subsection

サモトラケのニケ

An American team led by James R. McCredie digitized the entire sanctuary to allow its 3D reconstruction between 2008 and 2014. B. D. Wescoat led the resumption of the study of the Victory enclosure and the small basic fragments preserved in reserve.In Paris, the Louvre Museum restored the entire monument with two objectives: to clean all the surfaces and improve the general presentation. The statue came down from its base to undergo scientific examination : traces of blue paint are detected on the wings and on a strip at the bottom of the mantle. The blocks of the base were disassembled one by one to be drawn and studied. The 19th-century restoration of the statue is preserved with a few details , fragments preserved in reserve at the Louvre are added , the metal vice behind the left leg is removed. Castings of small joint fragments preserved in Samothrace are integrated into the base. A cast of the large ship block left in Samothrace was replaced by a metal base on a cylinder ensuring the proper balance of the statue. Once in place on the base, the colour contrast of the marbles of the two elements becomes obvious again. The whole is reassembled on a modern base, a little removed on the landing to facilitate the movement of visitors.The Greek government considers the Winged Victory, like the Elgin Marbles, illegally plundered and wants it repatriated to Greece. "If the French and the Louvre have a problem, we are ready to preserve and accentuate the Victory of Samothrace, if they return it to us", Deputy Minister of Foreign Affairs Akis Gerondopoulos said in 2013.

Prompt: サモトラケのニケの文脈で、21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。

Elgin Marbles
Louvre
Louvre
Paris
Samothrace


subsection

サモトラケのニケ

An American team led by James R. McCredie digitized the entire sanctuary to allow its 3D reconstruction between 2008 and 2014. B. D. Wescoat led the resumption of the study of the Victory enclosure and the small basic fragments preserved in reserve.In Paris, the Louvre Museum restored the entire monument with two objectives: to clean all the surfaces and improve the general presentation. The statue came down from its base to undergo scientific examination : traces of blue paint are detected on the wings and on a strip at the bottom of the mantle. The blocks of the base were disassembled one by one to be drawn and studied. The 19th-century restoration of the statue is preserved with a few details , fragments preserved in reserve at the Louvre are added , the metal vice behind the left leg is removed. Castings of small joint fragments preserved in Samothrace are integrated into the base. A cast of the large ship block left in Samothrace was replaced by a metal base on a cylinder ensuring the proper balance of the statue. Once in place on the base, the colour contrast of the marbles of the two elements becomes obvious again. The whole is reassembled on a modern base, a little removed on the landing to facilitate the movement of visitors.The Greek government considers the Winged Victory, like the Elgin Marbles, illegally plundered and wants it repatriated to Greece. "If the French and the Louvre have a problem, we are ready to preserve and accentuate the Victory of Samothrace, if they return it to us", Deputy Minister of Foreign Affairs Akis Gerondopoulos said in 2013.

Prompt: サモトラケのニケのヌルに関する21世紀にを説明してください。英語で出力して下さい。

Elgin Marbles
Louvre
Louvre
Paris
Samothrace


subsection

サモトラケのニケ

An American team led by James R. McCredie digitized the entire sanctuary to allow its 3D reconstruction between 2008 and 2014. B. D. Wescoat led the resumption of the study of the Victory enclosure and the small basic fragments preserved in reserve.In Paris, the Louvre Museum restored the entire monument with two objectives: to clean all the surfaces and improve the general presentation. The statue came down from its base to undergo scientific examination : traces of blue paint are detected on the wings and on a strip at the bottom of the mantle. The blocks of the base were disassembled one by one to be drawn and studied. The 19th-century restoration of the statue is preserved with a few details , fragments preserved in reserve at the Louvre are added , the metal vice behind the left leg is removed. Castings of small joint fragments preserved in Samothrace are integrated into the base. A cast of the large ship block left in Samothrace was replaced by a metal base on a cylinder ensuring the proper balance of the statue. Once in place on the base, the colour contrast of the marbles of the two elements becomes obvious again. The whole is reassembled on a modern base, a little removed on the landing to facilitate the movement of visitors.The Greek government considers the Winged Victory, like the Elgin Marbles, illegally plundered and wants it repatriated to Greece. "If the French and the Louvre have a problem, we are ready to preserve and accentuate the Victory of Samothrace, if they return it to us", Deputy Minister of Foreign Affairs Akis Gerondopoulos said in 2013.

Prompt: サモトラケのニケでは、どのようにヌルの21世紀にが説明されていますか？英語で出力して下さい。

Elgin Marbles
Louvre
Louvre
Paris
Samothrace


subsection

サモトラケのニケ

An American team led by James R. McCredie digitized the entire sanctuary to allow its 3D reconstruction between 2008 and 2014. B. D. Wescoat led the resumption of the study of the Victory enclosure and the small basic fragments preserved in reserve.In Paris, the Louvre Museum restored the entire monument with two objectives: to clean all the surfaces and improve the general presentation. The statue came down from its base to undergo scientific examination : traces of blue paint are detected on the wings and on a strip at the bottom of the mantle. The blocks of the base were disassembled one by one to be drawn and studied. The 19th-century restoration of the statue is preserved with a few details , fragments preserved in reserve at the Louvre are added , the metal vice behind the left leg is removed. Castings of small joint fragments preserved in Samothrace are integrated into the base. A cast of the large ship block left in Samothrace was replaced by a metal base on a cylinder ensuring the proper balance of the statue. Once in place on the base, the colour contrast of the marbles of the two elements becomes obvious again. The whole is reassembled on a modern base, a little removed on the landing to facilitate the movement of visitors.The Greek government considers the Winged Victory, like the Elgin Marbles, illegally plundered and wants it repatriated to Greece. "If the French and the Louvre have a problem, we are ready to preserve and accentuate the Victory of Samothrace, if they return it to us", Deputy Minister of Foreign Affairs Akis Gerondopoulos said in 2013.

Prompt: サモトラケのニケのヌルにおける21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。

Elgin Marbles
Louvre
Louvre
Paris
Samothrace


subsection

サモトラケのニケ

The statue, in white Parian marble, depicts a winged woman, the goddess of Victory , alighting on the bow of a warship.The Nike is dressed in a long tunic  in a very fine fabric, with a folded flap and belted under the chest. It was attached to the shoulders by two thin straps . The lower body is partially covered by a thick mantle  rolled up at the waist and untied when uncovering the entire left leg; one end slides between the legs to the ground, and the other, much shorter, flies freely in the back. The mantle is falling, and only the force of the wind holds it on her right leg. The sculptor has multiplied the effects of draperies, between places where the fabric is plated against the body by revealing its shapes, especially on the belly, and those where it accumulates in folds deeply hollowed out casting a strong shadow, as between the legs. This extreme virtuosity concerns the left side and front of the statue. On the right side, the layout of the drapery is reduced to the main lines of the clothes, in a much less elaborate work.The goddess advances, leaning on her right leg. The two feet that were bare have not been found. The right touched the ground, the heel still slightly raised; the left foot, the leg strongly stretched back, was still carried in the air. The goddess is not walking, she is finishing her flight, her large wings still spread out backwards. The arms were also not found, but the right shoulder raised indicates that the right arm was raised to the side. With her elbow bent, the goddess made  a victorious gesture of salvation with her hand: this hand with outstretched fingers held nothing . There is no clue to reconstructing the position of the left arm, probably lowered, very slightly bent; the goddess may have held a stylis  on this side, a kind of mast taken as a trophy on the enemy ship, as seen on coins. The statue is designed to be seen three quarters left , from where the lines of the composition are very clear: a vertical from the neck to the right foot, and an oblique starting from the neck diagonally along the left leg. "The whole body is inscribed in a rectangular triangle, a simple but very solid geometric figure: it was necessary to support both the fulfilled shapes of the goddess, the accumulation of draperies, and the energy of movement". Most recently the Alula feather was restored to the left wing in a flared position, as it would be for a bird landing.The art historian H. W. Janson has pointed out that unlike earlier Greek or Near Eastern sculptures, the Nike creates a deliberate relationship to the imaginary space around the goddess. The wind that has carried her and which she is fighting off, straining to keep steady – as mentioned the original mounting had her standing on a ship's prow, just having landed – is the invisible complement of the figure and the viewer is made to imagine it. At the same time, this expanded space heightens the symbolic force of the work; the wind and the sea are suggested as metaphors of struggle, destiny and divine help or grace. This kind of interplay between a statue and the space conjured up would become a common device in baroque and romantic art, about two thousand years later. It is present in Michelangelo's sculpture of David: David's gaze and pose show where he is seeing his adversary Goliath and his awareness of the moment – but it is rare in ancient art.

