subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラの十字架の幻が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

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


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、ミルウィア橋の戦いとスタンツァデッラセニャトゥーラを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関するミルウィア橋の戦いを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラのミルウィア橋の戦いが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおけるミルウィア橋の戦いの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、コンスタンティヌスの洗礼とスタンツァデッラセニャトゥーラを説明してください。英語で出力して下さい。

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


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関するコンスタンティヌスの洗礼を説明してください。英語で出力して下さい。

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


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラのコンスタンティヌスの洗礼が説明されていますか？英語で出力して下さい。

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


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおけるコンスタンティヌスの洗礼の特徴を説明してください。英語で出力して下さい。

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


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、コンスタンティヌスの寄進とスタンツァデッラセニャトゥーラを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関するコンスタンティヌスの寄進を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラのコンスタンティヌスの寄進が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおけるコンスタンティヌスの寄進の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、神殿からのヘリオドロスの追放とスタンツァデッラセニャトゥーラを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関する神殿からのヘリオドロスの追放を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

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


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおける神殿からのヘリオドロスの追放の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、ボルセーナのミサとスタンツァデッラセニャトゥーラを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関するボルセーナのミサを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラのボルセーナのミサが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおけるボルセーナのミサの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、レオ大帝とアッティラの会見とスタンツァデッラセニャトゥーラを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関するレオ大帝とアッティラの会見を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラのレオ大帝とアッティラの会見が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおけるレオ大帝とアッティラの会見の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

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


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関する聖ペテロの解放を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラの聖ペテロの解放が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおける聖ペテロの解放の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

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


subsection

ラファエロの間

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

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


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラの聖体論争が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおける聖体論争の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

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


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関するパルナッソスを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラのパルナッソスが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおけるパルナッソスの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、アテナイの学堂とスタンツァデッラセニャトゥーラを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関するアテナイの学堂を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラのアテナイの学堂が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおけるアテナイの学堂の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

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


subsection

ラファエロの間

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

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


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラの枢要徳が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおける枢要徳の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、レオ三世の誓いとスタンツァデッラセニャトゥーラを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関するレオ三世の誓いを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラのレオ三世の誓いが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおけるレオ三世の誓いの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、カール大帝の戴冠とスタンツァデッラセニャトゥーラを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関するカール大帝の戴冠を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラのカール大帝の戴冠が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおけるカール大帝の戴冠の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

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

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関するボルゴの火事を説明してください。英語で出力して下さい。

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラのボルゴの火事が説明されていますか？英語で出力して下さい。

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおけるボルゴの火事の特徴を説明してください。英語で出力して下さい。

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、オスティアの戦いとスタンツァデッラセニャトゥーラを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラに関するオスティアの戦いを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにスタンツァデッラセニャトゥーラのオスティアの戦いが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のスタンツァデッラセニャトゥーラにおけるオスティアの戦いの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、十字架の幻とボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関する十字架の幻を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間の十字架の幻が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間における十字架の幻の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、ミルウィア橋の戦いとボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関するミルウィア橋の戦いを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間のミルウィア橋の戦いが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間におけるミルウィア橋の戦いの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、コンスタンティヌスの洗礼とボルゴの火災の間を説明してください。英語で出力して下さい。

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


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関するコンスタンティヌスの洗礼を説明してください。英語で出力して下さい。

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


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間のコンスタンティヌスの洗礼が説明されていますか？英語で出力して下さい。

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


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間におけるコンスタンティヌスの洗礼の特徴を説明してください。英語で出力して下さい。

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


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、コンスタンティヌスの寄進とボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関するコンスタンティヌスの寄進を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間のコンスタンティヌスの寄進が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間におけるコンスタンティヌスの寄進の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、神殿からのヘリオドロスの追放とボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関する神殿からのヘリオドロスの追放を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間の神殿からのヘリオドロスの追放が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間における神殿からのヘリオドロスの追放の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、ボルセーナのミサとボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関するボルセーナのミサを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間のボルセーナのミサが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間におけるボルセーナのミサの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、レオ大帝とアッティラの会見とボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関するレオ大帝とアッティラの会見を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間のレオ大帝とアッティラの会見が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間におけるレオ大帝とアッティラの会見の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、聖ペテロの解放とボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関する聖ペテロの解放を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間の聖ペテロの解放が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間における聖ペテロの解放の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、聖体論争とボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関する聖体論争を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間の聖体論争が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間における聖体論争の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、パルナッソスとボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関するパルナッソスを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間のパルナッソスが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間におけるパルナッソスの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、アテナイの学堂とボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関するアテナイの学堂を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間のアテナイの学堂が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間におけるアテナイの学堂の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、枢要徳とボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関する枢要徳を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間の枢要徳が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間における枢要徳の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、レオ三世の誓いとボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関するレオ三世の誓いを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間のレオ三世の誓いが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間におけるレオ三世の誓いの特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、カール大帝の戴冠とボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関するカール大帝の戴冠を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間のカール大帝の戴冠が説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間におけるカール大帝の戴冠の特徴を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

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

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

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

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

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間のボルゴの火事が説明されていますか？英語で出力して下さい。

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間におけるボルゴの火事の特徴を説明してください。英語で出力して下さい。

