作业帮西斯廷教堂 英文介绍英文的!第一段中文字前的内容给一下中文翻译
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西斯廷教堂 英文介绍
英文的!
第一段中文字前的内容给一下中文翻译
英文的!
第一段中文字前的内容给一下中文翻译
The Sistine Chapel (Italian: Cappella Sistina) is a chapel in the Apostolic Palace, the official residence of the Pope, in the Vatican City.
Built between 1475 and 1483, in the time of Pope Sixtus IV della Rovere, the Sistine Chapel has originally served as Palatine Chapel. The chapel is rectangular in shape and measures 40.93 meters long by 13.41 meters wide, i.e. the exact dimensions of the Temple of Solomon, as given in the Old Testament. It is 20.70 meters high and is roofed by a flattened barrel vault, with little side vaults over the centered windows.
The architectural plans were made by Baccio Pontelli and the construction work was supervised by Giovannino de' Dolci. The first Mass in the Sistine Chapel was celebrated on August 9, 1483.
The wall paintings were executed by Pietro Perugino, Sandro Botticelli, Domenico Ghirlandaio, Cosimo Rosselli, Luca Signorelli and their respective workshops, which included Pinturicchio, Piero di Cosimo and Bartolomeo della Gatta.
Michelangelo Buonarroti was commissioned by Pope Julius II della Rovere in 1508 to repaint the ceiling; the work was completed between 1508 and 1512. He painted the Last Judgement over the altar, between 1535 and 1541, being commissioned by Pope Paul III Farnese
如果你想知道更多：
Exterior of the Sistine Chapel.
Exterior
The Sistine Chapel is a high rectangular brick building, its exterior unadorned by architectural or decorative details, as common in many Medieval and Renaissance churches in Italy. It has no exterior facade or exterior processional doorways as the ingress has always been from internal rooms within the Papal Palace. The internal spaces are divided into three storeys of which the lowest is a robustly vaulted basement with several utilitarian windows and a doorway giving onto the exterior court.
Above is the main space, the Chapel, the internal measurements of which are 40.9 meters (134 feet) long by 13.4 meters (44 feet) wide, (the dimensions of the Temple of Solomon, as given in the Old Testament). The vaulted ceiling rises to 20.7 meters (68 feet). The building had six tall arched windows down each side and two at either end. Several of these have been blocked.
Above the vault rises a third storey with wardrooms for guards. At this level was constructed an open projecting gangway which encircled the building supported on an arcade springing from the walls. The gangway has been roofed as it was a continual source of water penetration to the vault of the Chapel. The building is roofed with pantile tiles.
Subsidence and cracking of masonry such as must also have affected the Cappella Maggiore has necessitated the building of very large buttresses to brace the exterior walls. The accretion of other buildings has further altered the exterior appearance of the Chapel.
Interior
As with most buildings measured internally, absolute measurement is hard to ascertain. However, the general proportions of the chapel are clear to within a few centimetres. The length is the module of measurement and has been divided by three to get the width and by two to get the height. There is a ratio of 6:2:3 between the length, width and height. Maintaining the ratio, there were six windows down each side and two at either end. The screen which divides the chapel was originally placed half way from the altar wall, but this has changed. Clearly defined proportions were a feature of Renaissance architecture and reflected the growing interest in the Classical heritage of Rome.
The ceiling of the chapel is a flattened barrel vault springing from a course that encircles the walls at the level of the springing of the window arches. This barrel vault is cut transversely by smaller vaults over each window, which divide the barrel vault at its lowest level into a series of large pendentives rising from shallow pilasters between each window. The barrel vault was originally painted brilliant blue and dotted with gold stars, to the design of Pier Matteo d'Amelia. [1] The pavement is in opus alexandrinum, a decorative style using marble and coloured stone in a pattern that reflects the earlier proportion in the division of the interior and also marks the processional way form the main door, used by the Pope on important occasions such as Palm Sunday.
The screen or transenna in marble by Mino da Fiesole, Andrea Bregno and Giovanni Dalmata divides the chapel into two parts. Originally these made equal space for the members of the Papal Chapel within the sanctuary near the altar and the pilgrims and townsfolk without. However, with growth in the number of those attending the Pope, the screen was moved giving a reduced are for the faithful laity.
