Counter-Reformation

Prompt: Explain the Saviour-Legend about the Church music of the Outcomes in this work, Counter-Reformation.

=The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina (c. 1525/26–1594), a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli (Mass for Pope Marcellus) was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Peak of the Reformation & beginning of the Counter-Reformation (1545–1620)

File:Titelkupfer Index librorum prohibitorum.jpg

Congregation of the Oratory of Saint Philip Neri

End of the Reformation & Counter-Reformation (1648)

Spiritual Exercises of Ignatius of Loyola

List of Latin phrases (S)#status quo ante

Journal of the American Musicological Society

History of Christianity of the Middle Ages

File:Catholic faith defeating heresies (Karlskirche Vienna).jpg

Clerics Regular of the Mother of God of Lucca

This 1711 illustration for the ''Index Librorum Prohibitorum'' depicts the Holy Ghost supplying the book burning fire.

File:Confutatio Augustana and Confessio Augustana.jpg

''Confutatio Augustana'' (left) and ''Confessio Augustana'' (right) being presented to Charles V

Council of Basel (1431)-Ferrara(1438)-Florence(1449)

File:Peter Paul Rubens - The Adoration of the Magi - WGA20244.jpg


Counter-Reformation

Prompt: Regarding Counter-Reformation, how does the Outcomes's Church music  incorporate the Saviour-Legend.

=The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina (c. 1525/26–1594), a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli (Mass for Pope Marcellus) was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Peak of the Reformation & beginning of the Counter-Reformation (1545–1620)

File:Titelkupfer Index librorum prohibitorum.jpg

Congregation of the Oratory of Saint Philip Neri

End of the Reformation & Counter-Reformation (1648)

Spiritual Exercises of Ignatius of Loyola

List of Latin phrases (S)#status quo ante

Journal of the American Musicological Society

History of Christianity of the Middle Ages

File:Catholic faith defeating heresies (Karlskirche Vienna).jpg

Clerics Regular of the Mother of God of Lucca

This 1711 illustration for the ''Index Librorum Prohibitorum'' depicts the Holy Ghost supplying the book burning fire.

File:Confutatio Augustana and Confessio Augustana.jpg

''Confutatio Augustana'' (left) and ''Confessio Augustana'' (right) being presented to Charles V

Council of Basel (1431)-Ferrara(1438)-Florence(1449)

File:Peter Paul Rubens - The Adoration of the Magi - WGA20244.jpg


Counter-Reformation

Prompt: When looking at the Outcomes of Counter-Reformation, how do you discuss its Church music's Saviour-Legend?

=The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina (c. 1525/26–1594), a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli (Mass for Pope Marcellus) was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy. Therefore, Palestrina came to be named the "saviour of Church polyphony". This legend, though unfounded, has long been a mainstay of histories of music. The saviour-myth was first spread by an account by Aggazzari and Banchieri in 1609 who said that Pope Marcellus was trying to replace all polyphony with plainsong. Palestrina's "Missa Papae Marcelli" was, though, in 1564, after the 22nd session, performed for the Pope while reforms were being considered for the Sistine Choir.The Pope Marcellus Mass, in short, was not important in its own day and did not help save Church polyphony. What is undeniable is that despite any solid evidence of his influence during or after the Council of Trent, no figure is more qualified to represent the cause of polyphony in the Mass than Palestrina. Pope Pius IV upon hearing Palestrina's music would make Palestrina, by Papal Brief, the model for future generations of Catholic composers of sacred music.

Peak of the Reformation & beginning of the Counter-Reformation (1545–1620)

File:Titelkupfer Index librorum prohibitorum.jpg

Congregation of the Oratory of Saint Philip Neri

End of the Reformation & Counter-Reformation (1648)

Spiritual Exercises of Ignatius of Loyola

List of Latin phrases (S)#status quo ante

Journal of the American Musicological Society

History of Christianity of the Middle Ages

File:Catholic faith defeating heresies (Karlskirche Vienna).jpg

Clerics Regular of the Mother of God of Lucca

This 1711 illustration for the ''Index Librorum Prohibitorum'' depicts the Holy Ghost supplying the book burning fire.

File:Confutatio Augustana and Confessio Augustana.jpg

''Confutatio Augustana'' (left) and ''Confessio Augustana'' (right) being presented to Charles V

Council of Basel (1431)-Ferrara(1438)-Florence(1449)

File:Peter Paul Rubens - The Adoration of the Magi - WGA20244.jpg


Counter-Reformation

Prompt: Focusing on the Outcomes of Counter-Reformation, explain the Reforms following the Council of Trent about the Church music.

=Like his contemporary Palestrina, the Flemish composer Jacobus de Kerle (1531/32–1591) was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di Lasso (1530/32–1594) was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses."Despite the dearth of edicts from the council regarding polyphony and textual clarity, the reforms that followed from the 22nd session filled in the gaps left by the council in stylistic areas. In the 24th session the council gave authority to "Provincial Synods" to discern provisions for Church music.: 576–577  The decision to leave practical application and stylistic matters to local ecclesiastical leaders was important in shaping the future of Catholic church music. It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles.: 592–593  This understanding was most likely spread through musicians who sought to implement the council's declarations but did not read the official Tridentine pronouncements. Church musicians were probably influenced by order from their ecclesiastical patrons. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art.: 576–594 The Cardinal Archbishop of Milan, Charles Borromeo, was a very important figure in reforming Church music after the Council of Trent. Though Borromeo was an aide to the pope in Rome and was unable to be in Milan, he eagerly pushed for the decrees of the council to be quickly put into practice in Milan. Borromeo kept in contact with his church in Milian through letters and eagerly encouraged the leaders there to implement the reforms coming from the Council of Trent. In one of his letters to his vicar in the Milan diocese, Nicolo Ormaneto of Verona, Borromeo commissioned the master of the chapel, Vincenzo Ruffo (1508–1587), to write a Mass that would make the words as easy to understand as possible. Borromeo also suggested that if Don Nicola, a composer of a more chromatic style, was in Milan he too could compose a Mass and the two be compared for textural clarity. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, Lauda and "Spiritual Madrigal" (Madrigali Spirituali). Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, Lauda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Peak of the Reformation & beginning of the Counter-Reformation (1545–1620)

File:Titelkupfer Index librorum prohibitorum.jpg

Congregation of the Oratory of Saint Philip Neri

End of the Reformation & Counter-Reformation (1648)

Spiritual Exercises of Ignatius of Loyola

List of Latin phrases (S)#status quo ante

Journal of the American Musicological Society

History of Christianity of the Middle Ages

File:Catholic faith defeating heresies (Karlskirche Vienna).jpg

Clerics Regular of the Mother of God of Lucca

This 1711 illustration for the ''Index Librorum Prohibitorum'' depicts the Holy Ghost supplying the book burning fire.

