Statue of Jim Rhodes

Prompt: Focus on Statue of Jim Rhodes and explain the Description.

The work is 12 feet (3.7 m) tall and almost 6 tons in weight, including a 6.5-foot (2.0 m) bronze statue weighing 700 lbs. and a granite base weighing more than 11,000 lbs. The granite is from New Hampshire, and is similar in color to the granite used in the Rhodes State Office Tower. The bronze portion is hollow, with metal a quarter-inch thick. The figure is welded to a four-inch plinth, which is bolted to the pedestal, increasing the work's stability over traditional securement methods.The work depicts James A. Rhodes (the longest-serving governor of Ohio and the namesake for the Rhodes State Office Tower) as he looked in 1963. The statue sits on a small plaza outside the Rhodes Tower, facing East Broad Street. The statue depicts Rhodes wearing a business suit, striding forward, and carrying a briefcase in his right hand. The appearance was described in 1982 as a "Rhodes trademark", used in his campaign literature since 1962, and seen in photographs published in news media.The work was sculpted by longtime Columbus resident Gary Ross, who also sculpted To Honor the Immigrants, located in Battelle Riverfront Park.An inscription on the base reads: JAMES A. RHODES / HE SERVED AS GOVERNOR / FOR 16 YEARS–– / LONGER THAN ANY OTHER / STATE GOVERNOR IN THE / HISTORY OF THE UNION / GOVERNOR OF THE STATE OF OHIO / 1975–1983 / 1962–1971 / AUDITOR OF THE STATE OF OHIO / 1953–1963 / MAYOR OF THE CITY OF COLUMBUS / 1944–1953 / AUDITOR OF THE CITY OF COLUMBUS / 1940–1944 / MEMBER OF THE COLUMBUS BOARD / OF EDUCATION / 1938–1940 / DEDICATED: DECEMBER 5, 1982.Plaster castings of the statue are stored by the Ohio History Connection, the organization authorized by the state assembly to oversee the project.After Rhodes' death in 2001, the statue's manufacturer, Studio Foundry, revealed that the inside of the statue has a hidden engraved message, a tribute to the four students killed at Kent State University during the Kent State shootings in 1970. As governor, Rhodes had ordered the Ohio National Guard to the university to face the student protests.

The statue seen during the Rhodes Tower renovation and the [[COVID-19 pandemic in Columbus, Ohio

Category:Outdoor sculptures in Columbus, Ohio

Category:Relocated buildings and structures in Ohio

Category:Monuments and memorials in Ohio

Category:Vandalized works of art in Ohio


Statue of Jim Rhodes

Prompt: Explain the Description of this artwork, Statue of Jim Rhodes.

The work is 12 feet (3.7 m) tall and almost 6 tons in weight, including a 6.5-foot (2.0 m) bronze statue weighing 700 lbs. and a granite base weighing more than 11,000 lbs. The granite is from New Hampshire, and is similar in color to the granite used in the Rhodes State Office Tower. The bronze portion is hollow, with metal a quarter-inch thick. The figure is welded to a four-inch plinth, which is bolted to the pedestal, increasing the work's stability over traditional securement methods.The work depicts James A. Rhodes (the longest-serving governor of Ohio and the namesake for the Rhodes State Office Tower) as he looked in 1963. The statue sits on a small plaza outside the Rhodes Tower, facing East Broad Street. The statue depicts Rhodes wearing a business suit, striding forward, and carrying a briefcase in his right hand. The appearance was described in 1982 as a "Rhodes trademark", used in his campaign literature since 1962, and seen in photographs published in news media.The work was sculpted by longtime Columbus resident Gary Ross, who also sculpted To Honor the Immigrants, located in Battelle Riverfront Park.An inscription on the base reads: JAMES A. RHODES / HE SERVED AS GOVERNOR / FOR 16 YEARS–– / LONGER THAN ANY OTHER / STATE GOVERNOR IN THE / HISTORY OF THE UNION / GOVERNOR OF THE STATE OF OHIO / 1975–1983 / 1962–1971 / AUDITOR OF THE STATE OF OHIO / 1953–1963 / MAYOR OF THE CITY OF COLUMBUS / 1944–1953 / AUDITOR OF THE CITY OF COLUMBUS / 1940–1944 / MEMBER OF THE COLUMBUS BOARD / OF EDUCATION / 1938–1940 / DEDICATED: DECEMBER 5, 1982.Plaster castings of the statue are stored by the Ohio History Connection, the organization authorized by the state assembly to oversee the project.After Rhodes' death in 2001, the statue's manufacturer, Studio Foundry, revealed that the inside of the statue has a hidden engraved message, a tribute to the four students killed at Kent State University during the Kent State shootings in 1970. As governor, Rhodes had ordered the Ohio National Guard to the university to face the student protests.

The statue seen during the Rhodes Tower renovation and the [[COVID-19 pandemic in Columbus, Ohio

Category:Outdoor sculptures in Columbus, Ohio

Category:Relocated buildings and structures in Ohio

Category:Monuments and memorials in Ohio

Category:Vandalized works of art in Ohio


Statue of Jim Rhodes

Prompt: How does Statue of Jim Rhodes explain its Description?

The work is 12 feet (3.7 m) tall and almost 6 tons in weight, including a 6.5-foot (2.0 m) bronze statue weighing 700 lbs. and a granite base weighing more than 11,000 lbs. The granite is from New Hampshire, and is similar in color to the granite used in the Rhodes State Office Tower. The bronze portion is hollow, with metal a quarter-inch thick. The figure is welded to a four-inch plinth, which is bolted to the pedestal, increasing the work's stability over traditional securement methods.The work depicts James A. Rhodes (the longest-serving governor of Ohio and the namesake for the Rhodes State Office Tower) as he looked in 1963. The statue sits on a small plaza outside the Rhodes Tower, facing East Broad Street. The statue depicts Rhodes wearing a business suit, striding forward, and carrying a briefcase in his right hand. The appearance was described in 1982 as a "Rhodes trademark", used in his campaign literature since 1962, and seen in photographs published in news media.The work was sculpted by longtime Columbus resident Gary Ross, who also sculpted To Honor the Immigrants, located in Battelle Riverfront Park.An inscription on the base reads: JAMES A. RHODES / HE SERVED AS GOVERNOR / FOR 16 YEARS–– / LONGER THAN ANY OTHER / STATE GOVERNOR IN THE / HISTORY OF THE UNION / GOVERNOR OF THE STATE OF OHIO / 1975–1983 / 1962–1971 / AUDITOR OF THE STATE OF OHIO / 1953–1963 / MAYOR OF THE CITY OF COLUMBUS / 1944–1953 / AUDITOR OF THE CITY OF COLUMBUS / 1940–1944 / MEMBER OF THE COLUMBUS BOARD / OF EDUCATION / 1938–1940 / DEDICATED: DECEMBER 5, 1982.Plaster castings of the statue are stored by the Ohio History Connection, the organization authorized by the state assembly to oversee the project.After Rhodes' death in 2001, the statue's manufacturer, Studio Foundry, revealed that the inside of the statue has a hidden engraved message, a tribute to the four students killed at Kent State University during the Kent State shootings in 1970. As governor, Rhodes had ordered the Ohio National Guard to the university to face the student protests.

The statue seen during the Rhodes Tower renovation and the [[COVID-19 pandemic in Columbus, Ohio

Category:Outdoor sculptures in Columbus, Ohio

Category:Relocated buildings and structures in Ohio

Category:Monuments and memorials in Ohio

Category:Vandalized works of art in Ohio


Statue of Jim Rhodes

Prompt: In Statue of Jim Rhodes, how is the Description discussed?

The work is 12 feet (3.7 m) tall and almost 6 tons in weight, including a 6.5-foot (2.0 m) bronze statue weighing 700 lbs. and a granite base weighing more than 11,000 lbs. The granite is from New Hampshire, and is similar in color to the granite used in the Rhodes State Office Tower. The bronze portion is hollow, with metal a quarter-inch thick. The figure is welded to a four-inch plinth, which is bolted to the pedestal, increasing the work's stability over traditional securement methods.The work depicts James A. Rhodes (the longest-serving governor of Ohio and the namesake for the Rhodes State Office Tower) as he looked in 1963. The statue sits on a small plaza outside the Rhodes Tower, facing East Broad Street. The statue depicts Rhodes wearing a business suit, striding forward, and carrying a briefcase in his right hand. The appearance was described in 1982 as a "Rhodes trademark", used in his campaign literature since 1962, and seen in photographs published in news media.The work was sculpted by longtime Columbus resident Gary Ross, who also sculpted To Honor the Immigrants, located in Battelle Riverfront Park.An inscription on the base reads: JAMES A. RHODES / HE SERVED AS GOVERNOR / FOR 16 YEARS–– / LONGER THAN ANY OTHER / STATE GOVERNOR IN THE / HISTORY OF THE UNION / GOVERNOR OF THE STATE OF OHIO / 1975–1983 / 1962–1971 / AUDITOR OF THE STATE OF OHIO / 1953–1963 / MAYOR OF THE CITY OF COLUMBUS / 1944–1953 / AUDITOR OF THE CITY OF COLUMBUS / 1940–1944 / MEMBER OF THE COLUMBUS BOARD / OF EDUCATION / 1938–1940 / DEDICATED: DECEMBER 5, 1982.Plaster castings of the statue are stored by the Ohio History Connection, the organization authorized by the state assembly to oversee the project.After Rhodes' death in 2001, the statue's manufacturer, Studio Foundry, revealed that the inside of the statue has a hidden engraved message, a tribute to the four students killed at Kent State University during the Kent State shootings in 1970. As governor, Rhodes had ordered the Ohio National Guard to the university to face the student protests.