The transenna is surmounted by a row of ornate candlesticks, once gilt, and has a wooden door, where once there was an ornate door of gilded wrought iron. The sculptors of the transenna also provided the cantoria or projecting choir gallery.
Raphael's tapestries
During occasional ceremonies of particular importance, side walls are covered with a series of tapestries originally commissioned for the chapel by Raphael, but looted by the French armies and scattered around Europe. The tapestries depict events from the Life of St Peter and the Life of St Paul as described in the Gospels and the Acts of the Apostles. In the late 20th century the set was reassembled and displayed again in the Sistine Chapel in 1983.
Decoration
Diagram of the fresco decoration of the walls and ceiling.The pictorial decoration of the Sistine Chapel comprises frescoes and a set of tapestries. They are the work of different artists and are part of a number of different commissions, some of which were in conflict with each other.
The walls are divided into three main tiers. The lower is decorated with frescoed wall hangings in silver and gold. The central tier of the walls has two cycles of paintings, which complement each other, The Life of Moses and The Life of Christ. They were commissioned in 1480 by Pope Sixtus IV and executed by Ghirlandaio, Botticelli, Perugino and Cosimo Roselli and their workshops.
The upper tier is divided into two zones. At the lower level of the windows is a Gallery of Popes painted at the same time as the Lives. Around the arched tops of the windows are areas known as the lunettes which contain the Ancestors of Christ, painted by Michelangelo as part of the scheme for the ceiling.
The ceiling, commissioned by Pope Julius II and famously painted by Michelangelo from 1508 to 1511, has a series of nine paintings showing God's Creation of the World, God's relationship with Mankind and Mankind's fall from God's Grace. On the large pendentives that support the vault are painted twelve Biblical and Classical men and women who prophesied that God would send Jesus Christ for the salvation of mankind.
Subsequently, Raphael was commissioned by Pope Leo X to design a series of tapestries to hang around the lower tier of the walls. These depict the lives of the two leaders among the Apostles who established the Christian church in Rome, Saints Peter and Paul.
Although Michelangelo's complex design for the ceiling was not quite what his patron, Pope Julius II, had in mind when he commissioned Michelangelo to paint the Twelve Apostles, the scheme displayed a consistent iconographical pattern. However, this was disrupted by the a further commission to Michelangelo to decorate the wall above the altar with The Last Judgement, 1537-1541. The painting of this scene necessitated the obliteration of two episodes from the Lives, several of the Popes and two sets of Ancestors. Two of the windows were blocked and two of Raphael's tapestries became redundant.
Frescos
The wall paintings were executed by premier painters of the 15th century: Perugino, Botticelli, Ghirlandaio, Rossellini, Signorelli and their respective workshops, which included Pinturicchio, Piero di Cosimo and Bartolomeo della Gatta. The subjects were historical religious themes, selected and divided according to the medieval concept of the partition of the world history into three epochs: before the Ten Commandments were given to Moses, between Moses and Christ's birth, and the Christian era thereafter. They underline the continuity between the Old Covenant and the New Covenant, or the transition from the Mosaic law to the Christian religion.
Scenes of the Life of Moses (detail)
Sandro Botticelli, 1481-1482
Fresco
348.5 × 558 cm, 137.2 × 219.7 in
Sistine Chapel, The Vatican
The walls were painted over an astonishingly short period of time, barely eleven months, from July, 1481 to May, 1482. The painters were each required first to execute a sample fresco; these were to be officially examined and evaluated in January, 1482. However, it was so evident at such an early stage that the frescoes would be satisfactory that by October 1481, the artists were given the commission to execute the remaining ten stories.
The pictorial programme for the chapel was comprised of a cycle each from the Old and New Testament of scenes from the lives of Moses and Christ. The narratives began at the altar wall - the frescoes painted there yielding to Michelangelo's Last Judgment a mere thirty years later - continued along the long walls of the chapel, and ended at the entrance wall. A gallery of papal portraits was painted above these depictions, and the latter were completed underneath by representations of painted curtains. The individual scenes from the two cycles contain typological references to one another. The Old and New Testament are understood as constituting a whole, with Moses appearing as the prefiguration of Christ.
