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Van al die konstruksies, gravures, skilderye en oorspronklike terreine wat ons gesien het, was niemand meer afgeleë of moeilik bereikbaar of ooit terug na die Grot van die Goue Boemerang nie. Nie Evan of ek kon 'n oplossing vind vir enige landmerk of rant nie, ons was heeltemal verlore en onder leiding van ons gidse.
Hulle het ons vooraf verseker dat hierdie afgesonderde buitepos van oorspronklike rotskuns net so uniek as pragtig was, en in beide opsigte het hierdie galery nie teleurgestel nie. Maar tog was ons onvoorbereid op omvang, kuns en aandag aan detail wat vertoon word. Totdat ons hierdie streek binnegekom het en hierdie klippaneel van figure in beweging en toewyding aanskou het, het ons die bewering van die geleerde aanvaar om spesifieke plaaslike oorspronklike style te identifiseer, en dat alle vorme van oorspronklike artistieke uitdrukking 'n wye reeks dek, maar dit te kort skiet wanneer dit kom na representatiewe uitbeeldings van die menslike liggaam.
Die naaste en vermoedelik enigste voorbeeld van enige voor-kook-kuns wat op die voorstelling grens, word 'Bradshaw Art' genoem, en die verduidelikings is uiteenlopend, met 'n paar neerbuigende in die uiterste. Sommige kommentators, insluitend die selfverklaarde Kimberleys-rotskuns-ekspert, Graham Walsh, is vasberade dat hierdie vorm van antieke kuns te gesofistikeerd en verfyn is vir die oorspronklike oorspronklike palet. Gegewe die 'feit', het Walsh en ander veronderstel dat die okerskilderye van Bradshaw geskep is deur nie-oorspronklike mense wat na Australië gevaar het, in grotte geverf het en daarna spoorloos of enige historiese bewyse vertrek het.
Die grot van die Goue Boemerang
Duisende kilometers suid van die Kimberleys strek hierdie galery oor 20 meter en is meer as 4 meter hoog. Daar is ses figure/ikone gegraveer en geverf op die sandsteenmuur: twee vroue (die een staan en die ander dryf of vlieg), een ongewapende mannetjie, 'n baba, een boemerang en 'n Tasmanian Tiger (Thylacine). Daar word wyd beweer dat die Tasmaniese tier al minstens 5 000 jaar op die vasteland van Australië uitgesterf het, en as sodanig 'n betroubare minimum datum bied.
Elke menslike figuur is groter as die lewensgrootte (ongeveer anderhalf) en direk eweredig. Dit is die aandag aan detail dat dit duisende jare na die skepping nog steeds moontlik is om die band op die mannetjie se arm te identifiseer, wat 'n effense onderdrukking in die vlees veroorsaak, die boog in die drywende vrou se voet, die uitbeelding van elke vinger, 'n baie ongewone dreadlocked haarstyl, kromming van die heupe, kuit en boude, ens. Die kunstenaar het baie moeite gedoen om dieselfde verhoudings, lyn en vorm van die menslike liggaam te herhaal. Dit is aanneemlik om te beweer, maar onmoontlik om te bewys, dat as werklike modelle gebruik word, hierdie groepweergawe presies tot by die millimeter was. Nie een van die Bradshaw -figure is oral eweredig of groot nie, en in vergelyking is dit langwerpige stokfigure met 'n sweempie liggaamsvorm.
Oorblywende spore van oker, byna al die heiligste kategorieë, rooi, kan oral in die paneel gevind word. Die twee mees prominente gebiede van rooi kleur is binne die boemerang, wat die dikste is, en die buitenste gedeelte van die twee sirkels in die middel van die staande vrou. Wat interessant was, was die uitkoms van Evan se toepassing van verskillende kleurfilters op die foto van die sirkels, tot dan toe het niemand die handstensils binne elke rooi oker sirkel gesien nie. Of dit op dieselfde tyd of daarna toegepas word, kan betwis word, maar die feit dat nie een van ons op die dag die afdrukke gesien het nie, hetsy op die terrein of tydens normale fotografiese beelde, versterk net die ongelooflik geheime heilige aard van hierdie katedraal.
Die vertelling wat hierdie galery vergesel, is nie minder diep of heilig as die wat verband hou met die skilderye op die plafon van die Sixtynse Kapel nie, en nie minder nie as 'n dosyn keer ouer. Daar is 'n uitgesproke vroulike ondertoon met twee vroue, 'n pasgebore baba en 'n ongewapende mannetjie wat na die simbool van verligting reik, maar nie aanraak nie. Die liberale gebruik van bande, gordels en diagonale sjerpe dra by tot die heiligheid van hierdie geleentheid. In sy fleur, meer as 5 000 jaar oud en volledig geverf, glo ons vas dat hierdie rotskunsgalery ongeëwenaard was in sy kuns en mistieke insigte, nie net in Australië nie, maar oor die hele planeet.
'N Patroon herhaal
Dit was nog altyd ons bewering dat volledig moderne mense eers in Australië ontwikkel het, en dan van hierdie kontinent af weggevaar het om hul wysheid, tegnologie, kultuur en gene met mense oor die hele wêreld te deel. Onder hul talente was hulle die eerste kunstenaars en het hulle alle style en mediums onder die knie, van abstrakte, simboliese, uitgebroei, gestippelde en oordrewe, tot by die voorstelling. The Cave of the Golden Boomerang illustreer bloot hoe uiteenlopend en ongelooflik begaafd die oorspronklike kunstenaars was, en hoe min van die werklike oorspronklike geskiedenis die geldeenheid van hierdie dae is.
Deur Steven en Evan Strong
Ongeveer
Byna dertig jaar gelede het Michael Stehr by die Stanford -universiteit aangekom, bereid om studies in politieke wetenskap te volg wat hom na 'n loopbaan in die regte of besigheid sou lei. Vier jaar later verlaat Michael die kollege met 'n bykomende hoofvak in kunsgeskiedenis, beplan om 'n kunshistoriese pelgrimstog na Europa te maak en 'n ontluikende huisverfbedryf wat later sal ontwikkel tot die Sistine Chapel Art and Art History soos dit vandag bestaan.
Sistine Chapel Art and Art History, vernoem na die mooiste kunswerk in die westerse wêreld, hoop om die gees van Michelangelo's Sixtynse plafon te kommunikeer-'n ontsagwekkende krag van skoonheid, kreatiwiteit en menslike innovasie-alhoewel Michael se eie kuns, dekoratiewe skilderye en kunsgeskiedenis toere en lesings. Deur die krag van hierdie kreatiewe energie op die universiteit te ontdek, het die verloop van Michael se lewe vir ewig verander, en hy hoop dat hy die impak van so 'n ontdekking op hom vir ander deur sy werk kan weerspieël.
Michael bestee die grootste deel van sy tyd aan sy dekoratiewe kuns. Hierdie aangepaste afwerkings vir binneverf sluit muurskilderye, gelaagde kleureffekte, muurafwerkings, gekleurde pleisters, goudblare en handgeverfde houtgraan in. U kan voorbeelde van Michael se dekoratiewe afwerkings onder die Dekoratiewe kuns oortjie hierbo.
