subsection

Groupe du Laocoon

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

Prompt: Dans Groupe du Laocoon, comment la Restaurations de la sujet est-elle expliquée?Veuillez sortir en anglais.

Agostino Cornacchini
Antonio Canova
Jacopo Sansovino
Ludwig Pollak
Michelangelo


subsection

Groupe du Laocoon

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

Prompt: Décrivez les caractéristiques de la Restaurations dans la sujet de Groupe du Laocoon.Veuillez sortir en anglais.

Agostino Cornacchini
Antonio Canova
Jacopo Sansovino
Ludwig Pollak
Michelangelo


subsection

Groupe du Laocoon

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

Prompt: Dans le contexte de Groupe du Laocoon, expliquez la Laocoön comme idéal de l'art et la sujet.Veuillez sortir en anglais.

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


subsection

Groupe du Laocoon

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

Prompt: Expliquer la Laocoön comme idéal de l'art concernant la sujet de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.

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


subsection

Groupe du Laocoon

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

Prompt: Dans Groupe du Laocoon, comment la Laocoön comme idéal de l'art de la sujet est-elle expliquée?Veuillez sortir en anglais.

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


subsection

Groupe du Laocoon

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

Prompt: Décrivez les caractéristiques de la Laocoön comme idéal de l'art dans la sujet de Groupe du Laocoon.Veuillez sortir en anglais.

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


subsubsection

Groupe du Laocoon

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

Prompt: En vous concentrant sur la sujet de Groupe du Laocoon, expliquez la Pline concernant la sujet.Veuillez sortir en anglais.


subsubsection

Groupe du Laocoon

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

Prompt: Expliquer la Pline concernant la sujet de la sujet dans cette œuvre, Groupe du Laocoon.Veuillez sortir en anglais.


subsubsection

Groupe du Laocoon

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

Prompt: Concernant Groupe du Laocoon, comment la sujet de la sujet intègre-t-elle la Pline?Veuillez sortir en anglais.


subsubsection

Groupe du Laocoon

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

Prompt: En examinant la sujet de Groupe du Laocoon, comment discutez-vous la Pline de la sujet?Veuillez sortir en anglais.


subsection

Groupe du Laocoon

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

Prompt: Dans le contexte de Groupe du Laocoon, expliquez la Temps anciens et la Influence.Veuillez sortir en anglais.


subsection

Groupe du Laocoon

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

Prompt: Expliquer la Temps anciens concernant la Influence de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.


subsection

Groupe du Laocoon

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

Prompt: Dans Groupe du Laocoon, comment la Temps anciens de la Influence est-elle expliquée?Veuillez sortir en anglais.


subsection

Groupe du Laocoon

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

Prompt: Décrivez les caractéristiques de la Temps anciens dans la Influence de Groupe du Laocoon.Veuillez sortir en anglais.


subsection

Groupe du Laocoon

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

Prompt: Dans le contexte de Groupe du Laocoon, expliquez la Renaissance et la Influence.Veuillez sortir en anglais.

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


subsection

Groupe du Laocoon

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

Prompt: Expliquer la Renaissance concernant la Influence de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.

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


subsection

Groupe du Laocoon

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

Prompt: Dans Groupe du Laocoon, comment la Renaissance de la Influence est-elle expliquée?Veuillez sortir en anglais.

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


subsection

Groupe du Laocoon

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

Prompt: Décrivez les caractéristiques de la Renaissance dans la Influence de Groupe du Laocoon.Veuillez sortir en anglais.

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


subsection

Groupe du Laocoon

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

Prompt: Dans le contexte de Groupe du Laocoon, expliquez la Restaurations et la Influence.Veuillez sortir en anglais.

Agostino Cornacchini
Antonio Canova
Jacopo Sansovino
Ludwig Pollak
Michelangelo


subsection

Groupe du Laocoon

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

Prompt: Expliquer la Restaurations concernant la Influence de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.

Agostino Cornacchini
Antonio Canova
Jacopo Sansovino
Ludwig Pollak
Michelangelo


subsection

Groupe du Laocoon

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

Prompt: Dans Groupe du Laocoon, comment la Restaurations de la Influence est-elle expliquée?Veuillez sortir en anglais.