The statue seen during the Rhodes Tower renovation and the [[COVID-19 pandemic in Columbus, Ohio

Category:Outdoor sculptures in Columbus, Ohio

Category:Relocated buildings and structures in Ohio

Category:Monuments and memorials in Ohio

Category:Vandalized works of art in Ohio


Statue of Jim Rhodes

Prompt: Focus on Statue of Jim Rhodes and explain the History.

The statue cost $67,500 and was commissioned by several companies, including the American Financial Corporation, Dale Property Company, L. M. Berry and Company, and the Western-Southern Life Insurance Company. The work was created after artist Gary Ross held a one two-hour sitting with Jim Rhodes and created a clay model. The bronze work was manufactured by Studio Foundry in Downtown Cleveland, created in seven parts, welded together, with the welds chased out to create a seamless piece.Dedicated on December 5, 1982, it was originally installed on the northeast corner of the Ohio Statehouse grounds. The statue was hit by a car and vandalized in 1983. It was moved by crane to its current location on September 7, 1991, intended only to stay there for a year amid the extensive renovation of the statehouse. Jim Rhodes was among those who preferred it at the Statehouse, though those in charge of the renovations were in support of its current placement; it remains at the foot of the tower today.The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.Identical statues were created for other areas of Ohio. In 2005, a replica was installed in Toledo. In 2013, one was installed outside the Jackson County Courthouse in Jackson, Ohio.

The statue seen during the Rhodes Tower renovation and the [[COVID-19 pandemic in Columbus, Ohio

Category:Outdoor sculptures in Columbus, Ohio

Category:Relocated buildings and structures in Ohio

Category:Monuments and memorials in Ohio

Category:Vandalized works of art in Ohio


Statue of Jim Rhodes

Prompt: Explain the History of this artwork, Statue of Jim Rhodes.

The statue cost $67,500 and was commissioned by several companies, including the American Financial Corporation, Dale Property Company, L. M. Berry and Company, and the Western-Southern Life Insurance Company. The work was created after artist Gary Ross held a one two-hour sitting with Jim Rhodes and created a clay model. The bronze work was manufactured by Studio Foundry in Downtown Cleveland, created in seven parts, welded together, with the welds chased out to create a seamless piece.Dedicated on December 5, 1982, it was originally installed on the northeast corner of the Ohio Statehouse grounds. The statue was hit by a car and vandalized in 1983. It was moved by crane to its current location on September 7, 1991, intended only to stay there for a year amid the extensive renovation of the statehouse. Jim Rhodes was among those who preferred it at the Statehouse, though those in charge of the renovations were in support of its current placement; it remains at the foot of the tower today.The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.Identical statues were created for other areas of Ohio. In 2005, a replica was installed in Toledo. In 2013, one was installed outside the Jackson County Courthouse in Jackson, Ohio.

The statue seen during the Rhodes Tower renovation and the [[COVID-19 pandemic in Columbus, Ohio

Category:Outdoor sculptures in Columbus, Ohio

Category:Relocated buildings and structures in Ohio

Category:Monuments and memorials in Ohio

Category:Vandalized works of art in Ohio


Statue of Jim Rhodes

Prompt: How does Statue of Jim Rhodes explain its History?

The statue cost $67,500 and was commissioned by several companies, including the American Financial Corporation, Dale Property Company, L. M. Berry and Company, and the Western-Southern Life Insurance Company. The work was created after artist Gary Ross held a one two-hour sitting with Jim Rhodes and created a clay model. The bronze work was manufactured by Studio Foundry in Downtown Cleveland, created in seven parts, welded together, with the welds chased out to create a seamless piece.Dedicated on December 5, 1982, it was originally installed on the northeast corner of the Ohio Statehouse grounds. The statue was hit by a car and vandalized in 1983. It was moved by crane to its current location on September 7, 1991, intended only to stay there for a year amid the extensive renovation of the statehouse. Jim Rhodes was among those who preferred it at the Statehouse, though those in charge of the renovations were in support of its current placement; it remains at the foot of the tower today.The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.Identical statues were created for other areas of Ohio. In 2005, a replica was installed in Toledo. In 2013, one was installed outside the Jackson County Courthouse in Jackson, Ohio.

The statue seen during the Rhodes Tower renovation and the [[COVID-19 pandemic in Columbus, Ohio

Category:Outdoor sculptures in Columbus, Ohio

Category:Relocated buildings and structures in Ohio

Category:Monuments and memorials in Ohio

Category:Vandalized works of art in Ohio


Statue of Jim Rhodes

Prompt: In Statue of Jim Rhodes, how is the History discussed?

The statue cost $67,500 and was commissioned by several companies, including the American Financial Corporation, Dale Property Company, L. M. Berry and Company, and the Western-Southern Life Insurance Company. The work was created after artist Gary Ross held a one two-hour sitting with Jim Rhodes and created a clay model. The bronze work was manufactured by Studio Foundry in Downtown Cleveland, created in seven parts, welded together, with the welds chased out to create a seamless piece.Dedicated on December 5, 1982, it was originally installed on the northeast corner of the Ohio Statehouse grounds. The statue was hit by a car and vandalized in 1983. It was moved by crane to its current location on September 7, 1991, intended only to stay there for a year amid the extensive renovation of the statehouse. Jim Rhodes was among those who preferred it at the Statehouse, though those in charge of the renovations were in support of its current placement; it remains at the foot of the tower today.The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.Identical statues were created for other areas of Ohio. In 2005, a replica was installed in Toledo. In 2013, one was installed outside the Jackson County Courthouse in Jackson, Ohio.

The statue seen during the Rhodes Tower renovation and the [[COVID-19 pandemic in Columbus, Ohio

Category:Outdoor sculptures in Columbus, Ohio

Category:Relocated buildings and structures in Ohio

Category:Monuments and memorials in Ohio

Category:Vandalized works of art in Ohio


The Mitt

Prompt: Focus on The Mitt and explain the abstract.

The Mitt (stylized as The "Mitt") is an abstract bronze sculpture by Gerard Tsutakawa, installed outside the left field entrance of T-Mobile Park in Seattle, Washington.

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: Explain the abstract of this artwork, The Mitt.

The Mitt (stylized as The "Mitt") is an abstract bronze sculpture by Gerard Tsutakawa, installed outside the left field entrance of T-Mobile Park in Seattle, Washington.

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: How does The Mitt explain its abstract?

The Mitt (stylized as The "Mitt") is an abstract bronze sculpture by Gerard Tsutakawa, installed outside the left field entrance of T-Mobile Park in Seattle, Washington.

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: In The Mitt, how is the abstract discussed?

The Mitt (stylized as The "Mitt") is an abstract bronze sculpture by Gerard Tsutakawa, installed outside the left field entrance of T-Mobile Park in Seattle, Washington.

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: Focus on The Mitt and explain the Description.

The Mitt is installed outside T-Mobile Park (formerly Safeco Field) in Seattle's SoDo neighborhood. The bronze sculpture is 9 feet tall and approximately 12 feet wide. It depicts a baseball glove with a hole (or "abstract circular opening") in the middle.According to the Seattle Mariner's website, "Near the center of the glove an aperture appears as an abstract symbol representing a ball nestled in the leather, or a hole where a fastball burned through. The sculpture is placed outside the gates to allow fans to touch, lean on, or crawl through the work, giving the public a feeling of ownership of the piece." The artwork has become a "beloved spot for selfies, family portraits and meet ups", according to  KUOW-FM's Marcie Sillman.

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: Explain the Description of this artwork, The Mitt.

The Mitt is installed outside T-Mobile Park (formerly Safeco Field) in Seattle's SoDo neighborhood. The bronze sculpture is 9 feet tall and approximately 12 feet wide. It depicts a baseball glove with a hole (or "abstract circular opening") in the middle.According to the Seattle Mariner's website, "Near the center of the glove an aperture appears as an abstract symbol representing a ball nestled in the leather, or a hole where a fastball burned through. The sculpture is placed outside the gates to allow fans to touch, lean on, or crawl through the work, giving the public a feeling of ownership of the piece." The artwork has become a "beloved spot for selfies, family portraits and meet ups", according to  KUOW-FM's Marcie Sillman.

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: How does The Mitt explain its Description?

