subsection

アンシデイの聖母

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

Prompt: アンシデイの聖母の絵画に関するウンブリア派の孤立したキャラクターを説明してください。英語で出力して下さい。


subsection

アンシデイの聖母

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

Prompt: アンシデイの聖母では、どのように絵画のウンブリア派の孤立したキャラクターが説明されていますか？英語で出力して下さい。


subsection

アンシデイの聖母

The Virgin Mary, Saint John and Bishop Nicholas are isolated from one another, without interchange, a style common in the Umbrian school, and particularly Perugino.

Prompt: アンシデイの聖母の絵画におけるウンブリア派の孤立したキャラクターの特徴を説明してください。英語で出力して下さい。


section

エリザベッタ・ゴンザーガの肖像

Portrait of Elisabetta Gonzaga is an oil on wood painting attributed to the Italian Renaissance artist Raphael, completed  1504–1505, and today housed in the Uffizi Gallery, Florence.

Prompt: エリザベッタ・ゴンザーガの肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Elisabetta Gonzaga
Florence
Raphael
Renaissance
Uffizi
Uffizi


section

エリザベッタ・ゴンザーガの肖像

Portrait of Elisabetta Gonzaga is an oil on wood painting attributed to the Italian Renaissance artist Raphael, completed  1504–1505, and today housed in the Uffizi Gallery, Florence.

Prompt: エリザベッタ・ゴンザーガの肖像の抽象を説明してください。英語で出力して下さい。

Elisabetta Gonzaga
Florence
Raphael
Renaissance
Uffizi
Uffizi


section

エリザベッタ・ゴンザーガの肖像

Portrait of Elisabetta Gonzaga is an oil on wood painting attributed to the Italian Renaissance artist Raphael, completed  1504–1505, and today housed in the Uffizi Gallery, Florence.

Prompt: エリザベッタ・ゴンザーガの肖像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。

Elisabetta Gonzaga
Florence
Raphael
Renaissance
Uffizi
Uffizi


section

エリザベッタ・ゴンザーガの肖像

Portrait of Elisabetta Gonzaga is an oil on wood painting attributed to the Italian Renaissance artist Raphael, completed  1504–1505, and today housed in the Uffizi Gallery, Florence.

Prompt: エリザベッタ・ゴンザーガの肖像に関して、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。

Elisabetta Gonzaga
Florence
Raphael
Renaissance
Uffizi
Uffizi


section

エリザベッタ・ゴンザーガの肖像

Contemporary sources speak of a portrait of Elisabetta Gonzaga executed by Raphael.The painting was likely part of the Ducal collection of Urbino, brought to Florence in 1635 as Vittoria della Rovere's dowry. It is mentioned with certainty for the first time in 1773, when it was transferred from Palazzo Pitti to the Grand Ducal wardrobe of the Uffizi. In a 1784 inventory it was attributed  to Giovanni Bellini's school, while that of 1825 listed it as by Andrea Mantegna.It was attributed to Raphael for the first time in 1905. Other artists to whom the portrait has been assigned include Francesco Francia, Giovan Francesco Caroto, Francesco Bonsignori and Albrecht Dürer.

Prompt: エリザベッタ・ゴンザーガの肖像に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Albrecht Dürer
Andrea Mantegna
Elisabetta Gonzaga
Florence
Francesco Bonsignori
Francesco Francia
Giovanni Bellini
Palazzo Pitti
Raphael
Uffizi
Uffizi
Urbino
Vittoria della Rovere


section

エリザベッタ・ゴンザーガの肖像

Contemporary sources speak of a portrait of Elisabetta Gonzaga executed by Raphael.The painting was likely part of the Ducal collection of Urbino, brought to Florence in 1635 as Vittoria della Rovere's dowry. It is mentioned with certainty for the first time in 1773, when it was transferred from Palazzo Pitti to the Grand Ducal wardrobe of the Uffizi. In a 1784 inventory it was attributed  to Giovanni Bellini's school, while that of 1825 listed it as by Andrea Mantegna.It was attributed to Raphael for the first time in 1905. Other artists to whom the portrait has been assigned include Francesco Francia, Giovan Francesco Caroto, Francesco Bonsignori and Albrecht Dürer.

Prompt: エリザベッタ・ゴンザーガの肖像の歴史を説明してください。英語で出力して下さい。

Albrecht Dürer
Andrea Mantegna
Elisabetta Gonzaga
Florence
Francesco Bonsignori
Francesco Francia
Giovanni Bellini
Palazzo Pitti
Raphael
Uffizi
Uffizi
Urbino
Vittoria della Rovere


section

エリザベッタ・ゴンザーガの肖像

Contemporary sources speak of a portrait of Elisabetta Gonzaga executed by Raphael.The painting was likely part of the Ducal collection of Urbino, brought to Florence in 1635 as Vittoria della Rovere's dowry. It is mentioned with certainty for the first time in 1773, when it was transferred from Palazzo Pitti to the Grand Ducal wardrobe of the Uffizi. In a 1784 inventory it was attributed  to Giovanni Bellini's school, while that of 1825 listed it as by Andrea Mantegna.It was attributed to Raphael for the first time in 1905. Other artists to whom the portrait has been assigned include Francesco Francia, Giovan Francesco Caroto, Francesco Bonsignori and Albrecht Dürer.

Prompt: エリザベッタ・ゴンザーガの肖像はどのように歴史を説明していますか？英語で出力して下さい。

Albrecht Dürer
Andrea Mantegna
Elisabetta Gonzaga
Florence
Francesco Bonsignori
Francesco Francia
Giovanni Bellini
Palazzo Pitti
Raphael
Uffizi
Uffizi
Urbino
Vittoria della Rovere


section

エリザベッタ・ゴンザーガの肖像

Contemporary sources speak of a portrait of Elisabetta Gonzaga executed by Raphael.The painting was likely part of the Ducal collection of Urbino, brought to Florence in 1635 as Vittoria della Rovere's dowry. It is mentioned with certainty for the first time in 1773, when it was transferred from Palazzo Pitti to the Grand Ducal wardrobe of the Uffizi. In a 1784 inventory it was attributed  to Giovanni Bellini's school, while that of 1825 listed it as by Andrea Mantegna.It was attributed to Raphael for the first time in 1905. Other artists to whom the portrait has been assigned include Francesco Francia, Giovan Francesco Caroto, Francesco Bonsignori and Albrecht Dürer.

Prompt: エリザベッタ・ゴンザーガの肖像に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Albrecht Dürer
Andrea Mantegna
Elisabetta Gonzaga
Florence
Francesco Bonsignori
Francesco Francia
Giovanni Bellini
Palazzo Pitti
Raphael
Uffizi
Uffizi
Urbino
Vittoria della Rovere


section

エリザベッタ・ゴンザーガの肖像

The woman portrayed is Elisabetta Gonzaga, wife of Duke Guidobaldo I of Urbino  and a woman of literary and artistic interests. Details include the black dress with applied trim in a patchwork pattern, and the scorpion-like ferronière on the woman's forehead. Her hairdo includes the coazzone, a long plait which is present also in a medal of her now at the British Museum.

Prompt: エリザベッタ・ゴンザーガの肖像に焦点を当てて、その説明を説明してください。英語で出力して下さい。

British Museum
Elisabetta Gonzaga
Urbino


section

エリザベッタ・ゴンザーガの肖像

The woman portrayed is Elisabetta Gonzaga, wife of Duke Guidobaldo I of Urbino  and a woman of literary and artistic interests. Details include the black dress with applied trim in a patchwork pattern, and the scorpion-like ferronière on the woman's forehead. Her hairdo includes the coazzone, a long plait which is present also in a medal of her now at the British Museum.

Prompt: エリザベッタ・ゴンザーガの肖像の説明を説明してください。英語で出力して下さい。

British Museum
Elisabetta Gonzaga
Urbino


section

エリザベッタ・ゴンザーガの肖像

The woman portrayed is Elisabetta Gonzaga, wife of Duke Guidobaldo I of Urbino  and a woman of literary and artistic interests. Details include the black dress with applied trim in a patchwork pattern, and the scorpion-like ferronière on the woman's forehead. Her hairdo includes the coazzone, a long plait which is present also in a medal of her now at the British Museum.

Prompt: エリザベッタ・ゴンザーガの肖像はどのように説明を説明していますか？英語で出力して下さい。

British Museum
Elisabetta Gonzaga
Urbino


section

エリザベッタ・ゴンザーガの肖像

The woman portrayed is Elisabetta Gonzaga, wife of Duke Guidobaldo I of Urbino  and a woman of literary and artistic interests. Details include the black dress with applied trim in a patchwork pattern, and the scorpion-like ferronière on the woman's forehead. Her hairdo includes the coazzone, a long plait which is present also in a medal of her now at the British Museum.

Prompt: エリザベッタ・ゴンザーガの肖像に関して、どのように説明が議論されていますか？英語で出力して下さい。

British Museum
Elisabetta Gonzaga
Urbino


section

エリザベッタ・ゴンザーガの肖像

Portrait of Guidobaldo da MontefeltroPortrait of Emilia Pia da Montefeltro

Prompt: エリザベッタ・ゴンザーガの肖像に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Portrait of Emilia Pia da Montefeltro
Portrait of Guidobaldo da Montefeltro


section

エリザベッタ・ゴンザーガの肖像

Portrait of Guidobaldo da MontefeltroPortrait of Emilia Pia da Montefeltro

Prompt: エリザベッタ・ゴンザーガの肖像の参照を説明してください。英語で出力して下さい。

Portrait of Emilia Pia da Montefeltro
Portrait of Guidobaldo da Montefeltro


section

エリザベッタ・ゴンザーガの肖像

Portrait of Guidobaldo da MontefeltroPortrait of Emilia Pia da Montefeltro

Prompt: エリザベッタ・ゴンザーガの肖像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。

Portrait of Emilia Pia da Montefeltro
Portrait of Guidobaldo da Montefeltro


section

エリザベッタ・ゴンザーガの肖像

Portrait of Guidobaldo da MontefeltroPortrait of Emilia Pia da Montefeltro

Prompt: エリザベッタ・ゴンザーガの肖像に関して、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。

Portrait of Emilia Pia da Montefeltro
Portrait of Guidobaldo da Montefeltro


section

エリザベッタ・ゴンザーガの肖像

Scaricamazza, Dario . . <br>ElisabettaCategory:1500s paintingsElisabettaCategory:Paintings by Raphael in the UffiziCategory:Portraits of women

Prompt: エリザベッタ・ゴンザーガの肖像に焦点を当てて、その情報源を説明してください。英語で出力して下さい。


section

エリザベッタ・ゴンザーガの肖像

Scaricamazza, Dario . . <br>ElisabettaCategory:1500s paintingsElisabettaCategory:Paintings by Raphael in the UffiziCategory:Portraits of women

Prompt: エリザベッタ・ゴンザーガの肖像の情報源を説明してください。英語で出力して下さい。


section

エリザベッタ・ゴンザーガの肖像

Scaricamazza, Dario . . <br>ElisabettaCategory:1500s paintingsElisabettaCategory:Paintings by Raphael in the UffiziCategory:Portraits of women

Prompt: エリザベッタ・ゴンザーガの肖像はどのように情報源を説明していますか？英語で出力して下さい。


section

エリザベッタ・ゴンザーガの肖像

Scaricamazza, Dario . . <br>ElisabettaCategory:1500s paintingsElisabettaCategory:Paintings by Raphael in the UffiziCategory:Portraits of women

Prompt: エリザベッタ・ゴンザーガの肖像に関して、どのように情報源が議論されていますか？英語で出力して下さい。


section

聖体の論議

museum=Apostolic Palace}}The Disputation of the Sacrament , or Disputa, is a painting by the Italian Renaissance artist Raphael. It was painted between 1509 and 1510 as the first part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican.  At the time, this room was known as the Stanza della Segnatura, and was the private papal library where the supreme papal tribunal met.

