subsubsection

システィーナ礼拝堂天井画

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

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

Cain and Abel
Charles de Tolnay
Japheth
Michelangelo


subsubsection

システィーナ礼拝堂天井画

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

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

Cain and Abel
Charles de Tolnay
Japheth
Michelangelo


subsubsection

システィーナ礼拝堂天井画

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

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

Cain and Abel
Charles de Tolnay
Japheth
Michelangelo


subsubsection

システィーナ礼拝堂天井画

Adjacent to the smaller biblical scenes in the first register and supported by the paired ignudi are ten medallions. In four of the five most highly finished, the space is crowded with figures in violent action, similar to Michelangelo's cartoon for the Battle of Cascina. The subjects depicted are somewhat ambiguous, with Vasari merely saying they are taken from the Book of Kings. According to Ulrich Pfisterer, Michelangelo adapted the medallions from woodcut illustrations in the 1490 Malermi Bible, the first Italian-language Bible, named after its translator, Nicolò Malermi. The medallions have been interpreted as depicting: Abraham about to sacrifice his son Isaac The Destruction of the Statue of Baal The worshippers of Baal being brutally slaughtered Uriah being beaten to death Nathan the priest condemning King David for murder and adultery King David's traitorous son Absalom caught by his hair in a tree while trying to escape and beheaded by David's troops Joab sneaking up on Abner to murder him Joram being hurled from a chariot onto his head Elijah being carried up to Heaven A subject which was either obliterated or left incomplete

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

Abner
Abraham
Absalom
Baal
Bible
David
Elijah
Isaac
Joab
Malermi Bible
Michelangelo


subsubsection

システィーナ礼拝堂天井画

Adjacent to the smaller biblical scenes in the first register and supported by the paired ignudi are ten medallions. In four of the five most highly finished, the space is crowded with figures in violent action, similar to Michelangelo's cartoon for the Battle of Cascina. The subjects depicted are somewhat ambiguous, with Vasari merely saying they are taken from the Book of Kings. According to Ulrich Pfisterer, Michelangelo adapted the medallions from woodcut illustrations in the 1490 Malermi Bible, the first Italian-language Bible, named after its translator, Nicolò Malermi. The medallions have been interpreted as depicting: Abraham about to sacrifice his son Isaac The Destruction of the Statue of Baal The worshippers of Baal being brutally slaughtered Uriah being beaten to death Nathan the priest condemning King David for murder and adultery King David's traitorous son Absalom caught by his hair in a tree while trying to escape and beheaded by David's troops Joab sneaking up on Abner to murder him Joram being hurled from a chariot onto his head Elijah being carried up to Heaven A subject which was either obliterated or left incomplete

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

Abner
Abraham
Absalom
Baal
Bible
David
Elijah
Isaac
Joab
Malermi Bible
Michelangelo


subsubsection

システィーナ礼拝堂天井画

Adjacent to the smaller biblical scenes in the first register and supported by the paired ignudi are ten medallions. In four of the five most highly finished, the space is crowded with figures in violent action, similar to Michelangelo's cartoon for the Battle of Cascina. The subjects depicted are somewhat ambiguous, with Vasari merely saying they are taken from the Book of Kings. According to Ulrich Pfisterer, Michelangelo adapted the medallions from woodcut illustrations in the 1490 Malermi Bible, the first Italian-language Bible, named after its translator, Nicolò Malermi. The medallions have been interpreted as depicting: Abraham about to sacrifice his son Isaac The Destruction of the Statue of Baal The worshippers of Baal being brutally slaughtered Uriah being beaten to death Nathan the priest condemning King David for murder and adultery King David's traitorous son Absalom caught by his hair in a tree while trying to escape and beheaded by David's troops Joab sneaking up on Abner to murder him Joram being hurled from a chariot onto his head Elijah being carried up to Heaven A subject which was either obliterated or left incomplete