The Mitt is installed outside T-Mobile Park (formerly Safeco Field) in Seattle's SoDo neighborhood. The bronze sculpture is 9 feet tall and approximately 12 feet wide. It depicts a baseball glove with a hole (or "abstract circular opening") in the middle.According to the Seattle Mariner's website, "Near the center of the glove an aperture appears as an abstract symbol representing a ball nestled in the leather, or a hole where a fastball burned through. The sculpture is placed outside the gates to allow fans to touch, lean on, or crawl through the work, giving the public a feeling of ownership of the piece." The artwork has become a "beloved spot for selfies, family portraits and meet ups", according to  KUOW-FM's Marcie Sillman.

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: In The Mitt, how is the Description discussed?

The Mitt is installed outside T-Mobile Park (formerly Safeco Field) in Seattle's SoDo neighborhood. The bronze sculpture is 9 feet tall and approximately 12 feet wide. It depicts a baseball glove with a hole (or "abstract circular opening") in the middle.According to the Seattle Mariner's website, "Near the center of the glove an aperture appears as an abstract symbol representing a ball nestled in the leather, or a hole where a fastball burned through. The sculpture is placed outside the gates to allow fans to touch, lean on, or crawl through the work, giving the public a feeling of ownership of the piece." The artwork has become a "beloved spot for selfies, family portraits and meet ups", according to  KUOW-FM's Marcie Sillman.

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: Focus on The Mitt and explain the History.

The artwork was commissioned and created in 1999. It is washed and polished annually.

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: Explain the History of this artwork, The Mitt.

The artwork was commissioned and created in 1999. It is washed and polished annually.

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: How does The Mitt explain its History?

The artwork was commissioned and created in 1999. It is washed and polished annually.

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: In The Mitt, how is the History discussed?

The artwork was commissioned and created in 1999. It is washed and polished annually.

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: Focus on The Mitt and explain the Reception.

The work has been described as "iconic". In 2017, Marcie Sillman of KUOW-FM wrote, "Seattleites have indeed embraced this sculpture; its surface is worn away in the spots where people climb on it to have their pictures taken. The Mitt has become a city icon, like the Fremont Troll or the Pike Place Market pig [Rachel]."Tsutakawa has credited the work for boosting his career. According to Sillman, "The sculpture's success helped propel Gerry Tsutakawa into the public eye, earning him more art commissions. But it also helped establish him on an equal artistic footing with another Tsutakawa: his late father George. It also revealed the differences between Gerry's often whimsical world view and his father's more contemplative artwork."

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: Explain the Reception of this artwork, The Mitt.

The work has been described as "iconic". In 2017, Marcie Sillman of KUOW-FM wrote, "Seattleites have indeed embraced this sculpture; its surface is worn away in the spots where people climb on it to have their pictures taken. The Mitt has become a city icon, like the Fremont Troll or the Pike Place Market pig [Rachel]."Tsutakawa has credited the work for boosting his career. According to Sillman, "The sculpture's success helped propel Gerry Tsutakawa into the public eye, earning him more art commissions. But it also helped establish him on an equal artistic footing with another Tsutakawa: his late father George. It also revealed the differences between Gerry's often whimsical world view and his father's more contemplative artwork."

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: How does The Mitt explain its Reception?

The work has been described as "iconic". In 2017, Marcie Sillman of KUOW-FM wrote, "Seattleites have indeed embraced this sculpture; its surface is worn away in the spots where people climb on it to have their pictures taken. The Mitt has become a city icon, like the Fremont Troll or the Pike Place Market pig [Rachel]."Tsutakawa has credited the work for boosting his career. According to Sillman, "The sculpture's success helped propel Gerry Tsutakawa into the public eye, earning him more art commissions. But it also helped establish him on an equal artistic footing with another Tsutakawa: his late father George. It also revealed the differences between Gerry's often whimsical world view and his father's more contemplative artwork."

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


The Mitt

Prompt: In The Mitt, how is the Reception discussed?

The work has been described as "iconic". In 2017, Marcie Sillman of KUOW-FM wrote, "Seattleites have indeed embraced this sculpture; its surface is worn away in the spots where people climb on it to have their pictures taken. The Mitt has become a city icon, like the Fremont Troll or the Pike Place Market pig [Rachel]."Tsutakawa has credited the work for boosting his career. According to Sillman, "The sculpture's success helped propel Gerry Tsutakawa into the public eye, earning him more art commissions. But it also helped establish him on an equal artistic footing with another Tsutakawa: his late father George. It also revealed the differences between Gerry's often whimsical world view and his father's more contemplative artwork."

Category:1999 establishments in Washington (state)

Category:Bronze sculptures in Washington (state)

Category:Abstract sculptures in Washington (state)

The sculpture outside Safeco Field (now [[T-Mobile Park


Odalisque with Slave

Prompt: Focus on Odalisque with Slave and explain the abstract.

Odalisque with Slave (French: L'Odalisque à l'esclave) is an 1839 painting by Jean-Auguste-Dominique Ingres commissioned by Charles Marcotte. Executed in oil on canvas, it depicts a nude odalisque, a musician, and a eunuch in a harem interior. The painting is in the Fogg Art Museum in Cambridge, Massachusetts. It is a classic piece of Orientalism in French painting.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: Explain the abstract of this artwork, Odalisque with Slave.

Odalisque with Slave (French: L'Odalisque à l'esclave) is an 1839 painting by Jean-Auguste-Dominique Ingres commissioned by Charles Marcotte. Executed in oil on canvas, it depicts a nude odalisque, a musician, and a eunuch in a harem interior. The painting is in the Fogg Art Museum in Cambridge, Massachusetts. It is a classic piece of Orientalism in French painting.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: How does Odalisque with Slave explain its abstract?

Odalisque with Slave (French: L'Odalisque à l'esclave) is an 1839 painting by Jean-Auguste-Dominique Ingres commissioned by Charles Marcotte. Executed in oil on canvas, it depicts a nude odalisque, a musician, and a eunuch in a harem interior. The painting is in the Fogg Art Museum in Cambridge, Massachusetts. It is a classic piece of Orientalism in French painting.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: In Odalisque with Slave, how is the abstract discussed?

Odalisque with Slave (French: L'Odalisque à l'esclave) is an 1839 painting by Jean-Auguste-Dominique Ingres commissioned by Charles Marcotte. Executed in oil on canvas, it depicts a nude odalisque, a musician, and a eunuch in a harem interior. The painting is in the Fogg Art Museum in Cambridge, Massachusetts. It is a classic piece of Orientalism in French painting.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: Focus on Odalisque with Slave and explain the History.

Ingres painted a number of harem scenes during his long career, starting with the Grande Odalisque (1814). These works exemplify a taste for Orientalist subject matter shared by many French painters of the Romantic era, notably Ingres' rival Eugène Delacroix. As Ingres never visited the Near East, Odalisque with Slave depicts an imaginary scene. It was composed in Rome where the artist lived from 1835 to 1841 while serving as director of the French Academy there. The odalisque was painted from a life drawing Ingres had made years earlier. The musician was painted from a model posed in the studio, and many details such as the tanbour were derived from engravings.Ingres labored over the execution with his usual attention to detail and enlisted some of his students as assistants. One of them, Raymond Balze, wrote: "Ingres began his studies from nature and prepared the rough sketch on his canvas, then had made by his students the less important parts, very finished, such as the architecture, mosaics, rugs, furniture, instruments, which he often had [them] reposition, reluctantly [as he was] satisfied with their execution ... Then everything being finished with the figures, he alone undertook to harmonize the ensemble with onion skins of color."In September 1840 the painting was delivered to Paris, where it won praise from critics who viewed it in the owner's home. When exhibited publicly in 1845, the painting was widely admired, and written about by Baudelaire and Théophile Thoré-Bürger.Ingres made a second version in 1842 with the help of his students Paul and Jean-Hippolyte Flandrin which is at the Walters Art Museum in Baltimore. In this version the background wall, described by art historian Karin Grimme as imprisoning the odalisque in "a room with no exit", was replaced with a garden painted by Paul Flandrin, inspired by the park at the Château de Dampierre.The Louvre owns an 1858 drawing by Ingres that replicates the 1839 composition.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: Explain the History of this artwork, Odalisque with Slave.