The typological positioning of the Moses and Christ cycles has a political dimension going beyond a mere illustrating of the correspondences between Old and New Testament. Sixtus IV was employing a precisely conceived program to illustrate through the entire cycle the legitimacy of papal authority, running from Moses, via Christ, to Peter, whose ultimate authority, conferred by Christ, ultimately to the Pope of present. The portraits of the latter above the narrative depictions served emphatically to illustrate the ancestral lineage of their God-given authority.
The two most important scenes from the fresco cycle, Perugino's Christ Giving the Keys to St. Peter and Botticelli's The Punishment of Korah; both contain in the background the triumphal arch of Constantine, the first Christian emperor, who gave the Pope temporal power over the Roman western world. The triumphal arch alludes to the imperial grant of papal power of the Pope. Sixtus IV was thereby not only illustrating his position in a line of succession starting in the Old Testament and continuing through the New Testament up to contemporary times, but was simultaneously restating the view of the papacy as the legitimate successor to the Roman Empire.
Christ Giving the Key to St. Peter
This fresco is located in the fifth compartment in the northern wall.
Among Perugino's frescoes in the Chapel, the Christ Giving the Keys to St. Peter is stylistically the most instructive. This scene is a reference to the bible passage in which the "keys" to heaven are given to not only St.Peter but to the entire fellowship of believers. These keys represent the power to forgive and to share the word of God thereby giving them the power to allow others into heaven. The main figures are organized in a frieze in two tightly compressed rows close to the surface of the picture and well below the horizon. The principal group, showing Christ handing the silver and gold keys to the kneeling St. Peter, is surrounded by the other Apostles, including Judas (fifth figure to the left of Christ), all with halos, together with portraits of contemporaries, including one said to be a self-portrait (fifth from the right edge). The flat, open square is divided by coloured stones into large foreshortened rectangles, although they are not used in defining the spatial organization. Nor is the relationship between the figures and the felicitous invention of the porticoed Temple of Solomon that dominates the picture effectively resolved. The triumphal arches at the extremities appear as superfluous antiquarian references, suitable for a Roman audience. Scattered in the middle distance are two secondary scenes from the life of Christ, including the Tribute Money on the left and the Stoning of Christ on the right.
The style of the figures is inspired to Verrocchio. The active drapery, with its massive complexity, and the figures, particularly several apostles, including St. John the Evangelist, with beautiful features, long flowing hair, elegant demeanour, and refinement recall St Thomas from Verrocchio's bronze group on Orsanmichele. The poses of the actors fall into a small number of basic attitudes that are consistently repeated, usually in reverse from one side to the other, signifying the use of the same cartoon. They are graceful and elegant figures who tend to stand firmly on the earth. Their heads are smallish in proportion to the rest of their bodies, and their features are delicately distilled with considerable attention to minor detail.
The octagonal temple with its ample porches that dominates the central axis must have had behind it a project created by an architect, but Perugino's treatment is like the rendering of a wooden model, painted with exactitude. The building with its arches serves as a backdrop in front of which the action unfolds. Perugino has made a significant contribution in rendering the landscape. The sense of an infinite world that stretches across the horizon is stronger than in almost any other work of his contemporaries, and the feathery trees against the cloud-filled sky with the bluish-gray hills in the distance represent a solution that later painters would find instructive, especially Raphael.
Scenes of the Life of Moses
Scenes from the Life of Moses by Sandro Botticelli.
Botticelli painted three scenes within the short period of eleven months: Scenes from the Life of Moses, The Temptation of Christ and The Punishment of Korah. He also painted, with much help from his workshop, in the niches above the biblical scenes, some portraits of popes which have been considerably painted over. In all these works his painting appears relatively weak.
The Scenes of the Life of Moses fresco is opposite The Temptation of Christ also painted by Botticelli. The two pictures are typologically related in that both deal with the theme of temptation. Botticelli integrated seven episodes from the life of the young Moses into the landscape with considerable skill, by opening up the surface of the picture with four diagonal rows of figures.
