subsection

対抗宗教改革

The Council of Trent met sporadically from December 13, 1545, to December 4, 1563, to reform many parts of the Catholic Church. The 22nd session of the council, which met in 1562, dealt with Church music in Canon 8 in the section of "Abuses in the Sacrifice of the Mass" during a meeting of the council on September 10, 1562.Canon 8 is often quoted as the Council of Trent's decree on Church music, but that is a glaring misunderstanding of the canon; it was only a proposed decree. In fact, the delegates at the council never officially accepted canon 8 in its popular form but bishops of Granada, Coimbra, and Segovia pushed for the long statement about music to be attenuated and many other prelates of the council joined enthusiastically. The only restrictions actually given by the 22nd session was to keep secular elements out of the music, making polyphony implicitly allowed. The issue of textual intelligibility did not make its way into the final edicts of the 22nd session but were only featured in preliminary debates. The 22nd session only prohibited "lascivious" and "profane" things to be intermingled with the music but Paleotti, in his Acts, brings to equal importance the issues of intelligibility.The idea that the council called to remove all polyphony from the Church is widespread, but there is no documentary evidence to support that claim. It is possible, however, that some of the Fathers had proposed such a measure. The emperor Ferdinand I, Holy Roman Emperor has been attributed to be the "saviour of Church music" because he said polyphony ought not to be driven out of the Church. But Ferdinand was most likely an alarmist and read into the council the possibility of a total ban on polyphony. The Council of Trent did not focus on the style of music but on attitudes of worship and reverence during the Mass.

Prompt: 対抗宗教改革では、どのようにフランスの第22回会期中の改革が説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent met sporadically from December 13, 1545, to December 4, 1563, to reform many parts of the Catholic Church. The 22nd session of the council, which met in 1562, dealt with Church music in Canon 8 in the section of "Abuses in the Sacrifice of the Mass" during a meeting of the council on September 10, 1562.Canon 8 is often quoted as the Council of Trent's decree on Church music, but that is a glaring misunderstanding of the canon; it was only a proposed decree. In fact, the delegates at the council never officially accepted canon 8 in its popular form but bishops of Granada, Coimbra, and Segovia pushed for the long statement about music to be attenuated and many other prelates of the council joined enthusiastically. The only restrictions actually given by the 22nd session was to keep secular elements out of the music, making polyphony implicitly allowed. The issue of textual intelligibility did not make its way into the final edicts of the 22nd session but were only featured in preliminary debates. The 22nd session only prohibited "lascivious" and "profane" things to be intermingled with the music but Paleotti, in his Acts, brings to equal importance the issues of intelligibility.The idea that the council called to remove all polyphony from the Church is widespread, but there is no documentary evidence to support that claim. It is possible, however, that some of the Fathers had proposed such a measure. The emperor Ferdinand I, Holy Roman Emperor has been attributed to be the "saviour of Church music" because he said polyphony ought not to be driven out of the Church. But Ferdinand was most likely an alarmist and read into the council the possibility of a total ban on polyphony. The Council of Trent did not focus on the style of music but on attitudes of worship and reverence during the Mass.

Prompt: 対抗宗教改革のフランスにおける第22回会期中の改革の特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革の文脈で、救世主-伝説とフランスを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革のフランスに関する救世主-伝説を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革では、どのようにフランスの救世主-伝説が説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革のフランスにおける救世主-伝説の特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革の文脈で、トリエント公会議後の改革とフランスを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革のフランスに関するトリエント公会議後の改革を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革では、どのようにフランスのトリエント公会議後の改革が説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革のフランスにおけるトリエント公会議後の改革の特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

upright=1The Cologne War  was a conflict between Protestant and Catholic factions that devastated the Electorate of Cologne. After Archbishop Gebhard Truchsess von Waldburg, the prince-elector ruling the area, converted to Protestantism, Catholics elected another archbishop, Ernst of Bavaria, and successfully defeated Gebhard and his allies.

Prompt: 対抗宗教改革の文脈で、ケルンとバロック芸術を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

upright=1The Cologne War  was a conflict between Protestant and Catholic factions that devastated the Electorate of Cologne. After Archbishop Gebhard Truchsess von Waldburg, the prince-elector ruling the area, converted to Protestantism, Catholics elected another archbishop, Ernst of Bavaria, and successfully defeated Gebhard and his allies.

Prompt: 対抗宗教改革のバロック芸術に関するケルンを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

upright=1The Cologne War  was a conflict between Protestant and Catholic factions that devastated the Electorate of Cologne. After Archbishop Gebhard Truchsess von Waldburg, the prince-elector ruling the area, converted to Protestantism, Catholics elected another archbishop, Ernst of Bavaria, and successfully defeated Gebhard and his allies.

Prompt: 対抗宗教改革では、どのようにバロック芸術のケルンが説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

upright=1The Cologne War  was a conflict between Protestant and Catholic factions that devastated the Electorate of Cologne. After Archbishop Gebhard Truchsess von Waldburg, the prince-elector ruling the area, converted to Protestantism, Catholics elected another archbishop, Ernst of Bavaria, and successfully defeated Gebhard and his allies.

Prompt: 対抗宗教改革のバロック芸術におけるケルンの特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The effects of the Council of Trent and the Counter-Reformation also paved the way for Ruthenian Orthodox Christians to return to full communion with the Catholic Church while preserving their Byzantine tradition. Pope Clement VIII received the Ruthenian bishops into full communion on February 7, 1596. Under the treaty of the Union of Brest, Rome recognized the Ruthenians' continued practice of Byzantine liturgical tradition, married clergy, and consecration of bishops from within the Ruthenian Christian tradition. Moreover, the treaty specifically exempts Ruthenians from accepting the Filioque clause and Purgatory as a condition for reconciliation.

Prompt: 対抗宗教改革の文脈で、ウクライナとバロック芸術を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The effects of the Council of Trent and the Counter-Reformation also paved the way for Ruthenian Orthodox Christians to return to full communion with the Catholic Church while preserving their Byzantine tradition. Pope Clement VIII received the Ruthenian bishops into full communion on February 7, 1596. Under the treaty of the Union of Brest, Rome recognized the Ruthenians' continued practice of Byzantine liturgical tradition, married clergy, and consecration of bishops from within the Ruthenian Christian tradition. Moreover, the treaty specifically exempts Ruthenians from accepting the Filioque clause and Purgatory as a condition for reconciliation.

