Researchers from the University of Paris-Saclay have identified signs of breast cancer in a woman featured in Michelangelo’s Sistine Chapel masterpiece, ‘The Flood’.
This includes a deformed nipple and a slight bulge in her breast, which is ‘consistent with a lump’.
The researchers believe the representation of breast cancer may have been a message on the inevitability of death.
‘Michelangelo’s depiction in «The Flood» suggests characteristics of breast cancer,’ the researchers wrote in their study.
‘The evidence of the pathology is fully corroborated by the symbolism and the theological meaning underlying this representation of life and death.’
The Sistine Chapel – Cappella Sistina in Italian – is known for the stunning frescoes that decorate its ceiling, which were painted by Michelangelo between 1508 and 1512.
Despite their worldwide fame, scientists are still spotting new details in his works.
In a new study, researchers from the University of Paris-Saclay have identified signs of breast cancer in a woman featured in ‘The Flood’ fresco
Every year, around five million people flock to Rome to visit the Sistine Chapel. The chapel – Cappella Sistina in Italian – is known for the stunning frescoes that decorate its ceiling, which were painted by Michelangelo between 1508 and 1512
Michelangelo began painting figures in the Sistine Chapel in 1508, after being ordered to do so by Pope Julius II.
The key theme is the story of the Genesis in the Old Testament, with ‘The Flood’ showing a group of people fleeing from the rising water.
One young woman included in the left side of The Flood is almost naked, wearing only a blue headscarf and a blue cloak.
In their new study, the researchers noticed that her left breast appears to have several signs of breast cancer, including a deformed nipple, and a slight bulge.
‘The contrast with the right breast is evident,’ the researchers, led by Andreas Nerlich, wrote in their study, published in The Breast.
‘Although slightly elevated by her right arm, there is a significantly retracted and deformed nipple.
‘The areolar/periareolar skin is retracted, the medial part of the areola seems eroded, the skin cranial to the nipple is deeply indented and scar-like retracted.
‘No overt ulcer is depicted. The upper medial quadrant shows a slight bulge consistent with a lump.’
In their new study, the researchers noticed that her left breast appears to have several signs of breast cancer, including a deformed nipple, and a slight bulge
The researchers acknowledge that some might argue that the woman depicted is quite young for a breast cancer diagnosis, given that today, 85 per cent of patients with the diease are over 50.
‘However, applying modern data to the Renaissance period is not entirely accurate, as the average life expectancy then was around 35 years, which could have influenced the presentation and characteristics of cancer at that time,’ they added.
The team note that Michelangelo began assisting in autopsies when he was 17 years old, so would have likely seen cases of breast cancer before.
As for why he decided to include it in the fresco, the researchers have several theories.
One theory suggests that the people fleeing the Flood may represent the seven deadly sins, with the woman depicting Lust.
‘There are a few types of individuals who «represent» the seven deadly sins: gluttony and sloth (the man with the barrel), anger (the people fighting in the boat), covetousness (the woman carrying her household assets).
‘All these details indicate the reasons for their punishment.
‘Perhaps BC [breast cancer] may represent a personal punishment for lust.’
Alternatively, the representation of breast cancer may be linked to the concept of death, according to the researchers.
‘As an expression of Neoplatonism, by which Michelangelo was influenced, the pursuit of beauty and harmony could lead to immortality, whereas physical disfiguration or illness was an expression of spiritual abyss,’ the team added.
‘This metaphor shall be taken into consideration when the woman lifts up her breast so that it can be clearly observed by the viewer.
‘Michelangelo’s individuals are painfully aware of their destiny rather than being petrified by the danger that hovers over them.’