File:Confutatio Augustana and Confessio Augustana.jpg

''Confutatio Augustana'' (left) and ''Confessio Augustana'' (right) being presented to Charles V

Council of Basel (1431)-Ferrara(1438)-Florence(1449)

File:Peter Paul Rubens - The Adoration of the Magi - WGA20244.jpg


Counter-Reformation

Prompt: Explain the Reforms following the Council of Trent about the Church music of the Outcomes in this work, Counter-Reformation.

=Like his contemporary Palestrina, the Flemish composer Jacobus de Kerle (1531/32–1591) was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di Lasso (1530/32–1594) was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses."Despite the dearth of edicts from the council regarding polyphony and textual clarity, the reforms that followed from the 22nd session filled in the gaps left by the council in stylistic areas. In the 24th session the council gave authority to "Provincial Synods" to discern provisions for Church music.: 576–577  The decision to leave practical application and stylistic matters to local ecclesiastical leaders was important in shaping the future of Catholic church music. It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles.: 592–593  This understanding was most likely spread through musicians who sought to implement the council's declarations but did not read the official Tridentine pronouncements. Church musicians were probably influenced by order from their ecclesiastical patrons. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art.: 576–594 The Cardinal Archbishop of Milan, Charles Borromeo, was a very important figure in reforming Church music after the Council of Trent. Though Borromeo was an aide to the pope in Rome and was unable to be in Milan, he eagerly pushed for the decrees of the council to be quickly put into practice in Milan. Borromeo kept in contact with his church in Milian through letters and eagerly encouraged the leaders there to implement the reforms coming from the Council of Trent. In one of his letters to his vicar in the Milan diocese, Nicolo Ormaneto of Verona, Borromeo commissioned the master of the chapel, Vincenzo Ruffo (1508–1587), to write a Mass that would make the words as easy to understand as possible. Borromeo also suggested that if Don Nicola, a composer of a more chromatic style, was in Milan he too could compose a Mass and the two be compared for textural clarity. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, Lauda and "Spiritual Madrigal" (Madrigali Spirituali). Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, Lauda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Peak of the Reformation & beginning of the Counter-Reformation (1545–1620)

File:Titelkupfer Index librorum prohibitorum.jpg

Congregation of the Oratory of Saint Philip Neri

End of the Reformation & Counter-Reformation (1648)

Spiritual Exercises of Ignatius of Loyola

List of Latin phrases (S)#status quo ante

Journal of the American Musicological Society

History of Christianity of the Middle Ages

File:Catholic faith defeating heresies (Karlskirche Vienna).jpg

Clerics Regular of the Mother of God of Lucca

This 1711 illustration for the ''Index Librorum Prohibitorum'' depicts the Holy Ghost supplying the book burning fire.

File:Confutatio Augustana and Confessio Augustana.jpg

''Confutatio Augustana'' (left) and ''Confessio Augustana'' (right) being presented to Charles V

Council of Basel (1431)-Ferrara(1438)-Florence(1449)

File:Peter Paul Rubens - The Adoration of the Magi - WGA20244.jpg


Counter-Reformation

Prompt: Regarding Counter-Reformation, how does the Outcomes's Church music  incorporate the Reforms following the Council of Trent.

=Like his contemporary Palestrina, the Flemish composer Jacobus de Kerle (1531/32–1591) was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di Lasso (1530/32–1594) was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses."Despite the dearth of edicts from the council regarding polyphony and textual clarity, the reforms that followed from the 22nd session filled in the gaps left by the council in stylistic areas. In the 24th session the council gave authority to "Provincial Synods" to discern provisions for Church music.: 576–577  The decision to leave practical application and stylistic matters to local ecclesiastical leaders was important in shaping the future of Catholic church music. It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles.: 592–593  This understanding was most likely spread through musicians who sought to implement the council's declarations but did not read the official Tridentine pronouncements. Church musicians were probably influenced by order from their ecclesiastical patrons. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art.: 576–594 The Cardinal Archbishop of Milan, Charles Borromeo, was a very important figure in reforming Church music after the Council of Trent. Though Borromeo was an aide to the pope in Rome and was unable to be in Milan, he eagerly pushed for the decrees of the council to be quickly put into practice in Milan. Borromeo kept in contact with his church in Milian through letters and eagerly encouraged the leaders there to implement the reforms coming from the Council of Trent. In one of his letters to his vicar in the Milan diocese, Nicolo Ormaneto of Verona, Borromeo commissioned the master of the chapel, Vincenzo Ruffo (1508–1587), to write a Mass that would make the words as easy to understand as possible. Borromeo also suggested that if Don Nicola, a composer of a more chromatic style, was in Milan he too could compose a Mass and the two be compared for textural clarity. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, Lauda and "Spiritual Madrigal" (Madrigali Spirituali). Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, Lauda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Peak of the Reformation & beginning of the Counter-Reformation (1545–1620)

File:Titelkupfer Index librorum prohibitorum.jpg

Congregation of the Oratory of Saint Philip Neri

End of the Reformation & Counter-Reformation (1648)

Spiritual Exercises of Ignatius of Loyola

List of Latin phrases (S)#status quo ante

Journal of the American Musicological Society

History of Christianity of the Middle Ages

File:Catholic faith defeating heresies (Karlskirche Vienna).jpg

Clerics Regular of the Mother of God of Lucca

This 1711 illustration for the ''Index Librorum Prohibitorum'' depicts the Holy Ghost supplying the book burning fire.

File:Confutatio Augustana and Confessio Augustana.jpg

''Confutatio Augustana'' (left) and ''Confessio Augustana'' (right) being presented to Charles V

Council of Basel (1431)-Ferrara(1438)-Florence(1449)

File:Peter Paul Rubens - The Adoration of the Magi - WGA20244.jpg


Counter-Reformation

Prompt: When looking at the Outcomes of Counter-Reformation, how do you discuss its Church music's Reforms following the Council of Trent?

