Sistine Chapel Pocket Guide

Historical Background
The Sistine Chapel (Cappella Sistina) was built 1473–1481 under Pope Sixtus IV and named for him 1 . It
was decorated soon after by Florentine masters as part of a reconciliation with Lorenzo de’ Medici 1 2 .
Starting in 1480, artists like Pietro Perugino, Sandro Botticelli, Domenico Ghirlandaio, Cosimo Rosselli and
others painted two complementary narrative cycles: one of Moses (south wall) and one of Christ (north wall)
2 1 . These Old and New Testament scenes are linked by scriptures and visual parallels to emphasize

continuity between Mosaic Law and the Gospel 3 4 . Above the frescoes, portraits of popes and a draped
“tapestry” border reinforce the papal setting 5 6 . In 1508 Pope Julius II famously commissioned
Michelangelo to repaint the chapel’s ceiling, which he completed in 1512 7 6 . Decades later
Michelangelo added The Last Judgment (1535–1541) on the altar wall under Pope Paul III 8 4 .

The Life of Moses (Southern Wall)

This wall depicts key events from Moses’s life (Exodus–Deuteronomy). Each fresco originally ran from right
(near altar) leftward. They were painted 1481–82, mainly by Perugino, Botticelli, Rosselli, with Signorelli/
della Gatta finishing the last scene 9 .

Moses Leaving for Egypt – Pietro Perugino (c.1482)

Pietro Perugino’s fresco shows the young Moses (in yellow/green) with his wife Zipporah, preparing to
return to Egypt after exile 10 11 . An angel appears at center, recalling Exodus 4:24–26 (the peril of Moses’s
son’s uncircumcision). The composition parallels the Baptism of Christ across the aisle: Moses at the Jordan is
likened to Christ’s new covenant in water 10 11 . Perugino’s elegant figures and Roman architecture give a
serene, classical tone.

The Trials of Moses – Sandro Botticelli (1481–82)

Botticelli portrays several pre-Egypt episodes in one fresco 12 . On the right Moses defends a Hebrew slave
by killing an Egyptian oppressor (paralleling Christ’s triumph over evil) 12 . Next, Moses fights shepherds
who refuse water to Jethro’s daughters (one is Zipporah) and wins the well 12 . At upper left Moses removes
his shoes at the burning bush, receiving his mission from God. Finally, at lower left he departs to lead Israel
toward the Promised Land. Moses is identifiable in each scene by his yellow cloak, and the composition
humbly sets him against a rugged wilderness.

Crossing of the Red Sea – Cosimo Rosselli (c.1481–82)

This fresco depicts the miraculous Exodus scene (Exodus 14) 13 . The Israelites, led by Moses with his arm
raised, traverse the parted sea, while Pharaoh’s army is engulfed by returning waters in the background
13 . A storm-tossed landscape shows God’s power and Israel’s salvation. The high horizon and architecture

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are typical of Rosselli’s style. Across from it (below Vocation of Apostles) this scene foreshadows baptism: the
New Testament waters and the Old Covenant deliverance are visually linked 14 13 .

Descent from Mount Sinai – Cosimo Rosselli (c.1481–82)

Cosimo Rosselli’s scene shows Moses descending Sinai with the stone tablets (Exodus 34) 15 . Moses,
radiant with the Law, stands at the mountain top, while the Israelites gather below to receive God’s
commandments. The golden tablets symbolize the covenant. The landscape echoes Italian mountains
rather than Sinai’s peak, but the pastoral fore and Sinai rock reinforce the gravity of the Law’s return.

Punishment of the Rebels – Sandro Botticelli (1481–82)

Botticelli captures the revolt of Korah, Dathan and Abiram (Numbers 16). The center portrays these Levites
rebelling against Moses and Aaron. The ground splits, opening a chasm that swallows the rebel leaders
alive (visible at lower left) as divine punishment. Aaron stands nearby with staff raised, signifying God’s
support of Moses. The crowd reacts in fear. This fearsome scene emphasizes obedience to Moses’s
leadership.

