Sistine Chapel ceiling

Prompt: In Sistine Chapel ceiling, how is the Interpretation of the Content explained?

The overt subject matter of the ceiling is the Christian doctrine of humanity's need for salvation as offered by God through Jesus. It is a visual metaphor of humankind's need for a covenant with God. The Old Covenant of the Children of Israel through Moses and the New Covenant through Christ had already  been represented around the walls of the chapel. Some experts, including Benjamin Blech and Vatican art historian Enrico Bruschini, have also noted less overt subject matter, which they describe as being "concealed" and "forbidden."The main scheme of the ceiling illustrates God creating the perfect world prior to creating humanity, which causes its own fall into disgrace and is punished by being made mortal; humanity then sinks further into sin and disgrace, and is punished by the Great Flood. The ceiling's creation narrative ends with Noah's drunkenness, which Jesuit theologian John W. O'Malley says could be interpreted as focusing on the separation of Gentiles from Jews as the chosen people. Then, through a lineage of ancestors – from Abraham to Joseph – God sends the saviour of humanity, Jesus, whose coming is claimed in the New Testament to have been prophesied by prophets of Israel (to whom Michelangelo adds sibyls of the Classical world) and whose second coming the same artist returned to paint on the altar wall in his Last Judgment. The prophet Jonah, recognizable over the altar by the great fish beside him, is cited by Jesus in the gospels as being related to his own coming death and resurrection, which Staale Sinding-Larsen says "activates the Passion motif". In the Gospel of John, moreover, Jesus compares his being raised (i.e. his crucifixion) to Moses lifting the Brazen Serpent to heal Israelites from fiery serpent bites; the latter is painted on the pendentive above the altar to the left, opposite the Punishment of Haman, depicted as a crucifixion instead of a hanging.Of the three Twelve Minor Prophets depicted on the ceiling, O'Malley discusses Jonah and Zechariah as carrying a particular significance. In addition to Jonah's connection to Jesus, O'Malley points out that he is a spokesman to the Gentiles. Zechariah prophesied that the Messiah would arrive on a donkey. His place in the chapel is directly above the doorway across from the altar, through which the pope is carried in procession on Palm Sunday, the day on which Jesus rode a donkey into Jerusalem.Much of the symbolism of the ceiling dates from the early church, but the ceiling also has elements that express the specifically Renaissance thinking that sought to reconcile Christian theology with the philosophy of Renaissance humanism. During the 15th century in Italy, and in Florence in particular, there was a strong interest in Classical literature and the philosophies of Plato, Aristotle and other Classical writers. Michelangelo, as a young man, had spent time at the Platonic Academy established by the Medici family in Florence. He was familiar with early humanist-inspired sculptural works such as Donatello's bronze David and had himself responded by carving the enormous nude marble David, which was placed in the Piazza della Signoria near the Palazzo Vecchio, the home of Florence's council. The humanist view of spirituality was that it is rooted in human nature and independent from intermediaries such as the Church, which emphasized humanity as essentially sinful and flawed. A synthesis, with man dignified and created in God's image, was epitomized by Giovanni Pico Della Mirandola's Oration on the Dignity of Man, which was referenced in sermons given at the papal court.The iconography of the ceiling has had various interpretations in the past, some elements of which have been contradicted by modern scholarship. Others, such as the identity of the figures in the lunettes and spandrels poppets, continue to defy interpretation. Modern scholars have sought, as yet unsuccessfully, to determine a written source of the theological program of the ceiling and have questioned whether or not it was entirely devised by Michelangelo, who was both an avid reader of the Bible and is considered to be a genius. Art historian Anthony Bertram argues that the artist expressed his inner turmoil in the work, saying: "The principal opposed forces in this conflict were his passionate admiration for classical beauty and his profound, almost mystical Catholicism, his [presumed] homosexuality, and his horror of carnal sin combined with a lofty Platonic concept of love."Edgar Wind postulated that the ten medallions represented violations of the Ten Commandments, with the obscured one above the Persian Sibyl standing for adultery. O'Malley points out that, if this is the case, the infractions of the commandments are arranged out of order.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg


Sistine Chapel ceiling

Prompt: Describe the characteristics of the Interpretation in Sistine Chapel ceiling's Content.