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


subsection

サモトラケのニケ

The statue, in white Parian marble, depicts a winged woman, the goddess of Victory , alighting on the bow of a warship.The Nike is dressed in a long tunic  in a very fine fabric, with a folded flap and belted under the chest. It was attached to the shoulders by two thin straps . The lower body is partially covered by a thick mantle  rolled up at the waist and untied when uncovering the entire left leg; one end slides between the legs to the ground, and the other, much shorter, flies freely in the back. The mantle is falling, and only the force of the wind holds it on her right leg. The sculptor has multiplied the effects of draperies, between places where the fabric is plated against the body by revealing its shapes, especially on the belly, and those where it accumulates in folds deeply hollowed out casting a strong shadow, as between the legs. This extreme virtuosity concerns the left side and front of the statue. On the right side, the layout of the drapery is reduced to the main lines of the clothes, in a much less elaborate work.The goddess advances, leaning on her right leg. The two feet that were bare have not been found. The right touched the ground, the heel still slightly raised; the left foot, the leg strongly stretched back, was still carried in the air. The goddess is not walking, she is finishing her flight, her large wings still spread out backwards. The arms were also not found, but the right shoulder raised indicates that the right arm was raised to the side. With her elbow bent, the goddess made  a victorious gesture of salvation with her hand: this hand with outstretched fingers held nothing . There is no clue to reconstructing the position of the left arm, probably lowered, very slightly bent; the goddess may have held a stylis  on this side, a kind of mast taken as a trophy on the enemy ship, as seen on coins. The statue is designed to be seen three quarters left , from where the lines of the composition are very clear: a vertical from the neck to the right foot, and an oblique starting from the neck diagonally along the left leg. "The whole body is inscribed in a rectangular triangle, a simple but very solid geometric figure: it was necessary to support both the fulfilled shapes of the goddess, the accumulation of draperies, and the energy of movement". Most recently the Alula feather was restored to the left wing in a flared position, as it would be for a bird landing.The art historian H. W. Janson has pointed out that unlike earlier Greek or Near Eastern sculptures, the Nike creates a deliberate relationship to the imaginary space around the goddess. The wind that has carried her and which she is fighting off, straining to keep steady – as mentioned the original mounting had her standing on a ship's prow, just having landed – is the invisible complement of the figure and the viewer is made to imagine it. At the same time, this expanded space heightens the symbolic force of the work; the wind and the sea are suggested as metaphors of struggle, destiny and divine help or grace. This kind of interplay between a statue and the space conjured up would become a common device in baroque and romantic art, about two thousand years later. It is present in Michelangelo's sculpture of David: David's gaze and pose show where he is seeing his adversary Goliath and his awareness of the moment – but it is rare in ancient art.

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


subsection

サモトラケのニケ

The statue, in white Parian marble, depicts a winged woman, the goddess of Victory , alighting on the bow of a warship.The Nike is dressed in a long tunic  in a very fine fabric, with a folded flap and belted under the chest. It was attached to the shoulders by two thin straps . The lower body is partially covered by a thick mantle  rolled up at the waist and untied when uncovering the entire left leg; one end slides between the legs to the ground, and the other, much shorter, flies freely in the back. The mantle is falling, and only the force of the wind holds it on her right leg. The sculptor has multiplied the effects of draperies, between places where the fabric is plated against the body by revealing its shapes, especially on the belly, and those where it accumulates in folds deeply hollowed out casting a strong shadow, as between the legs. This extreme virtuosity concerns the left side and front of the statue. On the right side, the layout of the drapery is reduced to the main lines of the clothes, in a much less elaborate work.The goddess advances, leaning on her right leg. The two feet that were bare have not been found. The right touched the ground, the heel still slightly raised; the left foot, the leg strongly stretched back, was still carried in the air. The goddess is not walking, she is finishing her flight, her large wings still spread out backwards. The arms were also not found, but the right shoulder raised indicates that the right arm was raised to the side. With her elbow bent, the goddess made  a victorious gesture of salvation with her hand: this hand with outstretched fingers held nothing . There is no clue to reconstructing the position of the left arm, probably lowered, very slightly bent; the goddess may have held a stylis  on this side, a kind of mast taken as a trophy on the enemy ship, as seen on coins. The statue is designed to be seen three quarters left , from where the lines of the composition are very clear: a vertical from the neck to the right foot, and an oblique starting from the neck diagonally along the left leg. "The whole body is inscribed in a rectangular triangle, a simple but very solid geometric figure: it was necessary to support both the fulfilled shapes of the goddess, the accumulation of draperies, and the energy of movement". Most recently the Alula feather was restored to the left wing in a flared position, as it would be for a bird landing.The art historian H. W. Janson has pointed out that unlike earlier Greek or Near Eastern sculptures, the Nike creates a deliberate relationship to the imaginary space around the goddess. The wind that has carried her and which she is fighting off, straining to keep steady – as mentioned the original mounting had her standing on a ship's prow, just having landed – is the invisible complement of the figure and the viewer is made to imagine it. At the same time, this expanded space heightens the symbolic force of the work; the wind and the sea are suggested as metaphors of struggle, destiny and divine help or grace. This kind of interplay between a statue and the space conjured up would become a common device in baroque and romantic art, about two thousand years later. It is present in Michelangelo's sculpture of David: David's gaze and pose show where he is seeing his adversary Goliath and his awareness of the moment – but it is rare in ancient art.

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


subsection

サモトラケのニケ

The statue, in white Parian marble, depicts a winged woman, the goddess of Victory , alighting on the bow of a warship.The Nike is dressed in a long tunic  in a very fine fabric, with a folded flap and belted under the chest. It was attached to the shoulders by two thin straps . The lower body is partially covered by a thick mantle  rolled up at the waist and untied when uncovering the entire left leg; one end slides between the legs to the ground, and the other, much shorter, flies freely in the back. The mantle is falling, and only the force of the wind holds it on her right leg. The sculptor has multiplied the effects of draperies, between places where the fabric is plated against the body by revealing its shapes, especially on the belly, and those where it accumulates in folds deeply hollowed out casting a strong shadow, as between the legs. This extreme virtuosity concerns the left side and front of the statue. On the right side, the layout of the drapery is reduced to the main lines of the clothes, in a much less elaborate work.The goddess advances, leaning on her right leg. The two feet that were bare have not been found. The right touched the ground, the heel still slightly raised; the left foot, the leg strongly stretched back, was still carried in the air. The goddess is not walking, she is finishing her flight, her large wings still spread out backwards. The arms were also not found, but the right shoulder raised indicates that the right arm was raised to the side. With her elbow bent, the goddess made  a victorious gesture of salvation with her hand: this hand with outstretched fingers held nothing . There is no clue to reconstructing the position of the left arm, probably lowered, very slightly bent; the goddess may have held a stylis  on this side, a kind of mast taken as a trophy on the enemy ship, as seen on coins. The statue is designed to be seen three quarters left , from where the lines of the composition are very clear: a vertical from the neck to the right foot, and an oblique starting from the neck diagonally along the left leg. "The whole body is inscribed in a rectangular triangle, a simple but very solid geometric figure: it was necessary to support both the fulfilled shapes of the goddess, the accumulation of draperies, and the energy of movement". Most recently the Alula feather was restored to the left wing in a flared position, as it would be for a bird landing.The art historian H. W. Janson has pointed out that unlike earlier Greek or Near Eastern sculptures, the Nike creates a deliberate relationship to the imaginary space around the goddess. The wind that has carried her and which she is fighting off, straining to keep steady – as mentioned the original mounting had her standing on a ship's prow, just having landed – is the invisible complement of the figure and the viewer is made to imagine it. At the same time, this expanded space heightens the symbolic force of the work; the wind and the sea are suggested as metaphors of struggle, destiny and divine help or grace. This kind of interplay between a statue and the space conjured up would become a common device in baroque and romantic art, about two thousand years later. It is present in Michelangelo's sculpture of David: David's gaze and pose show where he is seeing his adversary Goliath and his awareness of the moment – but it is rare in ancient art.

