subsection

チャージング・ブル

As a prominent symbol of Wall Street and capitalism generally, Charging Bull has been the frequent target of vandalism, particularly as an act of civil disobedience. Shortly after the collapse of Lehman Brothers during the 2008 financial crisis, the bull's scrotum was painted blue. Leading up to a protest on May 12, 2011, the bull was tagged in at least two locations, once again including the scrotum, with the Anarchist "circle-A" iconography, prompting the New York City Police Department to temporarily install barricades around the sculpture. The barriers returned that fall during the Occupy Wall Street protests, and remained in place until March 25, 2014, despite a unanimous resolution from the local community board saying they constituted a hazard to pedestrians.On September 14, 2017, three months after U.S. president Donald Trump formally announced the United States' withdrawal from the Paris Agreement on climate change, an artist attempting to highlight U.S. popular support for the accord doused the head of the sculpture in a blue pigment.In 2019, Charging Bull was vandalized twice. On September 7, a man from Dallas struck the sculpture with a banjo, leaving a sizable dent in the horn. Professional Bull Riders donated money from its ticket sales to pay for fixes to the horn, and Di Modica personally came to the site the following month to repair his creation. Then, on October 7, activists from Extinction Rebellion hurled fake blood over the sculpture and staged a die-in on the surrounding traffic plaza. In June 2020, Charging Bull was covered in a tarp and monitored by police to protect it from vandalism attempts during the George Floyd protests in New York City.

Prompt: チャージング・ブルでは、どのように批判の器物損壊が説明されていますか？英語で出力して下さい。

Bull
Dallas
Donald Trump
Extinction Rebellion
George Floyd protests in New York City
Lehman Brothers
New York City
New York City Police Department
Occupy Wall Street
Paris Agreement
Professional Bull Riders
Wall Street


subsection

チャージング・ブル

As a prominent symbol of Wall Street and capitalism generally, Charging Bull has been the frequent target of vandalism, particularly as an act of civil disobedience. Shortly after the collapse of Lehman Brothers during the 2008 financial crisis, the bull's scrotum was painted blue. Leading up to a protest on May 12, 2011, the bull was tagged in at least two locations, once again including the scrotum, with the Anarchist "circle-A" iconography, prompting the New York City Police Department to temporarily install barricades around the sculpture. The barriers returned that fall during the Occupy Wall Street protests, and remained in place until March 25, 2014, despite a unanimous resolution from the local community board saying they constituted a hazard to pedestrians.On September 14, 2017, three months after U.S. president Donald Trump formally announced the United States' withdrawal from the Paris Agreement on climate change, an artist attempting to highlight U.S. popular support for the accord doused the head of the sculpture in a blue pigment.In 2019, Charging Bull was vandalized twice. On September 7, a man from Dallas struck the sculpture with a banjo, leaving a sizable dent in the horn. Professional Bull Riders donated money from its ticket sales to pay for fixes to the horn, and Di Modica personally came to the site the following month to repair his creation. Then, on October 7, activists from Extinction Rebellion hurled fake blood over the sculpture and staged a die-in on the surrounding traffic plaza. In June 2020, Charging Bull was covered in a tarp and monitored by police to protect it from vandalism attempts during the George Floyd protests in New York City.

Prompt: チャージング・ブルの批判における器物損壊の特徴を説明してください。英語で出力して下さい。

Bull
Dallas
Donald Trump
Extinction Rebellion
George Floyd protests in New York City
Lehman Brothers
New York City
New York City Police Department
Occupy Wall Street
Paris Agreement
Professional Bull Riders
Wall Street


section

ラオコーン像

}}The statue of ocoön and His Sons, also called the ocoön Group , has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures in the statue are nearly life-sized, with the entire group measuring just over  in height. The sculpture depicts the Trojan priest ocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly ocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially ocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the Hellenistic baroque" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date  now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.

Prompt: ラオコーン像に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Christian art
Passion of Jesus
Pliny the Elder


section

ラオコーン像

}}The statue of ocoön and His Sons, also called the ocoön Group , has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures in the statue are nearly life-sized, with the entire group measuring just over  in height. The sculpture depicts the Trojan priest ocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly ocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially ocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the Hellenistic baroque" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date  now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.

