subsubsection

システィーナ礼拝堂天井画

The Sibyls were prophetic women who were resident at shrines or temples throughout the Classical world. These women were similar to Christian prophets in the sense that they were "spokeswomen for the divine oracles" and served as an "mouthpiece of the gods". Furthermore, the Sibyls embodied feminine figures that received messages from the gods and prophesized said messages to the ancient Greeks and Romans who heavily regarded their divinatory practices. Their prophecies predate those of the Christian prophets and were contextually paganistic due to the commonly known beliefs at that time.Authors from antiquity utilized the Greco-Roman Sibyls to legitimize Christianity. The papal court generally regarded antiquity as setting the stage for Christianity. The text Divine Institutes by ctanitus, a Christian author that was an advisor to Emperor Constantine in 280, was one of the first texts composed to legitimize Christianity and convert pagans and gentiles to the religion. In Divine Institutions, ctantius states “Another Sibyl … conveyed the word of God to man and said ‘I am the only god and there is no other.’”, validating monotheism from the written account of a pagan Sibyl. Additionally, the Cumaean Sibyl is quoted by 1st-century BC Roman poet Virgil in his Fourth Eclogue as declaring that "a new progeny of Heaven" would bring about a return of the "Golden Age". Many people during the Renaissance interpreted this as foretelling the birth of Jesus.This association of the Sibyls with Christianity also progresses into Christian worship in the Middle Ages, as they appeared in the Dies Irae tin hymn produced by either the Franciscan or Dominican monastic order. The hymn utilizes the pagan Sybil as a witness to David's lineage to Christ and uses these figures from Greco-Roman antiquity to support the Christian beliefs of the coming of Christ from an era before the prophets. There was an increasing interest in the remains of Rome's pagan past within the Catholic Church; scholars had turned from reading Mediaeval ecclesiastical tin texts to classical tin and the philosophies of the Classical world were studied along with the writings of St Augustine. Thus, the presence of five pagan prophets in the Sistine Chapel is not surprising. Furthermore, this is not the first appearance of Sibyls within a Christian church. Michelangelo's mentor Domenico Ghirlandaio painted Sibyls on the ceiling of Santa Trinita's Sassetti Chapel approximately 20 years prior to the start of the Sistine Chapel ceiling.It is not known why Michelangelo selected the five particular Sibyls that were depicted, given that there were ten possibilities. O'Malley suggests that the four besides the Cumaean Sibyl were selected for a wide geographic coverage, as they come from Africa, Asia, Greece and Ionia.Vasari says of the Erythraean Sibyl: "This figure is extraordinarily beautiful owing to the expression of its face, the arrangement of its hair, and the style of its garments, not to mention its bare arms, which are as beautiful as the rest of the body."

Prompt: システィーナ礼拝堂天井画の絵図について見たとき、その絵図のシビュラをどのように議論しますか？英語で出力して下さい。

Africa
Asia
Catholic Church
Jesus
Cumaean Sibyl
David
Domenico Ghirlandaio
Erythraean Sibyl
Golden Age
Greece
Ionia
Jesus
Michelangelo
Middle Ages


subsection

システィーナ礼拝堂天井画

Michelangelo probably began working on the plans and sketches for the design from April 1508. The preparatory work on the ceiling was complete in late July the same year and on 4 February 1510, Francesco Albertini recorded that Michelangelo had "decorated the upper, arched part with very beautiful pictures and gold". The main design was largely finished in August 1510, as Michelangelo's texts suggest. From September 1510 until February, June, or September 1511, Michelangelo did no work on the ceiling on account of a dispute over payments for work done; in August 1510 the pope left Rome for the Papal States' campaign to reconquer Bologna and despite two visits there by Michelangelo, resolution only came months after the pope's return to Rome in June 1511. On 14 August 1511, Julius held a papal mass in the chapel and saw the progress of the work so far for the first time. This was the vigil for Assumption Day on 15 August, the Sistine Chapel's patronal feast. The whole design was revealed to visitors on 31 October 1512 with a formal papal mass the following day, the feast of All Saints. Clerical use of the chapel continued throughout, exempting when the work on the scaffolding necessitated its closure, and disruption to the rites was minimized by beginning the work at the west end, furthest from the liturgical centre around the altar at the east wall. Debate exists on what sequence the parts of the ceiling were painted in and over how the scaffold that allowed the artists to reach the ceiling was arranged. There are two main proposals.The majority theory is that the ceiling's main frescoes were applied and painted in phases, with the scaffolding each time dismantled and moved to another part of the room, beginning at the chapel's west end. Michelangelo had been an apprentice in the workshop of Domenico Ghirlandaio, one of the most competent and prolific of Florentine fresco painters, at the time that the latter was employed on a fresco cycle at Santa Maria Novella and whose work was represented on the walls of the Sistine Chapel. At the outset, the plaster, intonaco, began to grow mildew or mould because it was too wet. When Michelangelo despaired of continuing, the pope sent Giuliano da Sangallo, who explained how to remove the fungus.Because Michelangelo was painting alfresco, the plaster was laid in a new section every day, called a giornata. At the beginning of each session, the edges would be scraped away and a new area laid down.The work commenced at the end of the building furthest from the altar with the last chronological part of the narrative and progressed towards the altar with the scenes of the Creation. The first three scenes, from The Drunkenness of Noah, contain crowded compositions of smaller figures than other panels, evidently, because Michelangelo misjudged the ceiling's size. Also painted in the early stages was the Slaying of Goliath. After painting the Creation of Eve adjacent to the marble screen which divided the chapel, Michelangelo paused in his work to move the scaffolding to the other side. After having seen his completed work so far, he returned to work with the Temptation and Fall, followed by the Creation of Adam. Vasari wrote: "These frescos were done with the greatest discomfort, for he had to stand there working with his head tilted backwards." Michelangelo may have described his physical discomfort in a poem, accompanied by a sketch in the margin, which was probably addressed to the humanist academician Giovanni di Benedetto da Pistoia, a friend with whom Michelangelo corresponded. Michelangelo wrote the poem describing the arduous conditions under which he worked. Michelangelo's illustrated poem reads:</ref>I've grown a goitre by dwelling in this den–As cats from stagnant streams in Lombardy,Or in what other land they hap to be–Which drives the belly close beneath the chin:My beard turns up to heaven; my nape falls in,Fixed on my spine: my breast-bone visiblyGrows like a harp: a rich embroideryBedews my face from brush-drops thick and thin.My loins into my paunch like levers grind:My buttock like a crupper bears my weight;My feet unguided wander to and fro;In front my skin grows loose and long; behind,By bending it becomes more taut and strait;Crosswise I strain me like a Syrian bow:Whence false and quaint, I know,Must be the fruit of squinting brain and eye;For ill can aim the gun that bends awry.Come then, Giovanni, tryTo succour my dead pictures and my fame;Since foul I fare and painting is my shame.lang=itattr2=№ 5: To Giovanni a Pistoia – On the Painting of the Sistine Chapel,<br /> trans. John Addington Symonds, 1878attr1=№ 5. "A Giovanni quel propio da Pistoia"}}Jelbert has suggested that the physical pain described in this poem, and the pose of Michelangelo in his illustration for it, resonate with the agonised postures of the Vatican's 'ocoön Group'. In the illustration, suggests Jelbert, Michelangelo appears to have drawn himself as the dying son on the right-hand side of the group , and the figure he is painting has the raised knees, wild eyes and broken right arm of ocoön himself. Michelangelo's reference to the 'ocoön Group' in the 'Brazen Serpent' has been noted above, but the artist also alluded to this sculpture in other areas of the Sistine ceiling, including the 'Punishment of Haman', and a pair of ignudi between the 'Sacrifice of Noah' and the 'Prophet Isiah'.

Prompt: システィーナ礼拝堂天井画の文脈で、方法と参照を説明してください。英語で出力して下さい。

Adam
Bologna
Domenico Ghirlandaio
Eve
Francesco Albertini
Giuliano da Sangallo
Goliath
Haman
Michelangelo


subsection

システィーナ礼拝堂天井画

Michelangelo probably began working on the plans and sketches for the design from April 1508. The preparatory work on the ceiling was complete in late July the same year and on 4 February 1510, Francesco Albertini recorded that Michelangelo had "decorated the upper, arched part with very beautiful pictures and gold". The main design was largely finished in August 1510, as Michelangelo's texts suggest. From September 1510 until February, June, or September 1511, Michelangelo did no work on the ceiling on account of a dispute over payments for work done; in August 1510 the pope left Rome for the Papal States' campaign to reconquer Bologna and despite two visits there by Michelangelo, resolution only came months after the pope's return to Rome in June 1511. On 14 August 1511, Julius held a papal mass in the chapel and saw the progress of the work so far for the first time. This was the vigil for Assumption Day on 15 August, the Sistine Chapel's patronal feast. The whole design was revealed to visitors on 31 October 1512 with a formal papal mass the following day, the feast of All Saints. Clerical use of the chapel continued throughout, exempting when the work on the scaffolding necessitated its closure, and disruption to the rites was minimized by beginning the work at the west end, furthest from the liturgical centre around the altar at the east wall. Debate exists on what sequence the parts of the ceiling were painted in and over how the scaffold that allowed the artists to reach the ceiling was arranged. There are two main proposals.The majority theory is that the ceiling's main frescoes were applied and painted in phases, with the scaffolding each time dismantled and moved to another part of the room, beginning at the chapel's west end. Michelangelo had been an apprentice in the workshop of Domenico Ghirlandaio, one of the most competent and prolific of Florentine fresco painters, at the time that the latter was employed on a fresco cycle at Santa Maria Novella and whose work was represented on the walls of the Sistine Chapel. At the outset, the plaster, intonaco, began to grow mildew or mould because it was too wet. When Michelangelo despaired of continuing, the pope sent Giuliano da Sangallo, who explained how to remove the fungus.Because Michelangelo was painting alfresco, the plaster was laid in a new section every day, called a giornata. At the beginning of each session, the edges would be scraped away and a new area laid down.The work commenced at the end of the building furthest from the altar with the last chronological part of the narrative and progressed towards the altar with the scenes of the Creation. The first three scenes, from The Drunkenness of Noah, contain crowded compositions of smaller figures than other panels, evidently, because Michelangelo misjudged the ceiling's size. Also painted in the early stages was the Slaying of Goliath. After painting the Creation of Eve adjacent to the marble screen which divided the chapel, Michelangelo paused in his work to move the scaffolding to the other side. After having seen his completed work so far, he returned to work with the Temptation and Fall, followed by the Creation of Adam. Vasari wrote: "These frescos were done with the greatest discomfort, for he had to stand there working with his head tilted backwards." Michelangelo may have described his physical discomfort in a poem, accompanied by a sketch in the margin, which was probably addressed to the humanist academician Giovanni di Benedetto da Pistoia, a friend with whom Michelangelo corresponded. Michelangelo wrote the poem describing the arduous conditions under which he worked. Michelangelo's illustrated poem reads:</ref>I've grown a goitre by dwelling in this den–As cats from stagnant streams in Lombardy,Or in what other land they hap to be–Which drives the belly close beneath the chin:My beard turns up to heaven; my nape falls in,Fixed on my spine: my breast-bone visiblyGrows like a harp: a rich embroideryBedews my face from brush-drops thick and thin.My loins into my paunch like levers grind:My buttock like a crupper bears my weight;My feet unguided wander to and fro;In front my skin grows loose and long; behind,By bending it becomes more taut and strait;Crosswise I strain me like a Syrian bow:Whence false and quaint, I know,Must be the fruit of squinting brain and eye;For ill can aim the gun that bends awry.Come then, Giovanni, tryTo succour my dead pictures and my fame;Since foul I fare and painting is my shame.lang=itattr2=№ 5: To Giovanni a Pistoia – On the Painting of the Sistine Chapel,<br /> trans. John Addington Symonds, 1878attr1=№ 5. "A Giovanni quel propio da Pistoia"}}Jelbert has suggested that the physical pain described in this poem, and the pose of Michelangelo in his illustration for it, resonate with the agonised postures of the Vatican's 'ocoön Group'. In the illustration, suggests Jelbert, Michelangelo appears to have drawn himself as the dying son on the right-hand side of the group , and the figure he is painting has the raised knees, wild eyes and broken right arm of ocoön himself. Michelangelo's reference to the 'ocoön Group' in the 'Brazen Serpent' has been noted above, but the artist also alluded to this sculpture in other areas of the Sistine ceiling, including the 'Punishment of Haman', and a pair of ignudi between the 'Sacrifice of Noah' and the 'Prophet Isiah'.