Teen die einde van elke jaar vertoon Michael sy beeldende kunste in 'n galeryvertoning in Piemonte. Sy skilderye bevat hoofsaaklik die twee plekke waar Michael die meeste tuis voel: die baai, en sy verre tuiste van Italië. Michael hou ook van portret en figuurskildery, en hy het onlangs begin om diere te skilder nadat hy 'n (studeerkuns?) Van die gesinshond as 'n kersgeskenk vir sy dogter geskep het. Voorbeelde van Michael se fyn kunswerke kan gevind word onder die Fyn kuns oortjie hierbo.
As Michael nie kuns skep nie, kan u hom waarskynlik bestudeer - terwyl hy oor 'n gevaarlike stapel indekskaarte blaai of deur een van die vele kunsgeskiedenisboeke wat bo -aan die gesins koffietafel sit, blaai. Michael het op baie prominente plekke lesings gelewer, waaronder die Commonwealth Club, Stanford University en verskeie opvallende privaat klubs en biblioteke in die San Francisco Bay Area. Hy het ook sy pragtige kunswerke in Rome aangebied en vertoon. Michael lei ook jaarlikse kunsgeskiedenistoere in Rome en Parys, avonture wat gekenmerk word deur Michael se ongelooflike passie vir die kunstenaars en hul werk wat hy kanaliseer om 'n unieke, persoonlike, baie boeiende leerervaring te skep. Lees meer oor Michael se kunsreise onder die Kunsreise oortjie hierbo, en kyk komende gebeure vir 'n lys van Michael se komende lesings.
Inhoud
Die oorspronklike plafonskildery is deur Pier Matteo d'Amelia en het sterre uitgebeeld op 'n blou agtergrond [5], soos die plafon van die Arena -kapel versier deur Giotto in Padua. [6] Vir ses maande in 1504 het 'n diagonale skeur in die gewelf van die Sixtynse Kapel die kapel onbruikbaar gemaak en pous Julius II (Giuliano della Rovere) het die beskadigde skildery laat verwyder. [5]
Pous Julius II was 'n 'vegter -pous' [7] wat in sy pousdom 'n aggressiewe veldtog vir politieke beheer onderneem het om Italië te verenig en te bemagtig onder leiding van die Kerk. Hy het in simboliek belê om sy tydelike krag te toon, soos sy optog (op die klassieke manier), waarin hy 'n wa deur 'n triomfboog ry na een van sy vele militêre oorwinnings. Dit was Julius wat in 1506 begin het met die heropbou van die Sint -Pietersbasiliek, as die sterkste simbool van die bron van pouslike mag. [8]
Michelangelo het die Slag van Cascina onvoltooid toe pous Julius II hom in die lente van 1505 na Rome ontbied en hom die opdrag gee om sy graf in die Sint -Pietersbasiliek te maak. [11] [12] [13] Michelangelo en pous Julius het albei 'n warm humeur gehad en het gou gestry. [12] [13] Soos Walter Pater geskryf het: "Michelangelo was nou dertig jaar oud en sy reputasie is gevestig. Drie groot werke vul die res van sy lewe - drie werke word dikwels onderbreek, voortgegaan deur duisend huiwering, duisend teleurstellings , rusies met sy beskermhere, rusies met sy familie, twis miskien veral met homself - die Sixtynse Kapel, die Mausoleum van Julius die Tweede en die Sakristy van San Lorenzo ". [14] Op 17 April 1506 verlaat Michelangelo Rome in die geheim vir Florence, waar hy daar bly totdat die Florentynse regering hom druk om terug te keer na die Pous. [13] In November 1506 gaan hy eerder na Bologna en bou hy 'n kolossale bronsbeeld van die pous wat die Bolognese verower. [13] (Die Bolognese vernietig die brons in 1511.) [13] Die projek van die pouslike graf is stilweg opsy gesit, [9] om na sy dood deur die familie Della Rovere te herleef. [12] [13]
In 1506 begin Julius II met die heropbou van die Sint -Pietersbasiliek, wat sy aandag trek en teen Februarie 1513, toe hy sterf, was daar min werk aan sy graf gedoen. [15] [11] [12] Dit was 'n groot opdrag, met 40 groot figure wat gesny moes word. [12] Daar is nooit begin met die oorspronklike ontwerp daarvan nie. [13] Uiteindelik het Michelangelo slegs drie figure voltooi vir die voltooide monument van 1545, agtereenvolgens gereduseer tot 'n reeks beskeie ontwerpe en uiteindelik in die kerk van San Pietro gebou in Vincoli, insluitend die c.1515 standbeeld van Moses. [15] [12] [11] Twee Slawe, die Baard slaaf en die Jong slaaf, c.1513, is in die Louvre. [15] [11] [12] Die grafkommissie het dekades geduur, en Michelangelo betreur: "Ek het al my jeugjare aan hierdie graf vasgeketting vermors." [15] [11] Ascanio Condivi beskryf die aangeleentheid as die "Tragedie van die graf". [13]
In 1506 het pous Julius 'n program opgestel om die plafon van die Sixtynse Kapel te verf. [16] [ bladsy benodig ] Die mure van die kapel was 20 jaar tevore versier. Die laagste van drie verdiepings is geverf om op gordyne te lyk en is (en word soms nog steeds) gehang by spesiale geleenthede met 'n stel tapisserieë wat deur Raphael ontwerp is. Die middelste vlak bevat 'n komplekse skema van fresco's wat die Lewe van Christus aan die regterkant en die Die lewe van Moses aan die linkerkant. Dit is uitgevoer deur 'n paar van die bekendste Renaissance -skilders: Botticelli, Ghirlandaio, Perugino, Pinturicchio, Signorelli en Cosimo Rosselli. [17] Die boonste verdieping van die mure bevat die vensters, tussen wat pare illusionistiese nisse geverf is met voorstellings van die eerste 32 pouse. [18] Dit is waarskynlik dat, omdat die kapel die plek was van gereelde vergaderings en massas van 'n elite liggaam van amptenare bekend as die pouslike kapel (wat die versierings sou waarneem en hul teologiese en tydelike betekenis sou interpreteer), dit Pous Julius was bedoeling en verwagting dat die ikonografie van die plafon met baie lae betekenis gelees moes word. [19]
Die plan wat deur die pous voorgestel is, was dat twaalf groot figure van die apostels die hangende elemente sou beset. [20] [21] Michelangelo het egter onderhandel vir 'n groter, baie meer komplekse plan en is uiteindelik in sy eie woorde toegelaat "om te doen wat ek wil". [22] [a] Daar word voorgestel dat die Augustinus -broeder en kardinaal, Giles van Viterbo, 'n konsultant was vir die teologiese aspek van die werk. [23] [ bladsy benodig ] Baie skrywers meen dat Michelangelo die verstand, die Bybelse kennis en die uitvindingskragte gehad het om die plan self te bedink. Dit word ondersteun deur die verklaring van Ascanio Condivi dat Michelangelo die Ou Testament gelees en herlees het terwyl hy die plafon verf, en sy inspirasie put uit die woorde van die Skrif, eerder as uit die gevestigde tradisies van sakrale kuns. [24]