Prompt: ラオコーン像の抽象を説明してください。英語で出力して下さい。

Christian art
Passion of Jesus
Pliny the Elder


section

ラオコーン像

}}The statue of ocoön and His Sons, also called the ocoön Group , has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures in the statue are nearly life-sized, with the entire group measuring just over  in height. The sculpture depicts the Trojan priest ocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly ocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially ocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the Hellenistic baroque" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date  now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.

Prompt: ラオコーン像はどのように抽象を説明していますか？英語で出力して下さい。

Christian art
Passion of Jesus
Pliny the Elder


section

ラオコーン像

}}The statue of ocoön and His Sons, also called the ocoön Group , has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures in the statue are nearly life-sized, with the entire group measuring just over  in height. The sculpture depicts the Trojan priest ocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly ocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially ocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered "one of the finest examples of the Hellenistic baroque" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date  now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.

Prompt: ラオコーン像に関して、どのように抽象が議論されていますか？英語で出力して下さい。

Christian art
Passion of Jesus
Pliny the Elder


section

ラオコーン像

The story of ocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid , but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, ocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving ocoön himself alive to suffer.  In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: ocoön was either punished for doing wrong, or for being right. Pietro Aretino thought so, praising the group in 1537:In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.

Prompt: ラオコーン像に焦点を当てて、その主語を説明してください。英語で出力して下さい。

Aeneid
Apollo
Epic Cycle
Homer
Pietro Aretino


section

ラオコーン像

The story of ocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid , but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, ocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving ocoön himself alive to suffer.  In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: ocoön was either punished for doing wrong, or for being right. Pietro Aretino thought so, praising the group in 1537:In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.

Prompt: ラオコーン像の主語を説明してください。英語で出力して下さい。

Aeneid
Apollo
Epic Cycle
Homer
Pietro Aretino


section

ラオコーン像

The story of ocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid , but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, ocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving ocoön himself alive to suffer.  In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: ocoön was either punished for doing wrong, or for being right. Pietro Aretino thought so, praising the group in 1537:In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.

Prompt: ラオコーン像はどのように主語を説明していますか？英語で出力して下さい。

Aeneid
Apollo
Epic Cycle
Homer
Pietro Aretino


section

ラオコーン像

The story of ocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid , but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, ocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving ocoön himself alive to suffer.  In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: ocoön was either punished for doing wrong, or for being right. Pietro Aretino thought so, praising the group in 1537:In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.

Prompt: ラオコーン像に関して、どのように主語が議論されていますか？英語で出力して下さい。

Aeneid
Apollo
Epic Cycle
Homer
Pietro Aretino


section

ラオコーン像

The discovery of the ocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the ocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of ocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the ocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.

Prompt: ラオコーン像に焦点を当てて、その影響を説明してください。英語で出力して下さい。

Baccio Bandinelli
Baroque
Belvedere Torso
Dying Slave
Florence
Homer
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II
Pope Leo X


section

ラオコーン像

The discovery of the ocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the ocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of ocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the ocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.

Prompt: ラオコーン像の影響を説明してください。英語で出力して下さい。

Baccio Bandinelli
Baroque
Belvedere Torso
Dying Slave
Florence
Homer
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II
Pope Leo X


section

ラオコーン像

The discovery of the ocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the ocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of ocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the ocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.

Prompt: ラオコーン像はどのように影響を説明していますか？英語で出力して下さい。

Baccio Bandinelli
Baroque
Belvedere Torso
Dying Slave
Florence
Homer
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II
Pope Leo X


section

ラオコーン像

The discovery of the ocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the ocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of ocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the ocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.