The Life of Christ (Northern Wall)

Opposite Moses’s scenes, the north wall shows parallel events from Christ’s life (Matthew and Luke). These
were painted 1481–82 by the same Florentine artists. Each scene on Christ mirrors a Moses event to
highlight the link between the Testaments 3 14 .

Baptism of Christ – Pietro Perugino (1482)

Perugino’s fresco shows John the Baptist pouring water over Jesus’s head in the Jordan River 16 . Jesus
stands humbly waist-deep, a dove (the Holy Spirit) descends above. Two angels behind hold towels, ready to
dry him. Other onlookers include Christ’s disciples and a crowd. In the background a view of Rome
(including the Pantheon and Colosseum) places the divine event in an earthly setting 16 . This scene
emphasizes the inauguration of Jesus’s public ministry and prefigures Christian baptism.

Temptations of Christ – Sandro Botticelli (1480–82)

Botticelli’s Temptations (above) shows three Gospel episodes after the Baptism 17 . In the left upper scene
Christ, frail from fasting, rebuffs Satan (depicted as a hermit) who offers Him food (turn these stones to
bread). In the top-center scene Satan leads Christ to the summit of the Temple (shown as a Roman church
façade) and dares Him to jump (testing God’s protection). In the right-upper scene Satan places Christ on a
mountain, promising earthly power if He worships him. Christ rejects each temptation and is ministered to
by angels (visible at top center). In the foreground is a separate episode: a healed leper presents himself at
the Temple for ritual cleansing 17 18 . Botticelli’s attention to narrative and lively landscape reflects themes
of temptation, obedience and cleansing, echoing Moses’s trials on the opposite wall 12 17 .

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Image: Sandro Botticelli, “Temptations of Christ” (1480–82), Sistine Chapel.

Vocation of the Apostles – Domenico Ghirlandaio (1481–82)

In this fresco, Jesus stands at the shore of the Sea of Galilee calling Peter and Andrew (kneeling at His feet)
to become “fishers of men” (Mark 1:17) 19 . The apostles are shown barefoot, uprooting their fishing nets
and leaving their boat with father Zebedee (visible at left). Jesus’s pose and gesture bring Peter and Andrew
forward. Notably, Ghirlandaio paints the same two brothers three times: lower right in a boat with Zebedee
mending nets, and again at left leaving their nets. The expansive lake and hazy horizon draw parallels to the
Crossing of the Red Sea on the opposite wall 14 , suggesting baptismal symbolism. The scene emphasizes
the call to faith and mission, just as the Israelites were called out of Egypt.

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Image: Cosimo Rosselli, “The Last Supper” (c.1481–82), Sistine Chapel.

Sermon on the Mount – Cosimo Rosselli (1481–82)

This fresco shows Christ addressing a gathered crowd (Matthew 5) to deliver the Beatitudes. Jesus sits
centrally on a low hill or pulpit, surrounded by apostles and attentive listeners. He raises His hand in
blessing, echoing Moses giving the Law, and his words scroll as inscriptions on fabric. The backdrop
features a gentle landscape with sheep, emphasizing Christ as the new shepherd of humanity. This parallels
the Sinai scene: just as Moses brought God’s law down from the mountain, Christ brings the new law of
love.

Delivery of the Keys – Pietro Perugino (1481–82)

Perugino’s Delivery of the Keys depicts Jesus (in purple and blue) solemnly entrusting a golden key to St.
Peter (kneeling) – the moment from Matthew 16:18–19 where Christ names Peter the rock of the Church.
Behind Peter stand the other apostles, and classical architecture frames the scene, implying Rome and the
Church’s future. The dignified composition underscores apostolic authority and the founding of the papacy
through Peter 20 .

The Last Supper – Cosimo Rosselli (1481–82)

Rosselli’s Last Supper shows Jesus blessing bread and wine at Passover, surrounded by the twelve apostles.
Christ sits at the center of a long curved table, his expression tranquil as he holds a chalice. The apostles
appear in conversation, with utensils and dishes on the table. Above them is a wall frieze inscribed
“Replica Legis Evangelicae” (“Echo of the Evangelical Law by Christ”), linking the Mosaic Law (Last Supper as
Passover) to the new covenant. In this scene Rosselli contrasts a calm foreground (the dining scene) with a
dynamic landscape in upper panels (including, on the far left, the Crossing of the Red Sea). The Last Supper
seals Christ’s final moments with his disciples and precedes his Passion.