Prompt: 対抗宗教改革のバロック芸術に関するウクライナを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The effects of the Council of Trent and the Counter-Reformation also paved the way for Ruthenian Orthodox Christians to return to full communion with the Catholic Church while preserving their Byzantine tradition. Pope Clement VIII received the Ruthenian bishops into full communion on February 7, 1596. Under the treaty of the Union of Brest, Rome recognized the Ruthenians' continued practice of Byzantine liturgical tradition, married clergy, and consecration of bishops from within the Ruthenian Christian tradition. Moreover, the treaty specifically exempts Ruthenians from accepting the Filioque clause and Purgatory as a condition for reconciliation.

Prompt: 対抗宗教改革では、どのようにバロック芸術のウクライナが説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The effects of the Council of Trent and the Counter-Reformation also paved the way for Ruthenian Orthodox Christians to return to full communion with the Catholic Church while preserving their Byzantine tradition. Pope Clement VIII received the Ruthenian bishops into full communion on February 7, 1596. Under the treaty of the Union of Brest, Rome recognized the Ruthenians' continued practice of Byzantine liturgical tradition, married clergy, and consecration of bishops from within the Ruthenian Christian tradition. Moreover, the treaty specifically exempts Ruthenians from accepting the Filioque clause and Purgatory as a condition for reconciliation.

Prompt: 対抗宗教改革のバロック芸術におけるウクライナの特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The st Judgment, a fresco in the Sistine Chapel by Michelangelo , came under persistent attack in the Counter-Reformation for, among other things, nudity , not showing Christ seated or bearded, and including the pagan figure of Charon.Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image, and further instructed that:</ref>}}Ten years after the decree Paolo Veronese was summoned by the Holy Office to explain why his st Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Holy Office: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period. He just changed the title to The Feast in the House of Levi, still an episode from the Gospels, but a less doctrinally central one, and no more was said.The number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. Much traditional iconography considered without adequate scriptural foundation was in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.According to the great medievalist Émile Mâle, this was "the death of medieval art", but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings. Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul Rubens, Guido Reni, Anthony van Dyck, Bernini, Zurbarán, Rembrandt and Bartolomé Esteban Murillo.

Prompt: 対抗宗教改革の文脈で、ディクリーソナートとバロック芸術を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The st Judgment, a fresco in the Sistine Chapel by Michelangelo , came under persistent attack in the Counter-Reformation for, among other things, nudity , not showing Christ seated or bearded, and including the pagan figure of Charon.Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image, and further instructed that:</ref>}}Ten years after the decree Paolo Veronese was summoned by the Holy Office to explain why his st Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Holy Office: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period. He just changed the title to The Feast in the House of Levi, still an episode from the Gospels, but a less doctrinally central one, and no more was said.The number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. Much traditional iconography considered without adequate scriptural foundation was in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.According to the great medievalist Émile Mâle, this was "the death of medieval art", but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings. Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul Rubens, Guido Reni, Anthony van Dyck, Bernini, Zurbarán, Rembrandt and Bartolomé Esteban Murillo.

Prompt: 対抗宗教改革のバロック芸術に関するディクリーソナートを説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The st Judgment, a fresco in the Sistine Chapel by Michelangelo , came under persistent attack in the Counter-Reformation for, among other things, nudity , not showing Christ seated or bearded, and including the pagan figure of Charon.Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image, and further instructed that:</ref>}}Ten years after the decree Paolo Veronese was summoned by the Holy Office to explain why his st Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Holy Office: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period. He just changed the title to The Feast in the House of Levi, still an episode from the Gospels, but a less doctrinally central one, and no more was said.The number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. Much traditional iconography considered without adequate scriptural foundation was in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.According to the great medievalist Émile Mâle, this was "the death of medieval art", but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings. Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul Rubens, Guido Reni, Anthony van Dyck, Bernini, Zurbarán, Rembrandt and Bartolomé Esteban Murillo.

Prompt: 対抗宗教改革では、どのようにバロック芸術のディクリーソナートが説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The st Judgment, a fresco in the Sistine Chapel by Michelangelo , came under persistent attack in the Counter-Reformation for, among other things, nudity , not showing Christ seated or bearded, and including the pagan figure of Charon.Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style striving for effect, that concerned many Churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images.The decree confirmed the traditional doctrine that images only represented the person depicted, and that veneration to them was paid to the person, not the image, and further instructed that:</ref>}}Ten years after the decree Paolo Veronese was summoned by the Holy Office to explain why his st Supper, a huge canvas for the refectory of a monastery, contained, in the words of the Holy Office: "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast. Veronese was told that he must change his painting within a three-month period. He just changed the title to The Feast in the House of Levi, still an episode from the Gospels, but a less doctrinally central one, and no more was said.The number of such decorative treatments of religious subjects declined sharply, as did "unbecomingly or confusedly arranged" Mannerist pieces, as a number of books, notably by the Flemish theologian Molanus, Charles Borromeo and Cardinal Gabriele Paleotti, and instructions by local bishops, amplified the decrees, often going into minute detail on what was acceptable. Much traditional iconography considered without adequate scriptural foundation was in effect prohibited, as was any inclusion of classical pagan elements in religious art, and almost all nudity, including that of the infant Jesus.According to the great medievalist Émile Mâle, this was "the death of medieval art", but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings. Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul Rubens, Guido Reni, Anthony van Dyck, Bernini, Zurbarán, Rembrandt and Bartolomé Esteban Murillo.