Ingres painted a number of harem scenes during his long career, starting with the Grande Odalisque (1814). These works exemplify a taste for Orientalist subject matter shared by many French painters of the Romantic era, notably Ingres' rival Eugène Delacroix. As Ingres never visited the Near East, Odalisque with Slave depicts an imaginary scene. It was composed in Rome where the artist lived from 1835 to 1841 while serving as director of the French Academy there. The odalisque was painted from a life drawing Ingres had made years earlier. The musician was painted from a model posed in the studio, and many details such as the tanbour were derived from engravings.Ingres labored over the execution with his usual attention to detail and enlisted some of his students as assistants. One of them, Raymond Balze, wrote: "Ingres began his studies from nature and prepared the rough sketch on his canvas, then had made by his students the less important parts, very finished, such as the architecture, mosaics, rugs, furniture, instruments, which he often had [them] reposition, reluctantly [as he was] satisfied with their execution ... Then everything being finished with the figures, he alone undertook to harmonize the ensemble with onion skins of color."In September 1840 the painting was delivered to Paris, where it won praise from critics who viewed it in the owner's home. When exhibited publicly in 1845, the painting was widely admired, and written about by Baudelaire and Théophile Thoré-Bürger.Ingres made a second version in 1842 with the help of his students Paul and Jean-Hippolyte Flandrin which is at the Walters Art Museum in Baltimore. In this version the background wall, described by art historian Karin Grimme as imprisoning the odalisque in "a room with no exit", was replaced with a garden painted by Paul Flandrin, inspired by the park at the Château de Dampierre.The Louvre owns an 1858 drawing by Ingres that replicates the 1839 composition.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: How does Odalisque with Slave explain its History?

Ingres painted a number of harem scenes during his long career, starting with the Grande Odalisque (1814). These works exemplify a taste for Orientalist subject matter shared by many French painters of the Romantic era, notably Ingres' rival Eugène Delacroix. As Ingres never visited the Near East, Odalisque with Slave depicts an imaginary scene. It was composed in Rome where the artist lived from 1835 to 1841 while serving as director of the French Academy there. The odalisque was painted from a life drawing Ingres had made years earlier. The musician was painted from a model posed in the studio, and many details such as the tanbour were derived from engravings.Ingres labored over the execution with his usual attention to detail and enlisted some of his students as assistants. One of them, Raymond Balze, wrote: "Ingres began his studies from nature and prepared the rough sketch on his canvas, then had made by his students the less important parts, very finished, such as the architecture, mosaics, rugs, furniture, instruments, which he often had [them] reposition, reluctantly [as he was] satisfied with their execution ... Then everything being finished with the figures, he alone undertook to harmonize the ensemble with onion skins of color."In September 1840 the painting was delivered to Paris, where it won praise from critics who viewed it in the owner's home. When exhibited publicly in 1845, the painting was widely admired, and written about by Baudelaire and Théophile Thoré-Bürger.Ingres made a second version in 1842 with the help of his students Paul and Jean-Hippolyte Flandrin which is at the Walters Art Museum in Baltimore. In this version the background wall, described by art historian Karin Grimme as imprisoning the odalisque in "a room with no exit", was replaced with a garden painted by Paul Flandrin, inspired by the park at the Château de Dampierre.The Louvre owns an 1858 drawing by Ingres that replicates the 1839 composition.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


Odalisque with Slave

Prompt: In Odalisque with Slave, how is the History discussed?

Ingres painted a number of harem scenes during his long career, starting with the Grande Odalisque (1814). These works exemplify a taste for Orientalist subject matter shared by many French painters of the Romantic era, notably Ingres' rival Eugène Delacroix. As Ingres never visited the Near East, Odalisque with Slave depicts an imaginary scene. It was composed in Rome where the artist lived from 1835 to 1841 while serving as director of the French Academy there. The odalisque was painted from a life drawing Ingres had made years earlier. The musician was painted from a model posed in the studio, and many details such as the tanbour were derived from engravings.Ingres labored over the execution with his usual attention to detail and enlisted some of his students as assistants. One of them, Raymond Balze, wrote: "Ingres began his studies from nature and prepared the rough sketch on his canvas, then had made by his students the less important parts, very finished, such as the architecture, mosaics, rugs, furniture, instruments, which he often had [them] reposition, reluctantly [as he was] satisfied with their execution ... Then everything being finished with the figures, he alone undertook to harmonize the ensemble with onion skins of color."In September 1840 the painting was delivered to Paris, where it won praise from critics who viewed it in the owner's home. When exhibited publicly in 1845, the painting was widely admired, and written about by Baudelaire and Théophile Thoré-Bürger.Ingres made a second version in 1842 with the help of his students Paul and Jean-Hippolyte Flandrin which is at the Walters Art Museum in Baltimore. In this version the background wall, described by art historian Karin Grimme as imprisoning the odalisque in "a room with no exit", was replaced with a garden painted by Paul Flandrin, inspired by the park at the Château de Dampierre.The Louvre owns an 1858 drawing by Ingres that replicates the 1839 composition.

List of paintings by Jean-Auguste-Dominique Ingres

Category:Paintings in the Walters Art Museum

1842 version, in the [[Walters Art Museum

Category:Paintings by Jean-Auguste-Dominique Ingres


The Accordionist

Prompt: Focus on The Accordionist and explain the abstract.

The Accordionist (French: L’accordéoniste) is a 1911 oil on canvas painting by Pablo Picasso.  The painting portrays a seated man playing an accordion. The division of three-dimensional forms into a two-dimensional plane indicates that the painting is in the style of Analytical Cubism, which was developed by Picasso and Georges Braque between 1907 and 1914. The painting is now in the Solomon R. Guggenheim Museum in New York City.

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: Explain the abstract of this artwork, The Accordionist.

The Accordionist (French: L’accordéoniste) is a 1911 oil on canvas painting by Pablo Picasso.  The painting portrays a seated man playing an accordion. The division of three-dimensional forms into a two-dimensional plane indicates that the painting is in the style of Analytical Cubism, which was developed by Picasso and Georges Braque between 1907 and 1914. The painting is now in the Solomon R. Guggenheim Museum in New York City.

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: How does The Accordionist explain its abstract?

The Accordionist (French: L’accordéoniste) is a 1911 oil on canvas painting by Pablo Picasso.  The painting portrays a seated man playing an accordion. The division of three-dimensional forms into a two-dimensional plane indicates that the painting is in the style of Analytical Cubism, which was developed by Picasso and Georges Braque between 1907 and 1914. The painting is now in the Solomon R. Guggenheim Museum in New York City.

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: In The Accordionist, how is the abstract discussed?

The Accordionist (French: L’accordéoniste) is a 1911 oil on canvas painting by Pablo Picasso.  The painting portrays a seated man playing an accordion. The division of three-dimensional forms into a two-dimensional plane indicates that the painting is in the style of Analytical Cubism, which was developed by Picasso and Georges Braque between 1907 and 1914. The painting is now in the Solomon R. Guggenheim Museum in New York City.

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: Focus on The Accordionist and explain the Background.

This painting was produced during a period in Picasso's art known as Analytical Cubism. Cubism was developed between 1907 and 1914 by Picasso and Georges Braque after they met in 1907. It was an innovative new style of art, which in its early stages involved breaking surfaces into sharply defined planes. In 1911, Picasso and Georges Braque spent the summer at Céret, in the French Pyrenees, a period that is considered to be an important moment in the development of Cubism.The onset of cubism can be viewed as a rejection of traditional painting techniques and realistic imitations of the natural world. Traditional techniques, like modelling and perspective, were replaced by fractured objects reduced to geometric shapes and shallow space. The subject could also be depicted from multiple viewpoints.Until 1910, the subject of cubist artworks could still be interpreted, as the figure or object in the paintings was conveyed in a fractured form, but reassembled to a certain extent to offer a distinguishable representation of the subject. However, from 1910 to 1912, Picasso and Braque abstracted their works even further, by reducing the subject to just a series of overlapping planes that were more complex and difficult to comprehend. The paintings of this period were also dominated by near monochromatic hues of brown, grey and black.

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: Explain the Background of this artwork, The Accordionist.

This painting was produced during a period in Picasso's art known as Analytical Cubism. Cubism was developed between 1907 and 1914 by Picasso and Georges Braque after they met in 1907. It was an innovative new style of art, which in its early stages involved breaking surfaces into sharply defined planes. In 1911, Picasso and Georges Braque spent the summer at Céret, in the French Pyrenees, a period that is considered to be an important moment in the development of Cubism.The onset of cubism can be viewed as a rejection of traditional painting techniques and realistic imitations of the natural world. Traditional techniques, like modelling and perspective, were replaced by fractured objects reduced to geometric shapes and shallow space. The subject could also be depicted from multiple viewpoints.Until 1910, the subject of cubist artworks could still be interpreted, as the figure or object in the paintings was conveyed in a fractured form, but reassembled to a certain extent to offer a distinguishable representation of the subject. However, from 1910 to 1912, Picasso and Braque abstracted their works even further, by reducing the subject to just a series of overlapping planes that were more complex and difficult to comprehend. The paintings of this period were also dominated by near monochromatic hues of brown, grey and black.

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: How does The Accordionist explain its Background?