In die lente van 1508 keer Michelangelo terug na Rome om te werk aan 'n siklus van fresco's op die gewelf en boonste mure van die Sixtynse Kapel. [12] [13] Michelangelo, wat nie in die eerste plek 'n skilder was nie, maar 'n beeldhouer, was huiwerig om die werk aan te neem wat hy voorgestel het dat sy jong mededinger Raphael dit eerder sou aanvaar. [25] [26] Die pous was vasberade en het Michelangelo geen ander keuse gelaat as om te aanvaar nie. [27] [ bladsy benodig ] Die kontrak is op 8 Mei 1508 onderteken met 'n beloofde fooi van 3 000 dukate. [28] Michelangelo het aanvanklik probeer om assistente te help om die swaar en onwelkome werk so vinnig as moontlik te bespoedig, maar hy kon nie geskikte kandidate vind nie en het amper die hele plafon alleen geverf. [13] Onder die Florentynse kunstenaars wat Michelangelo na Rome gebring het in die hoop om in die fresko te help, noem Giorgio Vasari Francesco Granacci, Giuliano Bugiardini, Jacopo di Sandro, l'Indaco die ouderling, Agnolo di Domenico en Aristotile. [29]
Michelangelo het in die lente van 1508 begin werk, aan die westkant begin met die Dronkenskap van Noag en die Profeet Sagaria en agteruit werk deur die vertelling na die Die skepping van Eva, in die vyfde baai van die gewelf en eindig in September 1510. [13] Die eerste helfte van die plafon is amptelik op 15 Augustus 1511 onthul. [13] Daarna is die tweede helfte van die plafon se fresco's vinnig gedoen, en na 'n voorlopige vertoning en pouslike mis op 14 Augustus 1511 [16] [27] is die voltooide werk op 31 Oktober 1512, All Hallows 'Eve, onthul [ 13] [12] word die volgende dag, Allerheiligdag, aan die publiek vertoon. Michelangelo se finale skema vir die plafon bevat ongeveer driehonderd figure. [ aanhaling nodig ]
Na die onthulling van die voltooide plafon van die Sixtynse Kapel op 37 -jarige ouderdom, het die reputasie van Michelangelo so gestyg dat dit Michelangelo genoem is die divino. [12] [13] Van toe af word Michelangelo erken as die grootste kunstenaar van sy tyd, wat die status van die kunste self verhoog het, 'n erkenning wat die res van sy lang lewe duur, en sy Sistynse plafon het altyd daarna getel onder die "hoogste meesterwerke van beeldende kuns". [11] [13] [15]
Die fresko's van Michelangelo vorm die verhaal van die 15de-eeuse verhaalsiklusse van die lewens van Moses en Christus deur Perugio en Botticelli op die mure van die kapel. [11] [15] Terwyl die belangrikste sentrale tonele voorvalle in die Boek van GenesisDaar bestaan baie debat oor die menigte van syfers se presiese interpretasie. [15] [11] Die plafon van die Sixtynse Kapel is 'n vlak vatgewelf van ongeveer 35 m (118 voet) lank en ongeveer 14 m (46 voet) breed. [13] Die vensters van die kapel sny in die kromme van die gewelf en lewer 'n ry lunettes afwisselend met spandels. [13]
Alhoewel Michelangelo beweer dat hy uiteindelik 'n vrye hand in die artistieke plan het, het Lorenzo Ghiberti hierdie bewering ook gemaak oor sy monumentale bronsdeure vir die doopkapel van Florence, waarvoor dit bekend is Ghiberti is beperk deur bepalings oor hoe die Ou -Testamentiese tonele verskyn en kon slegs die vorms en nommer van die prentvelde besluit. Dit is waarskynlik dat Michelangelo vry was om vorms en voorstelling van die ontwerp te kies, maar dat die onderwerpe en temas self deur die beskermheer bepaal is. [20]
Die sentrale, amper plat gebied van die plafon word omskryf deur 'n fiktiewe argitektoniese kroonlys en verdeel in vier groot reghoeke en vyf kleiner deur vyf pare geverfde ribbes wat sywaarts oor die sentrale reghoekige veld sny. Hierdie reghoeke wat oop na die hemel verskyn, het Michelangelo geskilder met tonele uit die Ou Testament. [13]
Die vertelling begin aan die oostekant van die kapel, met die eerste toneel bo die altaar, fokus van die eucharistiese seremonies wat deur die geestelikes uitgevoer word. Die klein reghoekige veld reg bokant die altaar beeld die Primal Act of Creation. Die laaste van die nege sentrale velde, aan die westekant, toon die Dronkenskap van Noag onder hierdie toneel is die deur wat deur die leke gebruik word. [13] Verste van die altaar, die Dronkenskap van Noag verteenwoordig die sondige aard van die mens. [13]
Bo die kroonlys, op die vier hoeke van elk van die vyf kleiner sentrale velde, is naakte manlike jongmense, genaamd ignudi, waarvan die presiese betekenis onbekend is. [13] [15] [11] Naby die heilige tonele in die boonste register, en in teenstelling met die figure van die onderste register in perspektief, word dit nie kortgemaak nie. [13] Hulle verteenwoordig waarskynlik die siening van die Florentynse Neoplatoniste oor die ideale Platoniese vorm van die mensdom, sonder die mar van die oorspronklike sonde, waaraan die onderste figure almal onderwerp is. [13] Kenneth Clark het geskryf dat "hul fisiese skoonheid 'n beeld is van goddelike volmaaktheid, hul waaksaamheid en kragtige bewegings 'n uitdrukking van goddelike energie". [31]
Onder die geverfde kroonlys rondom die sentrale reghoekige gebied is 'n onderste register wat 'n voortsetting van die kapel se mure uitbeeld as 'n trompe-l'œil argitektoniese raamwerk waarteen figure druk, met kragtige modellering. [13] Die syfers word drasties verkort en is op 'n groter skaal as die figure in die sentrale tonele, wat ''n gevoel van ruimtelike ongelykheid veroorsaak'. [13]
Die plafon by die vier hoeke van die kapel vorm 'n dubbele spandrel wat met heilige tonele uit die Ou Testament geverf is: Die brazen slang, Die kruisiging van Haman, Judith en Holofernes, en Dawid en Goliat. [13]
Elke vensterboog van die kapel sny in die geboë gewelf en skep bo elkeen 'n driehoekige gewelf. Die boog van elke venster word geskei van die volgende deur hierdie driehoekige spandrels, wat elkeen op die troon sit Profete afwisselend met die Sibille. [13] [15] [11] Hierdie figure, sewe Ou-Testamentiese profete en vyf van die Grieks-Romeinse sibille, was in die Christelike tradisie opvallend vir hul profesieë oor die Messias of die geboorte van Jesus. [13] Die lunettes bo die vensters is self geverf met tonele van die "suiwer menslike" Voorouers van Christus, net soos die spasies weerskante van elke venster. Hulle posisie is beide die laagste in die gewelf en die donkerste, in teenstelling met die lugagtige boonste gewelf. [13]
Interpretasie Redigeer