Prompt: 対抗宗教改革のバロック芸術におけるディクリーソナートの特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent is believed to be the apex of the Counter-Reformation's influence on Church music in the 16th century. However, the council's pronouncements on music were not the first attempt at reform. The Catholic Church had spoken out against a perceived abuse of music used in the Mass before the Council of Trent ever convened to discuss music in 1562. The manipulation of the Creed and using non-liturgical songs was addressed in 1503, and secular singing and the intelligibility of the text in the delivery of psalmody in 1492. The delegates at the council were just a link in the long chain of Church clergy who had pushed for a reform of the musical liturgy reaching back as far as 1322.Probably the most extreme move at reform came late in 1562 when, instructed by the legates, Egidio Foscarari  and Gabriele Paleotti  began work on reforming religious orders and their practices involving the liturgy. The reforms prescribed to the cloisters of nuns, which included omitting the use of an organ, prohibiting professional musicians, and banishing polyphonic singing, were much more strict than any of the council's edicts or even those to be found in the Palestrina legend.Fueling the cry for reform from many ecclesial figures was the compositional technique popular in the 15th and 16th centuries of using musical material and even the accompanying texts from other compositions such as motets, madrigals, and chansons. Several voices singing different texts in different languages made any of the text difficult to distinguish from the mixture of words and notes. The parody mass would then contain melodies  and words from songs that could have been, and often were, on sensual subjects. The musical liturgy of the Church was being more and more influenced by secular tunes and styles. The Council of Paris, which met in 1528, as well as the Council of Trent were making attempts to restore the sense of sacredness to the Church setting and what was appropriate for the Mass. The councils were simply responding to issues of their day.

Prompt: 対抗宗教改革の文脈で、トリエント公会議前の改革とバロック芸術を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent is believed to be the apex of the Counter-Reformation's influence on Church music in the 16th century. However, the council's pronouncements on music were not the first attempt at reform. The Catholic Church had spoken out against a perceived abuse of music used in the Mass before the Council of Trent ever convened to discuss music in 1562. The manipulation of the Creed and using non-liturgical songs was addressed in 1503, and secular singing and the intelligibility of the text in the delivery of psalmody in 1492. The delegates at the council were just a link in the long chain of Church clergy who had pushed for a reform of the musical liturgy reaching back as far as 1322.Probably the most extreme move at reform came late in 1562 when, instructed by the legates, Egidio Foscarari  and Gabriele Paleotti  began work on reforming religious orders and their practices involving the liturgy. The reforms prescribed to the cloisters of nuns, which included omitting the use of an organ, prohibiting professional musicians, and banishing polyphonic singing, were much more strict than any of the council's edicts or even those to be found in the Palestrina legend.Fueling the cry for reform from many ecclesial figures was the compositional technique popular in the 15th and 16th centuries of using musical material and even the accompanying texts from other compositions such as motets, madrigals, and chansons. Several voices singing different texts in different languages made any of the text difficult to distinguish from the mixture of words and notes. The parody mass would then contain melodies  and words from songs that could have been, and often were, on sensual subjects. The musical liturgy of the Church was being more and more influenced by secular tunes and styles. The Council of Paris, which met in 1528, as well as the Council of Trent were making attempts to restore the sense of sacredness to the Church setting and what was appropriate for the Mass. The councils were simply responding to issues of their day.

Prompt: 対抗宗教改革のバロック芸術に関するトリエント公会議前の改革を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent is believed to be the apex of the Counter-Reformation's influence on Church music in the 16th century. However, the council's pronouncements on music were not the first attempt at reform. The Catholic Church had spoken out against a perceived abuse of music used in the Mass before the Council of Trent ever convened to discuss music in 1562. The manipulation of the Creed and using non-liturgical songs was addressed in 1503, and secular singing and the intelligibility of the text in the delivery of psalmody in 1492. The delegates at the council were just a link in the long chain of Church clergy who had pushed for a reform of the musical liturgy reaching back as far as 1322.Probably the most extreme move at reform came late in 1562 when, instructed by the legates, Egidio Foscarari  and Gabriele Paleotti  began work on reforming religious orders and their practices involving the liturgy. The reforms prescribed to the cloisters of nuns, which included omitting the use of an organ, prohibiting professional musicians, and banishing polyphonic singing, were much more strict than any of the council's edicts or even those to be found in the Palestrina legend.Fueling the cry for reform from many ecclesial figures was the compositional technique popular in the 15th and 16th centuries of using musical material and even the accompanying texts from other compositions such as motets, madrigals, and chansons. Several voices singing different texts in different languages made any of the text difficult to distinguish from the mixture of words and notes. The parody mass would then contain melodies  and words from songs that could have been, and often were, on sensual subjects. The musical liturgy of the Church was being more and more influenced by secular tunes and styles. The Council of Paris, which met in 1528, as well as the Council of Trent were making attempts to restore the sense of sacredness to the Church setting and what was appropriate for the Mass. The councils were simply responding to issues of their day.

Prompt: 対抗宗教改革では、どのようにバロック芸術のトリエント公会議前の改革が説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent is believed to be the apex of the Counter-Reformation's influence on Church music in the 16th century. However, the council's pronouncements on music were not the first attempt at reform. The Catholic Church had spoken out against a perceived abuse of music used in the Mass before the Council of Trent ever convened to discuss music in 1562. The manipulation of the Creed and using non-liturgical songs was addressed in 1503, and secular singing and the intelligibility of the text in the delivery of psalmody in 1492. The delegates at the council were just a link in the long chain of Church clergy who had pushed for a reform of the musical liturgy reaching back as far as 1322.Probably the most extreme move at reform came late in 1562 when, instructed by the legates, Egidio Foscarari  and Gabriele Paleotti  began work on reforming religious orders and their practices involving the liturgy. The reforms prescribed to the cloisters of nuns, which included omitting the use of an organ, prohibiting professional musicians, and banishing polyphonic singing, were much more strict than any of the council's edicts or even those to be found in the Palestrina legend.Fueling the cry for reform from many ecclesial figures was the compositional technique popular in the 15th and 16th centuries of using musical material and even the accompanying texts from other compositions such as motets, madrigals, and chansons. Several voices singing different texts in different languages made any of the text difficult to distinguish from the mixture of words and notes. The parody mass would then contain melodies  and words from songs that could have been, and often were, on sensual subjects. The musical liturgy of the Church was being more and more influenced by secular tunes and styles. The Council of Paris, which met in 1528, as well as the Council of Trent were making attempts to restore the sense of sacredness to the Church setting and what was appropriate for the Mass. The councils were simply responding to issues of their day.