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

Abner
Abraham
Absalom
Baal
Bible
David
Elijah
Isaac
Joab
Malermi Bible
Michelangelo


subsubsection

システィーナ礼拝堂天井画

Adjacent to the smaller biblical scenes in the first register and supported by the paired ignudi are ten medallions. In four of the five most highly finished, the space is crowded with figures in violent action, similar to Michelangelo's cartoon for the Battle of Cascina. The subjects depicted are somewhat ambiguous, with Vasari merely saying they are taken from the Book of Kings. According to Ulrich Pfisterer, Michelangelo adapted the medallions from woodcut illustrations in the 1490 Malermi Bible, the first Italian-language Bible, named after its translator, Nicolò Malermi. The medallions have been interpreted as depicting: Abraham about to sacrifice his son Isaac The Destruction of the Statue of Baal The worshippers of Baal being brutally slaughtered Uriah being beaten to death Nathan the priest condemning King David for murder and adultery King David's traitorous son Absalom caught by his hair in a tree while trying to escape and beheaded by David's troops Joab sneaking up on Abner to murder him Joram being hurled from a chariot onto his head Elijah being carried up to Heaven A subject which was either obliterated or left incomplete

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

Abner
Abraham
Absalom
Baal
Bible
David
Elijah
Isaac
Joab
Malermi Bible
Michelangelo


subsubsection

システィーナ礼拝堂天井画

Seven prophets of Israel are depicted on the ceiling, including the four so-called major prophetsIsaiah, Jeremiah, Ezekiel, and Danieland three of the Twelve Minor Prophets: Joel, Zechariah, and Jonah.The Book of Joel prophesies the triumph of Judah over its enemies, and includes the words, "Your sons and your daughters shall prophesy, your old men shall dream dreams [and] your young men shall see visions." Zechariah was the first Prophet to be painted.Condivi praises Jonah, including its foreshortening. In Vasari's description of the Prophets and Sibyls he is particularly high in his praise of Isaiah, saying, "anyone who examines this figure will see details taken from Nature herself, the true mother of the art of painting, and will see a figure that with close study can in broad terms teach all the precepts of good painting."

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

Book of Joel
Ezekiel
Isaiah
Jeremiah
Jonah


subsubsection

システィーナ礼拝堂天井画

Seven prophets of Israel are depicted on the ceiling, including the four so-called major prophetsIsaiah, Jeremiah, Ezekiel, and Danieland three of the Twelve Minor Prophets: Joel, Zechariah, and Jonah.The Book of Joel prophesies the triumph of Judah over its enemies, and includes the words, "Your sons and your daughters shall prophesy, your old men shall dream dreams [and] your young men shall see visions." Zechariah was the first Prophet to be painted.Condivi praises Jonah, including its foreshortening. In Vasari's description of the Prophets and Sibyls he is particularly high in his praise of Isaiah, saying, "anyone who examines this figure will see details taken from Nature herself, the true mother of the art of painting, and will see a figure that with close study can in broad terms teach all the precepts of good painting."

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

Book of Joel
Ezekiel
Isaiah
Jeremiah
Jonah


subsubsection

システィーナ礼拝堂天井画

Seven prophets of Israel are depicted on the ceiling, including the four so-called major prophetsIsaiah, Jeremiah, Ezekiel, and Danieland three of the Twelve Minor Prophets: Joel, Zechariah, and Jonah.The Book of Joel prophesies the triumph of Judah over its enemies, and includes the words, "Your sons and your daughters shall prophesy, your old men shall dream dreams [and] your young men shall see visions." Zechariah was the first Prophet to be painted.Condivi praises Jonah, including its foreshortening. In Vasari's description of the Prophets and Sibyls he is particularly high in his praise of Isaiah, saying, "anyone who examines this figure will see details taken from Nature herself, the true mother of the art of painting, and will see a figure that with close study can in broad terms teach all the precepts of good painting."

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

Book of Joel
Ezekiel
Isaiah
Jeremiah
Jonah


subsubsection

システィーナ礼拝堂天井画

Seven prophets of Israel are depicted on the ceiling, including the four so-called major prophetsIsaiah, Jeremiah, Ezekiel, and Danieland three of the Twelve Minor Prophets: Joel, Zechariah, and Jonah.The Book of Joel prophesies the triumph of Judah over its enemies, and includes the words, "Your sons and your daughters shall prophesy, your old men shall dream dreams [and] your young men shall see visions." Zechariah was the first Prophet to be painted.Condivi praises Jonah, including its foreshortening. In Vasari's description of the Prophets and Sibyls he is particularly high in his praise of Isaiah, saying, "anyone who examines this figure will see details taken from Nature herself, the true mother of the art of painting, and will see a figure that with close study can in broad terms teach all the precepts of good painting."