The overt subject matter of the ceiling is the Christian doctrine of humanity's need for salvation as offered by God through Jesus. It is a visual metaphor of humankind's need for a covenant with God. The Old Covenant of the Children of Israel through Moses and the New Covenant through Christ had already  been represented around the walls of the chapel. Some experts, including Benjamin Blech and Vatican art historian Enrico Bruschini, have also noted less overt subject matter, which they describe as being "concealed" and "forbidden."The main scheme of the ceiling illustrates God creating the perfect world prior to creating humanity, which causes its own fall into disgrace and is punished by being made mortal; humanity then sinks further into sin and disgrace, and is punished by the Great Flood. The ceiling's creation narrative ends with Noah's drunkenness, which Jesuit theologian John W. O'Malley says could be interpreted as focusing on the separation of Gentiles from Jews as the chosen people. Then, through a lineage of ancestors – from Abraham to Joseph – God sends the saviour of humanity, Jesus, whose coming is claimed in the New Testament to have been prophesied by prophets of Israel (to whom Michelangelo adds sibyls of the Classical world) and whose second coming the same artist returned to paint on the altar wall in his Last Judgment. The prophet Jonah, recognizable over the altar by the great fish beside him, is cited by Jesus in the gospels as being related to his own coming death and resurrection, which Staale Sinding-Larsen says "activates the Passion motif". In the Gospel of John, moreover, Jesus compares his being raised (i.e. his crucifixion) to Moses lifting the Brazen Serpent to heal Israelites from fiery serpent bites; the latter is painted on the pendentive above the altar to the left, opposite the Punishment of Haman, depicted as a crucifixion instead of a hanging.Of the three Twelve Minor Prophets depicted on the ceiling, O'Malley discusses Jonah and Zechariah as carrying a particular significance. In addition to Jonah's connection to Jesus, O'Malley points out that he is a spokesman to the Gentiles. Zechariah prophesied that the Messiah would arrive on a donkey. His place in the chapel is directly above the doorway across from the altar, through which the pope is carried in procession on Palm Sunday, the day on which Jesus rode a donkey into Jerusalem.Much of the symbolism of the ceiling dates from the early church, but the ceiling also has elements that express the specifically Renaissance thinking that sought to reconcile Christian theology with the philosophy of Renaissance humanism. During the 15th century in Italy, and in Florence in particular, there was a strong interest in Classical literature and the philosophies of Plato, Aristotle and other Classical writers. Michelangelo, as a young man, had spent time at the Platonic Academy established by the Medici family in Florence. He was familiar with early humanist-inspired sculptural works such as Donatello's bronze David and had himself responded by carving the enormous nude marble David, which was placed in the Piazza della Signoria near the Palazzo Vecchio, the home of Florence's council. The humanist view of spirituality was that it is rooted in human nature and independent from intermediaries such as the Church, which emphasized humanity as essentially sinful and flawed. A synthesis, with man dignified and created in God's image, was epitomized by Giovanni Pico Della Mirandola's Oration on the Dignity of Man, which was referenced in sermons given at the papal court.The iconography of the ceiling has had various interpretations in the past, some elements of which have been contradicted by modern scholarship. Others, such as the identity of the figures in the lunettes and spandrels poppets, continue to defy interpretation. Modern scholars have sought, as yet unsuccessfully, to determine a written source of the theological program of the ceiling and have questioned whether or not it was entirely devised by Michelangelo, who was both an avid reader of the Bible and is considered to be a genius. Art historian Anthony Bertram argues that the artist expressed his inner turmoil in the work, saying: "The principal opposed forces in this conflict were his passionate admiration for classical beauty and his profound, almost mystical Catholicism, his [presumed] homosexuality, and his horror of carnal sin combined with a lofty Platonic concept of love."Edgar Wind postulated that the ten medallions represented violations of the Ten Commandments, with the obscured one above the Persian Sibyl standing for adultery. O'Malley points out that, if this is the case, the infractions of the commandments are arranged out of order.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg


Sistine Chapel ceiling

Prompt: Focus on Sistine Chapel ceiling and explain the Architectural scheme.

The Sistine Chapel is about 35 m (118 ft) long and 14 m (46 ft) wide, with the ceiling rising to about 20 m (66 ft) above the main floor. The vault is of quite a complex design and it is unlikely that it was originally intended to have such elaborate decoration.The chapel walls have three horizontal tiers with six windows in the upper tier down each side. There were also two windows at each end, but these have been closed up above the altar when Michelangelo's Last Judgment was painted, obliterating two lunettes. Between the windows are large pendentives which support the vault. Between the pendentives are triangularly shaped arches or spandrels cut into the vault above each window. Above the height of the pendentives, the ceiling slopes gently without much deviation from the horizontal.The first element in the scheme of painted architecture is a definition of the real architectural elements by accentuating the lines where spandrels and pendentives intersect with the curving vault. Michelangelo painted these as decorative courses that look like sculpted stone mouldings. These have two repeating motifs: the acorn and the scallop shell. The acorn is the symbol of the family of both Pope Sixtus IV, who built the chapel, and Julius II, who commissioned Michelangelo's work. The scallop shell is one of the symbols of the Madonna, to whose Assumption the chapel was dedicated in 1483. The crown of the wall then rises above the spandrels, to a strongly projecting painted cornice that runs right around the ceiling, separating the pictorial areas of the biblical scenes from the figures of prophets, sibyls, and ancestors, who literally and figuratively support the narratives. Ten broad painted cross-ribs of travertine cross the ceiling and divide it into alternately wide and narrow pictorial spaces, a grid that gives all the figures their defined place.A great number of small figures are integrated with the painted architecture, their purpose apparently purely decorative. These include pilasters with capitals supported by pairs of infant telamones, rams' skulls are placed at the apex of each spandrel like bucrania; bronze nude figures in varying poses, hiding in the shadows, propped between the spandrels and the ribs like animated bookends; and more putti, both clothed and unclothed, strike a variety of poses as they support the nameplates of the Prophets and Sibyls. Above the cornice and to either side of the smaller scenes are an array of medallions, or round shields. They are framed by a total of 20 more figures, the so-called ignudi, which are not part of the architecture but sit on plinths, their feet planted convincingly on the fictive cornice. Pictorially, the ignudi appear to occupy a space between the narrative spaces and the space of the chapel itself.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: Explain the Architectural scheme of this artwork, Sistine Chapel ceiling.

