ROME — An independent researcher claims that a marble bust of Christ in a Roman church is by Michelangelo, the latest purported attribution to the Renaissance genius who is one of the most imitated artists in the world.
The unverified claim by Valentina Salerno has unsettled Renaissance scholars, especially since a recent sketch of a foot that was attributed to Michelangelo — but disputed by some as a copy — recently fetched $27.2 million at a Christie’s auction.
Given the stakes — and Salerno’s suggestion that several other works can now be attributed to Michelangelo based on her documentary research — leading experts have declined to comment.
Salerno has published her theory on the commercial website academia.edu, a non-peer-reviewed social networking site academics use, and announced the first “rediscovery” at a news conference Wednesday.
The claims have drawn perhaps more attention than they normally would, given the Vatican seemed at least initially interested. Friday marked the 550th anniversary of Michelangelo’s birth, and a number of exhibits, conferences, and commemorations are reviving attention about his genius and legacy.
The culture ministry was invited to participate in Salerno’s news conference but did not, said the abate of the order that runs the church, the Rev. Franco Bergamin, while the Carabinieri’s art squad refused to weigh in on the authenticity of the statue but said it was being protected and a laminated sign now graces the sculpture: “Alarm armed,” it reads.
“We hope that this asset, which belongs to our cultural heritage regardless of whether it can be attributed to Michelangelo Buonarroti or not, is part of the national heritage that we are responsible for defending,” said Lt. Col. Paolo Salvatori.
‘Documentary evidence on this’
Michelangelo Buonarroti, who lived from 1475 to 1564, created some of the most spectacular works of the Renaissance: the imposing statues of David in Florence and Pieta in St. Peter’s Basilica, the Sistine Chapel ceiling, and The Last Judgment fresco behind the chapel’s altar. Salerno now says she has located another — a bust of Christ in the Basilica of Sant’Agnese fuori le mura, listed by Italy’s culture ministry as anonymous from the Roman school of the 16th century.
She is not the first to make the claim. In 1996, Michelangelo expert William Wallace wrote an article in ArtNews about the well-documented history of wrongly attributing works to Michelangelo. It quoted the 19th-century French writer Stendhal as writing that at the Sant’Agnese church, “we noticed a head of the savior which I should swear is by Michelangelo.”
“Stendhal’s vow notwithstanding, the head has never been taken seriously, and nowadays would not even appear in a catalog raisonné under ‘rejected attributions,’” Wallace wrote.
Salerno suggests that several documents in the first few hundred years after Michelangelo’s death correctly attribute the work to the artist but that in 1984 a scholar debunked it, erroneously in her view, and it has remained wrongly attributed ever since.
“I have provided and will continue to provide — I hope, because the research continues — a whole series of documentary evidence on this,” she said. “There will be experts in the field who will conduct their own investigations. To date, we can say that, according to the documents, the object is attributed to Michelangelo.”
She suggested that the bust was modeled on Michelangelo’s intimate friend, Tomaso De’ Cavalieriis, and was part of the great artistic inheritance Michelangelo left to his friends and students when he died. Salerno said she came to the conclusion tracing wills, inventories, and notarized documents held in church and state archives and the archives of Roman confraternities to which Michelangelo and his students belonged.
Salerno, an actor and a fiction author, has no college degree or expertise in art history. She has said she fell into the research “by chance” when she set out to write a novel about Michelangelo 10 years ago.
According to her research published on academia.edu, Salerno uncovered evidence of a secret “pact of indissolubility” among some of Michelangelo’s students and their heirs to keep Michelangelo’s works after he died. The pact included the previously unknown existence of a chamber, whose locks could only be opened with three keys, held by three different students, she said.
Vatican takes note
Salerno’s research caught the eye of Cardinal Mauro Gambetti, who runs St. Peter’s Basilica. He named Salerno and her mentor to a scientific committee formed in 2025 to discuss a possible Vatican exhibition to commemorate the anniversary of Michelangelo’s birth.
Nothing has yet come of the committee’s work. But its members have downplayed the significance of Salerno’s work or refused to discuss it.
Some expressed surprise at her inclusion in a committee made up of some of the leading Renaissance and Michelangelo scholars in the world, including Barbara Jatta, director of the Vatican Museums; Hugo Chapman, curator of Italian and French drawings, from 1400 to 1800, at the British Museum; and Wallace, professor of art history at Washington University in St. Louis.
Jatta has distanced herself from the Vatican committee when contacted by the Associated Press.
The British Museum declined to make Chapman available for comment. Gambetti’s office did not respond to a request. Other committee members declined to comment.
Wallace told the AP that Salerno’s methodology was sound and noted that there is a strong tradition in Europe of noncredentialed researchers doing solid work. He said he agreed with her thesis that Michelangelo did not destroy his works in a fire, a commonly held belief at the time that has been debunked for years by scholars. Rather, he concurred with Salerno that Michelangelo entrusted what remained of his works in his final years to his students to finish his projects.
But he disputes Salerno’s conclusion that a huge treasure of Michelangelo’s was secreted away — and is therefore ripe for new discovery — saying Michelangelo simply was not producing that much in his final years. Michelangelo was overseeing six architectural projects in Rome at the time. What drawings he made were sketches to resolve technical problems on the worksite, and likely did not survive because they were merely “working drawings,” he said.
Wallace concurred that existence of a secret chamber that can be opened only with three keys is new. But he said proper academic scholarship would call for Salerno to transcribe the documents and allow for a peer-review process to take place.
Italy is no stranger to claims of new discoveries about old artists, with fakes, frauds, and new “discoveries” of Modiglianis and other artists a regular occurrence in art history circles.
“I think I counted up 45 attributions to Michelangelo since 2000, and not one of which you can remember or mention, but every single one arrived with the headline, ‘The greatest discovery of the time,’ [or] ‘It will change everything we think about Michelangelo,’” Wallace said. “And then, five years later, we can’t even remember what it was.”
