subsection

ネーデルラントの諺

{ class="wikitable"+Expressions featured in the painting!! Proverb/idiom !! Meaning !! Area !! Image-001To be able to tie even the devil to a pillow  Obstinacy overcomes everything  Lower left100px-002To be a pillar-biter  To be a religious hypocrite  Lower left100px-003Never believe someone who carries fire in one hand and water in the other  To be two-faced and to stir up trouble  Lower left100px-004To bang one's head against a brick wall  To waste one's time on an impossible task  Lower left100px-005One foot shod, the other bare Balance is paramount   Lower left100px-006The sow pulls the bung  Negligence will be rewarded with disaster  Lower left100px-007To bell the cat To carry out a dangerous or impractical plan Lower left 100px-008To be armed to the teeth  To be heavily armed  Lower left100px-009To put your armor on  To be angry  Lower left100px-010One shears sheep, the other shears pigs  One has all the advantages, the other none  Lower left100px-011Shear them but do not skin them  Do not press your advantage too far Lower left100px-012The herring does not fry here It's not going according to plan  Lower left100px-013To fry the whole herring for the sake of the roe  To do too much to achieve a little  Lower left100px-014To get the lid on the head  To end up taking responsibility  Lower left100px-015The herring hangs by its own gills  You must accept responsibility for your own actions  Lower left100px-016There is more to it than  a single herring  There is more to it than meets the eye  Lower left100px-017What can smoke do to iron?  There is no point in trying to change the unchangeable  Lower left100px-018To find the dog in the pot  To arrive too late for dinner and find all the food has been eaten  Lower left100px-019To sit between two stools in the ashes  To be indecisive  Lower left100px-020To be a hen feeler  To be very miserly  Middle left100px-021The scissors hang out there  They are liable to cheat you there  Upper left100px-022To always gnaw on a single bone  To continually talk about the same subject  Upper left100px-023It depends on the fall of the cards  It is up to chance  Upper left100px-024The world is turned upside down  Everything is the opposite of what it should be  Upper left100px-025Leave at least one egg in the nest  Always have something in reserve  Upper left100px-026To crap on the world  To despise everything  Upper left100px-027To lead each other by the nose  To fool each other  Upper left100px-028The die is cast  The decision is made  Upper left100px-029Fools get the best cards  Luck can overcome intelligence  Upper left100px-030To look through one's fingers  To turn a blind eye  Upper left100px-031There hangs the knife  To issue a challenge  Upper left100px-032There stand the wooden shoes  To wait in vain  Upper left100px-033To stick out the broom  To have fun while the master is away  Upper left100px-034To marry under the broomstick  To live together without marrying  Upper left100px-035To have the roof tiled with tarts  To be very wealthy  Upper left100px-036To have a hole in one's roof  To be unintelligent  Upper left100px-037An old roof needs a lot of patching up  Old things need more maintenance  Upper left100px-038The roof has laths There could be eavesdroppers   Middle left100px-039To have toothache behind the ears To be a malingerer Middle left100px-040To be pissing against the moon To waste one's time on a futile endeavour  Middle left100px-041Here hangs the pot It is the opposite of what it should be Middle left100px-042To shoot a second bolt to find the first To repeat a foolish action Upper left100px-043To shave the fool without lather To trick somebody Middle100px-044Two fools under one hood Stupidity loves company Middle100px-045It grows out of the window It cannot be concealed  Middle100px-046To play on the pillory To attract attention to one's shameful acts  Upper middle100px-047When the gate is open the pigs will run into the corn Disaster ensues from carelessness Upper middle100px-048When the corn decreases the pig increases If one person gains then another must lose Upper middle100px-049To run like one's backside is on fire To be in great distress  Upper middle100px-050He who eats fire, craps sparks Do not be surprised at the outcome if you attempt a dangerous venture  Upper middle100px-051To hang one's cloak according to the wind To adapt one's viewpoint to the current opinion  Upper middle100px-052To toss feathers in the wind  To work fruitlessly  Upper middle100px-053To gaze at the stork To waste one's time  Upper middle100px-054To try to kill two flies with one stroke To be efficient  Upper middle100px-055To fall from the ox onto the rear end of an ass To fall on hard times  Upper middle100px-056To kiss the ring of the door  To be obsequious  Upper middle100px-057To wipe one's backside on the door  To treat something lightly Upper middle100px-058To go around shouldering a burden   To imagine that things are worse than they are Upper middle100px-059One beggar pities the other standing in front of the door Being afraid for competition  Upper middle100px-060To fish behind the net  To miss an opportunity Middle100px-061Sharks eat smaller fish  Anything people say will be put in perspective according to their level of importance  Middle100px-062To be unable to see the sun shine on the water To be jealous of another's success  Middle100px-063It hangs like a privy over a ditch  Something that is extremely obvious  Middle100px-064Anybody can see through an oak plank if there is a hole in it  There is no point in stating the obvious  Middle100px-065They both crap through the same hole  They are inseparable comrades Middle100px-066To throw one's money into the water To waste one's money  Middle100px-067A wall with cracks will soon collapse Anything poorly managed will soon fail  Middle right100px-068To not care whose house is on fire as long as one can warm oneself at the blaze To take every opportunity regardless of the consequences to others Middle right100px-069To drag the block To be deceived by a lover or to work at a pointless task  Upper right100px-070Fear makes the old woman trot An unexpected event can reveal unknown qualities  Upper right100px-071Horse droppings are not figs  Do not be fooled by appearances  Upper right100px-072If the blind lead the blind both will fall in the ditch There is no point in being guided by others who are equally ignorant  Upper right100px-073The journey is not yet over when one can discern the church and steeple  Do not give up until the task is fully complete Upper right100px-074Everything, however finely spun, finally comes to the sun Nothing can be hidden forever   Upper right100px-075To keep one's eye on the sail To stay alert, be wary  Upper right100px-076To crap on the gallows To be undeterred by any penalty   Upper right100px-077Where the carcass is, there fly the crows If there's something to be gained, everyone hurries in front  Upper right100px-078It is easy to sail before the wind If conditions are favourable it is not difficult to achieve one's goal Upper right100px-079Who knows why geese go barefoot?There is a reason for everything, though it may not be obvious Upper right100px-080If I am not meant to be their keeper, I will let geese be geese Do not interfere in matters that are not your concern Upper right100px-081To see bears dancing To be starving  Right100px-082Wild bears prefer each other's company   Lower right100px-094To look for the hatchet To try to find an excuse  Lower right100px-095Here he is with his lantern To finally have an opportunity to show a talent   Lower right100px-096A hatchet with a handle Probably signifies "the whole thing" Middle 100px-121To blow in the ear To spread gossip  Middle100px-122Chalk up a debt To owe someone a favour  Middle100px-123The meat on the spit must be basted Certain things need constant attention Middle100px-124There is no turning the spit with him He is uncooperative  Middle100px-125To sit on hot coals To be impatient  Middle100px-126To catch fish without a net To profit from the work of others  Middle100px}

Prompt: ネーデルラントの諺のことわざ、慣用句に関する絵画に登場することわざと慣用句のリストを説明してください。英語で出力して下さい。


subsection

ネーデルラントの諺

{ class="wikitable"+Expressions featured in the painting!! Proverb/idiom !! Meaning !! Area !! Image-001To be able to tie even the devil to a pillow  Obstinacy overcomes everything  Lower left100px-002To be a pillar-biter  To be a religious hypocrite  Lower left100px-003Never believe someone who carries fire in one hand and water in the other  To be two-faced and to stir up trouble  Lower left100px-004To bang one's head against a brick wall  To waste one's time on an impossible task  Lower left100px-005One foot shod, the other bare Balance is paramount   Lower left100px-006The sow pulls the bung  Negligence will be rewarded with disaster  Lower left100px-007To bell the cat To carry out a dangerous or impractical plan Lower left 100px-008To be armed to the teeth  To be heavily armed  Lower left100px-009To put your armor on  To be angry  Lower left100px-010One shears sheep, the other shears pigs  One has all the advantages, the other none  Lower left100px-011Shear them but do not skin them  Do not press your advantage too far Lower left100px-012The herring does not fry here It's not going according to plan  Lower left100px-013To fry the whole herring for the sake of the roe  To do too much to achieve a little  Lower left100px-014To get the lid on the head  To end up taking responsibility  Lower left100px-015The herring hangs by its own gills  You must accept responsibility for your own actions  Lower left100px-016There is more to it than  a single herring  There is more to it than meets the eye  Lower left100px-017What can smoke do to iron?  There is no point in trying to change the unchangeable  Lower left100px-018To find the dog in the pot  To arrive too late for dinner and find all the food has been eaten  Lower left100px-019To sit between two stools in the ashes  To be indecisive  Lower left100px-020To be a hen feeler  To be very miserly  Middle left100px-021The scissors hang out there  They are liable to cheat you there  Upper left100px-022To always gnaw on a single bone  To continually talk about the same subject  Upper left100px-023It depends on the fall of the cards  It is up to chance  Upper left100px-024The world is turned upside down  Everything is the opposite of what it should be  Upper left100px-025Leave at least one egg in the nest  Always have something in reserve  Upper left100px-026To crap on the world  To despise everything  Upper left100px-027To lead each other by the nose  To fool each other  Upper left100px-028The die is cast  The decision is made  Upper left100px-029Fools get the best cards  Luck can overcome intelligence  Upper left100px-030To look through one's fingers  To turn a blind eye  Upper left100px-031There hangs the knife  To issue a challenge  Upper left100px-032There stand the wooden shoes  To wait in vain  Upper left100px-033To stick out the broom  To have fun while the master is away  Upper left100px-034To marry under the broomstick  To live together without marrying  Upper left100px-035To have the roof tiled with tarts  To be very wealthy  Upper left100px-036To have a hole in one's roof  To be unintelligent  Upper left100px-037An old roof needs a lot of patching up  Old things need more maintenance  Upper left100px-038The roof has laths There could be eavesdroppers   Middle left100px-039To have toothache behind the ears To be a malingerer Middle left100px-040To be pissing against the moon To waste one's time on a futile endeavour  Middle left100px-041Here hangs the pot It is the opposite of what it should be Middle left100px-042To shoot a second bolt to find the first To repeat a foolish action Upper left100px-043To shave the fool without lather To trick somebody Middle100px-044Two fools under one hood Stupidity loves company Middle100px-045It grows out of the window It cannot be concealed  Middle100px-046To play on the pillory To attract attention to one's shameful acts  Upper middle100px-047When the gate is open the pigs will run into the corn Disaster ensues from carelessness Upper middle100px-048When the corn decreases the pig increases If one person gains then another must lose Upper middle100px-049To run like one's backside is on fire To be in great distress  Upper middle100px-050He who eats fire, craps sparks Do not be surprised at the outcome if you attempt a dangerous venture  Upper middle100px-051To hang one's cloak according to the wind To adapt one's viewpoint to the current opinion  Upper middle100px-052To toss feathers in the wind  To work fruitlessly  Upper middle100px-053To gaze at the stork To waste one's time  Upper middle100px-054To try to kill two flies with one stroke To be efficient  Upper middle100px-055To fall from the ox onto the rear end of an ass To fall on hard times  Upper middle100px-056To kiss the ring of the door  To be obsequious  Upper middle100px-057To wipe one's backside on the door  To treat something lightly Upper middle100px-058To go around shouldering a burden   To imagine that things are worse than they are Upper middle100px-059One beggar pities the other standing in front of the door Being afraid for competition  Upper middle100px-060To fish behind the net  To miss an opportunity Middle100px-061Sharks eat smaller fish  Anything people say will be put in perspective according to their level of importance  Middle100px-062To be unable to see the sun shine on the water To be jealous of another's success  Middle100px-063It hangs like a privy over a ditch  Something that is extremely obvious  Middle100px-064Anybody can see through an oak plank if there is a hole in it  There is no point in stating the obvious  Middle100px-065They both crap through the same hole  They are inseparable comrades Middle100px-066To throw one's money into the water To waste one's money  Middle100px-067A wall with cracks will soon collapse Anything poorly managed will soon fail  Middle right100px-068To not care whose house is on fire as long as one can warm oneself at the blaze To take every opportunity regardless of the consequences to others Middle right100px-069To drag the block To be deceived by a lover or to work at a pointless task  Upper right100px-070Fear makes the old woman trot An unexpected event can reveal unknown qualities  Upper right100px-071Horse droppings are not figs  Do not be fooled by appearances  Upper right100px-072If the blind lead the blind both will fall in the ditch There is no point in being guided by others who are equally ignorant  Upper right100px-073The journey is not yet over when one can discern the church and steeple  Do not give up until the task is fully complete Upper right100px-074Everything, however finely spun, finally comes to the sun Nothing can be hidden forever   Upper right100px-075To keep one's eye on the sail To stay alert, be wary  Upper right100px-076To crap on the gallows To be undeterred by any penalty   Upper right100px-077Where the carcass is, there fly the crows If there's something to be gained, everyone hurries in front  Upper right100px-078It is easy to sail before the wind If conditions are favourable it is not difficult to achieve one's goal Upper right100px-079Who knows why geese go barefoot?There is a reason for everything, though it may not be obvious Upper right100px-080If I am not meant to be their keeper, I will let geese be geese Do not interfere in matters that are not your concern Upper right100px-081To see bears dancing To be starving  Right100px-082Wild bears prefer each other's company   Lower right100px-094To look for the hatchet To try to find an excuse  Lower right100px-095Here he is with his lantern To finally have an opportunity to show a talent   Lower right100px-096A hatchet with a handle Probably signifies "the whole thing" Middle 100px-121To blow in the ear To spread gossip  Middle100px-122Chalk up a debt To owe someone a favour  Middle100px-123The meat on the spit must be basted Certain things need constant attention Middle100px-124There is no turning the spit with him He is uncooperative  Middle100px-125To sit on hot coals To be impatient  Middle100px-126To catch fish without a net To profit from the work of others  Middle100px}

