A marble bust in a Roman basilica was attributed to Michelangelo nearly 200 years after it was last associated with the Renaissance master. The sculpture of Jesus Christ in the Basilica of Sant’Agnese fuori le mura had been attributed to Michelangelo until the early 19th century, after which its origins were thought to have come from other hands. But as reported by Reuters, “Italian independent researcher Valentina Salerno—a member of the Vatican committee for the celebrations marking the 500th anniversary of Michelangelo’s birth—has re-attributed the sculpture to the Tuscan artist.” Related Articles 'Old Masters Are Back!' New York Sales Set Records for Gentileschi, Michelangelo, and Rembrandt Drawing of Foot Recently Discovered as Authentic Michelangelo Work Sells for $27.2 M. at Christie's, Sets New Record At a press conference announcing the news, Franco Bergamin, of the Order of Lateran Canons Regular, said, “We have lived here since 1412, and the monumental complex of Sant’Agnese always holds surprises—this is one of them.” Salerno’s declaration derived from archival research into records, inventories, and correspondence related to Michelangelo’s years in Rome. ““I am not an art historian— in fact, I don’t even have a university degree—but the strength of my research lies in its reliance on public archival documents,” she said. Salerno continued: “At Michelangelo’s death, every powerful ruler would have wanted to claim something of the master. But the artist carefully devised the transfer of the material in his possession so that his art could be passed on to his pupils and thus to future generations.” A document she consulted referred to a safe room for storing Michelangelo’s artwork accessible only with multiple keys, and her theory is that the bust of Jesus was part of the transfer of similar works. About the reattribution, Reuters wrote, “The data that have emerged will form the basis of a broader attribution process aimed at progressively returning other forgotten works to Michelangelo’s hand and presenting the findings to the international scholarly community.” Meanwhile, the owner of a painting in Belgium claimed an previously unattributed canvas is in fact a work by Michelangelo—big if true, as only four other paintings are thought to be his. As reported by Belga News Agency, “The painting, a pietà showing the dead Christ held by the Virgin Mary, was examined by journalists under strict secrecy at an undisclosed location in Brussels.” After the unattributed painting failed to sell at auction in 2020, it was acquired by its current owner, who “began further research after discovering two monograms shaped like a stylised ‘M’ on the painting.” Scientists at the Royal Institute for Cultural Heritage, citing analysis including carbon dating, stated that the canvas was likely painted between 1520 and 1660—a claim given a measure of 95.4 percent probability. And art historian Michel Draguet, of the Université libre de Bruxelles, said certain aspects of the painting suggest Michelangelo’s hand, among them its sculptural composition, shading on Christ’s legs, and outline techniques familiar from other works by the artist. But the painting’s history is still an open question. As Belga reported, “Experts stress that the attribution is not yet certain. Researchers say more work is needed to trace the painting’s provenance and to have it reviewed by recognised Michelangelo specialists. By making the findings public, they hope to spark an international debate about the artwork’s true origin.”