Prompt: システィーナ礼拝堂天井画の参照に関する方法を説明してください。英語で出力して下さい。

Adam
Bologna
Domenico Ghirlandaio
Eve
Francesco Albertini
Giuliano da Sangallo
Goliath
Haman
Michelangelo


subsection

システィーナ礼拝堂天井画

Michelangelo probably began working on the plans and sketches for the design from April 1508. The preparatory work on the ceiling was complete in late July the same year and on 4 February 1510, Francesco Albertini recorded that Michelangelo had "decorated the upper, arched part with very beautiful pictures and gold". The main design was largely finished in August 1510, as Michelangelo's texts suggest. From September 1510 until February, June, or September 1511, Michelangelo did no work on the ceiling on account of a dispute over payments for work done; in August 1510 the pope left Rome for the Papal States' campaign to reconquer Bologna and despite two visits there by Michelangelo, resolution only came months after the pope's return to Rome in June 1511. On 14 August 1511, Julius held a papal mass in the chapel and saw the progress of the work so far for the first time. This was the vigil for Assumption Day on 15 August, the Sistine Chapel's patronal feast. The whole design was revealed to visitors on 31 October 1512 with a formal papal mass the following day, the feast of All Saints. Clerical use of the chapel continued throughout, exempting when the work on the scaffolding necessitated its closure, and disruption to the rites was minimized by beginning the work at the west end, furthest from the liturgical centre around the altar at the east wall. Debate exists on what sequence the parts of the ceiling were painted in and over how the scaffold that allowed the artists to reach the ceiling was arranged. There are two main proposals.The majority theory is that the ceiling's main frescoes were applied and painted in phases, with the scaffolding each time dismantled and moved to another part of the room, beginning at the chapel's west end. Michelangelo had been an apprentice in the workshop of Domenico Ghirlandaio, one of the most competent and prolific of Florentine fresco painters, at the time that the latter was employed on a fresco cycle at Santa Maria Novella and whose work was represented on the walls of the Sistine Chapel. At the outset, the plaster, intonaco, began to grow mildew or mould because it was too wet. When Michelangelo despaired of continuing, the pope sent Giuliano da Sangallo, who explained how to remove the fungus.Because Michelangelo was painting alfresco, the plaster was laid in a new section every day, called a giornata. At the beginning of each session, the edges would be scraped away and a new area laid down.The work commenced at the end of the building furthest from the altar with the last chronological part of the narrative and progressed towards the altar with the scenes of the Creation. The first three scenes, from The Drunkenness of Noah, contain crowded compositions of smaller figures than other panels, evidently, because Michelangelo misjudged the ceiling's size. Also painted in the early stages was the Slaying of Goliath. After painting the Creation of Eve adjacent to the marble screen which divided the chapel, Michelangelo paused in his work to move the scaffolding to the other side. After having seen his completed work so far, he returned to work with the Temptation and Fall, followed by the Creation of Adam. Vasari wrote: "These frescos were done with the greatest discomfort, for he had to stand there working with his head tilted backwards." Michelangelo may have described his physical discomfort in a poem, accompanied by a sketch in the margin, which was probably addressed to the humanist academician Giovanni di Benedetto da Pistoia, a friend with whom Michelangelo corresponded. Michelangelo wrote the poem describing the arduous conditions under which he worked. Michelangelo's illustrated poem reads:</ref>I've grown a goitre by dwelling in this den–As cats from stagnant streams in Lombardy,Or in what other land they hap to be–Which drives the belly close beneath the chin:My beard turns up to heaven; my nape falls in,Fixed on my spine: my breast-bone visiblyGrows like a harp: a rich embroideryBedews my face from brush-drops thick and thin.My loins into my paunch like levers grind:My buttock like a crupper bears my weight;My feet unguided wander to and fro;In front my skin grows loose and long; behind,By bending it becomes more taut and strait;Crosswise I strain me like a Syrian bow:Whence false and quaint, I know,Must be the fruit of squinting brain and eye;For ill can aim the gun that bends awry.Come then, Giovanni, tryTo succour my dead pictures and my fame;Since foul I fare and painting is my shame.lang=itattr2=№ 5: To Giovanni a Pistoia – On the Painting of the Sistine Chapel,<br /> trans. John Addington Symonds, 1878attr1=№ 5. "A Giovanni quel propio da Pistoia"}}Jelbert has suggested that the physical pain described in this poem, and the pose of Michelangelo in his illustration for it, resonate with the agonised postures of the Vatican's 'ocoön Group'. In the illustration, suggests Jelbert, Michelangelo appears to have drawn himself as the dying son on the right-hand side of the group , and the figure he is painting has the raised knees, wild eyes and broken right arm of ocoön himself. Michelangelo's reference to the 'ocoön Group' in the 'Brazen Serpent' has been noted above, but the artist also alluded to this sculpture in other areas of the Sistine ceiling, including the 'Punishment of Haman', and a pair of ignudi between the 'Sacrifice of Noah' and the 'Prophet Isiah'.

Prompt: システィーナ礼拝堂天井画では、どのように参照の方法が説明されていますか？英語で出力して下さい。

Adam
Bologna
Domenico Ghirlandaio
Eve
Francesco Albertini
Giuliano da Sangallo
Goliath
Haman
Michelangelo


subsection

システィーナ礼拝堂天井画

Michelangelo probably began working on the plans and sketches for the design from April 1508. The preparatory work on the ceiling was complete in late July the same year and on 4 February 1510, Francesco Albertini recorded that Michelangelo had "decorated the upper, arched part with very beautiful pictures and gold". The main design was largely finished in August 1510, as Michelangelo's texts suggest. From September 1510 until February, June, or September 1511, Michelangelo did no work on the ceiling on account of a dispute over payments for work done; in August 1510 the pope left Rome for the Papal States' campaign to reconquer Bologna and despite two visits there by Michelangelo, resolution only came months after the pope's return to Rome in June 1511. On 14 August 1511, Julius held a papal mass in the chapel and saw the progress of the work so far for the first time. This was the vigil for Assumption Day on 15 August, the Sistine Chapel's patronal feast. The whole design was revealed to visitors on 31 October 1512 with a formal papal mass the following day, the feast of All Saints. Clerical use of the chapel continued throughout, exempting when the work on the scaffolding necessitated its closure, and disruption to the rites was minimized by beginning the work at the west end, furthest from the liturgical centre around the altar at the east wall. Debate exists on what sequence the parts of the ceiling were painted in and over how the scaffold that allowed the artists to reach the ceiling was arranged. There are two main proposals.The majority theory is that the ceiling's main frescoes were applied and painted in phases, with the scaffolding each time dismantled and moved to another part of the room, beginning at the chapel's west end. Michelangelo had been an apprentice in the workshop of Domenico Ghirlandaio, one of the most competent and prolific of Florentine fresco painters, at the time that the latter was employed on a fresco cycle at Santa Maria Novella and whose work was represented on the walls of the Sistine Chapel. At the outset, the plaster, intonaco, began to grow mildew or mould because it was too wet. When Michelangelo despaired of continuing, the pope sent Giuliano da Sangallo, who explained how to remove the fungus.Because Michelangelo was painting alfresco, the plaster was laid in a new section every day, called a giornata. At the beginning of each session, the edges would be scraped away and a new area laid down.The work commenced at the end of the building furthest from the altar with the last chronological part of the narrative and progressed towards the altar with the scenes of the Creation. The first three scenes, from The Drunkenness of Noah, contain crowded compositions of smaller figures than other panels, evidently, because Michelangelo misjudged the ceiling's size. Also painted in the early stages was the Slaying of Goliath. After painting the Creation of Eve adjacent to the marble screen which divided the chapel, Michelangelo paused in his work to move the scaffolding to the other side. After having seen his completed work so far, he returned to work with the Temptation and Fall, followed by the Creation of Adam. Vasari wrote: "These frescos were done with the greatest discomfort, for he had to stand there working with his head tilted backwards." Michelangelo may have described his physical discomfort in a poem, accompanied by a sketch in the margin, which was probably addressed to the humanist academician Giovanni di Benedetto da Pistoia, a friend with whom Michelangelo corresponded. Michelangelo wrote the poem describing the arduous conditions under which he worked. Michelangelo's illustrated poem reads:</ref>I've grown a goitre by dwelling in this den–As cats from stagnant streams in Lombardy,Or in what other land they hap to be–Which drives the belly close beneath the chin:My beard turns up to heaven; my nape falls in,Fixed on my spine: my breast-bone visiblyGrows like a harp: a rich embroideryBedews my face from brush-drops thick and thin.My loins into my paunch like levers grind:My buttock like a crupper bears my weight;My feet unguided wander to and fro;In front my skin grows loose and long; behind,By bending it becomes more taut and strait;Crosswise I strain me like a Syrian bow:Whence false and quaint, I know,Must be the fruit of squinting brain and eye;For ill can aim the gun that bends awry.Come then, Giovanni, tryTo succour my dead pictures and my fame;Since foul I fare and painting is my shame.lang=itattr2=№ 5: To Giovanni a Pistoia – On the Painting of the Sistine Chapel,<br /> trans. John Addington Symonds, 1878attr1=№ 5. "A Giovanni quel propio da Pistoia"}}Jelbert has suggested that the physical pain described in this poem, and the pose of Michelangelo in his illustration for it, resonate with the agonised postures of the Vatican's 'ocoön Group'. In the illustration, suggests Jelbert, Michelangelo appears to have drawn himself as the dying son on the right-hand side of the group , and the figure he is painting has the raised knees, wild eyes and broken right arm of ocoön himself. Michelangelo's reference to the 'ocoön Group' in the 'Brazen Serpent' has been noted above, but the artist also alluded to this sculpture in other areas of the Sistine ceiling, including the 'Punishment of Haman', and a pair of ignudi between the 'Sacrifice of Noah' and the 'Prophet Isiah'.