Prompt: ネーデルラントの諺では、どのようにことわざ、慣用句の絵画に登場することわざと慣用句のリストが説明されていますか？英語で出力して下さい。


subsection

ネーデルラントの諺

{ class="wikitable"+Expressions featured in the painting!! Proverb/idiom !! Meaning !! Area !! Image-001To be able to tie even the devil to a pillow  Obstinacy overcomes everything  Lower left100px-002To be a pillar-biter  To be a religious hypocrite  Lower left100px-003Never believe someone who carries fire in one hand and water in the other  To be two-faced and to stir up trouble  Lower left100px-004To bang one's head against a brick wall  To waste one's time on an impossible task  Lower left100px-005One foot shod, the other bare Balance is paramount   Lower left100px-006The sow pulls the bung  Negligence will be rewarded with disaster  Lower left100px-007To bell the cat To carry out a dangerous or impractical plan Lower left 100px-008To be armed to the teeth  To be heavily armed  Lower left100px-009To put your armor on  To be angry  Lower left100px-010One shears sheep, the other shears pigs  One has all the advantages, the other none  Lower left100px-011Shear them but do not skin them  Do not press your advantage too far Lower left100px-012The herring does not fry here It's not going according to plan  Lower left100px-013To fry the whole herring for the sake of the roe  To do too much to achieve a little  Lower left100px-014To get the lid on the head  To end up taking responsibility  Lower left100px-015The herring hangs by its own gills  You must accept responsibility for your own actions  Lower left100px-016There is more to it than  a single herring  There is more to it than meets the eye  Lower left100px-017What can smoke do to iron?  There is no point in trying to change the unchangeable  Lower left100px-018To find the dog in the pot  To arrive too late for dinner and find all the food has been eaten  Lower left100px-019To sit between two stools in the ashes  To be indecisive  Lower left100px-020To be a hen feeler  To be very miserly  Middle left100px-021The scissors hang out there  They are liable to cheat you there  Upper left100px-022To always gnaw on a single bone  To continually talk about the same subject  Upper left100px-023It depends on the fall of the cards  It is up to chance  Upper left100px-024The world is turned upside down  Everything is the opposite of what it should be  Upper left100px-025Leave at least one egg in the nest  Always have something in reserve  Upper left100px-026To crap on the world  To despise everything  Upper left100px-027To lead each other by the nose  To fool each other  Upper left100px-028The die is cast  The decision is made  Upper left100px-029Fools get the best cards  Luck can overcome intelligence  Upper left100px-030To look through one's fingers  To turn a blind eye  Upper left100px-031There hangs the knife  To issue a challenge  Upper left100px-032There stand the wooden shoes  To wait in vain  Upper left100px-033To stick out the broom  To have fun while the master is away  Upper left100px-034To marry under the broomstick  To live together without marrying  Upper left100px-035To have the roof tiled with tarts  To be very wealthy  Upper left100px-036To have a hole in one's roof  To be unintelligent  Upper left100px-037An old roof needs a lot of patching up  Old things need more maintenance  Upper left100px-038The roof has laths There could be eavesdroppers   Middle left100px-039To have toothache behind the ears To be a malingerer Middle left100px-040To be pissing against the moon To waste one's time on a futile endeavour  Middle left100px-041Here hangs the pot It is the opposite of what it should be Middle left100px-042To shoot a second bolt to find the first To repeat a foolish action Upper left100px-043To shave the fool without lather To trick somebody Middle100px-044Two fools under one hood Stupidity loves company Middle100px-045It grows out of the window It cannot be concealed  Middle100px-046To play on the pillory To attract attention to one's shameful acts  Upper middle100px-047When the gate is open the pigs will run into the corn Disaster ensues from carelessness Upper middle100px-048When the corn decreases the pig increases If one person gains then another must lose Upper middle100px-049To run like one's backside is on fire To be in great distress  Upper middle100px-050He who eats fire, craps sparks Do not be surprised at the outcome if you attempt a dangerous venture  Upper middle100px-051To hang one's cloak according to the wind To adapt one's viewpoint to the current opinion  Upper middle100px-052To toss feathers in the wind  To work fruitlessly  Upper middle100px-053To gaze at the stork To waste one's time  Upper middle100px-054To try to kill two flies with one stroke To be efficient  Upper middle100px-055To fall from the ox onto the rear end of an ass To fall on hard times  Upper middle100px-056To kiss the ring of the door  To be obsequious  Upper middle100px-057To wipe one's backside on the door  To treat something lightly Upper middle100px-058To go around shouldering a burden   To imagine that things are worse than they are Upper middle100px-059One beggar pities the other standing in front of the door Being afraid for competition  Upper middle100px-060To fish behind the net  To miss an opportunity Middle100px-061Sharks eat smaller fish  Anything people say will be put in perspective according to their level of importance  Middle100px-062To be unable to see the sun shine on the water To be jealous of another's success  Middle100px-063It hangs like a privy over a ditch  Something that is extremely obvious  Middle100px-064Anybody can see through an oak plank if there is a hole in it  There is no point in stating the obvious  Middle100px-065They both crap through the same hole  They are inseparable comrades Middle100px-066To throw one's money into the water To waste one's money  Middle100px-067A wall with cracks will soon collapse Anything poorly managed will soon fail  Middle right100px-068To not care whose house is on fire as long as one can warm oneself at the blaze To take every opportunity regardless of the consequences to others Middle right100px-069To drag the block To be deceived by a lover or to work at a pointless task  Upper right100px-070Fear makes the old woman trot An unexpected event can reveal unknown qualities  Upper right100px-071Horse droppings are not figs  Do not be fooled by appearances  Upper right100px-072If the blind lead the blind both will fall in the ditch There is no point in being guided by others who are equally ignorant  Upper right100px-073The journey is not yet over when one can discern the church and steeple  Do not give up until the task is fully complete Upper right100px-074Everything, however finely spun, finally comes to the sun Nothing can be hidden forever   Upper right100px-075To keep one's eye on the sail To stay alert, be wary  Upper right100px-076To crap on the gallows To be undeterred by any penalty   Upper right100px-077Where the carcass is, there fly the crows If there's something to be gained, everyone hurries in front  Upper right100px-078It is easy to sail before the wind If conditions are favourable it is not difficult to achieve one's goal Upper right100px-079Who knows why geese go barefoot?There is a reason for everything, though it may not be obvious Upper right100px-080If I am not meant to be their keeper, I will let geese be geese Do not interfere in matters that are not your concern Upper right100px-081To see bears dancing To be starving  Right100px-082Wild bears prefer each other's company   Lower right100px-094To look for the hatchet To try to find an excuse  Lower right100px-095Here he is with his lantern To finally have an opportunity to show a talent   Lower right100px-096A hatchet with a handle Probably signifies "the whole thing" Middle 100px-121To blow in the ear To spread gossip  Middle100px-122Chalk up a debt To owe someone a favour  Middle100px-123The meat on the spit must be basted Certain things need constant attention Middle100px-124There is no turning the spit with him He is uncooperative  Middle100px-125To sit on hot coals To be impatient  Middle100px-126To catch fish without a net To profit from the work of others  Middle100px}

Prompt: ネーデルラントの諺のことわざ、慣用句における絵画に登場することわざと慣用句のリストの特徴を説明してください。英語で出力して下さい。


section

ニコラウス5世礼拝堂フレスコ画

The Niccoline Chapel  is a chapel in the Apostolic Palace in Vatican City. It is especially notable for its fresco paintings by Fra Angelico  and his assistants, who may have executed much of the actual work.  The name is derived from its patron, Pope Nicholas V, who had it built for use as his private chapel.The chapel is located in the Tower of Innocent III, in the most ancient part of the Apostolic Palace. The walls were decorated by Fra Angelico with images of two of the earliest Christian martyrs; the upper level has Episodes from the Life of St. Stephen, and the lower one Scenes from the life of St. urence. The vault is painted blue, decorated with stars, and features figures of the Four Evangelists in the corners. The pilasters are decorated with the eight Doctors of the Church.The chapel is not included in the usual tourist visit, but can be seen by special pre-booked groups.

Prompt: ニコラウス5世礼拝堂フレスコ画に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Apostolic Palace
Chapel
Four Evangelists
Fra Angelico
Pope
Pope Nicholas V
Vatican City


section

ニコラウス5世礼拝堂フレスコ画

The Niccoline Chapel  is a chapel in the Apostolic Palace in Vatican City. It is especially notable for its fresco paintings by Fra Angelico  and his assistants, who may have executed much of the actual work.  The name is derived from its patron, Pope Nicholas V, who had it built for use as his private chapel.The chapel is located in the Tower of Innocent III, in the most ancient part of the Apostolic Palace. The walls were decorated by Fra Angelico with images of two of the earliest Christian martyrs; the upper level has Episodes from the Life of St. Stephen, and the lower one Scenes from the life of St. urence. The vault is painted blue, decorated with stars, and features figures of the Four Evangelists in the corners. The pilasters are decorated with the eight Doctors of the Church.The chapel is not included in the usual tourist visit, but can be seen by special pre-booked groups.

Prompt: ニコラウス5世礼拝堂フレスコ画の抽象を説明してください。英語で出力して下さい。

Apostolic Palace
Chapel
Four Evangelists
Fra Angelico
Pope
Pope Nicholas V
Vatican City


section

ニコラウス5世礼拝堂フレスコ画

The Niccoline Chapel  is a chapel in the Apostolic Palace in Vatican City. It is especially notable for its fresco paintings by Fra Angelico  and his assistants, who may have executed much of the actual work.  The name is derived from its patron, Pope Nicholas V, who had it built for use as his private chapel.The chapel is located in the Tower of Innocent III, in the most ancient part of the Apostolic Palace. The walls were decorated by Fra Angelico with images of two of the earliest Christian martyrs; the upper level has Episodes from the Life of St. Stephen, and the lower one Scenes from the life of St. urence. The vault is painted blue, decorated with stars, and features figures of the Four Evangelists in the corners. The pilasters are decorated with the eight Doctors of the Church.The chapel is not included in the usual tourist visit, but can be seen by special pre-booked groups.

