern Kingdom of Israel around the 8th century BCE. He is the central figure of the Book of Jonah, one of the minor prophets, which details his reluctance in delivering the judgment of God to the city of Nineveh (near present-day Mosul) in the Neo-Assyrian Empire. After he is swallowed by a large sea creature () and then released, he returns to the divine mission.
In Judaism, the story of Jonah represents the teaching of repentance in Judaism, the ability to repent to God for forgiveness. In the New Testament of Christianity, Jesus calls himself "greater than Jonah" and promises the Pharisees "the sign of Jonah" when referring to his resurrection. Early Christian interpreters viewed Jonah as a "type" of Jesus. Jonah in Islam is regarded as a prophet and the narrative of Jonah appears in a surah of the Quran named after him, Yūnus.
Many modern Bible scholars suggest the Book of Jonah is fictional, and at least partially satirical. Most scholars consider the Book of Jonah to have been composed long after the events it describes due to its use of words and motifs exclusive to postexilic Aramaic sources. The character of Jonah son of Amittai may have been based on the historical prophet of the same name who prophesied during the reign of King Amaziah of Judah, as mentioned in 2 Kings.
Although the creature that swallowed Jonah is often depicted in art and culture as a whale, the Hebrew text uses the phrase "large fish". In the 17th century and early 18th century, the species of the fish that swallowed Jonah was the subject of speculation by naturalists, who interpreted the story as an account of a historical incident. Some modern scholars of folklore, on the other hand, note similarities between Jonah and other legendary religious figures, like the Indian yogi Matsyendranatha "Lord of the Fishes", the Sumerian king Gilgamesh, and the Greek hero Jason.
Book of Jonah.
Jonah is the central character in the Book of Jonah, in which God commands him to go to the city of Nineveh to prophesy against it "for their great wickedness is come up before me," but Jonah instead attempts to flee from "the presence of the Lord" by going to Jaffa (sometimes transliterated as "Joppa" or "Joppe"). He sets sail for Tarshish. A huge storm arises and the sailors, realizing that it is no ordinary storm, cast lots and discover that Jonah is to blame. Jonah admits this and says that if he is thrown overboard, the storm will cease. The sailors refuse to do this and continue rowing, but all their efforts fail, and they eventually throw Jonah overboard. As a result, the storm calms and the sailors offer sacrifices to God.
After being cast from the ship, Jonah is swallowed by a large fish, within the belly of which he remains for three days and three nights. While in the great fish, Jonah prays to God in his affliction and commits to giving thanks and to paying what he has vowed. God commands the fish to vomit Jonah out.
God again commands Jonah to travel to Nineveh and prophesy to its inhabitants. This time he travels there and enters the city, crying, "In forty days Nineveh shall be overthrown." After Jonah has walked across Nineveh, the people begin to believe his word and proclaim a fast. The king of Nineveh puts on sackcloth and sits in ashes, making a proclamation which decrees fasting, the wearing of sackcloth, prayer and repentance. God sees their repentant hearts and spares the city at that time. The entire city is humbled and broken, with the people (and even the livestock) wearing sackcloth and ashes.
Displeased by this, Jonah refers to his earlier flight to Tarshish while asserting that, since God is merciful, it was inevitable that God would turn from the threatened calamities. He leaves the city and makes a shelter, waiting to see whether or not the city will be destroyed. God causes a plant (in Hebrew a "kikayon") to grow over Jonah's shelter to give him some shade from the sun. Later, God causes a worm to bite the plant's root and it withers. Jonah, exposed to the full force of the sun, becomes faint and pleads for God to kill him.
<templatestyles src="Template:Blockquote/styles.css" />But God said to Jonah: "Do you have a right to be angry about the vine?" And he said: "I do. I am angry enough to die."But the LORD said: "You have been concerned about this vine, though you did not tend it or make it grow. It sprang up overnight, and died overnight.But Nineveh has more than a hundred and twenty thousand people who cannot tell their right hand from their left, and many cattle as well. Should I not be concerned about that great city?"