The Sistine Chapel is about 35 m (118 ft) long and 14 m (46 ft) wide, with the ceiling rising to about 20 m (66 ft) above the main floor. The vault is of quite a complex design and it is unlikely that it was originally intended to have such elaborate decoration.The chapel walls have three horizontal tiers with six windows in the upper tier down each side. There were also two windows at each end, but these have been closed up above the altar when Michelangelo's Last Judgment was painted, obliterating two lunettes. Between the windows are large pendentives which support the vault. Between the pendentives are triangularly shaped arches or spandrels cut into the vault above each window. Above the height of the pendentives, the ceiling slopes gently without much deviation from the horizontal.The first element in the scheme of painted architecture is a definition of the real architectural elements by accentuating the lines where spandrels and pendentives intersect with the curving vault. Michelangelo painted these as decorative courses that look like sculpted stone mouldings. These have two repeating motifs: the acorn and the scallop shell. The acorn is the symbol of the family of both Pope Sixtus IV, who built the chapel, and Julius II, who commissioned Michelangelo's work. The scallop shell is one of the symbols of the Madonna, to whose Assumption the chapel was dedicated in 1483. The crown of the wall then rises above the spandrels, to a strongly projecting painted cornice that runs right around the ceiling, separating the pictorial areas of the biblical scenes from the figures of prophets, sibyls, and ancestors, who literally and figuratively support the narratives. Ten broad painted cross-ribs of travertine cross the ceiling and divide it into alternately wide and narrow pictorial spaces, a grid that gives all the figures their defined place.A great number of small figures are integrated with the painted architecture, their purpose apparently purely decorative. These include pilasters with capitals supported by pairs of infant telamones, rams' skulls are placed at the apex of each spandrel like bucrania; bronze nude figures in varying poses, hiding in the shadows, propped between the spandrels and the ribs like animated bookends; and more putti, both clothed and unclothed, strike a variety of poses as they support the nameplates of the Prophets and Sibyls. Above the cornice and to either side of the smaller scenes are an array of medallions, or round shields. They are framed by a total of 20 more figures, the so-called ignudi, which are not part of the architecture but sit on plinths, their feet planted convincingly on the fictive cornice. Pictorially, the ignudi appear to occupy a space between the narrative spaces and the space of the chapel itself.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: How does Sistine Chapel ceiling explain its Architectural scheme?

The Sistine Chapel is about 35 m (118 ft) long and 14 m (46 ft) wide, with the ceiling rising to about 20 m (66 ft) above the main floor. The vault is of quite a complex design and it is unlikely that it was originally intended to have such elaborate decoration.The chapel walls have three horizontal tiers with six windows in the upper tier down each side. There were also two windows at each end, but these have been closed up above the altar when Michelangelo's Last Judgment was painted, obliterating two lunettes. Between the windows are large pendentives which support the vault. Between the pendentives are triangularly shaped arches or spandrels cut into the vault above each window. Above the height of the pendentives, the ceiling slopes gently without much deviation from the horizontal.The first element in the scheme of painted architecture is a definition of the real architectural elements by accentuating the lines where spandrels and pendentives intersect with the curving vault. Michelangelo painted these as decorative courses that look like sculpted stone mouldings. These have two repeating motifs: the acorn and the scallop shell. The acorn is the symbol of the family of both Pope Sixtus IV, who built the chapel, and Julius II, who commissioned Michelangelo's work. The scallop shell is one of the symbols of the Madonna, to whose Assumption the chapel was dedicated in 1483. The crown of the wall then rises above the spandrels, to a strongly projecting painted cornice that runs right around the ceiling, separating the pictorial areas of the biblical scenes from the figures of prophets, sibyls, and ancestors, who literally and figuratively support the narratives. Ten broad painted cross-ribs of travertine cross the ceiling and divide it into alternately wide and narrow pictorial spaces, a grid that gives all the figures their defined place.A great number of small figures are integrated with the painted architecture, their purpose apparently purely decorative. These include pilasters with capitals supported by pairs of infant telamones, rams' skulls are placed at the apex of each spandrel like bucrania; bronze nude figures in varying poses, hiding in the shadows, propped between the spandrels and the ribs like animated bookends; and more putti, both clothed and unclothed, strike a variety of poses as they support the nameplates of the Prophets and Sibyls. Above the cornice and to either side of the smaller scenes are an array of medallions, or round shields. They are framed by a total of 20 more figures, the so-called ignudi, which are not part of the architecture but sit on plinths, their feet planted convincingly on the fictive cornice. Pictorially, the ignudi appear to occupy a space between the narrative spaces and the space of the chapel itself.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: In Sistine Chapel ceiling, how is the Architectural scheme discussed?