Die openlike onderwerp van die plafon is die Christelike leer oor die behoefte van die mensdom aan verlossing, soos dit deur God deur Jesus aangebied word. Dit is 'n visuele metafoor van die mens se behoefte aan 'n verbond met God. Die Ou Verbond van die Kinders van Israel deur Moses en die Nuwe Verbond deur Christus was reeds om die mure van die kapel voorgestel. [3] Sommige kenners, waaronder Benjamin Blech en die Vatikaanse kunshistorikus Enrico Bruschini, het ook kennis geneem van minder openlike onderwerpe wat hulle beskryf as 'verborge' en 'verbode'. [32] [ bladsy benodig ] [33] [ bladsy benodig ]
Op die halfmaanvormige gebiede, of lunettes, bokant elk van die vensters van die kapel, staan tafels met die voorvaders van Christus en gepaardgaande figure. Bo hulle, in die driehoekige spandrels, word nog agt groepe figure getoon, maar dit is nie geïdentifiseer met spesifieke Bybelse karakters nie. Die skema word voltooi deur vier groot hoekhangers, wat elkeen 'n dramatiese Bybelse verhaal illustreer. [34]
Die verhalende elemente van die plafon illustreer dat God die wêreld as 'n volmaakte skepping gemaak het en die mensdom daarin geplaas het, dat die mensdom in skande verval en deur die dood en skeiding van God gestraf is. Die mensdom sak toe verder in sonde en skande, en is gestraf deur die Groot Vloed. Deur 'n geslag van voorvaders - van Abraham tot Josef - stuur God die redder van die mensdom, Jesus Christus. Die koms van die Verlosser is geprofeteer deur die profete van Israel en die sibiele van die klassieke wêreld. Die verskillende komponente van die plafon is gekoppel aan hierdie Christelike leer. [34] Tradisioneel word die Ou Testament beskou as 'n voorafgaande voorstelling van die Nuwe Testament. Baie voorvalle en karakters van die Ou Testament word algemeen verstaan as 'n direkte simboliese skakel met 'n bepaalde aspek van die lewe van Jesus of 'n belangrike element van die Christelike leer of 'n sakrament soos die doop of die nagmaal. Byvoorbeeld, Jona, wat herkenbaar is aan sy eienskap van 'n groot vis, word algemeen beskou as die dood en opstanding van Jesus. [4] [ bladsy benodig ]
Baie van die simboliek van die plafon dateer uit die vroeë kerk, maar die plafon bevat ook elemente wat die spesifiek Renaissance -denke uitdruk wat probeer het om die Christelike teologie met die filosofie van die Renaissance -humanisme te versoen. [35] Gedurende die 15de eeu in Italië, en veral in Florence, was daar 'n groot belangstelling in klassieke literatuur en die filosofieë van Plato, Aristoteles en ander klassieke skrywers. Michelangelo het as jong man tyd deurgebring by die Platoniese Akademie wat deur die Medici -familie in Florence gestig is. Hy was bekend met vroeë humanistiese geïnspireerde beeldhouwerke soos Donatello se brons David en self laat reageer deur die enorme naak marmer te sny David, wat in die Piazza della Signoria naby die Palazzo Vecchio, die tuiste van die raad van Florence, geplaas is. [36] Die humanistiese menswees was 'n siening waarin mense op ander mense, op sosiale verantwoordelikheid en op 'n direkte manier op God reageer, nie deur middelaars nie, soos die Kerk. [37] Dit was in stryd met die nadruk van die Kerk. Terwyl die Kerk die mensdom as in wese sondig en gebrekkig beklemtoon het, het Humanisme die mensdom as potensieel edel en mooi beklemtoon. [ aanhaling nodig ] [b] Hierdie twee sienings was nie noodwendig onversoenbaar met die Kerk nie, maar slegs deur die erkenning dat die unieke manier om hierdie "verhoging van gees, gees en liggaam" te bereik, deur die Kerk was as die agent van God. Om buite die Kerk te wees, was buite redding. In die plafon van die Sixtynse Kapel het Michelangelo beide Katolieke en Humanistiese elemente voorgestel op 'n manier wat nie visueel teenstrydig lyk nie. Die opname van 'nie-Bybelse' figure soos die Sibille of Ignudi stem ooreen met die rasionalisering van die humanistiese en Christelike denke van die Renaissance. Hierdie rasionalisering sou 'n teiken van die teenhervorming word. [ aanhaling nodig ]
Die ikonografie van die plafon het in die verlede verskillende interpretasies gehad, waarvan sommige elemente deur moderne geleerdheid weerspreek is. [c] Ander, soos die identiteit van die figure in die lunettes en spandrels, verdra steeds die interpretasie. [38] Moderne geleerdes het, sonder sukses, probeer om 'n geskrewe bron van die teologiese program van die plafon vas te stel en het bevraagteken of dit heeltemal deur die kunstenaar self bedink is, wat sowel 'n ywerige leser van die Bybel was as genie. [39] Ook vir sommige moderne geleerdes is die vraag van belang hoe Michelangelo se eie geestelike en sielkundige toestand weerspieël word in die ikonografie en die uitdrukking van die plafon. Een so 'n bespiegeling is dat Michelangelo geteister is deur konflik tussen sy homoseksualiteit en 'sy diepgaande, amper mistieke katolisisme'. [ aanhaling nodig ] [d]
Michelangelo het waarskynlik begin werk aan die planne en tekenprente vir die ontwerp vanaf April 1508. [40] Die voorbereidende werk aan die plafon was einde Julie dieselfde jaar voltooi en op 4 Februarie 1510 het Francesco Albertini opgeteken dat Michelangelo die boonste, geboë deel versier het met baie mooi foto's en goud ". [40] Die hoofontwerp is grotendeels in Augustus 1510 voltooi, soos die tekste van Michelangelo suggereer. [40] Vanaf September 1510 tot en met Februarie, Junie of September 1511 het Michelangelo geen plafonwerk gedoen nie weens 'n geskil oor betalings vir werk wat in Augustus 1510 gedoen is, het die pous Rome verlaat vir die veldtog van die pouslike state om Bologna te herower en ondanks twee besoeke daar deur die resolusie van Michelangelo kom eers maande nadat die pous in Junie 1511 na Rome teruggekeer het. Op 14 Augustus 1511 het pous Julius 'n pouslike mis in die kapel gehou en die vordering van die werk tot dusver vir die eerste keer gesien. [40] Dit was die nagwaak vir die Hemelvaartdag op 15 Augustus, die patronale fees op die Sixtynse Kapel. [40] Die hele ontwerp is op 31 Oktober 1512 aan besoekers onthul met 'n formele pouslike mis die volgende dag, die fees van die Allerheiliges. [41] Die kerklike gebruik van die kapel word deurgaans voortgesit, vrygestel toe die werk aan die steierwerk moes sluit, en die ontwrigting van die rituele was geminimaliseer deur die werk aan die westekant te begin, die verste van die liturgiese sentrum rondom die altaar aan die oostelike muur . [40] Daar bestaan 'n debat oor die volgorde waarin die dele van die plafon geverf is en hoe die steier waarmee die kunstenaars die plafon kon bereik, gerangskik is. Daar is twee hoofvoorstelle.