Catholic Church
Liber Pontificalis
Pope
Pope Leo I
Pope Leo IV


subsection

ラファエロの間

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

Prompt: ラファエロの間の文脈で、オスティアの戦いとボルゴの火災の間を説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間に関するオスティアの戦いを説明してください。英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間では、どのようにボルゴの火災の間のオスティアの戦いが説明されていますか？英語で出力して下さい。


subsection

ラファエロの間

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

Prompt: ラファエロの間のボルゴの火災の間におけるオスティアの戦いの特徴を説明してください。英語で出力して下さい。


section

愛の寓意

Venus, Cupid, Folly and Time  is an allegorical painting of about 1545 by the Florentine painter Agnolo Bronzino. It is now in the National Gallery, London. Scholars do not know for certain what the painting depicts.The painting has come to be known as Venus, Cupid, Folly and Time, and it is generally agreed that these are the principal figures .  Cupid and Venus kiss in the foreground, while the putto Folly prepares to shower them with rose petals.  The bald Time, at the top, looks on and holds a cloth.  The meaning of the other three figures and the interactions between them all is much less certain.  The painting displays the ambivalence, eroticism, and obscure imagery that are characteristic of the Mannerist period, and of Bronzino's master Pontormo.

Prompt: 愛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。

Bronzino
Bronzino
Cupid
London
National Gallery
Pontormo


section

愛の寓意

Venus, Cupid, Folly and Time  is an allegorical painting of about 1545 by the Florentine painter Agnolo Bronzino. It is now in the National Gallery, London. Scholars do not know for certain what the painting depicts.The painting has come to be known as Venus, Cupid, Folly and Time, and it is generally agreed that these are the principal figures .  Cupid and Venus kiss in the foreground, while the putto Folly prepares to shower them with rose petals.  The bald Time, at the top, looks on and holds a cloth.  The meaning of the other three figures and the interactions between them all is much less certain.  The painting displays the ambivalence, eroticism, and obscure imagery that are characteristic of the Mannerist period, and of Bronzino's master Pontormo.

Prompt: 愛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。

Bronzino
Bronzino
Cupid
London
National Gallery
Pontormo


section

愛の寓意

Venus, Cupid, Folly and Time  is an allegorical painting of about 1545 by the Florentine painter Agnolo Bronzino. It is now in the National Gallery, London. Scholars do not know for certain what the painting depicts.The painting has come to be known as Venus, Cupid, Folly and Time, and it is generally agreed that these are the principal figures .  Cupid and Venus kiss in the foreground, while the putto Folly prepares to shower them with rose petals.  The bald Time, at the top, looks on and holds a cloth.  The meaning of the other three figures and the interactions between them all is much less certain.  The painting displays the ambivalence, eroticism, and obscure imagery that are characteristic of the Mannerist period, and of Bronzino's master Pontormo.

Prompt: 愛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。

Bronzino
Bronzino
Cupid
London
National Gallery
Pontormo


section

愛の寓意

Venus, Cupid, Folly and Time  is an allegorical painting of about 1545 by the Florentine painter Agnolo Bronzino. It is now in the National Gallery, London. Scholars do not know for certain what the painting depicts.The painting has come to be known as Venus, Cupid, Folly and Time, and it is generally agreed that these are the principal figures .  Cupid and Venus kiss in the foreground, while the putto Folly prepares to shower them with rose petals.  The bald Time, at the top, looks on and holds a cloth.  The meaning of the other three figures and the interactions between them all is much less certain.  The painting displays the ambivalence, eroticism, and obscure imagery that are characteristic of the Mannerist period, and of Bronzino's master Pontormo.

Prompt: 愛の寓意に関して、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。

Bronzino
Bronzino
Cupid
London
National Gallery
Pontormo


section

愛の寓意

The painting may have been commissioned by Cosimo I de' Medici, Grand Duke of Tuscany or by Francesco Salviati, to be presented by him as a gift to Francis I of France. Vasari wrote that a Bronzino painting, probably this one, was sent to King Francis, though he does not specify by whom: "He made a picture of singular beauty, which was sent to King Francis in France; in which was a nude Venus with Cupid kissing her, and on one side Pleasure and Play with other Loves; and on the other, Fraud, Jealousy, and other passions of love" . Since 1860 it has been in London.The figure of Venus can be likened to a precious object  in a luxurious setting, desirable because of her unavailability. In this large, unusually cold composition, which is deliberately constructed on a counterpoint of opposing movements, the finest work is in the treatment of the faces. Bronzino, known above all as a portrait painter, painted several carefully drawn portraits of the Medici family.

Prompt: 愛の寓意に焦点を当てて、その絵画を説明してください。英語で出力して下さい。

Bronzino
Bronzino
Cosimo I de' Medici
Cupid
Francis I of France
Fraud
Jealousy
London


section

愛の寓意

The painting may have been commissioned by Cosimo I de' Medici, Grand Duke of Tuscany or by Francesco Salviati, to be presented by him as a gift to Francis I of France. Vasari wrote that a Bronzino painting, probably this one, was sent to King Francis, though he does not specify by whom: "He made a picture of singular beauty, which was sent to King Francis in France; in which was a nude Venus with Cupid kissing her, and on one side Pleasure and Play with other Loves; and on the other, Fraud, Jealousy, and other passions of love" . Since 1860 it has been in London.The figure of Venus can be likened to a precious object  in a luxurious setting, desirable because of her unavailability. In this large, unusually cold composition, which is deliberately constructed on a counterpoint of opposing movements, the finest work is in the treatment of the faces. Bronzino, known above all as a portrait painter, painted several carefully drawn portraits of the Medici family.