Prompt: ラオコーン像に関して、どのように影響が議論されていますか？英語で出力して下さい。

Baccio Bandinelli
Baroque
Belvedere Torso
Dying Slave
Florence
Homer
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II
Pope Leo X


section

ラオコーン像

The location where the buried statue was found in 1506 was always known to be "in the vineyard of Felice De Fredis" on the Oppian Hill , as noted in the document recording the sale of the group to the Pope.  But over time, knowledge of the site's precise location was lost, beyond "vague" statements such as Sangallo's "near Santa Maria Maggiore"  or it being "near the site of the Domus Aurea" ; in modern terms near the Colosseum.  An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives , which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys,  in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it. but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the ocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.

Prompt: ラオコーン像に焦点を当てて、その発見場所を説明してください。英語で出力して下さい。

Colosseum
Domus Aurea
Gardens of Maecenas
Oppian Hill


section

ラオコーン像

The location where the buried statue was found in 1506 was always known to be "in the vineyard of Felice De Fredis" on the Oppian Hill , as noted in the document recording the sale of the group to the Pope.  But over time, knowledge of the site's precise location was lost, beyond "vague" statements such as Sangallo's "near Santa Maria Maggiore"  or it being "near the site of the Domus Aurea" ; in modern terms near the Colosseum.  An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives , which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys,  in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it. but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the ocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.

Prompt: ラオコーン像の発見場所を説明してください。英語で出力して下さい。

Colosseum
Domus Aurea
Gardens of Maecenas
Oppian Hill


section

ラオコーン像

The location where the buried statue was found in 1506 was always known to be "in the vineyard of Felice De Fredis" on the Oppian Hill , as noted in the document recording the sale of the group to the Pope.  But over time, knowledge of the site's precise location was lost, beyond "vague" statements such as Sangallo's "near Santa Maria Maggiore"  or it being "near the site of the Domus Aurea" ; in modern terms near the Colosseum.  An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives , which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys,  in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it. but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the ocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.

Prompt: ラオコーン像はどのように発見場所を説明していますか？英語で出力して下さい。

Colosseum
Domus Aurea
Gardens of Maecenas
Oppian Hill


section

ラオコーン像

The location where the buried statue was found in 1506 was always known to be "in the vineyard of Felice De Fredis" on the Oppian Hill , as noted in the document recording the sale of the group to the Pope.  But over time, knowledge of the site's precise location was lost, beyond "vague" statements such as Sangallo's "near Santa Maria Maggiore"  or it being "near the site of the Domus Aurea" ; in modern terms near the Colosseum.  An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives , which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys,  in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it. but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the ocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.

Prompt: ラオコーン像に関して、どのように発見場所が議論されていますか？英語で出力して下さい。

Colosseum
Domus Aurea
Gardens of Maecenas
Oppian Hill


section

ラオコーン像

Andreae, Bernard, okoon und die Gründung Roms, 1988, Philipp von Zabern,  Andreae, Bernard, okoon und die Kunst von Pergamon. Die Hybris der Giganten, 1991, Frankfurt am Main,  Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press,  Beard, Mary, Times Literary Supplement, "Arms and the Man: The restoration and reinvention of classical sculpture", 2 February 2001,  Boardman, John , The Oxford History of Classical Art, 1993, Oxford University Press,  "Chronology": Frischer, Bernard, Digital Sculpture Project: ocoon,  Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various editions, page refs from Pelican edition of 1960. Cook, R.M., Greek Art, Penguin, 1986 ,  Farinella, Vincenzo, Vatican Museums, Classical Art, 1985, Scala Haskell, Francis, and Penny, Nicholas, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500–1900 , cat. no. 52, pp. 243–47 Herrmann, Ariel, review of Sperlonga und Vergil by Roland Hampe, The Art Bulletin, Vol. 56, No. 2, Medieval Issue , pp. 275–277,  Howard, Seymour, "ocoon Rerestored", American Journal of Archaeology, Vol. 93, No. 3 , pp. 417–422,  Isager, Jacob, Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art, 2013, Routledge, ,  Muth, Susanne, "okoon", in: Giuliani, Luca , Meisterwerke der antiken Kunst, 2005, C. H. Beck, , pp. 72–93. Rice, E. E., "Prosopographika Rhodiaka", The Annual of the British School at Athens, Vol. 81, , pp. 209–250,  Schmälzle, Christoph, okoon in der Frühen Neuzeit, 2 vols., Stroemfeld, 2018,  Spivey, Nigel ,  Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,  Stewart, A., "To Entertain an Emperor: Sperlonga, okoon and Tiberius at the Dinner-Table", The Journal of Roman Studies, Vol. 67, , pp. 76–90,  "Volpe and Parisi": Digital Sculpture Project: ocoon.  Warden, P. Gregory, "The Domus Aurea Reconsidered", Journal of the Society of Architectural Historians, Vol. 40, No. 4 , pp. 271–278, ,