Prompt: 対抗宗教改革のバロック芸術におけるトリエント公会議前の改革の特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent met sporadically from December 13, 1545, to December 4, 1563, to reform many parts of the Catholic Church. The 22nd session of the council, which met in 1562, dealt with Church music in Canon 8 in the section of "Abuses in the Sacrifice of the Mass" during a meeting of the council on September 10, 1562.Canon 8 is often quoted as the Council of Trent's decree on Church music, but that is a glaring misunderstanding of the canon; it was only a proposed decree. In fact, the delegates at the council never officially accepted canon 8 in its popular form but bishops of Granada, Coimbra, and Segovia pushed for the long statement about music to be attenuated and many other prelates of the council joined enthusiastically. The only restrictions actually given by the 22nd session was to keep secular elements out of the music, making polyphony implicitly allowed. The issue of textual intelligibility did not make its way into the final edicts of the 22nd session but were only featured in preliminary debates. The 22nd session only prohibited "lascivious" and "profane" things to be intermingled with the music but Paleotti, in his Acts, brings to equal importance the issues of intelligibility.The idea that the council called to remove all polyphony from the Church is widespread, but there is no documentary evidence to support that claim. It is possible, however, that some of the Fathers had proposed such a measure. The emperor Ferdinand I, Holy Roman Emperor has been attributed to be the "saviour of Church music" because he said polyphony ought not to be driven out of the Church. But Ferdinand was most likely an alarmist and read into the council the possibility of a total ban on polyphony. The Council of Trent did not focus on the style of music but on attitudes of worship and reverence during the Mass.

Prompt: 対抗宗教改革の文脈で、第22回会期中の改革とバロック芸術を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent met sporadically from December 13, 1545, to December 4, 1563, to reform many parts of the Catholic Church. The 22nd session of the council, which met in 1562, dealt with Church music in Canon 8 in the section of "Abuses in the Sacrifice of the Mass" during a meeting of the council on September 10, 1562.Canon 8 is often quoted as the Council of Trent's decree on Church music, but that is a glaring misunderstanding of the canon; it was only a proposed decree. In fact, the delegates at the council never officially accepted canon 8 in its popular form but bishops of Granada, Coimbra, and Segovia pushed for the long statement about music to be attenuated and many other prelates of the council joined enthusiastically. The only restrictions actually given by the 22nd session was to keep secular elements out of the music, making polyphony implicitly allowed. The issue of textual intelligibility did not make its way into the final edicts of the 22nd session but were only featured in preliminary debates. The 22nd session only prohibited "lascivious" and "profane" things to be intermingled with the music but Paleotti, in his Acts, brings to equal importance the issues of intelligibility.The idea that the council called to remove all polyphony from the Church is widespread, but there is no documentary evidence to support that claim. It is possible, however, that some of the Fathers had proposed such a measure. The emperor Ferdinand I, Holy Roman Emperor has been attributed to be the "saviour of Church music" because he said polyphony ought not to be driven out of the Church. But Ferdinand was most likely an alarmist and read into the council the possibility of a total ban on polyphony. The Council of Trent did not focus on the style of music but on attitudes of worship and reverence during the Mass.

Prompt: 対抗宗教改革のバロック芸術に関する第22回会期中の改革を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent met sporadically from December 13, 1545, to December 4, 1563, to reform many parts of the Catholic Church. The 22nd session of the council, which met in 1562, dealt with Church music in Canon 8 in the section of "Abuses in the Sacrifice of the Mass" during a meeting of the council on September 10, 1562.Canon 8 is often quoted as the Council of Trent's decree on Church music, but that is a glaring misunderstanding of the canon; it was only a proposed decree. In fact, the delegates at the council never officially accepted canon 8 in its popular form but bishops of Granada, Coimbra, and Segovia pushed for the long statement about music to be attenuated and many other prelates of the council joined enthusiastically. The only restrictions actually given by the 22nd session was to keep secular elements out of the music, making polyphony implicitly allowed. The issue of textual intelligibility did not make its way into the final edicts of the 22nd session but were only featured in preliminary debates. The 22nd session only prohibited "lascivious" and "profane" things to be intermingled with the music but Paleotti, in his Acts, brings to equal importance the issues of intelligibility.The idea that the council called to remove all polyphony from the Church is widespread, but there is no documentary evidence to support that claim. It is possible, however, that some of the Fathers had proposed such a measure. The emperor Ferdinand I, Holy Roman Emperor has been attributed to be the "saviour of Church music" because he said polyphony ought not to be driven out of the Church. But Ferdinand was most likely an alarmist and read into the council the possibility of a total ban on polyphony. The Council of Trent did not focus on the style of music but on attitudes of worship and reverence during the Mass.

Prompt: 対抗宗教改革では、どのようにバロック芸術の第22回会期中の改革が説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The Council of Trent met sporadically from December 13, 1545, to December 4, 1563, to reform many parts of the Catholic Church. The 22nd session of the council, which met in 1562, dealt with Church music in Canon 8 in the section of "Abuses in the Sacrifice of the Mass" during a meeting of the council on September 10, 1562.Canon 8 is often quoted as the Council of Trent's decree on Church music, but that is a glaring misunderstanding of the canon; it was only a proposed decree. In fact, the delegates at the council never officially accepted canon 8 in its popular form but bishops of Granada, Coimbra, and Segovia pushed for the long statement about music to be attenuated and many other prelates of the council joined enthusiastically. The only restrictions actually given by the 22nd session was to keep secular elements out of the music, making polyphony implicitly allowed. The issue of textual intelligibility did not make its way into the final edicts of the 22nd session but were only featured in preliminary debates. The 22nd session only prohibited "lascivious" and "profane" things to be intermingled with the music but Paleotti, in his Acts, brings to equal importance the issues of intelligibility.The idea that the council called to remove all polyphony from the Church is widespread, but there is no documentary evidence to support that claim. It is possible, however, that some of the Fathers had proposed such a measure. The emperor Ferdinand I, Holy Roman Emperor has been attributed to be the "saviour of Church music" because he said polyphony ought not to be driven out of the Church. But Ferdinand was most likely an alarmist and read into the council the possibility of a total ban on polyphony. The Council of Trent did not focus on the style of music but on attitudes of worship and reverence during the Mass.

