Moses (Italian: Mosè [moˈzɛ]; c. 1513–1515) is a sculpture by the Italian High Renaissance artist Michelangelo, housed in the Basilica of San Pietro in Vincoli in Rome. Commissioned in 1505 by Pope Julius II for his tomb, it depicts the biblical figure Moses with horns on his head, based on a description in chapter 34 of Exodus in the Vulgate, the Latin translation of the Bible used at that time. Some scholars believe the use of horns may often hold an antisemitic implication, while others hold that it is simply a convention based on the translation error.

Sigmund Freud's interpretations of the statue from 1916 are particularly well-known. Some interpretations of the sculpture including Freud note a demotic force, but also as a beautiful figure, with an emotional intensity as God's word is revealed. The delicacy of some of the features such as Moses' flowing hair are seen as a remarkable technical achievement, but Freud argues that Michelangelo goes beyond mere skills to provoke curiosity in the viewer, asking why Moses plays with his hair, and why he is presented with horns and flowing hair.

Pope Julius II commissioned Michelangelo to build his tomb in 1505 and it was finally completed in 1545; Julius II died in 1513. The initial design by Michelangelo was massive and called for over 40 statues. The statue of Moses would have been placed on a tier about 3.74 meters high (12 ft 3 in), opposite a figure of St. Paul. In the final design, the statue of Moses sits in the center of the bottom tier.

Giorgio Vasari in the "Life of Michelangelo" wrote: "Michelangelo finished the Moses in marble, a statue of five braccia, unequaled by any modern or ancient work. Seated in a serious attitude, he rests with one arm on the tablets, and with the other holds his long glossy beard, the hairs, so difficult to render in sculpture, being so soft and downy that it seems as if the iron chisel must have become a brush. The beautiful face, like that of a saint and mighty prince, seems as one regards it to need the veil to cover it, so splendid and shining does it appear, and so well has the artist presented in the marble the divinity with which God had endowed that holy countenance. The draperies fall in graceful folds, the muscles of the arms and bones of the hands are of such beauty and perfection, as are the legs and knees, the feet were adorned with excellent shoes, that Moses may now be called the friend of God more than ever, since God has permitted his body to be prepared for the resurrection before the others by the hand of Michelangelo. The Jews still go every Saturday in troops to visit and adore it as a divine, not a human thing."

The English translation of Sigmund Freud's "The Moses of Michelangelo" also provides a basic description of the sculpture: "The Moses of Michelangelo is represented as seated; his body faces forward, his head with its mighty beard looks to the left, his right foot rests on the ground, and his left leg is raised so that only the toes touch the ground. His right arm links the Tables of the Law with something that looks like a book in the right palm of his hand with a portion of his beard; his left arm lies in his lap."

Jonathan Jones of the English newspaper, The Guardian, provides another description: "Moses's right hand protects the stone tablets bearing the Commandments; his left hand, veins throbbing, muscles tense, appears to be holding back from the violent action. When he came down from Mount Sinai, Moses found his people worshipping the Golden Calf – the false idol they had made. His anger defies the prison of stone, the limits of the sculptor's art. Few can resist the impression of a real mind, real emotions, in the figure that glares from his marble seat. Today, he glares at the tourists who mob the church of San Pietro in Vincoli, Rome. He outfaces them, just as he outfaced Sigmund Freud, who spent three weeks in 1913 trying to figure out the sculpture's emotional effect. Moses's vitality has made this work popular since the 16th century; according to Vasari, Rome's Jewish population adopted the statue as their own. Its power must have something to do with the rendition of things that should be impossible to depict in stone; most quirkily, the beard – so ropy and smoky, its coils gave fantastic, snaking life. But where others might astonish us with technique, Michelangelo goes beyond this, leading us from formal to intellectual surprise, making us wonder why Moses fondles his beard, why Michelangelo has used this river of hair – in combination with the horns that were a conventional attribute of Moses – to give him an inhuman, demonic aspect."

In his 1914 essay entitled "The Moses of Michelangelo", Sigmund Freud associates the moment in the biblical narrative when Moses descends from the mountain the first time, carrying the tablets, and finds the Hebrew people worshipping the Golden Calf, as described in Exodus 32. Freud describes Moses in a complex psychological state:

We may now, I believe, permit ourselves to reap the fruits of our endeavors. We have seen how many of those who have felt the influence of this statue has been compelled to interpret it as representing Moses agitated by the spectacle of his people fallen from grace and dancing round an idol. But this interpretation had to be given up, for it made us expect to see him spring up in the next moment, break the Tables and accomplish the work of vengeance. Such a conception, however, would fail to harmonize with the design of making this figure, together with three (or five) more seated figures, a part of the tomb of Julius II. We may now take up again the abandoned interpretation, for the Moses we have reconstructed will neither leap up nor cast the Tables from him. What we see before us is not the inception of violent action but the remains of a movement that has already taken place. In his first transport of fury, Moses desired to act, to spring up and take vengeance and forget the Tables; but he has overcome the temptation, and he will now remain seated and still, in his frozen wrath and his pain mingled with contempt. Nor will he throw away the Tables so that they will break on the stones, for it is on their particular account that he has controlled his anger; it was to preserve them that he kept his passion in check. In giving way to his rage and indignation, he had to neglect the Tables, and the hand which upheld them was withdrawn. They began to slide down and were in danger of being broken. This brought him to himself. He remembered his mission and for its sake renounced an indulgence of his feelings. His hand returned and saved the unsupported Tables before they had fallen to the ground. In this attitude, he remained immobilized, and in this attitude, Michelangelo has portrayed him as the guardian of the tomb. As our eyes travel down it, the figure exhibits three distinct emotional strata. The lines of the face reflect the feelings which have won the ascendancy; the middle of the figure shows the traces of suppressed movement, and the foot still retains the attitude of the projected action. It is as though the controlling influence had proceeded downwards from above. No mention has been made so far of the left arm, and it seems to claim a share in our interpretation. The hand is laid in the lap in a mild gesture and holds as though in a caress the end of the flowing beard. It seems as if it is meant to counteract the violence with which the other hand had misused the beard a few moments ago.