Prompt: ラオコーン像に焦点を当てて、その参考文献を説明してください。英語で出力して下さい。

Domus Aurea
Oxford University Press
Pergamon


section

ラオコーン像

Andreae, Bernard, okoon und die Gründung Roms, 1988, Philipp von Zabern,  Andreae, Bernard, okoon und die Kunst von Pergamon. Die Hybris der Giganten, 1991, Frankfurt am Main,  Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press,  Beard, Mary, Times Literary Supplement, "Arms and the Man: The restoration and reinvention of classical sculpture", 2 February 2001,  Boardman, John , The Oxford History of Classical Art, 1993, Oxford University Press,  "Chronology": Frischer, Bernard, Digital Sculpture Project: ocoon,  Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various editions, page refs from Pelican edition of 1960. Cook, R.M., Greek Art, Penguin, 1986 ,  Farinella, Vincenzo, Vatican Museums, Classical Art, 1985, Scala Haskell, Francis, and Penny, Nicholas, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500–1900 , cat. no. 52, pp. 243–47 Herrmann, Ariel, review of Sperlonga und Vergil by Roland Hampe, The Art Bulletin, Vol. 56, No. 2, Medieval Issue , pp. 275–277,  Howard, Seymour, "ocoon Rerestored", American Journal of Archaeology, Vol. 93, No. 3 , pp. 417–422,  Isager, Jacob, Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art, 2013, Routledge, ,  Muth, Susanne, "okoon", in: Giuliani, Luca , Meisterwerke der antiken Kunst, 2005, C. H. Beck, , pp. 72–93. Rice, E. E., "Prosopographika Rhodiaka", The Annual of the British School at Athens, Vol. 81, , pp. 209–250,  Schmälzle, Christoph, okoon in der Frühen Neuzeit, 2 vols., Stroemfeld, 2018,  Spivey, Nigel ,  Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,  Stewart, A., "To Entertain an Emperor: Sperlonga, okoon and Tiberius at the Dinner-Table", The Journal of Roman Studies, Vol. 67, , pp. 76–90,  "Volpe and Parisi": Digital Sculpture Project: ocoon.  Warden, P. Gregory, "The Domus Aurea Reconsidered", Journal of the Society of Architectural Historians, Vol. 40, No. 4 , pp. 271–278, ,