Religious views.
In Judaism.
The Book of Jonah (Yonah יונה) is one of the twelve minor prophets included in the Hebrew Bible. According to one tradition, Jonah was the boy brought back to life by Elijah the prophet in 1 Kings. Another tradition holds that he was the son of the woman of Shunem brought back to life by Elisha in 2 Kings and that he is called the "son of Amittai" ("Truth") due to his mother's recognition of Elijah's identity as a prophet in 1 Kings. The Book of Jonah is read every year, in its original Hebrew and in its entirety, on Yom Kippur – the Day of Atonement – as the Haftarah at the afternoon mincha prayer. According to Rabbi Eliezer, the fish that swallowed Jonah was created in the primordial era and the inside of its mouth was like a synagogue; the fish's eyes were like windows and a pearl inside its mouth provided further illumination.
According to the Midrash, while Jonah was inside the fish, the fish told him that its life was nearly over because soon the Leviathan would eat them both. Jonah promised the fish that he would save them. Following Jonah's directions, the fish swam up alongside the Leviathan and Jonah threatened to leash the Leviathan by its tongue and let the other fish eat it. The Leviathan heard Jonah's threats, saw that he was circumcised, and realized that he was protected by the Lord, so it fled in terror, leaving Jonah and the fish alive.
The medieval Jewish scholar and rabbi Abraham ibn Ezra (1092–1167) argued against any literal interpretation of the Book of Jonah, stating that the "experiences of all the prophets except Moses were visions, not actualities." The later scholar Isaac Abarbanel (1437–1509), however, argued that Jonah could have easily survived in the belly of the fish for three days, because "after all, fetuses live nine months without access to fresh air."
Teshuva – the ability to repent and be forgiven by God – is a prominent idea in Jewish thought. This concept is developed in the Book of Jonah: Jonah, the son of truth (the name of his father "Amitai" in Hebrew means "truth"), refuses to ask the people of Nineveh to repent. He seeks the truth only, and not forgiveness. When forced to go, his call is heard loud and clear, and the people of Nineveh repent ecstatically, "fasting, including the sheep," and the Jewish text is critical of this. The Book of Jonah also highlights the sometimes unstable relationship between two religious needs: comfort and truth.
Twelfth-century Jewish rabbi and explorer Petachiah of Regensburg visited Jonah's tomb during his visit to the Holy Land, and wrote: "There is a beautiful palace built over it. Near it is a pleasure garden wherein all kinds of fruit are found. The keeper of the pleasure garden is a Gentile. Nevertheless, when Gentiles come there he gives them no fruit, but when Jews come he gives them a friendly reception, saying, Jonah, son of Amittai, was a Jew, therefore it is due to you to partake of what is his, and then gives to the Jews to eat thereof." Petachiah did not provide details about the exact location of the tomb.
In the Book of Tobit
Jonah is mentioned twice in the fourteenth chapter of the Vaticanus version of deuterocanonical Book of Tobit, the conclusion of which finds Tobit's son, Tobias, rejoicing at the news of Nineveh's destruction by Nebuchadnezzar and Ahasuerus in apparent fulfillment of Jonah's prophecy against the Assyrian capital. The Codex Sinaiticus version of the book, which is longer and aligns more closely with the Dead Sea Scrolls, refers to Nahum instead of Jonah, as well as Cyaxares instead of Nebuchadnezzar and Ahasuerus. This more reliable version of the story is the basis for most modern translations.
In Christianity.
In the New Testament.
In the New Testament, Jonah is mentioned in the gospels of Matthew and Luke. In Matthew, Jesus makes a reference to Jonah when he is asked for a sign by some of the scribes and the Pharisees. Jesus says that the sign will be the sign of Jonah: Jonah's restoration after three days and three night inside the great fish prefigures his own resurrection.