Prompt: ニコラウス5世礼拝堂フレスコ画はどのように抽象を説明していますか？英語で出力して下さい。

Apostolic Palace
Chapel
Four Evangelists
Fra Angelico
Pope
Pope Nicholas V
Vatican City


section

ニコラウス5世礼拝堂フレスコ画

The Niccoline Chapel  is a chapel in the Apostolic Palace in Vatican City. It is especially notable for its fresco paintings by Fra Angelico  and his assistants, who may have executed much of the actual work.  The name is derived from its patron, Pope Nicholas V, who had it built for use as his private chapel.The chapel is located in the Tower of Innocent III, in the most ancient part of the Apostolic Palace. The walls were decorated by Fra Angelico with images of two of the earliest Christian martyrs; the upper level has Episodes from the Life of St. Stephen, and the lower one Scenes from the life of St. urence. The vault is painted blue, decorated with stars, and features figures of the Four Evangelists in the corners. The pilasters are decorated with the eight Doctors of the Church.The chapel is not included in the usual tourist visit, but can be seen by special pre-booked groups.

Prompt: ニコラウス5世礼拝堂フレスコ画に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Apostolic Palace
Chapel
Four Evangelists
Fra Angelico
Pope
Pope Nicholas V
Vatican City


section

ニコラウス5世礼拝堂フレスコ画

Fra Angelico depicted a Deposition of Christ  on the wall behind the altar, but it has been destroyed. However, his other works in the lunettes are well preserved.leftThe scenes of St. Stephen follow the Biblical account in the Acts of the Apostles, while those of St. urence are patterned after the older cycles in the basilica of San Lorenzo fuori le Mura, where he is buried. Stephen was a Greek-speaking Jew, one of the first deacons named in Jerusalem by St. Peter – Ordination of St Stephen with St Stephen distributing Alms . His prayers  earned him the hostility of his opponents in the city, who eventually stoned him to death in front of the city gate.urence was a deacon  to whom Pope Sixtus II had entrusted the Church's treasure in order to give it to the Roman emperor Valerian . wrence instead divided it among the poor , an act for which he was martyred. The frescoes underline the similarities in the lives of the two figures: both were ordained deacons, both gave alms to the poor and both were martyred after a courageous declaration of faith. The choice of the two saints also shows the connection between the Churches of Jerusalem and the Rome.The frescoes, full of fine architectural details, allude also to Nicholas V's desire to rebuild Rome as the new capital city of Christianity. The large walls in the Martyrdom of St. Stephen hint at the rebuilding of Rome's walls. Further, the schism in the Jewish community in Jerusalem can be compared to the Christian schism witnessed by Nicholas .

Prompt: ニコラウス5世礼拝堂フレスコ画に焦点を当てて、そのフレスコ画を説明してください。英語で出力して下さい。


section

ニコラウス5世礼拝堂フレスコ画

Fra Angelico depicted a Deposition of Christ  on the wall behind the altar, but it has been destroyed. However, his other works in the lunettes are well preserved.leftThe scenes of St. Stephen follow the Biblical account in the Acts of the Apostles, while those of St. urence are patterned after the older cycles in the basilica of San Lorenzo fuori le Mura, where he is buried. Stephen was a Greek-speaking Jew, one of the first deacons named in Jerusalem by St. Peter – Ordination of St Stephen with St Stephen distributing Alms . His prayers  earned him the hostility of his opponents in the city, who eventually stoned him to death in front of the city gate.urence was a deacon  to whom Pope Sixtus II had entrusted the Church's treasure in order to give it to the Roman emperor Valerian . wrence instead divided it among the poor , an act for which he was martyred. The frescoes underline the similarities in the lives of the two figures: both were ordained deacons, both gave alms to the poor and both were martyred after a courageous declaration of faith. The choice of the two saints also shows the connection between the Churches of Jerusalem and the Rome.The frescoes, full of fine architectural details, allude also to Nicholas V's desire to rebuild Rome as the new capital city of Christianity. The large walls in the Martyrdom of St. Stephen hint at the rebuilding of Rome's walls. Further, the schism in the Jewish community in Jerusalem can be compared to the Christian schism witnessed by Nicholas .

Prompt: ニコラウス5世礼拝堂フレスコ画のフレスコ画を説明してください。英語で出力して下さい。


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ニコラウス5世礼拝堂フレスコ画

Fra Angelico depicted a Deposition of Christ  on the wall behind the altar, but it has been destroyed. However, his other works in the lunettes are well preserved.leftThe scenes of St. Stephen follow the Biblical account in the Acts of the Apostles, while those of St. urence are patterned after the older cycles in the basilica of San Lorenzo fuori le Mura, where he is buried. Stephen was a Greek-speaking Jew, one of the first deacons named in Jerusalem by St. Peter – Ordination of St Stephen with St Stephen distributing Alms . His prayers  earned him the hostility of his opponents in the city, who eventually stoned him to death in front of the city gate.urence was a deacon  to whom Pope Sixtus II had entrusted the Church's treasure in order to give it to the Roman emperor Valerian . wrence instead divided it among the poor , an act for which he was martyred. The frescoes underline the similarities in the lives of the two figures: both were ordained deacons, both gave alms to the poor and both were martyred after a courageous declaration of faith. The choice of the two saints also shows the connection between the Churches of Jerusalem and the Rome.The frescoes, full of fine architectural details, allude also to Nicholas V's desire to rebuild Rome as the new capital city of Christianity. The large walls in the Martyrdom of St. Stephen hint at the rebuilding of Rome's walls. Further, the schism in the Jewish community in Jerusalem can be compared to the Christian schism witnessed by Nicholas .

Prompt: ニコラウス5世礼拝堂フレスコ画はどのようにフレスコ画を説明していますか？英語で出力して下さい。


section

ニコラウス5世礼拝堂フレスコ画

Fra Angelico depicted a Deposition of Christ  on the wall behind the altar, but it has been destroyed. However, his other works in the lunettes are well preserved.leftThe scenes of St. Stephen follow the Biblical account in the Acts of the Apostles, while those of St. urence are patterned after the older cycles in the basilica of San Lorenzo fuori le Mura, where he is buried. Stephen was a Greek-speaking Jew, one of the first deacons named in Jerusalem by St. Peter – Ordination of St Stephen with St Stephen distributing Alms . His prayers  earned him the hostility of his opponents in the city, who eventually stoned him to death in front of the city gate.urence was a deacon  to whom Pope Sixtus II had entrusted the Church's treasure in order to give it to the Roman emperor Valerian . wrence instead divided it among the poor , an act for which he was martyred. The frescoes underline the similarities in the lives of the two figures: both were ordained deacons, both gave alms to the poor and both were martyred after a courageous declaration of faith. The choice of the two saints also shows the connection between the Churches of Jerusalem and the Rome.The frescoes, full of fine architectural details, allude also to Nicholas V's desire to rebuild Rome as the new capital city of Christianity. The large walls in the Martyrdom of St. Stephen hint at the rebuilding of Rome's walls. Further, the schism in the Jewish community in Jerusalem can be compared to the Christian schism witnessed by Nicholas .

Prompt: ニコラウス5世礼拝堂フレスコ画に関して、どのようにフレスコ画が議論されていますか？英語で出力して下さい。


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ニコラウス5世礼拝堂フレスコ画

Prompt: ニコラウス5世礼拝堂フレスコ画に焦点を当てて、その参照を説明してください。英語で出力して下さい。


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ニコラウス5世礼拝堂フレスコ画

Prompt: ニコラウス5世礼拝堂フレスコ画の参照を説明してください。英語で出力して下さい。


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ニコラウス5世礼拝堂フレスコ画

Prompt: ニコラウス5世礼拝堂フレスコ画はどのように参照を説明していますか？英語で出力して下さい。


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ニコラウス5世礼拝堂フレスコ画

Prompt: ニコラウス5世礼拝堂フレスコ画に関して、どのように参照が議論されていますか？英語で出力して下さい。


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聖母子と3人の天使 (ボッティチェッリ)

The Madonna and Child with Three Angels  is a painting by the Italian Renaissance master Sandro Botticelli, executed around 1493. It is housed in the Pinacoteca Ambrosiana of Milan.The Virgin Mary is portrayed with her right hand expressing milk from her exposed breast and gesturing to the Child, the latter being supported by an angel. The Italian name  derives from the rich baldachin over the scene. The open book on a small prie-dieu is a familiar symbol of Christ, the "word [of God] made flesh"  and the Christ child gestures toward the book to signal his identity. The "pavilion" is a reference to the same verse in Gospel of John: "The word became flesh and dwelt among us." In the Greek language of the gospel, the word "dwelt" actually means "tented," a reference to the book of Exodus in the Old Testament where God's glory entered the tabernacle in the wilderness of Sinai: "Then the cloud covered the tent of meeting, and the glory of the Lord filled the tabernacle" . The tabernacle was a movable tent shrine created according to God's directions to hold the Ark of the Covenant, the sacred container of the Ten Commandments, God's words. In this painting, the Virgin Mary is the new Ark of the Covenant since she, like the Ark, contained the Word of God .  The book and the open tent/pavilion signify the revelation that the Old Testament prophecy has been fulfilled in the birth of the Christ Child to the Virgin.

Prompt: 聖母子と3人の天使 (ボッティチェッリ)に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


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聖母子と3人の天使 (ボッティチェッリ)

The Madonna and Child with Three Angels  is a painting by the Italian Renaissance master Sandro Botticelli, executed around 1493. It is housed in the Pinacoteca Ambrosiana of Milan.The Virgin Mary is portrayed with her right hand expressing milk from her exposed breast and gesturing to the Child, the latter being supported by an angel. The Italian name  derives from the rich baldachin over the scene. The open book on a small prie-dieu is a familiar symbol of Christ, the "word [of God] made flesh"  and the Christ child gestures toward the book to signal his identity. The "pavilion" is a reference to the same verse in Gospel of John: "The word became flesh and dwelt among us." In the Greek language of the gospel, the word "dwelt" actually means "tented," a reference to the book of Exodus in the Old Testament where God's glory entered the tabernacle in the wilderness of Sinai: "Then the cloud covered the tent of meeting, and the glory of the Lord filled the tabernacle" . The tabernacle was a movable tent shrine created according to God's directions to hold the Ark of the Covenant, the sacred container of the Ten Commandments, God's words. In this painting, the Virgin Mary is the new Ark of the Covenant since she, like the Ark, contained the Word of God .  The book and the open tent/pavilion signify the revelation that the Old Testament prophecy has been fulfilled in the birth of the Christ Child to the Virgin.

Prompt: 聖母子と3人の天使 (ボッティチェッリ)の抽象を説明してください。英語で出力して下さい。


section

聖母子と3人の天使 (ボッティチェッリ)

The Madonna and Child with Three Angels  is a painting by the Italian Renaissance master Sandro Botticelli, executed around 1493. It is housed in the Pinacoteca Ambrosiana of Milan.The Virgin Mary is portrayed with her right hand expressing milk from her exposed breast and gesturing to the Child, the latter being supported by an angel. The Italian name  derives from the rich baldachin over the scene. The open book on a small prie-dieu is a familiar symbol of Christ, the "word [of God] made flesh"  and the Christ child gestures toward the book to signal his identity. The "pavilion" is a reference to the same verse in Gospel of John: "The word became flesh and dwelt among us." In the Greek language of the gospel, the word "dwelt" actually means "tented," a reference to the book of Exodus in the Old Testament where God's glory entered the tabernacle in the wilderness of Sinai: "Then the cloud covered the tent of meeting, and the glory of the Lord filled the tabernacle" . The tabernacle was a movable tent shrine created according to God's directions to hold the Ark of the Covenant, the sacred container of the Ten Commandments, God's words. In this painting, the Virgin Mary is the new Ark of the Covenant since she, like the Ark, contained the Word of God .  The book and the open tent/pavilion signify the revelation that the Old Testament prophecy has been fulfilled in the birth of the Christ Child to the Virgin.