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


subsection

サモトラケのニケ

These are carved from grey marble veined with white, identified as that of the quarries of rtos, in Rhodes. The base has the shape of the bow of a Greek Hellenistic warship: long and narrow, it is covered at the front by a combat deck on which the statue is located. It has reinforced, projecting oar boxes on the sides that supported two rows of staggered oars . The keel is rounded. At the bottom of the bow, at the waterline, a large triple-pronged spur would have been sculpted, and a little higher up, a smaller two-bladed ram that would have been used to smash the hull of the enemy ship would have been shown. The top of the bow was crowned by a high and curved bow ornament . These missing elements have not been reconstructed, which greatly reduces the vessel's warlike appearance.Epigraphist Christian Blinkenberg thought that this bow was that of a , a type of warship often named in Rhodes inscriptions: the island's shipyards were renowned, and its war fleet important. But specialists in ancient naval architecture do not agree on the ascription of the trihemolia. It can only be said that the Samothrace bow has boxes of oars and two benches of superimposed oars. Each oar being operated by several rowers, this can also be suitable for a quadrireme  or a quinquereme . These ships were widespread in all Hellenistic war fleets, including the Rhodian fleet.

Prompt: サモトラケのニケの文脈で、ボートと基地とヌルを説明してください。英語で出力して下さい。


subsection

サモトラケのニケ

These are carved from grey marble veined with white, identified as that of the quarries of rtos, in Rhodes. The base has the shape of the bow of a Greek Hellenistic warship: long and narrow, it is covered at the front by a combat deck on which the statue is located. It has reinforced, projecting oar boxes on the sides that supported two rows of staggered oars . The keel is rounded. At the bottom of the bow, at the waterline, a large triple-pronged spur would have been sculpted, and a little higher up, a smaller two-bladed ram that would have been used to smash the hull of the enemy ship would have been shown. The top of the bow was crowned by a high and curved bow ornament . These missing elements have not been reconstructed, which greatly reduces the vessel's warlike appearance.Epigraphist Christian Blinkenberg thought that this bow was that of a , a type of warship often named in Rhodes inscriptions: the island's shipyards were renowned, and its war fleet important. But specialists in ancient naval architecture do not agree on the ascription of the trihemolia. It can only be said that the Samothrace bow has boxes of oars and two benches of superimposed oars. Each oar being operated by several rowers, this can also be suitable for a quadrireme  or a quinquereme . These ships were widespread in all Hellenistic war fleets, including the Rhodian fleet.

Prompt: サモトラケのニケのヌルに関するボートと基地を説明してください。英語で出力して下さい。


subsection

サモトラケのニケ

These are carved from grey marble veined with white, identified as that of the quarries of rtos, in Rhodes. The base has the shape of the bow of a Greek Hellenistic warship: long and narrow, it is covered at the front by a combat deck on which the statue is located. It has reinforced, projecting oar boxes on the sides that supported two rows of staggered oars . The keel is rounded. At the bottom of the bow, at the waterline, a large triple-pronged spur would have been sculpted, and a little higher up, a smaller two-bladed ram that would have been used to smash the hull of the enemy ship would have been shown. The top of the bow was crowned by a high and curved bow ornament . These missing elements have not been reconstructed, which greatly reduces the vessel's warlike appearance.Epigraphist Christian Blinkenberg thought that this bow was that of a , a type of warship often named in Rhodes inscriptions: the island's shipyards were renowned, and its war fleet important. But specialists in ancient naval architecture do not agree on the ascription of the trihemolia. It can only be said that the Samothrace bow has boxes of oars and two benches of superimposed oars. Each oar being operated by several rowers, this can also be suitable for a quadrireme  or a quinquereme . These ships were widespread in all Hellenistic war fleets, including the Rhodian fleet.

Prompt: サモトラケのニケでは、どのようにヌルのボートと基地が説明されていますか？英語で出力して下さい。


subsection

サモトラケのニケ

These are carved from grey marble veined with white, identified as that of the quarries of rtos, in Rhodes. The base has the shape of the bow of a Greek Hellenistic warship: long and narrow, it is covered at the front by a combat deck on which the statue is located. It has reinforced, projecting oar boxes on the sides that supported two rows of staggered oars . The keel is rounded. At the bottom of the bow, at the waterline, a large triple-pronged spur would have been sculpted, and a little higher up, a smaller two-bladed ram that would have been used to smash the hull of the enemy ship would have been shown. The top of the bow was crowned by a high and curved bow ornament . These missing elements have not been reconstructed, which greatly reduces the vessel's warlike appearance.Epigraphist Christian Blinkenberg thought that this bow was that of a , a type of warship often named in Rhodes inscriptions: the island's shipyards were renowned, and its war fleet important. But specialists in ancient naval architecture do not agree on the ascription of the trihemolia. It can only be said that the Samothrace bow has boxes of oars and two benches of superimposed oars. Each oar being operated by several rowers, this can also be suitable for a quadrireme  or a quinquereme . These ships were widespread in all Hellenistic war fleets, including the Rhodian fleet.

Prompt: サモトラケのニケのヌルにおけるボートと基地の特徴を説明してください。英語で出力して下さい。


subsection

サモトラケのニケ

Total height: 5.57 mStatue height: 2.75 m with wings; 2.40 m body without headShip height: 2.01 m; length: 4.29 m; width max.: 2.48 mBase height: 0.36 m; length: 4.76 m; width: 1.76 mThe Victory statue, about 1.5 times life size, is not cut from a single block of marble, but composed of six blocks worked separately: the body, the bust with the head, the two arms and the two wings. These blocks were assembled together by metal braces . This technique, used for a long time by Greek sculptors for the protruding parts of statues, was used in Hellenistic times for the body itself, thus making it possible to use smaller pieces of marble, therefore less rare and less expensive. In the case of Victory, the sculptor optimized this technique by tilting the joint surfaces that connect the wings to the body by 20° forward, which ensured their cantilevered support in the back. To the body-block were added smaller projecting pieces: the end of the flying mantle at the back and the end of the fold falling to the ground in front of the left leg have been reattached; the right foot, the back of the left leg with the foot and a drapery fold in front of the legs are lost.The ship is composed of 16 blocks divided into three increasingly wide assizes aft, placed on a rectangular base. The seventeenth block, which remained in Samothrace, completed the void at the back of the upper assembly, just under the statue. Its weight allowed the cantilever of the blocks of the protruding oar boxes to hold on the sides. The baseboard of the statue was embedded in a basin dug on this block. Its contours, fully visible during the 2014 restoration, made it possible to determine the location of the statue very precisely.The statue and base are inseparable to ensure the balance of the monument, designed as a whole.

Prompt: サモトラケのニケの文脈で、寸法と構造とヌルを説明してください。英語で出力して下さい。


subsection

サモトラケのニケ

Total height: 5.57 mStatue height: 2.75 m with wings; 2.40 m body without headShip height: 2.01 m; length: 4.29 m; width max.: 2.48 mBase height: 0.36 m; length: 4.76 m; width: 1.76 mThe Victory statue, about 1.5 times life size, is not cut from a single block of marble, but composed of six blocks worked separately: the body, the bust with the head, the two arms and the two wings. These blocks were assembled together by metal braces . This technique, used for a long time by Greek sculptors for the protruding parts of statues, was used in Hellenistic times for the body itself, thus making it possible to use smaller pieces of marble, therefore less rare and less expensive. In the case of Victory, the sculptor optimized this technique by tilting the joint surfaces that connect the wings to the body by 20° forward, which ensured their cantilevered support in the back. To the body-block were added smaller projecting pieces: the end of the flying mantle at the back and the end of the fold falling to the ground in front of the left leg have been reattached; the right foot, the back of the left leg with the foot and a drapery fold in front of the legs are lost.The ship is composed of 16 blocks divided into three increasingly wide assizes aft, placed on a rectangular base. The seventeenth block, which remained in Samothrace, completed the void at the back of the upper assembly, just under the statue. Its weight allowed the cantilever of the blocks of the protruding oar boxes to hold on the sides. The baseboard of the statue was embedded in a basin dug on this block. Its contours, fully visible during the 2014 restoration, made it possible to determine the location of the statue very precisely.The statue and base are inseparable to ensure the balance of the monument, designed as a whole.

