The statues of Leah and Rachel flank the celebrated sculpture of Moses on Michelangelo’s Tomb of Julius II commissioned in 1505 and only finally completed on a reduced scale in 1545. Originally, this monument was designed to incorporate over forty statues. To the disappointment of Michelangelo, its impressive scope was diminished through a series of revisions by the Pope.

The inclusion of Leah and Rachel was a later development replacing an earlier set of sculptures known as the Slaves. Leah is portrayed as a Roman matron dressed elaborately with an intricately braided hairstyle. Her gaze is cast downward in contrast to Rachel whose clasped hands and face are turned towards the heavens in prayer. The contrast between the sisters is further amplified by Rachel’s stark dress and lack of ornamentation.

Allegorical readings of Leah and Rachel are found in many writers—including Augustine and Dante—and probably served as inspirations for the artist. In particular, Dante describes a more reflective Rachel versus a Leah who proclaims that ‘action is my delight, reflection hers’ (Purgatory 27.108). Although Dante’s Rachel gazes contemplatively at her reflection in a mirror, one finds the opposite in Michelangelo’s sculpture. In her right hand, it is now Leah who holds what seems to be a mirror, interpreted by older biographers of Michelangelo as a symbol of prudence or wisdom (Frommel 2016: 66). The heavenward orientation in Rachel’s stance is a more straightforward adaptation of personifications of Faith. Thus, both sisters stand equally as symbols for the active and contemplative life, one focused on the heavenly and the other on the earthly world.

Leah and Rachel’s significance for Michelangelo is not clear, especially their inclusion in a monument designed to commemorate an ambitious pope like Julius II. Ironically, the statue of the pope on the upper tier is much smaller and less impressive than the central massive statue of Moses. Though Rachel and Leah are quite diminished in stature compared to Moses, Leah’s presence as an equal mother of Israel seems to be assumed by Michelangelo.

References

Alighieri, Dante. 1955. The Divine Comedy II: Purgatory trans. by Dorothy Sayers (New York: Penguin Classics)

Frommel, Christoph Luitpold. 2016. Michelangelo’s Tomb for Julius II: Genesis and Genius (Los Angeles: The J. Paul Getty Museum)