Michelangelo was not just a master artist; he was also a cunning deceiver. Throughout his career, he successfully misled wealthy art enthusiasts on several occasions. His remarkable talent even allowed him to forge the renowned Laocoön Group.

Great artists have often drawn inspiration from others, and this practice sometimes led to significant personal growth. Michelangelo is a prime example of this, having copied numerous pieces during his formative years. Had copyright laws existed in his time, he would likely have faced legal repercussions for his imitations.

His journey began in the workshop of David and Domenico Ghirlandaio. As noted by his biographer, Giorgio Vasari, when Domenico painted a woman on the wall and asked his students to replicate it, Michelangelo not only matched the drawing but enhanced it as well.

Over time, Michelangelo honed his skills to such an extent that distinguishing his fakes from the originals became nearly impossible. For amusement, he would sometimes replicate a famous artist's piece brought into the workshop and hand the copy back to the owner. When they accepted it without hesitation, he would unveil the original, revealing that they could not tell the difference. His copies were so precise that even the canvas or paper stains were identical.

Michelangelo's exceptional abilities caught the eye of Lorenzo de’ Medici, a prominent art patron. Lorenzo provided him with accommodation, education, and a steady income. One of Michelangelo's early projects for Lorenzo involved recreating an ancient Faun mask. However, he did not precisely replicate it, as its incomplete dentition was at odds with his aesthetic sensibilities. Ultimately, he made adjustments, removing two teeth to achieve a more pleasing appearance.

One of Michelangelo's notable later works involved crafting a statue of a sleeping Cupid, commissioned by Lorenzo di Pierfrancesco de’ Medici in the mid-1490s. The Medici admired the piece but were concerned about the brightness of the marble, which diverged from the tones of ancient sculptures. Following the patron's advice, Michelangelo buried the statue in acidic soil to give it an aged appearance. The result was impressive; the statue gained a patina that made it resemble a work from antiquity.

This transaction took an unexpected turn when the Medici sold the statue to Cardinal Raffaele Riario as an antique for 200 gold ducats, while Michelangelo only received 30 ducats for his efforts. After rumors circulated in Rome suggesting the cardinal could not discern a genuine antique from a modern creation, Riario sent an investigator to uncover the truth. The investigator quickly identified Michelangelo as the sculptor, prompting the cardinal to demand a refund from the merchant.

This episode brought Michelangelo a degree of notoriety. While one could argue he was merely a victim of circumstance, it raises questions about whether this experience might have inadvertently nudged him toward forgery—if it indeed occurred—thus earning it the title of one of history's greatest deceptions.

In January 1506, a groundbreaking discovery in Rome revealed a statue depicting Laocoön and his sons struggling against serpents. This sculpture, later acquired by Pope Julius II, was hailed as an extraordinary example of ancient artistry. Initially attributed to sculptors from Rhodes, the Laocoön Group was lost to history until its rediscovery coincided with a resurgence of interest in classical art.

However, in 2005, Dr. Lynn Catterson from Columbia University claimed that the sculpture was not an ancient Greek artifact but rather a Renaissance forgery by Michelangelo himself. This assertion raised eyebrows; how could such a significant truth remain hidden for centuries?

Catterson argued that the evidence supporting her claim was compelling, including a drawing by Michelangelo dated 1501 that resembled Laocoön’s back. Allegedly, Michelangelo was present at the sculpture's discovery and later crafted a missing arm, which matched the original arm found in 1906.

Financial records from 1498 to 1501 revealed unusual expenses that Catterson linked to the purchase of marble for the Laocoön Group, suggesting a connection to Michelangelo’s involvement. Furthermore, the emotional depth and dynamism of the sculpture bore hallmarks of Michelangelo's unique artistic style, similar to that seen in his Vatican Pietà.

Despite these claims, Dr. Catterson's theories faced skepticism from experts in ancient art, who argued that her evidence was tenuous. The drawing, in particular, was criticized for not bearing resemblance to the Laocoön sculpture at all.

Moreover, the Laocoön Group's distinctiveness from other ancient sculptures and its dramatic expression led many to dismiss the idea that it was a Renaissance creation. Although Catterson's theory may not be entirely without merit, it does raise intriguing questions. Michelangelo possessed the skills and motives necessary for forgery, especially as he began his career in Rome under the patronage of Pope Julius II, who greatly valued the Laocoön Group.

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