Prompt: 聖体の論議に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

聖体の論議

museum=Apostolic Palace}}The Disputation of the Sacrament , or Disputa, is a painting by the Italian Renaissance artist Raphael. It was painted between 1509 and 1510 as the first part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican.  At the time, this room was known as the Stanza della Segnatura, and was the private papal library where the supreme papal tribunal met.

Prompt: 聖体の論議の抽象を説明してください。英語で出力して下さい。


section

聖体の論議

museum=Apostolic Palace}}The Disputation of the Sacrament , or Disputa, is a painting by the Italian Renaissance artist Raphael. It was painted between 1509 and 1510 as the first part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican.  At the time, this room was known as the Stanza della Segnatura, and was the private papal library where the supreme papal tribunal met.

Prompt: 聖体の論議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。


section

聖体の論議

museum=Apostolic Palace}}The Disputation of the Sacrament , or Disputa, is a painting by the Italian Renaissance artist Raphael. It was painted between 1509 and 1510 as the first part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican.  At the time, this room was known as the Stanza della Segnatura, and was the private papal library where the supreme papal tribunal met.

Prompt: 聖体の論議に関して、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。


section

聖体の論議

In the painting, Raphael has created a scene spanning both heaven and earth. Above, Christ is surrounded by an aureole, flanked by the Blessed Virgin Mary and John the Baptist to his right and left . Other various biblical figures such as Peter , Adam , John the Evangelist , King David , Saint wrence , Judas Maccabeus , Stephen , Moses , James the Elder , Abraham , and Paul  are to the sides. God the Father sits above them all in the golden light of heaven and adored by angels, blessing with his right hand and holding the Earth in his left. Below Christ's feet is the Holy Spirit in the typical form of a dove, to whose sides are books of the four Gospels held open by putti.Below, on an altar sits the monstrance. The fringe of the altar reads, "Julius II Pont. Max." The altar is flanked by historical theologians debating Transubstantiation . Among them are the original four Doctors of the Church , with Pope Gregory I and Jerome seated to the left of the altar and Augustine and Ambrose to the right, along with Pope Julius II, Pope Sixtus IV, Savonarola and Dante Alighieri. Pope Sixtus IV is the gold-dressed pope in the bottom of the painting. Directly behind Sixtus is Dante, wearing red and sporting a laurel wreath . Fifth from right, stands St. Thomas Aquinas. The bald figure reading a book in the left hand corner is Raphael's mentor and Renaissance architect Bramante, and the bearded figure on the right side wearing orange and blue robes is Aristotle. The monk on the far left is Fra Angelico.right

Prompt: 聖体の論議に焦点を当てて、その説明を説明してください。英語で出力して下さい。

Abraham
Adam
Ambrose
Aristotle
Dante Alighieri
David
Fra Angelico
God the Father
Gospel
Jerome
John the Baptist
John the Evangelist
Judas Maccabeus
Moses
Pope Gregory I
Pope Julius II
Pope Sixtus IV
Raphael
Renaissance
Thomas Aquinas
Transubstantiation


section

聖体の論議

In the painting, Raphael has created a scene spanning both heaven and earth. Above, Christ is surrounded by an aureole, flanked by the Blessed Virgin Mary and John the Baptist to his right and left . Other various biblical figures such as Peter , Adam , John the Evangelist , King David , Saint wrence , Judas Maccabeus , Stephen , Moses , James the Elder , Abraham , and Paul  are to the sides. God the Father sits above them all in the golden light of heaven and adored by angels, blessing with his right hand and holding the Earth in his left. Below Christ's feet is the Holy Spirit in the typical form of a dove, to whose sides are books of the four Gospels held open by putti.Below, on an altar sits the monstrance. The fringe of the altar reads, "Julius II Pont. Max." The altar is flanked by historical theologians debating Transubstantiation . Among them are the original four Doctors of the Church , with Pope Gregory I and Jerome seated to the left of the altar and Augustine and Ambrose to the right, along with Pope Julius II, Pope Sixtus IV, Savonarola and Dante Alighieri. Pope Sixtus IV is the gold-dressed pope in the bottom of the painting. Directly behind Sixtus is Dante, wearing red and sporting a laurel wreath . Fifth from right, stands St. Thomas Aquinas. The bald figure reading a book in the left hand corner is Raphael's mentor and Renaissance architect Bramante, and the bearded figure on the right side wearing orange and blue robes is Aristotle. The monk on the far left is Fra Angelico.right

Prompt: 聖体の論議の説明を説明してください。英語で出力して下さい。

Abraham
Adam
Ambrose
Aristotle
Dante Alighieri
David
Fra Angelico
God the Father
Gospel
Jerome
John the Baptist
John the Evangelist
Judas Maccabeus
Moses
Pope Gregory I
Pope Julius II
Pope Sixtus IV
Raphael
Renaissance
Thomas Aquinas
Transubstantiation


section

聖体の論議

In the painting, Raphael has created a scene spanning both heaven and earth. Above, Christ is surrounded by an aureole, flanked by the Blessed Virgin Mary and John the Baptist to his right and left . Other various biblical figures such as Peter , Adam , John the Evangelist , King David , Saint wrence , Judas Maccabeus , Stephen , Moses , James the Elder , Abraham , and Paul  are to the sides. God the Father sits above them all in the golden light of heaven and adored by angels, blessing with his right hand and holding the Earth in his left. Below Christ's feet is the Holy Spirit in the typical form of a dove, to whose sides are books of the four Gospels held open by putti.Below, on an altar sits the monstrance. The fringe of the altar reads, "Julius II Pont. Max." The altar is flanked by historical theologians debating Transubstantiation . Among them are the original four Doctors of the Church , with Pope Gregory I and Jerome seated to the left of the altar and Augustine and Ambrose to the right, along with Pope Julius II, Pope Sixtus IV, Savonarola and Dante Alighieri. Pope Sixtus IV is the gold-dressed pope in the bottom of the painting. Directly behind Sixtus is Dante, wearing red and sporting a laurel wreath . Fifth from right, stands St. Thomas Aquinas. The bald figure reading a book in the left hand corner is Raphael's mentor and Renaissance architect Bramante, and the bearded figure on the right side wearing orange and blue robes is Aristotle. The monk on the far left is Fra Angelico.right

Prompt: 聖体の論議はどのように説明を説明していますか？英語で出力して下さい。

Abraham
Adam
Ambrose
Aristotle
Dante Alighieri
David
Fra Angelico
God the Father
Gospel
Jerome
John the Baptist
John the Evangelist
Judas Maccabeus
Moses
Pope Gregory I
Pope Julius II
Pope Sixtus IV
Raphael
Renaissance
Thomas Aquinas
Transubstantiation


section

聖体の論議

In the painting, Raphael has created a scene spanning both heaven and earth. Above, Christ is surrounded by an aureole, flanked by the Blessed Virgin Mary and John the Baptist to his right and left . Other various biblical figures such as Peter , Adam , John the Evangelist , King David , Saint wrence , Judas Maccabeus , Stephen , Moses , James the Elder , Abraham , and Paul  are to the sides. God the Father sits above them all in the golden light of heaven and adored by angels, blessing with his right hand and holding the Earth in his left. Below Christ's feet is the Holy Spirit in the typical form of a dove, to whose sides are books of the four Gospels held open by putti.Below, on an altar sits the monstrance. The fringe of the altar reads, "Julius II Pont. Max." The altar is flanked by historical theologians debating Transubstantiation . Among them are the original four Doctors of the Church , with Pope Gregory I and Jerome seated to the left of the altar and Augustine and Ambrose to the right, along with Pope Julius II, Pope Sixtus IV, Savonarola and Dante Alighieri. Pope Sixtus IV is the gold-dressed pope in the bottom of the painting. Directly behind Sixtus is Dante, wearing red and sporting a laurel wreath . Fifth from right, stands St. Thomas Aquinas. The bald figure reading a book in the left hand corner is Raphael's mentor and Renaissance architect Bramante, and the bearded figure on the right side wearing orange and blue robes is Aristotle. The monk on the far left is Fra Angelico.right

Prompt: 聖体の論議に関して、どのように説明が議論されていますか？英語で出力して下さい。

Abraham
Adam
Ambrose
Aristotle
Dante Alighieri
David
Fra Angelico
God the Father
Gospel
Jerome
John the Baptist
John the Evangelist
Judas Maccabeus
Moses
Pope Gregory I
Pope Julius II
Pope Sixtus IV
Raphael
Renaissance
Thomas Aquinas
Transubstantiation


section

聖体の論議

Prompt: 聖体の論議に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

聖体の論議

Prompt: 聖体の論議の参照を説明してください。英語で出力して下さい。


section

聖体の論議

Prompt: 聖体の論議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

聖体の論議

Prompt: 聖体の論議に関して、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

守銭奴の死

Death and the Miser  is a Northern Renaissance painting produced between 1490 and 1516 by the Dutch artist Hieronymus Bosch.  The piece was originally part of a triptych, but the center piece is missing.  It is a memento mori painting, which is meant to remind the viewer of the inevitability of death and the futility of the pursuit of material wealth, illustrating the sin of greed.There is still debate about the exact symbolism of the man and the objects in the foreground.  Bosch was influenced by the Ars moriendi, religious texts that instructed Christians how to live and die.  It is now in the National Gallery of Art in Washington, D.C.

Prompt: 守銭奴の死に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Ars moriendi
Christians
Death
Hieronymus Bosch
Miser
National Gallery of Art
Northern Renaissance
Renaissance
Washington, D.C.


section

守銭奴の死

Death and the Miser  is a Northern Renaissance painting produced between 1490 and 1516 by the Dutch artist Hieronymus Bosch.  The piece was originally part of a triptych, but the center piece is missing.  It is a memento mori painting, which is meant to remind the viewer of the inevitability of death and the futility of the pursuit of material wealth, illustrating the sin of greed.There is still debate about the exact symbolism of the man and the objects in the foreground.  Bosch was influenced by the Ars moriendi, religious texts that instructed Christians how to live and die.  It is now in the National Gallery of Art in Washington, D.C.

Prompt: 守銭奴の死の抽象を説明してください。英語で出力して下さい。

Ars moriendi
Christians
Death
Hieronymus Bosch
Miser
National Gallery of Art
Northern Renaissance
Renaissance
Washington, D.C.


section

守銭奴の死

Death and the Miser  is a Northern Renaissance painting produced between 1490 and 1516 by the Dutch artist Hieronymus Bosch.  The piece was originally part of a triptych, but the center piece is missing.  It is a memento mori painting, which is meant to remind the viewer of the inevitability of death and the futility of the pursuit of material wealth, illustrating the sin of greed.There is still debate about the exact symbolism of the man and the objects in the foreground.  Bosch was influenced by the Ars moriendi, religious texts that instructed Christians how to live and die.  It is now in the National Gallery of Art in Washington, D.C.