Prompt: ラオコーン像の参考文献を説明してください。英語で出力して下さい。

Domus Aurea
Oxford University Press
Pergamon


section

ラオコーン像

Andreae, Bernard, okoon und die Gründung Roms, 1988, Philipp von Zabern,  Andreae, Bernard, okoon und die Kunst von Pergamon. Die Hybris der Giganten, 1991, Frankfurt am Main,  Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press,  Beard, Mary, Times Literary Supplement, "Arms and the Man: The restoration and reinvention of classical sculpture", 2 February 2001,  Boardman, John , The Oxford History of Classical Art, 1993, Oxford University Press,  "Chronology": Frischer, Bernard, Digital Sculpture Project: ocoon,  Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various editions, page refs from Pelican edition of 1960. Cook, R.M., Greek Art, Penguin, 1986 ,  Farinella, Vincenzo, Vatican Museums, Classical Art, 1985, Scala Haskell, Francis, and Penny, Nicholas, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500–1900 , cat. no. 52, pp. 243–47 Herrmann, Ariel, review of Sperlonga und Vergil by Roland Hampe, The Art Bulletin, Vol. 56, No. 2, Medieval Issue , pp. 275–277,  Howard, Seymour, "ocoon Rerestored", American Journal of Archaeology, Vol. 93, No. 3 , pp. 417–422,  Isager, Jacob, Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art, 2013, Routledge, ,  Muth, Susanne, "okoon", in: Giuliani, Luca , Meisterwerke der antiken Kunst, 2005, C. H. Beck, , pp. 72–93. Rice, E. E., "Prosopographika Rhodiaka", The Annual of the British School at Athens, Vol. 81, , pp. 209–250,  Schmälzle, Christoph, okoon in der Frühen Neuzeit, 2 vols., Stroemfeld, 2018,  Spivey, Nigel ,  Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,  Stewart, A., "To Entertain an Emperor: Sperlonga, okoon and Tiberius at the Dinner-Table", The Journal of Roman Studies, Vol. 67, , pp. 76–90,  "Volpe and Parisi": Digital Sculpture Project: ocoon.  Warden, P. Gregory, "The Domus Aurea Reconsidered", Journal of the Society of Architectural Historians, Vol. 40, No. 4 , pp. 271–278, ,

Prompt: ラオコーン像はどのように参考文献を説明していますか？英語で出力して下さい。

Domus Aurea
Oxford University Press
Pergamon


section

ラオコーン像

Andreae, Bernard, okoon und die Gründung Roms, 1988, Philipp von Zabern,  Andreae, Bernard, okoon und die Kunst von Pergamon. Die Hybris der Giganten, 1991, Frankfurt am Main,  Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press,  Beard, Mary, Times Literary Supplement, "Arms and the Man: The restoration and reinvention of classical sculpture", 2 February 2001,  Boardman, John , The Oxford History of Classical Art, 1993, Oxford University Press,  "Chronology": Frischer, Bernard, Digital Sculpture Project: ocoon,  Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various editions, page refs from Pelican edition of 1960. Cook, R.M., Greek Art, Penguin, 1986 ,  Farinella, Vincenzo, Vatican Museums, Classical Art, 1985, Scala Haskell, Francis, and Penny, Nicholas, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500–1900 , cat. no. 52, pp. 243–47 Herrmann, Ariel, review of Sperlonga und Vergil by Roland Hampe, The Art Bulletin, Vol. 56, No. 2, Medieval Issue , pp. 275–277,  Howard, Seymour, "ocoon Rerestored", American Journal of Archaeology, Vol. 93, No. 3 , pp. 417–422,  Isager, Jacob, Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art, 2013, Routledge, ,  Muth, Susanne, "okoon", in: Giuliani, Luca , Meisterwerke der antiken Kunst, 2005, C. H. Beck, , pp. 72–93. Rice, E. E., "Prosopographika Rhodiaka", The Annual of the British School at Athens, Vol. 81, , pp. 209–250,  Schmälzle, Christoph, okoon in der Frühen Neuzeit, 2 vols., Stroemfeld, 2018,  Spivey, Nigel ,  Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,  Stewart, A., "To Entertain an Emperor: Sperlonga, okoon and Tiberius at the Dinner-Table", The Journal of Roman Studies, Vol. 67, , pp. 76–90,  "Volpe and Parisi": Digital Sculpture Project: ocoon.  Warden, P. Gregory, "The Domus Aurea Reconsidered", Journal of the Society of Architectural Historians, Vol. 40, No. 4 , pp. 271–278, ,

Prompt: ラオコーン像に関して、どのように参考文献が議論されていますか？英語で出力して下さい。

Domus Aurea
Oxford University Press
Pergamon


subsection

ラオコーン像

The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is "looser and wilder in its principles" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Prompt: ラオコーン像の文脈で、古代と主語を説明してください。英語で出力して下さい。


subsection

ラオコーン像

The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is "looser and wilder in its principles" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Prompt: ラオコーン像の主語に関する古代を説明してください。英語で出力して下さい。


subsection

ラオコーン像

The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is "looser and wilder in its principles" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Prompt: ラオコーン像では、どのように主語の古代が説明されていますか？英語で出力して下さい。


subsection

ラオコーン像

The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is "looser and wilder in its principles" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Prompt: ラオコーン像の主語における古代の特徴を説明してください。英語で出力して下さい。


subsection

ラオコーン像

The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.