=Like his contemporary Palestrina, the Flemish composer Jacobus de Kerle (1531/32–1591) was also credited with giving a model of composition for the Council of Trent. His composition in four-parts, Preces, marks the "official turning point of the Counter Reformation's a cappella ideal." Kerle was the only ranking composer of the Netherlands to have acted in conformity with the council. Another musical giant on equal standing with Palestrina, Orlando di Lasso (1530/32–1594) was an important figure in music history though less of a purist than Palestrina. He expressed sympathy for the council's concerns but still showed favor for the "Parady chanson Masses."Despite the dearth of edicts from the council regarding polyphony and textual clarity, the reforms that followed from the 22nd session filled in the gaps left by the council in stylistic areas. In the 24th session the council gave authority to "Provincial Synods" to discern provisions for Church music.: 576–577  The decision to leave practical application and stylistic matters to local ecclesiastical leaders was important in shaping the future of Catholic church music. It was left then up to the local Church leaders and Church musicians to find proper application for the council's decrees.Though originally theological and directed towards the attitudes of the musicians, the Council's decrees came to be thought of by Church musicians as a pronouncement on proper musical styles.: 592–593  This understanding was most likely spread through musicians who sought to implement the council's declarations but did not read the official Tridentine pronouncements. Church musicians were probably influenced by order from their ecclesiastical patrons. Composers who reference the council's reforms in prefaces to their compositions do not adequately claim a musical basis from the council but a spiritual and religious basis of their art.: 576–594 The Cardinal Archbishop of Milan, Charles Borromeo, was a very important figure in reforming Church music after the Council of Trent. Though Borromeo was an aide to the pope in Rome and was unable to be in Milan, he eagerly pushed for the decrees of the council to be quickly put into practice in Milan. Borromeo kept in contact with his church in Milian through letters and eagerly encouraged the leaders there to implement the reforms coming from the Council of Trent. In one of his letters to his vicar in the Milan diocese, Nicolo Ormaneto of Verona, Borromeo commissioned the master of the chapel, Vincenzo Ruffo (1508–1587), to write a Mass that would make the words as easy to understand as possible. Borromeo also suggested that if Don Nicola, a composer of a more chromatic style, was in Milan he too could compose a Mass and the two be compared for textural clarity. Borromeo was likely involved or heard of the questions regarding textual clarity because of his request to Ruffo.Ruffo took Borromeo's commission seriously and set out to compose in a style that presented the text so that all words would be intelligible and the textual meaning be the most important part of the composition. His approach was to move all the voices in a homorhythmic manner with no complicated rhythms, and to use dissonance very conservatively. Ruffo's approach was certainly a success for textual clarity and simplicity, but if his music was very theoretically pure it was not an artistic success despite Ruffo's attempts to bring interest to the monotonous four-part texture. Ruffo's compositional style which favored the text was well in line with the council's perceived concern with intelligibility. Thus the belief in the council's strong edicts regarding textual intelligibility became to characterize the development of sacred Church music.The Council of Trent brought about other changes in music: most notably developing the Missa brevis, Lauda and "Spiritual Madrigal" (Madrigali Spirituali). Additionally, the numerous sequences were mostly prohibited in the 1570 Missal of Pius V. The remaining sequences were Victimae paschali laudes for Easter, Veni Sancte Spiritus for Pentecost, Lauda Sion Salvatorem for Corpus Christi, and Dies Irae for All Souls and for Masses for the Dead.Another reform following the Council of Trent was the publication of the 1568 Roman Breviary.

Peak of the Reformation & beginning of the Counter-Reformation (1545–1620)

File:Titelkupfer Index librorum prohibitorum.jpg

Congregation of the Oratory of Saint Philip Neri

End of the Reformation & Counter-Reformation (1648)

Spiritual Exercises of Ignatius of Loyola

List of Latin phrases (S)#status quo ante

Journal of the American Musicological Society

History of Christianity of the Middle Ages

File:Catholic faith defeating heresies (Karlskirche Vienna).jpg

Clerics Regular of the Mother of God of Lucca

This 1711 illustration for the ''Index Librorum Prohibitorum'' depicts the Holy Ghost supplying the book burning fire.

File:Confutatio Augustana and Confessio Augustana.jpg

''Confutatio Augustana'' (left) and ''Confessio Augustana'' (right) being presented to Charles V

Council of Basel (1431)-Ferrara(1438)-Florence(1449)

File:Peter Paul Rubens - The Adoration of the Magi - WGA20244.jpg


Counter-Reformation

Prompt: In the context of Counter-Reformation, explain the Calendrical studies and the Outcomes.

More celebrations of holidays and similar events raised a need to have these events followed closely throughout the dioceses. But there was a problem with the accuracy of the calendar: by the sixteenth century the Julian calendar was almost ten days out of step with the seasons and the heavenly bodies. Among the astronomers who were asked to work on the problem of how the calendar could be reformed was Nicolaus Copernicus, a canon at Frombork (Frauenburg). In the dedication to De revolutionibus orbium coelestium (1543), Copernicus mentioned the reform of the calendar proposed by the Fifth Council of the Lateran (1512–1517). As he explains, a proper measurement of the length of the year was a necessary foundation to calendar reform. By implication, his work replacing the Ptolemaic system with a heliocentric model was prompted in part by the need for calendar reform.An actual new calendar had to wait until the Gregorian calendar in 1582. At the time of its publication, De revolutionibus passed with relatively little comment: little more than a mathematical convenience that simplified astronomical references for a more accurate calendar. Physical evidence suggesting Copernicus's theory regarding the earth's motion was literally true promoted the apparent heresy against the religious thought of the time. As a result, during the Galileo affair, Galileo Galilei was placed under house arrest, served in Rome, Siena, Arcetri, and Florence, for publishing writings said to be "vehemently suspected of being heretical." His opponents condemned heliocentric theory and temporarily banned its teaching in 1633. Similarly, the Academia Secretorum Naturae in Naples had been shut down in 1578. As a result of clerical opposition, heliocentricists emigrated from Catholic to Protestant areas, some forming the Melanchthon Circle.

Peak of the Reformation & beginning of the Counter-Reformation (1545–1620)

File:Titelkupfer Index librorum prohibitorum.jpg

Congregation of the Oratory of Saint Philip Neri

End of the Reformation & Counter-Reformation (1648)

Spiritual Exercises of Ignatius of Loyola

List of Latin phrases (S)#status quo ante

Journal of the American Musicological Society

History of Christianity of the Middle Ages

File:Catholic faith defeating heresies (Karlskirche Vienna).jpg

Clerics Regular of the Mother of God of Lucca

This 1711 illustration for the ''Index Librorum Prohibitorum'' depicts the Holy Ghost supplying the book burning fire.

File:Confutatio Augustana and Confessio Augustana.jpg

''Confutatio Augustana'' (left) and ''Confessio Augustana'' (right) being presented to Charles V

Council of Basel (1431)-Ferrara(1438)-Florence(1449)

File:Peter Paul Rubens - The Adoration of the Magi - WGA20244.jpg


Counter-Reformation

Prompt: Explain the Calendrical studies about the Outcomes of this artwork, Counter-Reformation.

More celebrations of holidays and similar events raised a need to have these events followed closely throughout the dioceses. But there was a problem with the accuracy of the calendar: by the sixteenth century the Julian calendar was almost ten days out of step with the seasons and the heavenly bodies. Among the astronomers who were asked to work on the problem of how the calendar could be reformed was Nicolaus Copernicus, a canon at Frombork (Frauenburg). In the dedication to De revolutionibus orbium coelestium (1543), Copernicus mentioned the reform of the calendar proposed by the Fifth Council of the Lateran (1512–1517). As he explains, a proper measurement of the length of the year was a necessary foundation to calendar reform. By implication, his work replacing the Ptolemaic system with a heliocentric model was prompted in part by the need for calendar reform.An actual new calendar had to wait until the Gregorian calendar in 1582. At the time of its publication, De revolutionibus passed with relatively little comment: little more than a mathematical convenience that simplified astronomical references for a more accurate calendar. Physical evidence suggesting Copernicus's theory regarding the earth's motion was literally true promoted the apparent heresy against the religious thought of the time. As a result, during the Galileo affair, Galileo Galilei was placed under house arrest, served in Rome, Siena, Arcetri, and Florence, for publishing writings said to be "vehemently suspected of being heretical." His opponents condemned heliocentric theory and temporarily banned its teaching in 1633. Similarly, the Academia Secretorum Naturae in Naples had been shut down in 1578. As a result of clerical opposition, heliocentricists emigrated from Catholic to Protestant areas, some forming the Melanchthon Circle.