Prompt: 守銭奴の死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。

Ars moriendi
Christians
Death
Hieronymus Bosch
Miser
National Gallery of Art
Northern Renaissance
Renaissance
Washington, D.C.


section

守銭奴の死

Death and the Miser  is a Northern Renaissance painting produced between 1490 and 1516 by the Dutch artist Hieronymus Bosch.  The piece was originally part of a triptych, but the center piece is missing.  It is a memento mori painting, which is meant to remind the viewer of the inevitability of death and the futility of the pursuit of material wealth, illustrating the sin of greed.There is still debate about the exact symbolism of the man and the objects in the foreground.  Bosch was influenced by the Ars moriendi, religious texts that instructed Christians how to live and die.  It is now in the National Gallery of Art in Washington, D.C.

Prompt: 守銭奴の死に関して、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。

Ars moriendi
Christians
Death
Hieronymus Bosch
Miser
National Gallery of Art
Northern Renaissance
Renaissance
Washington, D.C.


section

守銭奴の死

Death and the Miser belongs to the tradition of memento mori, a term that describes works of art that remind the viewer of the inevitability of death. The painting shows the influence of popular 15th-century handbooks  on the "Art of Dying Well" , intended to help Christians choose Christ over earthly and sinful pleasures.The scene takes place in a narrow, vaulted room that holds a man on his deathbed, similar to the unclothed, thin, and sickly representation of souls in other Bosch triptychs.  The skeletal figure of Death emerges from a closet on the left with an arrow pointed at the dying man.  An angel lays a hand on the man's shoulder, with a hand outstretched to the ray of light emanating from the window on the left, where a small crucifix also hangs. There is a nefarious creature holding a lantern peeking down from the canopy of the bed, while a "devil" offers the man a large sack of coin.  The trunk contains worldly possessions: a knife, money, armor, a gold weight , and envelopes, notes, or letters.  Discarded garments and a winged demon figure are closer in the foreground, with other weapons and pieces of the suit of armor.  The room is seen through a pointed archway flanked with columns, but the foreground appears to be outdoors.  It is unknown what sort of structure the room is attached to, if any.

Prompt: 守銭奴の死に焦点を当てて、その説明を説明してください。英語で出力して下さい。


section

守銭奴の死

Death and the Miser belongs to the tradition of memento mori, a term that describes works of art that remind the viewer of the inevitability of death. The painting shows the influence of popular 15th-century handbooks  on the "Art of Dying Well" , intended to help Christians choose Christ over earthly and sinful pleasures.The scene takes place in a narrow, vaulted room that holds a man on his deathbed, similar to the unclothed, thin, and sickly representation of souls in other Bosch triptychs.  The skeletal figure of Death emerges from a closet on the left with an arrow pointed at the dying man.  An angel lays a hand on the man's shoulder, with a hand outstretched to the ray of light emanating from the window on the left, where a small crucifix also hangs. There is a nefarious creature holding a lantern peeking down from the canopy of the bed, while a "devil" offers the man a large sack of coin.  The trunk contains worldly possessions: a knife, money, armor, a gold weight , and envelopes, notes, or letters.  Discarded garments and a winged demon figure are closer in the foreground, with other weapons and pieces of the suit of armor.  The room is seen through a pointed archway flanked with columns, but the foreground appears to be outdoors.  It is unknown what sort of structure the room is attached to, if any.

Prompt: 守銭奴の死の説明を説明してください。英語で出力して下さい。


section

守銭奴の死

Death and the Miser belongs to the tradition of memento mori, a term that describes works of art that remind the viewer of the inevitability of death. The painting shows the influence of popular 15th-century handbooks  on the "Art of Dying Well" , intended to help Christians choose Christ over earthly and sinful pleasures.The scene takes place in a narrow, vaulted room that holds a man on his deathbed, similar to the unclothed, thin, and sickly representation of souls in other Bosch triptychs.  The skeletal figure of Death emerges from a closet on the left with an arrow pointed at the dying man.  An angel lays a hand on the man's shoulder, with a hand outstretched to the ray of light emanating from the window on the left, where a small crucifix also hangs. There is a nefarious creature holding a lantern peeking down from the canopy of the bed, while a "devil" offers the man a large sack of coin.  The trunk contains worldly possessions: a knife, money, armor, a gold weight , and envelopes, notes, or letters.  Discarded garments and a winged demon figure are closer in the foreground, with other weapons and pieces of the suit of armor.  The room is seen through a pointed archway flanked with columns, but the foreground appears to be outdoors.  It is unknown what sort of structure the room is attached to, if any.

Prompt: 守銭奴の死はどのように説明を説明していますか？英語で出力して下さい。


section

守銭奴の死

Death and the Miser belongs to the tradition of memento mori, a term that describes works of art that remind the viewer of the inevitability of death. The painting shows the influence of popular 15th-century handbooks  on the "Art of Dying Well" , intended to help Christians choose Christ over earthly and sinful pleasures.The scene takes place in a narrow, vaulted room that holds a man on his deathbed, similar to the unclothed, thin, and sickly representation of souls in other Bosch triptychs.  The skeletal figure of Death emerges from a closet on the left with an arrow pointed at the dying man.  An angel lays a hand on the man's shoulder, with a hand outstretched to the ray of light emanating from the window on the left, where a small crucifix also hangs. There is a nefarious creature holding a lantern peeking down from the canopy of the bed, while a "devil" offers the man a large sack of coin.  The trunk contains worldly possessions: a knife, money, armor, a gold weight , and envelopes, notes, or letters.  Discarded garments and a winged demon figure are closer in the foreground, with other weapons and pieces of the suit of armor.  The room is seen through a pointed archway flanked with columns, but the foreground appears to be outdoors.  It is unknown what sort of structure the room is attached to, if any.

Prompt: 守銭奴の死に関して、どのように説明が議論されていますか？英語で出力して下さい。


section

守銭奴の死

Death and the Miser combines different timelines into a single scene.  It depicts the final moments of man called a miser, a hoarder of wealth, or an usurer, who gives loans while profiting from an often unfair interest rate.  It's widely accepted that the old man in green is a slightly younger version of the miser, in full health, storing gold in his money chest  while clutching his rosary, indicating both his desire for piety and wealth.  Whether or not the miser, in his last moments, will embrace the salvation offered by Christ or cling to his worldly riches, is left uncertain.  This is in stark contrast to the Ars moriendi, where the angel successfully persuades him to embrace Christ.  It implies that, rather than otherworldly creatures battling for the soul of a person, the decision lies in their own hand and no one else's.Bosch's familiarity with the visual tradition of the Ars moriendi can also be seen in the top left roundel  depicting the death of a sinner in The Seven Deadly Sins and the Four st Things. There are several points of similarity, such as the figure of Death and the juxtaposition of an angel and devil at the headboard.  Death and the Miser could be Bosch's illustration of the sin of avarice, intended to be a part of this series, meant to depict each of the biblical deadly sins as shown through contemporary life.Another interpretation of the gesture between the man and the demon suggests that the man is not only tempted by wealth, but is offering it to Death as a ransom.  Usury was not just a display of avarice as a sin that simply required the offender to confess and seek God for forgiveness internally, but demanded a specific type of repentance.  According to the Church, reparations for damages or reimbursement of monetary loss must be paid for this crime, but this is not something a miser on his deathbed would be able to do.  He could, however, rectify this at the moment of death by providing this indemnity in his will, though this particular man shows no intention of doing so.The conflict depicted here casts doubt on who exactly the man is supposed to portray.  A lombard would not worry about his afterlife or any façade of piety, as they were excommunicated from the Church, publicly shamed, and denied sacrament and Christian burial.  That this man is worried with at least an illusion of piety suggests that he may be a surreptitious pawnbroker rather than an obvious lombard.  This concept is strengthened by the setting; an official lombard in Augsburg or Bruges, both hubs of Northern Renaissance merchants and artists, would have a normal place of business, akin to a small warehouse with a public facing office and storerooms to house and organize goods.  The man in Death and the Miser does not have that, shown instead with pawned items scattered in his room and locked in a trunk, which indicate that he may want to keep these items and his activities a secret.

Prompt: 守銭奴の死に焦点を当てて、その主題解釈を説明してください。英語で出力して下さい。

Ars moriendi
Death
Miser
Northern Renaissance
Renaissance
Usury


section

守銭奴の死

Death and the Miser combines different timelines into a single scene.  It depicts the final moments of man called a miser, a hoarder of wealth, or an usurer, who gives loans while profiting from an often unfair interest rate.  It's widely accepted that the old man in green is a slightly younger version of the miser, in full health, storing gold in his money chest  while clutching his rosary, indicating both his desire for piety and wealth.  Whether or not the miser, in his last moments, will embrace the salvation offered by Christ or cling to his worldly riches, is left uncertain.  This is in stark contrast to the Ars moriendi, where the angel successfully persuades him to embrace Christ.  It implies that, rather than otherworldly creatures battling for the soul of a person, the decision lies in their own hand and no one else's.Bosch's familiarity with the visual tradition of the Ars moriendi can also be seen in the top left roundel  depicting the death of a sinner in The Seven Deadly Sins and the Four st Things. There are several points of similarity, such as the figure of Death and the juxtaposition of an angel and devil at the headboard.  Death and the Miser could be Bosch's illustration of the sin of avarice, intended to be a part of this series, meant to depict each of the biblical deadly sins as shown through contemporary life.Another interpretation of the gesture between the man and the demon suggests that the man is not only tempted by wealth, but is offering it to Death as a ransom.  Usury was not just a display of avarice as a sin that simply required the offender to confess and seek God for forgiveness internally, but demanded a specific type of repentance.  According to the Church, reparations for damages or reimbursement of monetary loss must be paid for this crime, but this is not something a miser on his deathbed would be able to do.  He could, however, rectify this at the moment of death by providing this indemnity in his will, though this particular man shows no intention of doing so.The conflict depicted here casts doubt on who exactly the man is supposed to portray.  A lombard would not worry about his afterlife or any façade of piety, as they were excommunicated from the Church, publicly shamed, and denied sacrament and Christian burial.  That this man is worried with at least an illusion of piety suggests that he may be a surreptitious pawnbroker rather than an obvious lombard.  This concept is strengthened by the setting; an official lombard in Augsburg or Bruges, both hubs of Northern Renaissance merchants and artists, would have a normal place of business, akin to a small warehouse with a public facing office and storerooms to house and organize goods.  The man in Death and the Miser does not have that, shown instead with pawned items scattered in his room and locked in a trunk, which indicate that he may want to keep these items and his activities a secret.