Prompt: システィーナ礼拝堂天井画の参照における方法の特徴を説明してください。英語で出力して下さい。

Adam
Bologna
Domenico Ghirlandaio
Eve
Francesco Albertini
Giuliano da Sangallo
Goliath
Haman
Michelangelo


subsection

システィーナ礼拝堂天井画

The overt subject matter of the ceiling is the Christian doctrine of humanity's need for salvation as offered by God through Jesus. It is a visual metaphor of humankind's need for a covenant with God. The Old Covenant of the Children of Israel through Moses and the New Covenant through Christ had already  been represented around the walls of the chapel. Some experts, including Benjamin Blech and Vatican art historian Enrico Bruschini, have also noted less overt subject matter, which they describe as being "concealed" and "forbidden."The main scheme of the ceiling illustrates God creating the perfect world prior to creating humanity, which causes its own fall into disgrace and is punished by being made mortal; humanity then sinks further into sin and disgrace, and is punished by the Great Flood. The ceiling's creation narrative ends with Noah's drunkenness, which Jesuit theologian John W. O'Malley says could be interpreted as focusing on the separation of Gentiles from Jews as the chosen people. Then, through a lineage of ancestorsfrom Abraham to JosephGod sends the saviour of humanity, Jesus, whose coming is claimed in the New Testament to have been prophesied by prophets of Israel  and whose second coming the same artist returned to paint on the altar wall in his st Judgment. The prophet Jonah, recognizable over the altar by the great fish beside him, which Staale Sinding-rsen says "activates the Passion motif". In the Gospel of John, moreover, Jesus compares his being raised  to Moses lifting the Brazen Serpent to heal Israelites from fiery serpent bites; the latter is painted on the pendentive above the altar to the left, opposite the Punishment of Haman, depicted as a crucifixion instead of a hanging.Of the three Twelve Minor Prophets depicted on the ceiling, O'Malley discusses Jonah and Zechariah as carrying a particular significance. In addition to Jonah's connection to Jesus, O'Malley points out that he is a spokesman to the Gentiles. Zechariah prophesied that the Messiah would arrive on a donkey. His place in the chapel is directly above the doorway across from the altar, through which the pope is carried in procession on Palm Sunday, the day on which Jesus rode a donkey into Jerusalem.Much of the symbolism of the ceiling dates from the early church, but the ceiling also has elements that express the specifically Renaissance thinking that sought to reconcile Christian theology with the philosophy of Renaissance humanism. During the 15th century in Italy, and in Florence in particular, there was a strong interest in Classical literature and the philosophies of Plato, Aristotle and other Classical writers. Michelangelo, as a young man, had spent time at the Platonic Academy established by the Medici family in Florence. He was familiar with early humanist-inspired sculptural works such as Donatello's bronze David and had himself responded by carving the enormous nude marble David, which was placed in the Piazza della Signoria near the Palazzo Vecchio, the home of Florence's council. The humanist view of spirituality was that it is rooted in human nature and independent from intermediaries such as the Church, which emphasized humanity as essentially sinful and flawed. A synthesis, with man dignified and created in God's image, was epitomized by Giovanni Pico Della Mirandola's Oration on the Dignity of Man, which was referenced in sermons given at the papal court.The iconography of the ceiling has had various interpretations in the past, some elements of which have been contradicted by modern scholarship.}} Others, such as the identity of the figures in the lunettes and spandrels poppets, continue to defy interpretation. Modern scholars have sought, as yet unsuccessfully, to determine a written source of the theological program of the ceiling and have questioned whether or not it was entirely devised by Michelangelo, who was both an avid reader of the Bible and is considered to be a genius. Art historian Anthony Bertram argues that the artist expressed his inner turmoil in the work, saying: "The principal opposed forces in this conflict were his passionate admiration for classical beauty and his profound, almost mystical Catholicism, his [presumed] homosexuality, and his horror of carnal sin combined with a lofty Platonic concept of love."Edgar Wind postulated that the ten medallions represented violations of the Ten Commandments, with the obscured one above the Persian Sibyl standing for adultery. O'Malley points out that, if this is the case, the infractions of the commandments are arranged out of order.

Prompt: システィーナ礼拝堂天井画の文脈で、解釈と参照を説明してください。英語で出力して下さい。

Abraham
Anthony Bertram
Aristotle
Benjamin Blech
Bible
Israelites
Jesus
David
Donatello
Edgar Wind
Florence
Gentile
Gospel
Gospel of John
Haman
Jerusalem
Jesus
Jews
Jews as the chosen people
John W. O'Malley
Jonah
Messiah
Michelangelo


subsection

システィーナ礼拝堂天井画

The overt subject matter of the ceiling is the Christian doctrine of humanity's need for salvation as offered by God through Jesus. It is a visual metaphor of humankind's need for a covenant with God. The Old Covenant of the Children of Israel through Moses and the New Covenant through Christ had already  been represented around the walls of the chapel. Some experts, including Benjamin Blech and Vatican art historian Enrico Bruschini, have also noted less overt subject matter, which they describe as being "concealed" and "forbidden."The main scheme of the ceiling illustrates God creating the perfect world prior to creating humanity, which causes its own fall into disgrace and is punished by being made mortal; humanity then sinks further into sin and disgrace, and is punished by the Great Flood. The ceiling's creation narrative ends with Noah's drunkenness, which Jesuit theologian John W. O'Malley says could be interpreted as focusing on the separation of Gentiles from Jews as the chosen people. Then, through a lineage of ancestorsfrom Abraham to JosephGod sends the saviour of humanity, Jesus, whose coming is claimed in the New Testament to have been prophesied by prophets of Israel  and whose second coming the same artist returned to paint on the altar wall in his st Judgment. The prophet Jonah, recognizable over the altar by the great fish beside him, which Staale Sinding-rsen says "activates the Passion motif". In the Gospel of John, moreover, Jesus compares his being raised  to Moses lifting the Brazen Serpent to heal Israelites from fiery serpent bites; the latter is painted on the pendentive above the altar to the left, opposite the Punishment of Haman, depicted as a crucifixion instead of a hanging.Of the three Twelve Minor Prophets depicted on the ceiling, O'Malley discusses Jonah and Zechariah as carrying a particular significance. In addition to Jonah's connection to Jesus, O'Malley points out that he is a spokesman to the Gentiles. Zechariah prophesied that the Messiah would arrive on a donkey. His place in the chapel is directly above the doorway across from the altar, through which the pope is carried in procession on Palm Sunday, the day on which Jesus rode a donkey into Jerusalem.Much of the symbolism of the ceiling dates from the early church, but the ceiling also has elements that express the specifically Renaissance thinking that sought to reconcile Christian theology with the philosophy of Renaissance humanism. During the 15th century in Italy, and in Florence in particular, there was a strong interest in Classical literature and the philosophies of Plato, Aristotle and other Classical writers. Michelangelo, as a young man, had spent time at the Platonic Academy established by the Medici family in Florence. He was familiar with early humanist-inspired sculptural works such as Donatello's bronze David and had himself responded by carving the enormous nude marble David, which was placed in the Piazza della Signoria near the Palazzo Vecchio, the home of Florence's council. The humanist view of spirituality was that it is rooted in human nature and independent from intermediaries such as the Church, which emphasized humanity as essentially sinful and flawed. A synthesis, with man dignified and created in God's image, was epitomized by Giovanni Pico Della Mirandola's Oration on the Dignity of Man, which was referenced in sermons given at the papal court.The iconography of the ceiling has had various interpretations in the past, some elements of which have been contradicted by modern scholarship.}} Others, such as the identity of the figures in the lunettes and spandrels poppets, continue to defy interpretation. Modern scholars have sought, as yet unsuccessfully, to determine a written source of the theological program of the ceiling and have questioned whether or not it was entirely devised by Michelangelo, who was both an avid reader of the Bible and is considered to be a genius. Art historian Anthony Bertram argues that the artist expressed his inner turmoil in the work, saying: "The principal opposed forces in this conflict were his passionate admiration for classical beauty and his profound, almost mystical Catholicism, his [presumed] homosexuality, and his horror of carnal sin combined with a lofty Platonic concept of love."Edgar Wind postulated that the ten medallions represented violations of the Ten Commandments, with the obscured one above the Persian Sibyl standing for adultery. O'Malley points out that, if this is the case, the infractions of the commandments are arranged out of order.