<templatestyles src="Template:Blockquote/styles.css" />39He answered, "A wicked and adulterous generation asks for a sign! But none will be given it except the sign of the prophet Jonah. 40For as Jonah was three days and three nights in the belly of a huge fish, so the Son of Man will be three days and three nights in the heart of the earth. 41The men of Nineveh will stand up at the judgment with this generation and condemn it; for they repented at the preaching of Jonah, and now something greater than Jonah is here."
In Luke, Jesus makes a reference to Jonah in an eschatological prophecy, after a woman in the crowd suddenly exclaims, "Blessed is the womb that bare thee, and the paps which thou hast sucked" (Luke 11:27 - King James Version):
<templatestyles src="Template:Blockquote/styles.css" />29And when the people were gathered thick together, he began to say, "This is an evil generation: they seek a sign; and there shall no sign be given it, but the sign of Jonas the prophet. 30For as Jonas was a sign unto the Ninevites, so shall also the Son of man be to this generation. 31The queen of the south shall rise up in the judgment with the men of this generation, and condemn them: for she came from the utmost parts of the earth to hear the wisdom of Solomon; and, behold, a greater than Solomon is here. 32The men of Nineve shall rise up in the judgment with this generation, and shall condemn it: for they repented at the preaching of Jonas; and, behold, a greater than Jonas is here. 33No man, when he hath lighted a candle, putteth it in a secret place, neither under a bushel, but on a candlestick, that they which come in may see the light. 34The light of the body is the eye: therefore when thine eye is single, thy whole body also is full of light; but when thine eye is evil, thy body also is full of darkness. 35Take heed therefore that the light which is in thee be not darkness. 36If thy whole body therefore be full of light, having no part dark, the whole shall be full of light, as when the bright shining of a candle doth give thee light."
Jonah is regarded as a saint by a number of Christian denominations. His feast day in the Roman Catholic Church is on 21 September, according to the "Martyrologium Romanum". On the Eastern Orthodox liturgical calendar, Jonah's feast day is on 22 September (for those churches which follow the traditional Julian calendar; 22 September currently falls in October on the modern Gregorian calendar). In the Armenian Apostolic Church, moveable feasts are held in commemoration of Jonah as a single prophet and as one of the Twelve Minor Prophets. Jonah's mission to the Ninevites is commemorated by the Fast of Nineveh in Syriac and Oriental Orthodox Churches. Jonah is commemorated as a prophet in the Calendar of Saints of the Missouri Synod of the Lutheran Church on 22 September.
Christian theologians have traditionally interpreted Jonah as a type for Jesus Christ. Jonah being in swallowed by the giant fish was regarded as a foreshadowing of Jesus's crucifixion and Jonah emerging from the fish after three days was seen as a parallel for Jesus emerging from the tomb after three days. Saint Jerome equates Jonah with Jesus's more nationalistic side, and justifies Jonah's actions by arguing that "Jonah acts thus as a patriot, not so much that he hates the Ninevites, as that he does not want to destroy his own people."
Post-Biblical views.
Other Christian interpreters, including Saint Augustine and Martin Luther, have taken a directly opposite approach, regarding Jonah as the epitome of envy and jealousness, which they regarded as inherent characteristics of the Jewish people. Luther likewise concludes that the "kikayon" (plant) represents Judaism, and that the worm which devours it represents Christ. Luther also questioned the idea that the Book of Jonah was ever intended as literal history, commenting that he found it hard to believe that anyone would have interpreted it as such if it were not in the Bible. Luther's antisemitic interpretation of Jonah remained the prevailing interpretation among German Protestants throughout early modern history. J. D. Michaelis comments that "the meaning of the fable hits you right between the eyes", and concludes that the Book of Jonah is a polemic against "the Israelite people's hate and envy towards all the other nations of the earth." Albert Eichhorn was a strong supporter of Michaelis's interpretation.