The Sistine Chapel is about 35 m (118 ft) long and 14 m (46 ft) wide, with the ceiling rising to about 20 m (66 ft) above the main floor. The vault is of quite a complex design and it is unlikely that it was originally intended to have such elaborate decoration.The chapel walls have three horizontal tiers with six windows in the upper tier down each side. There were also two windows at each end, but these have been closed up above the altar when Michelangelo's Last Judgment was painted, obliterating two lunettes. Between the windows are large pendentives which support the vault. Between the pendentives are triangularly shaped arches or spandrels cut into the vault above each window. Above the height of the pendentives, the ceiling slopes gently without much deviation from the horizontal.The first element in the scheme of painted architecture is a definition of the real architectural elements by accentuating the lines where spandrels and pendentives intersect with the curving vault. Michelangelo painted these as decorative courses that look like sculpted stone mouldings. These have two repeating motifs: the acorn and the scallop shell. The acorn is the symbol of the family of both Pope Sixtus IV, who built the chapel, and Julius II, who commissioned Michelangelo's work. The scallop shell is one of the symbols of the Madonna, to whose Assumption the chapel was dedicated in 1483. The crown of the wall then rises above the spandrels, to a strongly projecting painted cornice that runs right around the ceiling, separating the pictorial areas of the biblical scenes from the figures of prophets, sibyls, and ancestors, who literally and figuratively support the narratives. Ten broad painted cross-ribs of travertine cross the ceiling and divide it into alternately wide and narrow pictorial spaces, a grid that gives all the figures their defined place.A great number of small figures are integrated with the painted architecture, their purpose apparently purely decorative. These include pilasters with capitals supported by pairs of infant telamones, rams' skulls are placed at the apex of each spandrel like bucrania; bronze nude figures in varying poses, hiding in the shadows, propped between the spandrels and the ribs like animated bookends; and more putti, both clothed and unclothed, strike a variety of poses as they support the nameplates of the Prophets and Sibyls. Above the cornice and to either side of the smaller scenes are an array of medallions, or round shields. They are framed by a total of 20 more figures, the so-called ignudi, which are not part of the architecture but sit on plinths, their feet planted convincingly on the fictive cornice. Pictorially, the ignudi appear to occupy a space between the narrative spaces and the space of the chapel itself.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: Focus on Sistine Chapel ceiling and explain the Pictorial scheme.

Like many Renaissance patrons, Pope Julius wanted the ceiling to follow a design he specified, and in early 1508 Michelangelo was presented with a scheme, which has not survived. The ceiling was to be divided into "an interlocking geometric pattern of squares and circles", and images were to include the Twelve Apostles on the pendentives. Other commissions by Julius in the same year, for ceilings in Santa Maria del Popolo and the Stanza della Segnatura in the Vatican Palace, also had geometric frameworks, all probably influenced by the Imperian Roman remains of Hadrian's Villa, Tivoli.Michelangelo worked on drawings following the Pope's scheme, but eventually decided that it did not allow for sufficient numbers of human figures, his main interest in the commission. At a meeting later in the year, Julius allowed Michelangelo to change the design; according to Michelangelo's later account "he gave me a new commission, to do what I liked", a claim many art historians suspect is rather overstated.The artist almost certainly worked with one or more specialist theologians, perhaps including Egidio da Viterbo, and perhaps the aristocratic papal diplomat Cardinal Francesco Alidosi, who Michelangelo used to help him dealing with Julius.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: Explain the Pictorial scheme of this artwork, Sistine Chapel ceiling.

Like many Renaissance patrons, Pope Julius wanted the ceiling to follow a design he specified, and in early 1508 Michelangelo was presented with a scheme, which has not survived. The ceiling was to be divided into "an interlocking geometric pattern of squares and circles", and images were to include the Twelve Apostles on the pendentives. Other commissions by Julius in the same year, for ceilings in Santa Maria del Popolo and the Stanza della Segnatura in the Vatican Palace, also had geometric frameworks, all probably influenced by the Imperian Roman remains of Hadrian's Villa, Tivoli.Michelangelo worked on drawings following the Pope's scheme, but eventually decided that it did not allow for sufficient numbers of human figures, his main interest in the commission. At a meeting later in the year, Julius allowed Michelangelo to change the design; according to Michelangelo's later account "he gave me a new commission, to do what I liked", a claim many art historians suspect is rather overstated.The artist almost certainly worked with one or more specialist theologians, perhaps including Egidio da Viterbo, and perhaps the aristocratic papal diplomat Cardinal Francesco Alidosi, who Michelangelo used to help him dealing with Julius.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: How does Sistine Chapel ceiling explain its Pictorial scheme?