Prompt: 対抗宗教改革のバロック芸術における第22回会期中の改革の特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革の文脈で、救世主-伝説とバロック芸術を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革のバロック芸術に関する救世主-伝説を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革では、どのようにバロック芸術の救世主-伝説が説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina , a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli  was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Prompt: 対抗宗教改革のバロック芸術における救世主-伝説の特徴を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革の文脈で、トリエント公会議後の改革とバロック芸術を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革のバロック芸術に関するトリエント公会議後の改革を説明してください。英語で出力して下さい。


subsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革では、どのようにバロック芸術のトリエント公会議後の改革が説明されていますか？英語で出力して下さい。


subsection

対抗宗教改革

200pxrightLike his contemporary Palestrina, the Flemish composer Jacobus de Kerle  was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di sso  was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses." It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, uda and "Spiritual Madrigal" . Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, uda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Prompt: 対抗宗教改革のバロック芸術におけるトリエント公会議後の改革の特徴を説明してください。英語で出力して下さい。


section

サモトラケのニケ

italic title = no  artist =   year   =  200–190 BC  years ago  type   = Parian marble  height_metric = 244  metric_unit=cm  imperial_unit=in  city   = Paris  museum = Louvre}}The Winged Victory of Samothrace, or the Niké of Samothrace, is a votive monument originally found on the island of Samothrace, north of the Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BC .  It is composed of a statue representing the goddess Niké , whose head and arms are missing and its base is in the shape of a ship's bow.The total height of the monument is 5.57 meters  including the socle; the statue alone measures 2.75 meters . The sculpture is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.Winged Victory has been exhibited at the Louvre Museum in Paris, at the top of the main staircase, since 1884. Greece is seeking the return of the sculpture.

Prompt: サモトラケのニケに焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Louvre
Louvre
Parian marble
Paris
Samothrace


section

サモトラケのニケ

italic title = no  artist =   year   =  200–190 BC  years ago  type   = Parian marble  height_metric = 244  metric_unit=cm  imperial_unit=in  city   = Paris  museum = Louvre}}The Winged Victory of Samothrace, or the Niké of Samothrace, is a votive monument originally found on the island of Samothrace, north of the Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BC .  It is composed of a statue representing the goddess Niké , whose head and arms are missing and its base is in the shape of a ship's bow.The total height of the monument is 5.57 meters  including the socle; the statue alone measures 2.75 meters . The sculpture is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.Winged Victory has been exhibited at the Louvre Museum in Paris, at the top of the main staircase, since 1884. Greece is seeking the return of the sculpture.

Prompt: サモトラケのニケの抽象を説明してください。英語で出力して下さい。

Louvre
Louvre
Parian marble
Paris
Samothrace


section

サモトラケのニケ

italic title = no  artist =   year   =  200–190 BC  years ago  type   = Parian marble  height_metric = 244  metric_unit=cm  imperial_unit=in  city   = Paris  museum = Louvre}}The Winged Victory of Samothrace, or the Niké of Samothrace, is a votive monument originally found on the island of Samothrace, north of the Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BC .  It is composed of a statue representing the goddess Niké , whose head and arms are missing and its base is in the shape of a ship's bow.The total height of the monument is 5.57 meters  including the socle; the statue alone measures 2.75 meters . The sculpture is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.Winged Victory has been exhibited at the Louvre Museum in Paris, at the top of the main staircase, since 1884. Greece is seeking the return of the sculpture.

Prompt: サモトラケのニケ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。

Louvre
Louvre
Parian marble
Paris
Samothrace


section

サモトラケのニケ

italic title = no  artist =   year   =  200–190 BC  years ago  type   = Parian marble  height_metric = 244  metric_unit=cm  imperial_unit=in  city   = Paris  museum = Louvre}}The Winged Victory of Samothrace, or the Niké of Samothrace, is a votive monument originally found on the island of Samothrace, north of the Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BC .  It is composed of a statue representing the goddess Niké , whose head and arms are missing and its base is in the shape of a ship's bow.The total height of the monument is 5.57 meters  including the socle; the statue alone measures 2.75 meters . The sculpture is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.Winged Victory has been exhibited at the Louvre Museum in Paris, at the top of the main staircase, since 1884. Greece is seeking the return of the sculpture.

Prompt: サモトラケのニケに関して、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。

Louvre
Louvre
Parian marble
Paris
Samothrace


subsection

サモトラケのニケ

In 1863, Charles Champoiseau , acting chief of the Consulate of France in Adrianopolis , undertook from March 6 to May 7 the exploration of the ruins of the sanctuary of the Great Gods on the island of Samothrace. On April 13, 1863, he discovered part of the bust and the body of a large female statue in white marble accompanied by numerous fragments of drapery and feathers. He recognised this as the goddess Niké, Victory, traditionally represented in Greek antiquity as a winged woman. In the same place was a jumble of about fifteen large grey marble blocks whose form or function was unclear: he concluded it was a funerary monument. He decided to send the statue and fragments to the Louvre Museum, and to leave the large blocks of grey marble on site. Departing Samothrace at the beginning of May 1863, the statue arrived in Toulon at the end of August and in Paris on May 11, 1864.A first restoration was undertaken by Adrien Prévost de Longpérier, then curator of Antiquities at the Louvre, between 1864 and 1866. The main part of the body  is erected on a stone base, and largely completed by fragments of drapery, including the fold of himation that flares behind the legs on the Nike. The remaining fragments – the right part of the bust and a large part of the left wing – too incomplete to be placed on the statue, are stored. Given the exceptional quality of the sculpture, Longpérier decided to present the body alone, exhibited until 1880 among the Roman statues first in the Caryatid Room, then briefly in the Tiber Room.From 1875, Austrian archaeologists who, under the direction of Alexander Conze, had been excavating the buildings of the Samothrace sanctuary since 1870, studied the location where Champoiseau had found the Victory. Architect Aloïs Hauser drew the grey marble blocks left on-site and apprehended that, once properly assembled, they form the tapered bow of a warship, and that, placed on a base of slabs, they served as the basis for the statue. Tetradrachmas of Demetrios Poliorcetes struck between 301 and 292 BC. representing a Victory on the bow of a ship, wings outstretched, give a good idea of this type of monument. For his part, the specialist in ancient sculpture Otto Benndorf is responsible for studying the body of the statue and the fragments kept in reserve at the Louvre, and restored the statue blowing into a trumpet that she raises with her right arm, as on the coin. The two men thus managed to make a model of the Samothrace monument as a whole.Champoiseau, informed of this research, undertook a second mission to Samothrace from August 15 to 29, 1879, for the sole purpose of sending the blocks of the base and the slabs of the Victory base to the Louvre. He abandoned on the island the largest block of the base, unsculpted. Two months later, the blocks reached the Louvre Museum, where in December an assembly test was carried out in a courtyard.The curator of the Department of Antiquities, Félix Ravaisson-Mollien, then decided to reconstruct the monument, in accordance with the model of Austrian archaeologists. On the body of the statue, between 1880 and 1883 he restored the belt area in plaster, placed the right part of the marble bust, recreated the left part in plaster, attached the left marble wing with a metal frame, and replaced the entire right wing with a plaster model. But he did not reconstruct the head, arms or feet. The ship-shaped base is rebuilt and completed, except for the broken bow of the keel, and there is still a large void at the top aft. The statue was placed directly on the base. The entire monument was then placed from the front, on the upper landing of the Daru staircase, the main staircase of the museum.Champoiseau returned to Samothrace a third time in 1891 to try to obtain the Victory's head, but without success. He did however bring back debris from the drapery and base, a small fragment with an inscription and fragments of coloured plaster.