Prompt: システィーナ礼拝堂天井画の参照に関する解釈を説明してください。英語で出力して下さい。

Abraham
Anthony Bertram
Aristotle
Benjamin Blech
Bible
Israelites
Jesus
David
Donatello
Edgar Wind
Florence
Gentile
Gospel
Gospel of John
Haman
Jerusalem
Jesus
Jews
Jews as the chosen people
John W. O'Malley
Jonah
Messiah
Michelangelo


subsection

システィーナ礼拝堂天井画

The overt subject matter of the ceiling is the Christian doctrine of humanity's need for salvation as offered by God through Jesus. It is a visual metaphor of humankind's need for a covenant with God. The Old Covenant of the Children of Israel through Moses and the New Covenant through Christ had already  been represented around the walls of the chapel. Some experts, including Benjamin Blech and Vatican art historian Enrico Bruschini, have also noted less overt subject matter, which they describe as being "concealed" and "forbidden."The main scheme of the ceiling illustrates God creating the perfect world prior to creating humanity, which causes its own fall into disgrace and is punished by being made mortal; humanity then sinks further into sin and disgrace, and is punished by the Great Flood. The ceiling's creation narrative ends with Noah's drunkenness, which Jesuit theologian John W. O'Malley says could be interpreted as focusing on the separation of Gentiles from Jews as the chosen people. Then, through a lineage of ancestorsfrom Abraham to JosephGod sends the saviour of humanity, Jesus, whose coming is claimed in the New Testament to have been prophesied by prophets of Israel  and whose second coming the same artist returned to paint on the altar wall in his st Judgment. The prophet Jonah, recognizable over the altar by the great fish beside him, which Staale Sinding-rsen says "activates the Passion motif". In the Gospel of John, moreover, Jesus compares his being raised  to Moses lifting the Brazen Serpent to heal Israelites from fiery serpent bites; the latter is painted on the pendentive above the altar to the left, opposite the Punishment of Haman, depicted as a crucifixion instead of a hanging.Of the three Twelve Minor Prophets depicted on the ceiling, O'Malley discusses Jonah and Zechariah as carrying a particular significance. In addition to Jonah's connection to Jesus, O'Malley points out that he is a spokesman to the Gentiles. Zechariah prophesied that the Messiah would arrive on a donkey. His place in the chapel is directly above the doorway across from the altar, through which the pope is carried in procession on Palm Sunday, the day on which Jesus rode a donkey into Jerusalem.Much of the symbolism of the ceiling dates from the early church, but the ceiling also has elements that express the specifically Renaissance thinking that sought to reconcile Christian theology with the philosophy of Renaissance humanism. During the 15th century in Italy, and in Florence in particular, there was a strong interest in Classical literature and the philosophies of Plato, Aristotle and other Classical writers. Michelangelo, as a young man, had spent time at the Platonic Academy established by the Medici family in Florence. He was familiar with early humanist-inspired sculptural works such as Donatello's bronze David and had himself responded by carving the enormous nude marble David, which was placed in the Piazza della Signoria near the Palazzo Vecchio, the home of Florence's council. The humanist view of spirituality was that it is rooted in human nature and independent from intermediaries such as the Church, which emphasized humanity as essentially sinful and flawed. A synthesis, with man dignified and created in God's image, was epitomized by Giovanni Pico Della Mirandola's Oration on the Dignity of Man, which was referenced in sermons given at the papal court.The iconography of the ceiling has had various interpretations in the past, some elements of which have been contradicted by modern scholarship.}} Others, such as the identity of the figures in the lunettes and spandrels poppets, continue to defy interpretation. Modern scholars have sought, as yet unsuccessfully, to determine a written source of the theological program of the ceiling and have questioned whether or not it was entirely devised by Michelangelo, who was both an avid reader of the Bible and is considered to be a genius. Art historian Anthony Bertram argues that the artist expressed his inner turmoil in the work, saying: "The principal opposed forces in this conflict were his passionate admiration for classical beauty and his profound, almost mystical Catholicism, his [presumed] homosexuality, and his horror of carnal sin combined with a lofty Platonic concept of love."Edgar Wind postulated that the ten medallions represented violations of the Ten Commandments, with the obscured one above the Persian Sibyl standing for adultery. O'Malley points out that, if this is the case, the infractions of the commandments are arranged out of order.

Prompt: システィーナ礼拝堂天井画では、どのように参照の解釈が説明されていますか？英語で出力して下さい。

Abraham
Anthony Bertram
Aristotle
Benjamin Blech
Bible
Israelites
Jesus
David
Donatello
Edgar Wind
Florence
Gentile
Gospel
Gospel of John
Haman
Jerusalem
Jesus
Jews
Jews as the chosen people
John W. O'Malley
Jonah
Messiah
Michelangelo


subsection

システィーナ礼拝堂天井画

The overt subject matter of the ceiling is the Christian doctrine of humanity's need for salvation as offered by God through Jesus. It is a visual metaphor of humankind's need for a covenant with God. The Old Covenant of the Children of Israel through Moses and the New Covenant through Christ had already  been represented around the walls of the chapel. Some experts, including Benjamin Blech and Vatican art historian Enrico Bruschini, have also noted less overt subject matter, which they describe as being "concealed" and "forbidden."The main scheme of the ceiling illustrates God creating the perfect world prior to creating humanity, which causes its own fall into disgrace and is punished by being made mortal; humanity then sinks further into sin and disgrace, and is punished by the Great Flood. The ceiling's creation narrative ends with Noah's drunkenness, which Jesuit theologian John W. O'Malley says could be interpreted as focusing on the separation of Gentiles from Jews as the chosen people. Then, through a lineage of ancestorsfrom Abraham to JosephGod sends the saviour of humanity, Jesus, whose coming is claimed in the New Testament to have been prophesied by prophets of Israel  and whose second coming the same artist returned to paint on the altar wall in his st Judgment. The prophet Jonah, recognizable over the altar by the great fish beside him, which Staale Sinding-rsen says "activates the Passion motif". In the Gospel of John, moreover, Jesus compares his being raised  to Moses lifting the Brazen Serpent to heal Israelites from fiery serpent bites; the latter is painted on the pendentive above the altar to the left, opposite the Punishment of Haman, depicted as a crucifixion instead of a hanging.Of the three Twelve Minor Prophets depicted on the ceiling, O'Malley discusses Jonah and Zechariah as carrying a particular significance. In addition to Jonah's connection to Jesus, O'Malley points out that he is a spokesman to the Gentiles. Zechariah prophesied that the Messiah would arrive on a donkey. His place in the chapel is directly above the doorway across from the altar, through which the pope is carried in procession on Palm Sunday, the day on which Jesus rode a donkey into Jerusalem.Much of the symbolism of the ceiling dates from the early church, but the ceiling also has elements that express the specifically Renaissance thinking that sought to reconcile Christian theology with the philosophy of Renaissance humanism. During the 15th century in Italy, and in Florence in particular, there was a strong interest in Classical literature and the philosophies of Plato, Aristotle and other Classical writers. Michelangelo, as a young man, had spent time at the Platonic Academy established by the Medici family in Florence. He was familiar with early humanist-inspired sculptural works such as Donatello's bronze David and had himself responded by carving the enormous nude marble David, which was placed in the Piazza della Signoria near the Palazzo Vecchio, the home of Florence's council. The humanist view of spirituality was that it is rooted in human nature and independent from intermediaries such as the Church, which emphasized humanity as essentially sinful and flawed. A synthesis, with man dignified and created in God's image, was epitomized by Giovanni Pico Della Mirandola's Oration on the Dignity of Man, which was referenced in sermons given at the papal court.The iconography of the ceiling has had various interpretations in the past, some elements of which have been contradicted by modern scholarship.}} Others, such as the identity of the figures in the lunettes and spandrels poppets, continue to defy interpretation. Modern scholars have sought, as yet unsuccessfully, to determine a written source of the theological program of the ceiling and have questioned whether or not it was entirely devised by Michelangelo, who was both an avid reader of the Bible and is considered to be a genius. Art historian Anthony Bertram argues that the artist expressed his inner turmoil in the work, saying: "The principal opposed forces in this conflict were his passionate admiration for classical beauty and his profound, almost mystical Catholicism, his [presumed] homosexuality, and his horror of carnal sin combined with a lofty Platonic concept of love."Edgar Wind postulated that the ten medallions represented violations of the Ten Commandments, with the obscured one above the Persian Sibyl standing for adultery. O'Malley points out that, if this is the case, the infractions of the commandments are arranged out of order.

Prompt: システィーナ礼拝堂天井画の参照における解釈の特徴を説明してください。英語で出力して下さい。

Abraham
Anthony Bertram
Aristotle
Benjamin Blech
Bible
Israelites
Jesus
David
Donatello
Edgar Wind
Florence
Gentile
Gospel
Gospel of John
Haman
Jerusalem
Jesus
Jews
Jews as the chosen people
John W. O'Malley
Jonah
Messiah
Michelangelo


subsection

システィーナ礼拝堂天井画

Along the central section of the ceiling, Michelangelo depicted nine scenes from the Book of Genesis, organized into three groups of three related scenes. The scenes alternate between smaller and larger pictures, with the former framed by two pairs of ignudi flanking a medallion.The first group depicts God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden. The third group shows the plight of humanity and in particular the family of Noah.The pictures within the three groups link to one another, in the same way as was usual in Mediaeval paintings and stained glass. The nine scenes are oriented to be viewed while facing the altar, chronologically unfolding towards the chapel entrance John T. Paoletti and Gary M. Radke suggest that this reversed progression symbolises a return to a state of grace.The scenes, from the altar towards the main door, are as follows:# The Separation of Light from Darkness# The Creation of the Sun, Moon and Plants# The Separation of nd and Water# The Creation of Adam# The Creation of Eve# The Fall and Expulsion# The Sacrifice of Noah# The Great Flood# The Drunkenness of Noah

Prompt: システィーナ礼拝堂天井画の文脈で、創世記の九つの場面と参照を説明してください。英語で出力して下さい。

Adam
Adam and Eve
Book of Genesis
Eve
Garden of Eden
Michelangelo


subsection

システィーナ礼拝堂天井画

Along the central section of the ceiling, Michelangelo depicted nine scenes from the Book of Genesis, organized into three groups of three related scenes. The scenes alternate between smaller and larger pictures, with the former framed by two pairs of ignudi flanking a medallion.The first group depicts God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden. The third group shows the plight of humanity and in particular the family of Noah.The pictures within the three groups link to one another, in the same way as was usual in Mediaeval paintings and stained glass. The nine scenes are oriented to be viewed while facing the altar, chronologically unfolding towards the chapel entrance John T. Paoletti and Gary M. Radke suggest that this reversed progression symbolises a return to a state of grace.The scenes, from the altar towards the main door, are as follows:# The Separation of Light from Darkness# The Creation of the Sun, Moon and Plants# The Separation of nd and Water# The Creation of Adam# The Creation of Eve# The Fall and Expulsion# The Sacrifice of Noah# The Great Flood# The Drunkenness of Noah

Prompt: システィーナ礼拝堂天井画の参照に関する創世記の九つの場面を説明してください。英語で出力して下さい。

Adam
Adam and Eve
Book of Genesis
Eve
Garden of Eden
Michelangelo


subsection

システィーナ礼拝堂天井画

Along the central section of the ceiling, Michelangelo depicted nine scenes from the Book of Genesis, organized into three groups of three related scenes. The scenes alternate between smaller and larger pictures, with the former framed by two pairs of ignudi flanking a medallion.The first group depicts God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden. The third group shows the plight of humanity and in particular the family of Noah.The pictures within the three groups link to one another, in the same way as was usual in Mediaeval paintings and stained glass. The nine scenes are oriented to be viewed while facing the altar, chronologically unfolding towards the chapel entrance John T. Paoletti and Gary M. Radke suggest that this reversed progression symbolises a return to a state of grace.The scenes, from the altar towards the main door, are as follows:# The Separation of Light from Darkness# The Creation of the Sun, Moon and Plants# The Separation of nd and Water# The Creation of Adam# The Creation of Eve# The Fall and Expulsion# The Sacrifice of Noah# The Great Flood# The Drunkenness of Noah