Prompt: 聖母子と3人の天使 (ボッティチェッリ)はどのように抽象を説明していますか？英語で出力して下さい。


section

聖母子と3人の天使 (ボッティチェッリ)

The Madonna and Child with Three Angels  is a painting by the Italian Renaissance master Sandro Botticelli, executed around 1493. It is housed in the Pinacoteca Ambrosiana of Milan.The Virgin Mary is portrayed with her right hand expressing milk from her exposed breast and gesturing to the Child, the latter being supported by an angel. The Italian name  derives from the rich baldachin over the scene. The open book on a small prie-dieu is a familiar symbol of Christ, the "word [of God] made flesh"  and the Christ child gestures toward the book to signal his identity. The "pavilion" is a reference to the same verse in Gospel of John: "The word became flesh and dwelt among us." In the Greek language of the gospel, the word "dwelt" actually means "tented," a reference to the book of Exodus in the Old Testament where God's glory entered the tabernacle in the wilderness of Sinai: "Then the cloud covered the tent of meeting, and the glory of the Lord filled the tabernacle" . The tabernacle was a movable tent shrine created according to God's directions to hold the Ark of the Covenant, the sacred container of the Ten Commandments, God's words. In this painting, the Virgin Mary is the new Ark of the Covenant since she, like the Ark, contained the Word of God .  The book and the open tent/pavilion signify the revelation that the Old Testament prophecy has been fulfilled in the birth of the Christ Child to the Virgin.

Prompt: 聖母子と3人の天使 (ボッティチェッリ)に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

聖母子と3人の天使 (ボッティチェッリ)

Prompt: 聖母子と3人の天使 (ボッティチェッリ)に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

聖母子と3人の天使 (ボッティチェッリ)

Prompt: 聖母子と3人の天使 (ボッティチェッリ)の参照を説明してください。英語で出力して下さい。


section

聖母子と3人の天使 (ボッティチェッリ)

Prompt: 聖母子と3人の天使 (ボッティチェッリ)はどのように参照を説明していますか？英語で出力して下さい。


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聖母子と3人の天使 (ボッティチェッリ)

Prompt: 聖母子と3人の天使 (ボッティチェッリ)に関して、どのように参照が議論されていますか？英語で出力して下さい。


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聖母子と3人の天使 (ボッティチェッリ)

Mary Joan Winn Leith, The Virgin Mary: A Very Short Introduction .

Prompt: 聖母子と3人の天使 (ボッティチェッリ)に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


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聖母子と3人の天使 (ボッティチェッリ)

Mary Joan Winn Leith, The Virgin Mary: A Very Short Introduction .

Prompt: 聖母子と3人の天使 (ボッティチェッリ)の参考文献を説明してください。英語で出力して下さい。


section

聖母子と3人の天使 (ボッティチェッリ)

Mary Joan Winn Leith, The Virgin Mary: A Very Short Introduction .

Prompt: 聖母子と3人の天使 (ボッティチェッリ)はどのように参考文献を説明していますか？英語で出力して下さい。


section

聖母子と3人の天使 (ボッティチェッリ)

Mary Joan Winn Leith, The Virgin Mary: A Very Short Introduction .

Prompt: 聖母子と3人の天使 (ボッティチェッリ)に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


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マニフィカートの聖母

The Madonna of the Magnificat , is a painting of circular or tondo form by the Italian Renaissance painter Sandro Botticelli. It is also referred to as the Virgin and Child with Five Angels. In the tondo, we see the Virgin Mary writing the Magnificat with her right hand, with a pomegranate in her left, as two angels crown her with the Christ child on her lap. It is now in the galleries of the Uffizi, in Florence.

Prompt: マニフィカートの聖母に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Florence
Italian Renaissance
Magnificat
Sandro Botticelli
Uffizi


section

マニフィカートの聖母

The Madonna of the Magnificat , is a painting of circular or tondo form by the Italian Renaissance painter Sandro Botticelli. It is also referred to as the Virgin and Child with Five Angels. In the tondo, we see the Virgin Mary writing the Magnificat with her right hand, with a pomegranate in her left, as two angels crown her with the Christ child on her lap. It is now in the galleries of the Uffizi, in Florence.

Prompt: マニフィカートの聖母の抽象を説明してください。英語で出力して下さい。

Florence
Italian Renaissance
Magnificat
Sandro Botticelli
Uffizi


section

マニフィカートの聖母

The Madonna of the Magnificat , is a painting of circular or tondo form by the Italian Renaissance painter Sandro Botticelli. It is also referred to as the Virgin and Child with Five Angels. In the tondo, we see the Virgin Mary writing the Magnificat with her right hand, with a pomegranate in her left, as two angels crown her with the Christ child on her lap. It is now in the galleries of the Uffizi, in Florence.

Prompt: マニフィカートの聖母はどのように抽象を説明していますか？英語で出力して下さい。

Florence
Italian Renaissance
Magnificat
Sandro Botticelli
Uffizi


section

マニフィカートの聖母

The Madonna of the Magnificat , is a painting of circular or tondo form by the Italian Renaissance painter Sandro Botticelli. It is also referred to as the Virgin and Child with Five Angels. In the tondo, we see the Virgin Mary writing the Magnificat with her right hand, with a pomegranate in her left, as two angels crown her with the Christ child on her lap. It is now in the galleries of the Uffizi, in Florence.

Prompt: マニフィカートの聖母に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Florence
Italian Renaissance
Magnificat
Sandro Botticelli
Uffizi


section

マニフィカートの聖母

The history of the painting is not known, but the Uffizi acquired it from a private collection in 1784. It may have come from one of the many monasteries suppressed by the Archduke Pietro Leopoldo. There are several copies of the painting, including one in the Louvre and one in the Morgan Library & Museum in New York. In the Louvre's copy, the leftmost angel, crowning the Virgin, is erased, leaving room for a large spread of wings for the highest angel in the trio to the left.

Prompt: マニフィカートの聖母に焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

マニフィカートの聖母

The history of the painting is not known, but the Uffizi acquired it from a private collection in 1784. It may have come from one of the many monasteries suppressed by the Archduke Pietro Leopoldo. There are several copies of the painting, including one in the Louvre and one in the Morgan Library & Museum in New York. In the Louvre's copy, the leftmost angel, crowning the Virgin, is erased, leaving room for a large spread of wings for the highest angel in the trio to the left.

Prompt: マニフィカートの聖母の歴史を説明してください。英語で出力して下さい。


section

マニフィカートの聖母

The history of the painting is not known, but the Uffizi acquired it from a private collection in 1784. It may have come from one of the many monasteries suppressed by the Archduke Pietro Leopoldo. There are several copies of the painting, including one in the Louvre and one in the Morgan Library & Museum in New York. In the Louvre's copy, the leftmost angel, crowning the Virgin, is erased, leaving room for a large spread of wings for the highest angel in the trio to the left.

Prompt: マニフィカートの聖母はどのように歴史を説明していますか？英語で出力して下さい。


section

マニフィカートの聖母

The history of the painting is not known, but the Uffizi acquired it from a private collection in 1784. It may have come from one of the many monasteries suppressed by the Archduke Pietro Leopoldo. There are several copies of the painting, including one in the Louvre and one in the Morgan Library & Museum in New York. In the Louvre's copy, the leftmost angel, crowning the Virgin, is erased, leaving room for a large spread of wings for the highest angel in the trio to the left.

Prompt: マニフィカートの聖母に関して、どのように歴史が議論されていますか？英語で出力して下さい。


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マニフィカートの聖母

The work portrays the Virgin Mary crowned by two of five angels, a sheer veil covering her flowing blonde hair and a Byzantine style scarf around her shoulders. She is writing the opening of the Magnificat on the right-hand page of a book; on the left page is part of the Benedictus. As Mary writes in the Magnificat, the infant Jesus guides her hand, looking up to the clear blue sky, or perhaps to his mother, softly returning his gaze. In her left hand she holds a pomegranate. The figures are placed in front of a bright and serene landscape, and the framing creates a division between Heaven and earth.</blockquote>However, there are no reliable sources that definitively recognize this portrait as the Madonna of the Magnificat, so this hypothesis is largely disregarded. The identity of the Madonna is unknown, and may simply be one of the many generic Madonna figures that Botticelli painted throughout his career.

Prompt: マニフィカートの聖母に焦点を当てて、その説明を説明してください。英語で出力して下さい。


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マニフィカートの聖母

The work portrays the Virgin Mary crowned by two of five angels, a sheer veil covering her flowing blonde hair and a Byzantine style scarf around her shoulders. She is writing the opening of the Magnificat on the right-hand page of a book; on the left page is part of the Benedictus. As Mary writes in the Magnificat, the infant Jesus guides her hand, looking up to the clear blue sky, or perhaps to his mother, softly returning his gaze. In her left hand she holds a pomegranate. The figures are placed in front of a bright and serene landscape, and the framing creates a division between Heaven and earth.</blockquote>However, there are no reliable sources that definitively recognize this portrait as the Madonna of the Magnificat, so this hypothesis is largely disregarded. The identity of the Madonna is unknown, and may simply be one of the many generic Madonna figures that Botticelli painted throughout his career.

Prompt: マニフィカートの聖母の説明を説明してください。英語で出力して下さい。


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マニフィカートの聖母

The work portrays the Virgin Mary crowned by two of five angels, a sheer veil covering her flowing blonde hair and a Byzantine style scarf around her shoulders. She is writing the opening of the Magnificat on the right-hand page of a book; on the left page is part of the Benedictus. As Mary writes in the Magnificat, the infant Jesus guides her hand, looking up to the clear blue sky, or perhaps to his mother, softly returning his gaze. In her left hand she holds a pomegranate. The figures are placed in front of a bright and serene landscape, and the framing creates a division between Heaven and earth.</blockquote>However, there are no reliable sources that definitively recognize this portrait as the Madonna of the Magnificat, so this hypothesis is largely disregarded. The identity of the Madonna is unknown, and may simply be one of the many generic Madonna figures that Botticelli painted throughout his career.

Prompt: マニフィカートの聖母はどのように説明を説明していますか？英語で出力して下さい。


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マニフィカートの聖母

The work portrays the Virgin Mary crowned by two of five angels, a sheer veil covering her flowing blonde hair and a Byzantine style scarf around her shoulders. She is writing the opening of the Magnificat on the right-hand page of a book; on the left page is part of the Benedictus. As Mary writes in the Magnificat, the infant Jesus guides her hand, looking up to the clear blue sky, or perhaps to his mother, softly returning his gaze. In her left hand she holds a pomegranate. The figures are placed in front of a bright and serene landscape, and the framing creates a division between Heaven and earth.</blockquote>However, there are no reliable sources that definitively recognize this portrait as the Madonna of the Magnificat, so this hypothesis is largely disregarded. The identity of the Madonna is unknown, and may simply be one of the many generic Madonna figures that Botticelli painted throughout his career.