Prompt: 愛の寓意の絵画を説明してください。英語で出力して下さい。

Bronzino
Bronzino
Cosimo I de' Medici
Cupid
Francis I of France
Fraud
Jealousy
London


section

愛の寓意

The painting may have been commissioned by Cosimo I de' Medici, Grand Duke of Tuscany or by Francesco Salviati, to be presented by him as a gift to Francis I of France. Vasari wrote that a Bronzino painting, probably this one, was sent to King Francis, though he does not specify by whom: "He made a picture of singular beauty, which was sent to King Francis in France; in which was a nude Venus with Cupid kissing her, and on one side Pleasure and Play with other Loves; and on the other, Fraud, Jealousy, and other passions of love" . Since 1860 it has been in London.The figure of Venus can be likened to a precious object  in a luxurious setting, desirable because of her unavailability. In this large, unusually cold composition, which is deliberately constructed on a counterpoint of opposing movements, the finest work is in the treatment of the faces. Bronzino, known above all as a portrait painter, painted several carefully drawn portraits of the Medici family.

Prompt: 愛の寓意はどのように絵画を説明していますか？英語で出力して下さい。

Bronzino
Bronzino
Cosimo I de' Medici
Cupid
Francis I of France
Fraud
Jealousy
London


section

愛の寓意

The painting may have been commissioned by Cosimo I de' Medici, Grand Duke of Tuscany or by Francesco Salviati, to be presented by him as a gift to Francis I of France. Vasari wrote that a Bronzino painting, probably this one, was sent to King Francis, though he does not specify by whom: "He made a picture of singular beauty, which was sent to King Francis in France; in which was a nude Venus with Cupid kissing her, and on one side Pleasure and Play with other Loves; and on the other, Fraud, Jealousy, and other passions of love" . Since 1860 it has been in London.The figure of Venus can be likened to a precious object  in a luxurious setting, desirable because of her unavailability. In this large, unusually cold composition, which is deliberately constructed on a counterpoint of opposing movements, the finest work is in the treatment of the faces. Bronzino, known above all as a portrait painter, painted several carefully drawn portraits of the Medici family.

Prompt: 愛の寓意に関して、どのように絵画が議論されていますか？英語で出力して下さい。

Bronzino
Bronzino
Cosimo I de' Medici
Cupid
Francis I of France
Fraud
Jealousy
London


section

愛の寓意

Crowded into the claustrophobic foreground of the painting are several figures whose identities have been the subject of extensive scholarly debate. At times it has also been called A Triumph of Venus. Its meaning, however, remains elusive. Cupid, along with his mother  and the nude putto, to the right, are all posed in a typical Mannerist figura serpentinata form.The two central figures are recognisable as Venus and Cupid. while he sports the characteristic wings and quiver.  Both figures are nude, illuminated in a radiant white light. Cupid fondles his mother's bare breast and kisses her lips. The putto to the right of Cupid and Venus, preparing to shower them with rose petals, is often identified as Folly. On closer inspection his right foot can be seen pierced by large rose thorn pieces—an event that has no bearing on his expression, which seems engrossed in the pleasure of the moment.The bearded, bald figure to the upper right of the scene is believed to be Time, in view of the hourglass behind him. He sweeps his arm forcefully out to his right. Again, it is difficult to interpret his gesture with any certainty; it could be to prevent the figure at the far left of the picture from shielding the incestuous transgressions of Venus and the adolescent Cupid with the billowing blue fabric that provides a screen between the figures in the fore and background. Many scholars believe that his gesture seems to say "Time is fleeting, and you never know when it may be all over." The figure opposite Time, and also grasping at the drapery, is usually called Oblivion because of  the lack of substance to his form—eyeless sockets and mask-like head. The mask-like face of this figure is echoed by the image of two actual masks in the lower right-hand corner.The identity of the remaining figures is even more ambiguous. The old woman rending her hair  has been called Jealousy—though some believe her to represent the ravaging effects of syphilis. }}

Prompt: 愛の寓意に焦点を当てて、その学術論争を説明してください。英語で出力して下さい。


section

愛の寓意

Crowded into the claustrophobic foreground of the painting are several figures whose identities have been the subject of extensive scholarly debate. At times it has also been called A Triumph of Venus. Its meaning, however, remains elusive. Cupid, along with his mother  and the nude putto, to the right, are all posed in a typical Mannerist figura serpentinata form.The two central figures are recognisable as Venus and Cupid. while he sports the characteristic wings and quiver.  Both figures are nude, illuminated in a radiant white light. Cupid fondles his mother's bare breast and kisses her lips. The putto to the right of Cupid and Venus, preparing to shower them with rose petals, is often identified as Folly. On closer inspection his right foot can be seen pierced by large rose thorn pieces—an event that has no bearing on his expression, which seems engrossed in the pleasure of the moment.The bearded, bald figure to the upper right of the scene is believed to be Time, in view of the hourglass behind him. He sweeps his arm forcefully out to his right. Again, it is difficult to interpret his gesture with any certainty; it could be to prevent the figure at the far left of the picture from shielding the incestuous transgressions of Venus and the adolescent Cupid with the billowing blue fabric that provides a screen between the figures in the fore and background. Many scholars believe that his gesture seems to say "Time is fleeting, and you never know when it may be all over." The figure opposite Time, and also grasping at the drapery, is usually called Oblivion because of  the lack of substance to his form—eyeless sockets and mask-like head. The mask-like face of this figure is echoed by the image of two actual masks in the lower right-hand corner.The identity of the remaining figures is even more ambiguous. The old woman rending her hair  has been called Jealousy—though some believe her to represent the ravaging effects of syphilis. }}