Peak of the Reformation & beginning of the Counter-Reformation (1545–1620)

File:Titelkupfer Index librorum prohibitorum.jpg

Congregation of the Oratory of Saint Philip Neri

End of the Reformation & Counter-Reformation (1648)

Spiritual Exercises of Ignatius of Loyola

List of Latin phrases (S)#status quo ante

Journal of the American Musicological Society

History of Christianity of the Middle Ages

File:Catholic faith defeating heresies (Karlskirche Vienna).jpg

Clerics Regular of the Mother of God of Lucca

This 1711 illustration for the ''Index Librorum Prohibitorum'' depicts the Holy Ghost supplying the book burning fire.

File:Confutatio Augustana and Confessio Augustana.jpg

''Confutatio Augustana'' (left) and ''Confessio Augustana'' (right) being presented to Charles V

Council of Basel (1431)-Ferrara(1438)-Florence(1449)

File:Peter Paul Rubens - The Adoration of the Magi - WGA20244.jpg


Counter-Reformation

Prompt: In Counter-Reformation, how is the Calendrical studies of the Outcomes explained?

More celebrations of holidays and similar events raised a need to have these events followed closely throughout the dioceses. But there was a problem with the accuracy of the calendar: by the sixteenth century the Julian calendar was almost ten days out of step with the seasons and the heavenly bodies. Among the astronomers who were asked to work on the problem of how the calendar could be reformed was Nicolaus Copernicus, a canon at Frombork (Frauenburg). In the dedication to De revolutionibus orbium coelestium (1543), Copernicus mentioned the reform of the calendar proposed by the Fifth Council of the Lateran (1512–1517). As he explains, a proper measurement of the length of the year was a necessary foundation to calendar reform. By implication, his work replacing the Ptolemaic system with a heliocentric model was prompted in part by the need for calendar reform.An actual new calendar had to wait until the Gregorian calendar in 1582. At the time of its publication, De revolutionibus passed with relatively little comment: little more than a mathematical convenience that simplified astronomical references for a more accurate calendar. Physical evidence suggesting Copernicus's theory regarding the earth's motion was literally true promoted the apparent heresy against the religious thought of the time. As a result, during the Galileo affair, Galileo Galilei was placed under house arrest, served in Rome, Siena, Arcetri, and Florence, for publishing writings said to be "vehemently suspected of being heretical." His opponents condemned heliocentric theory and temporarily banned its teaching in 1633. Similarly, the Academia Secretorum Naturae in Naples had been shut down in 1578. As a result of clerical opposition, heliocentricists emigrated from Catholic to Protestant areas, some forming the Melanchthon Circle.

Peak of the Reformation & beginning of the Counter-Reformation (1545–1620)

File:Titelkupfer Index librorum prohibitorum.jpg

Congregation of the Oratory of Saint Philip Neri

End of the Reformation & Counter-Reformation (1648)

Spiritual Exercises of Ignatius of Loyola

List of Latin phrases (S)#status quo ante

Journal of the American Musicological Society

History of Christianity of the Middle Ages

File:Catholic faith defeating heresies (Karlskirche Vienna).jpg

Clerics Regular of the Mother of God of Lucca

This 1711 illustration for the ''Index Librorum Prohibitorum'' depicts the Holy Ghost supplying the book burning fire.

File:Confutatio Augustana and Confessio Augustana.jpg

''Confutatio Augustana'' (left) and ''Confessio Augustana'' (right) being presented to Charles V

Council of Basel (1431)-Ferrara(1438)-Florence(1449)

File:Peter Paul Rubens - The Adoration of the Magi - WGA20244.jpg


Counter-Reformation

Prompt: Describe the characteristics of the Calendrical studies in Counter-Reformation's Outcomes.

More celebrations of holidays and similar events raised a need to have these events followed closely throughout the dioceses. But there was a problem with the accuracy of the calendar: by the sixteenth century the Julian calendar was almost ten days out of step with the seasons and the heavenly bodies. Among the astronomers who were asked to work on the problem of how the calendar could be reformed was Nicolaus Copernicus, a canon at Frombork (Frauenburg). In the dedication to De revolutionibus orbium coelestium (1543), Copernicus mentioned the reform of the calendar proposed by the Fifth Council of the Lateran (1512–1517). As he explains, a proper measurement of the length of the year was a necessary foundation to calendar reform. By implication, his work replacing the Ptolemaic system with a heliocentric model was prompted in part by the need for calendar reform.An actual new calendar had to wait until the Gregorian calendar in 1582. At the time of its publication, De revolutionibus passed with relatively little comment: little more than a mathematical convenience that simplified astronomical references for a more accurate calendar. Physical evidence suggesting Copernicus's theory regarding the earth's motion was literally true promoted the apparent heresy against the religious thought of the time. As a result, during the Galileo affair, Galileo Galilei was placed under house arrest, served in Rome, Siena, Arcetri, and Florence, for publishing writings said to be "vehemently suspected of being heretical." His opponents condemned heliocentric theory and temporarily banned its teaching in 1633. Similarly, the Academia Secretorum Naturae in Naples had been shut down in 1578. As a result of clerical opposition, heliocentricists emigrated from Catholic to Protestant areas, some forming the Melanchthon Circle.

Peak of the Reformation & beginning of the Counter-Reformation (1545–1620)

File:Titelkupfer Index librorum prohibitorum.jpg

Congregation of the Oratory of Saint Philip Neri

End of the Reformation & Counter-Reformation (1648)

Spiritual Exercises of Ignatius of Loyola

List of Latin phrases (S)#status quo ante

Journal of the American Musicological Society

History of Christianity of the Middle Ages

File:Catholic faith defeating heresies (Karlskirche Vienna).jpg

Clerics Regular of the Mother of God of Lucca

This 1711 illustration for the ''Index Librorum Prohibitorum'' depicts the Holy Ghost supplying the book burning fire.

File:Confutatio Augustana and Confessio Augustana.jpg

''Confutatio Augustana'' (left) and ''Confessio Augustana'' (right) being presented to Charles V

Council of Basel (1431)-Ferrara(1438)-Florence(1449)

File:Peter Paul Rubens - The Adoration of the Magi - WGA20244.jpg


Sistine Chapel ceiling

Prompt: Focus on Sistine Chapel ceiling and explain the abstract.