This painting was produced during a period in Picasso's art known as Analytical Cubism. Cubism was developed between 1907 and 1914 by Picasso and Georges Braque after they met in 1907. It was an innovative new style of art, which in its early stages involved breaking surfaces into sharply defined planes. In 1911, Picasso and Georges Braque spent the summer at Céret, in the French Pyrenees, a period that is considered to be an important moment in the development of Cubism.The onset of cubism can be viewed as a rejection of traditional painting techniques and realistic imitations of the natural world. Traditional techniques, like modelling and perspective, were replaced by fractured objects reduced to geometric shapes and shallow space. The subject could also be depicted from multiple viewpoints.Until 1910, the subject of cubist artworks could still be interpreted, as the figure or object in the paintings was conveyed in a fractured form, but reassembled to a certain extent to offer a distinguishable representation of the subject. However, from 1910 to 1912, Picasso and Braque abstracted their works even further, by reducing the subject to just a series of overlapping planes that were more complex and difficult to comprehend. The paintings of this period were also dominated by near monochromatic hues of brown, grey and black.

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: In The Accordionist, how is the Background discussed?

This painting was produced during a period in Picasso's art known as Analytical Cubism. Cubism was developed between 1907 and 1914 by Picasso and Georges Braque after they met in 1907. It was an innovative new style of art, which in its early stages involved breaking surfaces into sharply defined planes. In 1911, Picasso and Georges Braque spent the summer at Céret, in the French Pyrenees, a period that is considered to be an important moment in the development of Cubism.The onset of cubism can be viewed as a rejection of traditional painting techniques and realistic imitations of the natural world. Traditional techniques, like modelling and perspective, were replaced by fractured objects reduced to geometric shapes and shallow space. The subject could also be depicted from multiple viewpoints.Until 1910, the subject of cubist artworks could still be interpreted, as the figure or object in the paintings was conveyed in a fractured form, but reassembled to a certain extent to offer a distinguishable representation of the subject. However, from 1910 to 1912, Picasso and Braque abstracted their works even further, by reducing the subject to just a series of overlapping planes that were more complex and difficult to comprehend. The paintings of this period were also dominated by near monochromatic hues of brown, grey and black.

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: Focus on The Accordionist and explain the Description.

The complex fragmented composition of The Accordionist requires some persistence in order to determine the outlines of the subject. The painting displays a seated accordionist, which is defined by a series of vertically aligned triangular planes, semicircles and right angles. The folds of the accordion and its keys can be located in the centre, while the lower area of the canvas displays the volutes of an armchair.

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: Explain the Description of this artwork, The Accordionist.

The complex fragmented composition of The Accordionist requires some persistence in order to determine the outlines of the subject. The painting displays a seated accordionist, which is defined by a series of vertically aligned triangular planes, semicircles and right angles. The folds of the accordion and its keys can be located in the centre, while the lower area of the canvas displays the volutes of an armchair.

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: How does The Accordionist explain its Description?

The complex fragmented composition of The Accordionist requires some persistence in order to determine the outlines of the subject. The painting displays a seated accordionist, which is defined by a series of vertically aligned triangular planes, semicircles and right angles. The folds of the accordion and its keys can be located in the centre, while the lower area of the canvas displays the volutes of an armchair.

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: In The Accordionist, how is the Description discussed?

The complex fragmented composition of The Accordionist requires some persistence in order to determine the outlines of the subject. The painting displays a seated accordionist, which is defined by a series of vertically aligned triangular planes, semicircles and right angles. The folds of the accordion and its keys can be located in the centre, while the lower area of the canvas displays the volutes of an armchair.

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: Focus on The Accordionist and explain the Significance and legacy.

The Accordionist demonstrates how Picasso developed the innovative style of Cubism to the point of complete abstraction. It has been described as a "baffling composition" and is so incomprehensible that its former owners mistook it for a landscape because it bears the inscription "Céret" on the reverse. Solomon R. Guggenheim Museum states that, "Picasso’s elusive references to recognizable forms and objects cannot always be precisely identified and, as the Museum of Modern Art’s founding director Alfred H. Barr, Jr. observed, 'the mysterious tension between painted image and 'reality' remains'."

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: Explain the Significance and legacy of this artwork, The Accordionist.

The Accordionist demonstrates how Picasso developed the innovative style of Cubism to the point of complete abstraction. It has been described as a "baffling composition" and is so incomprehensible that its former owners mistook it for a landscape because it bears the inscription "Céret" on the reverse. Solomon R. Guggenheim Museum states that, "Picasso’s elusive references to recognizable forms and objects cannot always be precisely identified and, as the Museum of Modern Art’s founding director Alfred H. Barr, Jr. observed, 'the mysterious tension between painted image and 'reality' remains'."

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: How does The Accordionist explain its Significance and legacy?

The Accordionist demonstrates how Picasso developed the innovative style of Cubism to the point of complete abstraction. It has been described as a "baffling composition" and is so incomprehensible that its former owners mistook it for a landscape because it bears the inscription "Céret" on the reverse. Solomon R. Guggenheim Museum states that, "Picasso’s elusive references to recognizable forms and objects cannot always be precisely identified and, as the Museum of Modern Art’s founding director Alfred H. Barr, Jr. observed, 'the mysterious tension between painted image and 'reality' remains'."

Category:Paintings in the Solomon R. Guggenheim Museum


The Accordionist

Prompt: In The Accordionist, how is the Significance and legacy discussed?

The Accordionist demonstrates how Picasso developed the innovative style of Cubism to the point of complete abstraction. It has been described as a "baffling composition" and is so incomprehensible that its former owners mistook it for a landscape because it bears the inscription "Céret" on the reverse. Solomon R. Guggenheim Museum states that, "Picasso’s elusive references to recognizable forms and objects cannot always be precisely identified and, as the Museum of Modern Art’s founding director Alfred H. Barr, Jr. observed, 'the mysterious tension between painted image and 'reality' remains'."

Category:Paintings in the Solomon R. Guggenheim Museum


Hezilo chandelier

Prompt: Focus on Hezilo chandelier and explain the abstract.

The Hezilo chandelier (German: Heziloleuchter) is an 11th-century Romanesque wheel chandelier. It is part of the treasures of the Hildesheim Cathedral in Hildesheim, Germany, which has been a UNESCO World Cultural Heritage site since 1985. The chandelier was most likely commissioned by Bishop Hezilo of Hildesheim, who rebuilt the cathedral after a fire. He probably also influenced the program of imagery and inscriptions. It is the largest of four extant wheel chandeliers of the period; the others surviving examples are the Azelin chandelier (also in Hildesheim), the Barbarossa chandelier in the Aachen Cathedral, and the Hartwig chandelier in the Abbey of Comburg.During the restoration of the cathedral (from 2010 to 2014), the chandelier was installed in St. Godehard, a basilica since 1963 and the temporary bishop's seat. After the restoration of the cathedral, which reopened on 15 August 2014, it was returned to its original location in the cathedral's nave.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: Explain the abstract of this artwork, Hezilo chandelier.

The Hezilo chandelier (German: Heziloleuchter) is an 11th-century Romanesque wheel chandelier. It is part of the treasures of the Hildesheim Cathedral in Hildesheim, Germany, which has been a UNESCO World Cultural Heritage site since 1985. The chandelier was most likely commissioned by Bishop Hezilo of Hildesheim, who rebuilt the cathedral after a fire. He probably also influenced the program of imagery and inscriptions. It is the largest of four extant wheel chandeliers of the period; the others surviving examples are the Azelin chandelier (also in Hildesheim), the Barbarossa chandelier in the Aachen Cathedral, and the Hartwig chandelier in the Abbey of Comburg.During the restoration of the cathedral (from 2010 to 2014), the chandelier was installed in St. Godehard, a basilica since 1963 and the temporary bishop's seat. After the restoration of the cathedral, which reopened on 15 August 2014, it was returned to its original location in the cathedral's nave.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: How does Hezilo chandelier explain its abstract?

The Hezilo chandelier (German: Heziloleuchter) is an 11th-century Romanesque wheel chandelier. It is part of the treasures of the Hildesheim Cathedral in Hildesheim, Germany, which has been a UNESCO World Cultural Heritage site since 1985. The chandelier was most likely commissioned by Bishop Hezilo of Hildesheim, who rebuilt the cathedral after a fire. He probably also influenced the program of imagery and inscriptions. It is the largest of four extant wheel chandeliers of the period; the others surviving examples are the Azelin chandelier (also in Hildesheim), the Barbarossa chandelier in the Aachen Cathedral, and the Hartwig chandelier in the Abbey of Comburg.During the restoration of the cathedral (from 2010 to 2014), the chandelier was installed in St. Godehard, a basilica since 1963 and the temporary bishop's seat. After the restoration of the cathedral, which reopened on 15 August 2014, it was returned to its original location in the cathedral's nave.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: In Hezilo chandelier, how is the abstract discussed?

The Hezilo chandelier (German: Heziloleuchter) is an 11th-century Romanesque wheel chandelier. It is part of the treasures of the Hildesheim Cathedral in Hildesheim, Germany, which has been a UNESCO World Cultural Heritage site since 1985. The chandelier was most likely commissioned by Bishop Hezilo of Hildesheim, who rebuilt the cathedral after a fire. He probably also influenced the program of imagery and inscriptions. It is the largest of four extant wheel chandeliers of the period; the others surviving examples are the Azelin chandelier (also in Hildesheim), the Barbarossa chandelier in the Aachen Cathedral, and the Hartwig chandelier in the Abbey of Comburg.During the restoration of the cathedral (from 2010 to 2014), the chandelier was installed in St. Godehard, a basilica since 1963 and the temporary bishop's seat. After the restoration of the cathedral, which reopened on 15 August 2014, it was returned to its original location in the cathedral's nave.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: Focus on Hezilo chandelier and explain the Description.