Prompt: 愛の寓意の学術論争を説明してください。英語で出力して下さい。


section

愛の寓意

Crowded into the claustrophobic foreground of the painting are several figures whose identities have been the subject of extensive scholarly debate. At times it has also been called A Triumph of Venus. Its meaning, however, remains elusive. Cupid, along with his mother  and the nude putto, to the right, are all posed in a typical Mannerist figura serpentinata form.The two central figures are recognisable as Venus and Cupid. while he sports the characteristic wings and quiver.  Both figures are nude, illuminated in a radiant white light. Cupid fondles his mother's bare breast and kisses her lips. The putto to the right of Cupid and Venus, preparing to shower them with rose petals, is often identified as Folly. On closer inspection his right foot can be seen pierced by large rose thorn pieces—an event that has no bearing on his expression, which seems engrossed in the pleasure of the moment.The bearded, bald figure to the upper right of the scene is believed to be Time, in view of the hourglass behind him. He sweeps his arm forcefully out to his right. Again, it is difficult to interpret his gesture with any certainty; it could be to prevent the figure at the far left of the picture from shielding the incestuous transgressions of Venus and the adolescent Cupid with the billowing blue fabric that provides a screen between the figures in the fore and background. Many scholars believe that his gesture seems to say "Time is fleeting, and you never know when it may be all over." The figure opposite Time, and also grasping at the drapery, is usually called Oblivion because of  the lack of substance to his form—eyeless sockets and mask-like head. The mask-like face of this figure is echoed by the image of two actual masks in the lower right-hand corner.The identity of the remaining figures is even more ambiguous. The old woman rending her hair  has been called Jealousy—though some believe her to represent the ravaging effects of syphilis. }}

Prompt: 愛の寓意はどのように学術論争を説明していますか？英語で出力して下さい。


section

愛の寓意

Crowded into the claustrophobic foreground of the painting are several figures whose identities have been the subject of extensive scholarly debate. At times it has also been called A Triumph of Venus. Its meaning, however, remains elusive. Cupid, along with his mother  and the nude putto, to the right, are all posed in a typical Mannerist figura serpentinata form.The two central figures are recognisable as Venus and Cupid. while he sports the characteristic wings and quiver.  Both figures are nude, illuminated in a radiant white light. Cupid fondles his mother's bare breast and kisses her lips. The putto to the right of Cupid and Venus, preparing to shower them with rose petals, is often identified as Folly. On closer inspection his right foot can be seen pierced by large rose thorn pieces—an event that has no bearing on his expression, which seems engrossed in the pleasure of the moment.The bearded, bald figure to the upper right of the scene is believed to be Time, in view of the hourglass behind him. He sweeps his arm forcefully out to his right. Again, it is difficult to interpret his gesture with any certainty; it could be to prevent the figure at the far left of the picture from shielding the incestuous transgressions of Venus and the adolescent Cupid with the billowing blue fabric that provides a screen between the figures in the fore and background. Many scholars believe that his gesture seems to say "Time is fleeting, and you never know when it may be all over." The figure opposite Time, and also grasping at the drapery, is usually called Oblivion because of  the lack of substance to his form—eyeless sockets and mask-like head. The mask-like face of this figure is echoed by the image of two actual masks in the lower right-hand corner.The identity of the remaining figures is even more ambiguous. The old woman rending her hair  has been called Jealousy—though some believe her to represent the ravaging effects of syphilis. }}

Prompt: 愛の寓意に関して、どのように学術論争が議論されていますか？英語で出力して下さい。


section

愛の寓意

The foot at the lower left corner is the source of the emblematic Monty Python Foot.  The painting is discussed in Iris Murdoch's novel The Nice and the Good. The painting is discussed in Nell Irvin Painter's memoir Old in Art School. The painting is discussed in Robertson Davies' novel What's Bred in the Bone. The painting is mentioned in David Mitchell's The Bone Clocks. The painting is used in Simon Raven's The Survivors as a representation and incitement of the breakdown of Patricia Llewellyn. The painting is the title of Episode 22 of Switched at Birth. The name of the painting is also the name of a box set by the pop band The Divine Comedy "Venus, Cupid, Folly, and Time" is the title of a short story by the American writer Peter Taylor.