As the Moses cycle starts on the wall behind the altar, the scenes should, unlike the pictures of the temptations of Christ, be read from right to left: (1) Moses in a shining yellow garment, angrily strikes an Egyptian overseer and then (2) flees to the Midianites. There (3) he disperses a group of shepherds who were preventing the daughters of Jethro from (4) drawing water at the well. After (5,6) the divine revelation in the burning bush at the top left, Moses obeys God's commandment and (7) leads the people of Israel in a triumphal procession from slavery in Egypt.
The Punishment of Korah
The Punishment of Korah by Sandro Botticelli.
The message of this painting provides the key to an understanding of the Sistine Chapel as a whole before Michelangelo's work. The fresco reproduces three episodes, each of which depicts a rebellion by the Hebrews against God's appointed leaders, Moses and Aaron, along with the ensuing divine punishment of the agitators. On the right-hand side, the revolt of the Jews against Moses is related, the latter portrayed as an old man with a long white beard, clothed in a yellow robe and an olive-green cloak. Irritated by the various trials through which their emigration from Egypt was putting them, the Jews demanded that Moses be dismissed. They wanted a new leader, one who would take them back to Egypt, and they threatened to stone Moses; however, Joshua placed himself protectively between them and their would-be victim, as depicted in Botticelli's painting.
Detail of The Punishment of Korah.The centre of the fresco shows the rebellion, under the leadership of Korah, of the sons of Aaron and some Levites, who, setting themselves up in defiance of Aaron's authority as high priest, also offered up incense. In the background we see Aaron in a blue robe, swinging his incense censer with an upright posture and filled with solemn dignity, while his rivals stagger and fall to the ground with their censers at God's behest. Their punishment ensues on the left-hand side of the picture, as the rebels are swallowed up by the earth, which is breaking open under them. The two innocent sons of Korah, the ringleader of the rebels, appear floating on a cloud, exempted from the divine punishment.
The principal message of these scenes is made manifest by the inscription in the central field of the triumphal arch: "Let no man take the honour to himself except he that is called by God, as Aaron was." The fresco thus holds a warning that God's punishment will fall upon those who oppose God's appointed leaders. This warning also contained a contemporary political reference through the portrayal of Aaron in the fresco, depicted wearing the triple-ringed tiara of the Pope and thus characterized as the papal predecessor. It was a warning to those questioning the ultimate authority of the Pope over the Church. The papal claims to leadership were God-given, their origin lay in Christ giving Peter the keys to the kingdom of heaven and thereby granting him primacy over the young Church. Perugino painted this crucial element of the doctrine of papal supremacy immediately opposite Botticelli's fresco.
The Temptation of Christ
The Temptation of Christ by Sandro Botticelli.
The fresco which Botticelli began in July, 1481, is the third scene within the Christ cycle and depicts the Temptation of Christ. Christ's threefold temptation by the Devil, as described in the Gospel according to Matthew, can be seen in the background of the picture, with the devil disguised as a hermit. At top left, up on the mountain, he is challenging Christ to turn stones into bread; in the centre, we see the two standing on a temple, with the Devil attempting to persuade Christ to cast himself down; on the right-hand side, finally, he is showing the Son of God the splendour of the world's riches, over which he is offering to make Him master. However, Christ drives away the Devil, who ultimately reveals his true devilish form.
Detail of The Temptation of Christ.On the right in the background, three angels have prepared a table for the celebration of the Eucharist, a scene which only becomes comprehensible when seen in conjunction with the event in the foreground of the fresco. The unity of these two events from the point of view of content is clarified by the reappearance of Christ with three angels in the middle ground on the left of the picture, where He is apparently explaining the incident occurring in the foreground to the heavenly messengers. We are concerned here with the celebration of a Jewish sacrifice, conducted daily before the Temple in accordance with ancient custom. The high priest is receiving the blood-filled sacrificial bowl, while several people are bringing animals and wood as offerings.