Prompt: サモトラケのニケのヌルに関する寸法と構造を説明してください。英語で出力して下さい。


subsection

サモトラケのニケ

Total height: 5.57 mStatue height: 2.75 m with wings; 2.40 m body without headShip height: 2.01 m; length: 4.29 m; width max.: 2.48 mBase height: 0.36 m; length: 4.76 m; width: 1.76 mThe Victory statue, about 1.5 times life size, is not cut from a single block of marble, but composed of six blocks worked separately: the body, the bust with the head, the two arms and the two wings. These blocks were assembled together by metal braces . This technique, used for a long time by Greek sculptors for the protruding parts of statues, was used in Hellenistic times for the body itself, thus making it possible to use smaller pieces of marble, therefore less rare and less expensive. In the case of Victory, the sculptor optimized this technique by tilting the joint surfaces that connect the wings to the body by 20° forward, which ensured their cantilevered support in the back. To the body-block were added smaller projecting pieces: the end of the flying mantle at the back and the end of the fold falling to the ground in front of the left leg have been reattached; the right foot, the back of the left leg with the foot and a drapery fold in front of the legs are lost.The ship is composed of 16 blocks divided into three increasingly wide assizes aft, placed on a rectangular base. The seventeenth block, which remained in Samothrace, completed the void at the back of the upper assembly, just under the statue. Its weight allowed the cantilever of the blocks of the protruding oar boxes to hold on the sides. The baseboard of the statue was embedded in a basin dug on this block. Its contours, fully visible during the 2014 restoration, made it possible to determine the location of the statue very precisely.The statue and base are inseparable to ensure the balance of the monument, designed as a whole.

Prompt: サモトラケのニケでは、どのようにヌルの寸法と構造が説明されていますか？英語で出力して下さい。


subsection

サモトラケのニケ

Total height: 5.57 mStatue height: 2.75 m with wings; 2.40 m body without headShip height: 2.01 m; length: 4.29 m; width max.: 2.48 mBase height: 0.36 m; length: 4.76 m; width: 1.76 mThe Victory statue, about 1.5 times life size, is not cut from a single block of marble, but composed of six blocks worked separately: the body, the bust with the head, the two arms and the two wings. These blocks were assembled together by metal braces . This technique, used for a long time by Greek sculptors for the protruding parts of statues, was used in Hellenistic times for the body itself, thus making it possible to use smaller pieces of marble, therefore less rare and less expensive. In the case of Victory, the sculptor optimized this technique by tilting the joint surfaces that connect the wings to the body by 20° forward, which ensured their cantilevered support in the back. To the body-block were added smaller projecting pieces: the end of the flying mantle at the back and the end of the fold falling to the ground in front of the left leg have been reattached; the right foot, the back of the left leg with the foot and a drapery fold in front of the legs are lost.The ship is composed of 16 blocks divided into three increasingly wide assizes aft, placed on a rectangular base. The seventeenth block, which remained in Samothrace, completed the void at the back of the upper assembly, just under the statue. Its weight allowed the cantilever of the blocks of the protruding oar boxes to hold on the sides. The baseboard of the statue was embedded in a basin dug on this block. Its contours, fully visible during the 2014 restoration, made it possible to determine the location of the statue very precisely.The statue and base are inseparable to ensure the balance of the monument, designed as a whole.

Prompt: サモトラケのニケのヌルにおける寸法と構造の特徴を説明してください。英語で出力して下さい。


subsection

サモトラケのニケ

The sanctuary of the Great Gods of Samothrace is located in a very narrow river valley. The buildings reserved for the Mysteries ceremonies occupied the entire bottom of the valley. From the 3rd century BCE, the entrance to the site was a monumental propylaia to the east. To the west was a very long portico to house pilgrims  and important offerings. The Victory Monument was located at the south end of the portico terrace, in a rectangular space dug into the hillside, and set back and raised from the theatre; facing north, it overlooks the entire sanctuary. In 1863 Champoiseau described and drew the monument surrounded on three sides by a limestone wall. All that remains of this enclosure now are the foundations of the walls, surrounded at the bottom and sides by walls supporting the lands of the hill. The enclosure itself is 13.40 m wide by 9.55 m long, and we know from the surveys made by Hauser in 1876 that the Victory was arranged obliquely 14.5° from the back wall. This arrangement highlights the left side of the statue for the observer from the terrace, which explains why the sculpture work is much more elaborate on this side than on the other. rge natural rocks are visible in the front part of the space. The foundation walls have been restored and the place of the monument artificially indicated.

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


subsection

サモトラケのニケ

The sanctuary of the Great Gods of Samothrace is located in a very narrow river valley. The buildings reserved for the Mysteries ceremonies occupied the entire bottom of the valley. From the 3rd century BCE, the entrance to the site was a monumental propylaia to the east. To the west was a very long portico to house pilgrims  and important offerings. The Victory Monument was located at the south end of the portico terrace, in a rectangular space dug into the hillside, and set back and raised from the theatre; facing north, it overlooks the entire sanctuary. In 1863 Champoiseau described and drew the monument surrounded on three sides by a limestone wall. All that remains of this enclosure now are the foundations of the walls, surrounded at the bottom and sides by walls supporting the lands of the hill. The enclosure itself is 13.40 m wide by 9.55 m long, and we know from the surveys made by Hauser in 1876 that the Victory was arranged obliquely 14.5° from the back wall. This arrangement highlights the left side of the statue for the observer from the terrace, which explains why the sculpture work is much more elaborate on this side than on the other. rge natural rocks are visible in the front part of the space. The foundation walls have been restored and the place of the monument artificially indicated.

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


subsection

サモトラケのニケ

The sanctuary of the Great Gods of Samothrace is located in a very narrow river valley. The buildings reserved for the Mysteries ceremonies occupied the entire bottom of the valley. From the 3rd century BCE, the entrance to the site was a monumental propylaia to the east. To the west was a very long portico to house pilgrims  and important offerings. The Victory Monument was located at the south end of the portico terrace, in a rectangular space dug into the hillside, and set back and raised from the theatre; facing north, it overlooks the entire sanctuary. In 1863 Champoiseau described and drew the monument surrounded on three sides by a limestone wall. All that remains of this enclosure now are the foundations of the walls, surrounded at the bottom and sides by walls supporting the lands of the hill. The enclosure itself is 13.40 m wide by 9.55 m long, and we know from the surveys made by Hauser in 1876 that the Victory was arranged obliquely 14.5° from the back wall. This arrangement highlights the left side of the statue for the observer from the terrace, which explains why the sculpture work is much more elaborate on this side than on the other. rge natural rocks are visible in the front part of the space. The foundation walls have been restored and the place of the monument artificially indicated.

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


subsection

サモトラケのニケ

The sanctuary of the Great Gods of Samothrace is located in a very narrow river valley. The buildings reserved for the Mysteries ceremonies occupied the entire bottom of the valley. From the 3rd century BCE, the entrance to the site was a monumental propylaia to the east. To the west was a very long portico to house pilgrims  and important offerings. The Victory Monument was located at the south end of the portico terrace, in a rectangular space dug into the hillside, and set back and raised from the theatre; facing north, it overlooks the entire sanctuary. In 1863 Champoiseau described and drew the monument surrounded on three sides by a limestone wall. All that remains of this enclosure now are the foundations of the walls, surrounded at the bottom and sides by walls supporting the lands of the hill. The enclosure itself is 13.40 m wide by 9.55 m long, and we know from the surveys made by Hauser in 1876 that the Victory was arranged obliquely 14.5° from the back wall. This arrangement highlights the left side of the statue for the observer from the terrace, which explains why the sculpture work is much more elaborate on this side than on the other. rge natural rocks are visible in the front part of the space. The foundation walls have been restored and the place of the monument artificially indicated.

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


subsection

サモトラケのニケ

The reconstructed whole has given rise to various interpretations. K. Lehmann hypothesized that the monument was placed in the basin of an open-air fountain, with water effects on the large rocks arranged for this purpose. But they could not be part of the original layout since the palm of the right hand was found under one of them: Charbonneau thought they came from a later natural landslide. The fountain hypothesis has been abandoned since the excavations of J. McCredie and B. Wescoat demonstrated that there was no water supply to the enclosure.Recent research has not determined the exact nature of the Victory's architectural setting, more than 500 blocks of which have been reused in a Byzantine construction at the other end of the west hill. Fragments of coloured plaster and some elements of terracotta architectural decoration were found in the enclosure. Two 3D reconstructions have been proposed by B. Wescoat: either low walls forming a peribolos around the open-air monument, or a covered building with columns and pediment of the naiskos type. The excellent state of conservation of the sculpture's surface suggests that it did not stay in the open air for long. The overall reconstruction of the sanctuary in 3D also highlighted that the statue of Victory was oriented along the axis of the river, which was the only unobstructed perspective of the sanctuary: the monument was thus clearly visible from the bottom of the valley.Another hypothesis was proposed by Jean Richer  who observed that the ship on which the statue is placed represents the constellation of the Argo: the ship's bow and the statue had been deliberately placed at an angle, within the important Sanctuary of the Great Gods of Samothrace, so that Victory looked northward: according to Richer, this direction shows the path that leads to the gate of the gods identified at Mount Hemos, and thus alludes to a spiritual victory; for, in this orientation, the momentum and gaze of the statue were directed at the northeast corner of the Anaktoron, seat of the Little Mysteries, where initiation was given. This angle was thus the most sacred of the building.