Agostino Cornacchini
Antonio Canova
Jacopo Sansovino
Ludwig Pollak
Michelangelo


subsection

Groupe du Laocoon

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

Prompt: Décrivez les caractéristiques de la Restaurations dans la Influence de Groupe du Laocoon.Veuillez sortir en anglais.

Agostino Cornacchini
Antonio Canova
Jacopo Sansovino
Ludwig Pollak
Michelangelo


subsection

Groupe du Laocoon

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

Prompt: Dans le contexte de Groupe du Laocoon, expliquez la Laocoön comme idéal de l'art et la Influence.Veuillez sortir en anglais.

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


subsection

Groupe du Laocoon

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

Prompt: Expliquer la Laocoön comme idéal de l'art concernant la Influence de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.

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


subsection

Groupe du Laocoon

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

Prompt: Dans Groupe du Laocoon, comment la Laocoön comme idéal de l'art de la Influence est-elle expliquée?Veuillez sortir en anglais.

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


subsection

Groupe du Laocoon

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

Prompt: Décrivez les caractéristiques de la Laocoön comme idéal de l'art dans la Influence de Groupe du Laocoon.Veuillez sortir en anglais.

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


subsubsection

Groupe du Laocoon

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

Prompt: En vous concentrant sur la Influence de Groupe du Laocoon, expliquez la Pline concernant la sujet.Veuillez sortir en anglais.


subsubsection

Groupe du Laocoon

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

Prompt: Expliquer la Pline concernant la sujet de la Influence dans cette œuvre, Groupe du Laocoon.Veuillez sortir en anglais.


subsubsection

Groupe du Laocoon

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

Prompt: Concernant Groupe du Laocoon, comment la sujet de la Influence intègre-t-elle la Pline?Veuillez sortir en anglais.


subsubsection

Groupe du Laocoon

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

Prompt: En examinant la Influence de Groupe du Laocoon, comment discutez-vous la Pline de la sujet?Veuillez sortir en anglais.


subsection

Groupe du Laocoon

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

Prompt: Dans le contexte de Groupe du Laocoon, expliquez la Pline et la Temps anciens.Veuillez sortir en anglais.


subsection

Groupe du Laocoon

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

Prompt: Expliquer la Pline concernant la Temps anciens de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.


subsection

Groupe du Laocoon

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

Prompt: Dans Groupe du Laocoon, comment la Pline de la Temps anciens est-elle expliquée?Veuillez sortir en anglais.


subsection

Groupe du Laocoon

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

Prompt: Décrivez les caractéristiques de la Pline dans la Temps anciens de Groupe du Laocoon.Veuillez sortir en anglais.


section

horloge astronomique de Prague

--> completion_date     =  catalogue           =  medium              =  movement            =  subject             =  height_metric       =  width_metric        =  length_metric       =  diameter_metric     =  height_imperial     =  width_imperial      =  length_imperial     =  diameter_imperial   =  dimensions          =  dimensions_ref      =  metric_unit         = cm   imperial_unit       = in   weight              =  designation         =  condition           =  museum              =  city                = Prague 1, Czech Republic coordinates         =  pushpin_map         = Czech Republic Prague Central pushpin_map_caption = Location in Prague owner               =  accession           =  preceded_by         =  followed_by         =  module              =  website             =  }}The Prague astronomical clock or Prague Orloj  is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation.

Prompt: Concentrez-vous sur horloge astronomique de Prague et expliquez la Abstrait.Veuillez sortir en anglais.


section

horloge astronomique de Prague

--> completion_date     =  catalogue           =  medium              =  movement            =  subject             =  height_metric       =  width_metric        =  length_metric       =  diameter_metric     =  height_imperial     =  width_imperial      =  length_imperial     =  diameter_imperial   =  dimensions          =  dimensions_ref      =  metric_unit         = cm   imperial_unit       = in   weight              =  designation         =  condition           =  museum              =  city                = Prague 1, Czech Republic coordinates         =  pushpin_map         = Czech Republic Prague Central pushpin_map_caption = Location in Prague owner               =  accession           =  preceded_by         =  followed_by         =  module              =  website             =  }}The Prague astronomical clock or Prague Orloj  is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation.