Die meerderheidsteorie is dat die hooffresko's van die plafon in fases aangebring en geverf is, met die steierwerk elke keer afgebreek en na 'n ander deel van die kamer verskuif, begin aan die westekant van die kapel. [41] Die eerste fase, insluitend die sentrale lewe van Noag, is in September 1509 voltooi en die steierwerk verwyder - eers daarna was die tonele sigbaar vanaf die vloer. [41] Die volgende fase, in die middel van die kapel, het die Die skepping van Eva en die Val en uitsetting uit die paradys. Die Cumaean Sibyl en Esegiël is ook in hierdie fase geverf. [41] Michelangelo skilder die figure op 'n groter skaal as in die vorige afdeling, dit word toegeskryf aan die vermoë van die kunstenaar om die voorverkorting en komposisie vir die eerste keer effektief op grondvlak te beoordeel. [41] Die syfers van die derde fase, aan die oostekant, was op 'n nog groter skaal as die tweede Die skepping van Adam en die ander Skepping panele is voltooi in hierdie stadium, wat in 1511 plaasgevind het. [41] In hierdie skema, voorgestel deur Johannes Wilde, is die eerste en tweede registers van die kluis, bo en onder die fiktiewe argitektoniese kroonlys, in fases saam geverf terwyl die steier ooswaarts beweeg het, met 'n stilistiese en chronologiese breuk wes en oos van die Die skepping van Eva. [40] Na die sentrale gewelf is die hoofsteier vervang deur 'n kleiner inkrimping wat die skildery van die lunette, venstergewelwe en hangers moontlik gemaak het. [41] Hierdie siening het 'n ouer opvatting verdring dat die sentrale kluis die eerste deel van die werk vorm en voltooi is voordat met die ander dele van Michelangelo se plan begin word. [40]
'N Ander teorie is dat die steierwerk jare lank op 'n slag oor die hele kapel moes strek. [40] Om die bestaande versiering van die plafon te verwyder, moes die hele gebied toeganklik wees vir werkers om die fresko van die sterrehemel weg te beitel voordat nuwe werk gedoen is. [40] Op 10 Junie 1508 het die kardinale gekla oor die ondraaglike stof en geraas wat deur die werk op 27 Julie 1508 gegenereer is, was die proses voltooi en die hoekspande van die kapel is omskep in die driehoekige hangers van die voltooide ontwerp. [40] Toe moes die raam van die nuwe ontwerpe op die oppervlak gemerk word toe fresco's begin, dit vereis ook toegang tot die hele plafon. [40] Hierdie tesis word ondersteun deur die ontdekking tydens die moderne herstel van die presiese getalle van die versorg gebruik in die fresco's as die plafon in twee fases geverf is, waarvan die eerste oor twee jaar strek en tot by die Die skepping van Eva en die tweede wat net een jaar duur, dan moes Michelangelo 270 geskilder het versorg in die tweede fase van een jaar, vergeleke met 300 in die eerste twee jaar, wat skaars moontlik is. [40] Daarenteen, as die plafon se eerste register - met die nege tonele op reghoekige velde, die medaljes en die ignudi - is in die eerste twee jaar geverf, en in die tweede fase het Michelangelo slegs hul rand in die tweede register geverf, met die Profete en Sibille, Dan die versorg voltooi in elke jaar word byna gelykop verdeel. [40] Ulrich Pfisterer, wat hierdie teorie bevorder, interpreteer Albertini se opmerking oor "die boonste, geboë deel met baie mooi prentjies en goud" in Februarie 1510 as slegs verwys na die boonste deel van die kluis - die eerste register met sy nege prentvelde, sy ignudi, en sy medaljes versier met goud - en nie die gewelf as 'n geheel nie, aangesien die fiktiewe argitektoniese solder met sy profete en profetesse nog begin het. [40]
Die steierwerk wat nodig was om die bestaande muurskilderye en ander versierings van die kapel te beskerm teen vallende puin en om die godsdienstige dienste daaronder te laat voortgaan, maar ook om lug en lig deur die vensters daaronder toe te laat. [40] Die kroonlys van die kapel, wat in die kamer onder die lunette rondloop by die spring van die vensterboë self, ondersteun die skuins balke van die struktuur, terwyl die dra -balke met behulp van gatputte in die muur bokant die kroon gesit is. [40] Hierdie oop struktuur ondersteun catwalks en die beweegbare werkplatform self, waarvan die waarskynlike trappe ontwerp die kontoer van die gewelf volg. Onder was 'n vals plafon wat die kapel beskerm het. [40] Alhoewel daar 'n mate van sonlig in die werkruimte tussen die plafon en die steier sou kom, sou kunsmatige lig nodig gewees het vir skildery, wat moontlik die voorkoms van die lewendige kleure sou beïnvloed. [40]
Michelangelo het sy eie steier ontwerp, 'n plat houtplatform op hakies wat uit gate in die muur naby die bokant van die vensters gebou is, eerder as om van die vloer af opgebou te word. Mancinelli bespiegel dat dit was om die koste van hout te verminder. [42] Volgens die leerling en biograaf van Michelangelo, Ascanio Condivi, is die hakies en die raamwerk wat die trappe en vloer ondersteun het, aan die begin van die werk aangebring en 'n ligte skerm, moontlik doek, is onder hulle gehang om gipsdruppels op te vang, stof en spatsels verf. [43] [ bladsy benodig ] Slegs die helfte van die kamer is gelyktydig opgestel en die platform is verskuif terwyl die skildery in fases gedoen word. [42] Die oppervlaktes van die muur wat deur die steierwerk bedek is, verskyn nog steeds as ongeverfde dele aan die onderkant van die lunettes. Die gate is hergebruik om steierwerk in die jongste herstel te hou. [ aanhaling nodig ]
Die hele plafon is 'n fresco, wat 'n ou metode is om muurskilderye te skilder wat gebaseer is op 'n chemiese reaksie tussen klam kalkgips en pigmente op water om die werk permanent in die muur te versmelt. [44] Michelangelo was 'n vakleerling in die werkswinkel van Domenico Ghirlandaio, een van die mees bekwame en vrugbaarste van Florentynse fresko -skilders, op die tydstip dat laasgenoemde in 'n fresco -siklus in Santa Maria Novella werksaam was en wie se werk verteenwoordig was op die mure van die Sixtynse Kapel. [45] [ bladsy benodig ] Aan die begin het die gips, intonaco, het vorm begin groei omdat dit te nat was. Michelangelo moes dit verwyder en weer begin. He then tried a new formula created by one of his assistants, Jacopo l'Indaco, which resisted mould and entered the Italian building and fresco tradition. [43] [ bladsy benodig ]
Because he was painting affresco, the plaster was laid in a new section every day, called a giornata. At the beginning of each session, the edges would be scraped away and a new area laid down. [42] The edges between giornate remain slightly visible thus, they give a good idea of how the work progressed. It was customary for fresco painters to use a full-sized detailed drawing, a cartoon, to transfer a design onto a plaster surface—many frescoes show little holes made with a stiletto, outlining the figures. Here Michelangelo broke with convention once confident the intonaco had been well applied, he drew directly onto the ceiling. His energetic sweeping outlines can be seen scraped into some of the surfaces [ aanhaling nodig ] , [e] while on others a grid is evident, indicating that he enlarged directly onto the ceiling from a small drawing. [ aanhaling nodig ]