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

Book of Joel
Ezekiel
Isaiah
Jeremiah
Jonah


subsubsection

システィーナ礼拝堂天井画

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

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

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


subsubsection

システィーナ礼拝堂天井画

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

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

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


subsubsection

システィーナ礼拝堂天井画

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

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

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


subsubsection

システィーナ礼拝堂天井画

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

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

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


subsection

システィーナ礼拝堂天井画

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

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


subsection

システィーナ礼拝堂天井画

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

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


subsection

システィーナ礼拝堂天井画

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

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


subsection

システィーナ礼拝堂天井画

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

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


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の文脈で、アダムとイブと創世記の九つの場面を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の創世記の九つの場面に関するアダムとイブを説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画では、どのように創世記の九つの場面のアダムとイブが説明されていますか？英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の創世記の九つの場面におけるアダムとイブの特徴を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

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


subsection

システィーナ礼拝堂天井画

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

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


subsection

システィーナ礼拝堂天井画

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

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


subsection

システィーナ礼拝堂天井画

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

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


subsection

システィーナ礼拝堂天井画

Adjacent to the smaller biblical scenes in the first register and supported by the paired ignudi are ten medallions. In four of the five most highly finished, the space is crowded with figures in violent action, similar to Michelangelo's cartoon for the Battle of Cascina. The subjects depicted are somewhat ambiguous, with Vasari merely saying they are taken from the Book of Kings. According to Ulrich Pfisterer, Michelangelo adapted the medallions from woodcut illustrations in the 1490 Malermi Bible, the first Italian-language Bible, named after its translator, Nicolò Malermi. The medallions have been interpreted as depicting: Abraham about to sacrifice his son Isaac The Destruction of the Statue of Baal The worshippers of Baal being brutally slaughtered Uriah being beaten to death Nathan the priest condemning King David for murder and adultery King David's traitorous son Absalom caught by his hair in a tree while trying to escape and beheaded by David's troops Joab sneaking up on Abner to murder him Joram being hurled from a chariot onto his head Elijah being carried up to Heaven A subject which was either obliterated or left incomplete

Prompt: システィーナ礼拝堂天井画の文脈で、メダリオンと創世記の九つの場面を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Adjacent to the smaller biblical scenes in the first register and supported by the paired ignudi are ten medallions. In four of the five most highly finished, the space is crowded with figures in violent action, similar to Michelangelo's cartoon for the Battle of Cascina. The subjects depicted are somewhat ambiguous, with Vasari merely saying they are taken from the Book of Kings. According to Ulrich Pfisterer, Michelangelo adapted the medallions from woodcut illustrations in the 1490 Malermi Bible, the first Italian-language Bible, named after its translator, Nicolò Malermi. The medallions have been interpreted as depicting: Abraham about to sacrifice his son Isaac The Destruction of the Statue of Baal The worshippers of Baal being brutally slaughtered Uriah being beaten to death Nathan the priest condemning King David for murder and adultery King David's traitorous son Absalom caught by his hair in a tree while trying to escape and beheaded by David's troops Joab sneaking up on Abner to murder him Joram being hurled from a chariot onto his head Elijah being carried up to Heaven A subject which was either obliterated or left incomplete

Prompt: システィーナ礼拝堂天井画の創世記の九つの場面に関するメダリオンを説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Adjacent to the smaller biblical scenes in the first register and supported by the paired ignudi are ten medallions. In four of the five most highly finished, the space is crowded with figures in violent action, similar to Michelangelo's cartoon for the Battle of Cascina. The subjects depicted are somewhat ambiguous, with Vasari merely saying they are taken from the Book of Kings. According to Ulrich Pfisterer, Michelangelo adapted the medallions from woodcut illustrations in the 1490 Malermi Bible, the first Italian-language Bible, named after its translator, Nicolò Malermi. The medallions have been interpreted as depicting: Abraham about to sacrifice his son Isaac The Destruction of the Statue of Baal The worshippers of Baal being brutally slaughtered Uriah being beaten to death Nathan the priest condemning King David for murder and adultery King David's traitorous son Absalom caught by his hair in a tree while trying to escape and beheaded by David's troops Joab sneaking up on Abner to murder him Joram being hurled from a chariot onto his head Elijah being carried up to Heaven A subject which was either obliterated or left incomplete