Prompt: Expliquer la Abstrait de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.


section

horloge astronomique de Prague

--> completion_date     =  catalogue           =  medium              =  movement            =  subject             =  height_metric       =  width_metric        =  length_metric       =  diameter_metric     =  height_imperial     =  width_imperial      =  length_imperial     =  diameter_imperial   =  dimensions          =  dimensions_ref      =  metric_unit         = cm   imperial_unit       = in   weight              =  designation         =  condition           =  museum              =  city                = Prague 1, Czech Republic coordinates         =  pushpin_map         = Czech Republic Prague Central pushpin_map_caption = Location in Prague owner               =  accession           =  preceded_by         =  followed_by         =  module              =  website             =  }}The Prague astronomical clock or Prague Orloj  is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation.

Prompt: Comment horloge astronomique de Prague explique-t-il sa Abstrait?Veuillez sortir en anglais.


section

horloge astronomique de Prague

--> completion_date     =  catalogue           =  medium              =  movement            =  subject             =  height_metric       =  width_metric        =  length_metric       =  diameter_metric     =  height_imperial     =  width_imperial      =  length_imperial     =  diameter_imperial   =  dimensions          =  dimensions_ref      =  metric_unit         = cm   imperial_unit       = in   weight              =  designation         =  condition           =  museum              =  city                = Prague 1, Czech Republic coordinates         =  pushpin_map         = Czech Republic Prague Central pushpin_map_caption = Location in Prague owner               =  accession           =  preceded_by         =  followed_by         =  module              =  website             =  }}The Prague astronomical clock or Prague Orloj  is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation.

Prompt: Dans horloge astronomique de Prague, comment est discutée la Abstrait?Veuillez sortir en anglais.


section

horloge astronomique de Prague

The Orloj is mounted on the southern wall of Old Town Hall in the Old Town Square. The clock mechanism has three main components – the astronomical dial, representing the position of the Sun and Moon in the sky and displaying various astronomical details; statues of various Catholic saints stand on either side of the clock; "The Walk of the Apostles", an hourly show of moving Apostle figures and other sculptures, notably a figure of a skeleton that represents Death, striking the time; and a calendar dial with medallions representing the months. According to local legend, the city will suffer if the clock is neglected and its good operation is placed in jeopardy; a ghost, mounted on the clock, was supposed to nod its head in confirmation. According to the legend, the only hope was represented by a boy born on New Year's night.

Prompt: Concentrez-vous sur horloge astronomique de Prague et expliquez la Description.Veuillez sortir en anglais.


section

horloge astronomique de Prague

The Orloj is mounted on the southern wall of Old Town Hall in the Old Town Square. The clock mechanism has three main components – the astronomical dial, representing the position of the Sun and Moon in the sky and displaying various astronomical details; statues of various Catholic saints stand on either side of the clock; "The Walk of the Apostles", an hourly show of moving Apostle figures and other sculptures, notably a figure of a skeleton that represents Death, striking the time; and a calendar dial with medallions representing the months. According to local legend, the city will suffer if the clock is neglected and its good operation is placed in jeopardy; a ghost, mounted on the clock, was supposed to nod its head in confirmation. According to the legend, the only hope was represented by a boy born on New Year's night.

Prompt: Expliquer la Description de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.


section

horloge astronomique de Prague

The Orloj is mounted on the southern wall of Old Town Hall in the Old Town Square. The clock mechanism has three main components – the astronomical dial, representing the position of the Sun and Moon in the sky and displaying various astronomical details; statues of various Catholic saints stand on either side of the clock; "The Walk of the Apostles", an hourly show of moving Apostle figures and other sculptures, notably a figure of a skeleton that represents Death, striking the time; and a calendar dial with medallions representing the months. According to local legend, the city will suffer if the clock is neglected and its good operation is placed in jeopardy; a ghost, mounted on the clock, was supposed to nod its head in confirmation. According to the legend, the only hope was represented by a boy born on New Year's night.