John Calvin and John Hooper regarded the Book of Jonah as a warning to all those who might attempt to flee from the wrath of God. While Luther had been careful to maintain that the Book of Jonah was not written by Jonah, Calvin declared that the Book of Jonah was Jonah's personal confession of guilt. Calvin sees Jonah's time inside the fish's belly as equivalent to the fires of Hell, intended to correct Jonah and set him on the path of righteousness. Also, unlike Luther, Calvin finds fault with all the characters in the story, describing the sailors on the boat as "hard and iron-hearted, like Cyclops'", the penitence of the Ninevites as "untrained", and the king of Nineveh as a "novice". Hooper, on the other hand, sees Jonah as the archetypal dissident and the ship he is cast out from as a symbol of the state. Hooper deplores such dissidents, decrying: "Can you live quietly with so many Jonasses? Nay then, throw them into the sea!" In the eighteenth century, German professors were forbidden from teaching that the Book of Jonah was anything other than a literal, historical account.
In Islam.
Quran.
Jonah () is the title of the tenth chapter of the Quran. Yūnus is traditionally viewed as highly important in Islam as a prophet who was faithful to God and delivered His messages. Jonah is the only one of Judaism's Twelve Minor Prophets to be named in the Quran. In and , Jonah is called Dhul-Nūn (; meaning "The One of the Fish"). In 4:163 and 6:86, he is referred to as "an apostle of Allah". Surah 37:139–148 retells the full story of Jonah:
<templatestyles src="Template:Blockquote/styles.css" />And verily, Jonah was among the messengers.
[Mention] when he ran away to the laden ship.
Then (to save it from sinking) he drew straws (with other passengers). He lost and was thrown overboard.
Then the whale engulfed him while he was blameworthy.
Had it not been that he (repented and) glorified Allah,
He would certainly have remained inside the Fish till the Day of Resurrection.
But We cast him onto the open (shore), (totally) worn out,
and caused a squash plant to grow over him.
We (later) sent him (back) to (his city of) at least one hundred thousand people,
And they believed, so We allowed them enjoyment for a while.
The Quran never mentions Jonah's father, but Muslim tradition teaches that Jonah was from the tribe of Benjamin and that his father was Amittai.
Hadiths.
Jonah is also mentioned in a few incidents during the lifetime of Muhammad. Quraysh sent their servant, Addas, to serve him grapes for sustenance. Muhammad asked Addas where he was from and the servant replied Nineveh. "The town of Jonah the just, son of Amittai!" Muhammad exclaimed. Addas was shocked because he knew that the pagan Arabs had no knowledge of the prophet Jonah. He then asked how Muhammad knew of this man. "We are brothers," Muhammad replied. "Jonah was a Prophet of God and I, too, am a Prophet of God." Addas immediately accepted Islam and kissed the hands and feet of Muhammad.
One of the sayings attributed to Muhammad, in the collection of Imam Bukhari, says that Muhammad said "One should not say that I am better than Jonah". Umayya ibn Abi al-Salt, an older contemporary of Muhammad, taught that, had Jonah not prayed to Allah, he would have remained trapped inside the fish until Judgement Day, but, because of his prayer, Jonah "stayed only a few days within the belly of the fish".
The ninth-century Persian historian Al-Tabari records that, while Jonah was inside the fish, "none of his bones or members were injured". Al-Tabari also writes that Allah made the body of the fish transparent, allowing Jonah to see the "wonders of the deep" and that Jonah heard all the fish singing praises to Allah. Kisai Marvazi, a tenth-century poet, records that Jonah's father was seventy years old when Jonah was born and that he died soon afterwards, leaving Jonah's mother with nothing but a wooden spoon, which turned out to be a cornucopia.
Claimed tombs.