Prompt: 愛の寓意に焦点を当てて、その大衆文化でを説明してください。英語で出力して下さい。

Cupid
Iris Murdoch
Monty Python
Nell Irvin Painter
Old in Art School
Robertson Davies
Simon Raven
The Bone Clocks
The Nice and the Good
What's Bred in the Bone


section

愛の寓意

The foot at the lower left corner is the source of the emblematic Monty Python Foot.  The painting is discussed in Iris Murdoch's novel The Nice and the Good. The painting is discussed in Nell Irvin Painter's memoir Old in Art School. The painting is discussed in Robertson Davies' novel What's Bred in the Bone. The painting is mentioned in David Mitchell's The Bone Clocks. The painting is used in Simon Raven's The Survivors as a representation and incitement of the breakdown of Patricia Llewellyn. The painting is the title of Episode 22 of Switched at Birth. The name of the painting is also the name of a box set by the pop band The Divine Comedy "Venus, Cupid, Folly, and Time" is the title of a short story by the American writer Peter Taylor.

Prompt: 愛の寓意の大衆文化でを説明してください。英語で出力して下さい。

Cupid
Iris Murdoch
Monty Python
Nell Irvin Painter
Old in Art School
Robertson Davies
Simon Raven
The Bone Clocks
The Nice and the Good
What's Bred in the Bone


section

愛の寓意

The foot at the lower left corner is the source of the emblematic Monty Python Foot.  The painting is discussed in Iris Murdoch's novel The Nice and the Good. The painting is discussed in Nell Irvin Painter's memoir Old in Art School. The painting is discussed in Robertson Davies' novel What's Bred in the Bone. The painting is mentioned in David Mitchell's The Bone Clocks. The painting is used in Simon Raven's The Survivors as a representation and incitement of the breakdown of Patricia Llewellyn. The painting is the title of Episode 22 of Switched at Birth. The name of the painting is also the name of a box set by the pop band The Divine Comedy "Venus, Cupid, Folly, and Time" is the title of a short story by the American writer Peter Taylor.

Prompt: 愛の寓意はどのように大衆文化でを説明していますか？英語で出力して下さい。

Cupid
Iris Murdoch
Monty Python
Nell Irvin Painter
Old in Art School
Robertson Davies
Simon Raven
The Bone Clocks
The Nice and the Good
What's Bred in the Bone


section

愛の寓意

The foot at the lower left corner is the source of the emblematic Monty Python Foot.  The painting is discussed in Iris Murdoch's novel The Nice and the Good. The painting is discussed in Nell Irvin Painter's memoir Old in Art School. The painting is discussed in Robertson Davies' novel What's Bred in the Bone. The painting is mentioned in David Mitchell's The Bone Clocks. The painting is used in Simon Raven's The Survivors as a representation and incitement of the breakdown of Patricia Llewellyn. The painting is the title of Episode 22 of Switched at Birth. The name of the painting is also the name of a box set by the pop band The Divine Comedy "Venus, Cupid, Folly, and Time" is the title of a short story by the American writer Peter Taylor.

Prompt: 愛の寓意に関して、どのように大衆文化でが議論されていますか？英語で出力して下さい。

Cupid
Iris Murdoch
Monty Python
Nell Irvin Painter
Old in Art School
Robertson Davies
Simon Raven
The Bone Clocks
The Nice and the Good
What's Bred in the Bone


section

愛の寓意

Category:1545 paintingsCategory:Paintings by BronzinoCategory:Paintings in the National Gallery, LondonCategory:Mannerist paintingsCategory:Paintings of Venuscategory:16th-century allegorical paintingscategory:Allegorical paintings by Italian artists

Prompt: 愛の寓意に焦点を当てて、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。

Bronzino
Bronzino
London
National Gallery


section

愛の寓意

Category:1545 paintingsCategory:Paintings by BronzinoCategory:Paintings in the National Gallery, LondonCategory:Mannerist paintingsCategory:Paintings of Venuscategory:16th-century allegorical paintingscategory:Allegorical paintings by Italian artists

Prompt: 愛の寓意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。

Bronzino
Bronzino
London
National Gallery


section

愛の寓意

Category:1545 paintingsCategory:Paintings by BronzinoCategory:Paintings in the National Gallery, LondonCategory:Mannerist paintingsCategory:Paintings of Venuscategory:16th-century allegorical paintingscategory:Allegorical paintings by Italian artists

Prompt: 愛の寓意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。

Bronzino
Bronzino
London
National Gallery


section

愛の寓意

Category:1545 paintingsCategory:Paintings by BronzinoCategory:Paintings in the National Gallery, LondonCategory:Mannerist paintingsCategory:Paintings of Venuscategory:16th-century allegorical paintingscategory:Allegorical paintings by Italian artists

Prompt: 愛の寓意に関して、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。

Bronzino
Bronzino
London
National Gallery


section

エドモニア・ルイス

death_place = London, UK nationality = American, Mississauga movement = te Neoclassicism awards =  patrons = Numerous patrons, American and European field = Sculpture training = New-York Central College, Oberlin works =  influenced by =  influenced = }}Mary Edmonia Lewis, also known as "Wildfire" , was an American sculptor.Born in Upstate New York of mixed African-American and Native American  heritage, she worked for most of her career in Rome, Italy. She was the first African-American and Native American sculptor to achieve national and then international prominence. She began to gain prominence in the United States during the Civil War; at the end of the 19th century, she remained the only Black woman artist who had participated in and been recognized to any extent by the American artistic mainstream.Her work is known for incorporating themes relating to Black people and indigenous peoples of the Americas into Neoclassical-style sculpture.