Michelangelo painted onto the damp plaster using a wash technique to apply broad areas of colour, then as the surface became drier, he revisited these areas with a more linear approach, adding shade and detail with a variety of brushes. For some textured surfaces, such as facial hair and wood-grain, he used a broad brush with bristles as sparse as a comb. He employed all the finest workshop methods and best innovations, combining them with a diversity of brushwork and breadth of skill far exceeding that of the meticulous Ghirlandaio [ aanhaling nodig ] . [f]
The work commenced at the end of the building furthest from the altar, with the latest of the narrative scenes, and progressed towards the altar with the scenes of the Creation. [23] [ bladsy benodig ] The first three scenes, from The Drunkenness of Noah, contain smaller figures than the later panels. This is partly because of the subject matter, which deals with the fate of Humanity, but also because Michelangelo underestimated the ceiling's scale. [34] [46] Also painted in the early stages was the Slaying of Goliath. [47] After painting the Creation of Eve adjacent to the marble screen which divided the chapel, [g] Michelangelo paused in his work to move the scaffolding to the other side. After having seen his completed work so far, he returned to work with the Temptation and Fall, followed by the Creation of Adam. [48] [46] As the scale of the work got larger, Michelangelo's style became broader the final narrative scene of God in the act of creation was painted in a single day. [49]
The bright colours and broad, cleanly defined outlines make each subject easily visible from the floor. Despite the height of the ceiling, the proportions of the Creation of Adam are such that when standing beneath it, "it appears as if the viewer could simply raise a finger and meet those of God and Adam". [ aanhaling nodig ] Vasari tells us that the ceiling is "unfinished", that its unveiling occurred before it could be reworked with gold leaf and vivid blue lapis lazuli as was customary with frescoes and in order to better link the ceiling with the walls below, which were highlighted with a great deal of gold. But this never took place, in part because Michelangelo was reluctant to set up the scaffolding again, and probably also because the gold and particularly the intense blue would have distracted from his painterly conception. [27] [ bladsy benodig ] Michelangelo's patron and the ceiling's commissioner, Pope Julius II, died only months after the ceiling's completion, in February 1513. [41]
According to Vasari and Condivi, Michelangelo painted in a standing position, not lying on his back, as another biographer Paolo Giovio imagined. [50] Vasari wrote: "The work was carried out in extremely uncomfortable conditions, from his having to work with his head tilted upwards". [27] Michelangelo may have described his physical discomfort in a poem, accompanied by a sketch in the margin, which was probably addressed to the humanist academician Giovanni di Benedetto da Pistoia, a friend with whom Michelangelo corresponded. [50] Leonard Barkan compared the posture of Michelangelo's marginalia self-portrait to the Roman sculptures of Marsyas Bound in the Uffizi Gallery Barkan further connects the flayed Marsyas with Michelangelo's purported self-portrait decades later on the flayed skin of St Bartholomew in his Last Judgement but cautions that there is no certainty the sketch represents the process of painting the Chapel ceiling. [51] Michelangelo wrote his poem "I' ho già fatto un gozzo" describing the arduous conditions under which he worked the manuscript is illustrated with a sketch – likely of the poet painting the ceiling:
Fracking Arrives at the ‘Sistine Chapel’ of Prehistoric Art
On March 31 last year, a region in northern Spain quietly granted a concession of land, dubbed Arquetu, for natural gas exploration.
In Cantabria, the Arquetu traditionally was known as a mythological traveler who carries a coffer full of gold coins and lives an extremely simple lifestyle. Having disappeared from Cantabria’s folklore, now the Arquetu is back. Again, he is foreign, and bears riches, but this time he is surrounded by controversy.
Trofagas, which is owned by the California-based BNK Petroleum, was awarded the six-year concession of 24,876 hectares (61,470 acres) by the regional Government of Cantabria. In the new Arquetu territory, Trofagas will drill at least four wells to search for unconventional natural gas using hydraulic fracturing, or ‘fracking.’
With its gently rolling landscape, some parts of the concession strikingly resemble Carter County, in Southern Oklahoma, where BNK operates 22 wells. However, there are important differences between the two. The most significant difference is underground. Cantabria’s geology is extremely complex. Some areas are transected by a vast network of underground caves that expands into the neighboring region of Asturias. Those caves can be more than 1,000 meters (3,000 feet) deep, and the entire network, still unexplored, can be hundreds of kilometers long. People from Cantabria and Asturias joke that, if you drop painting in a cave, the water in some river—or in another cave—will become colored.
That geological structure supports a number of critically important archaeological sites. At least four decorated caves from the Paleolithic Age that have been listed as World Heritage Sites by UNESCO lie within the Arquetu. Among them is the world-famous Altamira Cave which, in 1880, became the first discovery of Prehistoric art, and has been nicknamed ‘the Sistine Chapel of Paleolithic Art’ for the quality and the degree of preservation of its paintings. Surrounding Arquetu are 13 other UNESCO-listed caves, plus other sites, such as El Sidrón, in Asturias, where exceptionally well-preserved Neanderthal remains have been discovered.
Moreover, part of the concession overlaps territories occupied by brown bears. These are the last 130 brown bears genetically “Spanish” (the ones in the Pyrenees have been introduced from Slovenia). They co-exist with the last remaining 500 Cantabrian grouse, a subspecies of the Western Capercaillie that the U.S. Fish & Wildlife Service classifies as endangered.
Could development activity in Arquetu damage all of these natural and cultural assets? Could the fracking provoke small earthquakes that could damage the caves, as has happened in the United Kingdom and, more recently, in the United States? Could the roads and wells disturb the bears and the grouses, or the fluids and gases poison some of the last rivers in Spain that still have significant populations of Atlantic salmon?
