section

夜のカフェテラス

After finishing Café Terrace at Night, Van Gogh wrote a letter to his sister expressing his enthusiasm:He continues, in this same letter, This excerpt forms the basis of the  Van Gogh Museum's curators' opinion that the painting is a depiction "of drinkers in the harsh, bright lights of their illuminated facades" from Maupassant's novel Bel Ami, however, they also note that Maupassant makes no mention of a 'starry sky.'An academic paper presented at IAFOR's 2013 European Conference on Arts & Humanities, however, advanced the theory that van Gogh intended the painting to be a uniquely innovated st Supper. The paper was subsequently published by The Art Histories Society in the January 2014 Art History Supplement and the July 2014 fourteenth volume of The Anistoriton Journal of History, Archaeology and Art History.Briefly, the paper examines the myriad artistic influences van Gogh was parsing the summer of 1888: his lifelong devotion to and imitation of Jesus Christ; synthesizing Japonism and Cloisonnism with his own plein air techniques; colorizing Jean-François Millet's pious genre scenes with Eugène Delacroix's luminous palette ; "search-for-sacred-realism" correspondence with his artist friend Émile Bernard; Thomas Carlyle and Boccaccio's examples of dressing old ideas in new clothes; an Émile Burnouf article claiming Buddhist missionaries sowed the seeds Essenes later reaped as Christianity; failed attempts creating his own Christ in the Garden of Olives; two proximal st Supper studies  featuring straw-bottomed chairs he'd just purchased by the dozen ; culminating with his composition of twelve diners drenched in a yellow halo surrounding a Rembrandtesque server framed by a crucifix at the vanishing point of the picture; it's concluded his original starry night is a Symbolist's st Supper.Although van Gogh never explicitly mentioned his intent in any existing letter, he did write his brother Theo two weeks later, "That doesn't stop me having a terrible need for - dare I say the word - for religion. So I go outside at night to paint the stars and I always dream a painting like that with a group of living figures of the pals."

Prompt: 夜のカフェテラスはどのように創世記を説明していますか？英語で出力して下さい。

Cloisonnism
Essenes
Eugène Delacroix
Jean-François Millet
Jesus
Thomas Carlyle
Van Gogh Museum


section

夜のカフェテラス

After finishing Café Terrace at Night, Van Gogh wrote a letter to his sister expressing his enthusiasm:He continues, in this same letter, This excerpt forms the basis of the  Van Gogh Museum's curators' opinion that the painting is a depiction "of drinkers in the harsh, bright lights of their illuminated facades" from Maupassant's novel Bel Ami, however, they also note that Maupassant makes no mention of a 'starry sky.'An academic paper presented at IAFOR's 2013 European Conference on Arts & Humanities, however, advanced the theory that van Gogh intended the painting to be a uniquely innovated st Supper. The paper was subsequently published by The Art Histories Society in the January 2014 Art History Supplement and the July 2014 fourteenth volume of The Anistoriton Journal of History, Archaeology and Art History.Briefly, the paper examines the myriad artistic influences van Gogh was parsing the summer of 1888: his lifelong devotion to and imitation of Jesus Christ; synthesizing Japonism and Cloisonnism with his own plein air techniques; colorizing Jean-François Millet's pious genre scenes with Eugène Delacroix's luminous palette ; "search-for-sacred-realism" correspondence with his artist friend Émile Bernard; Thomas Carlyle and Boccaccio's examples of dressing old ideas in new clothes; an Émile Burnouf article claiming Buddhist missionaries sowed the seeds Essenes later reaped as Christianity; failed attempts creating his own Christ in the Garden of Olives; two proximal st Supper studies  featuring straw-bottomed chairs he'd just purchased by the dozen ; culminating with his composition of twelve diners drenched in a yellow halo surrounding a Rembrandtesque server framed by a crucifix at the vanishing point of the picture; it's concluded his original starry night is a Symbolist's st Supper.Although van Gogh never explicitly mentioned his intent in any existing letter, he did write his brother Theo two weeks later, "That doesn't stop me having a terrible need for - dare I say the word - for religion. So I go outside at night to paint the stars and I always dream a painting like that with a group of living figures of the pals."

Prompt: 夜のカフェテラスに関して、どのように創世記が議論されていますか？英語で出力して下さい。

Cloisonnism
Essenes
Eugène Delacroix
Jean-François Millet
Jesus
Thomas Carlyle
Van Gogh Museum


section

夜のカフェテラス

When exhibited for the first time, in 1891, the painting was entitled Coffeehouse, in the evening .This is the first painting in which he used starry backgrounds; he went on to paint star-filled skies in Starry Night Over the Rhône , and the better known The Starry Night a year later. Van Gogh also painted a starlight background in Portrait of Eugène Boch.  Van Gogh mentioned the Cafe Terrace painting in a letter written to Eugène Boch on 2 October 1888, writing he had painted "a view of the café on place du Forum, where we used to go, painted at night" .Unlike the subsequent case of the misplaced Ursa Major in Starry Night Over the Rhône, Van Gogh was careful to reflect the actual appearance of his sky in this work, and the position of the constellation Aquarius allowed Albert Boime to date the painting to early September 1888, at about 11:00 PM.