Prompt: エドモニア・ルイスに焦点を当てて、その抽象を説明してください。英語で出力して下さい。


section

エドモニア・ルイス

death_place = London, UK nationality = American, Mississauga movement = te Neoclassicism awards =  patrons = Numerous patrons, American and European field = Sculpture training = New-York Central College, Oberlin works =  influenced by =  influenced = }}Mary Edmonia Lewis, also known as "Wildfire" , was an American sculptor.Born in Upstate New York of mixed African-American and Native American  heritage, she worked for most of her career in Rome, Italy. She was the first African-American and Native American sculptor to achieve national and then international prominence. She began to gain prominence in the United States during the Civil War; at the end of the 19th century, she remained the only Black woman artist who had participated in and been recognized to any extent by the American artistic mainstream.Her work is known for incorporating themes relating to Black people and indigenous peoples of the Americas into Neoclassical-style sculpture.

Prompt: エドモニア・ルイスの抽象を説明してください。英語で出力して下さい。


section

エドモニア・ルイス

death_place = London, UK nationality = American, Mississauga movement = te Neoclassicism awards =  patrons = Numerous patrons, American and European field = Sculpture training = New-York Central College, Oberlin works =  influenced by =  influenced = }}Mary Edmonia Lewis, also known as "Wildfire" , was an American sculptor.Born in Upstate New York of mixed African-American and Native American  heritage, she worked for most of her career in Rome, Italy. She was the first African-American and Native American sculptor to achieve national and then international prominence. She began to gain prominence in the United States during the Civil War; at the end of the 19th century, she remained the only Black woman artist who had participated in and been recognized to any extent by the American artistic mainstream.Her work is known for incorporating themes relating to Black people and indigenous peoples of the Americas into Neoclassical-style sculpture.

Prompt: エドモニア・ルイ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。


section

エドモニア・ルイス

death_place = London, UK nationality = American, Mississauga movement = te Neoclassicism awards =  patrons = Numerous patrons, American and European field = Sculpture training = New-York Central College, Oberlin works =  influenced by =  influenced = }}Mary Edmonia Lewis, also known as "Wildfire" , was an American sculptor.Born in Upstate New York of mixed African-American and Native American  heritage, she worked for most of her career in Rome, Italy. She was the first African-American and Native American sculptor to achieve national and then international prominence. She began to gain prominence in the United States during the Civil War; at the end of the 19th century, she remained the only Black woman artist who had participated in and been recognized to any extent by the American artistic mainstream.Her work is known for incorporating themes relating to Black people and indigenous peoples of the Americas into Neoclassical-style sculpture.

Prompt: エドモニア・ルイスに関して、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。


section

エドモニア・ルイス

A testament to Lewis's renown as an artist came in 1877, when former U.S. President Ulysses S. Grant commissioned her to do his portrait. He sat for her as a model and was pleased with her finished piece. She also contributed a bust of Massachusetts abolitionist senator Charles Sumner to the 1895 Atlanta Exposition.In the late 1880s, neoclassicism declined in popularity, as did the popularity of Lewis's artwork. She continued sculpting in marble, increasingly creating altarpieces and other works for Catholic patrons. A bust of Christ, created in her Rome studio in 1870, was rediscovered in Scotland in 2015.The events of her later years are not known.

Prompt: エドモニア・ルイスに焦点を当てて、その晩年のキャリアを説明してください。英語で出力して下さい。


section

エドモニア・ルイス

A testament to Lewis's renown as an artist came in 1877, when former U.S. President Ulysses S. Grant commissioned her to do his portrait. He sat for her as a model and was pleased with her finished piece. She also contributed a bust of Massachusetts abolitionist senator Charles Sumner to the 1895 Atlanta Exposition.In the late 1880s, neoclassicism declined in popularity, as did the popularity of Lewis's artwork. She continued sculpting in marble, increasingly creating altarpieces and other works for Catholic patrons. A bust of Christ, created in her Rome studio in 1870, was rediscovered in Scotland in 2015.The events of her later years are not known.

Prompt: エドモニア・ルイスの晩年のキャリアを説明してください。英語で出力して下さい。


section

エドモニア・ルイス

A testament to Lewis's renown as an artist came in 1877, when former U.S. President Ulysses S. Grant commissioned her to do his portrait. He sat for her as a model and was pleased with her finished piece. She also contributed a bust of Massachusetts abolitionist senator Charles Sumner to the 1895 Atlanta Exposition.In the late 1880s, neoclassicism declined in popularity, as did the popularity of Lewis's artwork. She continued sculpting in marble, increasingly creating altarpieces and other works for Catholic patrons. A bust of Christ, created in her Rome studio in 1870, was rediscovered in Scotland in 2015.The events of her later years are not known.

Prompt: エドモニア・ルイスはどのように晩年のキャリアを説明していますか？英語で出力して下さい。


section

エドモニア・ルイス

A testament to Lewis's renown as an artist came in 1877, when former U.S. President Ulysses S. Grant commissioned her to do his portrait. He sat for her as a model and was pleased with her finished piece. She also contributed a bust of Massachusetts abolitionist senator Charles Sumner to the 1895 Atlanta Exposition.In the late 1880s, neoclassicism declined in popularity, as did the popularity of Lewis's artwork. She continued sculpting in marble, increasingly creating altarpieces and other works for Catholic patrons. A bust of Christ, created in her Rome studio in 1870, was rediscovered in Scotland in 2015.The events of her later years are not known.