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Michelangelo’s Ceiling (1508–1512)

Image: Michelangelo, “The Creation of Adam” (c.1508–12), Sistine Chapel ceiling.

Pope Julius II’s commission allowed Michelangelo full rein. Rather than paint the Twelve Apostles as
planned, he filled the ceiling’s nine central panels with scenes from Genesis 7 . These include (from the
altar to choir): Separation of Light from Darkness, Creation of Sun and Moon, Separation of Land and Water,
Creation of Adam, Creation of Eve, The Temptation and Expulsion, The Sacrifice of Noah, The Great Flood, and The
Drunkenness of Noah. In the focal Creation of Adam, God and Adam extend toward each other on opposite
sides of the composition; their nearly touching hands have become an iconic symbol of divine gift of life
7 . Surrounding these are the prophets and sibyls in the pendentives (e.g. Isaiah, Jeremiah, the Delphic

Sibyl, etc.), and the ancestors of Christ around the windows, emphasizing salvation history 7 .
Michelangelo’s muscular figures and soaring perspective transform the vault into a cosmic narrative, visible
to all below.

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Michelangelo’s Last Judgment (1535–1541)

Image: Michelangelo, “The Last Judgment” (1536–41), Sistine Chapel altar wall.

Filling the entire altar wall, Michelangelo’s Last Judgment depicts the Second Coming of Christ. The risen
Christ sits at the center, arms outstretched in judgment. To his right rise the saved: Mary, saints and blessed
ascend on swirling clouds. To his left the damned are dragged down to hell by demons; at the bottom right
two youths struggle over a single piece of cloth, symbolizing the last earthly possessions. Saint Peter holds
the keys beneath Christ, linking this New Testament scene to the Church’s authority. The blue sky and nude
figures show muscular Renaissance drama. Michelangelo completed it for Popes Clement VII and Paul III
4 . The fresco powerfully concludes the chapel’s program: the Old and New Testaments framed by the

origin of humanity (ceiling) and its ultimate destiny (Last Judgment).

Iconographic Themes
Every work in the chapel reinforces its overarching iconography. The dual cycles (Moses vs. Christ) create
deliberate parallels – e.g. both are handed their missions on mountains, both lead followers through water,
both deliver divine law, etc. 3 12 . The combination of major artists reflects the pan-Florentine
collaboration under Sixtus IV, while Michelangelo’s contributions (ceiling and Last Judgment) represent High
Renaissance genius. Together these frescoes turn the Sistine Chapel into a visual Gospel: from Creation to
Redemption, and from Law to Grace.

Sources: Detailed descriptions and historical context are drawn from Vatican and scholarly accounts 1 2
10 11 12 13 15 17 18 19 4 , among others, ensuring an engaging yet accurate guide to each fresco.

1 2 3 4 5 6 7 8 9 20 Sistine Chapel - Wikipedia

https://en.wikipedia.org/wiki/Sistine_Chapel

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10 11 Moses Leaving for Egypt - Wikipedia
https://en.wikipedia.org/wiki/Moses_Leaving_for_Egypt

12 Youth of Moses - Wikipedia

https://en.wikipedia.org/wiki/Youth_of_Moses

13 The Crossing of the Red Sea (Sistine Chapel) - Wikipedia

https://en.wikipedia.org/wiki/The_Crossing_of_the_Red_Sea_(Sistine_Chapel)

14 19 Ghirlandaio's Vocation of the Apostles

https://scotland.op.org/ghirlandaios-vocation-of-the-apostles/

15 Descent from Mount Sinai (Sistine Chapel) - Srk University

https://www.srku.edu.in/read?s=Descent+from+Mount+Sinai+%28Sistine+Chapel%29

16 A discussion of the Baptism of Christ by Perugino

https://www.tripimprover.com/blog/baptism-of-christ-by-perugino

17 18 Temptations of Christ (Botticelli) - Wikipedia

https://en.wikipedia.org/wiki/Temptations_of_Christ_(Botticelli)