Prompt: 守銭奴の死の主題解釈を説明してください。英語で出力して下さい。

Ars moriendi
Death
Miser
Northern Renaissance
Renaissance
Usury


section

守銭奴の死

Death and the Miser combines different timelines into a single scene.  It depicts the final moments of man called a miser, a hoarder of wealth, or an usurer, who gives loans while profiting from an often unfair interest rate.  It's widely accepted that the old man in green is a slightly younger version of the miser, in full health, storing gold in his money chest  while clutching his rosary, indicating both his desire for piety and wealth.  Whether or not the miser, in his last moments, will embrace the salvation offered by Christ or cling to his worldly riches, is left uncertain.  This is in stark contrast to the Ars moriendi, where the angel successfully persuades him to embrace Christ.  It implies that, rather than otherworldly creatures battling for the soul of a person, the decision lies in their own hand and no one else's.Bosch's familiarity with the visual tradition of the Ars moriendi can also be seen in the top left roundel  depicting the death of a sinner in The Seven Deadly Sins and the Four st Things. There are several points of similarity, such as the figure of Death and the juxtaposition of an angel and devil at the headboard.  Death and the Miser could be Bosch's illustration of the sin of avarice, intended to be a part of this series, meant to depict each of the biblical deadly sins as shown through contemporary life.Another interpretation of the gesture between the man and the demon suggests that the man is not only tempted by wealth, but is offering it to Death as a ransom.  Usury was not just a display of avarice as a sin that simply required the offender to confess and seek God for forgiveness internally, but demanded a specific type of repentance.  According to the Church, reparations for damages or reimbursement of monetary loss must be paid for this crime, but this is not something a miser on his deathbed would be able to do.  He could, however, rectify this at the moment of death by providing this indemnity in his will, though this particular man shows no intention of doing so.The conflict depicted here casts doubt on who exactly the man is supposed to portray.  A lombard would not worry about his afterlife or any façade of piety, as they were excommunicated from the Church, publicly shamed, and denied sacrament and Christian burial.  That this man is worried with at least an illusion of piety suggests that he may be a surreptitious pawnbroker rather than an obvious lombard.  This concept is strengthened by the setting; an official lombard in Augsburg or Bruges, both hubs of Northern Renaissance merchants and artists, would have a normal place of business, akin to a small warehouse with a public facing office and storerooms to house and organize goods.  The man in Death and the Miser does not have that, shown instead with pawned items scattered in his room and locked in a trunk, which indicate that he may want to keep these items and his activities a secret.

Prompt: 守銭奴の死はどのように主題解釈を説明していますか？英語で出力して下さい。

Ars moriendi
Death
Miser
Northern Renaissance
Renaissance
Usury


section

守銭奴の死

Death and the Miser combines different timelines into a single scene.  It depicts the final moments of man called a miser, a hoarder of wealth, or an usurer, who gives loans while profiting from an often unfair interest rate.  It's widely accepted that the old man in green is a slightly younger version of the miser, in full health, storing gold in his money chest  while clutching his rosary, indicating both his desire for piety and wealth.  Whether or not the miser, in his last moments, will embrace the salvation offered by Christ or cling to his worldly riches, is left uncertain.  This is in stark contrast to the Ars moriendi, where the angel successfully persuades him to embrace Christ.  It implies that, rather than otherworldly creatures battling for the soul of a person, the decision lies in their own hand and no one else's.Bosch's familiarity with the visual tradition of the Ars moriendi can also be seen in the top left roundel  depicting the death of a sinner in The Seven Deadly Sins and the Four st Things. There are several points of similarity, such as the figure of Death and the juxtaposition of an angel and devil at the headboard.  Death and the Miser could be Bosch's illustration of the sin of avarice, intended to be a part of this series, meant to depict each of the biblical deadly sins as shown through contemporary life.Another interpretation of the gesture between the man and the demon suggests that the man is not only tempted by wealth, but is offering it to Death as a ransom.  Usury was not just a display of avarice as a sin that simply required the offender to confess and seek God for forgiveness internally, but demanded a specific type of repentance.  According to the Church, reparations for damages or reimbursement of monetary loss must be paid for this crime, but this is not something a miser on his deathbed would be able to do.  He could, however, rectify this at the moment of death by providing this indemnity in his will, though this particular man shows no intention of doing so.The conflict depicted here casts doubt on who exactly the man is supposed to portray.  A lombard would not worry about his afterlife or any façade of piety, as they were excommunicated from the Church, publicly shamed, and denied sacrament and Christian burial.  That this man is worried with at least an illusion of piety suggests that he may be a surreptitious pawnbroker rather than an obvious lombard.  This concept is strengthened by the setting; an official lombard in Augsburg or Bruges, both hubs of Northern Renaissance merchants and artists, would have a normal place of business, akin to a small warehouse with a public facing office and storerooms to house and organize goods.  The man in Death and the Miser does not have that, shown instead with pawned items scattered in his room and locked in a trunk, which indicate that he may want to keep these items and his activities a secret.

Prompt: 守銭奴の死に関して、どのように主題解釈が議論されていますか？英語で出力して下さい。

Ars moriendi
Death
Miser
Northern Renaissance
Renaissance
Usury


section

守銭奴の死

The painting is believed to be the inside of the right panel of a triptych, which has since been divided and no longer exists as a whole. The other surviving portions of the triptych are The Ship of Fools and Allegory of Gluttony and Lust, with The Wayfarer painted on the external right panel.  It is one of the five fragmented triptychs by Bosch that have survived.Several changes were made to the final painting as revealed by modern infrared analyses.  A very faint remnant can be seen on a high resolution photo, but the items are not clear.  Originally, a flask, rosary, and tumblers were intended to be part of the collection of items in the foreground, but they were never painted.  The scan also revealed that the miser's left hand held a goblet while the right, as it appears today, is gesturing toward the money bag.  This has been interpreted as an offering to Death.  The meaning of the change is unclear, but it has been hypothesized that it could mean an offer of ransom; take my money, don't take me, or an appeal to Death to allow the miser to take his riches with him when he dies.

Prompt: 守銭奴の死に焦点を当てて、その物理分析を説明してください。英語で出力して下さい。

Allegory of Gluttony and Lust
Death
The Wayfarer


section

守銭奴の死

The painting is believed to be the inside of the right panel of a triptych, which has since been divided and no longer exists as a whole. The other surviving portions of the triptych are The Ship of Fools and Allegory of Gluttony and Lust, with The Wayfarer painted on the external right panel.  It is one of the five fragmented triptychs by Bosch that have survived.Several changes were made to the final painting as revealed by modern infrared analyses.  A very faint remnant can be seen on a high resolution photo, but the items are not clear.  Originally, a flask, rosary, and tumblers were intended to be part of the collection of items in the foreground, but they were never painted.  The scan also revealed that the miser's left hand held a goblet while the right, as it appears today, is gesturing toward the money bag.  This has been interpreted as an offering to Death.  The meaning of the change is unclear, but it has been hypothesized that it could mean an offer of ransom; take my money, don't take me, or an appeal to Death to allow the miser to take his riches with him when he dies.

Prompt: 守銭奴の死の物理分析を説明してください。英語で出力して下さい。

Allegory of Gluttony and Lust
Death
The Wayfarer


section

守銭奴の死

The painting is believed to be the inside of the right panel of a triptych, which has since been divided and no longer exists as a whole. The other surviving portions of the triptych are The Ship of Fools and Allegory of Gluttony and Lust, with The Wayfarer painted on the external right panel.  It is one of the five fragmented triptychs by Bosch that have survived.Several changes were made to the final painting as revealed by modern infrared analyses.  A very faint remnant can be seen on a high resolution photo, but the items are not clear.  Originally, a flask, rosary, and tumblers were intended to be part of the collection of items in the foreground, but they were never painted.  The scan also revealed that the miser's left hand held a goblet while the right, as it appears today, is gesturing toward the money bag.  This has been interpreted as an offering to Death.  The meaning of the change is unclear, but it has been hypothesized that it could mean an offer of ransom; take my money, don't take me, or an appeal to Death to allow the miser to take his riches with him when he dies.

Prompt: 守銭奴の死はどのように物理分析を説明していますか？英語で出力して下さい。

Allegory of Gluttony and Lust
Death
The Wayfarer


section

守銭奴の死

The painting is believed to be the inside of the right panel of a triptych, which has since been divided and no longer exists as a whole. The other surviving portions of the triptych are The Ship of Fools and Allegory of Gluttony and Lust, with The Wayfarer painted on the external right panel.  It is one of the five fragmented triptychs by Bosch that have survived.Several changes were made to the final painting as revealed by modern infrared analyses.  A very faint remnant can be seen on a high resolution photo, but the items are not clear.  Originally, a flask, rosary, and tumblers were intended to be part of the collection of items in the foreground, but they were never painted.  The scan also revealed that the miser's left hand held a goblet while the right, as it appears today, is gesturing toward the money bag.  This has been interpreted as an offering to Death.  The meaning of the change is unclear, but it has been hypothesized that it could mean an offer of ransom; take my money, don't take me, or an appeal to Death to allow the miser to take his riches with him when he dies.

Prompt: 守銭奴の死に関して、どのように物理分析が議論されていますか？英語で出力して下さい。

Allegory of Gluttony and Lust
Death
The Wayfarer


section

守銭奴の死

Prompt: 守銭奴の死に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

守銭奴の死

Prompt: 守銭奴の死の参照を説明してください。英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

守銭奴の死

Prompt: 守銭奴の死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。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

守銭奴の死

Prompt: 守銭奴の死に関して、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。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

守銭奴の死

Baldass, Ludwig von  Hieronymus Bosch.  Vienna, 1943. Brand-Philip, Lotte.  Bosch.  New York, 1956. Bryant, Clifton D.; Peck, Dennis L.  Encyclopedia of Death and the Human Experience.  Los Angeles:  SAGE, 2009.  . Chailley, J.  "Jerome Bosch et ses symboles.  Essai de decryptage."  Académie Royale de Belgique, Mémoires de la Classe des Beaux-Arts 15, I: 106-108 Cutler, D.  "Bosch and the Narrenschiff:  A problem in relationships."  Art Bulletin.  51: 272-276. Fiero, Gloria K.  "The humanistic Tradition Fifth Edition".  130. Hand, John Oliver; Wolff, Martha.  Early Netherlandish Painting. National Gallery of Art, Washington. Oxford University Press, 1987.  Jacobs, Lynn F. .  "The Triptychs of Hieronymus Bosch".  The Sixteenth Century Journal.  31, No. 4: 1009-1041. Linfert, Carl.  Hieronymus Bosch.  New York:  H.N. Abrams, 1989.  . Marijnissen, R. H.  Hieronymus Bosch, The complete works.  Antwerp, 1987. Morganstern, Anne M. . "The Pawns in Bosch's Death and the Miser". Studies in the History of Art. 12: 33–41. Reuterswärd.  Hieronymus Bosch.  Stockholm, 1970. Schlüter, Lucy; Vinken, Pierre .  "The foreground of Bosch's 'Death and the Miser'".  Oud Holland.  114, No. 2/4: 69–78. Silver, rry .  "God in the Details: Bosch and the Judgment".  Art Bulletin.  LXXXIII Number 4: 626–650. de Tervarent, G.  Attributs et symboles dans l'art profane 1450-1600.  Geneva, 1958, I: 34. de Tolnay, Charles.  Hieronymus Bosch.  New York: Reynal, 1966.  . Walker, J.  National Gallery of Art.  New York, 1995. Wecker, Menachem .  "rgest-ever retrospective underscores Hieronymus Bosch's Catholic faith".  National Catholic Reporter.

