プリマ・ポルタのアウグストゥス

Prompt: プリマ・ポルタのアウグストゥスに関して、どのように発見が議論されていますか？英語で出力して下さい。

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums

The statue of Augustus of Prima Porta was discovered within the Villa of Livia in 1863, however little is known about the discovery itself and its immediate aftermath, as the incomplete archaeological journals leave ambiguous evidence for modern historians. The statue was first publicized by the German archeologist Wilhelm Henzen in 1863 the Bulletino dell'Instituto di Corrispondenza Archaeologica. The exact location of the statue within the villa is unknown. Suggested sites are the underground complex, a placement near a staircase, the villa's atrium, or in a laurel grove on the south-east corner of Prima Porta hill.  Scholars have stated that the last one is relatively unconvincing compared with the first three. The theory that Augustus's statue was found in the underground complex of the villa is based on a hypothesis that Augustus holds a laurel branch instead of a spear in his left hand. Scholars have noted that if this hypothesis is correct, then Villa of Livia must have been decorated with laurel groves and that the reason of the decoration is the omen of the gallina alba.Recent excavations have discovered the remnants of pots used to plant laurel on the edge of the Prima Porta hill in front of the underground complex, which Reeder believes suggests the possibility of the existence of laurel groves in the villa and makes it likely that the statue was located in the underground complex. She rationalized this by stating that per Suetonius, Augustus had a fear of lightning and often hid in 'an underground vaulted room', which she theorizes was likely the underground complex, particularly as during the time of Augustus laurels were thought to provide protection from lightning.Scholars who disagree with the theory have argued that although the pot remnants could have been used to plant laurel, such pots were also used for other plants such as lemons. They also state that according to an 1891 drawing made 25 years after the first excavation, Prima Porta Augustus was found at the bottom of the staircase leading to the underground complex, not the complex itself. Alan Klynne and Peter Liljenstolpe have further noted that the statue could have been brought to the basement from another location such as the atrium, where it would have stood on a rectangular structure that stands right on the axis against the south wall of the atrium. As visitors would enter the atrium from the fauces at the northeastern corner, the statue would be the first thing that they would see and that they would view it from the left, which fits Kähler's idea that it should be seen from this position.  When the visitor walked across the atrium their eyes would meet with Augustus's right hand, thus "receiving" the address that Augustus made.The story of gallina alba narrates that after Livia married Octavian an eagle dropped a hen with a laurel branch onto Livia's lap, which the religious authorities of Rome took as a sign of blessing and divinity. The plant was ordered to be planted with great religious care at what is now known as the villa surbana, where it grew into a grove. According to Jane Clark Reeder, when Julio-Claudians experienced military success they would take a laurel branch from the villa.


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーに焦点を当てて、そのabstractを説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The Ecstasy of Saint Teresa (also known as Saint Teresa in Ecstasy; Italian: L'Estasi di Santa Teresa or Santa Teresa in estasi) is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun (1515–1582), swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーのabstractを説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The Ecstasy of Saint Teresa (also known as Saint Teresa in Ecstasy; Italian: L'Estasi di Santa Teresa or Santa Teresa in estasi) is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun (1515–1582), swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーはどのようにabstractを説明していますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The Ecstasy of Saint Teresa (also known as Saint Teresa in Ecstasy; Italian: L'Estasi di Santa Teresa or Santa Teresa in estasi) is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun (1515–1582), swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーに関して、どのようにabstractが議論されていますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The Ecstasy of Saint Teresa (also known as Saint Teresa in Ecstasy; Italian: L'Estasi di Santa Teresa or Santa Teresa in estasi) is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun (1515–1582), swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーに焦点を当てて、その委員会を説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro (1579–1653).Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.A small format terracotta model of about 47 cm (19 in) was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーの委員会を説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro (1579–1653).Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.A small format terracotta model of about 47 cm (19 in) was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーはどのように委員会を説明していますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro (1579–1653).Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.A small format terracotta model of about 47 cm (19 in) was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーに関して、どのように委員会が議論されていますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro (1579–1653).Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.A small format terracotta model of about 47 cm (19 in) was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーに焦点を当てて、その彫刻群とその設定を説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The two central sculptural figures of the swooning nun and the angel with the spear derive from an episode described by Teresa of Avila, a mystical cloistered Discalced Carmelite reformer and nun, in her autobiography, The Life of Teresa of Jesus. Her experience of religious ecstasy in her encounter with the angel is described as follows:I saw in his hand a long spear of gold, and at the iron's point there seemed to be a little fire. He appeared to me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to draw them out also, and to leave me all on fire with a great love of God. The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it. The soul is satisfied now with nothing less than God. The pain is not bodily, but spiritual; though the body has its share in it. It is a caressing of love so sweet which now takes place between the soul and God, that I pray God of His goodness to make him experience it who may think that I am lying.The group is illuminated by natural light which filters through a hidden window in the dome of the surrounding aedicule, and underscored by gilded stucco rays. Teresa is shown lying on a cloud indicating that this is intended to be a divine apparition we are witnessing. Other witnesses appear on the side walls; life-size high-relief donor portraits of male members of the Cornaro family, e.g. Cardinal Federico Cornaro and Doge Giovanni I Cornaro, are present and shown discussing the event in boxes as if at the theatre. Although the figures are executed in white marble, the aedicule, wall panels and theatre boxes are made from coloured marbles. Above, the vault of the Chapel is frescoed with an illusionistic cherub-filled sky with the descending light of the Holy Ghost allegorized as a dove.The art historian Rudolf Wittkower wrote:In spite of the pictorial character of the design as a whole, Bernini differentiated between various degrees of reality, the members of the Cornaro Chapel seem to be alive like ourselves. They belong to our space and our world. The supernatural event of Teresa's vision is raised to a sphere of its own, removed from that of the beholder mainly by virtue of the isolating canopy and the heavenly light.Gallery