Prompt: マニフィカートの聖母に関して、どのように説明が議論されていますか？英語で出力して下さい。


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マニフィカートの聖母

Conventionally, the Madonna is depicted as a reader rather than a writer. In this painting, Botticelli made the decision to depict her as a writer. Following common Humanist rhetoric, this shift from reading to writing raises more questions. Traditionally, the Magnificat was believed to be an oration by Mary, rather than a written document. This depiction of the Virgin as a writer, however, employs what may be a "rhetoric of impossibility." There is a concept that the literacy and ability to compose writing in women is a "miracle," as no other woman has the ability to obtain the factors that make the Virgin who she is; the virginal, noble figure that is highly revered by all who follow the Bible in a Christian setting. While at first glance, this may appear as a feminist statement about humanist female authors and scholars at the time, it can be analyzed as a backhanded compliment, disregarding the movement towards female literacy and using this "rhetoric of impossibility." Botticelli further intensifies the Virgin's position as a woman writer, juxtaposing her roles as a mother and as an author. The Madonna is simultaneously portrayed as a maternal figure, softly tending to the Christ child, and as an author, exemplifying the aforementioned "rhetoric of impossibility."

Prompt: マニフィカートの聖母に焦点を当てて、そのマドンナ 女性 作家を説明してください。英語で出力して下さい。


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マニフィカートの聖母

Conventionally, the Madonna is depicted as a reader rather than a writer. In this painting, Botticelli made the decision to depict her as a writer. Following common Humanist rhetoric, this shift from reading to writing raises more questions. Traditionally, the Magnificat was believed to be an oration by Mary, rather than a written document. This depiction of the Virgin as a writer, however, employs what may be a "rhetoric of impossibility." There is a concept that the literacy and ability to compose writing in women is a "miracle," as no other woman has the ability to obtain the factors that make the Virgin who she is; the virginal, noble figure that is highly revered by all who follow the Bible in a Christian setting. While at first glance, this may appear as a feminist statement about humanist female authors and scholars at the time, it can be analyzed as a backhanded compliment, disregarding the movement towards female literacy and using this "rhetoric of impossibility." Botticelli further intensifies the Virgin's position as a woman writer, juxtaposing her roles as a mother and as an author. The Madonna is simultaneously portrayed as a maternal figure, softly tending to the Christ child, and as an author, exemplifying the aforementioned "rhetoric of impossibility."

Prompt: マニフィカートの聖母のマドンナ 女性 作家を説明してください。英語で出力して下さい。


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マニフィカートの聖母

Conventionally, the Madonna is depicted as a reader rather than a writer. In this painting, Botticelli made the decision to depict her as a writer. Following common Humanist rhetoric, this shift from reading to writing raises more questions. Traditionally, the Magnificat was believed to be an oration by Mary, rather than a written document. This depiction of the Virgin as a writer, however, employs what may be a "rhetoric of impossibility." There is a concept that the literacy and ability to compose writing in women is a "miracle," as no other woman has the ability to obtain the factors that make the Virgin who she is; the virginal, noble figure that is highly revered by all who follow the Bible in a Christian setting. While at first glance, this may appear as a feminist statement about humanist female authors and scholars at the time, it can be analyzed as a backhanded compliment, disregarding the movement towards female literacy and using this "rhetoric of impossibility." Botticelli further intensifies the Virgin's position as a woman writer, juxtaposing her roles as a mother and as an author. The Madonna is simultaneously portrayed as a maternal figure, softly tending to the Christ child, and as an author, exemplifying the aforementioned "rhetoric of impossibility."

Prompt: マニフィカートの聖母はどのようにマドンナ 女性 作家を説明していますか？英語で出力して下さい。


section

マニフィカートの聖母

Conventionally, the Madonna is depicted as a reader rather than a writer. In this painting, Botticelli made the decision to depict her as a writer. Following common Humanist rhetoric, this shift from reading to writing raises more questions. Traditionally, the Magnificat was believed to be an oration by Mary, rather than a written document. This depiction of the Virgin as a writer, however, employs what may be a "rhetoric of impossibility." There is a concept that the literacy and ability to compose writing in women is a "miracle," as no other woman has the ability to obtain the factors that make the Virgin who she is; the virginal, noble figure that is highly revered by all who follow the Bible in a Christian setting. While at first glance, this may appear as a feminist statement about humanist female authors and scholars at the time, it can be analyzed as a backhanded compliment, disregarding the movement towards female literacy and using this "rhetoric of impossibility." Botticelli further intensifies the Virgin's position as a woman writer, juxtaposing her roles as a mother and as an author. The Madonna is simultaneously portrayed as a maternal figure, softly tending to the Christ child, and as an author, exemplifying the aforementioned "rhetoric of impossibility."

Prompt: マニフィカートの聖母に関して、どのようにマドンナ 女性 作家が議論されていますか？英語で出力して下さい。


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マニフィカートの聖母

It is widely agreed that Botticelli went through three distinct artistic phases, marked by the subjects of his work rather than any shift in artistic style. During the first of these three phases, he maintained a very moderate, average emotional state throughout the content of his paintings, aptly regarded as the "Medici phase". This phase in Botticelli's art was also characterized by the combination of features typically found in court paintings, as well as qualities learned from his study of Classical works. With the introduction of Christianity, this symbolism evolved to represent immortality and resurrection. In addition, because of its many seeds, the pomegranate can also symbolize fertility. Some experts have noted the cardiac anatomic accuracy of the pomegranate, which may further emphasize this suffering experienced by Jesus in his corporeal form. This accuracy can also be seen in the Madonna of the Magnificat, although the placement is below Christ's heart, whereas the placement of Madonna of the Pomegranate sits right above his heart.

Prompt: マニフィカートの聖母に焦点を当てて、そのボッティチェリのマドンナを説明してください。英語で出力して下さい。

Jesus
Madonna of the Pomegranate
Magnificat
Pomegranate


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マニフィカートの聖母

It is widely agreed that Botticelli went through three distinct artistic phases, marked by the subjects of his work rather than any shift in artistic style. During the first of these three phases, he maintained a very moderate, average emotional state throughout the content of his paintings, aptly regarded as the "Medici phase". This phase in Botticelli's art was also characterized by the combination of features typically found in court paintings, as well as qualities learned from his study of Classical works. With the introduction of Christianity, this symbolism evolved to represent immortality and resurrection. In addition, because of its many seeds, the pomegranate can also symbolize fertility. Some experts have noted the cardiac anatomic accuracy of the pomegranate, which may further emphasize this suffering experienced by Jesus in his corporeal form. This accuracy can also be seen in the Madonna of the Magnificat, although the placement is below Christ's heart, whereas the placement of Madonna of the Pomegranate sits right above his heart.

Prompt: マニフィカートの聖母のボッティチェリのマドンナを説明してください。英語で出力して下さい。

Jesus
Madonna of the Pomegranate
Magnificat
Pomegranate


section

マニフィカートの聖母

It is widely agreed that Botticelli went through three distinct artistic phases, marked by the subjects of his work rather than any shift in artistic style. During the first of these three phases, he maintained a very moderate, average emotional state throughout the content of his paintings, aptly regarded as the "Medici phase". This phase in Botticelli's art was also characterized by the combination of features typically found in court paintings, as well as qualities learned from his study of Classical works. With the introduction of Christianity, this symbolism evolved to represent immortality and resurrection. In addition, because of its many seeds, the pomegranate can also symbolize fertility. Some experts have noted the cardiac anatomic accuracy of the pomegranate, which may further emphasize this suffering experienced by Jesus in his corporeal form. This accuracy can also be seen in the Madonna of the Magnificat, although the placement is below Christ's heart, whereas the placement of Madonna of the Pomegranate sits right above his heart.

Prompt: マニフィカートの聖母はどのようにボッティチェリのマドンナを説明していますか？英語で出力して下さい。

Jesus
Madonna of the Pomegranate
Magnificat
Pomegranate


section

マニフィカートの聖母

It is widely agreed that Botticelli went through three distinct artistic phases, marked by the subjects of his work rather than any shift in artistic style. During the first of these three phases, he maintained a very moderate, average emotional state throughout the content of his paintings, aptly regarded as the "Medici phase". This phase in Botticelli's art was also characterized by the combination of features typically found in court paintings, as well as qualities learned from his study of Classical works. With the introduction of Christianity, this symbolism evolved to represent immortality and resurrection. In addition, because of its many seeds, the pomegranate can also symbolize fertility. Some experts have noted the cardiac anatomic accuracy of the pomegranate, which may further emphasize this suffering experienced by Jesus in his corporeal form. This accuracy can also be seen in the Madonna of the Magnificat, although the placement is below Christ's heart, whereas the placement of Madonna of the Pomegranate sits right above his heart.

Prompt: マニフィカートの聖母に関して、どのようにボッティチェリのマドンナが議論されていますか？英語で出力して下さい。

Jesus
Madonna of the Pomegranate
Magnificat
Pomegranate


section

マニフィカートの聖母

Prompt: マニフィカートの聖母に焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

マニフィカートの聖母

Prompt: マニフィカートの聖母の参照を説明してください。英語で出力して下さい。


section

マニフィカートの聖母

Prompt: マニフィカートの聖母はどのように参照を説明していますか？英語で出力して下さい。


section

マニフィカートの聖母

Prompt: マニフィカートの聖母に関して、どのように参照が議論されていますか？英語で出力して下さい。


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マニフィカートの聖母

Dempsey, Charles. "Botticelli, Sandro." Grove Art Online. 2003 Ferguson, George. Signs & Symbols in Christian Art. Kiribati: Oxford University Press, 1961. Gebhart, Emile, & Victoria Charles. Botticelli. In Botticelli . Parkstone-International, 2005. zzeri, Davide, Ahmed Al-Mousawi, and Fabio Nicoli. "Sandro Botticelli's Madonna of the Pomegranate: The Hidden Cardiac Anatomy." Interactive Cardiovascular and Thoracic Surgery 28, no. 4 : 619–21. Le Gallerie degli Uffizi. "Virgin and Child, and Angels ", accessed 16 November 2020. https://www.uffizi.it/en/artworks/virgin-and-child-and-angels-madonna-of-the-magnificat Schibanoff, Susan. "Botticelli's Madonna Del Magnificat: Constructing the Woman Writer in Early Humanist Italy." PMLA : Publications of the Modern nguage Association of America 109, no. 2 : 190–206. Vasari, Giorgio, Jonathan Foster, Marilyn Aronberg vin. Vasari's Lives of the Artists: Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo, Raphael, Michelangelo, Titian. Courier Corporation, 2005.

Prompt: マニフィカートの聖母に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。

Madonna of the Pomegranate
Magnificat
Pomegranate
Sandro Botticelli
Uffizi


section

マニフィカートの聖母

Dempsey, Charles. "Botticelli, Sandro." Grove Art Online. 2003 Ferguson, George. Signs & Symbols in Christian Art. Kiribati: Oxford University Press, 1961. Gebhart, Emile, & Victoria Charles. Botticelli. In Botticelli . Parkstone-International, 2005. zzeri, Davide, Ahmed Al-Mousawi, and Fabio Nicoli. "Sandro Botticelli's Madonna of the Pomegranate: The Hidden Cardiac Anatomy." Interactive Cardiovascular and Thoracic Surgery 28, no. 4 : 619–21. Le Gallerie degli Uffizi. "Virgin and Child, and Angels ", accessed 16 November 2020. https://www.uffizi.it/en/artworks/virgin-and-child-and-angels-madonna-of-the-magnificat Schibanoff, Susan. "Botticelli's Madonna Del Magnificat: Constructing the Woman Writer in Early Humanist Italy." PMLA : Publications of the Modern nguage Association of America 109, no. 2 : 190–206. Vasari, Giorgio, Jonathan Foster, Marilyn Aronberg vin. Vasari's Lives of the Artists: Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo, Raphael, Michelangelo, Titian. Courier Corporation, 2005.