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


subsection

サモトラケのニケ

The reconstructed whole has given rise to various interpretations. K. Lehmann hypothesized that the monument was placed in the basin of an open-air fountain, with water effects on the large rocks arranged for this purpose. But they could not be part of the original layout since the palm of the right hand was found under one of them: Charbonneau thought they came from a later natural landslide. The fountain hypothesis has been abandoned since the excavations of J. McCredie and B. Wescoat demonstrated that there was no water supply to the enclosure.Recent research has not determined the exact nature of the Victory's architectural setting, more than 500 blocks of which have been reused in a Byzantine construction at the other end of the west hill. Fragments of coloured plaster and some elements of terracotta architectural decoration were found in the enclosure. Two 3D reconstructions have been proposed by B. Wescoat: either low walls forming a peribolos around the open-air monument, or a covered building with columns and pediment of the naiskos type. The excellent state of conservation of the sculpture's surface suggests that it did not stay in the open air for long. The overall reconstruction of the sanctuary in 3D also highlighted that the statue of Victory was oriented along the axis of the river, which was the only unobstructed perspective of the sanctuary: the monument was thus clearly visible from the bottom of the valley.Another hypothesis was proposed by Jean Richer  who observed that the ship on which the statue is placed represents the constellation of the Argo: the ship's bow and the statue had been deliberately placed at an angle, within the important Sanctuary of the Great Gods of Samothrace, so that Victory looked northward: according to Richer, this direction shows the path that leads to the gate of the gods identified at Mount Hemos, and thus alludes to a spiritual victory; for, in this orientation, the momentum and gaze of the statue were directed at the northeast corner of the Anaktoron, seat of the Little Mysteries, where initiation was given. This angle was thus the most sacred of the building.

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


subsection

サモトラケのニケ

The reconstructed whole has given rise to various interpretations. K. Lehmann hypothesized that the monument was placed in the basin of an open-air fountain, with water effects on the large rocks arranged for this purpose. But they could not be part of the original layout since the palm of the right hand was found under one of them: Charbonneau thought they came from a later natural landslide. The fountain hypothesis has been abandoned since the excavations of J. McCredie and B. Wescoat demonstrated that there was no water supply to the enclosure.Recent research has not determined the exact nature of the Victory's architectural setting, more than 500 blocks of which have been reused in a Byzantine construction at the other end of the west hill. Fragments of coloured plaster and some elements of terracotta architectural decoration were found in the enclosure. Two 3D reconstructions have been proposed by B. Wescoat: either low walls forming a peribolos around the open-air monument, or a covered building with columns and pediment of the naiskos type. The excellent state of conservation of the sculpture's surface suggests that it did not stay in the open air for long. The overall reconstruction of the sanctuary in 3D also highlighted that the statue of Victory was oriented along the axis of the river, which was the only unobstructed perspective of the sanctuary: the monument was thus clearly visible from the bottom of the valley.Another hypothesis was proposed by Jean Richer  who observed that the ship on which the statue is placed represents the constellation of the Argo: the ship's bow and the statue had been deliberately placed at an angle, within the important Sanctuary of the Great Gods of Samothrace, so that Victory looked northward: according to Richer, this direction shows the path that leads to the gate of the gods identified at Mount Hemos, and thus alludes to a spiritual victory; for, in this orientation, the momentum and gaze of the statue were directed at the northeast corner of the Anaktoron, seat of the Little Mysteries, where initiation was given. This angle was thus the most sacred of the building.

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


subsection

サモトラケのニケ

The reconstructed whole has given rise to various interpretations. K. Lehmann hypothesized that the monument was placed in the basin of an open-air fountain, with water effects on the large rocks arranged for this purpose. But they could not be part of the original layout since the palm of the right hand was found under one of them: Charbonneau thought they came from a later natural landslide. The fountain hypothesis has been abandoned since the excavations of J. McCredie and B. Wescoat demonstrated that there was no water supply to the enclosure.Recent research has not determined the exact nature of the Victory's architectural setting, more than 500 blocks of which have been reused in a Byzantine construction at the other end of the west hill. Fragments of coloured plaster and some elements of terracotta architectural decoration were found in the enclosure. Two 3D reconstructions have been proposed by B. Wescoat: either low walls forming a peribolos around the open-air monument, or a covered building with columns and pediment of the naiskos type. The excellent state of conservation of the sculpture's surface suggests that it did not stay in the open air for long. The overall reconstruction of the sanctuary in 3D also highlighted that the statue of Victory was oriented along the axis of the river, which was the only unobstructed perspective of the sanctuary: the monument was thus clearly visible from the bottom of the valley.Another hypothesis was proposed by Jean Richer  who observed that the ship on which the statue is placed represents the constellation of the Argo: the ship's bow and the statue had been deliberately placed at an angle, within the important Sanctuary of the Great Gods of Samothrace, so that Victory looked northward: according to Richer, this direction shows the path that leads to the gate of the gods identified at Mount Hemos, and thus alludes to a spiritual victory; for, in this orientation, the momentum and gaze of the statue were directed at the northeast corner of the Anaktoron, seat of the Little Mysteries, where initiation was given. This angle was thus the most sacred of the building.

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


subsection

サモトラケのニケ

In the sanctuary of the Great Gods of Samothrace, as in all the great pan-Hellenic shrines, the faithful offered their ex-votos, from the most modest to the most sumptuous according to their wealth. It was a way to honour the gods and thank them for their benefits. In addition to a promise of a better spiritual life, the Cabeiri gods, including the Dioscuri, were reputed to ensure their protection to those who were initiated into their Mysteries if they were in danger at sea and in combat. Summoning them allowed their initiates to be saved from shipwreck and to obtain victory. In this context, a representation of Victory landing on a ship's bow can be interpreted as an offering to thank the Great Gods following an important naval victory.Several major naval offerings were known in the 3rd century BC. In the Greek world, such as the "bull monument" in Delos, the naval monument of the agora in Cyrene and Samothrace itself, the Neorion , which housed a ship about twenty meters long. In Rhodes, an offering of the same type as the base of Samothrace, but smaller, was found in the sanctuary of Athena at the top of the acropolis of Lindos.

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


subsection

サモトラケのニケ

In the sanctuary of the Great Gods of Samothrace, as in all the great pan-Hellenic shrines, the faithful offered their ex-votos, from the most modest to the most sumptuous according to their wealth. It was a way to honour the gods and thank them for their benefits. In addition to a promise of a better spiritual life, the Cabeiri gods, including the Dioscuri, were reputed to ensure their protection to those who were initiated into their Mysteries if they were in danger at sea and in combat. Summoning them allowed their initiates to be saved from shipwreck and to obtain victory. In this context, a representation of Victory landing on a ship's bow can be interpreted as an offering to thank the Great Gods following an important naval victory.Several major naval offerings were known in the 3rd century BC. In the Greek world, such as the "bull monument" in Delos, the naval monument of the agora in Cyrene and Samothrace itself, the Neorion , which housed a ship about twenty meters long. In Rhodes, an offering of the same type as the base of Samothrace, but smaller, was found in the sanctuary of Athena at the top of the acropolis of Lindos.

Prompt: サモトラケのニケのヌルに関する捧げ物を説明してください。英語で出力して下さい。


subsection

サモトラケのニケ

In the sanctuary of the Great Gods of Samothrace, as in all the great pan-Hellenic shrines, the faithful offered their ex-votos, from the most modest to the most sumptuous according to their wealth. It was a way to honour the gods and thank them for their benefits. In addition to a promise of a better spiritual life, the Cabeiri gods, including the Dioscuri, were reputed to ensure their protection to those who were initiated into their Mysteries if they were in danger at sea and in combat. Summoning them allowed their initiates to be saved from shipwreck and to obtain victory. In this context, a representation of Victory landing on a ship's bow can be interpreted as an offering to thank the Great Gods following an important naval victory.Several major naval offerings were known in the 3rd century BC. In the Greek world, such as the "bull monument" in Delos, the naval monument of the agora in Cyrene and Samothrace itself, the Neorion , which housed a ship about twenty meters long. In Rhodes, an offering of the same type as the base of Samothrace, but smaller, was found in the sanctuary of Athena at the top of the acropolis of Lindos.