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーの彫刻群とその設定を説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The two central sculptural figures of the swooning nun and the angel with the spear derive from an episode described by Teresa of Avila, a mystical cloistered Discalced Carmelite reformer and nun, in her autobiography, The Life of Teresa of Jesus. Her experience of religious ecstasy in her encounter with the angel is described as follows:I saw in his hand a long spear of gold, and at the iron's point there seemed to be a little fire. He appeared to me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to draw them out also, and to leave me all on fire with a great love of God. The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it. The soul is satisfied now with nothing less than God. The pain is not bodily, but spiritual; though the body has its share in it. It is a caressing of love so sweet which now takes place between the soul and God, that I pray God of His goodness to make him experience it who may think that I am lying.The group is illuminated by natural light which filters through a hidden window in the dome of the surrounding aedicule, and underscored by gilded stucco rays. Teresa is shown lying on a cloud indicating that this is intended to be a divine apparition we are witnessing. Other witnesses appear on the side walls; life-size high-relief donor portraits of male members of the Cornaro family, e.g. Cardinal Federico Cornaro and Doge Giovanni I Cornaro, are present and shown discussing the event in boxes as if at the theatre. Although the figures are executed in white marble, the aedicule, wall panels and theatre boxes are made from coloured marbles. Above, the vault of the Chapel is frescoed with an illusionistic cherub-filled sky with the descending light of the Holy Ghost allegorized as a dove.The art historian Rudolf Wittkower wrote:In spite of the pictorial character of the design as a whole, Bernini differentiated between various degrees of reality, the members of the Cornaro Chapel seem to be alive like ourselves. They belong to our space and our world. The supernatural event of Teresa's vision is raised to a sphere of its own, removed from that of the beholder mainly by virtue of the isolating canopy and the heavenly light.Gallery


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーはどのように彫刻群とその設定を説明していますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The two central sculptural figures of the swooning nun and the angel with the spear derive from an episode described by Teresa of Avila, a mystical cloistered Discalced Carmelite reformer and nun, in her autobiography, The Life of Teresa of Jesus. Her experience of religious ecstasy in her encounter with the angel is described as follows:I saw in his hand a long spear of gold, and at the iron's point there seemed to be a little fire. He appeared to me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to draw them out also, and to leave me all on fire with a great love of God. The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it. The soul is satisfied now with nothing less than God. The pain is not bodily, but spiritual; though the body has its share in it. It is a caressing of love so sweet which now takes place between the soul and God, that I pray God of His goodness to make him experience it who may think that I am lying.The group is illuminated by natural light which filters through a hidden window in the dome of the surrounding aedicule, and underscored by gilded stucco rays. Teresa is shown lying on a cloud indicating that this is intended to be a divine apparition we are witnessing. Other witnesses appear on the side walls; life-size high-relief donor portraits of male members of the Cornaro family, e.g. Cardinal Federico Cornaro and Doge Giovanni I Cornaro, are present and shown discussing the event in boxes as if at the theatre. Although the figures are executed in white marble, the aedicule, wall panels and theatre boxes are made from coloured marbles. Above, the vault of the Chapel is frescoed with an illusionistic cherub-filled sky with the descending light of the Holy Ghost allegorized as a dove.The art historian Rudolf Wittkower wrote:In spite of the pictorial character of the design as a whole, Bernini differentiated between various degrees of reality, the members of the Cornaro Chapel seem to be alive like ourselves. They belong to our space and our world. The supernatural event of Teresa's vision is raised to a sphere of its own, removed from that of the beholder mainly by virtue of the isolating canopy and the heavenly light.Gallery


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーに関して、どのように彫刻群とその設定が議論されていますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The two central sculptural figures of the swooning nun and the angel with the spear derive from an episode described by Teresa of Avila, a mystical cloistered Discalced Carmelite reformer and nun, in her autobiography, The Life of Teresa of Jesus. Her experience of religious ecstasy in her encounter with the angel is described as follows:I saw in his hand a long spear of gold, and at the iron's point there seemed to be a little fire. He appeared to me to be thrusting it at times into my heart, and to pierce my very entrails; when he drew it out, he seemed to draw them out also, and to leave me all on fire with a great love of God. The pain was so great, that it made me moan; and yet so surpassing was the sweetness of this excessive pain, that I could not wish to be rid of it. The soul is satisfied now with nothing less than God. The pain is not bodily, but spiritual; though the body has its share in it. It is a caressing of love so sweet which now takes place between the soul and God, that I pray God of His goodness to make him experience it who may think that I am lying.The group is illuminated by natural light which filters through a hidden window in the dome of the surrounding aedicule, and underscored by gilded stucco rays. Teresa is shown lying on a cloud indicating that this is intended to be a divine apparition we are witnessing. Other witnesses appear on the side walls; life-size high-relief donor portraits of male members of the Cornaro family, e.g. Cardinal Federico Cornaro and Doge Giovanni I Cornaro, are present and shown discussing the event in boxes as if at the theatre. Although the figures are executed in white marble, the aedicule, wall panels and theatre boxes are made from coloured marbles. Above, the vault of the Chapel is frescoed with an illusionistic cherub-filled sky with the descending light of the Holy Ghost allegorized as a dove.The art historian Rudolf Wittkower wrote:In spite of the pictorial character of the design as a whole, Bernini differentiated between various degrees of reality, the members of the Cornaro Chapel seem to be alive like ourselves. They belong to our space and our world. The supernatural event of Teresa's vision is raised to a sphere of its own, removed from that of the beholder mainly by virtue of the isolating canopy and the heavenly light.Gallery