Like many Renaissance patrons, Pope Julius wanted the ceiling to follow a design he specified, and in early 1508 Michelangelo was presented with a scheme, which has not survived. The ceiling was to be divided into "an interlocking geometric pattern of squares and circles", and images were to include the Twelve Apostles on the pendentives. Other commissions by Julius in the same year, for ceilings in Santa Maria del Popolo and the Stanza della Segnatura in the Vatican Palace, also had geometric frameworks, all probably influenced by the Imperian Roman remains of Hadrian's Villa, Tivoli.Michelangelo worked on drawings following the Pope's scheme, but eventually decided that it did not allow for sufficient numbers of human figures, his main interest in the commission. At a meeting later in the year, Julius allowed Michelangelo to change the design; according to Michelangelo's later account "he gave me a new commission, to do what I liked", a claim many art historians suspect is rather overstated.The artist almost certainly worked with one or more specialist theologians, perhaps including Egidio da Viterbo, and perhaps the aristocratic papal diplomat Cardinal Francesco Alidosi, who Michelangelo used to help him dealing with Julius.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: In Sistine Chapel ceiling, how is the Pictorial scheme discussed?

Like many Renaissance patrons, Pope Julius wanted the ceiling to follow a design he specified, and in early 1508 Michelangelo was presented with a scheme, which has not survived. The ceiling was to be divided into "an interlocking geometric pattern of squares and circles", and images were to include the Twelve Apostles on the pendentives. Other commissions by Julius in the same year, for ceilings in Santa Maria del Popolo and the Stanza della Segnatura in the Vatican Palace, also had geometric frameworks, all probably influenced by the Imperian Roman remains of Hadrian's Villa, Tivoli.Michelangelo worked on drawings following the Pope's scheme, but eventually decided that it did not allow for sufficient numbers of human figures, his main interest in the commission. At a meeting later in the year, Julius allowed Michelangelo to change the design; according to Michelangelo's later account "he gave me a new commission, to do what I liked", a claim many art historians suspect is rather overstated.The artist almost certainly worked with one or more specialist theologians, perhaps including Egidio da Viterbo, and perhaps the aristocratic papal diplomat Cardinal Francesco Alidosi, who Michelangelo used to help him dealing with Julius.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: In the context of Sistine Chapel ceiling, explain the Nine scenes from the Book of Genesis and the Pictorial scheme.

Along the central section of the ceiling, Michelangelo depicted nine scenes from the Book of Genesis, organized into three groups of three related scenes. The scenes alternate between smaller and larger pictures, with the former framed by two pairs of ignudi flanking a medallion.The first group depicts God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden. The third group shows the plight of humanity and in particular the family of Noah.The pictures within the three groups link to one another, in the same way as was usual in Mediaeval paintings and stained glass. The nine scenes are oriented to be viewed while facing the altar, chronologically unfolding towards the chapel entrance (except for the second and third scenes, and the seventh and eighth, which are each transposed). John T. Paoletti and Gary M. Radke suggest that this reversed progression symbolises a return to a state of grace.The scenes, from the altar towards the main door, are as follows:The Separation of Light from DarknessThe Creation of the Sun, Moon and PlantsThe Separation of Land and WaterThe Creation of AdamThe Creation of EveThe Fall and ExpulsionThe Sacrifice of NoahThe Great FloodThe Drunkenness of Noah

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: Explain the Nine scenes from the Book of Genesis about the Pictorial scheme of this artwork, Sistine Chapel ceiling.

Along the central section of the ceiling, Michelangelo depicted nine scenes from the Book of Genesis, organized into three groups of three related scenes. The scenes alternate between smaller and larger pictures, with the former framed by two pairs of ignudi flanking a medallion.The first group depicts God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden. The third group shows the plight of humanity and in particular the family of Noah.The pictures within the three groups link to one another, in the same way as was usual in Mediaeval paintings and stained glass. The nine scenes are oriented to be viewed while facing the altar, chronologically unfolding towards the chapel entrance (except for the second and third scenes, and the seventh and eighth, which are each transposed). John T. Paoletti and Gary M. Radke suggest that this reversed progression symbolises a return to a state of grace.The scenes, from the altar towards the main door, are as follows:The Separation of Light from DarknessThe Creation of the Sun, Moon and PlantsThe Separation of Land and WaterThe Creation of AdamThe Creation of EveThe Fall and ExpulsionThe Sacrifice of NoahThe Great FloodThe Drunkenness of Noah

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: In Sistine Chapel ceiling, how is the Nine scenes from the Book of Genesis of the Pictorial scheme explained?