Prompt: 夜のカフェテラスに焦点を当てて、そのナイトエフェクトを説明してください。英語で出力して下さい。

Albert Boime
Eugène Boch
Starry Night Over the Rhône
The Starry Night


section

夜のカフェテラス

When exhibited for the first time, in 1891, the painting was entitled Coffeehouse, in the evening .This is the first painting in which he used starry backgrounds; he went on to paint star-filled skies in Starry Night Over the Rhône , and the better known The Starry Night a year later. Van Gogh also painted a starlight background in Portrait of Eugène Boch.  Van Gogh mentioned the Cafe Terrace painting in a letter written to Eugène Boch on 2 October 1888, writing he had painted "a view of the café on place du Forum, where we used to go, painted at night" .Unlike the subsequent case of the misplaced Ursa Major in Starry Night Over the Rhône, Van Gogh was careful to reflect the actual appearance of his sky in this work, and the position of the constellation Aquarius allowed Albert Boime to date the painting to early September 1888, at about 11:00 PM.

Prompt: 夜のカフェテラスのナイトエフェクトを説明してください。英語で出力して下さい。

Albert Boime
Eugène Boch
Starry Night Over the Rhône
The Starry Night


section

夜のカフェテラス

When exhibited for the first time, in 1891, the painting was entitled Coffeehouse, in the evening .This is the first painting in which he used starry backgrounds; he went on to paint star-filled skies in Starry Night Over the Rhône , and the better known The Starry Night a year later. Van Gogh also painted a starlight background in Portrait of Eugène Boch.  Van Gogh mentioned the Cafe Terrace painting in a letter written to Eugène Boch on 2 October 1888, writing he had painted "a view of the café on place du Forum, where we used to go, painted at night" .Unlike the subsequent case of the misplaced Ursa Major in Starry Night Over the Rhône, Van Gogh was careful to reflect the actual appearance of his sky in this work, and the position of the constellation Aquarius allowed Albert Boime to date the painting to early September 1888, at about 11:00 PM.

Prompt: 夜のカフェテラスはどのようにナイトエフェクトを説明していますか？英語で出力して下さい。

Albert Boime
Eugène Boch
Starry Night Over the Rhône
The Starry Night


section

夜のカフェテラス

When exhibited for the first time, in 1891, the painting was entitled Coffeehouse, in the evening .This is the first painting in which he used starry backgrounds; he went on to paint star-filled skies in Starry Night Over the Rhône , and the better known The Starry Night a year later. Van Gogh also painted a starlight background in Portrait of Eugène Boch.  Van Gogh mentioned the Cafe Terrace painting in a letter written to Eugène Boch on 2 October 1888, writing he had painted "a view of the café on place du Forum, where we used to go, painted at night" .Unlike the subsequent case of the misplaced Ursa Major in Starry Night Over the Rhône, Van Gogh was careful to reflect the actual appearance of his sky in this work, and the position of the constellation Aquarius allowed Albert Boime to date the painting to early September 1888, at about 11:00 PM.

Prompt: 夜のカフェテラスに関して、どのようにナイトエフェクトが議論されていますか？英語で出力して下さい。

Albert Boime
Eugène Boch
Starry Night Over the Rhône
The Starry Night


section

夜のカフェテラス

The painting and the café were both featured in the 1956 film Lust for Life starring Kirk Douglas and later in "Vincent and the Doctor" , the tenth episode in the fifth series of British science fiction television series Doctor Who, and in the fully painted film Loving Vincent . The café was also featured in the film Ronin .The 1980 BBC series 100 Great Paintings featured the painting.

Prompt: 夜のカフェテラスに焦点を当てて、その大衆文化でを説明してください。英語で出力して下さい。

100 Great Paintings
BBC
Doctor Who
Kirk Douglas
Loving Vincent
Vincent and the Doctor


section

夜のカフェテラス

The painting and the café were both featured in the 1956 film Lust for Life starring Kirk Douglas and later in "Vincent and the Doctor" , the tenth episode in the fifth series of British science fiction television series Doctor Who, and in the fully painted film Loving Vincent . The café was also featured in the film Ronin .The 1980 BBC series 100 Great Paintings featured the painting.

Prompt: 夜のカフェテラスの大衆文化でを説明してください。英語で出力して下さい。

100 Great Paintings
BBC
Doctor Who
Kirk Douglas
Loving Vincent
Vincent and the Doctor


section

夜のカフェテラス

The painting and the café were both featured in the 1956 film Lust for Life starring Kirk Douglas and later in "Vincent and the Doctor" , the tenth episode in the fifth series of British science fiction television series Doctor Who, and in the fully painted film Loving Vincent . The café was also featured in the film Ronin .The 1980 BBC series 100 Great Paintings featured the painting.

Prompt: 夜のカフェテラスはどのように大衆文化でを説明していますか？英語で出力して下さい。

100 Great Paintings
BBC
Doctor Who
Kirk Douglas
Loving Vincent
Vincent and the Doctor


section

夜のカフェテラス

The painting and the café were both featured in the 1956 film Lust for Life starring Kirk Douglas and later in "Vincent and the Doctor" , the tenth episode in the fifth series of British science fiction television series Doctor Who, and in the fully painted film Loving Vincent . The café was also featured in the film Ronin .The 1980 BBC series 100 Great Paintings featured the painting.

Prompt: 夜のカフェテラスに関して、どのように大衆文化でが議論されていますか？英語で出力して下さい。

100 Great Paintings
BBC
Doctor Who
Kirk Douglas
Loving Vincent
Vincent and the Doctor


section

夜のカフェテラス

"This is a night painting without black, with nothing but beautiful blue and violet and green and in this surrounding the illuminated area colors itself sulfur pale yellow and citron green."