Prompt: サモトラケのニケの文脈で、19世紀にとヌルを説明してください。英語で出力して下さい。

Adrien Prévost de Longpérier
Alexander Conze
Félix Ravaisson-Mollien
Louvre
Louvre
Paris
Samothrace
Tetradrachm
Toulon


subsection

サモトラケのニケ

In 1863, Charles Champoiseau , acting chief of the Consulate of France in Adrianopolis , undertook from March 6 to May 7 the exploration of the ruins of the sanctuary of the Great Gods on the island of Samothrace. On April 13, 1863, he discovered part of the bust and the body of a large female statue in white marble accompanied by numerous fragments of drapery and feathers. He recognised this as the goddess Niké, Victory, traditionally represented in Greek antiquity as a winged woman. In the same place was a jumble of about fifteen large grey marble blocks whose form or function was unclear: he concluded it was a funerary monument. He decided to send the statue and fragments to the Louvre Museum, and to leave the large blocks of grey marble on site. Departing Samothrace at the beginning of May 1863, the statue arrived in Toulon at the end of August and in Paris on May 11, 1864.A first restoration was undertaken by Adrien Prévost de Longpérier, then curator of Antiquities at the Louvre, between 1864 and 1866. The main part of the body  is erected on a stone base, and largely completed by fragments of drapery, including the fold of himation that flares behind the legs on the Nike. The remaining fragments – the right part of the bust and a large part of the left wing – too incomplete to be placed on the statue, are stored. Given the exceptional quality of the sculpture, Longpérier decided to present the body alone, exhibited until 1880 among the Roman statues first in the Caryatid Room, then briefly in the Tiber Room.From 1875, Austrian archaeologists who, under the direction of Alexander Conze, had been excavating the buildings of the Samothrace sanctuary since 1870, studied the location where Champoiseau had found the Victory. Architect Aloïs Hauser drew the grey marble blocks left on-site and apprehended that, once properly assembled, they form the tapered bow of a warship, and that, placed on a base of slabs, they served as the basis for the statue. Tetradrachmas of Demetrios Poliorcetes struck between 301 and 292 BC. representing a Victory on the bow of a ship, wings outstretched, give a good idea of this type of monument. For his part, the specialist in ancient sculpture Otto Benndorf is responsible for studying the body of the statue and the fragments kept in reserve at the Louvre, and restored the statue blowing into a trumpet that she raises with her right arm, as on the coin. The two men thus managed to make a model of the Samothrace monument as a whole.Champoiseau, informed of this research, undertook a second mission to Samothrace from August 15 to 29, 1879, for the sole purpose of sending the blocks of the base and the slabs of the Victory base to the Louvre. He abandoned on the island the largest block of the base, unsculpted. Two months later, the blocks reached the Louvre Museum, where in December an assembly test was carried out in a courtyard.The curator of the Department of Antiquities, Félix Ravaisson-Mollien, then decided to reconstruct the monument, in accordance with the model of Austrian archaeologists. On the body of the statue, between 1880 and 1883 he restored the belt area in plaster, placed the right part of the marble bust, recreated the left part in plaster, attached the left marble wing with a metal frame, and replaced the entire right wing with a plaster model. But he did not reconstruct the head, arms or feet. The ship-shaped base is rebuilt and completed, except for the broken bow of the keel, and there is still a large void at the top aft. The statue was placed directly on the base. The entire monument was then placed from the front, on the upper landing of the Daru staircase, the main staircase of the museum.Champoiseau returned to Samothrace a third time in 1891 to try to obtain the Victory's head, but without success. He did however bring back debris from the drapery and base, a small fragment with an inscription and fragments of coloured plaster.

Prompt: サモトラケのニケのヌルに関する19世紀にを説明してください。英語で出力して下さい。

Adrien Prévost de Longpérier
Alexander Conze
Félix Ravaisson-Mollien
Louvre
Louvre
Paris
Samothrace
Tetradrachm
Toulon