The Hezilo chandelier is composed of a circular hoop which is 6 metres (20 ft) in diameter. The hoop is made of gilt copper and bears Latin inscriptions on the upper and lower edges. Between the inscriptions are three horizontal bands, with the middle band bulging outwards, which are richly decorated with openwork foliage. There are square merlons on top of the hoop holding seventy-two candles.Twelve towers and twelve gate-houses alternate along the outside of the hoop. The layout of the towers is a Greek cross with four apses (alternately rounded with domed roofs and square with pitched roofs) and a doorway. The upper parts of the towers have a narrower form, extending above the candles on the hoop and topped with large balls. Small statues or lamps probably originally stood inside these towers.The gatehouses are flat, no higher than the hoop and are closed at the rear - where the ropes which hold up the chandelier are anchored. Each gate is flanked by two small but richly decorated round turrets and is crowned with battlements and the name of an apostle. It is likely that there were once images of these apostles in the doorways.In the center, a large lamp is hung from a rope. The chandelier, also called a corona (crown) or circular chandelier, hung in the nave until 1944, when it was removed to protect it from bombing. It hung above the altar in the crossing from the reopening of the cathedral in 1960 to 2010, when cathedral restoration work began.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: Explain the Description of this artwork, Hezilo chandelier.

The Hezilo chandelier is composed of a circular hoop which is 6 metres (20 ft) in diameter. The hoop is made of gilt copper and bears Latin inscriptions on the upper and lower edges. Between the inscriptions are three horizontal bands, with the middle band bulging outwards, which are richly decorated with openwork foliage. There are square merlons on top of the hoop holding seventy-two candles.Twelve towers and twelve gate-houses alternate along the outside of the hoop. The layout of the towers is a Greek cross with four apses (alternately rounded with domed roofs and square with pitched roofs) and a doorway. The upper parts of the towers have a narrower form, extending above the candles on the hoop and topped with large balls. Small statues or lamps probably originally stood inside these towers.The gatehouses are flat, no higher than the hoop and are closed at the rear - where the ropes which hold up the chandelier are anchored. Each gate is flanked by two small but richly decorated round turrets and is crowned with battlements and the name of an apostle. It is likely that there were once images of these apostles in the doorways.In the center, a large lamp is hung from a rope. The chandelier, also called a corona (crown) or circular chandelier, hung in the nave until 1944, when it was removed to protect it from bombing. It hung above the altar in the crossing from the reopening of the cathedral in 1960 to 2010, when cathedral restoration work began.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: How does Hezilo chandelier explain its Description?

The Hezilo chandelier is composed of a circular hoop which is 6 metres (20 ft) in diameter. The hoop is made of gilt copper and bears Latin inscriptions on the upper and lower edges. Between the inscriptions are three horizontal bands, with the middle band bulging outwards, which are richly decorated with openwork foliage. There are square merlons on top of the hoop holding seventy-two candles.Twelve towers and twelve gate-houses alternate along the outside of the hoop. The layout of the towers is a Greek cross with four apses (alternately rounded with domed roofs and square with pitched roofs) and a doorway. The upper parts of the towers have a narrower form, extending above the candles on the hoop and topped with large balls. Small statues or lamps probably originally stood inside these towers.The gatehouses are flat, no higher than the hoop and are closed at the rear - where the ropes which hold up the chandelier are anchored. Each gate is flanked by two small but richly decorated round turrets and is crowned with battlements and the name of an apostle. It is likely that there were once images of these apostles in the doorways.In the center, a large lamp is hung from a rope. The chandelier, also called a corona (crown) or circular chandelier, hung in the nave until 1944, when it was removed to protect it from bombing. It hung above the altar in the crossing from the reopening of the cathedral in 1960 to 2010, when cathedral restoration work began.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: In Hezilo chandelier, how is the Description discussed?

The Hezilo chandelier is composed of a circular hoop which is 6 metres (20 ft) in diameter. The hoop is made of gilt copper and bears Latin inscriptions on the upper and lower edges. Between the inscriptions are three horizontal bands, with the middle band bulging outwards, which are richly decorated with openwork foliage. There are square merlons on top of the hoop holding seventy-two candles.Twelve towers and twelve gate-houses alternate along the outside of the hoop. The layout of the towers is a Greek cross with four apses (alternately rounded with domed roofs and square with pitched roofs) and a doorway. The upper parts of the towers have a narrower form, extending above the candles on the hoop and topped with large balls. Small statues or lamps probably originally stood inside these towers.The gatehouses are flat, no higher than the hoop and are closed at the rear - where the ropes which hold up the chandelier are anchored. Each gate is flanked by two small but richly decorated round turrets and is crowned with battlements and the name of an apostle. It is likely that there were once images of these apostles in the doorways.In the center, a large lamp is hung from a rope. The chandelier, also called a corona (crown) or circular chandelier, hung in the nave until 1944, when it was removed to protect it from bombing. It hung above the altar in the crossing from the reopening of the cathedral in 1960 to 2010, when cathedral restoration work began.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: Focus on Hezilo chandelier and explain the History.

Bernward, Bishop of Hildesheim, gifted the first large wheel chandelier to the Hildesheim Cathedral built by Bishop Altfrid, and later also gave one to the adjacent church of St. Michael. After Altfrid's cathedral burned down in 1046, Bishop Hezilo had it rebuilt with alterations, rejecting the plan of his predecessor Azelin to build a new cathedral, and in the nave he hung a "crown chandelier of shimmering gold", which is now known by his name as the Hezilo chandelier. It is not clear what influence the earlier chandelier of Bernward had on the design of this replacement.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: Explain the History of this artwork, Hezilo chandelier.

Bernward, Bishop of Hildesheim, gifted the first large wheel chandelier to the Hildesheim Cathedral built by Bishop Altfrid, and later also gave one to the adjacent church of St. Michael. After Altfrid's cathedral burned down in 1046, Bishop Hezilo had it rebuilt with alterations, rejecting the plan of his predecessor Azelin to build a new cathedral, and in the nave he hung a "crown chandelier of shimmering gold", which is now known by his name as the Hezilo chandelier. It is not clear what influence the earlier chandelier of Bernward had on the design of this replacement.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: How does Hezilo chandelier explain its History?

Bernward, Bishop of Hildesheim, gifted the first large wheel chandelier to the Hildesheim Cathedral built by Bishop Altfrid, and later also gave one to the adjacent church of St. Michael. After Altfrid's cathedral burned down in 1046, Bishop Hezilo had it rebuilt with alterations, rejecting the plan of his predecessor Azelin to build a new cathedral, and in the nave he hung a "crown chandelier of shimmering gold", which is now known by his name as the Hezilo chandelier. It is not clear what influence the earlier chandelier of Bernward had on the design of this replacement.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: In Hezilo chandelier, how is the History discussed?

Bernward, Bishop of Hildesheim, gifted the first large wheel chandelier to the Hildesheim Cathedral built by Bishop Altfrid, and later also gave one to the adjacent church of St. Michael. After Altfrid's cathedral burned down in 1046, Bishop Hezilo had it rebuilt with alterations, rejecting the plan of his predecessor Azelin to build a new cathedral, and in the nave he hung a "crown chandelier of shimmering gold", which is now known by his name as the Hezilo chandelier. It is not clear what influence the earlier chandelier of Bernward had on the design of this replacement.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: Focus on Hezilo chandelier and explain the Symbolism.

The model for a chandelier as the symbol of the New Jerusalem was the great wheel chandelier in the Church of the Holy Sepulchre above Golgotha; the Azelin chandelier was designed to have the same symbolism. Elements of Islamic art in the ornamentation of the chandelier support the identification with Jerusalem.The idea of the chandelier is the image of a floating city: according to the inscription, the Heavenly Jerusalem as target of the old and new covenants, fragrant with the scent of virtue, populated by the saints, lit by God himself, the source of all light.The Hezilo chandelier was at the liturgical center of the cathedral until the nineteenth century, with services held under its crown of light. Its location marked the beginning and end of the great processions of the cathedral chapter on Sundays and holidays. The chandelier served as a symbol of righteousness. Violations of the sovereignty of the diocese were solemnly resolved beneath it.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: Explain the Symbolism of this artwork, Hezilo chandelier.