Prompt: 夜のカフェテラスに焦点を当てて、その色を説明してください。英語で出力して下さい。


section

夜のカフェテラス

"This is a night painting without black, with nothing but beautiful blue and violet and green and in this surrounding the illuminated area colors itself sulfur pale yellow and citron green."

Prompt: 夜のカフェテラスの色を説明してください。英語で出力して下さい。


section

夜のカフェテラス

"This is a night painting without black, with nothing but beautiful blue and violet and green and in this surrounding the illuminated area colors itself sulfur pale yellow and citron green."

Prompt: 夜のカフェテラスはどのように色を説明していますか？英語で出力して下さい。


section

夜のカフェテラス

"This is a night painting without black, with nothing but beautiful blue and violet and green and in this surrounding the illuminated area colors itself sulfur pale yellow and citron green."

Prompt: 夜のカフェテラスに関して、どのように色が議論されていますか？英語で出力して下さい。


section

夜のカフェテラス

Prompt: 夜のカフェテラスに焦点を当てて、その参照を説明してください。英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

夜のカフェテラス

Prompt: 夜のカフェテラスの参照を説明してください。英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

夜のカフェテラス

Prompt: 夜のカフェテラスはどのように参照を説明していますか？英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

夜のカフェテラス

Prompt: 夜のカフェテラスに関して、どのように参照が議論されていますか？英語で出力して下さい。

List of works by Vincent van Gogh
Vincent van Gogh


section

夜のカフェテラス

Prompt: 夜のカフェテラスに焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。


section

夜のカフェテラス

Prompt: 夜のカフェテラスの外部リンクを説明してください。英語で出力して下さい。


section

夜のカフェテラス

Prompt: 夜のカフェテラスはどのように外部リンクを説明していますか？英語で出力して下さい。


section

夜のカフェテラス

Prompt: 夜のカフェテラスに関して、どのように外部リンクが議論されていますか？英語で出力して下さい。


section

ラファエロの間

image_size=270mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=14mapframe-marker=monumentmapframe-wikidata=yesitalic title=no}}The four Raphael Rooms  form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor  Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino , the Stanza di Eliodoro , the Stanza della Segnatura , and the Stanza dell'Incendio del Borgo .After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.

Prompt: ラファエロの間に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Apostolic Palace
Gianfrancesco Penni
Giulio Romano
High Renaissance
Pope Leo X
Michelangelo
Pope
Pope Alexander VI
Pope Julius II
Pope Leo X


section

ラファエロの間

image_size=270mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=14mapframe-marker=monumentmapframe-wikidata=yesitalic title=no}}The four Raphael Rooms  form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor  Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino , the Stanza di Eliodoro , the Stanza della Segnatura , and the Stanza dell'Incendio del Borgo .After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.

Prompt: ラファエロの間の抽象を説明してください。英語で出力して下さい。

Apostolic Palace
Gianfrancesco Penni
Giulio Romano
High Renaissance
Pope Leo X
Michelangelo
Pope
Pope Alexander VI
Pope Julius II
Pope Leo X


section

ラファエロの間

image_size=270mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=14mapframe-marker=monumentmapframe-wikidata=yesitalic title=no}}The four Raphael Rooms  form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor  Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino , the Stanza di Eliodoro , the Stanza della Segnatura , and the Stanza dell'Incendio del Borgo .After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.

Prompt: ラファエロの間はどのように抽象を説明していますか？英語で出力して下さい。

Apostolic Palace
Gianfrancesco Penni
Giulio Romano
High Renaissance
Pope Leo X
Michelangelo
Pope
Pope Alexander VI
Pope Julius II
Pope Leo X


section

ラファエロの間

image_size=270mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=14mapframe-marker=monumentmapframe-wikidata=yesitalic title=no}}The four Raphael Rooms  form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor  Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino , the Stanza di Eliodoro , the Stanza della Segnatura , and the Stanza dell'Incendio del Borgo .After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.

Prompt: ラファエロの間に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Apostolic Palace
Gianfrancesco Penni
Giulio Romano
High Renaissance
Pope Leo X
Michelangelo
Pope
Pope Alexander VI
Pope Julius II
Pope Leo X


section

ラファエロの間

The scheme of the works is as follows:{ class="wikitable" style="text-align:centre"! width="20%" ! width="20%" ! width="20%" ! width="20%" -colspan="4"General view --colspan="4"General view --colspan="4"East wall---colspan="4"South wall---colspan="4"West wall---colspan="4"North wall---colspan="4"Ceiling--}

Prompt: ラファエロの間に焦点を当てて、そのスキームを説明してください。英語で出力して下さい。


section

ラファエロの間

The scheme of the works is as follows:{ class="wikitable" style="text-align:centre"! width="20%" ! width="20%" ! width="20%" ! width="20%" -colspan="4"General view --colspan="4"General view --colspan="4"East wall---colspan="4"South wall---colspan="4"West wall---colspan="4"North wall---colspan="4"Ceiling--}

Prompt: ラファエロの間のスキームを説明してください。英語で出力して下さい。


section

ラファエロの間

The scheme of the works is as follows:{ class="wikitable" style="text-align:centre"! width="20%" ! width="20%" ! width="20%" ! width="20%" -colspan="4"General view --colspan="4"General view --colspan="4"East wall---colspan="4"South wall---colspan="4"West wall---colspan="4"North wall---colspan="4"Ceiling--}

Prompt: ラファエロの間はどのようにスキームを説明していますか？英語で出力して下さい。


section

ラファエロの間

The scheme of the works is as follows:{ class="wikitable" style="text-align:centre"! width="20%" ! width="20%" ! width="20%" ! width="20%" -colspan="4"General view --colspan="4"General view --colspan="4"East wall---colspan="4"South wall---colspan="4"West wall---colspan="4"North wall---colspan="4"Ceiling--}

Prompt: ラファエロの間に関して、どのようにスキームが議論されていますか？英語で出力して下さい。


section

ラファエロの間

The largest of the twelve rooms is the Sala di Costantino . Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died. The room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle. Because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff, Clement VII, to Pope Sylvester in the paintings.