At first sight, the inclusion of this Jewish sacrificial scene in the Christ cycle would appear extremely puzzling; however, its explanation may be found in the typological interpretation. The Jewish sacrifice portrayed here refers to the crucifixion of Christ, who through His death offered of His flesh and blood for the redemption of mankind. Christ's sacrifice is re
Built between 1475 and 1483, in the time of Pope Sixtus IV della Rovere, the Sistine Chapel has originally served as Palatine Chapel. The chapel is rectangular in shape and measures 40.93 meters long by 13.41 meters wide, i.e. the exact dimensions of the Temple of Solomon, as given in the Old Testament. It is 20.70 meters high and is roofed by a flattened barrel vault, with little side vaults over the centered windows.
The architectural plans were made by Baccio Pontelli and the construction work was supervised by Giovannino de' Dolci. The first Mass in the Sistine Chapel was celebrated on August 9, 1483.
The wall paintings were executed by Pietro Perugino, Sandro Botticelli, Domenico Ghirlandaio, Cosimo Rosselli, Luca Signorelli and their respective workshops, which included Pinturicchio, Piero di Cosimo and Bartolomeo della Gatta.
Michelangelo Buonarroti was commissioned by Pope Julius II della Rovere in 1508 to repaint the ceiling; the work was completed between 1508 and 1512. He painted the Last Judgement over the altar, between 1535 and 1541, being commissioned by Pope Paul III Farnese
如果你想知道更多：
Exterior of the Sistine Chapel.
Exterior
The Sistine Chapel is a high rectangular brick building, its exterior unadorned by architectural or decorative details, as common in many Medieval and Renaissance churches in Italy. It has no exterior facade or exterior processional doorways as the ingress has always been from internal rooms within the Papal Palace. The internal spaces are divided into three storeys of which the lowest is a robustly vaulted basement with several utilitarian windows and a doorway giving onto the exterior court.
Above is the main space, the Chapel, the internal measurements of which are 40.9 meters (134 feet) long by 13.4 meters (44 feet) wide, (the dimensions of the Temple of Solomon, as given in the Old Testament). The vaulted ceiling rises to 20.7 meters (68 feet). The building had six tall arched windows down each side and two at either end. Several of these have been blocked.
Above the vault rises a third storey with wardrooms for guards. At this level was constructed an open projecting gangway which encircled the building supported on an arcade springing from the walls. The gangway has been roofed as it was a continual source of water penetration to the vault of the Chapel. The building is roofed with pantile tiles.
Subsidence and cracking of masonry such as must also have affected the Cappella Maggiore has necessitated the building of very large buttresses to brace the exterior walls. The accretion of other buildings has further altered the exterior appearance of the Chapel.
Interior
As with most buildings measured internally, absolute measurement is hard to ascertain. However, the general proportions of the chapel are clear to within a few centimetres. The length is the module of measurement and has been divided by three to get the width and by two to get the height. There is a ratio of 6:2:3 between the length, width and height. Maintaining the ratio, there were six windows down each side and two at either end. The screen which divides the chapel was originally placed half way from the altar wall, but this has changed. Clearly defined proportions were a feature of Renaissance architecture and reflected the growing interest in the Classical heritage of Rome.
The ceiling of the chapel is a flattened barrel vault springing from a course that encircles the walls at the level of the springing of the window arches. This barrel vault is cut transversely by smaller vaults over each window, which divide the barrel vault at its lowest level into a series of large pendentives rising from shallow pilasters between each window. The barrel vault was originally painted brilliant blue and dotted with gold stars, to the design of Pier Matteo d'Amelia. [1] The pavement is in opus alexandrinum, a decorative style using marble and coloured stone in a pattern that reflects the earlier proportion in the division of the interior and also marks the processional way form the main door, used by the Pope on important occasions such as Palm Sunday.
The screen or transenna in marble by Mino da Fiesole, Andrea Bregno and Giovanni Dalmata divides the chapel into two parts. Originally these made equal space for the members of the Papal Chapel within the sanctuary near the altar and the pilgrims and townsfolk without. However, with growth in the number of those attending the Pope, the screen was moved giving a reduced are for the faithful laity.
The transenna is surmounted by a row of ornate candlesticks, once gilt, and has a wooden door, where once there was an ornate door of gilded wrought iron. The sculptors of the transenna also provided the cantoria or projecting choir gallery.