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーに焦点を当てて、その解釈を説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving Lavin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies (e.g., the position of her body) and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance."


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーの解釈を説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving Lavin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies (e.g., the position of her body) and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance."


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーはどのように解釈を説明していますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving Lavin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies (e.g., the position of her body) and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance."


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーに関して、どのように解釈が議論されていますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving Lavin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies (e.g., the position of her body) and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance."


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーに焦点を当てて、その批評を説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The sexual implications of the work have not gone unnoticed. It is considered "decidely risqué"; "the most astounding peep show in art"; and "the grossest and most offensive example of Baroque art." The reason for its popularity "has a lot to do with sex." And by placing the sculpture in a theatrical setting, Bernini is accused of turning "a private moment into a very publicspectacle." Victorian art critic Anna Jameson wanted it destroyed: "even those least prudish in matters of art, would here willingly throw the first stone."Scholars who defend it against such criticism take one of three approaches, saying:Bernini faithfully followed Teresa’s description of the experience.The Church accepted that mystical union often involved erotic elements.There is no nudity in the statue.But Franco Mormando says "none of these defenses are completely accurate." Simon Schama agrees: "Critics and scholars tie themselves in knots, trying to avoid stating the obvious."


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーの批評を説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The sexual implications of the work have not gone unnoticed. It is considered "decidely risqué"; "the most astounding peep show in art"; and "the grossest and most offensive example of Baroque art." The reason for its popularity "has a lot to do with sex." And by placing the sculpture in a theatrical setting, Bernini is accused of turning "a private moment into a very publicspectacle." Victorian art critic Anna Jameson wanted it destroyed: "even those least prudish in matters of art, would here willingly throw the first stone."Scholars who defend it against such criticism take one of three approaches, saying:Bernini faithfully followed Teresa’s description of the experience.The Church accepted that mystical union often involved erotic elements.There is no nudity in the statue.But Franco Mormando says "none of these defenses are completely accurate." Simon Schama agrees: "Critics and scholars tie themselves in knots, trying to avoid stating the obvious."


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーはどのように批評を説明していますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The sexual implications of the work have not gone unnoticed. It is considered "decidely risqué"; "the most astounding peep show in art"; and "the grossest and most offensive example of Baroque art." The reason for its popularity "has a lot to do with sex." And by placing the sculpture in a theatrical setting, Bernini is accused of turning "a private moment into a very publicspectacle." Victorian art critic Anna Jameson wanted it destroyed: "even those least prudish in matters of art, would here willingly throw the first stone."Scholars who defend it against such criticism take one of three approaches, saying:Bernini faithfully followed Teresa’s description of the experience.The Church accepted that mystical union often involved erotic elements.There is no nudity in the statue.But Franco Mormando says "none of these defenses are completely accurate." Simon Schama agrees: "Critics and scholars tie themselves in knots, trying to avoid stating the obvious."


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーに関して、どのように批評が議論されていますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

The sexual implications of the work have not gone unnoticed. It is considered "decidely risqué"; "the most astounding peep show in art"; and "the grossest and most offensive example of Baroque art." The reason for its popularity "has a lot to do with sex." And by placing the sculpture in a theatrical setting, Bernini is accused of turning "a private moment into a very publicspectacle." Victorian art critic Anna Jameson wanted it destroyed: "even those least prudish in matters of art, would here willingly throw the first stone."Scholars who defend it against such criticism take one of three approaches, saying:Bernini faithfully followed Teresa’s description of the experience.The Church accepted that mystical union often involved erotic elements.There is no nudity in the statue.But Franco Mormando says "none of these defenses are completely accurate." Simon Schama agrees: "Critics and scholars tie themselves in knots, trying to avoid stating the obvious."


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーに焦点を当てて、そのベルニーニの類似作品を説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

See also entry titled Bernini's Cornaro chapel found in the Baroque section.Death of the Blessed Ludovica Albertoni (1671–1674)—San Francesco a Ripa, Rome.Martyrdom of Saint Lawrence (1614–15)Truth Unveiled by Time (1646–1652) – Galleria Borghese, Rome.


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーのベルニーニの類似作品を説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

See also entry titled Bernini's Cornaro chapel found in the Baroque section.Death of the Blessed Ludovica Albertoni (1671–1674)—San Francesco a Ripa, Rome.Martyrdom of Saint Lawrence (1614–15)Truth Unveiled by Time (1646–1652) – Galleria Borghese, Rome.