Prompt: ラファエロの間に焦点を当てて、そのサラディコスタンティーノを説明してください。英語で出力して下さい。

Christianity
Gianfrancesco Penni
Giulio Romano
Pope


section

ラファエロの間

The largest of the twelve rooms is the Sala di Costantino . Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died. The room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle. Because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff, Clement VII, to Pope Sylvester in the paintings.

Prompt: ラファエロの間のサラディコスタンティーノを説明してください。英語で出力して下さい。

Christianity
Gianfrancesco Penni
Giulio Romano
Pope


section

ラファエロの間

The largest of the twelve rooms is the Sala di Costantino . Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died. The room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle. Because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff, Clement VII, to Pope Sylvester in the paintings.

Prompt: ラファエロの間はどのようにサラディコスタンティーノを説明していますか？英語で出力して下さい。

Christianity
Gianfrancesco Penni
Giulio Romano
Pope


section

ラファエロの間

The largest of the twelve rooms is the Sala di Costantino . Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died. The room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle. Because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff, Clement VII, to Pope Sylvester in the paintings.

Prompt: ラファエロの間に関して、どのようにサラディコスタンティーノが議論されていますか？英語で出力して下さい。

Christianity
Gianfrancesco Penni
Giulio Romano
Pope


section

ラファエロの間

The next room, going from East to West, is the Stanza di Eliodoro . Painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the heavenly protection granted by Christ to the Church. The four paintings are: The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, and The Deliverance of Saint Peter from Prison. In the first two of these frescoes, Raphael flatteringly includes his patron, Pope Julius II, as participant or observer; the third, painted after Julius's death, includes a portrait of his successor, Leo X.Raphael's style changed here from the Stanza della Segnatura.  Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects.  He represented fewer, larger figures so that their actions and emotions have more direct impact on the viewers, and he used theatrical lighting effects to spotlight certain figures and heighten tension.

Prompt: ラファエロの間に焦点を当てて、そのスタンツァディエリオドロを説明してください。英語で出力して下さい。

Attila
Deliverance of Saint Peter
Pope
Pope Julius II
Pope Leo I


section

ラファエロの間

The next room, going from East to West, is the Stanza di Eliodoro . Painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the heavenly protection granted by Christ to the Church. The four paintings are: The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, and The Deliverance of Saint Peter from Prison. In the first two of these frescoes, Raphael flatteringly includes his patron, Pope Julius II, as participant or observer; the third, painted after Julius's death, includes a portrait of his successor, Leo X.Raphael's style changed here from the Stanza della Segnatura.  Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects.  He represented fewer, larger figures so that their actions and emotions have more direct impact on the viewers, and he used theatrical lighting effects to spotlight certain figures and heighten tension.

Prompt: ラファエロの間のスタンツァディエリオドロを説明してください。英語で出力して下さい。

Attila
Deliverance of Saint Peter
Pope
Pope Julius II
Pope Leo I


section

ラファエロの間

The next room, going from East to West, is the Stanza di Eliodoro . Painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the heavenly protection granted by Christ to the Church. The four paintings are: The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, and The Deliverance of Saint Peter from Prison. In the first two of these frescoes, Raphael flatteringly includes his patron, Pope Julius II, as participant or observer; the third, painted after Julius's death, includes a portrait of his successor, Leo X.Raphael's style changed here from the Stanza della Segnatura.  Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects.  He represented fewer, larger figures so that their actions and emotions have more direct impact on the viewers, and he used theatrical lighting effects to spotlight certain figures and heighten tension.

Prompt: ラファエロの間はどのようにスタンツァディエリオドロを説明していますか？英語で出力して下さい。

Attila
Deliverance of Saint Peter
Pope
Pope Julius II
Pope Leo I


section

ラファエロの間

The next room, going from East to West, is the Stanza di Eliodoro . Painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the heavenly protection granted by Christ to the Church. The four paintings are: The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, and The Deliverance of Saint Peter from Prison. In the first two of these frescoes, Raphael flatteringly includes his patron, Pope Julius II, as participant or observer; the third, painted after Julius's death, includes a portrait of his successor, Leo X.Raphael's style changed here from the Stanza della Segnatura.  Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects.  He represented fewer, larger figures so that their actions and emotions have more direct impact on the viewers, and he used theatrical lighting effects to spotlight certain figures and heighten tension.

Prompt: ラファエロの間に関して、どのようにスタンツァディエリオドロが議論されていますか？英語で出力して下さい。

Attila
Deliverance of Saint Peter
Pope
Pope Julius II
Pope Leo I


section

ラファエロの間

The Stanza della segnatura  was the first to be decorated by Raphael's frescoes. It was the study housing the library of Julius II, in which the Signatura of Grace tribunal was originally located. The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented in tondi above the lunettes of the walls. The theme of this room is worldly and spiritual wisdom and the harmony which Renaissance humanists perceived between Christian teaching and Greek philosophy. The theme of wisdom is appropriate as this room was the council chamber for the Apostolic Signatura, where most of the important papal documents were signed and sealed.