Prompt: ラオコーン像の文脈で、ルネサンスと主語を説明してください。英語で出力して下さい。

Battle of Waterloo
Francesco da Sangallo
François Girardon
Giuliano da Sangallo
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II


subsection

ラオコーン像

The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.

Prompt: ラオコーン像の主語に関するルネサンスを説明してください。英語で出力して下さい。

Battle of Waterloo
Francesco da Sangallo
François Girardon
Giuliano da Sangallo
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II


subsection

ラオコーン像

The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.

Prompt: ラオコーン像では、どのように主語のルネサンスが説明されていますか？英語で出力して下さい。

Battle of Waterloo
Francesco da Sangallo
François Girardon
Giuliano da Sangallo
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II


subsection

ラオコーン像

The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.

Prompt: ラオコーン像の主語におけるルネサンスの特徴を説明してください。英語で出力して下さい。

Battle of Waterloo
Francesco da Sangallo
François Girardon
Giuliano da Sangallo
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II


subsection

ラオコーン像

When the statue was discovered, ocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by ocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of ocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, and replaced it. According to Paolo Liverani: "Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other."In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures "show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations".  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs.

Prompt: ラオコーン像の文脈で、修復と主語を説明してください。英語で出力して下さい。

Agostino Cornacchini
Antonio Canova
Jacopo Sansovino
Ludwig Pollak
Michelangelo


subsection

ラオコーン像

When the statue was discovered, ocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by ocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of ocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, and replaced it. According to Paolo Liverani: "Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other."In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures "show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations".  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs.

Prompt: ラオコーン像の主語に関する修復を説明してください。英語で出力して下さい。

Agostino Cornacchini
Antonio Canova
Jacopo Sansovino
Ludwig Pollak
Michelangelo


subsection

ラオコーン像

When the statue was discovered, ocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by ocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of ocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, and replaced it. According to Paolo Liverani: "Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other."In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures "show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations".  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs.

Prompt: ラオコーン像では、どのように主語の修復が説明されていますか？英語で出力して下さい。

Agostino Cornacchini
Antonio Canova
Jacopo Sansovino
Ludwig Pollak
Michelangelo


subsection

ラオコーン像

When the statue was discovered, ocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by ocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of ocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, and replaced it. According to Paolo Liverani: "Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other."In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures "show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations".  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs.

Prompt: ラオコーン像の主語における修復の特徴を説明してください。英語で出力して下さい。

Agostino Cornacchini
Antonio Canova
Jacopo Sansovino
Ludwig Pollak
Michelangelo


subsection

ラオコーン像

Pliny's description of ocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann  wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay ocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the ocoon "A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine,we are impressed with it,it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print ocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of ocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue , which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect ocoön of himself with his stockings" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its "disgusting convulsions" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakesthe fiery serpents of the Book of Numbers. He invited contrast between the "meagre lines and contemptible tortures of the ocoon" and the "awfulness and quietness" of Michelangelo, saying "the slaughter of the Dardan priest" was "entirely wanting" in sublimity. at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.

Prompt: ラオコーン像の文脈で、ラオコーンと主語を説明してください。英語で出力して下さい。

A Christmas Carol
Book of Numbers
Charles Dickens
Classical sculpture
Gotthold Ephraim Lessing
Horatio Greenough
Johann Joachim Winckelmann
John Ruskin
Michelangelo


subsection

ラオコーン像

Pliny's description of ocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann  wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay ocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the ocoon "A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine,we are impressed with it,it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print ocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of ocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue , which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect ocoön of himself with his stockings" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its "disgusting convulsions" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakesthe fiery serpents of the Book of Numbers. He invited contrast between the "meagre lines and contemptible tortures of the ocoon" and the "awfulness and quietness" of Michelangelo, saying "the slaughter of the Dardan priest" was "entirely wanting" in sublimity. at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.