Prompt: Comment horloge astronomique de Prague explique-t-il sa Description?Veuillez sortir en anglais.


section

horloge astronomique de Prague

The Orloj is mounted on the southern wall of Old Town Hall in the Old Town Square. The clock mechanism has three main components – the astronomical dial, representing the position of the Sun and Moon in the sky and displaying various astronomical details; statues of various Catholic saints stand on either side of the clock; "The Walk of the Apostles", an hourly show of moving Apostle figures and other sculptures, notably a figure of a skeleton that represents Death, striking the time; and a calendar dial with medallions representing the months. According to local legend, the city will suffer if the clock is neglected and its good operation is placed in jeopardy; a ghost, mounted on the clock, was supposed to nod its head in confirmation. According to the legend, the only hope was represented by a boy born on New Year's night.

Prompt: Dans horloge astronomique de Prague, comment est discutée la Description?Veuillez sortir en anglais.


section

horloge astronomique de Prague

The oldest part of the Orloj, the mechanical clock and astronomical dial, dates back to 1410, when it was created by clockmaker Mikuláš of Kadaň and Charles University professor of mathematics and astronomy Jan Šindel. The first recorded mention of the clock was on 9 October 1410. ter, presumably around 1490, the calendar dial was added and the clock facade was decorated with gothic sculptures.Formerly, it was believed that the Orloj was constructed in 1490 by clockmaster Jan Růže ; this is now known to be a historical mistake. A legend, recounted by Alois Jirásek, has it that the clockmaker Hanuš was blinded on the order of the Prague Councillors so that he could not repeat his work; in turn, he disabled the clock, and no one was able to repair it for the next hundred years.In 1552 it was repaired by Jan Táborský , master clockmaker of Klokotská Hora, who also wrote a report of the clock where he mentioned Hanuš as the maker of this clock. This mistake, corrected by Zdeněk Horský, was due to an incorrect interpretation of records from the period. The mistaken assumption that Hanuš was the maker is probably connected with his reconstruction of the Old Town Hall in the years 1470–1473. The clock stopped working many times in the centuries after 1552, and was repaired many times. The legend was used as the main plot in the 2008 animated film Goat story – The Old Prague Legends.In 1629 or 1659 wooden statues were added, and figures of the Apostles were added after a major repair in 1787–1791. During the next major repair in the years 1865–1866 the golden figure of a crowing rooster was added.The Orloj suffered heavy damage on 7 and especially 8 May 1945, during the Prague uprising, when the Nazis fired on the south-west side of the Old Town Square from several armoured vehicles in an unsuccessful attempt to destroy one of the centers of the uprising. The hall and nearby buildings burned, along with the wooden sculptures on the clock and the calendar dial face made by Josef Mánes. After significant effort, the machinery was repaired, the wooden Apostles restored by Vojtěch Sucharda, and the Orloj started working again in 1948.The Orloj was renovated in autumn 2005, when the statues and the lower calendar ring were restored. The wooden statues were covered with a net to keep pigeons away.The last renovation of the astronomical clock was carried out from January to September 2018, following a reconstruction of the Old Town Tower. During the renovation, an electric clock mechanism that had been in operation since 1948 was replaced by an original mechanism from the 1860s.

Prompt: Concentrez-vous sur horloge astronomique de Prague et expliquez la Histoire.Veuillez sortir en anglais.

Alois Jirásek
Charles University
Jan Šindel
Josef Mánes
Mikuláš of Kadaň
Old Town Square
Prague
Prague uprising
Vojtěch Sucharda