Prompt: 守銭奴の死に焦点を当てて、その情報源を説明してください。英語で出力して下さい。

Death
Hieronymus Bosch
Miser
National Gallery of Art


section

守銭奴の死

Baldass, Ludwig von  Hieronymus Bosch.  Vienna, 1943. Brand-Philip, Lotte.  Bosch.  New York, 1956. Bryant, Clifton D.; Peck, Dennis L.  Encyclopedia of Death and the Human Experience.  Los Angeles:  SAGE, 2009.  . Chailley, J.  "Jerome Bosch et ses symboles.  Essai de decryptage."  Académie Royale de Belgique, Mémoires de la Classe des Beaux-Arts 15, I: 106-108 Cutler, D.  "Bosch and the Narrenschiff:  A problem in relationships."  Art Bulletin.  51: 272-276. Fiero, Gloria K.  "The humanistic Tradition Fifth Edition".  130. Hand, John Oliver; Wolff, Martha.  Early Netherlandish Painting. National Gallery of Art, Washington. Oxford University Press, 1987.  Jacobs, Lynn F. .  "The Triptychs of Hieronymus Bosch".  The Sixteenth Century Journal.  31, No. 4: 1009-1041. Linfert, Carl.  Hieronymus Bosch.  New York:  H.N. Abrams, 1989.  . Marijnissen, R. H.  Hieronymus Bosch, The complete works.  Antwerp, 1987. Morganstern, Anne M. . "The Pawns in Bosch's Death and the Miser". Studies in the History of Art. 12: 33–41. Reuterswärd.  Hieronymus Bosch.  Stockholm, 1970. Schlüter, Lucy; Vinken, Pierre .  "The foreground of Bosch's 'Death and the Miser'".  Oud Holland.  114, No. 2/4: 69–78. Silver, rry .  "God in the Details: Bosch and the Judgment".  Art Bulletin.  LXXXIII Number 4: 626–650. de Tervarent, G.  Attributs et symboles dans l'art profane 1450-1600.  Geneva, 1958, I: 34. de Tolnay, Charles.  Hieronymus Bosch.  New York: Reynal, 1966.  . Walker, J.  National Gallery of Art.  New York, 1995. Wecker, Menachem .  "rgest-ever retrospective underscores Hieronymus Bosch's Catholic faith".  National Catholic Reporter.

Prompt: 守銭奴の死の情報源を説明してください。英語で出力して下さい。

Death
Hieronymus Bosch
Miser
National Gallery of Art


section

守銭奴の死

Baldass, Ludwig von  Hieronymus Bosch.  Vienna, 1943. Brand-Philip, Lotte.  Bosch.  New York, 1956. Bryant, Clifton D.; Peck, Dennis L.  Encyclopedia of Death and the Human Experience.  Los Angeles:  SAGE, 2009.  . Chailley, J.  "Jerome Bosch et ses symboles.  Essai de decryptage."  Académie Royale de Belgique, Mémoires de la Classe des Beaux-Arts 15, I: 106-108 Cutler, D.  "Bosch and the Narrenschiff:  A problem in relationships."  Art Bulletin.  51: 272-276. Fiero, Gloria K.  "The humanistic Tradition Fifth Edition".  130. Hand, John Oliver; Wolff, Martha.  Early Netherlandish Painting. National Gallery of Art, Washington. Oxford University Press, 1987.  Jacobs, Lynn F. .  "The Triptychs of Hieronymus Bosch".  The Sixteenth Century Journal.  31, No. 4: 1009-1041. Linfert, Carl.  Hieronymus Bosch.  New York:  H.N. Abrams, 1989.  . Marijnissen, R. H.  Hieronymus Bosch, The complete works.  Antwerp, 1987. Morganstern, Anne M. . "The Pawns in Bosch's Death and the Miser". Studies in the History of Art. 12: 33–41. Reuterswärd.  Hieronymus Bosch.  Stockholm, 1970. Schlüter, Lucy; Vinken, Pierre .  "The foreground of Bosch's 'Death and the Miser'".  Oud Holland.  114, No. 2/4: 69–78. Silver, rry .  "God in the Details: Bosch and the Judgment".  Art Bulletin.  LXXXIII Number 4: 626–650. de Tervarent, G.  Attributs et symboles dans l'art profane 1450-1600.  Geneva, 1958, I: 34. de Tolnay, Charles.  Hieronymus Bosch.  New York: Reynal, 1966.  . Walker, J.  National Gallery of Art.  New York, 1995. Wecker, Menachem .  "rgest-ever retrospective underscores Hieronymus Bosch's Catholic faith".  National Catholic Reporter.

Prompt: 守銭奴の死はどのように情報源を説明していますか？英語で出力して下さい。

Death
Hieronymus Bosch
Miser
National Gallery of Art


section

守銭奴の死

Baldass, Ludwig von  Hieronymus Bosch.  Vienna, 1943. Brand-Philip, Lotte.  Bosch.  New York, 1956. Bryant, Clifton D.; Peck, Dennis L.  Encyclopedia of Death and the Human Experience.  Los Angeles:  SAGE, 2009.  . Chailley, J.  "Jerome Bosch et ses symboles.  Essai de decryptage."  Académie Royale de Belgique, Mémoires de la Classe des Beaux-Arts 15, I: 106-108 Cutler, D.  "Bosch and the Narrenschiff:  A problem in relationships."  Art Bulletin.  51: 272-276. Fiero, Gloria K.  "The humanistic Tradition Fifth Edition".  130. Hand, John Oliver; Wolff, Martha.  Early Netherlandish Painting. National Gallery of Art, Washington. Oxford University Press, 1987.  Jacobs, Lynn F. .  "The Triptychs of Hieronymus Bosch".  The Sixteenth Century Journal.  31, No. 4: 1009-1041. Linfert, Carl.  Hieronymus Bosch.  New York:  H.N. Abrams, 1989.  . Marijnissen, R. H.  Hieronymus Bosch, The complete works.  Antwerp, 1987. Morganstern, Anne M. . "The Pawns in Bosch's Death and the Miser". Studies in the History of Art. 12: 33–41. Reuterswärd.  Hieronymus Bosch.  Stockholm, 1970. Schlüter, Lucy; Vinken, Pierre .  "The foreground of Bosch's 'Death and the Miser'".  Oud Holland.  114, No. 2/4: 69–78. Silver, rry .  "God in the Details: Bosch and the Judgment".  Art Bulletin.  LXXXIII Number 4: 626–650. de Tervarent, G.  Attributs et symboles dans l'art profane 1450-1600.  Geneva, 1958, I: 34. de Tolnay, Charles.  Hieronymus Bosch.  New York: Reynal, 1966.  . Walker, J.  National Gallery of Art.  New York, 1995. Wecker, Menachem .  "rgest-ever retrospective underscores Hieronymus Bosch's Catholic faith".  National Catholic Reporter.

Prompt: 守銭奴の死に関して、どのように情報源が議論されていますか？英語で出力して下さい。

Death
Hieronymus Bosch
Miser
National Gallery of Art


subsection

守銭奴の死

The meaning of the foreground is still unclear and debated by art historians, though they're reasonably certain about the symbolism inside the room.  The Ars moriendi does not contain a depiction of armor, or even pieces of it, and no other influence has satisfactorily explained their presence.  Most hypotheses fall into two schools of thought; the fabric, weapons, and armor are of symbolic significance, or they represent the miser's former life, before Death came to take him.  The depiction of such inorganic objects to symbolize earthly vanity, transience or decay would become a genre in itself among Flemish artists. The miser died as a knight; the weapons and armor are representative of his station. The man might have been a knight, but he was also a dishonest steward and death has come for him. Gold is more useful than a knight's courage and bravery, implied by placing the gold as a central subject and part of the miser's final struggle while his knightly attire has been discarded in the foreground and outside the main events of the scene. The whole painting is satire about nobility and chivalry , The red fabric could be evil, but combined with the armor has also been interpreted as a symbol for St. Martin of Tours, who famously used his military sword to cut his cloak in half to give to a beggar who lacked sufficient clothing for the winter.  The architecture serves as a line between Christian generosity, symbolized by St. Martin's items in the foreground, and greed, illustrated within the room. The objects represent items that would have been pawned by knights, i.e. jousting equipment, or textile goods from the poor, as an allusion to usury.No single theory has been accepted as the most correct, with art historians themselves admitting that none of the proposed explanations are entirely appropriate or suitably thorough.  Schlüter and Vinken propose an alternate source to their predecessors in the form of biblical texts themselves, namely Letter to the Ephesians 6:10-17, where St. Paul makes several mentions of the armor of God: "Put on the whole armor of God, that ye may be able to stand against the while of the devil" ; "Whereupon take unto you the whole armor of God, that ye may be able to withstand in the evil day, and having done all, to stand" ; "Stand therefore having your loins girt about with truth, and having on the breastplate of righteousness; And your feet shod with the preparation of the gospel of peace" .Throughout the following verses, St. Paul mentions specific pieces of armor, assigning certain aspects of Christianity to them; the helmet of salvation, the shield of faith, the hauberk of justice, and the sword of spirit, which represents the word of God itself.  There are also other references to armor with assigned moral attributes in non-religious texts of the time period, such as the pieces of ncelot's armor representing a knight's duty to the Church, and chivalry.

Prompt: 守銭奴の死の文脈で、前景と主題解釈を説明してください。英語で出力して下さい。


subsection

守銭奴の死

The meaning of the foreground is still unclear and debated by art historians, though they're reasonably certain about the symbolism inside the room.  The Ars moriendi does not contain a depiction of armor, or even pieces of it, and no other influence has satisfactorily explained their presence.  Most hypotheses fall into two schools of thought; the fabric, weapons, and armor are of symbolic significance, or they represent the miser's former life, before Death came to take him.  The depiction of such inorganic objects to symbolize earthly vanity, transience or decay would become a genre in itself among Flemish artists. The miser died as a knight; the weapons and armor are representative of his station. The man might have been a knight, but he was also a dishonest steward and death has come for him. Gold is more useful than a knight's courage and bravery, implied by placing the gold as a central subject and part of the miser's final struggle while his knightly attire has been discarded in the foreground and outside the main events of the scene. The whole painting is satire about nobility and chivalry , The red fabric could be evil, but combined with the armor has also been interpreted as a symbol for St. Martin of Tours, who famously used his military sword to cut his cloak in half to give to a beggar who lacked sufficient clothing for the winter.  The architecture serves as a line between Christian generosity, symbolized by St. Martin's items in the foreground, and greed, illustrated within the room. The objects represent items that would have been pawned by knights, i.e. jousting equipment, or textile goods from the poor, as an allusion to usury.No single theory has been accepted as the most correct, with art historians themselves admitting that none of the proposed explanations are entirely appropriate or suitably thorough.  Schlüter and Vinken propose an alternate source to their predecessors in the form of biblical texts themselves, namely Letter to the Ephesians 6:10-17, where St. Paul makes several mentions of the armor of God: "Put on the whole armor of God, that ye may be able to stand against the while of the devil" ; "Whereupon take unto you the whole armor of God, that ye may be able to withstand in the evil day, and having done all, to stand" ; "Stand therefore having your loins girt about with truth, and having on the breastplate of righteousness; And your feet shod with the preparation of the gospel of peace" .Throughout the following verses, St. Paul mentions specific pieces of armor, assigning certain aspects of Christianity to them; the helmet of salvation, the shield of faith, the hauberk of justice, and the sword of spirit, which represents the word of God itself.  There are also other references to armor with assigned moral attributes in non-religious texts of the time period, such as the pieces of ncelot's armor representing a knight's duty to the Church, and chivalry.