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーはどのようにベルニーニの類似作品を説明していますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

See also entry titled Bernini's Cornaro chapel found in the Baroque section.Death of the Blessed Ludovica Albertoni (1671–1674)—San Francesco a Ripa, Rome.Martyrdom of Saint Lawrence (1614–15)Truth Unveiled by Time (1646–1652) – Galleria Borghese, Rome.


聖テレサのエクスタシー

Prompt: 聖テレサのエクスタシーに関して、どのようにベルニーニの類似作品が議論されていますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

See also entry titled Bernini's Cornaro chapel found in the Baroque section.Death of the Blessed Ludovica Albertoni (1671–1674)—San Francesco a Ripa, Rome.Martyrdom of Saint Lawrence (1614–15)Truth Unveiled by Time (1646–1652) – Galleria Borghese, Rome.


聖テレサのエクスタシー

影響を与える作品または影響を受けた作品

Prompt: 聖テレサのエクスタシーに焦点を当てて、その影響を与える作品または影響を受けた作品を説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

Stefano Maderno's sculpture of St Cecilia in namesake church (1600).Melchiorre Caffà's Santa Rose of Lima (1665) and his Assumption of St Catherine.Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome.The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture.Angels & Demons, the novel by Dan Brown which lists the sculpture as the third "Altar of Science" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII (who was already deceased when Bernini worked on the sculpture) found the statue too sexually explicit.The sculpture is the subject of the song "The Lie" from Peter Hammill's album The Silent Corner and the Empty Stage.In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle.Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal.The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese.In the psychoanalytic theories of Jacques Lacan, the statue plays an important role due to a central reference in his book Seminar XX: Encore. Lacan believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.


聖テレサのエクスタシー

影響を与える作品または影響を受けた作品

Prompt: 聖テレサのエクスタシーの影響を与える作品または影響を受けた作品を説明してください。英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

Stefano Maderno's sculpture of St Cecilia in namesake church (1600).Melchiorre Caffà's Santa Rose of Lima (1665) and his Assumption of St Catherine.Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome.The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture.Angels & Demons, the novel by Dan Brown which lists the sculpture as the third "Altar of Science" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII (who was already deceased when Bernini worked on the sculpture) found the statue too sexually explicit.The sculpture is the subject of the song "The Lie" from Peter Hammill's album The Silent Corner and the Empty Stage.In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle.Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal.The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese.In the psychoanalytic theories of Jacques Lacan, the statue plays an important role due to a central reference in his book Seminar XX: Encore. Lacan believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.


聖テレサのエクスタシー

影響を与える作品または影響を受けた作品

Prompt: 聖テレサのエクスタシーはどのように影響を与える作品または影響を受けた作品を説明していますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

Stefano Maderno's sculpture of St Cecilia in namesake church (1600).Melchiorre Caffà's Santa Rose of Lima (1665) and his Assumption of St Catherine.Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome.The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture.Angels & Demons, the novel by Dan Brown which lists the sculpture as the third "Altar of Science" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII (who was already deceased when Bernini worked on the sculpture) found the statue too sexually explicit.The sculpture is the subject of the song "The Lie" from Peter Hammill's album The Silent Corner and the Empty Stage.In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle.Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal.The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese.In the psychoanalytic theories of Jacques Lacan, the statue plays an important role due to a central reference in his book Seminar XX: Encore. Lacan believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.


聖テレサのエクスタシー

影響を与える作品または影響を受けた作品

Prompt: 聖テレサのエクスタシーに関して、どのように影響を与える作品または影響を受けた作品が議論されていますか？英語で出力して下さい。

Wider view, including the Cornaro portraits, but omitting the lower parts of the chapel.

File:Cornaro chapel in Santa Maria della Vittoria in Rome HDR.jpg

Category:Sculptures by Gian Lorenzo Bernini

Stefano Maderno's sculpture of St Cecilia in namesake church (1600).Melchiorre Caffà's Santa Rose of Lima (1665) and his Assumption of St Catherine.Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome.The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture.Angels & Demons, the novel by Dan Brown which lists the sculpture as the third "Altar of Science" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII (who was already deceased when Bernini worked on the sculpture) found the statue too sexually explicit.The sculpture is the subject of the song "The Lie" from Peter Hammill's album The Silent Corner and the Empty Stage.In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle.Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal.The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese.In the psychoanalytic theories of Jacques Lacan, the statue plays an important role due to a central reference in his book Seminar XX: Encore. Lacan believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.


カレーの市民

Prompt: カレーの市民に焦点を当てて、そのabstractを説明してください。英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

The Burghers of Calais (French: Les Bourgeois de Calais) is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.


カレーの市民

Prompt: カレーの市民のabstractを説明してください。英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

The Burghers of Calais (French: Les Bourgeois de Calais) is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.


カレーの市民

Prompt: カレーの市民はどのようにabstractを説明していますか？英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

The Burghers of Calais (French: Les Bourgeois de Calais) is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.


カレーの市民

Prompt: カレーの市民に関して、どのようにabstractが議論されていますか？英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

The Burghers of Calais (French: Les Bourgeois de Calais) is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.


カレーの市民

Prompt: カレーの市民に焦点を当てて、その歴史を説明してください。英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart (c. 1337 – c. 1405) tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.


カレーの市民

Prompt: カレーの市民の歴史を説明してください。英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart (c. 1337 – c. 1405) tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.


カレーの市民

Prompt: カレーの市民はどのように歴史を説明していますか？英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart (c. 1337 – c. 1405) tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.