Prompt: マニフィカートの聖母の参考文献を説明してください。英語で出力して下さい。

Madonna of the Pomegranate
Magnificat
Pomegranate
Sandro Botticelli
Uffizi


section

マニフィカートの聖母

Dempsey, Charles. "Botticelli, Sandro." Grove Art Online. 2003 Ferguson, George. Signs & Symbols in Christian Art. Kiribati: Oxford University Press, 1961. Gebhart, Emile, & Victoria Charles. Botticelli. In Botticelli . Parkstone-International, 2005. zzeri, Davide, Ahmed Al-Mousawi, and Fabio Nicoli. "Sandro Botticelli's Madonna of the Pomegranate: The Hidden Cardiac Anatomy." Interactive Cardiovascular and Thoracic Surgery 28, no. 4 : 619–21. Le Gallerie degli Uffizi. "Virgin and Child, and Angels ", accessed 16 November 2020. https://www.uffizi.it/en/artworks/virgin-and-child-and-angels-madonna-of-the-magnificat Schibanoff, Susan. "Botticelli's Madonna Del Magnificat: Constructing the Woman Writer in Early Humanist Italy." PMLA : Publications of the Modern nguage Association of America 109, no. 2 : 190–206. Vasari, Giorgio, Jonathan Foster, Marilyn Aronberg vin. Vasari's Lives of the Artists: Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo, Raphael, Michelangelo, Titian. Courier Corporation, 2005.

Prompt: マニフィカートの聖母はどのように参考文献を説明していますか？英語で出力して下さい。

Madonna of the Pomegranate
Magnificat
Pomegranate
Sandro Botticelli
Uffizi


section

マニフィカートの聖母

Dempsey, Charles. "Botticelli, Sandro." Grove Art Online. 2003 Ferguson, George. Signs & Symbols in Christian Art. Kiribati: Oxford University Press, 1961. Gebhart, Emile, & Victoria Charles. Botticelli. In Botticelli . Parkstone-International, 2005. zzeri, Davide, Ahmed Al-Mousawi, and Fabio Nicoli. "Sandro Botticelli's Madonna of the Pomegranate: The Hidden Cardiac Anatomy." Interactive Cardiovascular and Thoracic Surgery 28, no. 4 : 619–21. Le Gallerie degli Uffizi. "Virgin and Child, and Angels ", accessed 16 November 2020. https://www.uffizi.it/en/artworks/virgin-and-child-and-angels-madonna-of-the-magnificat Schibanoff, Susan. "Botticelli's Madonna Del Magnificat: Constructing the Woman Writer in Early Humanist Italy." PMLA : Publications of the Modern nguage Association of America 109, no. 2 : 190–206. Vasari, Giorgio, Jonathan Foster, Marilyn Aronberg vin. Vasari's Lives of the Artists: Giotto, Masaccio, Fra Filippo Lippi, Botticelli, Leonardo, Raphael, Michelangelo, Titian. Courier Corporation, 2005.

Prompt: マニフィカートの聖母に関して、どのように参考文献が議論されていますか？英語で出力して下さい。

Madonna of the Pomegranate
Magnificat
Pomegranate
Sandro Botticelli
Uffizi


section

牛群の帰り

metric_unit     = cm imperial_unit   = in city            = Vienna museum          = Kunsthistorisches Museum}}The Return of the Herd is an oil on wood painting by Pieter Bruegel the Elder in 1565. The painting is one in a series of six works  that depict different seasons. The painting is currently in the collection of the Kunsthistorisches Museum, located in Vienna, Austria. The autumnal colors of the landscape and the bare trees connect this particular painting to October/November.The surviving Months of the Year cycle are:

Prompt: 牛群の帰りに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Austria
Kunsthistorisches Museum
Pieter Bruegel the Elder
Vienna


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牛群の帰り

metric_unit     = cm imperial_unit   = in city            = Vienna museum          = Kunsthistorisches Museum}}The Return of the Herd is an oil on wood painting by Pieter Bruegel the Elder in 1565. The painting is one in a series of six works  that depict different seasons. The painting is currently in the collection of the Kunsthistorisches Museum, located in Vienna, Austria. The autumnal colors of the landscape and the bare trees connect this particular painting to October/November.The surviving Months of the Year cycle are:

Prompt: 牛群の帰りの抽象を説明してください。英語で出力して下さい。

Austria
Kunsthistorisches Museum
Pieter Bruegel the Elder
Vienna


section

牛群の帰り

metric_unit     = cm imperial_unit   = in city            = Vienna museum          = Kunsthistorisches Museum}}The Return of the Herd is an oil on wood painting by Pieter Bruegel the Elder in 1565. The painting is one in a series of six works  that depict different seasons. The painting is currently in the collection of the Kunsthistorisches Museum, located in Vienna, Austria. The autumnal colors of the landscape and the bare trees connect this particular painting to October/November.The surviving Months of the Year cycle are:

Prompt: 牛群の帰りはどのように抽象を説明していますか？英語で出力して下さい。

Austria
Kunsthistorisches Museum
Pieter Bruegel the Elder
Vienna


section

牛群の帰り

metric_unit     = cm imperial_unit   = in city            = Vienna museum          = Kunsthistorisches Museum}}The Return of the Herd is an oil on wood painting by Pieter Bruegel the Elder in 1565. The painting is one in a series of six works  that depict different seasons. The painting is currently in the collection of the Kunsthistorisches Museum, located in Vienna, Austria. The autumnal colors of the landscape and the bare trees connect this particular painting to October/November.The surviving Months of the Year cycle are:

Prompt: 牛群の帰りに関して、どのように抽象が議論されていますか？英語で出力して下さい。

Austria
Kunsthistorisches Museum
Pieter Bruegel the Elder
Vienna


section

牛群の帰り

List of paintings by Pieter Bruegel the Elder

Prompt: 牛群の帰りに焦点を当てて、その参照を説明してください。英語で出力して下さい。


section

牛群の帰り

List of paintings by Pieter Bruegel the Elder

Prompt: 牛群の帰りの参照を説明してください。英語で出力して下さい。


section

牛群の帰り

List of paintings by Pieter Bruegel the Elder

Prompt: 牛群の帰りはどのように参照を説明していますか？英語で出力して下さい。


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牛群の帰り

List of paintings by Pieter Bruegel the Elder

Prompt: 牛群の帰りに関して、どのように参照が議論されていますか？英語で出力して下さい。


section

牛群の帰り

Category:1565 paintingsCategory:Cattle in artCategory:Paintings by Pieter Bruegel the ElderCategory:Paintings in the Kunsthistorisches MuseumCategory:Horses in art

Prompt: 牛群の帰りに焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。

Kunsthistorisches Museum
Pieter Bruegel the Elder


section

牛群の帰り

Category:1565 paintingsCategory:Cattle in artCategory:Paintings by Pieter Bruegel the ElderCategory:Paintings in the Kunsthistorisches MuseumCategory:Horses in art

Prompt: 牛群の帰りの外部リンクを説明してください。英語で出力して下さい。

Kunsthistorisches Museum
Pieter Bruegel the Elder


section

牛群の帰り

Category:1565 paintingsCategory:Cattle in artCategory:Paintings by Pieter Bruegel the ElderCategory:Paintings in the Kunsthistorisches MuseumCategory:Horses in art

Prompt: 牛群の帰りはどのように外部リンクを説明していますか？英語で出力して下さい。

Kunsthistorisches Museum
Pieter Bruegel the Elder


section

牛群の帰り

Category:1565 paintingsCategory:Cattle in artCategory:Paintings by Pieter Bruegel the ElderCategory:Paintings in the Kunsthistorisches MuseumCategory:Horses in art

Prompt: 牛群の帰りに関して、どのように外部リンクが議論されていますか？英語で出力して下さい。

Kunsthistorisches Museum
Pieter Bruegel the Elder


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賢明の寓意

1565 medium=Oil on canvas height_metric=76.2 width_metric=68.6 metric_unit=cm imperial_unit=in city=London museum=National Gallery}}The Allegory of Prudence  is an oil-on-canvas painting attributed to the Italian artist Titian and his assistants. The painting portrays three human heads, each facing in a different direction, above three animal heads . It is in the National Gallery, London.

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


section

賢明の寓意

1565 medium=Oil on canvas height_metric=76.2 width_metric=68.6 metric_unit=cm imperial_unit=in city=London museum=National Gallery}}The Allegory of Prudence  is an oil-on-canvas painting attributed to the Italian artist Titian and his assistants. The painting portrays three human heads, each facing in a different direction, above three animal heads . It is in the National Gallery, London.

Prompt: 賢明の寓意の抽象を説明してください。英語で出力して下さい。


section

賢明の寓意

1565 medium=Oil on canvas height_metric=76.2 width_metric=68.6 metric_unit=cm imperial_unit=in city=London museum=National Gallery}}The Allegory of Prudence  is an oil-on-canvas painting attributed to the Italian artist Titian and his assistants. The painting portrays three human heads, each facing in a different direction, above three animal heads . It is in the National Gallery, London.

Prompt: 賢明の寓意はどのように抽象を説明していますか？英語で出力して下さい。


section

賢明の寓意

1565 medium=Oil on canvas height_metric=76.2 width_metric=68.6 metric_unit=cm imperial_unit=in city=London museum=National Gallery}}The Allegory of Prudence  is an oil-on-canvas painting attributed to the Italian artist Titian and his assistants. The painting portrays three human heads, each facing in a different direction, above three animal heads . It is in the National Gallery, London.

Prompt: 賢明の寓意に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

賢明の寓意

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


section

賢明の寓意

Prompt: 賢明の寓意の参照を説明してください。英語で出力して下さい。


section

賢明の寓意

Prompt: 賢明の寓意はどのように参照を説明していますか？英語で出力して下さい。


section

賢明の寓意

Prompt: 賢明の寓意に関して、どのように参照が議論されていますか？英語で出力して下さい。


section

賢明の寓意

1600date=2008publisher=National Gallery Publications Ltdisbn=978-1-85709-913-3}}Category:1560s paintingsCategory:Paintings by Titian in the National Gallery, Londoncategory:16th-century allegorical paintingscategory:Allegorical paintings by Italian artists

Prompt: 賢明の寓意に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


section

賢明の寓意

1600date=2008publisher=National Gallery Publications Ltdisbn=978-1-85709-913-3}}Category:1560s paintingsCategory:Paintings by Titian in the National Gallery, Londoncategory:16th-century allegorical paintingscategory:Allegorical paintings by Italian artists

Prompt: 賢明の寓意の参考文献を説明してください。英語で出力して下さい。


section

賢明の寓意

1600date=2008publisher=National Gallery Publications Ltdisbn=978-1-85709-913-3}}Category:1560s paintingsCategory:Paintings by Titian in the National Gallery, Londoncategory:16th-century allegorical paintingscategory:Allegorical paintings by Italian artists

Prompt: 賢明の寓意はどのように参考文献を説明していますか？英語で出力して下さい。


section

賢明の寓意

1600date=2008publisher=National Gallery Publications Ltdisbn=978-1-85709-913-3}}Category:1560s paintingsCategory:Paintings by Titian in the National Gallery, Londoncategory:16th-century allegorical paintingscategory:Allegorical paintings by Italian artists

Prompt: 賢明の寓意に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


section

北斎漫画

The  is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural.The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other. While manga has come to mean "comics" in modern Japanese, the word was used in the Edo period to mean informal drawings, possibly preparatory sketches for paintings.Block-printed in three colours , the Hokusai Manga comprises thousands of images in ten volumes from 1814 to 1819, with five volumes added in 1834 to 1878. The first volume was published in 1814, when the artist was 55.The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians.

Prompt: 北斎漫画に焦点を当てて、その抽象を説明してください。英語で出力して下さい。


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北斎漫画

The  is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural.The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other. While manga has come to mean "comics" in modern Japanese, the word was used in the Edo period to mean informal drawings, possibly preparatory sketches for paintings.Block-printed in three colours , the Hokusai Manga comprises thousands of images in ten volumes from 1814 to 1819, with five volumes added in 1834 to 1878. The first volume was published in 1814, when the artist was 55.The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians.