Prompt: 守銭奴の死の主題解釈に関する前景を説明してください。英語で出力して下さい。


subsection

守銭奴の死

The meaning of the foreground is still unclear and debated by art historians, though they're reasonably certain about the symbolism inside the room.  The Ars moriendi does not contain a depiction of armor, or even pieces of it, and no other influence has satisfactorily explained their presence.  Most hypotheses fall into two schools of thought; the fabric, weapons, and armor are of symbolic significance, or they represent the miser's former life, before Death came to take him.  The depiction of such inorganic objects to symbolize earthly vanity, transience or decay would become a genre in itself among Flemish artists. The miser died as a knight; the weapons and armor are representative of his station. The man might have been a knight, but he was also a dishonest steward and death has come for him. Gold is more useful than a knight's courage and bravery, implied by placing the gold as a central subject and part of the miser's final struggle while his knightly attire has been discarded in the foreground and outside the main events of the scene. The whole painting is satire about nobility and chivalry , The red fabric could be evil, but combined with the armor has also been interpreted as a symbol for St. Martin of Tours, who famously used his military sword to cut his cloak in half to give to a beggar who lacked sufficient clothing for the winter.  The architecture serves as a line between Christian generosity, symbolized by St. Martin's items in the foreground, and greed, illustrated within the room. The objects represent items that would have been pawned by knights, i.e. jousting equipment, or textile goods from the poor, as an allusion to usury.No single theory has been accepted as the most correct, with art historians themselves admitting that none of the proposed explanations are entirely appropriate or suitably thorough.  Schlüter and Vinken propose an alternate source to their predecessors in the form of biblical texts themselves, namely Letter to the Ephesians 6:10-17, where St. Paul makes several mentions of the armor of God: "Put on the whole armor of God, that ye may be able to stand against the while of the devil" ; "Whereupon take unto you the whole armor of God, that ye may be able to withstand in the evil day, and having done all, to stand" ; "Stand therefore having your loins girt about with truth, and having on the breastplate of righteousness; And your feet shod with the preparation of the gospel of peace" .Throughout the following verses, St. Paul mentions specific pieces of armor, assigning certain aspects of Christianity to them; the helmet of salvation, the shield of faith, the hauberk of justice, and the sword of spirit, which represents the word of God itself.  There are also other references to armor with assigned moral attributes in non-religious texts of the time period, such as the pieces of ncelot's armor representing a knight's duty to the Church, and chivalry.

Prompt: 守銭奴の死では、どのように主題解釈の前景が説明されていますか？英語で出力して下さい。


subsection

守銭奴の死

The meaning of the foreground is still unclear and debated by art historians, though they're reasonably certain about the symbolism inside the room.  The Ars moriendi does not contain a depiction of armor, or even pieces of it, and no other influence has satisfactorily explained their presence.  Most hypotheses fall into two schools of thought; the fabric, weapons, and armor are of symbolic significance, or they represent the miser's former life, before Death came to take him.  The depiction of such inorganic objects to symbolize earthly vanity, transience or decay would become a genre in itself among Flemish artists. The miser died as a knight; the weapons and armor are representative of his station. The man might have been a knight, but he was also a dishonest steward and death has come for him. Gold is more useful than a knight's courage and bravery, implied by placing the gold as a central subject and part of the miser's final struggle while his knightly attire has been discarded in the foreground and outside the main events of the scene. The whole painting is satire about nobility and chivalry , The red fabric could be evil, but combined with the armor has also been interpreted as a symbol for St. Martin of Tours, who famously used his military sword to cut his cloak in half to give to a beggar who lacked sufficient clothing for the winter.  The architecture serves as a line between Christian generosity, symbolized by St. Martin's items in the foreground, and greed, illustrated within the room. The objects represent items that would have been pawned by knights, i.e. jousting equipment, or textile goods from the poor, as an allusion to usury.No single theory has been accepted as the most correct, with art historians themselves admitting that none of the proposed explanations are entirely appropriate or suitably thorough.  Schlüter and Vinken propose an alternate source to their predecessors in the form of biblical texts themselves, namely Letter to the Ephesians 6:10-17, where St. Paul makes several mentions of the armor of God: "Put on the whole armor of God, that ye may be able to stand against the while of the devil" ; "Whereupon take unto you the whole armor of God, that ye may be able to withstand in the evil day, and having done all, to stand" ; "Stand therefore having your loins girt about with truth, and having on the breastplate of righteousness; And your feet shod with the preparation of the gospel of peace" .Throughout the following verses, St. Paul mentions specific pieces of armor, assigning certain aspects of Christianity to them; the helmet of salvation, the shield of faith, the hauberk of justice, and the sword of spirit, which represents the word of God itself.  There are also other references to armor with assigned moral attributes in non-religious texts of the time period, such as the pieces of ncelot's armor representing a knight's duty to the Church, and chivalry.

Prompt: 守銭奴の死の主題解釈における前景の特徴を説明してください。英語で出力して下さい。


section

大食と快楽の寓意

medium          = Oil on wood height_metric   = 35.9 width_metric    = 31.4 height_imperial =  width_imperial  =  metric_unit     = cm imperial_unit   = in museum          = Yale University Art Gallery city            = New Haven}}Allegory of Intemperance is an oil on wood painting by the Dutch artist Hieronymus Bosch made . It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel,  and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel.  Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness.

Prompt: 大食と快楽の寓意に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Connecticut
Death and the Miser
Hieronymus Bosch
New Haven, Connecticut
The Wayfarer
Yale University Art Gallery


section

大食と快楽の寓意

medium          = Oil on wood height_metric   = 35.9 width_metric    = 31.4 height_imperial =  width_imperial  =  metric_unit     = cm imperial_unit   = in museum          = Yale University Art Gallery city            = New Haven}}Allegory of Intemperance is an oil on wood painting by the Dutch artist Hieronymus Bosch made . It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel,  and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel.  Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness.

Prompt: 大食と快楽の寓意の抽象を説明してください。英語で出力して下さい。

Connecticut
Death and the Miser
Hieronymus Bosch
New Haven, Connecticut
The Wayfarer
Yale University Art Gallery


section

大食と快楽の寓意

medium          = Oil on wood height_metric   = 35.9 width_metric    = 31.4 height_imperial =  width_imperial  =  metric_unit     = cm imperial_unit   = in museum          = Yale University Art Gallery city            = New Haven}}Allegory of Intemperance is an oil on wood painting by the Dutch artist Hieronymus Bosch made . It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel,  and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel.  Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness.

Prompt: 大食と快楽の寓意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。

Connecticut
Death and the Miser
Hieronymus Bosch
New Haven, Connecticut
The Wayfarer
Yale University Art Gallery


section

大食と快楽の寓意

medium          = Oil on wood height_metric   = 35.9 width_metric    = 31.4 height_imperial =  width_imperial  =  metric_unit     = cm imperial_unit   = in museum          = Yale University Art Gallery city            = New Haven}}Allegory of Intemperance is an oil on wood painting by the Dutch artist Hieronymus Bosch made . It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel,  and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel.  Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness.

Prompt: 大食と快楽の寓意に関して、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。

Connecticut
Death and the Miser
Hieronymus Bosch
New Haven, Connecticut
The Wayfarer
Yale University Art Gallery


section

大食と快楽の寓意

Prompt: 大食と快楽の寓意に焦点を当てて、その参照を説明してください。英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

大食と快楽の寓意

Prompt: 大食と快楽の寓意の参照を説明してください。英語で出力して下さい。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

大食と快楽の寓意

Prompt: 大食と快楽の寓意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。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

大食と快楽の寓意

Prompt: 大食と快楽の寓意に関して、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。

Hieronymus Bosch
List of paintings by Hieronymus Bosch


section

神殿から追放されるヘリオドロス

wide city=Vatican City museum=Apostolic Palace}}The Expulsion of Heliodorus from the Temple is a fresco of the Italian renaissance painter Raphael. It was painted between 1511 and 1512 as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the room that takes its name from it, the Stanza di Eliodoro.The Expulsion of Heliodorus from the Temple illustrates the biblical episode from 2 Maccabees . Heliodorus is ordered by Seleucus IV Philopator, the king of Syria, to seize the treasure preserved in the Temple in Jerusalem. Answering the prayers of the high priest Onias III, God sends a horseman assisted by two youths to drive Heliodorus out.At the left, Raphael's patron Julius II witnesses the scene from his litter. The money had been reserved for widows and orphans and a priest had seen and prayed and God sent down a horseman to drive him from the temple. The composition is divided into two halves, in the centre is the priest praying and the priest looks much like Julius II. On the right is the horseman fighting Heliodorus. The menorah by the priest in the centre shows that this event, from the Old Testament, occurs in a synagogue. On the left are widows and orphans grouped together and Julius II is being carried on a throne, witnessing this event. While one message of the event is God will not allow you to “steal from the church”, the painting is located in the same stanza as The Mass at Bolsena. Together the events seem to underscore the Counter-Reformation efforts to underscore the sacredness of the services, including sacraments, occurring inside church buildings. The architecture begs comparison with Raphael's earlier fresco masterwork  The School of Athens , although the Domes in “The Expulsion of Heliodorus from the Temple” are much richer and are gilded and highly decorated.The work contains a self-portrait by Raphael, near the far left.In 1725 the baroque Italian painter Francesco Solimena and 1850 the French romantic artist Eugène Delacroix each created a work based on the same story.

Prompt: 神殿から追放されるヘリオドロスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

2 Maccabees
Apostolic Palace
Counter-Reformation
Eugène Delacroix
Francesco Solimena
Old Testament
Onias III
Raphael
Seleucus IV Philopator
Temple in Jerusalem
The Mass at Bolsena
The School of Athens


section

神殿から追放されるヘリオドロス

wide city=Vatican City museum=Apostolic Palace}}The Expulsion of Heliodorus from the Temple is a fresco of the Italian renaissance painter Raphael. It was painted between 1511 and 1512 as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the room that takes its name from it, the Stanza di Eliodoro.The Expulsion of Heliodorus from the Temple illustrates the biblical episode from 2 Maccabees . Heliodorus is ordered by Seleucus IV Philopator, the king of Syria, to seize the treasure preserved in the Temple in Jerusalem. Answering the prayers of the high priest Onias III, God sends a horseman assisted by two youths to drive Heliodorus out.At the left, Raphael's patron Julius II witnesses the scene from his litter. The money had been reserved for widows and orphans and a priest had seen and prayed and God sent down a horseman to drive him from the temple. The composition is divided into two halves, in the centre is the priest praying and the priest looks much like Julius II. On the right is the horseman fighting Heliodorus. The menorah by the priest in the centre shows that this event, from the Old Testament, occurs in a synagogue. On the left are widows and orphans grouped together and Julius II is being carried on a throne, witnessing this event. While one message of the event is God will not allow you to “steal from the church”, the painting is located in the same stanza as The Mass at Bolsena. Together the events seem to underscore the Counter-Reformation efforts to underscore the sacredness of the services, including sacraments, occurring inside church buildings. The architecture begs comparison with Raphael's earlier fresco masterwork  The School of Athens , although the Domes in “The Expulsion of Heliodorus from the Temple” are much richer and are gilded and highly decorated.The work contains a self-portrait by Raphael, near the far left.In 1725 the baroque Italian painter Francesco Solimena and 1850 the French romantic artist Eugène Delacroix each created a work based on the same story.