Prompt: ラオコーン像の主語に関するラオコーンを説明してください。英語で出力して下さい。

A Christmas Carol
Book of Numbers
Charles Dickens
Classical sculpture
Gotthold Ephraim Lessing
Horatio Greenough
Johann Joachim Winckelmann
John Ruskin
Michelangelo


subsection

ラオコーン像

Pliny's description of ocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann  wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay ocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the ocoon "A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine,we are impressed with it,it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print ocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of ocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue , which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect ocoön of himself with his stockings" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its "disgusting convulsions" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakesthe fiery serpents of the Book of Numbers. He invited contrast between the "meagre lines and contemptible tortures of the ocoon" and the "awfulness and quietness" of Michelangelo, saying "the slaughter of the Dardan priest" was "entirely wanting" in sublimity. at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.

Prompt: ラオコーン像では、どのように主語のラオコーンが説明されていますか？英語で出力して下さい。

A Christmas Carol
Book of Numbers
Charles Dickens
Classical sculpture
Gotthold Ephraim Lessing
Horatio Greenough
Johann Joachim Winckelmann
John Ruskin
Michelangelo


subsection

ラオコーン像

Pliny's description of ocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann  wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay ocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the ocoon "A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine,we are impressed with it,it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print ocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of ocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue , which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect ocoön of himself with his stockings" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its "disgusting convulsions" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakesthe fiery serpents of the Book of Numbers. He invited contrast between the "meagre lines and contemptible tortures of the ocoon" and the "awfulness and quietness" of Michelangelo, saying "the slaughter of the Dardan priest" was "entirely wanting" in sublimity. at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.

Prompt: ラオコーン像の主語におけるラオコーンの特徴を説明してください。英語で出力して下さい。

A Christmas Carol
Book of Numbers
Charles Dickens
Classical sculpture
Gotthold Ephraim Lessing
Horatio Greenough
Johann Joachim Winckelmann
John Ruskin
Michelangelo


subsubsection

ラオコーン像

In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests "he regards it as an original".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as "in concert"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: "[the artists] at the behest of council designed a group...", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight "signatures"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.

Prompt: ラオコーン像の主語に焦点を当てて、主語についてのプリニウスを説明してください。英語で出力して下さい。


subsubsection

ラオコーン像

In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests "he regards it as an original".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as "in concert"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: "[the artists] at the behest of council designed a group...", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight "signatures"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.

Prompt: ラオコーン像の主語の主語に関するプリニウスを説明してください。英語で出力して下さい。


subsubsection

ラオコーン像

In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests "he regards it as an original".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as "in concert"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: "[the artists] at the behest of council designed a group...", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight "signatures"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.

Prompt: ラオコーン像に関して、主語の主語はプリニウスをどのように取り入れていますか？英語で出力して下さい。


subsubsection

ラオコーン像

In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests "he regards it as an original".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as "in concert"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: "[the artists] at the behest of council designed a group...", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight "signatures"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.

Prompt: ラオコーン像の主語について見たとき、その主語のプリニウスをどのように議論しますか？英語で出力して下さい。


subsection

ラオコーン像

The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is "looser and wilder in its principles" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Prompt: ラオコーン像の文脈で、古代と影響を説明してください。英語で出力して下さい。


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ラオコーン像

The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is "looser and wilder in its principles" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Prompt: ラオコーン像の影響に関する古代を説明してください。英語で出力して下さい。


subsection

ラオコーン像

The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is "looser and wilder in its principles" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Prompt: ラオコーン像では、どのように影響の古代が説明されていますか？英語で出力して下さい。


subsection

ラオコーン像

The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is "looser and wilder in its principles" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.

Prompt: ラオコーン像の影響における古代の特徴を説明してください。英語で出力して下さい。


subsection

ラオコーン像

The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.

Prompt: ラオコーン像の文脈で、ルネサンスと影響を説明してください。英語で出力して下さい。

Battle of Waterloo
Francesco da Sangallo
François Girardon
Giuliano da Sangallo
Louvre
Michelangelo
Louvre
Napoleon
Pope Julius II