section

horloge astronomique de Prague

The oldest part of the Orloj, the mechanical clock and astronomical dial, dates back to 1410, when it was created by clockmaker Mikuláš of Kadaň and Charles University professor of mathematics and astronomy Jan Šindel. The first recorded mention of the clock was on 9 October 1410. ter, presumably around 1490, the calendar dial was added and the clock facade was decorated with gothic sculptures.Formerly, it was believed that the Orloj was constructed in 1490 by clockmaster Jan Růže ; this is now known to be a historical mistake. A legend, recounted by Alois Jirásek, has it that the clockmaker Hanuš was blinded on the order of the Prague Councillors so that he could not repeat his work; in turn, he disabled the clock, and no one was able to repair it for the next hundred years.In 1552 it was repaired by Jan Táborský , master clockmaker of Klokotská Hora, who also wrote a report of the clock where he mentioned Hanuš as the maker of this clock. This mistake, corrected by Zdeněk Horský, was due to an incorrect interpretation of records from the period. The mistaken assumption that Hanuš was the maker is probably connected with his reconstruction of the Old Town Hall in the years 1470–1473. The clock stopped working many times in the centuries after 1552, and was repaired many times. The legend was used as the main plot in the 2008 animated film Goat story – The Old Prague Legends.In 1629 or 1659 wooden statues were added, and figures of the Apostles were added after a major repair in 1787–1791. During the next major repair in the years 1865–1866 the golden figure of a crowing rooster was added.The Orloj suffered heavy damage on 7 and especially 8 May 1945, during the Prague uprising, when the Nazis fired on the south-west side of the Old Town Square from several armoured vehicles in an unsuccessful attempt to destroy one of the centers of the uprising. The hall and nearby buildings burned, along with the wooden sculptures on the clock and the calendar dial face made by Josef Mánes. After significant effort, the machinery was repaired, the wooden Apostles restored by Vojtěch Sucharda, and the Orloj started working again in 1948.The Orloj was renovated in autumn 2005, when the statues and the lower calendar ring were restored. The wooden statues were covered with a net to keep pigeons away.The last renovation of the astronomical clock was carried out from January to September 2018, following a reconstruction of the Old Town Tower. During the renovation, an electric clock mechanism that had been in operation since 1948 was replaced by an original mechanism from the 1860s.

Prompt: Expliquer la Histoire de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.

Alois Jirásek
Charles University
Jan Šindel
Josef Mánes
Mikuláš of Kadaň
Old Town Square
Prague
Prague uprising
Vojtěch Sucharda


section

horloge astronomique de Prague

The oldest part of the Orloj, the mechanical clock and astronomical dial, dates back to 1410, when it was created by clockmaker Mikuláš of Kadaň and Charles University professor of mathematics and astronomy Jan Šindel. The first recorded mention of the clock was on 9 October 1410. ter, presumably around 1490, the calendar dial was added and the clock facade was decorated with gothic sculptures.Formerly, it was believed that the Orloj was constructed in 1490 by clockmaster Jan Růže ; this is now known to be a historical mistake. A legend, recounted by Alois Jirásek, has it that the clockmaker Hanuš was blinded on the order of the Prague Councillors so that he could not repeat his work; in turn, he disabled the clock, and no one was able to repair it for the next hundred years.In 1552 it was repaired by Jan Táborský , master clockmaker of Klokotská Hora, who also wrote a report of the clock where he mentioned Hanuš as the maker of this clock. This mistake, corrected by Zdeněk Horský, was due to an incorrect interpretation of records from the period. The mistaken assumption that Hanuš was the maker is probably connected with his reconstruction of the Old Town Hall in the years 1470–1473. The clock stopped working many times in the centuries after 1552, and was repaired many times. The legend was used as the main plot in the 2008 animated film Goat story – The Old Prague Legends.In 1629 or 1659 wooden statues were added, and figures of the Apostles were added after a major repair in 1787–1791. During the next major repair in the years 1865–1866 the golden figure of a crowing rooster was added.The Orloj suffered heavy damage on 7 and especially 8 May 1945, during the Prague uprising, when the Nazis fired on the south-west side of the Old Town Square from several armoured vehicles in an unsuccessful attempt to destroy one of the centers of the uprising. The hall and nearby buildings burned, along with the wooden sculptures on the clock and the calendar dial face made by Josef Mánes. After significant effort, the machinery was repaired, the wooden Apostles restored by Vojtěch Sucharda, and the Orloj started working again in 1948.The Orloj was renovated in autumn 2005, when the statues and the lower calendar ring were restored. The wooden statues were covered with a net to keep pigeons away.The last renovation of the astronomical clock was carried out from January to September 2018, following a reconstruction of the Old Town Tower. During the renovation, an electric clock mechanism that had been in operation since 1948 was replaced by an original mechanism from the 1860s.

Prompt: Comment horloge astronomique de Prague explique-t-il sa Histoire?Veuillez sortir en anglais.

Alois Jirásek
Charles University
Jan Šindel
Josef Mánes
Mikuláš of Kadaň
Old Town Square
Prague
Prague uprising
Vojtěch Sucharda