Nineveh's current location is marked by excavations of five gates, parts of walls on four sides, and two large mounds: the hill of Kuyunjik and hill of Nabi Yunus. A mosque atop Nabi Yunus was dedicated to the prophet Jonah and contained a shrine, which was revered by both Muslims and Christians as the site of Jonah's tomb. The tomb was a popular pilgrimage site and a symbol of unity to Jews, Christians, and Muslims across the Middle East. On July 24, 2014, the Islamic State of Iraq and the Levant (ISIL) destroyed the mosque containing the tomb as part of a campaign to destroy religious sanctuaries it deemed to be idolatrous. After Mosul was taken back from ISIL in January 2017, an ancient Assyrian palace built by Esarhaddon dating to around the first half of the 7th century BCE was discovered beneath the ruined mosque. ISIL had plundered the palace of items to sell on the black market, but some of the artifacts that were more difficult to transport still remained in place.
Other reputed locations of Jonah's tomb include:
Scholarly interpretations.
The story of a man surviving after being swallowed by a whale or giant fish is classified in the catalogue of folktale types as ATU 1889G.
Historicity.
Many Biblical scholars hold that the contents of the Book of Jonah are ahistorical. Although the prophet Jonah allegedly lived in the eighth century BCE, the Book of Jonah was written centuries later during the time of the Achaemenid Empire. The Hebrew used in the Book of Jonah shows strong influences from Aramaic and the cultural practices described in it match those of the Achaemenid Persians. Some scholars regard the Book of Jonah as an intentional work of parody or satire. If this is the case, then it was probably admitted into the canon of the Hebrew Bible by sages who misunderstood its satirical nature and mistakenly interpreted it as a serious prophetic work.
Jonah himself may have been a historical prophet; he is briefly mentioned in the Second Book of Kings:
<templatestyles src="Template:Blockquote/styles.css" />He restored the border of Israel from the entrance of Hamath unto the sea of the Arabah, according to the word of the LORD, the God of Israel, which He spoke by the hand of His servant Jonah the son of Amittai, the prophet, who was of Gath-hepher.
In a lecture delivered in 1978 and published in 1979, Assyriologist Donald Wiseman defended the plausibility of many aspects of the story, supporting "the tradition that many features in the narrative exhibit an intimate and accurate knowledge of Assyria which could stem from an historical event as early as the eighth century B.C.", concluding that "the story of Jonah need not be considered as a late story or parable".
Parodic elements.
The views expressed by Jonah in the Book of Jonah are a parody of views held by members of Jewish society at the time when it was written. The primary target of the satire may have been a faction whom Morton Smith calls "Separationists", who believed that God would destroy those who disobeyed him, that sinful cities would be obliterated, and that God's mercy did not extend to those outside the Abrahamic covenant. McKenzie and Graham remark that "Jonah is in some ways the most 'orthodox' of Israelite theologians – to make a theological point." Jonah's statements throughout the book are characterized by their militancy, but his name ironically means "dove", a bird which the ancient Israelites associated with peace.
Jonah's rejection of God's commands is a parody of the obedience of the prophets described in other Old Testament writings. The king of Nineveh's instant repentance parodies the rulers throughout the other writings of the Old Testament who disregard prophetic warnings, such as Ahab and Zedekiah. The readiness to worship God displayed by the sailors on the ship and the people of Nineveh contrasts ironically with Jonah's own reluctance, as does Jonah's greater love for "kikayon" providing him shade than for all the people in Nineveh.
The Book of Jonah also employs elements of literary absurdism; it exaggerates the size of the city of Nineveh to an implausible degree and incorrectly refers to the administrator of the city as a "king". According to scholars, no human could realistically survive for three days inside a fish, and the description of the livestock in Nineveh fasting alongside their owners is "silly".
Some of these points are countered in the aforementioned lecture of Donald Wiseman.
The motif of a protagonist being swallowed by a giant fish or whale became a stock trope of later satirical writings. Similar incidents are recounted in Lucian of Samosata's "A True Story", which was written in the second century CE, and in the novel "Baron Munchausen's Narrative of his Marvellous Travels and Campaigns in Russia", published by Rudolf Erich Raspe in 1785.
The fish.
Translation.