Along the central section of the ceiling, Michelangelo depicted nine scenes from the Book of Genesis, organized into three groups of three related scenes. The scenes alternate between smaller and larger pictures, with the former framed by two pairs of ignudi flanking a medallion.The first group depicts God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden. The third group shows the plight of humanity and in particular the family of Noah.The pictures within the three groups link to one another, in the same way as was usual in Mediaeval paintings and stained glass. The nine scenes are oriented to be viewed while facing the altar, chronologically unfolding towards the chapel entrance (except for the second and third scenes, and the seventh and eighth, which are each transposed). John T. Paoletti and Gary M. Radke suggest that this reversed progression symbolises a return to a state of grace.The scenes, from the altar towards the main door, are as follows:The Separation of Light from DarknessThe Creation of the Sun, Moon and PlantsThe Separation of Land and WaterThe Creation of AdamThe Creation of EveThe Fall and ExpulsionThe Sacrifice of NoahThe Great FloodThe Drunkenness of Noah

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: Describe the characteristics of the Nine scenes from the Book of Genesis in Sistine Chapel ceiling's Pictorial scheme.

Along the central section of the ceiling, Michelangelo depicted nine scenes from the Book of Genesis, organized into three groups of three related scenes. The scenes alternate between smaller and larger pictures, with the former framed by two pairs of ignudi flanking a medallion.The first group depicts God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden. The third group shows the plight of humanity and in particular the family of Noah.The pictures within the three groups link to one another, in the same way as was usual in Mediaeval paintings and stained glass. The nine scenes are oriented to be viewed while facing the altar, chronologically unfolding towards the chapel entrance (except for the second and third scenes, and the seventh and eighth, which are each transposed). John T. Paoletti and Gary M. Radke suggest that this reversed progression symbolises a return to a state of grace.The scenes, from the altar towards the main door, are as follows:The Separation of Light from DarknessThe Creation of the Sun, Moon and PlantsThe Separation of Land and WaterThe Creation of AdamThe Creation of EveThe Fall and ExpulsionThe Sacrifice of NoahThe Great FloodThe Drunkenness of Noah

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: Focusing on the Pictorial scheme of Sistine Chapel ceiling, explain the Creation about the Nine scenes from the Book of Genesis.

=The three creation pictures show scenes from the first chapter of Genesis, which relates that God created the Earth and its inhabitants in six days, resting on the seventh day. In the first scene, the First Day of Creation, God creates light and separates light from darkness. Chronologically, the next scene takes place in the third panel, in which, on the Second Day, God divides the waters from the heavens. In the central scene, the largest of the three, there are two representations of God: on the Third Day, God creates the Earth and makes it sprout plants; on the Fourth Day, God puts the Sun and the Moon in place to govern the night and the day, the time and the seasons of the year.These three scenes, completed in the third stage of painting, are the most broadly conceived, the most broadly painted and the most dynamic of all the pictures. Of the first scene Vasari says, "Michelangelo depicted God dividing the light from the darkness ... where He is seen in all His majesty as He sustains Himself alone with open arms in a demonstration of love and creative energy."

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: Explain the Creation about the Nine scenes from the Book of Genesis of the Pictorial scheme in this work, Sistine Chapel ceiling.

=The three creation pictures show scenes from the first chapter of Genesis, which relates that God created the Earth and its inhabitants in six days, resting on the seventh day. In the first scene, the First Day of Creation, God creates light and separates light from darkness. Chronologically, the next scene takes place in the third panel, in which, on the Second Day, God divides the waters from the heavens. In the central scene, the largest of the three, there are two representations of God: on the Third Day, God creates the Earth and makes it sprout plants; on the Fourth Day, God puts the Sun and the Moon in place to govern the night and the day, the time and the seasons of the year.These three scenes, completed in the third stage of painting, are the most broadly conceived, the most broadly painted and the most dynamic of all the pictures. Of the first scene Vasari says, "Michelangelo depicted God dividing the light from the darkness ... where He is seen in all His majesty as He sustains Himself alone with open arms in a demonstration of love and creative energy."

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: Regarding Sistine Chapel ceiling, how does the Pictorial scheme's Nine scenes from the Book of Genesis  incorporate the Creation.

=The three creation pictures show scenes from the first chapter of Genesis, which relates that God created the Earth and its inhabitants in six days, resting on the seventh day. In the first scene, the First Day of Creation, God creates light and separates light from darkness. Chronologically, the next scene takes place in the third panel, in which, on the Second Day, God divides the waters from the heavens. In the central scene, the largest of the three, there are two representations of God: on the Third Day, God creates the Earth and makes it sprout plants; on the Fourth Day, God puts the Sun and the Moon in place to govern the night and the day, the time and the seasons of the year.These three scenes, completed in the third stage of painting, are the most broadly conceived, the most broadly painted and the most dynamic of all the pictures. Of the first scene Vasari says, "Michelangelo depicted God dividing the light from the darkness ... where He is seen in all His majesty as He sustains Himself alone with open arms in a demonstration of love and creative energy."