The model for a chandelier as the symbol of the New Jerusalem was the great wheel chandelier in the Church of the Holy Sepulchre above Golgotha; the Azelin chandelier was designed to have the same symbolism. Elements of Islamic art in the ornamentation of the chandelier support the identification with Jerusalem.The idea of the chandelier is the image of a floating city: according to the inscription, the Heavenly Jerusalem as target of the old and new covenants, fragrant with the scent of virtue, populated by the saints, lit by God himself, the source of all light.The Hezilo chandelier was at the liturgical center of the cathedral until the nineteenth century, with services held under its crown of light. Its location marked the beginning and end of the great processions of the cathedral chapter on Sundays and holidays. The chandelier served as a symbol of righteousness. Violations of the sovereignty of the diocese were solemnly resolved beneath it.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: How does Hezilo chandelier explain its Symbolism?

The model for a chandelier as the symbol of the New Jerusalem was the great wheel chandelier in the Church of the Holy Sepulchre above Golgotha; the Azelin chandelier was designed to have the same symbolism. Elements of Islamic art in the ornamentation of the chandelier support the identification with Jerusalem.The idea of the chandelier is the image of a floating city: according to the inscription, the Heavenly Jerusalem as target of the old and new covenants, fragrant with the scent of virtue, populated by the saints, lit by God himself, the source of all light.The Hezilo chandelier was at the liturgical center of the cathedral until the nineteenth century, with services held under its crown of light. Its location marked the beginning and end of the great processions of the cathedral chapter on Sundays and holidays. The chandelier served as a symbol of righteousness. Violations of the sovereignty of the diocese were solemnly resolved beneath it.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: In Hezilo chandelier, how is the Symbolism discussed?

The model for a chandelier as the symbol of the New Jerusalem was the great wheel chandelier in the Church of the Holy Sepulchre above Golgotha; the Azelin chandelier was designed to have the same symbolism. Elements of Islamic art in the ornamentation of the chandelier support the identification with Jerusalem.The idea of the chandelier is the image of a floating city: according to the inscription, the Heavenly Jerusalem as target of the old and new covenants, fragrant with the scent of virtue, populated by the saints, lit by God himself, the source of all light.The Hezilo chandelier was at the liturgical center of the cathedral until the nineteenth century, with services held under its crown of light. Its location marked the beginning and end of the great processions of the cathedral chapter on Sundays and holidays. The chandelier served as a symbol of righteousness. Violations of the sovereignty of the diocese were solemnly resolved beneath it.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: Focus on Hezilo chandelier and explain the Restoration.

Restoration work was carried out in the 16th century and again at the beginning of the 19th and 20th centuries,  During the Second World War, the Hezilo chandelier was dismantled and removed from the cathedral — which was virtually destroyed by Allied bombing in March 1945. After the cathedral was rebuilt during the 1950s, the 900-year-old chandelier was placed in the crossing. It underwent extensive conservation work from 2002 until 2007. In 2010, when restoration work on the cathedral began, it was moved to St. Godehard, a Romanesque church in Hildesheim and the temporary seat of the bishop.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: Explain the Restoration of this artwork, Hezilo chandelier.

Restoration work was carried out in the 16th century and again at the beginning of the 19th and 20th centuries,  During the Second World War, the Hezilo chandelier was dismantled and removed from the cathedral — which was virtually destroyed by Allied bombing in March 1945. After the cathedral was rebuilt during the 1950s, the 900-year-old chandelier was placed in the crossing. It underwent extensive conservation work from 2002 until 2007. In 2010, when restoration work on the cathedral began, it was moved to St. Godehard, a Romanesque church in Hildesheim and the temporary seat of the bishop.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: How does Hezilo chandelier explain its Restoration?

Restoration work was carried out in the 16th century and again at the beginning of the 19th and 20th centuries,  During the Second World War, the Hezilo chandelier was dismantled and removed from the cathedral — which was virtually destroyed by Allied bombing in March 1945. After the cathedral was rebuilt during the 1950s, the 900-year-old chandelier was placed in the crossing. It underwent extensive conservation work from 2002 until 2007. In 2010, when restoration work on the cathedral began, it was moved to St. Godehard, a Romanesque church in Hildesheim and the temporary seat of the bishop.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: In Hezilo chandelier, how is the Restoration discussed?

Restoration work was carried out in the 16th century and again at the beginning of the 19th and 20th centuries,  During the Second World War, the Hezilo chandelier was dismantled and removed from the cathedral — which was virtually destroyed by Allied bombing in March 1945. After the cathedral was rebuilt during the 1950s, the 900-year-old chandelier was placed in the crossing. It underwent extensive conservation work from 2002 until 2007. In 2010, when restoration work on the cathedral began, it was moved to St. Godehard, a Romanesque church in Hildesheim and the temporary seat of the bishop.

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: Focus on Hezilo chandelier and explain the Inscription.

Due to early modern restorations, the verse inscription has been significantly altered. The donor's name, "Hezilo" was written in a later script. The oldest version is in a manuscript from around 1500:

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: Explain the Inscription of this artwork, Hezilo chandelier.

Due to early modern restorations, the verse inscription has been significantly altered. The donor's name, "Hezilo" was written in a later script. The oldest version is in a manuscript from around 1500:

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: How does Hezilo chandelier explain its Inscription?

Due to early modern restorations, the verse inscription has been significantly altered. The donor's name, "Hezilo" was written in a later script. The oldest version is in a manuscript from around 1500:

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Hezilo chandelier

Prompt: In Hezilo chandelier, how is the Inscription discussed?

Due to early modern restorations, the verse inscription has been significantly altered. The donor's name, "Hezilo" was written in a later script. The oldest version is in a manuscript from around 1500:

The chandelier in the cathedral, {{circa

File:Hildesheim St. Godehard Heziloleuchter.JPG

Category:Medieval European metalwork objects

List of bishops of Hildesheim#Bishops of Hildesheim till 1235


Allegory of Gluttony and Lust

Prompt: Focus on Allegory of Gluttony and Lust and explain the abstract.

Allegory of Intemperance is an oil on wood painting by the Dutch artist Hieronymus Bosch made c. 1490–1500. It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel,  and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel.  Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness.

Category:Allegorical paintings by Dutch artists

File:Triptyque du vagabond (reconstitution).jpg

Category:Paintings in the Yale University Art Gallery

A reconstruction of the left and right wings of the triptych: at upper left ''[[Ship of Fools (painting)


Allegory of Gluttony and Lust

Prompt: Explain the abstract of this artwork, Allegory of Gluttony and Lust.

Allegory of Intemperance is an oil on wood painting by the Dutch artist Hieronymus Bosch made c. 1490–1500. It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel,  and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel.  Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness.

Category:Allegorical paintings by Dutch artists

File:Triptyque du vagabond (reconstitution).jpg

Category:Paintings in the Yale University Art Gallery

A reconstruction of the left and right wings of the triptych: at upper left ''[[Ship of Fools (painting)


Allegory of Gluttony and Lust

Prompt: How does Allegory of Gluttony and Lust explain its abstract?

Allegory of Intemperance is an oil on wood painting by the Dutch artist Hieronymus Bosch made c. 1490–1500. It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel,  and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel.  Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness.

Category:Allegorical paintings by Dutch artists

File:Triptyque du vagabond (reconstitution).jpg

Category:Paintings in the Yale University Art Gallery

A reconstruction of the left and right wings of the triptych: at upper left ''[[Ship of Fools (painting)


Allegory of Gluttony and Lust

Prompt: In Allegory of Gluttony and Lust, how is the abstract discussed?

Allegory of Intemperance is an oil on wood painting by the Dutch artist Hieronymus Bosch made c. 1490–1500. It is held in the Yale University Art Gallery, in New Haven, Connecticut.This panel is the left inside bottom wing of a hinged triptych. The other identified parts are The Ship of Fools, which formed the upper left panel,  and the Death and the Miser, which was the right panel; The Wayfarer was painted on the right panel rear. The central panel, if it existed, is unknown.The Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool. He is surrounded by other people, who push him or pour a liquid from the barrel.  Below, a man swims with, above his head, a vessel with meat. The swimmer's clothes lie on the shore at bottom. On the right, under a hut, a couple is devoted to lascivious acts, perhaps induced by drunkenness.

Category:Allegorical paintings by Dutch artists

File:Triptyque du vagabond (reconstitution).jpg

Category:Paintings in the Yale University Art Gallery

A reconstruction of the left and right wings of the triptych: at upper left ''[[Ship of Fools (painting)


Legend of Saint Ursula

Prompt: Focus on Legend of Saint Ursula and explain the abstract.

The Legend of Saint Ursula (Italian: Storie di sant'Orsola) is a series of nine large wall-paintings on canvas by the Italian Renaissance artist Vittore Carpaccio, commissioned by the Loredan family and originally created for the Scuola di Sant'Orsola (Ursula) in Venice, which was under their patronage. They are now in the Gallerie dell'Accademia in Venice.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Explain the abstract of this artwork, Legend of Saint Ursula.

The Legend of Saint Ursula (Italian: Storie di sant'Orsola) is a series of nine large wall-paintings on canvas by the Italian Renaissance artist Vittore Carpaccio, commissioned by the Loredan family and originally created for the Scuola di Sant'Orsola (Ursula) in Venice, which was under their patronage. They are now in the Gallerie dell'Accademia in Venice.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: How does Legend of Saint Ursula explain its abstract?