The Sistine Chapel ceiling (Italian: Soffitto della Cappella Sistina), painted in fresco by Michelangelo between 1508 and 1512, is a cornerstone work of High Renaissance art.The Sistine Chapel is the large papal chapel built within the Vatican between 1477 and 1480 by Pope Sixtus IV, for whom the chapel is named. The ceiling was painted at the commission of Pope Julius II.The ceiling's various painted elements form part of a larger scheme of decoration within the chapel. Prior to Michelangelo's contribution, the walls were painted by several leading artists of the late 15th century including Sandro Botticelli, Domenico Ghirlandaio, and Pietro Perugino. After the ceiling was painted, Raphael created a set of large tapestries (1515–1516) to cover the lower portion of the wall. Michelangelo returned to the chapel to create The Last Judgment, a large wall fresco situated behind the altar. The chapel's decoration illustrates much of the doctrine of the Catholic Church, serving as the location for papal conclaves and many other important services.Central to the ceiling decoration are nine scenes from the Book of Genesis, including The Creation of Adam. The complex design includes several sets of figures, some clothed and some nude, allowing Michelangelo to demonstrate his skill in depicting the human figure in a variety of poses. The ceiling was immediately well-received and imitated by other artists, continuing to the present. It has been restored several times, most recently from 1980 to 1994.

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 abstract of this artwork, Sistine Chapel ceiling.

The Sistine Chapel ceiling (Italian: Soffitto della Cappella Sistina), painted in fresco by Michelangelo between 1508 and 1512, is a cornerstone work of High Renaissance art.The Sistine Chapel is the large papal chapel built within the Vatican between 1477 and 1480 by Pope Sixtus IV, for whom the chapel is named. The ceiling was painted at the commission of Pope Julius II.The ceiling's various painted elements form part of a larger scheme of decoration within the chapel. Prior to Michelangelo's contribution, the walls were painted by several leading artists of the late 15th century including Sandro Botticelli, Domenico Ghirlandaio, and Pietro Perugino. After the ceiling was painted, Raphael created a set of large tapestries (1515–1516) to cover the lower portion of the wall. Michelangelo returned to the chapel to create The Last Judgment, a large wall fresco situated behind the altar. The chapel's decoration illustrates much of the doctrine of the Catholic Church, serving as the location for papal conclaves and many other important services.Central to the ceiling decoration are nine scenes from the Book of Genesis, including The Creation of Adam. The complex design includes several sets of figures, some clothed and some nude, allowing Michelangelo to demonstrate his skill in depicting the human figure in a variety of poses. The ceiling was immediately well-received and imitated by other artists, continuing to the present. It has been restored several times, most recently from 1980 to 1994.

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 abstract?

The Sistine Chapel ceiling (Italian: Soffitto della Cappella Sistina), painted in fresco by Michelangelo between 1508 and 1512, is a cornerstone work of High Renaissance art.The Sistine Chapel is the large papal chapel built within the Vatican between 1477 and 1480 by Pope Sixtus IV, for whom the chapel is named. The ceiling was painted at the commission of Pope Julius II.The ceiling's various painted elements form part of a larger scheme of decoration within the chapel. Prior to Michelangelo's contribution, the walls were painted by several leading artists of the late 15th century including Sandro Botticelli, Domenico Ghirlandaio, and Pietro Perugino. After the ceiling was painted, Raphael created a set of large tapestries (1515–1516) to cover the lower portion of the wall. Michelangelo returned to the chapel to create The Last Judgment, a large wall fresco situated behind the altar. The chapel's decoration illustrates much of the doctrine of the Catholic Church, serving as the location for papal conclaves and many other important services.Central to the ceiling decoration are nine scenes from the Book of Genesis, including The Creation of Adam. The complex design includes several sets of figures, some clothed and some nude, allowing Michelangelo to demonstrate his skill in depicting the human figure in a variety of poses. The ceiling was immediately well-received and imitated by other artists, continuing to the present. It has been restored several times, most recently from 1980 to 1994.

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 abstract discussed?

The Sistine Chapel ceiling (Italian: Soffitto della Cappella Sistina), painted in fresco by Michelangelo between 1508 and 1512, is a cornerstone work of High Renaissance art.The Sistine Chapel is the large papal chapel built within the Vatican between 1477 and 1480 by Pope Sixtus IV, for whom the chapel is named. The ceiling was painted at the commission of Pope Julius II.The ceiling's various painted elements form part of a larger scheme of decoration within the chapel. Prior to Michelangelo's contribution, the walls were painted by several leading artists of the late 15th century including Sandro Botticelli, Domenico Ghirlandaio, and Pietro Perugino. After the ceiling was painted, Raphael created a set of large tapestries (1515–1516) to cover the lower portion of the wall. Michelangelo returned to the chapel to create The Last Judgment, a large wall fresco situated behind the altar. The chapel's decoration illustrates much of the doctrine of the Catholic Church, serving as the location for papal conclaves and many other important services.Central to the ceiling decoration are nine scenes from the Book of Genesis, including The Creation of Adam. The complex design includes several sets of figures, some clothed and some nude, allowing Michelangelo to demonstrate his skill in depicting the human figure in a variety of poses. The ceiling was immediately well-received and imitated by other artists, continuing to the present. It has been restored several times, most recently from 1980 to 1994.

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 Context and creation.