Prompt: 神殿から追放されるヘリオドロスの抽象を説明してください。英語で出力して下さい。

2 Maccabees
Apostolic Palace
Counter-Reformation
Eugène Delacroix
Francesco Solimena
Old Testament
Onias III
Raphael
Seleucus IV Philopator
Temple in Jerusalem
The Mass at Bolsena
The School of Athens


section

神殿から追放されるヘリオドロス

wide city=Vatican City museum=Apostolic Palace}}The Expulsion of Heliodorus from the Temple is a fresco of the Italian renaissance painter Raphael. It was painted between 1511 and 1512 as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the room that takes its name from it, the Stanza di Eliodoro.The Expulsion of Heliodorus from the Temple illustrates the biblical episode from 2 Maccabees . Heliodorus is ordered by Seleucus IV Philopator, the king of Syria, to seize the treasure preserved in the Temple in Jerusalem. Answering the prayers of the high priest Onias III, God sends a horseman assisted by two youths to drive Heliodorus out.At the left, Raphael's patron Julius II witnesses the scene from his litter. The money had been reserved for widows and orphans and a priest had seen and prayed and God sent down a horseman to drive him from the temple. The composition is divided into two halves, in the centre is the priest praying and the priest looks much like Julius II. On the right is the horseman fighting Heliodorus. The menorah by the priest in the centre shows that this event, from the Old Testament, occurs in a synagogue. On the left are widows and orphans grouped together and Julius II is being carried on a throne, witnessing this event. While one message of the event is God will not allow you to “steal from the church”, the painting is located in the same stanza as The Mass at Bolsena. Together the events seem to underscore the Counter-Reformation efforts to underscore the sacredness of the services, including sacraments, occurring inside church buildings. The architecture begs comparison with Raphael's earlier fresco masterwork  The School of Athens , although the Domes in “The Expulsion of Heliodorus from the Temple” are much richer and are gilded and highly decorated.The work contains a self-portrait by Raphael, near the far left.In 1725 the baroque Italian painter Francesco Solimena and 1850 the French romantic artist Eugène Delacroix each created a work based on the same story.

Prompt: 神殿から追放されるヘリオドロス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。

2 Maccabees
Apostolic Palace
Counter-Reformation
Eugène Delacroix
Francesco Solimena
Old Testament
Onias III
Raphael
Seleucus IV Philopator
Temple in Jerusalem
The Mass at Bolsena
The School of Athens


section

神殿から追放されるヘリオドロス

wide city=Vatican City museum=Apostolic Palace}}The Expulsion of Heliodorus from the Temple is a fresco of the Italian renaissance painter Raphael. It was painted between 1511 and 1512 as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the room that takes its name from it, the Stanza di Eliodoro.The Expulsion of Heliodorus from the Temple illustrates the biblical episode from 2 Maccabees . Heliodorus is ordered by Seleucus IV Philopator, the king of Syria, to seize the treasure preserved in the Temple in Jerusalem. Answering the prayers of the high priest Onias III, God sends a horseman assisted by two youths to drive Heliodorus out.At the left, Raphael's patron Julius II witnesses the scene from his litter. The money had been reserved for widows and orphans and a priest had seen and prayed and God sent down a horseman to drive him from the temple. The composition is divided into two halves, in the centre is the priest praying and the priest looks much like Julius II. On the right is the horseman fighting Heliodorus. The menorah by the priest in the centre shows that this event, from the Old Testament, occurs in a synagogue. On the left are widows and orphans grouped together and Julius II is being carried on a throne, witnessing this event. While one message of the event is God will not allow you to “steal from the church”, the painting is located in the same stanza as The Mass at Bolsena. Together the events seem to underscore the Counter-Reformation efforts to underscore the sacredness of the services, including sacraments, occurring inside church buildings. The architecture begs comparison with Raphael's earlier fresco masterwork  The School of Athens , although the Domes in “The Expulsion of Heliodorus from the Temple” are much richer and are gilded and highly decorated.The work contains a self-portrait by Raphael, near the far left.In 1725 the baroque Italian painter Francesco Solimena and 1850 the French romantic artist Eugène Delacroix each created a work based on the same story.

Prompt: 神殿から追放されるヘリオドロスに関して、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。

2 Maccabees
Apostolic Palace
Counter-Reformation
Eugène Delacroix
Francesco Solimena
Old Testament
Onias III
Raphael
Seleucus IV Philopator
Temple in Jerusalem
The Mass at Bolsena
The School of Athens


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神殿から追放されるヘリオドロス

The Expulsion of Heliodorus from the Temple

Prompt: 神殿から追放されるヘリオドロスに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

神殿から追放されるヘリオドロス

The Expulsion of Heliodorus from the Temple

Prompt: 神殿から追放されるヘリオドロスの参照を説明してください。英語で出力して下さい。


section

神殿から追放されるヘリオドロス

The Expulsion of Heliodorus from the Temple

Prompt: 神殿から追放されるヘリオドロ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。


section

神殿から追放されるヘリオドロス

The Expulsion of Heliodorus from the Temple

Prompt: 神殿から追放されるヘリオドロスに関して、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。


section

神殿から追放されるヘリオドロス

The Expulsion of Heliodorus from the Temple

Category:Raphael roomsCategory:1512 paintingsCategory:Paintings of people in the deuterocanonical booksCategory:Horses in artCategory:Nude art

Prompt: 神殿から追放されるヘリオドロスに焦点を当てて、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

神殿から追放されるヘリオドロス

The Expulsion of Heliodorus from the Temple

Category:Raphael roomsCategory:1512 paintingsCategory:Paintings of people in the deuterocanonical booksCategory:Horses in artCategory:Nude art

Prompt: 神殿から追放されるヘリオドロ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

神殿から追放されるヘリオドロス

The Expulsion of Heliodorus from the Temple

Category:Raphael roomsCategory:1512 paintingsCategory:Paintings of people in the deuterocanonical booksCategory:Horses in artCategory:Nude art

Prompt: 神殿から追放されるヘリオドロ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

神殿から追放されるヘリオドロス

The Expulsion of Heliodorus from the Temple

Category:Raphael roomsCategory:1512 paintingsCategory:Paintings of people in the deuterocanonical booksCategory:Horses in artCategory:Nude art

Prompt: 神殿から追放されるヘリオドロスに関して、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。


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ボルセーナのミサ

wide city=Vatican City museum=Apostolic Palace}}The Mass at Bolsena is a painting by the Italian renaissance artist Raphael. It was painted between 1512 and 1514  as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Raphael Rooms, in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple.The Mass at Bolsena depicts a Eucharistic miracle that is said to have taken place in 1263 at the church of Santa Cristina in Bolsena. A Bohemian priest who doubted the doctrine of transubstantiation was celebrating mass at Bolsena, when the bread of the eucharist began to bleed. The blood that spouted from the host fell onto the tablecloth in the shape of a cross and he was reconverted. The following year, in 1264, Pope Urban IV instituted the Feast of Corpus Christi to celebrate this miraculous event. The blood-stained Corporal of Bolsena is still venerated as a major relic in the Orvieto Cathedral.Present in this painting is a self-portrait of the artist, Raphael, as one of the Swiss Guard in the lower right of the fresco, facing out with bound-up hair.  This is one of several instances in which Raphael has placed himself in his paintings.  Also shown in the work is Pope Julius II , kneeling at the right, and his daughter Felice della Rovere, shown on the left at the bottom of the steps, in profile, in dark clothes. The four cardinals to the right have also been identified as Leonardo Grosso della Rovere, Raffaello Riario, Tommaso Riario and Agostino Spinola, relatives of Julius.

Prompt: ボルセーナのミサに焦点を当てて、その抽象を説明してください。英語で出力して下さい。


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ボルセーナのミサ

wide city=Vatican City museum=Apostolic Palace}}The Mass at Bolsena is a painting by the Italian renaissance artist Raphael. It was painted between 1512 and 1514  as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Raphael Rooms, in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple.The Mass at Bolsena depicts a Eucharistic miracle that is said to have taken place in 1263 at the church of Santa Cristina in Bolsena. A Bohemian priest who doubted the doctrine of transubstantiation was celebrating mass at Bolsena, when the bread of the eucharist began to bleed. The blood that spouted from the host fell onto the tablecloth in the shape of a cross and he was reconverted. The following year, in 1264, Pope Urban IV instituted the Feast of Corpus Christi to celebrate this miraculous event. The blood-stained Corporal of Bolsena is still venerated as a major relic in the Orvieto Cathedral.Present in this painting is a self-portrait of the artist, Raphael, as one of the Swiss Guard in the lower right of the fresco, facing out with bound-up hair.  This is one of several instances in which Raphael has placed himself in his paintings.  Also shown in the work is Pope Julius II , kneeling at the right, and his daughter Felice della Rovere, shown on the left at the bottom of the steps, in profile, in dark clothes. The four cardinals to the right have also been identified as Leonardo Grosso della Rovere, Raffaello Riario, Tommaso Riario and Agostino Spinola, relatives of Julius.

Prompt: ボルセーナのミサの抽象を説明してください。英語で出力して下さい。


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ボルセーナのミサ

wide city=Vatican City museum=Apostolic Palace}}The Mass at Bolsena is a painting by the Italian renaissance artist Raphael. It was painted between 1512 and 1514  as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Raphael Rooms, in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple.The Mass at Bolsena depicts a Eucharistic miracle that is said to have taken place in 1263 at the church of Santa Cristina in Bolsena. A Bohemian priest who doubted the doctrine of transubstantiation was celebrating mass at Bolsena, when the bread of the eucharist began to bleed. The blood that spouted from the host fell onto the tablecloth in the shape of a cross and he was reconverted. The following year, in 1264, Pope Urban IV instituted the Feast of Corpus Christi to celebrate this miraculous event. The blood-stained Corporal of Bolsena is still venerated as a major relic in the Orvieto Cathedral.Present in this painting is a self-portrait of the artist, Raphael, as one of the Swiss Guard in the lower right of the fresco, facing out with bound-up hair.  This is one of several instances in which Raphael has placed himself in his paintings.  Also shown in the work is Pope Julius II , kneeling at the right, and his daughter Felice della Rovere, shown on the left at the bottom of the steps, in profile, in dark clothes. The four cardinals to the right have also been identified as Leonardo Grosso della Rovere, Raffaello Riario, Tommaso Riario and Agostino Spinola, relatives of Julius.