Though art and culture often depicts Jonah's fish as a whale, the Hebrew text, as throughout scripture, refers to no marine species in particular, simply saying "great fish" or "big fish". While some biblical scholars suggest the size and habits of the great white shark correspond better to the representations of Jonah's experiences, normally an adult human is too large to be swallowed whole. The development of whaling from the 18th century onwards made it clear that most, if not all, species of whale are incapable of swallowing a human, leading to much controversy about the veracity of the biblical story of Jonah.
In Jonah 2:1 (1:17 in English translations), the Hebrew text reads "dag gadol" (דג גדול) or, in the Hebrew Masoretic Text, "dāḡ gāḏōl" (דָּ֣ג גָּד֔וֹל), which means "great fish". The Septuagint translates this phrase into Greek as "kētei megalōi" (κήτει μεγάλῳ), meaning "huge fish". In Greek mythology, the same word meaning "fish" ("kêtos") is used to describe the sea monster slain by the hero Perseus that nearly devoured the Princess Andromeda. Jerome later translated this phrase as "piscis grandis" in his Latin Vulgate. He translated "koilia kétous", however, as "ventre ceti" in Matthew 12:40: this second case occurs only in this verse of the New Testament.
At some point "cetus" became synonymous with "whale" (the study of whales is now called "cetology"). In his 1534 translation, William Tyndale translated the phrase in Jonah 2:1 as "greate fyshe" and the word "kétos" (Greek) or "cetus" (Latin) in Matthew 12:40 as "whale". Tyndale's translation was later incorporated into the Authorized Version of 1611. Since then, the "great fish" in Jonah 2 has been most often interpreted as a whale. In English some translations use the word "whale" for Matthew 12:40, while others use "sea creature" or "big fish".
Scientific speculation.
In the seventeenth and eighteenth centuries, naturalists, interpreting the Jonah story as a historical account, became obsessed with trying to identify the exact species of the fish that swallowed Jonah. In the mid-nineteenth century, Edward Bouverie Pusey, professor of Hebrew at Oxford University, claimed that the Book of Jonah must have been authored by Jonah himself and argued that the fish story must be historically true, or else it would not have been included in the Bible. Pusey attempted to scientifically catalogue the fish, hoping to "shame those who speak of the miracle of Jonah's preservation in the fish as a thing less credible than any of God's other miraculous doings".
The debate over the fish in the Book of Jonah played a major role during Clarence Darrow's cross-examination of William Jennings Bryan at the Scopes trial in 1925. Darrow asked Bryan "When you read that ... the whale swallowed Jonah ... how do you literally interpret that?" Bryan replied that he believed in "a God who can make a whale and can make a man and make both of them do what He pleases." Bryan ultimately admitted that it was necessary to interpret the Bible, and is generally regarded as having come off looking like a "buffoon".
The largest of all whales – blue whales – are baleen whales which eat plankton; and "it is commonly said that this species would be choked if it attempted to swallow a herring." The largest of all fishes – the whale shark — has a large mouth, but its throat is only four inches wide, with a sharp elbow or bend behind the opening, such that not even a human arm would be able to pass through it. Therefore, Jonah could not have been swallowed by a whale shark.
Sperm whales, however, appear to be a different matter: They regularly eat giant squid, so presumably one could swallow a human. Similar to a cow, sperm whales have four-chambered stomachs. The first chamber has no gastric juices but has muscular walls to crush its food. On the other hand, it is not possible to breathe inside the sperm whale's stomach because there is no air (but probably methane instead). A 2023 novel by Daniel Kraus explores the idea of a man surviving being swallowed by a sperm whale, but with an oxygen tank.
Cultural influence.
In Turkish, "Jonah's fish" ("yunus balığı") is the term used for dolphins. A long-established expression among sailors uses the term "a Jonah" to mean a sailor/passenger whose presence on board brings bad luck and endangers the ship. Later, this meaning was extended to "a person who carries a jinx, one who will bring bad luck to any enterprise."
Despite its brevity, the Book of Jonah has been adapted