The walls of the Sistine Chapel had been decorated 20 years before Michelangelo's work on the ceiling. Following this, Raphael designed a set of tapestries (1515–1516) to cover the lowest of three levels; the surviving tapestries are still hung on special occasions. The middle level contains a complex scheme of frescoes illustrating the Life of Christ on the right side and the Life of Moses on the left side. It was carried out by some of the most renowned Renaissance painters: Sandro Botticelli, Domenico Ghirlandaio, Pietro Perugino, Pinturicchio, Luca Signorelli, and Cosimo Rosselli. The upper level of the walls contains the windows, between which are painted pairs of illusionistic niches with representations of the first 32 popes.The original ceiling painting was by Pier Matteo d'Amelia, and had depicted stars over a blue background like the ceiling of the Arena Chapel decorated by Giotto at Padua. For six months in 1504, a diagonal crack in the chapel's vault had made the chapel unusable, and Pope Julius II (Giuliano della Rovere) had the damaged painting removed by Piero Roselli, a friend of Michelangelo.Julius II was a "warrior pope" who in his papacy undertook an aggressive campaign for political control to unite and empower Italy under the leadership of the Catholic Church. He invested in symbolism to display his temporal power, such as his procession, in which he (in the Classical manner) rode a chariot through a triumphal arch after one of his many military victories. Julius II's project to rebuild St. Peter's Basilica would distinguish it as the most potent symbol of the source of papal power; he ultimately demolished and replaced the original basilica with a grander one intended to house his own tomb. The pope summoned Michelangelo to Rome in early 1505 and commissioned him to design his tomb, forcing the artist to leave Florence with his planned Battle of Cascina painting unfinished. By this time, Michelangelo was established as an artist; both he and Julius II had hot tempers and soon argued. On 17 April 1506, Michelangelo left Rome in secret for Florence, remaining there until the Florentine government pressed him to return to the pope.In 1506, the same year the foundation stone was laid for the new St. Peter's, Julius II conceived a programme to paint the ceiling of the Sistine Chapel. It is probable that, because the chapel was the site of regular meetings and Masses of an elite body of officials known as the Papal Chapel (who would observe the decorations and interpret their theological and temporal significance), it was Julius II's intention and expectation that the iconography of the ceiling was to be read with many layers of meaning.The scheme proposed by the pope was for twelve large figures of the Apostles to occupy the pendentives. Michelangelo negotiated for a grander, much more complex scheme and was finally permitted, in his own words, "to do as I liked". It has been suggested that Augustinian friar and cardinal Giles of Viterbo could have influenced the ceiling's theological layout. Many writers consider that Michelangelo had the intellect, the biblical knowledge, and the powers of invention to have devised the scheme himself. This is supported by Michelangelo's biographer Ascanio Condivi's statement that the artist read and reread the Old Testament while he was painting the ceiling, drawing his inspiration from the words of the scripture, rather than from the established traditions of sacral art.On 10 May 1506, Piero Roselli wrote to Michelangelo on behalf of the pope. In this letter, Roselli mentions that papal court architect Donato Bramante doubted that Michelangelo could take on such a large fresco project, as he had limited experience in the medium. According to Bramante, Michelangelo stated his refusal. In November 1506 Michelangelo went to Bologna, where he received a commission from the pope to construct a colossal bronze statue of him conquering the Bolognese. After he completed this in early 1508, Michelangelo returned to Rome expecting to resume work on the papal tomb, but this had been quietly set aside.Michelangelo was instead commissioned for a cycle of frescoes on the vault and upper walls of the Sistine Chapel. Michelangelo, who was not primarily a painter but a sculptor, was reluctant to take on the work; he suggested that his young rival Raphael take it on instead. The pope was persistent; according to Giorgio Vasari, he was provoked by Bramante to insist that Michelangelo take on the project, leaving him little choice but to accept. The contract was signed on 8 May 1508, with a promised fee of 3,000 ducats (approximately US$600,000 in gold in 2021). At the pope's behest, Bramante built the initial scaffolding, hung via ropes from holes in the ceiling. This method displeased Michelangelo as it would force him to paint around the holes, and he had freestanding scaffolding constructed instead. This was built by Piero Roselli, who subsequently roughcasted the ceiling. Michelangelo initially sought to engage assistants who were more well-versed in fresco-painting, but he was unable to find suitable candidates and determined to paint the whole ceiling alone. Among the Florentine artists whom Michelangelo brought to Rome in the hope of assisting in the fresco, Vasari names Francesco Granacci, Giuliano Bugiardini, Jacopo di Sandro, l'Indaco the Elder, Agnolo di Domenico, and Aristotile.Michelangelo soon began his work, starting at the west end with the Drunkenness of Noah and the Prophet Zechariah and working backwards through the narrative to the Creation of Eve, in the vault's fifth bay, finished in September 1510. The first half of the ceiling was unveiled with a preliminary showing on 14 August 1511 and an official viewing the next day. A long hiatus in painting occurred as new scaffolding was made ready. The second half of the ceiling's frescoes were done swiftly, and the finished work was revealed on 31 October 1512, All Hallows' Eve, being shown to the public by the next day, All Saints' Day. Michelangelo's final scheme for the ceiling includes over 300 figures.Vasari states that "When the chapel was uncovered, people from everywhere [rushed] to see it, and the sight of it alone was sufficient to leave them amazed and speechless." At the age of 37, Michelangelo's reputation rose such that he was called il divino, and he was henceforth regarded as the greatest artist of his time, who had elevated the status of the arts themselves, a recognition that lasted the rest of his long life. The ceiling was immediately considered one of the greatest masterpieces of all time, a distinction which continues to endure.

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 Context and creation of this artwork, Sistine Chapel ceiling.

The walls of the Sistine Chapel had been decorated 20 years before Michelangelo's work on the ceiling. Following this, Raphael designed a set of tapestries (1515–1516) to cover the lowest of three levels; the surviving tapestries are still hung on special occasions. The middle level contains a complex scheme of frescoes illustrating the Life of Christ on the right side and the Life of Moses on the left side. It was carried out by some of the most renowned Renaissance painters: Sandro Botticelli, Domenico Ghirlandaio, Pietro Perugino, Pinturicchio, Luca Signorelli, and Cosimo Rosselli. The upper level of the walls contains the windows, between which are painted pairs of illusionistic niches with representations of the first 32 popes.The original ceiling painting was by Pier Matteo d'Amelia, and had depicted stars over a blue background like the ceiling of the Arena Chapel decorated by Giotto at Padua. For six months in 1504, a diagonal crack in the chapel's vault had made the chapel unusable, and Pope Julius II (Giuliano della Rovere) had the damaged painting removed by Piero Roselli, a friend of Michelangelo.Julius II was a "warrior pope" who in his papacy undertook an aggressive campaign for political control to unite and empower Italy under the leadership of the Catholic Church. He invested in symbolism to display his temporal power, such as his procession, in which he (in the Classical manner) rode a chariot through a triumphal arch after one of his many military victories. Julius II's project to rebuild St. Peter's Basilica would distinguish it as the most potent symbol of the source of papal power; he ultimately demolished and replaced the original basilica with a grander one intended to house his own tomb. The pope summoned Michelangelo to Rome in early 1505 and commissioned him to design his tomb, forcing the artist to leave Florence with his planned Battle of Cascina painting unfinished. By this time, Michelangelo was established as an artist; both he and Julius II had hot tempers and soon argued. On 17 April 1506, Michelangelo left Rome in secret for Florence, remaining there until the Florentine government pressed him to return to the pope.In 1506, the same year the foundation stone was laid for the new St. Peter's, Julius II conceived a programme to paint the ceiling of the Sistine Chapel. It is probable that, because the chapel was the site of regular meetings and Masses of an elite body of officials known as the Papal Chapel (who would observe the decorations and interpret their theological and temporal significance), it was Julius II's intention and expectation that the iconography of the ceiling was to be read with many layers of meaning.The scheme proposed by the pope was for twelve large figures of the Apostles to occupy the pendentives. Michelangelo negotiated for a grander, much more complex scheme and was finally permitted, in his own words, "to do as I liked". It has been suggested that Augustinian friar and cardinal Giles of Viterbo could have influenced the ceiling's theological layout. Many writers consider that Michelangelo had the intellect, the biblical knowledge, and the powers of invention to have devised the scheme himself. This is supported by Michelangelo's biographer Ascanio Condivi's statement that the artist read and reread the Old Testament while he was painting the ceiling, drawing his inspiration from the words of the scripture, rather than from the established traditions of sacral art.On 10 May 1506, Piero Roselli wrote to Michelangelo on behalf of the pope. In this letter, Roselli mentions that papal court architect Donato Bramante doubted that Michelangelo could take on such a large fresco project, as he had limited experience in the medium. According to Bramante, Michelangelo stated his refusal. In November 1506 Michelangelo went to Bologna, where he received a commission from the pope to construct a colossal bronze statue of him conquering the Bolognese. After he completed this in early 1508, Michelangelo returned to Rome expecting to resume work on the papal tomb, but this had been quietly set aside.Michelangelo was instead commissioned for a cycle of frescoes on the vault and upper walls of the Sistine Chapel. Michelangelo, who was not primarily a painter but a sculptor, was reluctant to take on the work; he suggested that his young rival Raphael take it on instead. The pope was persistent; according to Giorgio Vasari, he was provoked by Bramante to insist that Michelangelo take on the project, leaving him little choice but to accept. The contract was signed on 8 May 1508, with a promised fee of 3,000 ducats (approximately US$600,000 in gold in 2021). At the pope's behest, Bramante built the initial scaffolding, hung via ropes from holes in the ceiling. This method displeased Michelangelo as it would force him to paint around the holes, and he had freestanding scaffolding constructed instead. This was built by Piero Roselli, who subsequently roughcasted the ceiling. Michelangelo initially sought to engage assistants who were more well-versed in fresco-painting, but he was unable to find suitable candidates and determined to paint the whole ceiling alone. Among the Florentine artists whom Michelangelo brought to Rome in the hope of assisting in the fresco, Vasari names Francesco Granacci, Giuliano Bugiardini, Jacopo di Sandro, l'Indaco the Elder, Agnolo di Domenico, and Aristotile.Michelangelo soon began his work, starting at the west end with the Drunkenness of Noah and the Prophet Zechariah and working backwards through the narrative to the Creation of Eve, in the vault's fifth bay, finished in September 1510. The first half of the ceiling was unveiled with a preliminary showing on 14 August 1511 and an official viewing the next day. A long hiatus in painting occurred as new scaffolding was made ready. The second half of the ceiling's frescoes were done swiftly, and the finished work was revealed on 31 October 1512, All Hallows' Eve, being shown to the public by the next day, All Saints' Day. Michelangelo's final scheme for the ceiling includes over 300 figures.Vasari states that "When the chapel was uncovered, people from everywhere [rushed] to see it, and the sight of it alone was sufficient to leave them amazed and speechless." At the age of 37, Michelangelo's reputation rose such that he was called il divino, and he was henceforth regarded as the greatest artist of his time, who had elevated the status of the arts themselves, a recognition that lasted the rest of his long life. The ceiling was immediately considered one of the greatest masterpieces of all time, a distinction which continues to endure.