Prompt: ラファエロの間に焦点を当てて、そのスタンツァデッラセニャトゥーラを説明してください。英語で出力して下さい。


section

ラファエロの間

The Stanza della segnatura  was the first to be decorated by Raphael's frescoes. It was the study housing the library of Julius II, in which the Signatura of Grace tribunal was originally located. The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented in tondi above the lunettes of the walls. The theme of this room is worldly and spiritual wisdom and the harmony which Renaissance humanists perceived between Christian teaching and Greek philosophy. The theme of wisdom is appropriate as this room was the council chamber for the Apostolic Signatura, where most of the important papal documents were signed and sealed.

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラを説明してください。英語で出力して下さい。


section

ラファエロの間

The Stanza della segnatura  was the first to be decorated by Raphael's frescoes. It was the study housing the library of Julius II, in which the Signatura of Grace tribunal was originally located. The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented in tondi above the lunettes of the walls. The theme of this room is worldly and spiritual wisdom and the harmony which Renaissance humanists perceived between Christian teaching and Greek philosophy. The theme of wisdom is appropriate as this room was the council chamber for the Apostolic Signatura, where most of the important papal documents were signed and sealed.

Prompt: ラファエロの間はどのようにスタンツァデッラセニャトゥーラを説明していますか？英語で出力して下さい。


section

ラファエロの間

The Stanza della segnatura  was the first to be decorated by Raphael's frescoes. It was the study housing the library of Julius II, in which the Signatura of Grace tribunal was originally located. The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented in tondi above the lunettes of the walls. The theme of this room is worldly and spiritual wisdom and the harmony which Renaissance humanists perceived between Christian teaching and Greek philosophy. The theme of wisdom is appropriate as this room was the council chamber for the Apostolic Signatura, where most of the important papal documents were signed and sealed.

Prompt: ラファエロの間に関して、どのようにスタンツァデッラセニャトゥーラが議論されていますか？英語で出力して下さい。


section

ラファエロの間

The Stanza dell'incendio del Borgo was named for the Fire in the Borgo fresco which depicts Pope Leo IV making the sign of the cross to extinguish a raging fire in the Borgo district of Rome near the Vatican. This room was prepared as a music room for Julius' successor, Leo X. The frescos depict events from the lives of Popes Leo III and Leo IV. The other paintings in the room are The Oath of Leo III, The Coronation of Charlemagne by Leo III, and The Battle of Ostia. Though the Fire in the Borgo was based on Raphael's mature designs it was executed by his assistants, who painted the other three paintings without his guidance.

Prompt: ラファエロの間に焦点を当てて、そのボルゴの火災の間を説明してください。英語で出力して下さい。

Battle of Ostia
Charlemagne
Pope
Pope Leo I
Pope Leo IV


section

ラファエロの間

The Stanza dell'incendio del Borgo was named for the Fire in the Borgo fresco which depicts Pope Leo IV making the sign of the cross to extinguish a raging fire in the Borgo district of Rome near the Vatican. This room was prepared as a music room for Julius' successor, Leo X. The frescos depict events from the lives of Popes Leo III and Leo IV. The other paintings in the room are The Oath of Leo III, The Coronation of Charlemagne by Leo III, and The Battle of Ostia. Though the Fire in the Borgo was based on Raphael's mature designs it was executed by his assistants, who painted the other three paintings without his guidance.

Prompt: ラファエロの間のボルゴの火災の間を説明してください。英語で出力して下さい。

Battle of Ostia
Charlemagne
Pope
Pope Leo I
Pope Leo IV


section

ラファエロの間

The Stanza dell'incendio del Borgo was named for the Fire in the Borgo fresco which depicts Pope Leo IV making the sign of the cross to extinguish a raging fire in the Borgo district of Rome near the Vatican. This room was prepared as a music room for Julius' successor, Leo X. The frescos depict events from the lives of Popes Leo III and Leo IV. The other paintings in the room are The Oath of Leo III, The Coronation of Charlemagne by Leo III, and The Battle of Ostia. Though the Fire in the Borgo was based on Raphael's mature designs it was executed by his assistants, who painted the other three paintings without his guidance.

Prompt: ラファエロの間はどのようにボルゴの火災の間を説明していますか？英語で出力して下さい。

Battle of Ostia
Charlemagne
Pope
Pope Leo I
Pope Leo IV


section

ラファエロの間

The Stanza dell'incendio del Borgo was named for the Fire in the Borgo fresco which depicts Pope Leo IV making the sign of the cross to extinguish a raging fire in the Borgo district of Rome near the Vatican. This room was prepared as a music room for Julius' successor, Leo X. The frescos depict events from the lives of Popes Leo III and Leo IV. The other paintings in the room are The Oath of Leo III, The Coronation of Charlemagne by Leo III, and The Battle of Ostia. Though the Fire in the Borgo was based on Raphael's mature designs it was executed by his assistants, who painted the other three paintings without his guidance.