Prompt: 北斎漫画の抽象を説明してください。英語で出力して下さい。


section

北斎漫画

The  is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural.The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other. While manga has come to mean "comics" in modern Japanese, the word was used in the Edo period to mean informal drawings, possibly preparatory sketches for paintings.Block-printed in three colours , the Hokusai Manga comprises thousands of images in ten volumes from 1814 to 1819, with five volumes added in 1834 to 1878. The first volume was published in 1814, when the artist was 55.The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians.

Prompt: 北斎漫画はどのように抽象を説明していますか？英語で出力して下さい。


section

北斎漫画

The  is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural.The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other. While manga has come to mean "comics" in modern Japanese, the word was used in the Edo period to mean informal drawings, possibly preparatory sketches for paintings.Block-printed in three colours , the Hokusai Manga comprises thousands of images in ten volumes from 1814 to 1819, with five volumes added in 1834 to 1878. The first volume was published in 1814, when the artist was 55.The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians.

Prompt: 北斎漫画に関して、どのように抽象が議論されていますか？英語で出力して下さい。


section

北斎漫画

The preface to the first volume of the work, written by , a minor artist of Nagoya, suggests that the publication of the work may have been aided by Hokusai's pupils. Part of the preface reads: [Utamasa II, well-known Nagoya artist, pupil of Hokusai’s, and collator of Hokusai’s later work] at the latter’s residence, it being a very joyous occasion. And there over three hundred sketches of all kinds were made – from immortals, Buddhas, scholars, and women on down to birds, beasts, grasses, and trees, the spirit of each captured fully by the brush.}}The final volume is considered spurious by some art historians.The initial publication is usually credited to Eirakuya Toshiro  of Nagoya whose publishing house was renamed to Eito Shoten in 1914.

Prompt: 北斎漫画に焦点を当てて、その出版履歴を説明してください。英語で出力して下さい。


section

北斎漫画

The preface to the first volume of the work, written by , a minor artist of Nagoya, suggests that the publication of the work may have been aided by Hokusai's pupils. Part of the preface reads: [Utamasa II, well-known Nagoya artist, pupil of Hokusai’s, and collator of Hokusai’s later work] at the latter’s residence, it being a very joyous occasion. And there over three hundred sketches of all kinds were made – from immortals, Buddhas, scholars, and women on down to birds, beasts, grasses, and trees, the spirit of each captured fully by the brush.}}The final volume is considered spurious by some art historians.The initial publication is usually credited to Eirakuya Toshiro  of Nagoya whose publishing house was renamed to Eito Shoten in 1914.

Prompt: 北斎漫画の出版履歴を説明してください。英語で出力して下さい。


section

北斎漫画

The preface to the first volume of the work, written by , a minor artist of Nagoya, suggests that the publication of the work may have been aided by Hokusai's pupils. Part of the preface reads: [Utamasa II, well-known Nagoya artist, pupil of Hokusai’s, and collator of Hokusai’s later work] at the latter’s residence, it being a very joyous occasion. And there over three hundred sketches of all kinds were made – from immortals, Buddhas, scholars, and women on down to birds, beasts, grasses, and trees, the spirit of each captured fully by the brush.}}The final volume is considered spurious by some art historians.The initial publication is usually credited to Eirakuya Toshiro  of Nagoya whose publishing house was renamed to Eito Shoten in 1914.

Prompt: 北斎漫画はどのように出版履歴を説明していますか？英語で出力して下さい。


section

北斎漫画

The preface to the first volume of the work, written by , a minor artist of Nagoya, suggests that the publication of the work may have been aided by Hokusai's pupils. Part of the preface reads: [Utamasa II, well-known Nagoya artist, pupil of Hokusai’s, and collator of Hokusai’s later work] at the latter’s residence, it being a very joyous occasion. And there over three hundred sketches of all kinds were made – from immortals, Buddhas, scholars, and women on down to birds, beasts, grasses, and trees, the spirit of each captured fully by the brush.}}The final volume is considered spurious by some art historians.The initial publication is usually credited to Eirakuya Toshiro  of Nagoya whose publishing house was renamed to Eito Shoten in 1914.

Prompt: 北斎漫画に関して、どのように出版履歴が議論されていますか？英語で出力して下さい。


section

北斎漫画

The traditional view holds that, after the outburst of production, Hokusai carefully selected and redrew the sketches, arranging them into the patterns we see today. However, Michener  argues that the pattern of the images on a particular plate were arranged by the wood carvers and publishers, not by the artist himself.

Prompt: 北斎漫画に焦点を当てて、そのマンガのソースを説明してください。英語で出力して下さい。


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北斎漫画

The traditional view holds that, after the outburst of production, Hokusai carefully selected and redrew the sketches, arranging them into the patterns we see today. However, Michener  argues that the pattern of the images on a particular plate were arranged by the wood carvers and publishers, not by the artist himself.

Prompt: 北斎漫画のマンガのソースを説明してください。英語で出力して下さい。


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北斎漫画

The traditional view holds that, after the outburst of production, Hokusai carefully selected and redrew the sketches, arranging them into the patterns we see today. However, Michener  argues that the pattern of the images on a particular plate were arranged by the wood carvers and publishers, not by the artist himself.

Prompt: 北斎漫画はどのようにマンガのソースを説明していますか？英語で出力して下さい。


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北斎漫画

The traditional view holds that, after the outburst of production, Hokusai carefully selected and redrew the sketches, arranging them into the patterns we see today. However, Michener  argues that the pattern of the images on a particular plate were arranged by the wood carvers and publishers, not by the artist himself.

Prompt: 北斎漫画に関して、どのようにマンガのソースが議論されていますか？英語で出力して下さい。


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北斎漫画

The first volume of 'Manga' , was an art instruction book published to aid his troubled finances.  Shortly after he removed the text and republished it.  The Manga show a dedication to artistic realism in the portrayal of people and the natural world. The work was an immediate success, and the subsequent volumes soon followed. The work became known to the West after Dutch-employed German physicist Philipp Franz von Siebold took lithographs of some of the sketches to Europe where they appeared in his influential book on Japan,

Prompt: 北斎漫画に焦点を当てて、その遺産を説明してください。英語で出力して下さい。


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北斎漫画

The first volume of 'Manga' , was an art instruction book published to aid his troubled finances.  Shortly after he removed the text and republished it.  The Manga show a dedication to artistic realism in the portrayal of people and the natural world. The work was an immediate success, and the subsequent volumes soon followed. The work became known to the West after Dutch-employed German physicist Philipp Franz von Siebold took lithographs of some of the sketches to Europe where they appeared in his influential book on Japan,

Prompt: 北斎漫画の遺産を説明してください。英語で出力して下さい。


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北斎漫画

The first volume of 'Manga' , was an art instruction book published to aid his troubled finances.  Shortly after he removed the text and republished it.  The Manga show a dedication to artistic realism in the portrayal of people and the natural world. The work was an immediate success, and the subsequent volumes soon followed. The work became known to the West after Dutch-employed German physicist Philipp Franz von Siebold took lithographs of some of the sketches to Europe where they appeared in his influential book on Japan,

Prompt: 北斎漫画はどのように遺産を説明していますか？英語で出力して下さい。


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北斎漫画

The first volume of 'Manga' , was an art instruction book published to aid his troubled finances.  Shortly after he removed the text and republished it.  The Manga show a dedication to artistic realism in the portrayal of people and the natural world. The work was an immediate success, and the subsequent volumes soon followed. The work became known to the West after Dutch-employed German physicist Philipp Franz von Siebold took lithographs of some of the sketches to Europe where they appeared in his influential book on Japan,

Prompt: 北斎漫画に関して、どのように遺産が議論されていますか？英語で出力して下さい。


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北斎漫画

Bouquillard, Jocelyn and Marquet, Christopher . Nash, Liz trans. Hokusai: First Manga Master. New York: Harry N. Abrams, Inc. .Hillier, Jack R. . The Art of Hokusai in Book Illustration. London: Sotheby Parke Bernet; Berkeley, Calif.: University of California Press.Michener, James A. . Hokusai Sketchbooks: Selections from the Manga. Rutland, Vermont & Tokyo: Charles E. Tuttle Company.'The Floating World of Hokusai': BBC Radio 4, broadcast 10:30am  30 Aug 2012.

Prompt: 北斎漫画に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。


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北斎漫画

Bouquillard, Jocelyn and Marquet, Christopher . Nash, Liz trans. Hokusai: First Manga Master. New York: Harry N. Abrams, Inc. .Hillier, Jack R. . The Art of Hokusai in Book Illustration. London: Sotheby Parke Bernet; Berkeley, Calif.: University of California Press.Michener, James A. . Hokusai Sketchbooks: Selections from the Manga. Rutland, Vermont & Tokyo: Charles E. Tuttle Company.'The Floating World of Hokusai': BBC Radio 4, broadcast 10:30am  30 Aug 2012.

Prompt: 北斎漫画の参考文献を説明してください。英語で出力して下さい。


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北斎漫画

Bouquillard, Jocelyn and Marquet, Christopher . Nash, Liz trans. Hokusai: First Manga Master. New York: Harry N. Abrams, Inc. .Hillier, Jack R. . The Art of Hokusai in Book Illustration. London: Sotheby Parke Bernet; Berkeley, Calif.: University of California Press.Michener, James A. . Hokusai Sketchbooks: Selections from the Manga. Rutland, Vermont & Tokyo: Charles E. Tuttle Company.'The Floating World of Hokusai': BBC Radio 4, broadcast 10:30am  30 Aug 2012.

Prompt: 北斎漫画はどのように参考文献を説明していますか？英語で出力して下さい。


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北斎漫画

Bouquillard, Jocelyn and Marquet, Christopher . Nash, Liz trans. Hokusai: First Manga Master. New York: Harry N. Abrams, Inc. .Hillier, Jack R. . The Art of Hokusai in Book Illustration. London: Sotheby Parke Bernet; Berkeley, Calif.: University of California Press.Michener, James A. . Hokusai Sketchbooks: Selections from the Manga. Rutland, Vermont & Tokyo: Charles E. Tuttle Company.'The Floating World of Hokusai': BBC Radio 4, broadcast 10:30am  30 Aug 2012.

Prompt: 北斎漫画に関して、どのように参考文献が議論されていますか？英語で出力して下さい。


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豆を食べる男 (カラッチの絵画)

The Bean eater  is a painting by the Italian Baroque painter Annibale Carracci. Dating from 1580 to 1590 , it is housed in the gallery of Palazzo Colonna of Rome.The painting is connected to the contemporary Butcher's Shop , for it shares the same popular style. Painted in Bologna, it is a broadly and realistically painted still life, which owes much to Flanders and Holland.Carracci was also influenced in the depiction of everyday life subjects by Vincenzo Campi and Bartolomeo Passarotti. Manifest is Carracci's capability to adapt his style, making it "lower" when concerning "lower" subjects like the Mangiafagioli, while in his more academic works  he was able to use a more classicist composure with the same ease.

Prompt: 豆を食べる男 (カラッチの絵画)に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Annibale Carracci
Baroque
Bartolomeo Passarotti
Butcher's Shop
Palazzo Colonna
Rome
Vincenzo Campi


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豆を食べる男 (カラッチの絵画)

The Bean eater  is a painting by the Italian Baroque painter Annibale Carracci. Dating from 1580 to 1590 , it is housed in the gallery of Palazzo Colonna of Rome.The painting is connected to the contemporary Butcher's Shop , for it shares the same popular style. Painted in Bologna, it is a broadly and realistically painted still life, which owes much to Flanders and Holland.Carracci was also influenced in the depiction of everyday life subjects by Vincenzo Campi and Bartolomeo Passarotti. Manifest is Carracci's capability to adapt his style, making it "lower" when concerning "lower" subjects like the Mangiafagioli, while in his more academic works  he was able to use a more classicist composure with the same ease.

