Cappella Paolina

Michelangelo's two frescoes in the Cappella Paolina, The Conversion of Saul and The Crucifixion of St Peter were painted from 1542 to 1549, the height of his fame, but were widely viewed as disappointments and even failures by their contemporary audience.

[2][3] The chapel was commissioned in 1538 by the order of Pope Paul III and completed in 1540 under the design and supervision of Antonio da Sangallo the Younger.

Given the ceremonial and personal significance of the chapel, it was to be expected that the Pope would require the services of a great artist for its decoration, and, in the opinion of both the Papacy and the people, there was no one greater than Michelangelo.

This is shown by a letter dated October 12, 1541 from Cardinal Alexander, Paul III's nephew, to Bishop Marco Vigerio which discusses the paintings to be carried out in the "New Chapel.

"[5] S. J. Freedberg notes that the two frescos in the Cappella Paolina, Michelangelo's last paintings, begun in November 1542, almost immediately after the Last Judgement, show from the start a major change in style, away from grace and aesthetic effect to an exclusive concern with illustrating the narrative, with no regard for beauty.

Before the opening of a conclave, the College of Cardinals assembles in this chapel to attend a sermon in which the members are reminded of their obligation to quickly give to the Church her ablest son as ruler and guide.

In 1549 and 1550, the Cappella Paolina was used for the papal conclave itself, the Sistine Chapel having been set aside and divided into 19 cells for use by infirm cardinals.