カレーの市民

Prompt: カレーの市民に関して、どのように歴史が議論されていますか？英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart (c. 1337 – c. 1405) tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.


カレーの市民

Prompt: カレーの市民に焦点を当てて、その構成を説明してください。英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture. It was not a pyramidal arrangement and contained no allegorical figures.  It was intended to be placed at ground level, rather than on a pedestal.  The burghers were not presented in a positive image of glory; instead, they display "pain, anguish and fatalism".  To Rodin, this was nevertheless heroic, the heroism of self-sacrifice.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.


カレーの市民

Prompt: カレーの市民の構成を説明してください。英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture. It was not a pyramidal arrangement and contained no allegorical figures.  It was intended to be placed at ground level, rather than on a pedestal.  The burghers were not presented in a positive image of glory; instead, they display "pain, anguish and fatalism".  To Rodin, this was nevertheless heroic, the heroism of self-sacrifice.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.


カレーの市民

Prompt: カレーの市民はどのように構成を説明していますか？英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture. It was not a pyramidal arrangement and contained no allegorical figures.  It was intended to be placed at ground level, rather than on a pedestal.  The burghers were not presented in a positive image of glory; instead, they display "pain, anguish and fatalism".  To Rodin, this was nevertheless heroic, the heroism of self-sacrifice.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.


カレーの市民

Prompt: カレーの市民に関して、どのように構成が議論されていますか？英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture. It was not a pyramidal arrangement and contained no allegorical figures.  It was intended to be placed at ground level, rather than on a pedestal.  The burghers were not presented in a positive image of glory; instead, they display "pain, anguish and fatalism".  To Rodin, this was nevertheless heroic, the heroism of self-sacrifice.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.


カレーの市民

Prompt: カレーの市民に焦点を当てて、その描かれた人物を説明してください。英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

The six burghers depicted are:Eustache de Saint PierreJacques de WissantPierre de WissantJean de FiennesAndrieu d'AndresJean d'Aire


カレーの市民

Prompt: カレーの市民の描かれた人物を説明してください。英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

The six burghers depicted are:Eustache de Saint PierreJacques de WissantPierre de WissantJean de FiennesAndrieu d'AndresJean d'Aire


カレーの市民

Prompt: カレーの市民はどのように描かれた人物を説明していますか？英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

The six burghers depicted are:Eustache de Saint PierreJacques de WissantPierre de WissantJean de FiennesAndrieu d'AndresJean d'Aire


カレーの市民

Prompt: カレーの市民に関して、どのように描かれた人物が議論されていますか？英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

The six burghers depicted are:Eustache de Saint PierreJacques de WissantPierre de WissantJean de FiennesAndrieu d'AndresJean d'Aire


カレーの市民

Prompt: カレーの市民に焦点を当てて、そのキャストを説明してください。英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at:Glyptoteket in Copenhagen, cast 1903;the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 (currently on loan to the city of Mons);Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915;the Rodin Museum in Philadelphia, cast 1925 and installed in 1929;the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955;Kunstmuseum in Basel, cast 1943 and installed in 1948;the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966;the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959;the Norton Simon Museum in Pasadena, California, cast 1968;the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989;andPlateau (formerly called Rodin Gallery and closed since 2016) in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are:sculptures of all individual figures on the campus of Stanford University;sculptures of all individual figures (casts from 1984 till 1988) and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan;sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden;a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;"The man with the key" figure (Jean d'Aire), on the Sommerro Park in Oslo, Norway; anda bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.


カレーの市民

Prompt: カレーの市民のキャストを説明してください。英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at:Glyptoteket in Copenhagen, cast 1903;the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 (currently on loan to the city of Mons);Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915;the Rodin Museum in Philadelphia, cast 1925 and installed in 1929;the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955;Kunstmuseum in Basel, cast 1943 and installed in 1948;the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966;the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959;the Norton Simon Museum in Pasadena, California, cast 1968;the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989;andPlateau (formerly called Rodin Gallery and closed since 2016) in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are:sculptures of all individual figures on the campus of Stanford University;sculptures of all individual figures (casts from 1984 till 1988) and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan;sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden;a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;"The man with the key" figure (Jean d'Aire), on the Sommerro Park in Oslo, Norway; anda bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.


カレーの市民

Prompt: カレーの市民はどのようにキャストを説明していますか？英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at:Glyptoteket in Copenhagen, cast 1903;the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 (currently on loan to the city of Mons);Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915;the Rodin Museum in Philadelphia, cast 1925 and installed in 1929;the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955;Kunstmuseum in Basel, cast 1943 and installed in 1948;the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966;the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959;the Norton Simon Museum in Pasadena, California, cast 1968;the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989;andPlateau (formerly called Rodin Gallery and closed since 2016) in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are:sculptures of all individual figures on the campus of Stanford University;sculptures of all individual figures (casts from 1984 till 1988) and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan;sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden;a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;"The man with the key" figure (Jean d'Aire), on the Sommerro Park in Oslo, Norway; anda bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.