Prompt: 豆を食べる男 (カラッチの絵画)の抽象を説明してください。英語で出力して下さい。

Annibale Carracci
Baroque
Bartolomeo Passarotti
Butcher's Shop
Palazzo Colonna
Rome
Vincenzo Campi


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豆を食べる男 (カラッチの絵画)

The Bean eater  is a painting by the Italian Baroque painter Annibale Carracci. Dating from 1580 to 1590 , it is housed in the gallery of Palazzo Colonna of Rome.The painting is connected to the contemporary Butcher's Shop , for it shares the same popular style. Painted in Bologna, it is a broadly and realistically painted still life, which owes much to Flanders and Holland.Carracci was also influenced in the depiction of everyday life subjects by Vincenzo Campi and Bartolomeo Passarotti. Manifest is Carracci's capability to adapt his style, making it "lower" when concerning "lower" subjects like the Mangiafagioli, while in his more academic works  he was able to use a more classicist composure with the same ease.

Prompt: 豆を食べる男 (カラッチの絵画)はどのように抽象を説明していますか？英語で出力して下さい。

Annibale Carracci
Baroque
Bartolomeo Passarotti
Butcher's Shop
Palazzo Colonna
Rome
Vincenzo Campi


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豆を食べる男 (カラッチの絵画)

The Bean eater  is a painting by the Italian Baroque painter Annibale Carracci. Dating from 1580 to 1590 , it is housed in the gallery of Palazzo Colonna of Rome.The painting is connected to the contemporary Butcher's Shop , for it shares the same popular style. Painted in Bologna, it is a broadly and realistically painted still life, which owes much to Flanders and Holland.Carracci was also influenced in the depiction of everyday life subjects by Vincenzo Campi and Bartolomeo Passarotti. Manifest is Carracci's capability to adapt his style, making it "lower" when concerning "lower" subjects like the Mangiafagioli, while in his more academic works  he was able to use a more classicist composure with the same ease.

Prompt: 豆を食べる男 (カラッチの絵画)に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Annibale Carracci
Baroque
Bartolomeo Passarotti
Butcher's Shop
Palazzo Colonna
Rome
Vincenzo Campi


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豆を食べる男 (カラッチの絵画)

Category:1580s paintingsCategory:Paintings by Annibale CarracciCategory:Food and drink paintings

Prompt: 豆を食べる男 (カラッチの絵画)に焦点を当てて、その他の場所を説明してください。英語で出力して下さい。


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豆を食べる男 (カラッチの絵画)

Category:1580s paintingsCategory:Paintings by Annibale CarracciCategory:Food and drink paintings

Prompt: 豆を食べる男 (カラッチの絵画)の他の場所を説明してください。英語で出力して下さい。


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豆を食べる男 (カラッチの絵画)

Category:1580s paintingsCategory:Paintings by Annibale CarracciCategory:Food and drink paintings

Prompt: 豆を食べる男 (カラッチの絵画)はどのように他の場所を説明していますか？英語で出力して下さい。


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豆を食べる男 (カラッチの絵画)

Category:1580s paintingsCategory:Paintings by Annibale CarracciCategory:Food and drink paintings

Prompt: 豆を食べる男 (カラッチの絵画)に関して、どのように他の場所が議論されていますか？英語で出力して下さい。


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サンタンブロージョの祭壇画

The Madonna and Child with Six Saints, also known as Sant'Ambrogio Altarpiece, is a painting by the Italian Renaissance master Sandro Botticelli, finished around 1470. It is housed in the Galleria degli Uffizi, in Florence.It portrays the Virgin holding Jesus as the Christ Child enthroned with the saints Mary Magdalene, John the Baptist, Francis of Assisi, Catherine of Alexandria and, kneeling, Cosmas and Damian . It is in fact most likely that the latter are portraits of Medici members. Lorenzo il Magnifico and his brother Giuliano have been considered. This painting is an example of sacra conversazione, in which the Madonna and Child are surrounded by saints.

Prompt: サンタンブロージョの祭壇画に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Catherine of Alexandria
Florence
Francis of Assisi
Uffizi
John the Baptist
Mary Magdalene
Renaissance
Sandro Botticelli


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サンタンブロージョの祭壇画

The Madonna and Child with Six Saints, also known as Sant'Ambrogio Altarpiece, is a painting by the Italian Renaissance master Sandro Botticelli, finished around 1470. It is housed in the Galleria degli Uffizi, in Florence.It portrays the Virgin holding Jesus as the Christ Child enthroned with the saints Mary Magdalene, John the Baptist, Francis of Assisi, Catherine of Alexandria and, kneeling, Cosmas and Damian . It is in fact most likely that the latter are portraits of Medici members. Lorenzo il Magnifico and his brother Giuliano have been considered. This painting is an example of sacra conversazione, in which the Madonna and Child are surrounded by saints.

Prompt: サンタンブロージョの祭壇画の抽象を説明してください。英語で出力して下さい。

Catherine of Alexandria
Florence
Francis of Assisi
Uffizi
John the Baptist
Mary Magdalene
Renaissance
Sandro Botticelli


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サンタンブロージョの祭壇画

The Madonna and Child with Six Saints, also known as Sant'Ambrogio Altarpiece, is a painting by the Italian Renaissance master Sandro Botticelli, finished around 1470. It is housed in the Galleria degli Uffizi, in Florence.It portrays the Virgin holding Jesus as the Christ Child enthroned with the saints Mary Magdalene, John the Baptist, Francis of Assisi, Catherine of Alexandria and, kneeling, Cosmas and Damian . It is in fact most likely that the latter are portraits of Medici members. Lorenzo il Magnifico and his brother Giuliano have been considered. This painting is an example of sacra conversazione, in which the Madonna and Child are surrounded by saints.

Prompt: サンタンブロージョの祭壇画はどのように抽象を説明していますか？英語で出力して下さい。

Catherine of Alexandria
Florence
Francis of Assisi
Uffizi
John the Baptist
Mary Magdalene
Renaissance
Sandro Botticelli


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サンタンブロージョの祭壇画

The Madonna and Child with Six Saints, also known as Sant'Ambrogio Altarpiece, is a painting by the Italian Renaissance master Sandro Botticelli, finished around 1470. It is housed in the Galleria degli Uffizi, in Florence.It portrays the Virgin holding Jesus as the Christ Child enthroned with the saints Mary Magdalene, John the Baptist, Francis of Assisi, Catherine of Alexandria and, kneeling, Cosmas and Damian . It is in fact most likely that the latter are portraits of Medici members. Lorenzo il Magnifico and his brother Giuliano have been considered. This painting is an example of sacra conversazione, in which the Madonna and Child are surrounded by saints.

Prompt: サンタンブロージョの祭壇画に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Catherine of Alexandria
Florence
Francis of Assisi
Uffizi
John the Baptist
Mary Magdalene
Renaissance
Sandro Botticelli


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サンタンブロージョの祭壇画

Prompt: サンタンブロージョの祭壇画に焦点を当てて、その参照を説明してください。英語で出力して下さい。


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サンタンブロージョの祭壇画

Prompt: サンタンブロージョの祭壇画の参照を説明してください。英語で出力して下さい。


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サンタンブロージョの祭壇画

Prompt: サンタンブロージョの祭壇画はどのように参照を説明していますか？英語で出力して下さい。


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サンタンブロージョの祭壇画

Prompt: サンタンブロージョの祭壇画に関して、どのように参照が議論されていますか？英語で出力して下さい。


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サンタンブロージョの祭壇画

Category:1470s paintingsCategory:Paintings by Sandro Botticelli in the UffiziCategory:Paintings of the Madonna and Child by Sandro BotticelliCategory:Paintings of John the BaptistCategory:Paintings of Mary MagdaleneCategory:Paintings of Francis of AssisiCategory:Paintings of Saints Cosmas and DamianCategory:Paintings of Catherine of AlexandriaCategory:Altarpieces

Prompt: サンタンブロージョの祭壇画に焦点を当てて、その外部リンクを説明してください。英語で出力して下さい。

Catherine of Alexandria
Saints Cosmas and Damian
Francis of Assisi
Uffizi
John the Baptist
Mary Magdalene
Sandro Botticelli


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サンタンブロージョの祭壇画

Category:1470s paintingsCategory:Paintings by Sandro Botticelli in the UffiziCategory:Paintings of the Madonna and Child by Sandro BotticelliCategory:Paintings of John the BaptistCategory:Paintings of Mary MagdaleneCategory:Paintings of Francis of AssisiCategory:Paintings of Saints Cosmas and DamianCategory:Paintings of Catherine of AlexandriaCategory:Altarpieces

Prompt: サンタンブロージョの祭壇画の外部リンクを説明してください。英語で出力して下さい。

Catherine of Alexandria
Saints Cosmas and Damian
Francis of Assisi
Uffizi
John the Baptist
Mary Magdalene
Sandro Botticelli


section

サンタンブロージョの祭壇画

Category:1470s paintingsCategory:Paintings by Sandro Botticelli in the UffiziCategory:Paintings of the Madonna and Child by Sandro BotticelliCategory:Paintings of John the BaptistCategory:Paintings of Mary MagdaleneCategory:Paintings of Francis of AssisiCategory:Paintings of Saints Cosmas and DamianCategory:Paintings of Catherine of AlexandriaCategory:Altarpieces

Prompt: サンタンブロージョの祭壇画はどのように外部リンクを説明していますか？英語で出力して下さい。

Catherine of Alexandria
Saints Cosmas and Damian
Francis of Assisi
Uffizi
John the Baptist
Mary Magdalene
Sandro Botticelli


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サンタンブロージョの祭壇画

Category:1470s paintingsCategory:Paintings by Sandro Botticelli in the UffiziCategory:Paintings of the Madonna and Child by Sandro BotticelliCategory:Paintings of John the BaptistCategory:Paintings of Mary MagdaleneCategory:Paintings of Francis of AssisiCategory:Paintings of Saints Cosmas and DamianCategory:Paintings of Catherine of AlexandriaCategory:Altarpieces

Prompt: サンタンブロージョの祭壇画に関して、どのように外部リンクが議論されていますか？英語で出力して下さい。

Catherine of Alexandria
Saints Cosmas and Damian
Francis of Assisi
Uffizi
John the Baptist
Mary Magdalene
Sandro Botticelli


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総督レオナルド・ロレダンの肖像

artist = Giovanni Bellini year =  medium = Oil on poplar panel movement = High Renaissance subject = Leonardo Loredan height_metric = 61.6 width_metric = 45.1 metric_unit = cm museum = National Gallery city = London}}The Portrait of Doge Leonardo Loredan  is a painting by Italian Renaissance master Giovanni Bellini, dating from . It portrays Leonardo Loredan, the Doge of Venice from 1501 to 1521, in his ceremonial garments with the corno ducale worn over a linen cap, and is signed  on a cartellino . It is on display in the National Gallery in London.

Prompt: 総督レオナルド・ロレダンの肖像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Doge of Venice
Giovanni Bellini
Italian Renaissance
Leonardo Loredan
London
National Gallery


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総督レオナルド・ロレダンの肖像

artist = Giovanni Bellini year =  medium = Oil on poplar panel movement = High Renaissance subject = Leonardo Loredan height_metric = 61.6 width_metric = 45.1 metric_unit = cm museum = National Gallery city = London}}The Portrait of Doge Leonardo Loredan  is a painting by Italian Renaissance master Giovanni Bellini, dating from . It portrays Leonardo Loredan, the Doge of Venice from 1501 to 1521, in his ceremonial garments with the corno ducale worn over a linen cap, and is signed  on a cartellino . It is on display in the National Gallery in London.

Prompt: 総督レオナルド・ロレダンの肖像の抽象を説明してください。英語で出力して下さい。

Doge of Venice
Giovanni Bellini
Italian Renaissance
Leonardo Loredan
London
National Gallery