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


subsection

サモトラケのニケ

In the sanctuary of the Great Gods of Samothrace, as in all the great pan-Hellenic shrines, the faithful offered their ex-votos, from the most modest to the most sumptuous according to their wealth. It was a way to honour the gods and thank them for their benefits. In addition to a promise of a better spiritual life, the Cabeiri gods, including the Dioscuri, were reputed to ensure their protection to those who were initiated into their Mysteries if they were in danger at sea and in combat. Summoning them allowed their initiates to be saved from shipwreck and to obtain victory. In this context, a representation of Victory landing on a ship's bow can be interpreted as an offering to thank the Great Gods following an important naval victory.Several major naval offerings were known in the 3rd century BC. In the Greek world, such as the "bull monument" in Delos, the naval monument of the agora in Cyrene and Samothrace itself, the Neorion , which housed a ship about twenty meters long. In Rhodes, an offering of the same type as the base of Samothrace, but smaller, was found in the sanctuary of Athena at the top of the acropolis of Lindos.

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


subsection

サモトラケのニケ

The dedication inscription of the Victory Monument has not been found. Archaeologists are reduced to hypothesizing to define the historical context and to determine the naval victory justifying the erection of such an important . The difficulty lies in the fact that in the 2nd and 3rd centuries BCE naval battles to dominate the Aegean Sea were very numerous, first pitting the Antigonids and their Seleucid allies against the gids, then the Seleucids to the Rhodians and Pergamon.Austrian archaeologists first considered that the monument of Samothrace is the one represented on the tetradrachma of Demetrios Poliorcetes. They conclude that, like the coin, he celebrated his victory against Ptolemy I at the Battle of Salamis at Cyprus in 306 BCE. According to Benndorf, the Victory of Samothrace therefore dates from the last years of the fourth century BC. and may have been sculpted by a student of sculptor Scopas.The construction of the monument was then related to the Battle of Cos , during which the King of Macedonia Antigonus II Gonatas defeated the gids, allied with Athens and Sparta during the Chremonidean War. Antigonus Gonatas is also credited with the dedication, at the same time, of his flagship in the Neorium in Delos.The material of the base of the Victory of Samothrace was identified as early as 1905 as marble from the quarries of rtos in Rhodes. The same is true of the small fragment found in 1891 by Champoiseau within the walls of the monument to Samothrace, bearing the end of an engraved name: . In 1931, Hermann Thiersch restored the name of the sculptor "Pythokritos son of Timocharis of Rhodes", active around 210–165 BCE. He was convinced that the fragment belongs to the ship-shaped base: he therefore made this sculptor the author of the Victory of Samothrace. According to him, the monument was commissioned by the Rhodians, allies in the kingdom of Pergamos against Antiochus III, after their victory at the naval battles of Side and Myonnesos, on the Ionian coast, in 190 BCE. Excavations revealed that the sculpture was positioned alighting on a flagship, that was set in the ground in a way that it looked as it was floating. The definitive victory against the Seleucids came in 189 BCE. at the Battle of Sipyla Magnesia. The monument was therefore reportedly erected in Samothrace shortly after that date. Jean Charbonneaux also admits the historical link between the Victory of Samothrace and the battles of Myonnesus and Magnesia, and makes it the dedication of King Eumene II.Based on the same arguments, Nathan Badoud in 2018 favoured the conflict that earlier pitted the Rhodians and the King of Pergamon against King Philip V of Macedonia. The Rhodians were first defeated at the naval Battle of de in 201 BCE. Then Philip V was defeated at sea by the two allies at the Battle of Chios in 201 BCE. Rhodes and Pergamon called on the Roman Republic for reinforcements, and Titus Quinctius Flamininus crushed the Macedonian army in Thessaly with the Battle of Cynoscephalae. The Rhodians reportedly dedicated the Victory Monument after that date, for their victory in Chios.Other researchers have considered later occasions: the victory of the Romans at Pydna in 168 BCE. over Perseus, or a consecration of the kingdom of Pergamon at the same time, or the victory of Pergamon and Rhodes against Prusias II of Bithynia in 154 BCE.

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

Antigonus II Gonatas
Battle of Cos
Battle of Cynoscephalae
Chremonidean War
Delos
Pergamon
Philip V of Macedon
Prusias II of Bithynia
Rhodes
Samothrace
Scopas


subsection

サモトラケのニケ

The dedication inscription of the Victory Monument has not been found. Archaeologists are reduced to hypothesizing to define the historical context and to determine the naval victory justifying the erection of such an important . The difficulty lies in the fact that in the 2nd and 3rd centuries BCE naval battles to dominate the Aegean Sea were very numerous, first pitting the Antigonids and their Seleucid allies against the gids, then the Seleucids to the Rhodians and Pergamon.Austrian archaeologists first considered that the monument of Samothrace is the one represented on the tetradrachma of Demetrios Poliorcetes. They conclude that, like the coin, he celebrated his victory against Ptolemy I at the Battle of Salamis at Cyprus in 306 BCE. According to Benndorf, the Victory of Samothrace therefore dates from the last years of the fourth century BC. and may have been sculpted by a student of sculptor Scopas.The construction of the monument was then related to the Battle of Cos , during which the King of Macedonia Antigonus II Gonatas defeated the gids, allied with Athens and Sparta during the Chremonidean War. Antigonus Gonatas is also credited with the dedication, at the same time, of his flagship in the Neorium in Delos.The material of the base of the Victory of Samothrace was identified as early as 1905 as marble from the quarries of rtos in Rhodes. The same is true of the small fragment found in 1891 by Champoiseau within the walls of the monument to Samothrace, bearing the end of an engraved name: . In 1931, Hermann Thiersch restored the name of the sculptor "Pythokritos son of Timocharis of Rhodes", active around 210–165 BCE. He was convinced that the fragment belongs to the ship-shaped base: he therefore made this sculptor the author of the Victory of Samothrace. According to him, the monument was commissioned by the Rhodians, allies in the kingdom of Pergamos against Antiochus III, after their victory at the naval battles of Side and Myonnesos, on the Ionian coast, in 190 BCE. Excavations revealed that the sculpture was positioned alighting on a flagship, that was set in the ground in a way that it looked as it was floating. The definitive victory against the Seleucids came in 189 BCE. at the Battle of Sipyla Magnesia. The monument was therefore reportedly erected in Samothrace shortly after that date. Jean Charbonneaux also admits the historical link between the Victory of Samothrace and the battles of Myonnesus and Magnesia, and makes it the dedication of King Eumene II.Based on the same arguments, Nathan Badoud in 2018 favoured the conflict that earlier pitted the Rhodians and the King of Pergamon against King Philip V of Macedonia. The Rhodians were first defeated at the naval Battle of de in 201 BCE. Then Philip V was defeated at sea by the two allies at the Battle of Chios in 201 BCE. Rhodes and Pergamon called on the Roman Republic for reinforcements, and Titus Quinctius Flamininus crushed the Macedonian army in Thessaly with the Battle of Cynoscephalae. The Rhodians reportedly dedicated the Victory Monument after that date, for their victory in Chios.Other researchers have considered later occasions: the victory of the Romans at Pydna in 168 BCE. over Perseus, or a consecration of the kingdom of Pergamon at the same time, or the victory of Pergamon and Rhodes against Prusias II of Bithynia in 154 BCE.

Prompt: サモトラケのニケのヌルに関するデートを説明してください。英語で出力して下さい。

Antigonus II Gonatas
Battle of Cos
Battle of Cynoscephalae
Chremonidean War
Delos
Pergamon
Philip V of Macedon
Prusias II of Bithynia
Rhodes
Samothrace
Scopas