カレーの市民

Prompt: カレーの市民に関して、どのようにキャストが議論されていますか？英語で出力して下さい。

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at:Glyptoteket in Copenhagen, cast 1903;the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 (currently on loan to the city of Mons);Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915;the Rodin Museum in Philadelphia, cast 1925 and installed in 1929;the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955;Kunstmuseum in Basel, cast 1943 and installed in 1948;the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966;the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959;the Norton Simon Museum in Pasadena, California, cast 1968;the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989;andPlateau (formerly called Rodin Gallery and closed since 2016) in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are:sculptures of all individual figures on the campus of Stanford University;sculptures of all individual figures (casts from 1984 till 1988) and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan;sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden;a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;"The man with the key" figure (Jean d'Aire), on the Sommerro Park in Oslo, Norway; anda bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.


ラファエロの間

Prompt: ラファエロの間に焦点を当てて、そのabstractを説明してください。英語で出力して下さい。

File:Raphael - Coronation of Charlemagne.jpg

File:Raphael - Deliverance of Saint Peter.jpg

File:School of Raphael - Donation of Rome.jpg

''The Coronation of Charlemagne'', 1516–1517

File:Raphael - The Meeting of Leo the Great and Attila.jpg

File:113e Sala de Constantino (Vista, e).jpg

File:Raphael - The Expulsion of Heliodorus from the Temple.jpg

The Battle of the Milvian Bridge (Giulio Romano)

File:1 Estancia del Sello (Vista general I).jpg

Image:0 Chambre de Raphaël - L'Incendie du Borgo (1).JPG

File:Raphael - Ceiling of the Room of Eliodorus.jpg

File:Perugino - Ceiling of the Room of Fire in the Borgo.jpg

File:8 Estancia de Heliodoro (Vista general I).jpg

''The Meeting of Leo the Great and Attila,'' 1514

Raphael, ''The Expulsion of Heliodorus from the Temple,'' 1511–1513

File:"The School of Athens" by Raffaello Sanzio da Urbino.jpg

File:Giulio Romano - The Battle of the Milvian Bridge.jpg

File:113d Sala de Constantino (Vista, d).jpg

File:15 Estancia del Incendio del Borgo (Vista general I).png

Raphael, ''The School of Athens'', 1509-1511

Raphael, ''Deliverance of Saint Peter,'' 1514

File:Tommaso Laureti - Ceiling of Room of Constantine.jpg

''The Battle of Milvian Bridge'', 1520-1524

File:9 Estancia de Heliodoro (Vista general II).jpg

Raphael, ''Disputation of the Holy Sacrament'', 1509-1510

Image:Rafael - Virtudes Teologales y la Ley (Estancia del Sello, Vaticano, 1511).jpg

File:Raphael - Cardinal and Theological Virtues.jpg

File:Raphael - Ceiling of the Selling Room.jpg

File:2 Estancia del Sello (Vista general II).jpg

''The Baptism of Constantine'', 1517–1524

File:16 Estancia del Incendio del Borgo (Vista general II).jpg

''The Donation of Constantine'', 1520–1524

File:School of Raphael - Vision of the Cross.jpg

File:Giannfrancesco Penni - Baptism of Constantine.jpg

The four Raphael Rooms (Italian: Stanze di Raffaello) form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor (and rival) Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino ("Hall of Constantine"), the Stanza di Eliodoro ("Room of Heliodorus"), the Stanza della Segnatura ("Room of the Signatura"), and the Stanza dell'Incendio del Borgo ("The Room of the Fire in the Borgo").After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.


ラファエロの間

Prompt: ラファエロの間のabstractを説明してください。英語で出力して下さい。

File:Raphael - Coronation of Charlemagne.jpg

File:Raphael - Deliverance of Saint Peter.jpg

File:School of Raphael - Donation of Rome.jpg

''The Coronation of Charlemagne'', 1516–1517

File:Raphael - The Meeting of Leo the Great and Attila.jpg

File:113e Sala de Constantino (Vista, e).jpg

File:Raphael - The Expulsion of Heliodorus from the Temple.jpg

The Battle of the Milvian Bridge (Giulio Romano)

File:1 Estancia del Sello (Vista general I).jpg

Image:0 Chambre de Raphaël - L'Incendie du Borgo (1).JPG

File:Raphael - Ceiling of the Room of Eliodorus.jpg

File:Perugino - Ceiling of the Room of Fire in the Borgo.jpg

File:8 Estancia de Heliodoro (Vista general I).jpg

''The Meeting of Leo the Great and Attila,'' 1514

Raphael, ''The Expulsion of Heliodorus from the Temple,'' 1511–1513

File:"The School of Athens" by Raffaello Sanzio da Urbino.jpg

File:Giulio Romano - The Battle of the Milvian Bridge.jpg

File:113d Sala de Constantino (Vista, d).jpg

File:15 Estancia del Incendio del Borgo (Vista general I).png

Raphael, ''The School of Athens'', 1509-1511

Raphael, ''Deliverance of Saint Peter,'' 1514

File:Tommaso Laureti - Ceiling of Room of Constantine.jpg

''The Battle of Milvian Bridge'', 1520-1524

File:9 Estancia de Heliodoro (Vista general II).jpg

Raphael, ''Disputation of the Holy Sacrament'', 1509-1510

Image:Rafael - Virtudes Teologales y la Ley (Estancia del Sello, Vaticano, 1511).jpg

File:Raphael - Cardinal and Theological Virtues.jpg

File:Raphael - Ceiling of the Selling Room.jpg

File:2 Estancia del Sello (Vista general II).jpg

''The Baptism of Constantine'', 1517–1524

File:16 Estancia del Incendio del Borgo (Vista general II).jpg

''The Donation of Constantine'', 1520–1524

File:School of Raphael - Vision of the Cross.jpg

File:Giannfrancesco Penni - Baptism of Constantine.jpg

The four Raphael Rooms (Italian: Stanze di Raffaello) form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor (and rival) Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino ("Hall of Constantine"), the Stanza di Eliodoro ("Room of Heliodorus"), the Stanza della Segnatura ("Room of the Signatura"), and the Stanza dell'Incendio del Borgo ("The Room of the Fire in the Borgo").After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.