Prompt: ボルセーナのミサ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。


section

ボルセーナのミサ

wide city=Vatican City museum=Apostolic Palace}}The Mass at Bolsena is a painting by the Italian renaissance artist Raphael. It was painted between 1512 and 1514  as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Raphael Rooms, in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple.The Mass at Bolsena depicts a Eucharistic miracle that is said to have taken place in 1263 at the church of Santa Cristina in Bolsena. A Bohemian priest who doubted the doctrine of transubstantiation was celebrating mass at Bolsena, when the bread of the eucharist began to bleed. The blood that spouted from the host fell onto the tablecloth in the shape of a cross and he was reconverted. The following year, in 1264, Pope Urban IV instituted the Feast of Corpus Christi to celebrate this miraculous event. The blood-stained Corporal of Bolsena is still venerated as a major relic in the Orvieto Cathedral.Present in this painting is a self-portrait of the artist, Raphael, as one of the Swiss Guard in the lower right of the fresco, facing out with bound-up hair.  This is one of several instances in which Raphael has placed himself in his paintings.  Also shown in the work is Pope Julius II , kneeling at the right, and his daughter Felice della Rovere, shown on the left at the bottom of the steps, in profile, in dark clothes. The four cardinals to the right have also been identified as Leonardo Grosso della Rovere, Raffaello Riario, Tommaso Riario and Agostino Spinola, relatives of Julius.

Prompt: ボルセーナのミサに関して、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。


section

ボルセーナのミサ

Category:Raphael roomsCategory:1514 paintingsCategory:Religious paintings

Prompt: ボルセーナのミサに焦点を当てて、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

ボルセーナのミサ

Category:Raphael roomsCategory:1514 paintingsCategory:Religious paintings

Prompt: ボルセーナのミサ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

ボルセーナのミサ

Category:Raphael roomsCategory:1514 paintingsCategory:Religious paintings

Prompt: ボルセーナのミサ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

ボルセーナのミサ

Category:Raphael roomsCategory:1514 paintingsCategory:Religious paintings

Prompt: ボルセーナのミサに関して、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。


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隠遁聖者の三連祭壇画

The Hermit Saints is a religious oil on panel painting displayed as a triptych which was painted  by the Early Netherlandish artist Hieronymus Bosch. The entirety of the triptych painting measures . This artwork is currently being housed at the Gallerie dell'Accademia, Venice.Saints are a common theme in Bosch's artwork; for him, they are a reference to the living and also to suffering against what was considered sinful. Likewise, there is often the portrayal of brutality and agony that far outweighs the beauty in Bosch's work since he uses saints as a moral paradigm of the artist's time. He represents them as those who are most faithful in their beliefs.Within this triptych the viewer is introduced to three hermit saints depicted in separate lands of the heavenly and hellish manifestations of mankind's sin and moral obligations. The hermit saints are a reference to the life of solitude and devotion to their faith and practice of the religion Christianity. Each panel is rich with symbolic imagery that gives insight into the frame of mind of each saint's devotion and empathy towards Christ through iconography and symbolism.

Prompt: 隠遁聖者の三連祭壇画に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Christianity
Gallerie dell'Accademia
Hieronymus Bosch
Venice


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隠遁聖者の三連祭壇画

The Hermit Saints is a religious oil on panel painting displayed as a triptych which was painted  by the Early Netherlandish artist Hieronymus Bosch. The entirety of the triptych painting measures . This artwork is currently being housed at the Gallerie dell'Accademia, Venice.Saints are a common theme in Bosch's artwork; for him, they are a reference to the living and also to suffering against what was considered sinful. Likewise, there is often the portrayal of brutality and agony that far outweighs the beauty in Bosch's work since he uses saints as a moral paradigm of the artist's time. He represents them as those who are most faithful in their beliefs.Within this triptych the viewer is introduced to three hermit saints depicted in separate lands of the heavenly and hellish manifestations of mankind's sin and moral obligations. The hermit saints are a reference to the life of solitude and devotion to their faith and practice of the religion Christianity. Each panel is rich with symbolic imagery that gives insight into the frame of mind of each saint's devotion and empathy towards Christ through iconography and symbolism.

Prompt: 隠遁聖者の三連祭壇画の抽象を説明してください。英語で出力して下さい。

Christianity
Gallerie dell'Accademia
Hieronymus Bosch
Venice


section

隠遁聖者の三連祭壇画

The Hermit Saints is a religious oil on panel painting displayed as a triptych which was painted  by the Early Netherlandish artist Hieronymus Bosch. The entirety of the triptych painting measures . This artwork is currently being housed at the Gallerie dell'Accademia, Venice.Saints are a common theme in Bosch's artwork; for him, they are a reference to the living and also to suffering against what was considered sinful. Likewise, there is often the portrayal of brutality and agony that far outweighs the beauty in Bosch's work since he uses saints as a moral paradigm of the artist's time. He represents them as those who are most faithful in their beliefs.Within this triptych the viewer is introduced to three hermit saints depicted in separate lands of the heavenly and hellish manifestations of mankind's sin and moral obligations. The hermit saints are a reference to the life of solitude and devotion to their faith and practice of the religion Christianity. Each panel is rich with symbolic imagery that gives insight into the frame of mind of each saint's devotion and empathy towards Christ through iconography and symbolism.

Prompt: 隠遁聖者の三連祭壇画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。

Christianity
Gallerie dell'Accademia
Hieronymus Bosch
Venice


section

隠遁聖者の三連祭壇画

The Hermit Saints is a religious oil on panel painting displayed as a triptych which was painted  by the Early Netherlandish artist Hieronymus Bosch. The entirety of the triptych painting measures . This artwork is currently being housed at the Gallerie dell'Accademia, Venice.Saints are a common theme in Bosch's artwork; for him, they are a reference to the living and also to suffering against what was considered sinful. Likewise, there is often the portrayal of brutality and agony that far outweighs the beauty in Bosch's work since he uses saints as a moral paradigm of the artist's time. He represents them as those who are most faithful in their beliefs.Within this triptych the viewer is introduced to three hermit saints depicted in separate lands of the heavenly and hellish manifestations of mankind's sin and moral obligations. The hermit saints are a reference to the life of solitude and devotion to their faith and practice of the religion Christianity. Each panel is rich with symbolic imagery that gives insight into the frame of mind of each saint's devotion and empathy towards Christ through iconography and symbolism.

Prompt: 隠遁聖者の三連祭壇画に関して、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。

Christianity
Gallerie dell'Accademia
Hieronymus Bosch
Venice


section

隠遁聖者の三連祭壇画

The triptych is mentioned at the Palazzo Ducale in 1771, as hanging in the Eccelso Tribunale Hall. In 1838 it was removed by the Austrian authorities, then ruling Venice, to the Imperial Gallery of Vienna in Austria, from which, in 1893, it went to the Kunsthistorisches Museum. In 1919 it was returned to Venice.The work has been badly damaged, perhaps by a fire; in particular, in the central part, the sky, the landscape and the head of St. Jerome have been repainted. The date of 1493 has been confirmed by dendochronological analysis.left

Prompt: 隠遁聖者の三連祭壇画に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

Austria
Jerome
Kunsthistorisches Museum
Jerome
Venice
Vienna


section

隠遁聖者の三連祭壇画

The triptych is mentioned at the Palazzo Ducale in 1771, as hanging in the Eccelso Tribunale Hall. In 1838 it was removed by the Austrian authorities, then ruling Venice, to the Imperial Gallery of Vienna in Austria, from which, in 1893, it went to the Kunsthistorisches Museum. In 1919 it was returned to Venice.The work has been badly damaged, perhaps by a fire; in particular, in the central part, the sky, the landscape and the head of St. Jerome have been repainted. The date of 1493 has been confirmed by dendochronological analysis.left

Prompt: 隠遁聖者の三連祭壇画の歴史を説明してください。英語で出力して下さい。

Austria
Jerome
Kunsthistorisches Museum
Jerome
Venice
Vienna


section

隠遁聖者の三連祭壇画

The triptych is mentioned at the Palazzo Ducale in 1771, as hanging in the Eccelso Tribunale Hall. In 1838 it was removed by the Austrian authorities, then ruling Venice, to the Imperial Gallery of Vienna in Austria, from which, in 1893, it went to the Kunsthistorisches Museum. In 1919 it was returned to Venice.The work has been badly damaged, perhaps by a fire; in particular, in the central part, the sky, the landscape and the head of St. Jerome have been repainted. The date of 1493 has been confirmed by dendochronological analysis.left

Prompt: 隠遁聖者の三連祭壇画はどのように歴史を説明していますか？英語で出力して下さい。

Austria
Jerome
Kunsthistorisches Museum
Jerome
Venice
Vienna


section

隠遁聖者の三連祭壇画

The triptych is mentioned at the Palazzo Ducale in 1771, as hanging in the Eccelso Tribunale Hall. In 1838 it was removed by the Austrian authorities, then ruling Venice, to the Imperial Gallery of Vienna in Austria, from which, in 1893, it went to the Kunsthistorisches Museum. In 1919 it was returned to Venice.The work has been badly damaged, perhaps by a fire; in particular, in the central part, the sky, the landscape and the head of St. Jerome have been repainted. The date of 1493 has been confirmed by dendochronological analysis.left

Prompt: 隠遁聖者の三連祭壇画に関して、どのように歴史が議論されていますか？英語で出力して下さい。

Austria
Jerome
Kunsthistorisches Museum
Jerome
Venice
Vienna


section

隠遁聖者の三連祭壇画

The depictions of hell, heaven, and earth in Bosch's artwork showcase the varying stages of existence as the panels move from scenes of heaven to Earth, and finally, shift onwards into Bosch's visions of hell.  The left panel in The Hermit Saints depicts a hierarchal depiction of hell and each of the hermit saints devotion to Christ.In the background of the left panel a church, a well, a bridge, two human figures, and carious trees can be seen silhouetted amongst the glow of fires ominous light. Nearest in the foreground resides the first saint, St. Anthony, an older man who is gathering water in a small vessel as he is surrounded by various creatures of hell, both on land and within the small body of water near the man. To the older man's right stands a tree with a white sheet as two smaller human figures push through the sheet to enter the body of water. Within this triptych Saint Anthony appears secluded, a juxtaposition with Bosch's more chaotic depictions of St. Anthony, like that of the Triptych of the Temptation of St. Anthony. In this painting, the saint appears in agony, surrounded by monstrous figures of hell actively attacking one another. The seclusion of the figure in The Hermit Saints  connects to the devotion exhibited  by the other two saints in second and third panels and likewise, contrasting with the chaotic scenes of passion displayed in the Bosch's Temptation of Saint Anthony.The middle panel is an Earthly scene with recognizable lifeforms such as deer, birds, and iguanas inhabiting the land. The second saint depicted is St. Jerome, another older man, who can be seen in the midst of worship, as a small crucifix stands slanted before him. To the left of the crucifix is a small relief depicting a human figure and a unicorn. The small relief is echoed as another small column depicts a celestial scene with  a human figure bent down on their knees, gazing up to a distinctly separate scene of the sun and the moon. In the entirety of this panel, the faith St. Jerome has for Christ is symbolized by the physical space of the vastness of the land. The focal point of St. Jerome showcases the pain and suffering of Christ, allowing St. Jerome to contemplate and empathize with Christ's experiences with suffering in life.The third panel portrays third saint, who appears to be St. Giles, who remains dwelling in a cave, deep in prayer with an arrow lodged in his chest, a deer by his feet, and a face peering out of the darkness of the cave.

Prompt: 隠遁聖者の三連祭壇画に焦点を当てて、その説明を説明してください。英語で出力して下さい。