subsection

サモトラケのニケ

In 1863, Charles Champoiseau , acting chief of the Consulate of France in Adrianopolis , undertook from March 6 to May 7 the exploration of the ruins of the sanctuary of the Great Gods on the island of Samothrace. On April 13, 1863, he discovered part of the bust and the body of a large female statue in white marble accompanied by numerous fragments of drapery and feathers. He recognised this as the goddess Niké, Victory, traditionally represented in Greek antiquity as a winged woman. In the same place was a jumble of about fifteen large grey marble blocks whose form or function was unclear: he concluded it was a funerary monument. He decided to send the statue and fragments to the Louvre Museum, and to leave the large blocks of grey marble on site. Departing Samothrace at the beginning of May 1863, the statue arrived in Toulon at the end of August and in Paris on May 11, 1864.A first restoration was undertaken by Adrien Prévost de Longpérier, then curator of Antiquities at the Louvre, between 1864 and 1866. The main part of the body  is erected on a stone base, and largely completed by fragments of drapery, including the fold of himation that flares behind the legs on the Nike. The remaining fragments – the right part of the bust and a large part of the left wing – too incomplete to be placed on the statue, are stored. Given the exceptional quality of the sculpture, Longpérier decided to present the body alone, exhibited until 1880 among the Roman statues first in the Caryatid Room, then briefly in the Tiber Room.From 1875, Austrian archaeologists who, under the direction of Alexander Conze, had been excavating the buildings of the Samothrace sanctuary since 1870, studied the location where Champoiseau had found the Victory. Architect Aloïs Hauser drew the grey marble blocks left on-site and apprehended that, once properly assembled, they form the tapered bow of a warship, and that, placed on a base of slabs, they served as the basis for the statue. Tetradrachmas of Demetrios Poliorcetes struck between 301 and 292 BC. representing a Victory on the bow of a ship, wings outstretched, give a good idea of this type of monument. For his part, the specialist in ancient sculpture Otto Benndorf is responsible for studying the body of the statue and the fragments kept in reserve at the Louvre, and restored the statue blowing into a trumpet that she raises with her right arm, as on the coin. The two men thus managed to make a model of the Samothrace monument as a whole.Champoiseau, informed of this research, undertook a second mission to Samothrace from August 15 to 29, 1879, for the sole purpose of sending the blocks of the base and the slabs of the Victory base to the Louvre. He abandoned on the island the largest block of the base, unsculpted. Two months later, the blocks reached the Louvre Museum, where in December an assembly test was carried out in a courtyard.The curator of the Department of Antiquities, Félix Ravaisson-Mollien, then decided to reconstruct the monument, in accordance with the model of Austrian archaeologists. On the body of the statue, between 1880 and 1883 he restored the belt area in plaster, placed the right part of the marble bust, recreated the left part in plaster, attached the left marble wing with a metal frame, and replaced the entire right wing with a plaster model. But he did not reconstruct the head, arms or feet. The ship-shaped base is rebuilt and completed, except for the broken bow of the keel, and there is still a large void at the top aft. The statue was placed directly on the base. The entire monument was then placed from the front, on the upper landing of the Daru staircase, the main staircase of the museum.Champoiseau returned to Samothrace a third time in 1891 to try to obtain the Victory's head, but without success. He did however bring back debris from the drapery and base, a small fragment with an inscription and fragments of coloured plaster.

Prompt: サモトラケのニケでは、どのようにヌルの19世紀にが説明されていますか？英語で出力して下さい。

Adrien Prévost de Longpérier
Alexander Conze
Félix Ravaisson-Mollien
Louvre
Louvre
Paris
Samothrace
Tetradrachm
Toulon


subsection

サモトラケのニケ

In 1863, Charles Champoiseau , acting chief of the Consulate of France in Adrianopolis , undertook from March 6 to May 7 the exploration of the ruins of the sanctuary of the Great Gods on the island of Samothrace. On April 13, 1863, he discovered part of the bust and the body of a large female statue in white marble accompanied by numerous fragments of drapery and feathers. He recognised this as the goddess Niké, Victory, traditionally represented in Greek antiquity as a winged woman. In the same place was a jumble of about fifteen large grey marble blocks whose form or function was unclear: he concluded it was a funerary monument. He decided to send the statue and fragments to the Louvre Museum, and to leave the large blocks of grey marble on site. Departing Samothrace at the beginning of May 1863, the statue arrived in Toulon at the end of August and in Paris on May 11, 1864.A first restoration was undertaken by Adrien Prévost de Longpérier, then curator of Antiquities at the Louvre, between 1864 and 1866. The main part of the body  is erected on a stone base, and largely completed by fragments of drapery, including the fold of himation that flares behind the legs on the Nike. The remaining fragments – the right part of the bust and a large part of the left wing – too incomplete to be placed on the statue, are stored. Given the exceptional quality of the sculpture, Longpérier decided to present the body alone, exhibited until 1880 among the Roman statues first in the Caryatid Room, then briefly in the Tiber Room.From 1875, Austrian archaeologists who, under the direction of Alexander Conze, had been excavating the buildings of the Samothrace sanctuary since 1870, studied the location where Champoiseau had found the Victory. Architect Aloïs Hauser drew the grey marble blocks left on-site and apprehended that, once properly assembled, they form the tapered bow of a warship, and that, placed on a base of slabs, they served as the basis for the statue. Tetradrachmas of Demetrios Poliorcetes struck between 301 and 292 BC. representing a Victory on the bow of a ship, wings outstretched, give a good idea of this type of monument. For his part, the specialist in ancient sculpture Otto Benndorf is responsible for studying the body of the statue and the fragments kept in reserve at the Louvre, and restored the statue blowing into a trumpet that she raises with her right arm, as on the coin. The two men thus managed to make a model of the Samothrace monument as a whole.Champoiseau, informed of this research, undertook a second mission to Samothrace from August 15 to 29, 1879, for the sole purpose of sending the blocks of the base and the slabs of the Victory base to the Louvre. He abandoned on the island the largest block of the base, unsculpted. Two months later, the blocks reached the Louvre Museum, where in December an assembly test was carried out in a courtyard.The curator of the Department of Antiquities, Félix Ravaisson-Mollien, then decided to reconstruct the monument, in accordance with the model of Austrian archaeologists. On the body of the statue, between 1880 and 1883 he restored the belt area in plaster, placed the right part of the marble bust, recreated the left part in plaster, attached the left marble wing with a metal frame, and replaced the entire right wing with a plaster model. But he did not reconstruct the head, arms or feet. The ship-shaped base is rebuilt and completed, except for the broken bow of the keel, and there is still a large void at the top aft. The statue was placed directly on the base. The entire monument was then placed from the front, on the upper landing of the Daru staircase, the main staircase of the museum.Champoiseau returned to Samothrace a third time in 1891 to try to obtain the Victory's head, but without success. He did however bring back debris from the drapery and base, a small fragment with an inscription and fragments of coloured plaster.