ラファエロの間

Prompt: ラファエロの間はどのようにabstractを説明していますか？英語で出力して下さい。

File:Raphael - Coronation of Charlemagne.jpg

File:Raphael - Deliverance of Saint Peter.jpg

File:School of Raphael - Donation of Rome.jpg

''The Coronation of Charlemagne'', 1516–1517

File:Raphael - The Meeting of Leo the Great and Attila.jpg

File:113e Sala de Constantino (Vista, e).jpg

File:Raphael - The Expulsion of Heliodorus from the Temple.jpg

The Battle of the Milvian Bridge (Giulio Romano)

File:1 Estancia del Sello (Vista general I).jpg

Image:0 Chambre de Raphaël - L'Incendie du Borgo (1).JPG

File:Raphael - Ceiling of the Room of Eliodorus.jpg

File:Perugino - Ceiling of the Room of Fire in the Borgo.jpg

File:8 Estancia de Heliodoro (Vista general I).jpg

''The Meeting of Leo the Great and Attila,'' 1514

Raphael, ''The Expulsion of Heliodorus from the Temple,'' 1511–1513

File:"The School of Athens" by Raffaello Sanzio da Urbino.jpg

File:Giulio Romano - The Battle of the Milvian Bridge.jpg

File:113d Sala de Constantino (Vista, d).jpg

File:15 Estancia del Incendio del Borgo (Vista general I).png

Raphael, ''The School of Athens'', 1509-1511

Raphael, ''Deliverance of Saint Peter,'' 1514

File:Tommaso Laureti - Ceiling of Room of Constantine.jpg

''The Battle of Milvian Bridge'', 1520-1524

File:9 Estancia de Heliodoro (Vista general II).jpg

Raphael, ''Disputation of the Holy Sacrament'', 1509-1510

Image:Rafael - Virtudes Teologales y la Ley (Estancia del Sello, Vaticano, 1511).jpg

File:Raphael - Cardinal and Theological Virtues.jpg

File:Raphael - Ceiling of the Selling Room.jpg

File:2 Estancia del Sello (Vista general II).jpg

''The Baptism of Constantine'', 1517–1524

File:16 Estancia del Incendio del Borgo (Vista general II).jpg

''The Donation of Constantine'', 1520–1524

File:School of Raphael - Vision of the Cross.jpg

File:Giannfrancesco Penni - Baptism of Constantine.jpg

The four Raphael Rooms (Italian: Stanze di Raffaello) form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor (and rival) Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino ("Hall of Constantine"), the Stanza di Eliodoro ("Room of Heliodorus"), the Stanza della Segnatura ("Room of the Signatura"), and the Stanza dell'Incendio del Borgo ("The Room of the Fire in the Borgo").After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.


ラファエロの間

Prompt: ラファエロの間に関して、どのようにabstractが議論されていますか？英語で出力して下さい。

File:Raphael - Coronation of Charlemagne.jpg

File:Raphael - Deliverance of Saint Peter.jpg

File:School of Raphael - Donation of Rome.jpg

''The Coronation of Charlemagne'', 1516–1517

File:Raphael - The Meeting of Leo the Great and Attila.jpg

File:113e Sala de Constantino (Vista, e).jpg

File:Raphael - The Expulsion of Heliodorus from the Temple.jpg

The Battle of the Milvian Bridge (Giulio Romano)

File:1 Estancia del Sello (Vista general I).jpg

Image:0 Chambre de Raphaël - L'Incendie du Borgo (1).JPG

File:Raphael - Ceiling of the Room of Eliodorus.jpg

File:Perugino - Ceiling of the Room of Fire in the Borgo.jpg

File:8 Estancia de Heliodoro (Vista general I).jpg

''The Meeting of Leo the Great and Attila,'' 1514

Raphael, ''The Expulsion of Heliodorus from the Temple,'' 1511–1513

File:"The School of Athens" by Raffaello Sanzio da Urbino.jpg

File:Giulio Romano - The Battle of the Milvian Bridge.jpg

File:113d Sala de Constantino (Vista, d).jpg

File:15 Estancia del Incendio del Borgo (Vista general I).png

Raphael, ''The School of Athens'', 1509-1511

Raphael, ''Deliverance of Saint Peter,'' 1514

File:Tommaso Laureti - Ceiling of Room of Constantine.jpg

''The Battle of Milvian Bridge'', 1520-1524

File:9 Estancia de Heliodoro (Vista general II).jpg

Raphael, ''Disputation of the Holy Sacrament'', 1509-1510

Image:Rafael - Virtudes Teologales y la Ley (Estancia del Sello, Vaticano, 1511).jpg

File:Raphael - Cardinal and Theological Virtues.jpg

File:Raphael - Ceiling of the Selling Room.jpg

File:2 Estancia del Sello (Vista general II).jpg

''The Baptism of Constantine'', 1517–1524

File:16 Estancia del Incendio del Borgo (Vista general II).jpg

''The Donation of Constantine'', 1520–1524

File:School of Raphael - Vision of the Cross.jpg

File:Giannfrancesco Penni - Baptism of Constantine.jpg

The four Raphael Rooms (Italian: Stanze di Raffaello) form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor (and rival) Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino ("Hall of Constantine"), the Stanza di Eliodoro ("Room of Heliodorus"), the Stanza della Segnatura ("Room of the Signatura"), and the Stanza dell'Incendio del Borgo ("The Room of the Fire in the Borgo").After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.