In June, when I visited BNK’s operations in Carter County, the company’s representatives told me that they are ready to change their procedures to enhance safety in their Cantabrian operation. However, environmental groups have petitioned the regional government to halt the operations, and nine Cantabrian municipalities have asked the same — not only because of the potential environmental risk, but also because they were not informed about the concession until it was reported in the media. The government has not responded to the petitions, and in December two environmental groups challenged the decision in court. Sources from the oil industry admit that the countless interconnected caves and subterranean sources of water pose a significant challenge for fracking in some parts of Northern Spain.
On the other hand, it is equally true that Spain is going through a tremendous economic crisis, and that any source of jobs and economic growth is welcome, no matter the environmental or archeological uncertainties. So far, the Spanish government has granted Trofagas 1.2 million hectares (296,000 acres) to frack in Spain.
The Arquetu is far from the only shale gas potential being explored in Spain, as seen from this map. Not far to the east of Arqetu in the Gran Enara area, two American companies—True Oil in Wyoming, and HEYCO, from New Mexico—are partnering with the Basque government to explore 13 areas that officials say contain enough unconventional natural gas to supply Spain for five years.
Some accuse the opposition to fracking of being inadvertently manipulated by the influential lobby of conventional natural gas importers, who import gas for Spanish consumption from Algeria and sense the business threat of this new exploration.
In the end, the travels of this 21st century Arquetu bring to the countryside not the simple reflections of a pilgrimage, but instead, complex questions on international forces in an energy-thirsty world.
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Sistine Chapel Ceiling Layout
The overall structure of the ceiling paintings was designed by Michelangelo himself, via Wiki Commons
Michelangelo’s original commission was simply to paint the twelve apostles on the pendentives in the corners of the chapel. Unhappy first with being sidetracked from his preferred project, and now with having his work prescribed to him, the artist demanded complete artistic control. He designed a series of paintings that went far beyond his initial brief.
Running along the centre of the ceiling would be nine paintings showing stories from Genesis: the creation of the world the creation of mankind man’s fall from grace and subsequent suffering. The pendentives would show not the twelve apostles, but twelve prophetic figures, each of whom had foretold the arrival of the saviour. They were to be accompanied by four important biblical scenes featuring Moses, Esther , David and Judith .
The Last Judgement , Michelangelo, 1536-154, painted fresco, via Vatican Museums
Michelangelo also decorated much of the wall space, often depicting human figures who were not sufficiently holy to warrant a spot on the ceiling itself, but who still played a crucial role in the religious narrative he wanted to tell. Among these are the ancestors of Christ and the past popes. Most famous of all is his epic The Last Judgement , a later addition to the Sistine Chapel which stands behind the altar to remind (or warn) worshippers of what awaits. All in all, within the confines of a single room, Michelangelo painted a staggering 5000 square feet of frescoes .
Here's a first look at Michelangelo's Sistine Chapel: The Exhibition in San Antonio
When I entered the historic Lambermont mansion, I truly felt I was escaping the city life and entering another world filled with breathtaking, floor-to-ceiling art reproduced photographically from Michelangelo's renowned frescoes inside the Vatican's Sistine Chapel.
Martin Biallis, CEO of Los Angeles-based Special Entertainment Events, brought Michelangelo's Sistine Chapel: The Exhibition to San Antonio for the first time to give everyone that exact feeling: to leave your problems behind and go back in time. The exhibit has toured venues all around the world for the last six years. It will be at the Lambermont Events building, at 950 E Grayson Street, from Friday, June 11 to Thursday, September 30.
"This is one of the most iconic artworks that has been done in history," Biallis told MySA at a media event on Thursday, June 10. "Even if you're not Catholic or religious, it's more about the art and the story he was trying to tell . You get to step out of reality for an hour or two and experience beautiful pieces of art up close. The Pope could not even do that in the Sistine Chapel."
The unique exhibition showcases 34 reproductions on 16-foot panels spread out in nine rooms of the 3-floor building. The perspective is displayed in their original size, except for "The Last Judgement" (my favorite of the bunch), as it is a smaller size than its original 45-foot by 40-foot display at the Sistine Chapel.
At the chapel, Michelangelo began painting in 1508 and he continued until 1512, painting scenes from, among things, the "Book of Genesis." It was painted at the commission of Pope Julius II. The complex design includes several sets of individual figures, both clothed and nude.
Scroll below to know more about the exhibit:
On the first floor, you'll find three rooms, including one that is handicap accessible (there isn't an elevator in the building). The room has a slideshow of all the frescoes on the top two floors, along with two large artworks. In another room, you'll find the "Sacrifice of Noah" and the "Drunkenness of Noah."
In the Last Judgement room, there are four stunning frescoes. It instantly became my favorite as I grew up in an unorthodox, cult-like church that drilled into my head the "Book of Revelations" and what's to come when God's judgment comes. It spoke to me.
Also, if you look closely, Michelangelo painted himself in "The Last Judgement" artwork that has more than 300 figures in it. He displays himself as a melting individual who thought he was going to hell, but was ultimately saved and entered heaven. Try to find it. It's symbolic and truly takes your breath away.
David And Goliath on the second floor hallway of the Michelangelo's Sistine Chapel: The Exhibition at the Lambermont.
After going up a stairwell, you'll find the second floor that has a gift shop with snacks and drinks and four rooms filled with art. The first room you're most likely to encounter is on the left, and features "The Great Flood" artwork, which is another one of my favorites.
In the hallway, you'll see the famous "David and Goliath" piece (who doesn't love an underdog story?). You'll also find comfortable chairs and couches in all rooms, but I sat and stared at the"David and Goliath" one for a while. It's a symbol of never giving up, which, of course, I love.
In a separate room on the second floor, you'll find the "Prophet Jonah," but the coolest part of it all is that it leads to a long balcony with views of the green landscape typically meant for weddings.
Note: I couldn't post anything when I was there so be prepared to save videos and photos. My poor AT&T service wasn't working maybe you'll have better luck. Also, the farthest room on this floor (towards the back) is extremely cold. Bring a light cardigan if you can.
The Creation of the Sun, Moon and Earth is on the third floor of Michelangelo's Sistine Chapel: The Exhibition at the Lambermont.
There are two rooms on the third floor, with the "Creation of the Sun, Moon and Earth" being my star of the floor as the pastel pink colors pop out more than others did. The room with that painting is probably the most colorful and bright.
As you enter the floor, the first room to the left has four of the artwork with a nice and comfy black couch for others to enjoy. You'll find "The Prophet Ezekiel" in this one, as well as "The Delphic Sibyl."
The vibe up here is a bit attic-like as you'll hear every squeaky noise on the wood floors. It's quite warm so prepare to take off that light cardigan.
The Lambermont is located at 950 E Grayson Street.
Starting Friday, June 11, the exhibit will be open to the public. However, tickets for tomorrow's event are sold out. You can visit the place from 10 a.m. to 6 p.m. Thursday through Sunday. The visit will take around 60 to 90 minutes.
Tickets are $17,50 for adults and $12.70 for children ages four to 12. Seniors 65 and older, students and military members can enter for $14.40. To book a day, visit sistinechapelexhibit.com.