Prompt: エドモニア・ルイスに関して、どのように晩年のキャリアが議論されていますか？英語で出力して下さい。


section

エドモニア・ルイス

From 1896 to 1901 Lewis lived in Paris. According to her death certificate, the cause of her death was chronic kidney failure .There were earlier theories that Lewis died in Rome in 1907 or, alternatively, that she had died in Marin County, California, and was buried in an unmarked grave in San Francisco.In 2017, a GoFundMe by East Greenbush, New York, town historian Bobbie Reno was successful, and Edmonia Lewis's grave was restored. The work was done by the E M nder Co. in London.

Prompt: エドモニア・ルイスに焦点を当てて、その死を説明してください。英語で出力して下さい。

East Greenbush, New York
GoFundMe
Marin County, California


section

エドモニア・ルイス

From 1896 to 1901 Lewis lived in Paris. According to her death certificate, the cause of her death was chronic kidney failure .There were earlier theories that Lewis died in Rome in 1907 or, alternatively, that she had died in Marin County, California, and was buried in an unmarked grave in San Francisco.In 2017, a GoFundMe by East Greenbush, New York, town historian Bobbie Reno was successful, and Edmonia Lewis's grave was restored. The work was done by the E M nder Co. in London.

Prompt: エドモニア・ルイスの死を説明してください。英語で出力して下さい。

East Greenbush, New York
GoFundMe
Marin County, California


section

エドモニア・ルイス

From 1896 to 1901 Lewis lived in Paris. According to her death certificate, the cause of her death was chronic kidney failure .There were earlier theories that Lewis died in Rome in 1907 or, alternatively, that she had died in Marin County, California, and was buried in an unmarked grave in San Francisco.In 2017, a GoFundMe by East Greenbush, New York, town historian Bobbie Reno was successful, and Edmonia Lewis's grave was restored. The work was done by the E M nder Co. in London.

Prompt: エドモニア・ルイスはどのように死を説明していますか？英語で出力して下さい。

East Greenbush, New York
GoFundMe
Marin County, California


section

エドモニア・ルイス

From 1896 to 1901 Lewis lived in Paris. According to her death certificate, the cause of her death was chronic kidney failure .There were earlier theories that Lewis died in Rome in 1907 or, alternatively, that she had died in Marin County, California, and was buried in an unmarked grave in San Francisco.In 2017, a GoFundMe by East Greenbush, New York, town historian Bobbie Reno was successful, and Edmonia Lewis's grave was restored. The work was done by the E M nder Co. in London.

Prompt: エドモニア・ルイスに関して、どのように死が議論されていますか？英語で出力して下さい。

East Greenbush, New York
GoFundMe
Marin County, California


section

エドモニア・ルイス

As a black artist, Edmonia Lewis had to be conscious of her stylistic choices, as her largely white audience often gravely misread her work as self-portraiture. In order to avoid this, her female figures typically possess European features.In her 2007 work, Charmaine Nelson wrote of Lewis:

Prompt: エドモニア・ルイスに焦点を当てて、その受付を説明してください。英語で出力して下さい。


section

エドモニア・ルイス

As a black artist, Edmonia Lewis had to be conscious of her stylistic choices, as her largely white audience often gravely misread her work as self-portraiture. In order to avoid this, her female figures typically possess European features.In her 2007 work, Charmaine Nelson wrote of Lewis:

Prompt: エドモニア・ルイスの受付を説明してください。英語で出力して下さい。


section

エドモニア・ルイス

As a black artist, Edmonia Lewis had to be conscious of her stylistic choices, as her largely white audience often gravely misread her work as self-portraiture. In order to avoid this, her female figures typically possess European features.In her 2007 work, Charmaine Nelson wrote of Lewis:

Prompt: エドモニア・ルイスはどのように受付を説明していますか？英語で出力して下さい。


section

エドモニア・ルイス

As a black artist, Edmonia Lewis had to be conscious of her stylistic choices, as her largely white audience often gravely misread her work as self-portraiture. In order to avoid this, her female figures typically possess European features.In her 2007 work, Charmaine Nelson wrote of Lewis:

Prompt: エドモニア・ルイスに関して、どのように受付が議論されていますか？英語で出力して下さい。


section

エドモニア・ルイス

Lewis never married and had no known children. According to her biographer, Dr. Marilyn Richardson, there is no definite information about her romantic involvement with anyone. However, in 1873 her engagement was announced,and in 1875, her fiancé's skin color was revealed to be the same as hers, although his name is not given. There is no further reference to this engagement.Her half-brother Samuel became a barber in San Francisco, eventually moving to mining camps in Idaho and Montana. In 1868, he settled in the city of Bozeman, Montana, where he set up a barber shop on Main Street. He prospered, eventually investing in commercial real estate, and subsequently built his own home which still stands at 308 South Bozeman Avenue. In 1999 the Samuel Lewis House was placed on the National Register of Historic Places. In 1884, he married Mrs. Melissa Railey Bruce, a widow with six children. The couple had one son, Samuel E. Lewis , who married but died childless. The elder Lewis died after "a short illness" in 1896 and is buried in Sunset Hills Cemetery in Bozeman. The mayor of Bozeman was a pallbearer.