Prompt: システィーナ礼拝堂天井画では、どのように参照の創世記の九つの場面が説明されていますか？英語で出力して下さい。

Adam
Adam and Eve
Book of Genesis
Eve
Garden of Eden
Michelangelo


subsection

システィーナ礼拝堂天井画

Along the central section of the ceiling, Michelangelo depicted nine scenes from the Book of Genesis, organized into three groups of three related scenes. The scenes alternate between smaller and larger pictures, with the former framed by two pairs of ignudi flanking a medallion.The first group depicts God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden. The third group shows the plight of humanity and in particular the family of Noah.The pictures within the three groups link to one another, in the same way as was usual in Mediaeval paintings and stained glass. The nine scenes are oriented to be viewed while facing the altar, chronologically unfolding towards the chapel entrance John T. Paoletti and Gary M. Radke suggest that this reversed progression symbolises a return to a state of grace.The scenes, from the altar towards the main door, are as follows:# The Separation of Light from Darkness# The Creation of the Sun, Moon and Plants# The Separation of nd and Water# The Creation of Adam# The Creation of Eve# The Fall and Expulsion# The Sacrifice of Noah# The Great Flood# The Drunkenness of Noah

Prompt: システィーナ礼拝堂天井画の参照における創世記の九つの場面の特徴を説明してください。英語で出力して下さい。

Adam
Adam and Eve
Book of Genesis
Eve
Garden of Eden
Michelangelo


subsection

システィーナ礼拝堂天井画

On the five pendentives along each side and the two at either end, Michelangelo painted the largest figures on the ceiling: twelve people who prophesied a Messiah. These twelve are seven male prophets of Israel and five Sibyls, prophetesses of classical mythology. Jonah is placed above the altar and Zechariah at the opposite end. The other five Prophets and Sibyls alternate down each long side, each being identified by an inscription on a painted marble tablet supported by a putto. Jonah  – above the altar Jeremiah  Persian Sibyl  Ezekiel  Erythraean Sibyl  Joel  Zechariah  – above the main door of the chapel Delphic Sibyl  Isaiah  Cumaean Sibyl  Daniel  Libyan Sibyl

Prompt: システィーナ礼拝堂天井画の文脈で、十二の預言者と参照を説明してください。英語で出力して下さい。

Cumaean Sibyl
Delphic Sibyl
Erythraean Sibyl
Ezekiel
Isaiah
Jeremiah
Jonah
Libyan Sibyl
Messiah
Michelangelo


subsection

システィーナ礼拝堂天井画

On the five pendentives along each side and the two at either end, Michelangelo painted the largest figures on the ceiling: twelve people who prophesied a Messiah. These twelve are seven male prophets of Israel and five Sibyls, prophetesses of classical mythology. Jonah is placed above the altar and Zechariah at the opposite end. The other five Prophets and Sibyls alternate down each long side, each being identified by an inscription on a painted marble tablet supported by a putto. Jonah  – above the altar Jeremiah  Persian Sibyl  Ezekiel  Erythraean Sibyl  Joel  Zechariah  – above the main door of the chapel Delphic Sibyl  Isaiah  Cumaean Sibyl  Daniel  Libyan Sibyl

Prompt: システィーナ礼拝堂天井画の参照に関する十二の預言者を説明してください。英語で出力して下さい。

Cumaean Sibyl
Delphic Sibyl
Erythraean Sibyl
Ezekiel
Isaiah
Jeremiah
Jonah
Libyan Sibyl
Messiah
Michelangelo


subsection

システィーナ礼拝堂天井画

On the five pendentives along each side and the two at either end, Michelangelo painted the largest figures on the ceiling: twelve people who prophesied a Messiah. These twelve are seven male prophets of Israel and five Sibyls, prophetesses of classical mythology. Jonah is placed above the altar and Zechariah at the opposite end. The other five Prophets and Sibyls alternate down each long side, each being identified by an inscription on a painted marble tablet supported by a putto. Jonah  – above the altar Jeremiah  Persian Sibyl  Ezekiel  Erythraean Sibyl  Joel  Zechariah  – above the main door of the chapel Delphic Sibyl  Isaiah  Cumaean Sibyl  Daniel  Libyan Sibyl

Prompt: システィーナ礼拝堂天井画では、どのように参照の十二の預言者が説明されていますか？英語で出力して下さい。

Cumaean Sibyl
Delphic Sibyl
Erythraean Sibyl
Ezekiel
Isaiah
Jeremiah
Jonah
Libyan Sibyl
Messiah
Michelangelo


subsection

システィーナ礼拝堂天井画

On the five pendentives along each side and the two at either end, Michelangelo painted the largest figures on the ceiling: twelve people who prophesied a Messiah. These twelve are seven male prophets of Israel and five Sibyls, prophetesses of classical mythology. Jonah is placed above the altar and Zechariah at the opposite end. The other five Prophets and Sibyls alternate down each long side, each being identified by an inscription on a painted marble tablet supported by a putto. Jonah  – above the altar Jeremiah  Persian Sibyl  Ezekiel  Erythraean Sibyl  Joel  Zechariah  – above the main door of the chapel Delphic Sibyl  Isaiah  Cumaean Sibyl  Daniel  Libyan Sibyl

Prompt: システィーナ礼拝堂天井画の参照における十二の預言者の特徴を説明してください。英語で出力して下さい。

Cumaean Sibyl
Delphic Sibyl
Erythraean Sibyl
Ezekiel
Isaiah
Jeremiah
Jonah
Libyan Sibyl
Messiah
Michelangelo


subsection

システィーナ礼拝堂天井画

In each corner of the chapel is a triangular pendentive filling the space between the walls and the arch of the vault and forming a doubled spandrel above the windows nearest the corners. On these curving shapes Michelangelo has painted four scenes from biblical stories that are associated with the salvation of Israel by four great male and female heroes of the Jews: Moses, Esther, David and Judith. Michelangelo shows Haman crucified  with Esther looking at him from a doorway and the king giving orders in the background. The composition shows Haman at the table with Esther, as well as being crucified. favourably to the canonical classical statue group ocoön and His Sons, which Michelangelo saw upon its discovery in 1506. Both works are crowded compositions of figures attacked by supernatural reptiles: the "fiery serpents" of the book of Numbers and the sea monsters of Virgil's Aeneid. Ruskin states that he prefers the sublimity expressed by Michelangelo's "gigantic intellect" in "the grandeur of the plague itself, in its multitudinous grasp, and its mystical salvation" and his "awfulness and quietness" to the "meagre lines and contemptible tortures of the ocoön" and argued that "the grandeur of this treatment results, not merely from choice, but from a greater knowledge and more faithful rendering of truth". The composition is vertically split, not unlike the Punishment of Haman at the opposite corner of the chapel.In David and Goliath, the shepherd boy, David, has brought down the towering Goliath with his sling, but the giant is alive and is trying to rise as David forces his head down to chop it off.David and Goliath is a relatively simple composition, with the two protagonists centrally placed and the only other figures being background observers.

Prompt: システィーナ礼拝堂天井画の文脈で、ペンデンティブと参照を説明してください。英語で出力して下さい。

Aeneid David Esther Goliath Haman Jews Michelangelo


subsection

システィーナ礼拝堂天井画

In each corner of the chapel is a triangular pendentive filling the space between the walls and the arch of the vault and forming a doubled spandrel above the windows nearest the corners. On these curving shapes Michelangelo has painted four scenes from biblical stories that are associated with the salvation of Israel by four great male and female heroes of the Jews: Moses, Esther, David and Judith. Michelangelo shows Haman crucified  with Esther looking at him from a doorway and the king giving orders in the background. The composition shows Haman at the table with Esther, as well as being crucified. favourably to the canonical classical statue group ocoön and His Sons, which Michelangelo saw upon its discovery in 1506. Both works are crowded compositions of figures attacked by supernatural reptiles: the "fiery serpents" of the book of Numbers and the sea monsters of Virgil's Aeneid. Ruskin states that he prefers the sublimity expressed by Michelangelo's "gigantic intellect" in "the grandeur of the plague itself, in its multitudinous grasp, and its mystical salvation" and his "awfulness and quietness" to the "meagre lines and contemptible tortures of the ocoön" and argued that "the grandeur of this treatment results, not merely from choice, but from a greater knowledge and more faithful rendering of truth". The composition is vertically split, not unlike the Punishment of Haman at the opposite corner of the chapel.In David and Goliath, the shepherd boy, David, has brought down the towering Goliath with his sling, but the giant is alive and is trying to rise as David forces his head down to chop it off.David and Goliath is a relatively simple composition, with the two protagonists centrally placed and the only other figures being background observers.

Prompt: システィーナ礼拝堂天井画の参照に関するペンデンティブを説明してください。英語で出力して下さい。

Aeneid David Esther Goliath Haman Jews Michelangelo


subsection

システィーナ礼拝堂天井画

In each corner of the chapel is a triangular pendentive filling the space between the walls and the arch of the vault and forming a doubled spandrel above the windows nearest the corners. On these curving shapes Michelangelo has painted four scenes from biblical stories that are associated with the salvation of Israel by four great male and female heroes of the Jews: Moses, Esther, David and Judith. Michelangelo shows Haman crucified  with Esther looking at him from a doorway and the king giving orders in the background. The composition shows Haman at the table with Esther, as well as being crucified. favourably to the canonical classical statue group ocoön and His Sons, which Michelangelo saw upon its discovery in 1506. Both works are crowded compositions of figures attacked by supernatural reptiles: the "fiery serpents" of the book of Numbers and the sea monsters of Virgil's Aeneid. Ruskin states that he prefers the sublimity expressed by Michelangelo's "gigantic intellect" in "the grandeur of the plague itself, in its multitudinous grasp, and its mystical salvation" and his "awfulness and quietness" to the "meagre lines and contemptible tortures of the ocoön" and argued that "the grandeur of this treatment results, not merely from choice, but from a greater knowledge and more faithful rendering of truth". The composition is vertically split, not unlike the Punishment of Haman at the opposite corner of the chapel.In David and Goliath, the shepherd boy, David, has brought down the towering Goliath with his sling, but the giant is alive and is trying to rise as David forces his head down to chop it off.David and Goliath is a relatively simple composition, with the two protagonists centrally placed and the only other figures being background observers.