Prompt: ラファエロの間に関して、どのようにボルゴの火災の間が議論されていますか？英語で出力して下さい。

Battle of Ostia
Charlemagne
Pope
Pope Leo I
Pope Leo IV


section

ラファエロの間

Index of Vatican City-related articlesList of paintings by Raphael

Prompt: ラファエロの間に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

ラファエロの間

Index of Vatican City-related articlesList of paintings by Raphael

Prompt: ラファエロの間の参照を説明してください。英語で出力して下さい。


section

ラファエロの間

Index of Vatican City-related articlesList of paintings by Raphael

Prompt: ラファエロの間はどのように参照を説明していますか？英語で出力して下さい。


section

ラファエロの間

Index of Vatican City-related articlesList of paintings by Raphael

Prompt: ラファエロの間に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

ラファエロの間

Rijser, David. “Tradition and Originality in Raphael: The Stanza Della Segnatura, the Middle Ages and Local Traditions.” The Quest for an Appropriate Past in Literature, Art and Architecture, edited by Karl A.E. Enenkel and Konrad A. Ottenheym, vol. 60, Brill, LEIDEN; BOSTON, 2019, pp. 106–126. JSTOR, www.jstor.org/stable/10.1163/j.ctvbqs5nk.11. Accessed 24 Mar. 2021.

Prompt: ラファエロの間に焦点を当てて、そのさらなる読書を説明してください。英語で出力して下さい。


section

ラファエロの間

Rijser, David. “Tradition and Originality in Raphael: The Stanza Della Segnatura, the Middle Ages and Local Traditions.” The Quest for an Appropriate Past in Literature, Art and Architecture, edited by Karl A.E. Enenkel and Konrad A. Ottenheym, vol. 60, Brill, LEIDEN; BOSTON, 2019, pp. 106–126. JSTOR, www.jstor.org/stable/10.1163/j.ctvbqs5nk.11. Accessed 24 Mar. 2021.

Prompt: ラファエロの間のさらなる読書を説明してください。英語で出力して下さい。


section

ラファエロの間

Rijser, David. “Tradition and Originality in Raphael: The Stanza Della Segnatura, the Middle Ages and Local Traditions.” The Quest for an Appropriate Past in Literature, Art and Architecture, edited by Karl A.E. Enenkel and Konrad A. Ottenheym, vol. 60, Brill, LEIDEN; BOSTON, 2019, pp. 106–126. JSTOR, www.jstor.org/stable/10.1163/j.ctvbqs5nk.11. Accessed 24 Mar. 2021.

Prompt: ラファエロの間はどのようにさらなる読書を説明していますか？英語で出力して下さい。


section

ラファエロの間

Rijser, David. “Tradition and Originality in Raphael: The Stanza Della Segnatura, the Middle Ages and Local Traditions.” The Quest for an Appropriate Past in Literature, Art and Architecture, edited by Karl A.E. Enenkel and Konrad A. Ottenheym, vol. 60, Brill, LEIDEN; BOSTON, 2019, pp. 106–126. JSTOR, www.jstor.org/stable/10.1163/j.ctvbqs5nk.11. Accessed 24 Mar. 2021.

Prompt: ラファエロの間に関して、どのようにさらなる読書が議論されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: ラファエロの間の文脈で、十字架の幻とサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: ラファエロの間のサラディコスタンティーノに関する十字架の幻を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノの十字架の幻が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: ラファエロの間のサラディコスタンティーノにおける十字架の幻の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.

Prompt: ラファエロの間の文脈で、ミルウィア橋の戦いとサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.

Prompt: ラファエロの間のサラディコスタンティーノに関するミルウィア橋の戦いを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノのミルウィア橋の戦いが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.

Prompt: ラファエロの間のサラディコスタンティーノにおけるミルウィア橋の戦いの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.

Prompt: ラファエロの間の文脈で、コンスタンティヌスの洗礼とサラディコスタンティーノを説明してください。英語で出力して下さい。

Acts of Sylvester
Pope Clement VII
Eusebius
Gianfrancesco Penni
Liber Pontificalis
Life of Constantine
Pope
Pope Clement VII
Pope Sylvester I


subsection

ラファエロの間

The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.

Prompt: ラファエロの間のサラディコスタンティーノに関するコンスタンティヌスの洗礼を説明してください。英語で出力して下さい。

Acts of Sylvester
Pope Clement VII
Eusebius
Gianfrancesco Penni
Liber Pontificalis
Life of Constantine
Pope
Pope Clement VII
Pope Sylvester I


subsection

ラファエロの間

The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノのコンスタンティヌスの洗礼が説明されていますか？英語で出力して下さい。

Acts of Sylvester
Pope Clement VII
Eusebius
Gianfrancesco Penni
Liber Pontificalis
Life of Constantine
Pope
Pope Clement VII
Pope Sylvester I


subsection

ラファエロの間

The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.

Prompt: ラファエロの間のサラディコスタンティーノにおけるコンスタンティヌスの洗礼の特徴を説明してください。英語で出力して下さい。

Acts of Sylvester
Pope Clement VII
Eusebius
Gianfrancesco Penni
Liber Pontificalis
Life of Constantine
Pope
Pope Clement VII
Pope Sylvester I


subsection

ラファエロの間

centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.

Prompt: ラファエロの間の文脈で、コンスタンティヌスの寄進とサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.

Prompt: ラファエロの間のサラディコスタンティーノに関するコンスタンティヌスの寄進を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノのコンスタンティヌスの寄進が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.

Prompt: ラファエロの間のサラディコスタンティーノにおけるコンスタンティヌスの寄進の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.

Prompt: ラファエロの間の文脈で、神殿からのヘリオドロスの追放とサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.

Prompt: ラファエロの間のサラディコスタンティーノに関する神殿からのヘリオドロスの追放を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノの神殿からのヘリオドロスの追放が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.