The Legend of Saint Ursula (Italian: Storie di sant'Orsola) is a series of nine large wall-paintings on canvas by the Italian Renaissance artist Vittore Carpaccio, commissioned by the Loredan family and originally created for the Scuola di Sant'Orsola (Ursula) in Venice, which was under their patronage. They are now in the Gallerie dell'Accademia in Venice.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In Legend of Saint Ursula, how is the abstract discussed?

The Legend of Saint Ursula (Italian: Storie di sant'Orsola) is a series of nine large wall-paintings on canvas by the Italian Renaissance artist Vittore Carpaccio, commissioned by the Loredan family and originally created for the Scuola di Sant'Orsola (Ursula) in Venice, which was under their patronage. They are now in the Gallerie dell'Accademia in Venice.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In the context of Legend of Saint Ursula, explain the Background and the Description.

The paintings were commissioned by the Loredan family, who had the Scuola of St. Ursula under their patronage and who had been distinguished for their military deeds against the "infidel" Ottomans, which are repeatedly echoed in the panels of the cycle. This was not one of the six Scuole Grandi of Venice, but a similar confraternity.According to Jacobus de Voragine's Golden Legend, Saint Ursula was the daughter of the Christian king of Brittany, who was betrothed to a pagan prince in exchange to his conversion to Christianity and they both made a pilgrimage to Rome. On her way back home, at Cologne, she was martyred by Attila, King of the Huns, together with her following of 11,000 virgins, after she had refused to become his wife.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Explain the Background about the Description of this artwork, Legend of Saint Ursula.

The paintings were commissioned by the Loredan family, who had the Scuola of St. Ursula under their patronage and who had been distinguished for their military deeds against the "infidel" Ottomans, which are repeatedly echoed in the panels of the cycle. This was not one of the six Scuole Grandi of Venice, but a similar confraternity.According to Jacobus de Voragine's Golden Legend, Saint Ursula was the daughter of the Christian king of Brittany, who was betrothed to a pagan prince in exchange to his conversion to Christianity and they both made a pilgrimage to Rome. On her way back home, at Cologne, she was martyred by Attila, King of the Huns, together with her following of 11,000 virgins, after she had refused to become his wife.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In Legend of Saint Ursula, how is the Background of the Description explained?

The paintings were commissioned by the Loredan family, who had the Scuola of St. Ursula under their patronage and who had been distinguished for their military deeds against the "infidel" Ottomans, which are repeatedly echoed in the panels of the cycle. This was not one of the six Scuole Grandi of Venice, but a similar confraternity.According to Jacobus de Voragine's Golden Legend, Saint Ursula was the daughter of the Christian king of Brittany, who was betrothed to a pagan prince in exchange to his conversion to Christianity and they both made a pilgrimage to Rome. On her way back home, at Cologne, she was martyred by Attila, King of the Huns, together with her following of 11,000 virgins, after she had refused to become his wife.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Describe the characteristics of the Background in Legend of Saint Ursula's Description.

The paintings were commissioned by the Loredan family, who had the Scuola of St. Ursula under their patronage and who had been distinguished for their military deeds against the "infidel" Ottomans, which are repeatedly echoed in the panels of the cycle. This was not one of the six Scuole Grandi of Venice, but a similar confraternity.According to Jacobus de Voragine's Golden Legend, Saint Ursula was the daughter of the Christian king of Brittany, who was betrothed to a pagan prince in exchange to his conversion to Christianity and they both made a pilgrimage to Rome. On her way back home, at Cologne, she was martyred by Attila, King of the Huns, together with her following of 11,000 virgins, after she had refused to become his wife.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In the context of Legend of Saint Ursula, explain the Arrival of the Ambassadors and the Description.

The first two paintings, despite depicting the first events of the cycle, were the last to be painted, in 1497–1498.The first painting is set in an open pavilion, and its scene, divided into three parts, is read from right to left. The scene is reminiscent of the liturgical drama of the period, where all the characters sat on the stage and stood up when they had to take part in the play. On the right Ursula and her father are portrayed talking; sitting on the first step of a staircase leading to the interior is her nurse.The central scene portrays the meeting between the king and the ambassadors. In the background is a centrally planned temple and other imaginary buildings, resembling those of contemporary Venice. On the left, in the foreground under a loggia, is a marine panorama with a galleon. Outside the proscenium is a man wearing a red toga, a hint at  the didascalos, a narrator figure of the Renaissance theatre who described or commented on the play to the audience, usually in the person of an angel. Among the spectators are characters wearing the crest of the Compagnia della Calza, a Venetian confraternity which organized events and spectacles during Carnival and other religious celebrations.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Explain the Arrival of the Ambassadors about the Description of this artwork, Legend of Saint Ursula.

The first two paintings, despite depicting the first events of the cycle, were the last to be painted, in 1497–1498.The first painting is set in an open pavilion, and its scene, divided into three parts, is read from right to left. The scene is reminiscent of the liturgical drama of the period, where all the characters sat on the stage and stood up when they had to take part in the play. On the right Ursula and her father are portrayed talking; sitting on the first step of a staircase leading to the interior is her nurse.The central scene portrays the meeting between the king and the ambassadors. In the background is a centrally planned temple and other imaginary buildings, resembling those of contemporary Venice. On the left, in the foreground under a loggia, is a marine panorama with a galleon. Outside the proscenium is a man wearing a red toga, a hint at  the didascalos, a narrator figure of the Renaissance theatre who described or commented on the play to the audience, usually in the person of an angel. Among the spectators are characters wearing the crest of the Compagnia della Calza, a Venetian confraternity which organized events and spectacles during Carnival and other religious celebrations.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In Legend of Saint Ursula, how is the Arrival of the Ambassadors of the Description explained?

The first two paintings, despite depicting the first events of the cycle, were the last to be painted, in 1497–1498.The first painting is set in an open pavilion, and its scene, divided into three parts, is read from right to left. The scene is reminiscent of the liturgical drama of the period, where all the characters sat on the stage and stood up when they had to take part in the play. On the right Ursula and her father are portrayed talking; sitting on the first step of a staircase leading to the interior is her nurse.The central scene portrays the meeting between the king and the ambassadors. In the background is a centrally planned temple and other imaginary buildings, resembling those of contemporary Venice. On the left, in the foreground under a loggia, is a marine panorama with a galleon. Outside the proscenium is a man wearing a red toga, a hint at  the didascalos, a narrator figure of the Renaissance theatre who described or commented on the play to the audience, usually in the person of an angel. Among the spectators are characters wearing the crest of the Compagnia della Calza, a Venetian confraternity which organized events and spectacles during Carnival and other religious celebrations.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Describe the characteristics of the Arrival of the Ambassadors in Legend of Saint Ursula's Description.

The first two paintings, despite depicting the first events of the cycle, were the last to be painted, in 1497–1498.The first painting is set in an open pavilion, and its scene, divided into three parts, is read from right to left. The scene is reminiscent of the liturgical drama of the period, where all the characters sat on the stage and stood up when they had to take part in the play. On the right Ursula and her father are portrayed talking; sitting on the first step of a staircase leading to the interior is her nurse.The central scene portrays the meeting between the king and the ambassadors. In the background is a centrally planned temple and other imaginary buildings, resembling those of contemporary Venice. On the left, in the foreground under a loggia, is a marine panorama with a galleon. Outside the proscenium is a man wearing a red toga, a hint at  the didascalos, a narrator figure of the Renaissance theatre who described or commented on the play to the audience, usually in the person of an angel. Among the spectators are characters wearing the crest of the Compagnia della Calza, a Venetian confraternity which organized events and spectacles during Carnival and other religious celebrations.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In the context of Legend of Saint Ursula, explain the The Departure of the Ambassadors and the Description.

The second painting, smaller in size, depicts, in a sumptuous interior, another court meeting, usually described as the parting of the ambassadors from the king of Brittany. A scribe in the background is writing the reply for Ursula's prince. According to a different interpretation the clothes of the figures indicate that they are pagans, and thus the characters would be part of the Brittany court, with the ambassadors leaving for their mission.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Explain the The Departure of the Ambassadors about the Description of this artwork, Legend of Saint Ursula.

The second painting, smaller in size, depicts, in a sumptuous interior, another court meeting, usually described as the parting of the ambassadors from the king of Brittany. A scribe in the background is writing the reply for Ursula's prince. According to a different interpretation the clothes of the figures indicate that they are pagans, and thus the characters would be part of the Brittany court, with the ambassadors leaving for their mission.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In Legend of Saint Ursula, how is the The Departure of the Ambassadors of the Description explained?

The second painting, smaller in size, depicts, in a sumptuous interior, another court meeting, usually described as the parting of the ambassadors from the king of Brittany. A scribe in the background is writing the reply for Ursula's prince. According to a different interpretation the clothes of the figures indicate that they are pagans, and thus the characters would be part of the Brittany court, with the ambassadors leaving for their mission.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.