subsection

サモトラケのニケ

The dedication inscription of the Victory Monument has not been found. Archaeologists are reduced to hypothesizing to define the historical context and to determine the naval victory justifying the erection of such an important . The difficulty lies in the fact that in the 2nd and 3rd centuries BCE naval battles to dominate the Aegean Sea were very numerous, first pitting the Antigonids and their Seleucid allies against the gids, then the Seleucids to the Rhodians and Pergamon.Austrian archaeologists first considered that the monument of Samothrace is the one represented on the tetradrachma of Demetrios Poliorcetes. They conclude that, like the coin, he celebrated his victory against Ptolemy I at the Battle of Salamis at Cyprus in 306 BCE. According to Benndorf, the Victory of Samothrace therefore dates from the last years of the fourth century BC. and may have been sculpted by a student of sculptor Scopas.The construction of the monument was then related to the Battle of Cos , during which the King of Macedonia Antigonus II Gonatas defeated the gids, allied with Athens and Sparta during the Chremonidean War. Antigonus Gonatas is also credited with the dedication, at the same time, of his flagship in the Neorium in Delos.The material of the base of the Victory of Samothrace was identified as early as 1905 as marble from the quarries of rtos in Rhodes. The same is true of the small fragment found in 1891 by Champoiseau within the walls of the monument to Samothrace, bearing the end of an engraved name: . In 1931, Hermann Thiersch restored the name of the sculptor "Pythokritos son of Timocharis of Rhodes", active around 210–165 BCE. He was convinced that the fragment belongs to the ship-shaped base: he therefore made this sculptor the author of the Victory of Samothrace. According to him, the monument was commissioned by the Rhodians, allies in the kingdom of Pergamos against Antiochus III, after their victory at the naval battles of Side and Myonnesos, on the Ionian coast, in 190 BCE. Excavations revealed that the sculpture was positioned alighting on a flagship, that was set in the ground in a way that it looked as it was floating. The definitive victory against the Seleucids came in 189 BCE. at the Battle of Sipyla Magnesia. The monument was therefore reportedly erected in Samothrace shortly after that date. Jean Charbonneaux also admits the historical link between the Victory of Samothrace and the battles of Myonnesus and Magnesia, and makes it the dedication of King Eumene II.Based on the same arguments, Nathan Badoud in 2018 favoured the conflict that earlier pitted the Rhodians and the King of Pergamon against King Philip V of Macedonia. The Rhodians were first defeated at the naval Battle of de in 201 BCE. Then Philip V was defeated at sea by the two allies at the Battle of Chios in 201 BCE. Rhodes and Pergamon called on the Roman Republic for reinforcements, and Titus Quinctius Flamininus crushed the Macedonian army in Thessaly with the Battle of Cynoscephalae. The Rhodians reportedly dedicated the Victory Monument after that date, for their victory in Chios.Other researchers have considered later occasions: the victory of the Romans at Pydna in 168 BCE. over Perseus, or a consecration of the kingdom of Pergamon at the same time, or the victory of Pergamon and Rhodes against Prusias II of Bithynia in 154 BCE.

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

Antigonus II Gonatas
Battle of Cos
Battle of Cynoscephalae
Chremonidean War
Delos
Pergamon
Philip V of Macedon
Prusias II of Bithynia
Rhodes
Samothrace
Scopas


subsection

サモトラケのニケ

The dedication inscription of the Victory Monument has not been found. Archaeologists are reduced to hypothesizing to define the historical context and to determine the naval victory justifying the erection of such an important . The difficulty lies in the fact that in the 2nd and 3rd centuries BCE naval battles to dominate the Aegean Sea were very numerous, first pitting the Antigonids and their Seleucid allies against the gids, then the Seleucids to the Rhodians and Pergamon.Austrian archaeologists first considered that the monument of Samothrace is the one represented on the tetradrachma of Demetrios Poliorcetes. They conclude that, like the coin, he celebrated his victory against Ptolemy I at the Battle of Salamis at Cyprus in 306 BCE. According to Benndorf, the Victory of Samothrace therefore dates from the last years of the fourth century BC. and may have been sculpted by a student of sculptor Scopas.The construction of the monument was then related to the Battle of Cos , during which the King of Macedonia Antigonus II Gonatas defeated the gids, allied with Athens and Sparta during the Chremonidean War. Antigonus Gonatas is also credited with the dedication, at the same time, of his flagship in the Neorium in Delos.The material of the base of the Victory of Samothrace was identified as early as 1905 as marble from the quarries of rtos in Rhodes. The same is true of the small fragment found in 1891 by Champoiseau within the walls of the monument to Samothrace, bearing the end of an engraved name: . In 1931, Hermann Thiersch restored the name of the sculptor "Pythokritos son of Timocharis of Rhodes", active around 210–165 BCE. He was convinced that the fragment belongs to the ship-shaped base: he therefore made this sculptor the author of the Victory of Samothrace. According to him, the monument was commissioned by the Rhodians, allies in the kingdom of Pergamos against Antiochus III, after their victory at the naval battles of Side and Myonnesos, on the Ionian coast, in 190 BCE. Excavations revealed that the sculpture was positioned alighting on a flagship, that was set in the ground in a way that it looked as it was floating. The definitive victory against the Seleucids came in 189 BCE. at the Battle of Sipyla Magnesia. The monument was therefore reportedly erected in Samothrace shortly after that date. Jean Charbonneaux also admits the historical link between the Victory of Samothrace and the battles of Myonnesus and Magnesia, and makes it the dedication of King Eumene II.Based on the same arguments, Nathan Badoud in 2018 favoured the conflict that earlier pitted the Rhodians and the King of Pergamon against King Philip V of Macedonia. The Rhodians were first defeated at the naval Battle of de in 201 BCE. Then Philip V was defeated at sea by the two allies at the Battle of Chios in 201 BCE. Rhodes and Pergamon called on the Roman Republic for reinforcements, and Titus Quinctius Flamininus crushed the Macedonian army in Thessaly with the Battle of Cynoscephalae. The Rhodians reportedly dedicated the Victory Monument after that date, for their victory in Chios.Other researchers have considered later occasions: the victory of the Romans at Pydna in 168 BCE. over Perseus, or a consecration of the kingdom of Pergamon at the same time, or the victory of Pergamon and Rhodes against Prusias II of Bithynia in 154 BCE.

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

Antigonus II Gonatas
Battle of Cos
Battle of Cynoscephalae
Chremonidean War
Delos
Pergamon
Philip V of Macedon
Prusias II of Bithynia
Rhodes
Samothrace
Scopas


subsection

サモトラケのニケ

Although the supposed dedication inscription of the name of a Rhodian found at the Victory's base was very quickly contested because of its small size, the entire monument remained attributed to the Rhodian sculpture school. This made it possible to put an end to previous doubts about the style of the statue. In 1955 Margarete Bieber made him a major figure in the "Rhodian school" and the "Hellenic Baroque", next to the frieze of the Gigantomachy of the Great Altar of Pergamon, characterized by the strength of attitudes, the virtuosity of the draperies and the expressiveness of the figures. This style lasted in Rhodes until Roman times in complex and monumental creations such as the ocoon group or Sperlonga sculptures attributed or signed by Rhodian sculptors.The base blocks and the sculpture of the statue are not by the same hand. The two parts of the monument were designed together, but produced by two different workshops. The marble base of rtos was certainly made in Rhodes, where there are parallels. Moreover, the Rhodian sculpture in large marble is of high quality, without being exceptional for its time, but there are no parallels for the virtuosity of the Nike, which remains unusual. The sculptor could also come from elsewhere, as was common in the ancient Greek world for great artists. The Victory of Samothrace is a grandiose adaptation of the moving statue of the Athena-Niké of the Cyrene monument: the sculptor added wings, stretched out the front leg to express the flight, and modified the arrangement of the mantle with the floating panel at the back. He thus gave the statue of Samothrace a dynamic that brings it closer to the figures the Gigantomachy of the altar of Pergamon, conceived shortly after in the same spirit.

Prompt: サモトラケのニケの文脈で、スタイルとワークショップとヌルを説明してください。英語で出力して下さい。

Margarete Bieber
Pergamon
Rhodes
Samothrace
Sperlonga sculptures


subsection

サモトラケのニケ

Although the supposed dedication inscription of the name of a Rhodian found at the Victory's base was very quickly contested because of its small size, the entire monument remained attributed to the Rhodian sculpture school. This made it possible to put an end to previous doubts about the style of the statue. In 1955 Margarete Bieber made him a major figure in the "Rhodian school" and the "Hellenic Baroque", next to the frieze of the Gigantomachy of the Great Altar of Pergamon, characterized by the strength of attitudes, the virtuosity of the draperies and the expressiveness of the figures. This style lasted in Rhodes until Roman times in complex and monumental creations such as the ocoon group or Sperlonga sculptures attributed or signed by Rhodian sculptors.The base blocks and the sculpture of the statue are not by the same hand. The two parts of the monument were designed together, but produced by two different workshops. The marble base of rtos was certainly made in Rhodes, where there are parallels. Moreover, the Rhodian sculpture in large marble is of high quality, without being exceptional for its time, but there are no parallels for the virtuosity of the Nike, which remains unusual. The sculptor could also come from elsewhere, as was common in the ancient Greek world for great artists. The Victory of Samothrace is a grandiose adaptation of the moving statue of the Athena-Niké of the Cyrene monument: the sculptor added wings, stretched out the front leg to express the flight, and modified the arrangement of the mantle with the floating panel at the back. He thus gave the statue of Samothrace a dynamic that brings it closer to the figures the Gigantomachy of the altar of Pergamon, conceived shortly after in the same spirit.