Prompt: ラファエロの間のサラディコスタンティーノにおける神殿からのヘリオドロスの追放の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.

Prompt: ラファエロの間の文脈で、ボルセーナのミサとサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.

Prompt: ラファエロの間のサラディコスタンティーノに関するボルセーナのミサを説明してください。英語で出力して下さい。


subsection

ラファエロの間

The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノのボルセーナのミサが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.

Prompt: ラファエロの間のサラディコスタンティーノにおけるボルセーナのミサの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.

Prompt: ラファエロの間の文脈で、レオ大帝とアッティラの会見とサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.

Prompt: ラファエロの間のサラディコスタンティーノに関するレオ大帝とアッティラの会見を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノのレオ大帝とアッティラの会見が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.

Prompt: ラファエロの間のサラディコスタンティーノにおけるレオ大帝とアッティラの会見の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.

Prompt: ラファエロの間の文脈で、聖ペテロの解放とサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.

Prompt: ラファエロの間のサラディコスタンティーノに関する聖ペテロの解放を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノの聖ペテロの解放が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.

Prompt: ラファエロの間のサラディコスタンティーノにおける聖ペテロの解放の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.

Prompt: ラファエロの間の文脈で、聖体論争とサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.

Prompt: ラファエロの間のサラディコスタンティーノに関する聖体論争を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノの聖体論争が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.

Prompt: ラファエロの間のサラディコスタンティーノにおける聖体論争の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.

Prompt: ラファエロの間の文脈で、パルナッソスとサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.

Prompt: ラファエロの間のサラディコスタンティーノに関するパルナッソスを説明してください。英語で出力して下さい。


subsection

ラファエロの間

Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノのパルナッソスが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.

Prompt: ラファエロの間のサラディコスタンティーノにおけるパルナッソスの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.

Prompt: ラファエロの間の文脈で、アテナイの学堂とサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.

Prompt: ラファエロの間のサラディコスタンティーノに関するアテナイの学堂を説明してください。英語で出力して下さい。


subsection

ラファエロの間

Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノのアテナイの学堂が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.

Prompt: ラファエロの間のサラディコスタンティーノにおけるアテナイの学堂の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.

Prompt: ラファエロの間の文脈で、枢要徳とサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.

Prompt: ラファエロの間のサラディコスタンティーノに関する枢要徳を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノの枢要徳が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.

Prompt: ラファエロの間のサラディコスタンティーノにおける枢要徳の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.

Prompt: ラファエロの間の文脈で、レオ三世の誓いとサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.

Prompt: ラファエロの間のサラディコスタンティーノに関するレオ三世の誓いを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノのレオ三世の誓いが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.

Prompt: ラファエロの間のサラディコスタンティーノにおけるレオ三世の誓いの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.

Prompt: ラファエロの間の文脈で、カール大帝の戴冠とサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.

Prompt: ラファエロの間のサラディコスタンティーノに関するカール大帝の戴冠を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノのカール大帝の戴冠が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.

Prompt: ラファエロの間のサラディコスタンティーノにおけるカール大帝の戴冠の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.

Prompt: ラファエロの間の文脈で、ボルゴの火事とサラディコスタンティーノを説明してください。英語で出力して下さい。

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.

Prompt: ラファエロの間のサラディコスタンティーノに関するボルゴの火事を説明してください。英語で出力して下さい。

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノのボルゴの火事が説明されていますか？英語で出力して下さい。

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.

Prompt: ラファエロの間のサラディコスタンティーノにおけるボルゴの火事の特徴を説明してください。英語で出力して下さい。

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.

Prompt: ラファエロの間の文脈で、オスティアの戦いとサラディコスタンティーノを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.

Prompt: ラファエロの間のサラディコスタンティーノに関するオスティアの戦いを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.

Prompt: ラファエロの間では、どのようにサラディコスタンティーノのオスティアの戦いが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.

Prompt: ラファエロの間のサラディコスタンティーノにおけるオスティアの戦いの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: ラファエロの間の文脈で、十字架の幻とスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: ラファエロの間のスタンツァディエリオドロに関する十字架の幻を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロの十字架の幻が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: ラファエロの間のスタンツァディエリオドロにおける十字架の幻の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.

Prompt: ラファエロの間の文脈で、ミルウィア橋の戦いとスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.

Prompt: ラファエロの間のスタンツァディエリオドロに関するミルウィア橋の戦いを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロのミルウィア橋の戦いが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.

Prompt: ラファエロの間のスタンツァディエリオドロにおけるミルウィア橋の戦いの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.

Prompt: ラファエロの間の文脈で、コンスタンティヌスの洗礼とスタンツァディエリオドロを説明してください。英語で出力して下さい。

Acts of Sylvester
Pope Clement VII
Eusebius
Gianfrancesco Penni
Liber Pontificalis
Life of Constantine
Pope
Pope Clement VII
Pope Sylvester I


subsection

ラファエロの間

The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.

Prompt: ラファエロの間のスタンツァディエリオドロに関するコンスタンティヌスの洗礼を説明してください。英語で出力して下さい。

Acts of Sylvester
Pope Clement VII
Eusebius
Gianfrancesco Penni
Liber Pontificalis
Life of Constantine
Pope
Pope Clement VII
Pope Sylvester I


subsection

ラファエロの間

The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロのコンスタンティヌスの洗礼が説明されていますか？英語で出力して下さい。

Acts of Sylvester
Pope Clement VII
Eusebius
Gianfrancesco Penni
Liber Pontificalis
Life of Constantine
Pope
Pope Clement VII
Pope Sylvester I


subsection

ラファエロの間

The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.