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 Context and creation?

The walls of the Sistine Chapel had been decorated 20 years before Michelangelo's work on the ceiling. Following this, Raphael designed a set of tapestries (1515–1516) to cover the lowest of three levels; the surviving tapestries are still hung on special occasions. The middle level contains a complex scheme of frescoes illustrating the Life of Christ on the right side and the Life of Moses on the left side. It was carried out by some of the most renowned Renaissance painters: Sandro Botticelli, Domenico Ghirlandaio, Pietro Perugino, Pinturicchio, Luca Signorelli, and Cosimo Rosselli. The upper level of the walls contains the windows, between which are painted pairs of illusionistic niches with representations of the first 32 popes.The original ceiling painting was by Pier Matteo d'Amelia, and had depicted stars over a blue background like the ceiling of the Arena Chapel decorated by Giotto at Padua. For six months in 1504, a diagonal crack in the chapel's vault had made the chapel unusable, and Pope Julius II (Giuliano della Rovere) had the damaged painting removed by Piero Roselli, a friend of Michelangelo.Julius II was a "warrior pope" who in his papacy undertook an aggressive campaign for political control to unite and empower Italy under the leadership of the Catholic Church. He invested in symbolism to display his temporal power, such as his procession, in which he (in the Classical manner) rode a chariot through a triumphal arch after one of his many military victories. Julius II's project to rebuild St. Peter's Basilica would distinguish it as the most potent symbol of the source of papal power; he ultimately demolished and replaced the original basilica with a grander one intended to house his own tomb. The pope summoned Michelangelo to Rome in early 1505 and commissioned him to design his tomb, forcing the artist to leave Florence with his planned Battle of Cascina painting unfinished. By this time, Michelangelo was established as an artist; both he and Julius II had hot tempers and soon argued. On 17 April 1506, Michelangelo left Rome in secret for Florence, remaining there until the Florentine government pressed him to return to the pope.In 1506, the same year the foundation stone was laid for the new St. Peter's, Julius II conceived a programme to paint the ceiling of the Sistine Chapel. It is probable that, because the chapel was the site of regular meetings and Masses of an elite body of officials known as the Papal Chapel (who would observe the decorations and interpret their theological and temporal significance), it was Julius II's intention and expectation that the iconography of the ceiling was to be read with many layers of meaning.The scheme proposed by the pope was for twelve large figures of the Apostles to occupy the pendentives. Michelangelo negotiated for a grander, much more complex scheme and was finally permitted, in his own words, "to do as I liked". It has been suggested that Augustinian friar and cardinal Giles of Viterbo could have influenced the ceiling's theological layout. Many writers consider that Michelangelo had the intellect, the biblical knowledge, and the powers of invention to have devised the scheme himself. This is supported by Michelangelo's biographer Ascanio Condivi's statement that the artist read and reread the Old Testament while he was painting the ceiling, drawing his inspiration from the words of the scripture, rather than from the established traditions of sacral art.On 10 May 1506, Piero Roselli wrote to Michelangelo on behalf of the pope. In this letter, Roselli mentions that papal court architect Donato Bramante doubted that Michelangelo could take on such a large fresco project, as he had limited experience in the medium. According to Bramante, Michelangelo stated his refusal. In November 1506 Michelangelo went to Bologna, where he received a commission from the pope to construct a colossal bronze statue of him conquering the Bolognese. After he completed this in early 1508, Michelangelo returned to Rome expecting to resume work on the papal tomb, but this had been quietly set aside.Michelangelo was instead commissioned for a cycle of frescoes on the vault and upper walls of the Sistine Chapel. Michelangelo, who was not primarily a painter but a sculptor, was reluctant to take on the work; he suggested that his young rival Raphael take it on instead. The pope was persistent; according to Giorgio Vasari, he was provoked by Bramante to insist that Michelangelo take on the project, leaving him little choice but to accept. The contract was signed on 8 May 1508, with a promised fee of 3,000 ducats (approximately US$600,000 in gold in 2021). At the pope's behest, Bramante built the initial scaffolding, hung via ropes from holes in the ceiling. This method displeased Michelangelo as it would force him to paint around the holes, and he had freestanding scaffolding constructed instead. This was built by Piero Roselli, who subsequently roughcasted the ceiling. Michelangelo initially sought to engage assistants who were more well-versed in fresco-painting, but he was unable to find suitable candidates and determined to paint the whole ceiling alone. Among the Florentine artists whom Michelangelo brought to Rome in the hope of assisting in the fresco, Vasari names Francesco Granacci, Giuliano Bugiardini, Jacopo di Sandro, l'Indaco the Elder, Agnolo di Domenico, and Aristotile.Michelangelo soon began his work, starting at the west end with the Drunkenness of Noah and the Prophet Zechariah and working backwards through the narrative to the Creation of Eve, in the vault's fifth bay, finished in September 1510. The first half of the ceiling was unveiled with a preliminary showing on 14 August 1511 and an official viewing the next day. A long hiatus in painting occurred as new scaffolding was made ready. The second half of the ceiling's frescoes were done swiftly, and the finished work was revealed on 31 October 1512, All Hallows' Eve, being shown to the public by the next day, All Saints' Day. Michelangelo's final scheme for the ceiling includes over 300 figures.Vasari states that "When the chapel was uncovered, people from everywhere [rushed] to see it, and the sight of it alone was sufficient to leave them amazed and speechless." At the age of 37, Michelangelo's reputation rose such that he was called il divino, and he was henceforth regarded as the greatest artist of his time, who had elevated the status of the arts themselves, a recognition that lasted the rest of his long life. The ceiling was immediately considered one of the greatest masterpieces of all time, a distinction which continues to endure.