Prompt: システィーナ礼拝堂天井画では、どのように創世記の九つの場面のメダリオンが説明されていますか？英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Adjacent to the smaller biblical scenes in the first register and supported by the paired ignudi are ten medallions. In four of the five most highly finished, the space is crowded with figures in violent action, similar to Michelangelo's cartoon for the Battle of Cascina. The subjects depicted are somewhat ambiguous, with Vasari merely saying they are taken from the Book of Kings. According to Ulrich Pfisterer, Michelangelo adapted the medallions from woodcut illustrations in the 1490 Malermi Bible, the first Italian-language Bible, named after its translator, Nicolò Malermi. The medallions have been interpreted as depicting: Abraham about to sacrifice his son Isaac The Destruction of the Statue of Baal The worshippers of Baal being brutally slaughtered Uriah being beaten to death Nathan the priest condemning King David for murder and adultery King David's traitorous son Absalom caught by his hair in a tree while trying to escape and beheaded by David's troops Joab sneaking up on Abner to murder him Joram being hurled from a chariot onto his head Elijah being carried up to Heaven A subject which was either obliterated or left incomplete

Prompt: システィーナ礼拝堂天井画の創世記の九つの場面におけるメダリオンの特徴を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Seven prophets of Israel are depicted on the ceiling, including the four so-called major prophetsIsaiah, Jeremiah, Ezekiel, and Danieland three of the Twelve Minor Prophets: Joel, Zechariah, and Jonah.The Book of Joel prophesies the triumph of Judah over its enemies, and includes the words, "Your sons and your daughters shall prophesy, your old men shall dream dreams [and] your young men shall see visions." Zechariah was the first Prophet to be painted.Condivi praises Jonah, including its foreshortening. In Vasari's description of the Prophets and Sibyls he is particularly high in his praise of Isaiah, saying, "anyone who examines this figure will see details taken from Nature herself, the true mother of the art of painting, and will see a figure that with close study can in broad terms teach all the precepts of good painting."

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


subsection

システィーナ礼拝堂天井画

Seven prophets of Israel are depicted on the ceiling, including the four so-called major prophetsIsaiah, Jeremiah, Ezekiel, and Danieland three of the Twelve Minor Prophets: Joel, Zechariah, and Jonah.The Book of Joel prophesies the triumph of Judah over its enemies, and includes the words, "Your sons and your daughters shall prophesy, your old men shall dream dreams [and] your young men shall see visions." Zechariah was the first Prophet to be painted.Condivi praises Jonah, including its foreshortening. In Vasari's description of the Prophets and Sibyls he is particularly high in his praise of Isaiah, saying, "anyone who examines this figure will see details taken from Nature herself, the true mother of the art of painting, and will see a figure that with close study can in broad terms teach all the precepts of good painting."

Prompt: システィーナ礼拝堂天井画の創世記の九つの場面に関する預言者を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Seven prophets of Israel are depicted on the ceiling, including the four so-called major prophetsIsaiah, Jeremiah, Ezekiel, and Danieland three of the Twelve Minor Prophets: Joel, Zechariah, and Jonah.The Book of Joel prophesies the triumph of Judah over its enemies, and includes the words, "Your sons and your daughters shall prophesy, your old men shall dream dreams [and] your young men shall see visions." Zechariah was the first Prophet to be painted.Condivi praises Jonah, including its foreshortening. In Vasari's description of the Prophets and Sibyls he is particularly high in his praise of Isaiah, saying, "anyone who examines this figure will see details taken from Nature herself, the true mother of the art of painting, and will see a figure that with close study can in broad terms teach all the precepts of good painting."

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


subsection

システィーナ礼拝堂天井画

Seven prophets of Israel are depicted on the ceiling, including the four so-called major prophetsIsaiah, Jeremiah, Ezekiel, and Danieland three of the Twelve Minor Prophets: Joel, Zechariah, and Jonah.The Book of Joel prophesies the triumph of Judah over its enemies, and includes the words, "Your sons and your daughters shall prophesy, your old men shall dream dreams [and] your young men shall see visions." Zechariah was the first Prophet to be painted.Condivi praises Jonah, including its foreshortening. In Vasari's description of the Prophets and Sibyls he is particularly high in his praise of Isaiah, saying, "anyone who examines this figure will see details taken from Nature herself, the true mother of the art of painting, and will see a figure that with close study can in broad terms teach all the precepts of good painting."