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: When looking at the Pictorial scheme of Sistine Chapel ceiling, how do you discuss its Nine scenes from the Book of Genesis's Creation?

=The three creation pictures show scenes from the first chapter of Genesis, which relates that God created the Earth and its inhabitants in six days, resting on the seventh day. In the first scene, the First Day of Creation, God creates light and separates light from darkness. Chronologically, the next scene takes place in the third panel, in which, on the Second Day, God divides the waters from the heavens. In the central scene, the largest of the three, there are two representations of God: on the Third Day, God creates the Earth and makes it sprout plants; on the Fourth Day, God puts the Sun and the Moon in place to govern the night and the day, the time and the seasons of the year.These three scenes, completed in the third stage of painting, are the most broadly conceived, the most broadly painted and the most dynamic of all the pictures. Of the first scene Vasari says, "Michelangelo depicted God dividing the light from the darkness ... where He is seen in all His majesty as He sustains Himself alone with open arms in a demonstration of love and creative energy."

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

commonly depicted in Western Christian art

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

God creating Eve from the side of the sleeping Adam

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: Focusing on the Pictorial scheme of Sistine Chapel ceiling, explain the Adam and Eve about the Nine scenes from the Book of Genesis.

=For the central section of the ceiling, Michelangelo took four episodes from the story of Adam and Eve as told in the first, second and third chapters of Genesis. In this sequence of three, two of the panels are large and one small.In the first of the pictures, one of the most widely recognized images in the history of painting, Michelangelo shows God reaching out to touch Adam. Vasari describes Adam as "a figure whose beauty, pose, and contours are of such a quality that he seems newly created by his Supreme and First Creator rather than by the brush and design of a mere mortal." From beneath the sheltering arm of God, Eve looks out somewhat apprehensively. Correspondingly, Adam reaches out to the creator, who Walter Pater states "comes with the forms of things to be, woman and her progeny, in the fold of his garment". Pater wrote of the depiction of Adam in the Creation:Fair as the young men of the Elgin marbles, the Adam of the Sistine Chapel is unlike them in a total absence of that balance and completeness which express so well the sentiment of a self-contained, independent life. In that languid figure there is something rude and satyr-like, something akin to the rugged hillside on which it lies. His whole form is gathered into an expression of mere expectation and reception; he has hardly strength enough to lift his finger to touch the finger of the creator; yet a touch of the finger-tips will suffice.The central scene, of God creating Eve from the side of the sleeping Adam has been taken in its composition directly from another creation sequence, the relief panels that surround the door of the Basilica of San Petronio, Bologna, by Jacopo della Quercia, whose work Michelangelo had studied in his youth.In the final panel of this sequence, Michelangelo combines two contrasting scenes into one panel, that of Adam and Eve taking fruit from the forbidden tree (a fig and not an apple tree as commonly depicted in Western Christian art), Eve trustingly taking it from the hand of the Serpent (depicted as Lilith) and Adam eagerly picking it for himself, as well as their banishment from the Garden of Eden, where they have lived in the company of God, to the world outside where they have to fend for themselves and experience death.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: Explain the Adam and Eve about the Nine scenes from the Book of Genesis of the Pictorial scheme in this work, Sistine Chapel ceiling.

=For the central section of the ceiling, Michelangelo took four episodes from the story of Adam and Eve as told in the first, second and third chapters of Genesis. In this sequence of three, two of the panels are large and one small.In the first of the pictures, one of the most widely recognized images in the history of painting, Michelangelo shows God reaching out to touch Adam. Vasari describes Adam as "a figure whose beauty, pose, and contours are of such a quality that he seems newly created by his Supreme and First Creator rather than by the brush and design of a mere mortal." From beneath the sheltering arm of God, Eve looks out somewhat apprehensively. Correspondingly, Adam reaches out to the creator, who Walter Pater states "comes with the forms of things to be, woman and her progeny, in the fold of his garment". Pater wrote of the depiction of Adam in the Creation:Fair as the young men of the Elgin marbles, the Adam of the Sistine Chapel is unlike them in a total absence of that balance and completeness which express so well the sentiment of a self-contained, independent life. In that languid figure there is something rude and satyr-like, something akin to the rugged hillside on which it lies. His whole form is gathered into an expression of mere expectation and reception; he has hardly strength enough to lift his finger to touch the finger of the creator; yet a touch of the finger-tips will suffice.The central scene, of God creating Eve from the side of the sleeping Adam has been taken in its composition directly from another creation sequence, the relief panels that surround the door of the Basilica of San Petronio, Bologna, by Jacopo della Quercia, whose work Michelangelo had studied in his youth.In the final panel of this sequence, Michelangelo combines two contrasting scenes into one panel, that of Adam and Eve taking fruit from the forbidden tree (a fig and not an apple tree as commonly depicted in Western Christian art), Eve trustingly taking it from the hand of the Serpent (depicted as Lilith) and Adam eagerly picking it for himself, as well as their banishment from the Garden of Eden, where they have lived in the company of God, to the world outside where they have to fend for themselves and experience death.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied


Sistine Chapel ceiling

Prompt: Regarding Sistine Chapel ceiling, how does the Pictorial scheme's Nine scenes from the Book of Genesis  incorporate the Adam and Eve.