Prompt: エドモニア・ルイスに焦点を当てて、その私生活を説明してください。英語で出力して下さい。

Bozeman, Montana
Idaho
Montana
National Register of Historic Places


section

エドモニア・ルイス

Lewis never married and had no known children. According to her biographer, Dr. Marilyn Richardson, there is no definite information about her romantic involvement with anyone. However, in 1873 her engagement was announced,and in 1875, her fiancé's skin color was revealed to be the same as hers, although his name is not given. There is no further reference to this engagement.Her half-brother Samuel became a barber in San Francisco, eventually moving to mining camps in Idaho and Montana. In 1868, he settled in the city of Bozeman, Montana, where he set up a barber shop on Main Street. He prospered, eventually investing in commercial real estate, and subsequently built his own home which still stands at 308 South Bozeman Avenue. In 1999 the Samuel Lewis House was placed on the National Register of Historic Places. In 1884, he married Mrs. Melissa Railey Bruce, a widow with six children. The couple had one son, Samuel E. Lewis , who married but died childless. The elder Lewis died after "a short illness" in 1896 and is buried in Sunset Hills Cemetery in Bozeman. The mayor of Bozeman was a pallbearer.

Prompt: エドモニア・ルイスの私生活を説明してください。英語で出力して下さい。

Bozeman, Montana
Idaho
Montana
National Register of Historic Places


section

エドモニア・ルイス

Lewis never married and had no known children. According to her biographer, Dr. Marilyn Richardson, there is no definite information about her romantic involvement with anyone. However, in 1873 her engagement was announced,and in 1875, her fiancé's skin color was revealed to be the same as hers, although his name is not given. There is no further reference to this engagement.Her half-brother Samuel became a barber in San Francisco, eventually moving to mining camps in Idaho and Montana. In 1868, he settled in the city of Bozeman, Montana, where he set up a barber shop on Main Street. He prospered, eventually investing in commercial real estate, and subsequently built his own home which still stands at 308 South Bozeman Avenue. In 1999 the Samuel Lewis House was placed on the National Register of Historic Places. In 1884, he married Mrs. Melissa Railey Bruce, a widow with six children. The couple had one son, Samuel E. Lewis , who married but died childless. The elder Lewis died after "a short illness" in 1896 and is buried in Sunset Hills Cemetery in Bozeman. The mayor of Bozeman was a pallbearer.

Prompt: エドモニア・ルイスはどのように私生活を説明していますか？英語で出力して下さい。

Bozeman, Montana
Idaho
Montana
National Register of Historic Places


section

エドモニア・ルイス

Lewis never married and had no known children. According to her biographer, Dr. Marilyn Richardson, there is no definite information about her romantic involvement with anyone. However, in 1873 her engagement was announced,and in 1875, her fiancé's skin color was revealed to be the same as hers, although his name is not given. There is no further reference to this engagement.Her half-brother Samuel became a barber in San Francisco, eventually moving to mining camps in Idaho and Montana. In 1868, he settled in the city of Bozeman, Montana, where he set up a barber shop on Main Street. He prospered, eventually investing in commercial real estate, and subsequently built his own home which still stands at 308 South Bozeman Avenue. In 1999 the Samuel Lewis House was placed on the National Register of Historic Places. In 1884, he married Mrs. Melissa Railey Bruce, a widow with six children. The couple had one son, Samuel E. Lewis , who married but died childless. The elder Lewis died after "a short illness" in 1896 and is buried in Sunset Hills Cemetery in Bozeman. The mayor of Bozeman was a pallbearer.

Prompt: エドモニア・ルイスに関して、どのように私生活が議論されていますか？英語で出力して下さい。

Bozeman, Montana
Idaho
Montana
National Register of Historic Places


section

エドモニア・ルイス

Namesake of the Edmonia Lewis Center for Women and Transgender People at Oberlin College. Written about in Olio, which is a book of poetry written by Tyehimba Jess that was released in 2016. That book won the 2017 Pulitzer Prize for Poetry. Honored with a Google Doodle on February 1, 2017. Stone Mirrors: The Sculpture and Silence of Edmonia Lewis, by Jeannine Atkins , is a juvenile biographical novel in verse. A belated obituary was published in The New York Times in 2018 as part of their  The best-selling novel,  linea del colori: Il Grand Tour di fanu Brown, by Somalian Igiaba Scelgo , in Italian, combines the characters of Edmonia Lewis and Sarah Parker Remond and is dedicated to Rome and to these two figures. She features as a "Great Artist" in the video game Civilization VI. Lewis is the subject of a stage play entitled "Edmonia" by Barry M. Putt, Jr., presented by Beacon Theatre Productions in Philadelphia, PA in 2021.  Lewis had a U.S. postal stamp unveiled in her honor on January 26, 2022.

Prompt: エドモニア・ルイスに焦点を当てて、その人気のないメディアを説明してください。英語で出力して下さい。

Civilization VI
Google Doodle
Oberlin College
Oberlin College
Pulitzer Prize for Poetry
Sarah
Sculpture
The New York Times
Tyehimba Jess