Prompt: システィーナ礼拝堂天井画では、どのように参照のペンデンティブが説明されていますか？英語で出力して下さい。

Aeneid David Esther Goliath Haman Jews Michelangelo


subsection

システィーナ礼拝堂天井画

In each corner of the chapel is a triangular pendentive filling the space between the walls and the arch of the vault and forming a doubled spandrel above the windows nearest the corners. On these curving shapes Michelangelo has painted four scenes from biblical stories that are associated with the salvation of Israel by four great male and female heroes of the Jews: Moses, Esther, David and Judith. Michelangelo shows Haman crucified  with Esther looking at him from a doorway and the king giving orders in the background. The composition shows Haman at the table with Esther, as well as being crucified. favourably to the canonical classical statue group ocoön and His Sons, which Michelangelo saw upon its discovery in 1506. Both works are crowded compositions of figures attacked by supernatural reptiles: the "fiery serpents" of the book of Numbers and the sea monsters of Virgil's Aeneid. Ruskin states that he prefers the sublimity expressed by Michelangelo's "gigantic intellect" in "the grandeur of the plague itself, in its multitudinous grasp, and its mystical salvation" and his "awfulness and quietness" to the "meagre lines and contemptible tortures of the ocoön" and argued that "the grandeur of this treatment results, not merely from choice, but from a greater knowledge and more faithful rendering of truth". The composition is vertically split, not unlike the Punishment of Haman at the opposite corner of the chapel.In David and Goliath, the shepherd boy, David, has brought down the towering Goliath with his sling, but the giant is alive and is trying to rise as David forces his head down to chop it off.David and Goliath is a relatively simple composition, with the two protagonists centrally placed and the only other figures being background observers.

Prompt: システィーナ礼拝堂天井画の参照におけるペンデンティブの特徴を説明してください。英語で出力して下さい。

Aeneid David Esther Goliath Haman Jews Michelangelo


subsection

システィーナ礼拝堂天井画

Either side of the chapel has six windows, as well as two closed windows at the rear, and two above the altar which were covered by The st Judgment. Above each window is an arched shape, referred to as a lunette. Above each of the eight most central side lunettes is a triangular spandrel ; the other six lunettes are below the corner pendentives.These regions link the walls and the ceiling; the figures painted on them are intermediate in size , between the very large prophets on the ceiling and the much smaller papal portraits which had been painted on either side of each window in the 15th century. Michelangelo chose the ancestors of Christ as the subject of these images, thus juxtaposing Jesus' physical lineage with the popes, his spiritual successors according to the Church.Centrally placed above each window is a faux marble tablet with a decorative frame. On each is painted the names of the male line by which Jesus, through his earthly father, Joseph, is descended from Abraham, according to the Gospel of Matthew. However, the genealogy is now incomplete, since the two lunettes of the windows in the altar wall were destroyed by Michelangelo when he returned to the chapel in 1537 to paint The st Judgment. Only engravings, based on a drawing that has since been lost, remain of them. The sequence of tablets seems somewhat erratic as one plaque has four names, most have three or two, and two plaques have only one. Moreover, the progression moves from one side of the building to the other, but not consistently, and the figures the lunettes contain do not coincide closely with the listed names. These figures vaguely suggest various family relationships; most lunettes contain one or more infants, and many depict a man and a woman, often sitting on opposing sides of the painted plaque that separates them. O'Malley describes them as "simply representative figures, almost ciphers".The figures in the lunettes appear to be families, but in every case they are families that are divided. The figures in them are physically divided by the name tablet but they are also divided by a range of human emotions that turn them outward or in on themselves and sometimes towards their partner with jealousy, suspicion, rage or simply boredom. In them Michelangelo has portrayed the anger and unhappiness of the human condition, painting, in Andrew Graham-Dixon's words, "the daily round of merely domestic life as if it were a curse". In their constraining niches, Gabriele Bartz and Eberhard König say, the ancestors "sit, squat and wait". Of the 14 lunettes, the two that were probably painted first, the families of Eleazar and Mathan}} and of Jacob and his son Joseph, are the most detailed. They become progressively broader towards the altar end, as Michelangelo painted faster and more furiously.Because of the constraints of the triangular shape, in each spandrel the figures are seated on the ground. Six include groups of figures, mostly adults with a child. Of the two remaining, one shows a woman with shears trimming the neck of a garment she is making while her toddler looks on. The biblical woman who is recorded as making a new garment for her child is Hannah, the mother of Samuel, whose child went to live in the temple; the male figure in the background is wearing a distinctive hat that might suggest that of a priest. Another female figure sits staring out of the picture.In the restoration process, the figure of Amminadab was shown to be wearing a contemporary Jewish badge, the wearing of which was being rigorously enforced at the time. Depictions normally occur in a pejorative context, and seem to link this figure from the Jewish past to the Renaissance present. In this case, it appears to place Amminadab as permanently exiled from salvation.Prior to restoration, of all the paintings in the chapel, the lunettes and spandrels were the dirtiest. Added to this, there has always been a problem of poor daytime visibility of the panels nearest the windows because of halination, the effect of bright areas blurring over less bright ones.

Prompt: システィーナ礼拝堂天井画の文脈で、キリストの祖先と参照を説明してください。英語で出力して下さい。

Abraham
Amminadab
Andrew Graham-Dixon
Jesus
Gospel
Gospel of Matthew
Jesus
Michelangelo


subsection

システィーナ礼拝堂天井画

Either side of the chapel has six windows, as well as two closed windows at the rear, and two above the altar which were covered by The st Judgment. Above each window is an arched shape, referred to as a lunette. Above each of the eight most central side lunettes is a triangular spandrel ; the other six lunettes are below the corner pendentives.These regions link the walls and the ceiling; the figures painted on them are intermediate in size , between the very large prophets on the ceiling and the much smaller papal portraits which had been painted on either side of each window in the 15th century. Michelangelo chose the ancestors of Christ as the subject of these images, thus juxtaposing Jesus' physical lineage with the popes, his spiritual successors according to the Church.Centrally placed above each window is a faux marble tablet with a decorative frame. On each is painted the names of the male line by which Jesus, through his earthly father, Joseph, is descended from Abraham, according to the Gospel of Matthew. However, the genealogy is now incomplete, since the two lunettes of the windows in the altar wall were destroyed by Michelangelo when he returned to the chapel in 1537 to paint The st Judgment. Only engravings, based on a drawing that has since been lost, remain of them. The sequence of tablets seems somewhat erratic as one plaque has four names, most have three or two, and two plaques have only one. Moreover, the progression moves from one side of the building to the other, but not consistently, and the figures the lunettes contain do not coincide closely with the listed names. These figures vaguely suggest various family relationships; most lunettes contain one or more infants, and many depict a man and a woman, often sitting on opposing sides of the painted plaque that separates them. O'Malley describes them as "simply representative figures, almost ciphers".The figures in the lunettes appear to be families, but in every case they are families that are divided. The figures in them are physically divided by the name tablet but they are also divided by a range of human emotions that turn them outward or in on themselves and sometimes towards their partner with jealousy, suspicion, rage or simply boredom. In them Michelangelo has portrayed the anger and unhappiness of the human condition, painting, in Andrew Graham-Dixon's words, "the daily round of merely domestic life as if it were a curse". In their constraining niches, Gabriele Bartz and Eberhard König say, the ancestors "sit, squat and wait". Of the 14 lunettes, the two that were probably painted first, the families of Eleazar and Mathan}} and of Jacob and his son Joseph, are the most detailed. They become progressively broader towards the altar end, as Michelangelo painted faster and more furiously.Because of the constraints of the triangular shape, in each spandrel the figures are seated on the ground. Six include groups of figures, mostly adults with a child. Of the two remaining, one shows a woman with shears trimming the neck of a garment she is making while her toddler looks on. The biblical woman who is recorded as making a new garment for her child is Hannah, the mother of Samuel, whose child went to live in the temple; the male figure in the background is wearing a distinctive hat that might suggest that of a priest. Another female figure sits staring out of the picture.In the restoration process, the figure of Amminadab was shown to be wearing a contemporary Jewish badge, the wearing of which was being rigorously enforced at the time. Depictions normally occur in a pejorative context, and seem to link this figure from the Jewish past to the Renaissance present. In this case, it appears to place Amminadab as permanently exiled from salvation.Prior to restoration, of all the paintings in the chapel, the lunettes and spandrels were the dirtiest. Added to this, there has always been a problem of poor daytime visibility of the panels nearest the windows because of halination, the effect of bright areas blurring over less bright ones.

Prompt: システィーナ礼拝堂天井画の参照に関するキリストの祖先を説明してください。英語で出力して下さい。

Abraham
Amminadab
Andrew Graham-Dixon
Jesus
Gospel
Gospel of Matthew
Jesus
Michelangelo


subsection

システィーナ礼拝堂天井画

Either side of the chapel has six windows, as well as two closed windows at the rear, and two above the altar which were covered by The st Judgment. Above each window is an arched shape, referred to as a lunette. Above each of the eight most central side lunettes is a triangular spandrel ; the other six lunettes are below the corner pendentives.These regions link the walls and the ceiling; the figures painted on them are intermediate in size , between the very large prophets on the ceiling and the much smaller papal portraits which had been painted on either side of each window in the 15th century. Michelangelo chose the ancestors of Christ as the subject of these images, thus juxtaposing Jesus' physical lineage with the popes, his spiritual successors according to the Church.Centrally placed above each window is a faux marble tablet with a decorative frame. On each is painted the names of the male line by which Jesus, through his earthly father, Joseph, is descended from Abraham, according to the Gospel of Matthew. However, the genealogy is now incomplete, since the two lunettes of the windows in the altar wall were destroyed by Michelangelo when he returned to the chapel in 1537 to paint The st Judgment. Only engravings, based on a drawing that has since been lost, remain of them. The sequence of tablets seems somewhat erratic as one plaque has four names, most have three or two, and two plaques have only one. Moreover, the progression moves from one side of the building to the other, but not consistently, and the figures the lunettes contain do not coincide closely with the listed names. These figures vaguely suggest various family relationships; most lunettes contain one or more infants, and many depict a man and a woman, often sitting on opposing sides of the painted plaque that separates them. O'Malley describes them as "simply representative figures, almost ciphers".The figures in the lunettes appear to be families, but in every case they are families that are divided. The figures in them are physically divided by the name tablet but they are also divided by a range of human emotions that turn them outward or in on themselves and sometimes towards their partner with jealousy, suspicion, rage or simply boredom. In them Michelangelo has portrayed the anger and unhappiness of the human condition, painting, in Andrew Graham-Dixon's words, "the daily round of merely domestic life as if it were a curse". In their constraining niches, Gabriele Bartz and Eberhard König say, the ancestors "sit, squat and wait". Of the 14 lunettes, the two that were probably painted first, the families of Eleazar and Mathan}} and of Jacob and his son Joseph, are the most detailed. They become progressively broader towards the altar end, as Michelangelo painted faster and more furiously.Because of the constraints of the triangular shape, in each spandrel the figures are seated on the ground. Six include groups of figures, mostly adults with a child. Of the two remaining, one shows a woman with shears trimming the neck of a garment she is making while her toddler looks on. The biblical woman who is recorded as making a new garment for her child is Hannah, the mother of Samuel, whose child went to live in the temple; the male figure in the background is wearing a distinctive hat that might suggest that of a priest. Another female figure sits staring out of the picture.In the restoration process, the figure of Amminadab was shown to be wearing a contemporary Jewish badge, the wearing of which was being rigorously enforced at the time. Depictions normally occur in a pejorative context, and seem to link this figure from the Jewish past to the Renaissance present. In this case, it appears to place Amminadab as permanently exiled from salvation.Prior to restoration, of all the paintings in the chapel, the lunettes and spandrels were the dirtiest. Added to this, there has always been a problem of poor daytime visibility of the panels nearest the windows because of halination, the effect of bright areas blurring over less bright ones.