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 Context and creation discussed?

The walls of the Sistine Chapel had been decorated 20 years before Michelangelo's work on the ceiling. Following this, Raphael designed a set of tapestries (1515–1516) to cover the lowest of three levels; the surviving tapestries are still hung on special occasions. The middle level contains a complex scheme of frescoes illustrating the Life of Christ on the right side and the Life of Moses on the left side. It was carried out by some of the most renowned Renaissance painters: Sandro Botticelli, Domenico Ghirlandaio, Pietro Perugino, Pinturicchio, Luca Signorelli, and Cosimo Rosselli. The upper level of the walls contains the windows, between which are painted pairs of illusionistic niches with representations of the first 32 popes.The original ceiling painting was by Pier Matteo d'Amelia, and had depicted stars over a blue background like the ceiling of the Arena Chapel decorated by Giotto at Padua. For six months in 1504, a diagonal crack in the chapel's vault had made the chapel unusable, and Pope Julius II (Giuliano della Rovere) had the damaged painting removed by Piero Roselli, a friend of Michelangelo.Julius II was a "warrior pope" who in his papacy undertook an aggressive campaign for political control to unite and empower Italy under the leadership of the Catholic Church. He invested in symbolism to display his temporal power, such as his procession, in which he (in the Classical manner) rode a chariot through a triumphal arch after one of his many military victories. Julius II's project to rebuild St. Peter's Basilica would distinguish it as the most potent symbol of the source of papal power; he ultimately demolished and replaced the original basilica with a grander one intended to house his own tomb. The pope summoned Michelangelo to Rome in early 1505 and commissioned him to design his tomb, forcing the artist to leave Florence with his planned Battle of Cascina painting unfinished. By this time, Michelangelo was established as an artist; both he and Julius II had hot tempers and soon argued. On 17 April 1506, Michelangelo left Rome in secret for Florence, remaining there until the Florentine government pressed him to return to the pope.In 1506, the same year the foundation stone was laid for the new St. Peter's, Julius II conceived a programme to paint the ceiling of the Sistine Chapel. It is probable that, because the chapel was the site of regular meetings and Masses of an elite body of officials known as the Papal Chapel (who would observe the decorations and interpret their theological and temporal significance), it was Julius II's intention and expectation that the iconography of the ceiling was to be read with many layers of meaning.The scheme proposed by the pope was for twelve large figures of the Apostles to occupy the pendentives. Michelangelo negotiated for a grander, much more complex scheme and was finally permitted, in his own words, "to do as I liked". It has been suggested that Augustinian friar and cardinal Giles of Viterbo could have influenced the ceiling's theological layout. Many writers consider that Michelangelo had the intellect, the biblical knowledge, and the powers of invention to have devised the scheme himself. This is supported by Michelangelo's biographer Ascanio Condivi's statement that the artist read and reread the Old Testament while he was painting the ceiling, drawing his inspiration from the words of the scripture, rather than from the established traditions of sacral art.On 10 May 1506, Piero Roselli wrote to Michelangelo on behalf of the pope. In this letter, Roselli mentions that papal court architect Donato Bramante doubted that Michelangelo could take on such a large fresco project, as he had limited experience in the medium. According to Bramante, Michelangelo stated his refusal. In November 1506 Michelangelo went to Bologna, where he received a commission from the pope to construct a colossal bronze statue of him conquering the Bolognese. After he completed this in early 1508, Michelangelo returned to Rome expecting to resume work on the papal tomb, but this had been quietly set aside.Michelangelo was instead commissioned for a cycle of frescoes on the vault and upper walls of the Sistine Chapel. Michelangelo, who was not primarily a painter but a sculptor, was reluctant to take on the work; he suggested that his young rival Raphael take it on instead. The pope was persistent; according to Giorgio Vasari, he was provoked by Bramante to insist that Michelangelo take on the project, leaving him little choice but to accept. The contract was signed on 8 May 1508, with a promised fee of 3,000 ducats (approximately US$600,000 in gold in 2021). At the pope's behest, Bramante built the initial scaffolding, hung via ropes from holes in the ceiling. This method displeased Michelangelo as it would force him to paint around the holes, and he had freestanding scaffolding constructed instead. This was built by Piero Roselli, who subsequently roughcasted the ceiling. Michelangelo initially sought to engage assistants who were more well-versed in fresco-painting, but he was unable to find suitable candidates and determined to paint the whole ceiling alone. Among the Florentine artists whom Michelangelo brought to Rome in the hope of assisting in the fresco, Vasari names Francesco Granacci, Giuliano Bugiardini, Jacopo di Sandro, l'Indaco the Elder, Agnolo di Domenico, and Aristotile.Michelangelo soon began his work, starting at the west end with the Drunkenness of Noah and the Prophet Zechariah and working backwards through the narrative to the Creation of Eve, in the vault's fifth bay, finished in September 1510. The first half of the ceiling was unveiled with a preliminary showing on 14 August 1511 and an official viewing the next day. A long hiatus in painting occurred as new scaffolding was made ready. The second half of the ceiling's frescoes were done swiftly, and the finished work was revealed on 31 October 1512, All Hallows' Eve, being shown to the public by the next day, All Saints' Day. Michelangelo's final scheme for the ceiling includes over 300 figures.Vasari states that "When the chapel was uncovered, people from everywhere [rushed] to see it, and the sight of it alone was sufficient to leave them amazed and speechless." At the age of 37, Michelangelo's reputation rose such that he was called il divino, and he was henceforth regarded as the greatest artist of his time, who had elevated the status of the arts themselves, a recognition that lasted the rest of his long life. The ceiling was immediately considered one of the greatest masterpieces of all time, a distinction which continues to endure.

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