Prompt: サモトラケのニケのヌルに関するスタイルとワークショップを説明してください。英語で出力して下さい。

Margarete Bieber
Pergamon
Rhodes
Samothrace
Sperlonga sculptures


subsection

サモトラケのニケ

Although the supposed dedication inscription of the name of a Rhodian found at the Victory's base was very quickly contested because of its small size, the entire monument remained attributed to the Rhodian sculpture school. This made it possible to put an end to previous doubts about the style of the statue. In 1955 Margarete Bieber made him a major figure in the "Rhodian school" and the "Hellenic Baroque", next to the frieze of the Gigantomachy of the Great Altar of Pergamon, characterized by the strength of attitudes, the virtuosity of the draperies and the expressiveness of the figures. This style lasted in Rhodes until Roman times in complex and monumental creations such as the ocoon group or Sperlonga sculptures attributed or signed by Rhodian sculptors.The base blocks and the sculpture of the statue are not by the same hand. The two parts of the monument were designed together, but produced by two different workshops. The marble base of rtos was certainly made in Rhodes, where there are parallels. Moreover, the Rhodian sculpture in large marble is of high quality, without being exceptional for its time, but there are no parallels for the virtuosity of the Nike, which remains unusual. The sculptor could also come from elsewhere, as was common in the ancient Greek world for great artists. The Victory of Samothrace is a grandiose adaptation of the moving statue of the Athena-Niké of the Cyrene monument: the sculptor added wings, stretched out the front leg to express the flight, and modified the arrangement of the mantle with the floating panel at the back. He thus gave the statue of Samothrace a dynamic that brings it closer to the figures the Gigantomachy of the altar of Pergamon, conceived shortly after in the same spirit.

Prompt: サモトラケのニケでは、どのようにヌルのスタイルとワークショップが説明されていますか？英語で出力して下さい。

Margarete Bieber
Pergamon
Rhodes
Samothrace
Sperlonga sculptures


subsection

サモトラケのニケ

Although the supposed dedication inscription of the name of a Rhodian found at the Victory's base was very quickly contested because of its small size, the entire monument remained attributed to the Rhodian sculpture school. This made it possible to put an end to previous doubts about the style of the statue. In 1955 Margarete Bieber made him a major figure in the "Rhodian school" and the "Hellenic Baroque", next to the frieze of the Gigantomachy of the Great Altar of Pergamon, characterized by the strength of attitudes, the virtuosity of the draperies and the expressiveness of the figures. This style lasted in Rhodes until Roman times in complex and monumental creations such as the ocoon group or Sperlonga sculptures attributed or signed by Rhodian sculptors.The base blocks and the sculpture of the statue are not by the same hand. The two parts of the monument were designed together, but produced by two different workshops. The marble base of rtos was certainly made in Rhodes, where there are parallels. Moreover, the Rhodian sculpture in large marble is of high quality, without being exceptional for its time, but there are no parallels for the virtuosity of the Nike, which remains unusual. The sculptor could also come from elsewhere, as was common in the ancient Greek world for great artists. The Victory of Samothrace is a grandiose adaptation of the moving statue of the Athena-Niké of the Cyrene monument: the sculptor added wings, stretched out the front leg to express the flight, and modified the arrangement of the mantle with the floating panel at the back. He thus gave the statue of Samothrace a dynamic that brings it closer to the figures the Gigantomachy of the altar of Pergamon, conceived shortly after in the same spirit.

Prompt: サモトラケのニケのヌルにおけるスタイルとワークショップの特徴を説明してください。英語で出力して下さい。

Margarete Bieber
Pergamon
Rhodes
Samothrace
Sperlonga sculptures


section

民衆を導く自由の女神

</ref>}}Liberty Leading the People  is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X. A bare-breasted woman of the people with a Phrygian cap personifying the concept and Goddess of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding aloft the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.

Prompt: 民衆を導く自由の女神に焦点を当てて、その抽象を説明してください。英語で出力して下さい。

Eugène Delacroix
France
France
French Revolution
July Revolution
Louvre
Marianne
Louvre
Paris
Phrygian cap


section

民衆を導く自由の女神

</ref>}}Liberty Leading the People  is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X. A bare-breasted woman of the people with a Phrygian cap personifying the concept and Goddess of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding aloft the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.

Prompt: 民衆を導く自由の女神の抽象を説明してください。英語で出力して下さい。

Eugène Delacroix
France
France
French Revolution
July Revolution
Louvre
Marianne
Louvre
Paris
Phrygian cap


section

民衆を導く自由の女神

</ref>}}Liberty Leading the People  is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X. A bare-breasted woman of the people with a Phrygian cap personifying the concept and Goddess of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding aloft the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.

Prompt: 民衆を導く自由の女神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。

Eugène Delacroix
France
France
French Revolution
July Revolution
Louvre
Marianne
Louvre
Paris
Phrygian cap


section

民衆を導く自由の女神

</ref>}}Liberty Leading the People  is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X. A bare-breasted woman of the people with a Phrygian cap personifying the concept and Goddess of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding aloft the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.

Prompt: 民衆を導く自由の女神に関して、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。

Eugène Delacroix
France
France
French Revolution
July Revolution
Louvre
Marianne
Louvre
Paris
Phrygian cap


section

民衆を導く自由の女神

By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.

Prompt: 民衆を導く自由の女神に焦点を当てて、その歴史を説明してください。英語で出力して下さい。


section

民衆を導く自由の女神

By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.

Prompt: 民衆を導く自由の女神の歴史を説明してください。英語で出力して下さい。


section

民衆を導く自由の女神

By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.

Prompt: 民衆を導く自由の女神はどのように歴史を説明していますか？英語で出力して下さい。


section

民衆を導く自由の女神

By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: "My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her." The painting was first exhibited at the official Salon of 1831.

Prompt: 民衆を導く自由の女神に関して、どのように歴史が議論されていますか？英語で出力して下さい。


section

民衆を導く自由の女神

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious  wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.

Prompt: 民衆を導く自由の女神に焦点を当てて、その象徴性を説明してください。英語で出力して下さい。

Age of Enlightenment
French Revolution
Frédéric Villot
Louvre
Louvre
Paris
Phrygian cap


section

民衆を導く自由の女神

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious  wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.

Prompt: 民衆を導く自由の女神の象徴性を説明してください。英語で出力して下さい。

Age of Enlightenment
French Revolution
Frédéric Villot
Louvre
Louvre
Paris
Phrygian cap


section

民衆を導く自由の女神

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious  wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.

Prompt: 民衆を導く自由の女神はどのように象徴性を説明していますか？英語で出力して下さい。

Age of Enlightenment
French Revolution
Frédéric Villot
Louvre
Louvre
Paris
Phrygian cap


section

民衆を導く自由の女神

Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious  wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.

Prompt: 民衆を導く自由の女神に関して、どのように象徴性が議論されていますか？英語で出力して下さい。

Age of Enlightenment
French Revolution
Frédéric Villot
Louvre
Louvre
Paris
Phrygian cap


section

民衆を導く自由の女神

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime, Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring  high by  long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription  on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.

Prompt: 民衆を導く自由の女神に焦点を当てて、その購入展示を説明してください。英語で出力して下さい。

Airbus Beluga
Albert Boime
Bahrain
Detroit
Detroit Institute of Arts
France
France
Grand Palais
July Revolution
June Rebellion
Lens, Pas-de-Calais
Louvre
Louvre-Lens
Metropolitan Museum of Art
Louvre
Paris
Tokyo


section

民衆を導く自由の女神

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime, Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring  high by  long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription  on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.

Prompt: 民衆を導く自由の女神の購入展示を説明してください。英語で出力して下さい。

Airbus Beluga
Albert Boime
Bahrain
Detroit
Detroit Institute of Arts
France
France
Grand Palais
July Revolution
June Rebellion
Lens, Pas-de-Calais
Louvre
Louvre-Lens
Metropolitan Museum of Art
Louvre
Paris
Tokyo


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民衆を導く自由の女神

The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the "citizen-king" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime, Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring  high by  long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription  on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that "at first glance, the inscription is superficial and should be easily removed". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.

Prompt: 民衆を導く自由の女神はどのように購入展示を説明していますか？英語で出力して下さい。

Airbus Beluga
Albert Boime
Bahrain
Detroit
Detroit Institute of Arts
France
France
Grand Palais
July Revolution
June Rebellion
Lens, Pas-de-Calais
Louvre
Louvre-Lens
Metropolitan Museum of Art
Louvre
Paris
Tokyo