Starting next Thursday, June 17, you can grab a bite to eat at the cafe in the backyard of the mansion. You can buy wine, salads, sandwiches and fruit cups. Visitors will be required to wear face masks.
You can take as many pictures as you want but don't touch the artwork.
Other than that, enjoy the mansion and all its glory. It's quite a sight to see and experience.
Sistine Chapel
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Sistine Chapel, papal chapel in the Vatican Palace that was erected in 1473–81 by the architect Giovanni dei Dolci for Pope Sixtus IV (hence its name). It is famous for its Renaissance frescoes by Michelangelo.
The Sistine Chapel is a rectangular brick building with six arched windows on each of the two main (or side) walls and a barrel-vaulted ceiling. The chapel’s exterior is drab and unadorned, but its interior walls and ceiling are decorated with frescoes by many Florentine Renaissance masters. The frescoes on the side walls of the chapel were painted from 1481 to 1483. On the north wall are six frescoes depicting events from the life of Christ as painted by Perugino, Pinturicchio, Sandro Botticelli, Domenico Ghirlandaio, and Cosimo Rosselli. On the south wall are six other frescoes depicting events from the life of Moses by Perugino, Pinturicchio, Botticelli, Domenico and Benedetto Ghirlandaio, Rosselli, Luca Signorelli, and Bartolomeo della Gatta. Above these works, smaller frescoes between the windows depict various popes. For great ceremonial occasions the lowest portions of the side walls were covered with a series of tapestries depicting events from the Gospels and the Acts of the Apostles. These were designed by Raphael and woven in 1515–19 at Brussels.
The most important artworks in the chapel are the frescoes by Michelangelo on the ceiling and on the west wall behind the altar. The frescoes on the ceiling, collectively known as the Sistine Ceiling, were commissioned by Pope Julius II in 1508 and were painted by Michelangelo in the years from 1508 to 1512. They depict incidents and personages from the Old Testament. Die Last Judgment fresco on the west wall was painted by Michelangelo for Pope Paul III in the period from 1534 to 1541. These two gigantic frescoes are among the greatest achievements of Western painting. A 10-year-long cleaning and restoration of the Sistine Ceiling completed in 1989 removed several centuries’ accumulation of dirt, smoke, and varnish. Cleaning and restoration of the Last Judgment was completed in 1994.
As the pope’s own chapel, the Sistine Chapel is the site of the principal papal ceremonies and is used by the Sacred College of Cardinals for their election of a new pope when there is a vacancy.
'Prehistoric Sistine Chapel' gets world heritage status
The 1,000 drawings carved in the walls of the Decorated Cave of Pont dɺrc, or Grotte Chauvet, are 36,000 years old and include mammoths and hand prints.
Cave experts only discovered it in 1994 as the entrance had been concealed by a rockfall 23,000 years earlier.
It was one of several cultural and natural wonders granted the status by a committee of delegates in Doha, Qatar.
UN cultural agency Unesco said the cave, located in the Ardeche region of France featured "the earliest and best-preserved expressions of artistic creation of the Aurignacian people", who were believed to be the first modern human culture in Europe.
"The large number of over 1,000 drawings covering over 8,500 square metres (90,000 square feet), as well as their high artistic and aesthetic quality, make Grotte Chauvet an exceptional testimony of prehistoric cave art," said Unesco.
"Its state of preservation and authenticity is exceptional as a result of its concealment over 23 millennia."
The Sistine Chapel. The Home of Iconic Renaissance Art masterpieces.
The Sistine Chapel plays an important role in Italian Renaissance art history and it houses some of the most iconic images of the era. The chapel, located within the Vatican City, is named after Sixtus IV della Rovere and is built on the site of a Medieval hall the "Cappella Magna". It was used for assemblies by the Papal Court.
The building work started in 1475 ended in 1483, and the chapel was inaugurated by the Pope who dedicated it to Our Lady of the Assumption. The chapel is used by the College of Cardinals for the election of a new pope (who is considered to be the successor of St Peter).
The chapel's dimensions (40.23 meters in length, 13.40 meters in width and 20.70 meters in height) are reputed to be copied from Solomon’s temple in Jerusalem which was destroyed in 70 A.D.
When the structure was complete the side walls of the chapel were decorated in 1481 with frescoes by the greatest Italian Renaissance artists. From Florence, Botticelli, Rosselli, Ghirlandaio and Signorelli and Umbrian artists such as Perugino and Pinturicchio.
Painted imitation curtains with the pope’s coat of arms were frescoed on the lower walls above these hung tapestries by Raphael and his followers.
Initially, the ceiling was decorated with gold stars on a blue background by the artist Umbrian artist, Pier Matteo d’ Amelia.
The Chapel's decoration was completed by Michelangelo and was Commissioned by Pope Julius II. Michelangelo was reluctant to accept the work (he always considered himself to be a sculptor rather than a painter) but he eventually agreed to fresco the vault and the painting took four years to complete 1508-1512.
His famous ceiling frescoes replaced the earlier work by Pier Matteo d’ Amelia.
It is impossible to fully appreciate the grandeur of this building without visiting it for yourself. With its arched windows and barrel vault ceiling, you are surrounded by some of the greatest artwork ever produced.
If you love art this place will make your head spin, it is a feast for the senses and, even if you are just a curious tourist, you will be blown away.
You have got to see this great bit of technology which gives you private access to the Chapel. It's great because in reality you would never be alone in the room, which is always very crowded, and of course, in person, you can't see Michelangelo's spectacular artwork close up as you can here.
This virtual tour was prepared by Villanova University at the request of the Vatican.
Just click and drag your arrow in the direction you wish to see. In the lower left, click on the plus (+) to move closer, or on the minus (-) to move away.
The two images above are from the series of paintings on the Sistine Chapel walls. Perugino's Moses picture is on the left wall and Rosselli's Sermon on the Mount is on the right wall. Also see Botticelli's paintings in the Sistine Chapel.
The Sistine Chapel Ceiling.
The Ignudi support the corners of the smaller scenes on the chapel ceiling. These four examples highlight Michelangelo's understanding of the human form. (s)
The Altar wall - The Last Judgement.
Twenty years after finishing the frescoes for the vault Michelangelo painted his "Last Judgement" on the far wall of the chapel.
Restoration and Preservation.
The restoration of the Sistine Chapel was done between 1980 and 1992 and the work on the Last Judgement lasted for four years ending in 1994. The restoration consisted of washing the frescoes with distilled water and a mild solvent removing the layers of dirt that had built up over the years.
All of the candle smoke produced in the chapel had dulled the colours in the frescoes to such an extent that it was thought that Michelangelo was more interested in his bulky figures than any rendition of colour.
The cleaning process has revealed the vivid, bright colours that had been skilfully blended by the artist reducing the flattening effect of the figures.
The result is a re-discovery of Michelangelo's works which can now be seen as vividly as the day the artist originally painted them.
The chapel is now climate controlled, with filters and air conditioning to deal with modern pollution levels.
