Salerno was researching a book on Michelangelo when she came across a document that showed the artist had in 1550 joined the Brotherhood of the Most Holy Crucifix. Those close to him in his final years were members too.
Over a decade of research, she followed the document trail between a series of archives in the Vatican, Italy and European cities including Paris.
As part of what she called a “maniacal plan” cooked up by Michelangelo, his works were to be hidden “because otherwise it would all end up with a nephew he detested”.
“The goal was to pass on to his poor, vulnerable, non-noble descendants the material to be able to continue studying, to transmit his art to future generations,” she said.
Those involved in the plan went on to form the famous art Academy of San Luca in the 16th century, she added. It still exists today.
Salerno believes the secret room designed to safeguard the artist’s creations was likely somewhere inside the Saint Peter in Chains church in central Rome.
Michelangelo bust
During her research, she also stumbled across a reference to a bust at the Basilica of Sant’Agnese, also in Rome, currently attributed to an anonymous artist.
She found documents attributing the white bust of Christ the Saviour to Michelangelo down the centuries.
In the 1930s it appears to disappear from documentation, only to reappear in the 1980s, attributed to a minor artist.
Italy’s cultural authorities later declared it to be a work by an unknown sculptor instead.
But Salerno insists the bust is a genuine Michelangelo, not just due to the paper trail, but also because it shares a striking resemblance to Tommaso dei Cavalieri.
Cavalieri was a young nobleman with whom Michelangelo became infatuated in his 50s.
Salerno’s work has not yet been peer reviewed, but she is a member of the Vatican committee for the celebrations marking the 500th anniversary of Michelangelo’s birth.
-Agence France-Presse