ラファエロの間

Prompt: ラファエロの間に焦点を当てて、そのスキームを説明してください。英語で出力して下さい。

File:Raphael - Coronation of Charlemagne.jpg

File:Raphael - Deliverance of Saint Peter.jpg

File:School of Raphael - Donation of Rome.jpg

''The Coronation of Charlemagne'', 1516–1517

File:Raphael - The Meeting of Leo the Great and Attila.jpg

File:113e Sala de Constantino (Vista, e).jpg

File:Raphael - The Expulsion of Heliodorus from the Temple.jpg

The Battle of the Milvian Bridge (Giulio Romano)

File:1 Estancia del Sello (Vista general I).jpg

Image:0 Chambre de Raphaël - L'Incendie du Borgo (1).JPG

File:Raphael - Ceiling of the Room of Eliodorus.jpg

File:Perugino - Ceiling of the Room of Fire in the Borgo.jpg

File:8 Estancia de Heliodoro (Vista general I).jpg

''The Meeting of Leo the Great and Attila,'' 1514

Raphael, ''The Expulsion of Heliodorus from the Temple,'' 1511–1513

File:"The School of Athens" by Raffaello Sanzio da Urbino.jpg

File:Giulio Romano - The Battle of the Milvian Bridge.jpg

File:113d Sala de Constantino (Vista, d).jpg

File:15 Estancia del Incendio del Borgo (Vista general I).png

Raphael, ''The School of Athens'', 1509-1511

Raphael, ''Deliverance of Saint Peter,'' 1514

File:Tommaso Laureti - Ceiling of Room of Constantine.jpg

''The Battle of Milvian Bridge'', 1520-1524

File:9 Estancia de Heliodoro (Vista general II).jpg

Raphael, ''Disputation of the Holy Sacrament'', 1509-1510

Image:Rafael - Virtudes Teologales y la Ley (Estancia del Sello, Vaticano, 1511).jpg

File:Raphael - Cardinal and Theological Virtues.jpg

File:Raphael - Ceiling of the Selling Room.jpg

File:2 Estancia del Sello (Vista general II).jpg

''The Baptism of Constantine'', 1517–1524

File:16 Estancia del Incendio del Borgo (Vista general II).jpg

''The Donation of Constantine'', 1520–1524

File:School of Raphael - Vision of the Cross.jpg

File:Giannfrancesco Penni - Baptism of Constantine.jpg


ラファエロの間

Prompt: ラファエロの間のスキームを説明してください。英語で出力して下さい。

File:Raphael - Coronation of Charlemagne.jpg

File:Raphael - Deliverance of Saint Peter.jpg

File:School of Raphael - Donation of Rome.jpg

''The Coronation of Charlemagne'', 1516–1517

File:Raphael - The Meeting of Leo the Great and Attila.jpg

File:113e Sala de Constantino (Vista, e).jpg

File:Raphael - The Expulsion of Heliodorus from the Temple.jpg

The Battle of the Milvian Bridge (Giulio Romano)

File:1 Estancia del Sello (Vista general I).jpg

Image:0 Chambre de Raphaël - L'Incendie du Borgo (1).JPG

File:Raphael - Ceiling of the Room of Eliodorus.jpg

File:Perugino - Ceiling of the Room of Fire in the Borgo.jpg

File:8 Estancia de Heliodoro (Vista general I).jpg

''The Meeting of Leo the Great and Attila,'' 1514

Raphael, ''The Expulsion of Heliodorus from the Temple,'' 1511–1513

File:"The School of Athens" by Raffaello Sanzio da Urbino.jpg

File:Giulio Romano - The Battle of the Milvian Bridge.jpg

File:113d Sala de Constantino (Vista, d).jpg

File:15 Estancia del Incendio del Borgo (Vista general I).png

Raphael, ''The School of Athens'', 1509-1511

Raphael, ''Deliverance of Saint Peter,'' 1514

File:Tommaso Laureti - Ceiling of Room of Constantine.jpg

''The Battle of Milvian Bridge'', 1520-1524

File:9 Estancia de Heliodoro (Vista general II).jpg

Raphael, ''Disputation of the Holy Sacrament'', 1509-1510

Image:Rafael - Virtudes Teologales y la Ley (Estancia del Sello, Vaticano, 1511).jpg

File:Raphael - Cardinal and Theological Virtues.jpg

File:Raphael - Ceiling of the Selling Room.jpg

File:2 Estancia del Sello (Vista general II).jpg

''The Baptism of Constantine'', 1517–1524

File:16 Estancia del Incendio del Borgo (Vista general II).jpg

''The Donation of Constantine'', 1520–1524

File:School of Raphael - Vision of the Cross.jpg

File:Giannfrancesco Penni - Baptism of Constantine.jpg