=For the central section of the ceiling, Michelangelo took four episodes from the story of Adam and Eve as told in the first, second and third chapters of Genesis. In this sequence of three, two of the panels are large and one small.In the first of the pictures, one of the most widely recognized images in the history of painting, Michelangelo shows God reaching out to touch Adam. Vasari describes Adam as "a figure whose beauty, pose, and contours are of such a quality that he seems newly created by his Supreme and First Creator rather than by the brush and design of a mere mortal." From beneath the sheltering arm of God, Eve looks out somewhat apprehensively. Correspondingly, Adam reaches out to the creator, who Walter Pater states "comes with the forms of things to be, woman and her progeny, in the fold of his garment". Pater wrote of the depiction of Adam in the Creation:Fair as the young men of the Elgin marbles, the Adam of the Sistine Chapel is unlike them in a total absence of that balance and completeness which express so well the sentiment of a self-contained, independent life. In that languid figure there is something rude and satyr-like, something akin to the rugged hillside on which it lies. His whole form is gathered into an expression of mere expectation and reception; he has hardly strength enough to lift his finger to touch the finger of the creator; yet a touch of the finger-tips will suffice.The central scene, of God creating Eve from the side of the sleeping Adam has been taken in its composition directly from another creation sequence, the relief panels that surround the door of the Basilica of San Petronio, Bologna, by Jacopo della Quercia, whose work Michelangelo had studied in his youth.In the final panel of this sequence, Michelangelo combines two contrasting scenes into one panel, that of Adam and Eve taking fruit from the forbidden tree (a fig and not an apple tree as commonly depicted in Western Christian art), Eve trustingly taking it from the hand of the Serpent (depicted as Lilith) and Adam eagerly picking it for himself, as well as their banishment from the Garden of Eden, where they have lived in the company of God, to the world outside where they have to fend for themselves and experience death.

Hypothetical reconstruction of the first project for the tomb of Julius II (1505) according to an interpretation by Adriano Marinazzo (2018)<ref name=":10">{{Cite journal

The lunette of Jacob and his son [[Saint Joseph

:File:Abraham - Isaac - Jacob - Judah.jpg

title=La Tomba di Giulio II e l'architettura dipinta della volta della Sistina: Quell'idea di sepoltura che mai vide la luce

:File:The Creation of the Sun and the Moon, Michelangelo (1508-1512).jpg

Creation of the Earth and the celestial bodies

:File:Sacrifice of Noah michaelangelo.jpg

File:'Isaiah Sistine Chapel ceiling' by Michelangelo JBU36FXD.jpg

File:Cappella sistina, ricostruzione dell'interno prima degli interventi di Michelangelo, stampa del XIX secolo.jpg

Old Testament messianic prophecies quoted in the New Testament

Tree of the knowledge of good and evil#Christianity

Michelangelo's structural sketch (Archivio Buonarroti, XIII, 175v) overlaid on the Chapel ceiling<ref name=":9">{{Cite journal

The ceiling of the [[Stanza della Segnatura

title=Ipotesi su un disegno michelangiolesco del foglio XIII, 175v, dell'Archivio Buonarroti

The evidence of the plaster laid for a day's work can be seen around the head and arm of this ''ignudo''.

File:Adriano Marinazzo Michelangelo first drawing Sistine Ceiling.jpg

File:Tomb of Pope Julius II - Adriano Marinazzo.jpg

Medieval theology#Medieval Christian theology

Serpent (symbolism)#Judaic and Christian symbolism

The mark of the scaffolding used for painting the ceiling is evident on the lower right of this [[lunette

:File:Raphael School of Athens Michelangelo.jpg

Detail showing intersection of first and second registers, with: a prophet, a lunette, a sibyl, ''ignudi'', medallions, bronze figures, and ''telamones''

An ''ignudo'' commonly reproduced by other artists

s:Ante-Nicene Fathers/Volume VIII/Apocrypha of the New Testament/The Protevangelium of James

The ceiling as it may have looked before Michelangelo painted it

Restoration of the Sistine Chapel frescoes

:File:Michelangelo - Sistine Chapel - Lunette Eleazar - detail Eleazar with wife.jpg

The ceiling's west end (above the entrance)

title=Found? Michelangelo's Sistine Sketch

:File:Michelangelo - Sistine Chapel - Lunette Eleazar and Mathan - WGA.jpg

the unattainability of divine perfection by man

:File:Michelangelo, Separation of the Earth from the Waters 00.jpg

claimed in the New Testament to have been prophesied