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


subsection

システィーナ礼拝堂天井画

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

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


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の創世記の九つの場面に関するシビュラを説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

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


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の創世記の九つの場面におけるシビュラの特徴を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の文脈で、創造と十二の預言者を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の十二の預言者に関する創造を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画では、どのように十二の預言者の創造が説明されていますか？英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の十二の預言者における創造の特徴を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の文脈で、アダムとイブと十二の預言者を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の十二の預言者に関するアダムとイブを説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画では、どのように十二の預言者のアダムとイブが説明されていますか？英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の十二の預言者におけるアダムとイブの特徴を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の文脈で、ノアと十二の預言者を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の十二の預言者に関するノアを説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画では、どのように十二の預言者のノアが説明されていますか？英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の十二の預言者におけるノアの特徴を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Adjacent to the smaller biblical scenes in the first register and supported by the paired ignudi are ten medallions. In four of the five most highly finished, the space is crowded with figures in violent action, similar to Michelangelo's cartoon for the Battle of Cascina. The subjects depicted are somewhat ambiguous, with Vasari merely saying they are taken from the Book of Kings. According to Ulrich Pfisterer, Michelangelo adapted the medallions from woodcut illustrations in the 1490 Malermi Bible, the first Italian-language Bible, named after its translator, Nicolò Malermi. The medallions have been interpreted as depicting: Abraham about to sacrifice his son Isaac The Destruction of the Statue of Baal The worshippers of Baal being brutally slaughtered Uriah being beaten to death Nathan the priest condemning King David for murder and adultery King David's traitorous son Absalom caught by his hair in a tree while trying to escape and beheaded by David's troops Joab sneaking up on Abner to murder him Joram being hurled from a chariot onto his head Elijah being carried up to Heaven A subject which was either obliterated or left incomplete

Prompt: システィーナ礼拝堂天井画の文脈で、メダリオンと十二の預言者を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Adjacent to the smaller biblical scenes in the first register and supported by the paired ignudi are ten medallions. In four of the five most highly finished, the space is crowded with figures in violent action, similar to Michelangelo's cartoon for the Battle of Cascina. The subjects depicted are somewhat ambiguous, with Vasari merely saying they are taken from the Book of Kings. According to Ulrich Pfisterer, Michelangelo adapted the medallions from woodcut illustrations in the 1490 Malermi Bible, the first Italian-language Bible, named after its translator, Nicolò Malermi. The medallions have been interpreted as depicting: Abraham about to sacrifice his son Isaac The Destruction of the Statue of Baal The worshippers of Baal being brutally slaughtered Uriah being beaten to death Nathan the priest condemning King David for murder and adultery King David's traitorous son Absalom caught by his hair in a tree while trying to escape and beheaded by David's troops Joab sneaking up on Abner to murder him Joram being hurled from a chariot onto his head Elijah being carried up to Heaven A subject which was either obliterated or left incomplete

Prompt: システィーナ礼拝堂天井画の十二の預言者に関するメダリオンを説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Adjacent to the smaller biblical scenes in the first register and supported by the paired ignudi are ten medallions. In four of the five most highly finished, the space is crowded with figures in violent action, similar to Michelangelo's cartoon for the Battle of Cascina. The subjects depicted are somewhat ambiguous, with Vasari merely saying they are taken from the Book of Kings. According to Ulrich Pfisterer, Michelangelo adapted the medallions from woodcut illustrations in the 1490 Malermi Bible, the first Italian-language Bible, named after its translator, Nicolò Malermi. The medallions have been interpreted as depicting: Abraham about to sacrifice his son Isaac The Destruction of the Statue of Baal The worshippers of Baal being brutally slaughtered Uriah being beaten to death Nathan the priest condemning King David for murder and adultery King David's traitorous son Absalom caught by his hair in a tree while trying to escape and beheaded by David's troops Joab sneaking up on Abner to murder him Joram being hurled from a chariot onto his head Elijah being carried up to Heaven A subject which was either obliterated or left incomplete