Prompt: ラファエロの間のスタンツァディエリオドロにおけるコンスタンティヌスの洗礼の特徴を説明してください。英語で出力して下さい。

Acts of Sylvester
Pope Clement VII
Eusebius
Gianfrancesco Penni
Liber Pontificalis
Life of Constantine
Pope
Pope Clement VII
Pope Sylvester I


subsection

ラファエロの間

centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.

Prompt: ラファエロの間の文脈で、コンスタンティヌスの寄進とスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.

Prompt: ラファエロの間のスタンツァディエリオドロに関するコンスタンティヌスの寄進を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロのコンスタンティヌスの寄進が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.

Prompt: ラファエロの間のスタンツァディエリオドロにおけるコンスタンティヌスの寄進の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.

Prompt: ラファエロの間の文脈で、神殿からのヘリオドロスの追放とスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.

Prompt: ラファエロの間のスタンツァディエリオドロに関する神殿からのヘリオドロスの追放を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロの神殿からのヘリオドロスの追放が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.

Prompt: ラファエロの間のスタンツァディエリオドロにおける神殿からのヘリオドロスの追放の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.

Prompt: ラファエロの間の文脈で、ボルセーナのミサとスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.

Prompt: ラファエロの間のスタンツァディエリオドロに関するボルセーナのミサを説明してください。英語で出力して下さい。


subsection

ラファエロの間

The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロのボルセーナのミサが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.

Prompt: ラファエロの間のスタンツァディエリオドロにおけるボルセーナのミサの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.

Prompt: ラファエロの間の文脈で、レオ大帝とアッティラの会見とスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.

Prompt: ラファエロの間のスタンツァディエリオドロに関するレオ大帝とアッティラの会見を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロのレオ大帝とアッティラの会見が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.

Prompt: ラファエロの間のスタンツァディエリオドロにおけるレオ大帝とアッティラの会見の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.

Prompt: ラファエロの間の文脈で、聖ペテロの解放とスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.

Prompt: ラファエロの間のスタンツァディエリオドロに関する聖ペテロの解放を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロの聖ペテロの解放が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.

Prompt: ラファエロの間のスタンツァディエリオドロにおける聖ペテロの解放の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.

Prompt: ラファエロの間の文脈で、聖体論争とスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.

Prompt: ラファエロの間のスタンツァディエリオドロに関する聖体論争を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロの聖体論争が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.

Prompt: ラファエロの間のスタンツァディエリオドロにおける聖体論争の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.

Prompt: ラファエロの間の文脈で、パルナッソスとスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.

Prompt: ラファエロの間のスタンツァディエリオドロに関するパルナッソスを説明してください。英語で出力して下さい。


subsection

ラファエロの間

Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロのパルナッソスが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.

Prompt: ラファエロの間のスタンツァディエリオドロにおけるパルナッソスの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.

Prompt: ラファエロの間の文脈で、アテナイの学堂とスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.

Prompt: ラファエロの間のスタンツァディエリオドロに関するアテナイの学堂を説明してください。英語で出力して下さい。


subsection

ラファエロの間

Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロのアテナイの学堂が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.

Prompt: ラファエロの間のスタンツァディエリオドロにおけるアテナイの学堂の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.

Prompt: ラファエロの間の文脈で、枢要徳とスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.

Prompt: ラファエロの間のスタンツァディエリオドロに関する枢要徳を説明してください。英語で出力して下さい。


subsection

ラファエロの間

The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロの枢要徳が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.

Prompt: ラファエロの間のスタンツァディエリオドロにおける枢要徳の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.

Prompt: ラファエロの間の文脈で、レオ三世の誓いとスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.

Prompt: ラファエロの間のスタンツァディエリオドロに関するレオ三世の誓いを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロのレオ三世の誓いが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.

Prompt: ラファエロの間のスタンツァディエリオドロにおけるレオ三世の誓いの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.

Prompt: ラファエロの間の文脈で、カール大帝の戴冠とスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.

Prompt: ラファエロの間のスタンツァディエリオドロに関するカール大帝の戴冠を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロのカール大帝の戴冠が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.

Prompt: ラファエロの間のスタンツァディエリオドロにおけるカール大帝の戴冠の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.

Prompt: ラファエロの間の文脈で、ボルゴの火事とスタンツァディエリオドロを説明してください。英語で出力して下さい。

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.

Prompt: ラファエロの間のスタンツァディエリオドロに関するボルゴの火事を説明してください。英語で出力して下さい。

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロのボルゴの火事が説明されていますか？英語で出力して下さい。

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.

Prompt: ラファエロの間のスタンツァディエリオドロにおけるボルゴの火事の特徴を説明してください。英語で出力して下さい。

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.

Prompt: ラファエロの間の文脈で、オスティアの戦いとスタンツァディエリオドロを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.

Prompt: ラファエロの間のスタンツァディエリオドロに関するオスティアの戦いを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.

Prompt: ラファエロの間では、どのようにスタンツァディエリオドロのオスティアの戦いが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.

Prompt: ラファエロの間のスタンツァディエリオドロにおけるオスティアの戦いの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: ラファエロの間の文脈で、十字架の幻とスタンツァデッラセニャトゥーラを説明してください。英語で出力して下さい。


subsection

ラファエロの間

centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα"  written next to it.

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関する十字架の幻を説明してください。英語で出力して下さい。