Prompt: サモトラケのニケのヌルにおける19世紀にの特徴を説明してください。英語で出力して下さい。

Adrien Prévost de Longpérier
Alexander Conze
Félix Ravaisson-Mollien
Louvre
Louvre
Paris
Samothrace
Tetradrachm
Toulon


subsection

サモトラケのニケ

The presentation of the Victory was modified in 1934 as part of a general redevelopment of the Daru museum and staircase, whose steps are widened and redecorated. The monument is staged to constitute the crowning of the staircase: it is advanced on the landing to be more visible from the bottom of the steps, and the statue is put on a modern 45 cm-high block of stone, supposed to evoke a combat bridge at the bow of the ship. This presentation remained unchanged until 2013.At the declaration of the Second World War in September 1939, the Victory statue was moved along with other masterpieces of the Louvre Museum to the Château de Valençay  until the Liberation, and was replaced at the top of the stairs without damage in July 1945.American excavators from New York University, under the direction of Karl Lehmann, resumed exploration of the sanctuary of the Great Gods in Samothrace in 1938. In July 1950, they associated Louvre curator Jean Charbonneaux with their work, who discovered the palm of the statue's right hand in the Victory site. Two fingers preserved at the Kunsthistorische Museum in Vienna since the Austrian excavations of 1875 were reattached to the palm. The palm and fingers were then deposited in the Louvre Museum, and displayed with the statue in 1954.Two pieces of grey marble that were used to moor fishing boats on the beach below the sanctuary were retrieved and reassembled at the museum in 1952. These were studied in 1996 by Ira Mark and Marianne Hamiaux, who concluded that these pieces, jointed, constitute the block of the base abandoned by Champoiseau in 1879.

Prompt: サモトラケのニケの文脈で、20世紀にとヌルを説明してください。英語で出力して下さい。

Château de Valençay
Louvre
Louvre
Samothrace


subsection

サモトラケのニケ

The presentation of the Victory was modified in 1934 as part of a general redevelopment of the Daru museum and staircase, whose steps are widened and redecorated. The monument is staged to constitute the crowning of the staircase: it is advanced on the landing to be more visible from the bottom of the steps, and the statue is put on a modern 45 cm-high block of stone, supposed to evoke a combat bridge at the bow of the ship. This presentation remained unchanged until 2013.At the declaration of the Second World War in September 1939, the Victory statue was moved along with other masterpieces of the Louvre Museum to the Château de Valençay  until the Liberation, and was replaced at the top of the stairs without damage in July 1945.American excavators from New York University, under the direction of Karl Lehmann, resumed exploration of the sanctuary of the Great Gods in Samothrace in 1938. In July 1950, they associated Louvre curator Jean Charbonneaux with their work, who discovered the palm of the statue's right hand in the Victory site. Two fingers preserved at the Kunsthistorische Museum in Vienna since the Austrian excavations of 1875 were reattached to the palm. The palm and fingers were then deposited in the Louvre Museum, and displayed with the statue in 1954.Two pieces of grey marble that were used to moor fishing boats on the beach below the sanctuary were retrieved and reassembled at the museum in 1952. These were studied in 1996 by Ira Mark and Marianne Hamiaux, who concluded that these pieces, jointed, constitute the block of the base abandoned by Champoiseau in 1879.

Prompt: サモトラケのニケのヌルに関する20世紀にを説明してください。英語で出力して下さい。

Château de Valençay
Louvre
Louvre
Samothrace


subsection

サモトラケのニケ

The presentation of the Victory was modified in 1934 as part of a general redevelopment of the Daru museum and staircase, whose steps are widened and redecorated. The monument is staged to constitute the crowning of the staircase: it is advanced on the landing to be more visible from the bottom of the steps, and the statue is put on a modern 45 cm-high block of stone, supposed to evoke a combat bridge at the bow of the ship. This presentation remained unchanged until 2013.At the declaration of the Second World War in September 1939, the Victory statue was moved along with other masterpieces of the Louvre Museum to the Château de Valençay  until the Liberation, and was replaced at the top of the stairs without damage in July 1945.American excavators from New York University, under the direction of Karl Lehmann, resumed exploration of the sanctuary of the Great Gods in Samothrace in 1938. In July 1950, they associated Louvre curator Jean Charbonneaux with their work, who discovered the palm of the statue's right hand in the Victory site. Two fingers preserved at the Kunsthistorische Museum in Vienna since the Austrian excavations of 1875 were reattached to the palm. The palm and fingers were then deposited in the Louvre Museum, and displayed with the statue in 1954.Two pieces of grey marble that were used to moor fishing boats on the beach below the sanctuary were retrieved and reassembled at the museum in 1952. These were studied in 1996 by Ira Mark and Marianne Hamiaux, who concluded that these pieces, jointed, constitute the block of the base abandoned by Champoiseau in 1879.

Prompt: サモトラケのニケでは、どのようにヌルの20世紀にが説明されていますか？英語で出力して下さい。

Château de Valençay
Louvre
Louvre
Samothrace


subsection

サモトラケのニケ

The presentation of the Victory was modified in 1934 as part of a general redevelopment of the Daru museum and staircase, whose steps are widened and redecorated. The monument is staged to constitute the crowning of the staircase: it is advanced on the landing to be more visible from the bottom of the steps, and the statue is put on a modern 45 cm-high block of stone, supposed to evoke a combat bridge at the bow of the ship. This presentation remained unchanged until 2013.At the declaration of the Second World War in September 1939, the Victory statue was moved along with other masterpieces of the Louvre Museum to the Château de Valençay  until the Liberation, and was replaced at the top of the stairs without damage in July 1945.American excavators from New York University, under the direction of Karl Lehmann, resumed exploration of the sanctuary of the Great Gods in Samothrace in 1938. In July 1950, they associated Louvre curator Jean Charbonneaux with their work, who discovered the palm of the statue's right hand in the Victory site. Two fingers preserved at the Kunsthistorische Museum in Vienna since the Austrian excavations of 1875 were reattached to the palm. The palm and fingers were then deposited in the Louvre Museum, and displayed with the statue in 1954.Two pieces of grey marble that were used to moor fishing boats on the beach below the sanctuary were retrieved and reassembled at the museum in 1952. These were studied in 1996 by Ira Mark and Marianne Hamiaux, who concluded that these pieces, jointed, constitute the block of the base abandoned by Champoiseau in 1879.

Prompt: サモトラケのニケのヌルにおける20世紀にの特徴を説明してください。英語で出力して下さい。

Château de Valençay
Louvre
Louvre
Samothrace