Prompt: システィーナ礼拝堂天井画では、どのように参照のキリストの祖先が説明されていますか？英語で出力して下さい。

Abraham
Amminadab
Andrew Graham-Dixon
Jesus
Gospel
Gospel of Matthew
Jesus
Michelangelo


subsection

システィーナ礼拝堂天井画

Either side of the chapel has six windows, as well as two closed windows at the rear, and two above the altar which were covered by The st Judgment. Above each window is an arched shape, referred to as a lunette. Above each of the eight most central side lunettes is a triangular spandrel ; the other six lunettes are below the corner pendentives.These regions link the walls and the ceiling; the figures painted on them are intermediate in size , between the very large prophets on the ceiling and the much smaller papal portraits which had been painted on either side of each window in the 15th century. Michelangelo chose the ancestors of Christ as the subject of these images, thus juxtaposing Jesus' physical lineage with the popes, his spiritual successors according to the Church.Centrally placed above each window is a faux marble tablet with a decorative frame. On each is painted the names of the male line by which Jesus, through his earthly father, Joseph, is descended from Abraham, according to the Gospel of Matthew. However, the genealogy is now incomplete, since the two lunettes of the windows in the altar wall were destroyed by Michelangelo when he returned to the chapel in 1537 to paint The st Judgment. Only engravings, based on a drawing that has since been lost, remain of them. The sequence of tablets seems somewhat erratic as one plaque has four names, most have three or two, and two plaques have only one. Moreover, the progression moves from one side of the building to the other, but not consistently, and the figures the lunettes contain do not coincide closely with the listed names. These figures vaguely suggest various family relationships; most lunettes contain one or more infants, and many depict a man and a woman, often sitting on opposing sides of the painted plaque that separates them. O'Malley describes them as "simply representative figures, almost ciphers".The figures in the lunettes appear to be families, but in every case they are families that are divided. The figures in them are physically divided by the name tablet but they are also divided by a range of human emotions that turn them outward or in on themselves and sometimes towards their partner with jealousy, suspicion, rage or simply boredom. In them Michelangelo has portrayed the anger and unhappiness of the human condition, painting, in Andrew Graham-Dixon's words, "the daily round of merely domestic life as if it were a curse". In their constraining niches, Gabriele Bartz and Eberhard König say, the ancestors "sit, squat and wait". Of the 14 lunettes, the two that were probably painted first, the families of Eleazar and Mathan}} and of Jacob and his son Joseph, are the most detailed. They become progressively broader towards the altar end, as Michelangelo painted faster and more furiously.Because of the constraints of the triangular shape, in each spandrel the figures are seated on the ground. Six include groups of figures, mostly adults with a child. Of the two remaining, one shows a woman with shears trimming the neck of a garment she is making while her toddler looks on. The biblical woman who is recorded as making a new garment for her child is Hannah, the mother of Samuel, whose child went to live in the temple; the male figure in the background is wearing a distinctive hat that might suggest that of a priest. Another female figure sits staring out of the picture.In the restoration process, the figure of Amminadab was shown to be wearing a contemporary Jewish badge, the wearing of which was being rigorously enforced at the time. Depictions normally occur in a pejorative context, and seem to link this figure from the Jewish past to the Renaissance present. In this case, it appears to place Amminadab as permanently exiled from salvation.Prior to restoration, of all the paintings in the chapel, the lunettes and spandrels were the dirtiest. Added to this, there has always been a problem of poor daytime visibility of the panels nearest the windows because of halination, the effect of bright areas blurring over less bright ones.

Prompt: システィーナ礼拝堂天井画の参照におけるキリストの祖先の特徴を説明してください。英語で出力して下さい。

Abraham
Amminadab
Andrew Graham-Dixon
Jesus
Gospel
Gospel of Matthew
Jesus
Michelangelo


subsection

システィーナ礼拝堂天井画

The ignudi are the 20 athletic, nude males that Michelangelo painted as supporting figures at each corner of the five smaller creation scenes on the ceiling, each pair enclosing a medallion supported by ribands above the Prophets and Sibyls. The figures hold, are draped with, or lean on items like ribbons, pillows, and large garlands of acorns,in widely varying postures. Mostly decorative, they provided Michelangelo a prime opportunity to express himself. The poses were copied by other Renaissance artists, including Bartolommeo Bandinelli and the workshop of Raphael .Some have suggested that the ignudi could represent angels, similar to cherubs.}} O'Malley compares them to sculptures of Atlas or Michelangelo's Slaves from Julius II's tomb. In their reflection of classical antiquity they resonate with Pope Julius's aspirations to lead Italy towards a new 'age of gold'; at the same time, they staked Michelangelo's claim to greatness. Contrarily, a number of critics were angered by their presence and nudity, including Pope Adrian VI.

Prompt: システィーナ礼拝堂天井画の文脈で、イグヌーディと参照を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

The ignudi are the 20 athletic, nude males that Michelangelo painted as supporting figures at each corner of the five smaller creation scenes on the ceiling, each pair enclosing a medallion supported by ribands above the Prophets and Sibyls. The figures hold, are draped with, or lean on items like ribbons, pillows, and large garlands of acorns,in widely varying postures. Mostly decorative, they provided Michelangelo a prime opportunity to express himself. The poses were copied by other Renaissance artists, including Bartolommeo Bandinelli and the workshop of Raphael .Some have suggested that the ignudi could represent angels, similar to cherubs.}} O'Malley compares them to sculptures of Atlas or Michelangelo's Slaves from Julius II's tomb. In their reflection of classical antiquity they resonate with Pope Julius's aspirations to lead Italy towards a new 'age of gold'; at the same time, they staked Michelangelo's claim to greatness. Contrarily, a number of critics were angered by their presence and nudity, including Pope Adrian VI.

Prompt: システィーナ礼拝堂天井画の参照に関するイグヌーディを説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

The ignudi are the 20 athletic, nude males that Michelangelo painted as supporting figures at each corner of the five smaller creation scenes on the ceiling, each pair enclosing a medallion supported by ribands above the Prophets and Sibyls. The figures hold, are draped with, or lean on items like ribbons, pillows, and large garlands of acorns,in widely varying postures. Mostly decorative, they provided Michelangelo a prime opportunity to express himself. The poses were copied by other Renaissance artists, including Bartolommeo Bandinelli and the workshop of Raphael .Some have suggested that the ignudi could represent angels, similar to cherubs.}} O'Malley compares them to sculptures of Atlas or Michelangelo's Slaves from Julius II's tomb. In their reflection of classical antiquity they resonate with Pope Julius's aspirations to lead Italy towards a new 'age of gold'; at the same time, they staked Michelangelo's claim to greatness. Contrarily, a number of critics were angered by their presence and nudity, including Pope Adrian VI.

Prompt: システィーナ礼拝堂天井画では、どのように参照のイグヌーディが説明されていますか？英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

The ignudi are the 20 athletic, nude males that Michelangelo painted as supporting figures at each corner of the five smaller creation scenes on the ceiling, each pair enclosing a medallion supported by ribands above the Prophets and Sibyls. The figures hold, are draped with, or lean on items like ribbons, pillows, and large garlands of acorns,in widely varying postures. Mostly decorative, they provided Michelangelo a prime opportunity to express himself. The poses were copied by other Renaissance artists, including Bartolommeo Bandinelli and the workshop of Raphael .Some have suggested that the ignudi could represent angels, similar to cherubs.}} O'Malley compares them to sculptures of Atlas or Michelangelo's Slaves from Julius II's tomb. In their reflection of classical antiquity they resonate with Pope Julius's aspirations to lead Italy towards a new 'age of gold'; at the same time, they staked Michelangelo's claim to greatness. Contrarily, a number of critics were angered by their presence and nudity, including Pope Adrian VI.

Prompt: システィーナ礼拝堂天井画の参照におけるイグヌーディの特徴を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Giacometti, Massimo, ed. .      King, Ross, Michelangelo and the Pope's Ceiling, 2002, Chatto & Windus, ISBN 071171197     Vecchi, Pierluigi de .

Prompt: システィーナ礼拝堂天井画の文脈で、参考文献と参照を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Giacometti, Massimo, ed. .      King, Ross, Michelangelo and the Pope's Ceiling, 2002, Chatto & Windus, ISBN 071171197     Vecchi, Pierluigi de .

Prompt: システィーナ礼拝堂天井画の参照に関する参考文献を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Giacometti, Massimo, ed. .      King, Ross, Michelangelo and the Pope's Ceiling, 2002, Chatto & Windus, ISBN 071171197     Vecchi, Pierluigi de .

Prompt: システィーナ礼拝堂天井画では、どのように参照の参考文献が説明されていますか？英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Giacometti, Massimo, ed. .      King, Ross, Michelangelo and the Pope's Ceiling, 2002, Chatto & Windus, ISBN 071171197     Vecchi, Pierluigi de .

Prompt: システィーナ礼拝堂天井画の参照における参考文献の特徴を説明してください。英語で出力して下さい。


subsubsection

システィーナ礼拝堂天井画

The three creation pictures show scenes from the first chapter of Genesis, which relates that God created the Earth and its inhabitants in six days, resting on the seventh day. In the first scene, the First Day of Creation, God creates light and separates light from darkness. Chronologically, the next scene takes place in the third panel, in which, on the Second Day, God divides the waters from the heavens. In the central scene, the largest of the three, there are two representations of God: on the Third Day, God creates the Earth and makes it sprout plants; on the Fourth Day, God puts the Sun and the Moon in place to govern the night and the day, the time and the seasons of the year.These three scenes, completed in the third stage of painting, are the most broadly conceived, the most broadly painted and the most dynamic of all the pictures. Of the first scene Vasari says, "Michelangelo depicted God dividing the light from the darkness ... where He is seen in all His majesty as He sustains Himself alone with open arms in a demonstration of love and creative energy."

