Michelangelo's Moses (1513-1515), created for the tomb of Pope Julius II, is celebrated for its expressive intensity and anatomical precision. While psychoanalytic and neuroaesthetic studies-from Freud's classic interpretation to contemporary imaging research-have highlighted its psychological power, less attention has been given to the anatomical structures that embody such restraint and authority. This essay focuses on the brachioradialis muscle in the right forearm of Moses, examining its role as both a functional anatomical detail and a sculptural symbol of controlled energy. Anatomically, the brachioradialis originates on the lateral supracondylar ridge of the humerus and inserts on the distal radius. Though located in the extensor compartment and innervated by the radial nerve, it primarily functions as an elbow flexor, especially in semi-pronation. Michelangelo's rendering captures this paradoxical muscle in a state of isometric contraction: the elbow flexed to 70-80 degrees, the forearm semi-pronated, and the hand gripping the tablets. The resulting bulge conveys readiness to act yet deliberate restraint, a visual translation of terribilità. Comparative analysis with Pollaiuolo, Leonardo, and Verrocchio reveals Michelangelo's unique synthesis of anatomical accuracy, biomechanical plausibility, and expressive intent. Psychoanalytic interpretations align with this physiological truth: the tension in the forearm symbolizes suppressed anger and moral discipline. From a modern perspective, the sculpture offers lessons for anatomical pedagogy and surgical practice, illustrating how structural knowledge and dynamic function converge in expressive form. The brachioradialis of Moses thus exemplifies the Renaissance integration of dissection-based anatomy and artistic imagination, sustaining its relevance across both art and medicine.
Kun Hwang (Tue,) studied this question.