Prompt: システィーナ礼拝堂天井画では、どのように十二の預言者のメダリオンが説明されていますか？英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Adjacent to the smaller biblical scenes in the first register and supported by the paired ignudi are ten medallions. In four of the five most highly finished, the space is crowded with figures in violent action, similar to Michelangelo's cartoon for the Battle of Cascina. The subjects depicted are somewhat ambiguous, with Vasari merely saying they are taken from the Book of Kings. According to Ulrich Pfisterer, Michelangelo adapted the medallions from woodcut illustrations in the 1490 Malermi Bible, the first Italian-language Bible, named after its translator, Nicolò Malermi. The medallions have been interpreted as depicting: Abraham about to sacrifice his son Isaac The Destruction of the Statue of Baal The worshippers of Baal being brutally slaughtered Uriah being beaten to death Nathan the priest condemning King David for murder and adultery King David's traitorous son Absalom caught by his hair in a tree while trying to escape and beheaded by David's troops Joab sneaking up on Abner to murder him Joram being hurled from a chariot onto his head Elijah being carried up to Heaven A subject which was either obliterated or left incomplete

Prompt: システィーナ礼拝堂天井画の十二の預言者におけるメダリオンの特徴を説明してください。英語で出力して下さい。


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システィーナ礼拝堂天井画

Seven prophets of Israel are depicted on the ceiling, including the four so-called major prophetsIsaiah, Jeremiah, Ezekiel, and Danieland three of the Twelve Minor Prophets: Joel, Zechariah, and Jonah.The Book of Joel prophesies the triumph of Judah over its enemies, and includes the words, "Your sons and your daughters shall prophesy, your old men shall dream dreams [and] your young men shall see visions." Zechariah was the first Prophet to be painted.Condivi praises Jonah, including its foreshortening. In Vasari's description of the Prophets and Sibyls he is particularly high in his praise of Isaiah, saying, "anyone who examines this figure will see details taken from Nature herself, the true mother of the art of painting, and will see a figure that with close study can in broad terms teach all the precepts of good painting."

Prompt: システィーナ礼拝堂天井画の文脈で、預言者と十二の預言者を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Seven prophets of Israel are depicted on the ceiling, including the four so-called major prophetsIsaiah, Jeremiah, Ezekiel, and Danieland three of the Twelve Minor Prophets: Joel, Zechariah, and Jonah.The Book of Joel prophesies the triumph of Judah over its enemies, and includes the words, "Your sons and your daughters shall prophesy, your old men shall dream dreams [and] your young men shall see visions." Zechariah was the first Prophet to be painted.Condivi praises Jonah, including its foreshortening. In Vasari's description of the Prophets and Sibyls he is particularly high in his praise of Isaiah, saying, "anyone who examines this figure will see details taken from Nature herself, the true mother of the art of painting, and will see a figure that with close study can in broad terms teach all the precepts of good painting."

Prompt: システィーナ礼拝堂天井画の十二の預言者に関する預言者を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Seven prophets of Israel are depicted on the ceiling, including the four so-called major prophetsIsaiah, Jeremiah, Ezekiel, and Danieland three of the Twelve Minor Prophets: Joel, Zechariah, and Jonah.The Book of Joel prophesies the triumph of Judah over its enemies, and includes the words, "Your sons and your daughters shall prophesy, your old men shall dream dreams [and] your young men shall see visions." Zechariah was the first Prophet to be painted.Condivi praises Jonah, including its foreshortening. In Vasari's description of the Prophets and Sibyls he is particularly high in his praise of Isaiah, saying, "anyone who examines this figure will see details taken from Nature herself, the true mother of the art of painting, and will see a figure that with close study can in broad terms teach all the precepts of good painting."

Prompt: システィーナ礼拝堂天井画では、どのように十二の預言者の預言者が説明されていますか？英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

Seven prophets of Israel are depicted on the ceiling, including the four so-called major prophetsIsaiah, Jeremiah, Ezekiel, and Danieland three of the Twelve Minor Prophets: Joel, Zechariah, and Jonah.The Book of Joel prophesies the triumph of Judah over its enemies, and includes the words, "Your sons and your daughters shall prophesy, your old men shall dream dreams [and] your young men shall see visions." Zechariah was the first Prophet to be painted.Condivi praises Jonah, including its foreshortening. In Vasari's description of the Prophets and Sibyls he is particularly high in his praise of Isaiah, saying, "anyone who examines this figure will see details taken from Nature herself, the true mother of the art of painting, and will see a figure that with close study can in broad terms teach all the precepts of good painting."

Prompt: システィーナ礼拝堂天井画の十二の預言者における預言者の特徴を説明してください。英語で出力して下さい。


subsection

システィーナ礼拝堂天井画

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

Prompt: システィーナ礼拝堂天井画の文脈で、シビュラと十二の預言者を説明してください。英語で出力して下さい。