Prompt: システィーナ礼拝堂天井画の参照に焦点を当てて、絵図についての創造を説明してください。英語で出力して下さい。


subsubsection

システィーナ礼拝堂天井画

The three creation pictures show scenes from the first chapter of Genesis, which relates that God created the Earth and its inhabitants in six days, resting on the seventh day. In the first scene, the First Day of Creation, God creates light and separates light from darkness. Chronologically, the next scene takes place in the third panel, in which, on the Second Day, God divides the waters from the heavens. In the central scene, the largest of the three, there are two representations of God: on the Third Day, God creates the Earth and makes it sprout plants; on the Fourth Day, God puts the Sun and the Moon in place to govern the night and the day, the time and the seasons of the year.These three scenes, completed in the third stage of painting, are the most broadly conceived, the most broadly painted and the most dynamic of all the pictures. Of the first scene Vasari says, "Michelangelo depicted God dividing the light from the darkness ... where He is seen in all His majesty as He sustains Himself alone with open arms in a demonstration of love and creative energy."

Prompt: システィーナ礼拝堂天井画の参照の絵図に関する創造を説明してください。英語で出力して下さい。


subsubsection

システィーナ礼拝堂天井画

The three creation pictures show scenes from the first chapter of Genesis, which relates that God created the Earth and its inhabitants in six days, resting on the seventh day. In the first scene, the First Day of Creation, God creates light and separates light from darkness. Chronologically, the next scene takes place in the third panel, in which, on the Second Day, God divides the waters from the heavens. In the central scene, the largest of the three, there are two representations of God: on the Third Day, God creates the Earth and makes it sprout plants; on the Fourth Day, God puts the Sun and the Moon in place to govern the night and the day, the time and the seasons of the year.These three scenes, completed in the third stage of painting, are the most broadly conceived, the most broadly painted and the most dynamic of all the pictures. Of the first scene Vasari says, "Michelangelo depicted God dividing the light from the darkness ... where He is seen in all His majesty as He sustains Himself alone with open arms in a demonstration of love and creative energy."

Prompt: システィーナ礼拝堂天井画に関して、参照の絵図は創造をどのように取り入れていますか？英語で出力して下さい。


subsubsection

システィーナ礼拝堂天井画

The three creation pictures show scenes from the first chapter of Genesis, which relates that God created the Earth and its inhabitants in six days, resting on the seventh day. In the first scene, the First Day of Creation, God creates light and separates light from darkness. Chronologically, the next scene takes place in the third panel, in which, on the Second Day, God divides the waters from the heavens. In the central scene, the largest of the three, there are two representations of God: on the Third Day, God creates the Earth and makes it sprout plants; on the Fourth Day, God puts the Sun and the Moon in place to govern the night and the day, the time and the seasons of the year.These three scenes, completed in the third stage of painting, are the most broadly conceived, the most broadly painted and the most dynamic of all the pictures. Of the first scene Vasari says, "Michelangelo depicted God dividing the light from the darkness ... where He is seen in all His majesty as He sustains Himself alone with open arms in a demonstration of love and creative energy."

Prompt: システィーナ礼拝堂天井画の参照について見たとき、その絵図の創造をどのように議論しますか？英語で出力して下さい。


subsubsection

システィーナ礼拝堂天井画

For the central section of the ceiling, Michelangelo took four episodes from the story of Adam and Eve as told in the first, second and third chapters of Genesis. In this sequence of three, two of the panels are large and one small.In the first of the pictures, one of the most widely recognized images in the history of painting, Michelangelo shows God reaching out to touch Adam. Vasari describes Adam as "a figure whose beauty, pose, and contours are of such a quality that he seems newly created by his Supreme and First Creator rather than by the brush and design of a mere mortal." From beneath the sheltering arm of God, Eve looks out somewhat apprehensively. Correspondingly, Adam reaches out to the creator, who Walter Pater states "comes with the forms of things to be, woman and her progeny, in the fold of his garment". Pater wrote of the depiction of Adam in the Creation: has been taken in its composition directly from another creation sequence, the relief panels that surround the door of the Basilica of San Petronio, Bologna, by Jacopo della Quercia, whose work Michelangelo had studied in his youth.In the final panel of this sequence, Michelangelo combines two contrasting scenes into one panel, that of Adam and Eve taking fruit from the forbidden tree , Eve trustingly taking it from the hand of the Serpent  and Adam eagerly picking it for himself, as well as their banishment from the Garden of Eden, where they have lived in the company of God, to the world outside where they have to fend for themselves and experience death.

Prompt: システィーナ礼拝堂天井画の参照に焦点を当てて、絵図についてのアダムとイブを説明してください。英語で出力して下さい。

Adam
Adam and Eve
San Petronio, Bologna
Bologna
Eve
Garden of Eden
Jacopo della Quercia
Michelangelo


subsubsection

システィーナ礼拝堂天井画

For the central section of the ceiling, Michelangelo took four episodes from the story of Adam and Eve as told in the first, second and third chapters of Genesis. In this sequence of three, two of the panels are large and one small.In the first of the pictures, one of the most widely recognized images in the history of painting, Michelangelo shows God reaching out to touch Adam. Vasari describes Adam as "a figure whose beauty, pose, and contours are of such a quality that he seems newly created by his Supreme and First Creator rather than by the brush and design of a mere mortal." From beneath the sheltering arm of God, Eve looks out somewhat apprehensively. Correspondingly, Adam reaches out to the creator, who Walter Pater states "comes with the forms of things to be, woman and her progeny, in the fold of his garment". Pater wrote of the depiction of Adam in the Creation: has been taken in its composition directly from another creation sequence, the relief panels that surround the door of the Basilica of San Petronio, Bologna, by Jacopo della Quercia, whose work Michelangelo had studied in his youth.In the final panel of this sequence, Michelangelo combines two contrasting scenes into one panel, that of Adam and Eve taking fruit from the forbidden tree , Eve trustingly taking it from the hand of the Serpent  and Adam eagerly picking it for himself, as well as their banishment from the Garden of Eden, where they have lived in the company of God, to the world outside where they have to fend for themselves and experience death.

Prompt: システィーナ礼拝堂天井画の参照の絵図に関するアダムとイブを説明してください。英語で出力して下さい。

Adam
Adam and Eve
San Petronio, Bologna
Bologna
Eve
Garden of Eden
Jacopo della Quercia
Michelangelo


subsubsection

システィーナ礼拝堂天井画

For the central section of the ceiling, Michelangelo took four episodes from the story of Adam and Eve as told in the first, second and third chapters of Genesis. In this sequence of three, two of the panels are large and one small.In the first of the pictures, one of the most widely recognized images in the history of painting, Michelangelo shows God reaching out to touch Adam. Vasari describes Adam as "a figure whose beauty, pose, and contours are of such a quality that he seems newly created by his Supreme and First Creator rather than by the brush and design of a mere mortal." From beneath the sheltering arm of God, Eve looks out somewhat apprehensively. Correspondingly, Adam reaches out to the creator, who Walter Pater states "comes with the forms of things to be, woman and her progeny, in the fold of his garment". Pater wrote of the depiction of Adam in the Creation: has been taken in its composition directly from another creation sequence, the relief panels that surround the door of the Basilica of San Petronio, Bologna, by Jacopo della Quercia, whose work Michelangelo had studied in his youth.In the final panel of this sequence, Michelangelo combines two contrasting scenes into one panel, that of Adam and Eve taking fruit from the forbidden tree , Eve trustingly taking it from the hand of the Serpent  and Adam eagerly picking it for himself, as well as their banishment from the Garden of Eden, where they have lived in the company of God, to the world outside where they have to fend for themselves and experience death.

Prompt: システィーナ礼拝堂天井画に関して、参照の絵図はアダムとイブをどのように取り入れていますか？英語で出力して下さい。

Adam
Adam and Eve
San Petronio, Bologna
Bologna
Eve
Garden of Eden
Jacopo della Quercia
Michelangelo


subsubsection

システィーナ礼拝堂天井画

For the central section of the ceiling, Michelangelo took four episodes from the story of Adam and Eve as told in the first, second and third chapters of Genesis. In this sequence of three, two of the panels are large and one small.In the first of the pictures, one of the most widely recognized images in the history of painting, Michelangelo shows God reaching out to touch Adam. Vasari describes Adam as "a figure whose beauty, pose, and contours are of such a quality that he seems newly created by his Supreme and First Creator rather than by the brush and design of a mere mortal." From beneath the sheltering arm of God, Eve looks out somewhat apprehensively. Correspondingly, Adam reaches out to the creator, who Walter Pater states "comes with the forms of things to be, woman and her progeny, in the fold of his garment". Pater wrote of the depiction of Adam in the Creation: has been taken in its composition directly from another creation sequence, the relief panels that surround the door of the Basilica of San Petronio, Bologna, by Jacopo della Quercia, whose work Michelangelo had studied in his youth.In the final panel of this sequence, Michelangelo combines two contrasting scenes into one panel, that of Adam and Eve taking fruit from the forbidden tree , Eve trustingly taking it from the hand of the Serpent  and Adam eagerly picking it for himself, as well as their banishment from the Garden of Eden, where they have lived in the company of God, to the world outside where they have to fend for themselves and experience death.

Prompt: システィーナ礼拝堂天井画の参照について見たとき、その絵図のアダムとイブをどのように議論しますか？英語で出力して下さい。

Adam
Adam and Eve
San Petronio, Bologna
Bologna
Eve
Garden of Eden
Jacopo della Quercia
Michelangelo


subsubsection

システィーナ礼拝堂天井画

As with the first sequence of pictures, the three panels concerning Noah, taken from the sixth to ninth chapters of Genesis are thematic rather than chronological. In the first scene is shown the sacrifice of a sheep. Both Vasari and Condivi mistake this scene for the sacrifices by Cain and Abel, in which Abel's sacrifice was acceptable to God and Cain's was not. What this image almost certainly depicts is the sacrifice made by the family of Noah, after their safe deliverance from the Great Flood which destroyed the rest of humanity.The central, larger, scene shows the Great Flood. The Ark in which Noah's family escaped floats at the rear of the picture while the rest of humanity tries frantically to scramble to some point of safety. A lightning bolt, which according to Condivi illustrated God's wrath, was smitten from the ceiling when the chapel was damaged in 1797.The final scene is the story of Noah's drunkenness. After the Flood, Noah tills the soil and grows vines. He is shown doing so in the background of the picture. He becomes drunk and inadvertently exposes himself. His youngest son, Ham, brings his two brothers Shem and Japheth to see the sight but they discreetly cover their father with a cloak. Ham is later cursed by Noah and told that the descendants of Ham's son Canaan will serve Shem and Japheth's descendants forever.Since Michelangelo executed the nine biblical scenes in reverse chronological order, some analyses of the frescoes of the vault commence with the Drunkenness of Noah. Charles de Tolnay's neoplatonic interpretation sees the story of Noah at the beginning and the act of creation by God as the conclusion of the process of deificatio and the return from physical to spiritual being.

Prompt: システィーナ礼拝堂天井画の参照に焦点を当てて、絵図についてのノアを説明してください。英語で出力して下さい。

Cain and Abel
Charles de Tolnay
Japheth
Michelangelo