Raphael's tapestries
During occasional ceremonies of particular importance, side walls are covered with a series of tapestries originally commissioned for the chapel by Raphael, but looted by the French armies and scattered around Europe. The tapestries depict events from the Life of St Peter and the Life of St Paul as described in the Gospels and the Acts of the Apostles. In the late 20th century the set was reassembled and displayed again in the Sistine Chapel in 1983.
Decoration
Diagram of the fresco decoration of the walls and ceiling.The pictorial decoration of the Sistine Chapel comprises frescoes and a set of tapestries. They are the work of different artists and are part of a number of different commissions, some of which were in conflict with each other.
The walls are divided into three main tiers. The lower is decorated with frescoed wall hangings in silver and gold. The central tier of the walls has two cycles of paintings, which complement each other, The Life of Moses and The Life of Christ. They were commissioned in 1480 by Pope Sixtus IV and executed by Ghirlandaio, Botticelli, Perugino and Cosimo Roselli and their workshops.
The upper tier is divided into two zones. At the lower level of the windows is a Gallery of Popes painted at the same time as the Lives. Around the arched tops of the windows are areas known as the lunettes which contain the Ancestors of Christ, painted by Michelangelo as part of the scheme for the ceiling.
The ceiling, commissioned by Pope Julius II and famously painted by Michelangelo from 1508 to 1511, has a series of nine paintings showing God's Creation of the World, God's relationship with Mankind and Mankind's fall from God's Grace. On the large pendentives that support the vault are painted twelve Biblical and Classical men and women who prophesied that God would send Jesus Christ for the salvation of mankind.
Subsequently, Raphael was commissioned by Pope Leo X to design a series of tapestries to hang around the lower tier of the walls. These depict the lives of the two leaders among the Apostles who established the Christian church in Rome, Saints Peter and Paul.
Although Michelangelo's complex design for the ceiling was not quite what his patron, Pope Julius II, had in mind when he commissioned Michelangelo to paint the Twelve Apostles, the scheme displayed a consistent iconographical pattern. However, this was disrupted by the a further commission to Michelangelo to decorate the wall above the altar with The Last Judgement, 1537-1541. The painting of this scene necessitated the obliteration of two episodes from the Lives, several of the Popes and two sets of Ancestors. Two of the windows were blocked and two of Raphael's tapestries became redundant.
Frescos
The wall paintings were executed by premier painters of the 15th century: Perugino, Botticelli, Ghirlandaio, Rossellini, Signorelli and their respective workshops, which included Pinturicchio, Piero di Cosimo and Bartolomeo della Gatta. The subjects were historical religious themes, selected and divided according to the medieval concept of the partition of the world history into three epochs: before the Ten Commandments were given to Moses, between Moses and Christ's birth, and the Christian era thereafter. They underline the continuity between the Old Covenant and the New Covenant, or the transition from the Mosaic law to the Christian religion.
Scenes of the Life of Moses (detail)
Sandro Botticelli, 1481-1482
Fresco
348.5 × 558 cm, 137.2 × 219.7 in
Sistine Chapel, The Vatican
The walls were painted over an astonishingly short period of time, barely eleven months, from July, 1481 to May, 1482. The painters were each required first to execute a sample fresco; these were to be officially examined and evaluated in January, 1482. However, it was so evident at such an early stage that the frescoes would be satisfactory that by October 1481, the artists were given the commission to execute the remaining ten stories.
The pictorial programme for the chapel was comprised of a cycle each from the Old and New Testament of scenes from the lives of Moses and Christ. The narratives began at the altar wall - the frescoes painted there yielding to Michelangelo's Last Judgment a mere thirty years later - continued along the long walls of the chapel, and ended at the entrance wall. A gallery of papal portraits was painted above these depictions, and the latter were completed underneath by representations of painted curtains. The individual scenes from the two cycles contain typological references to one another. The Old and New Testament are understood as constituting a whole, with Moses appearing as the prefiguration of Christ.
The typological positioning of the Moses and Christ cycles has a political dimension going beyond a mere illustrating of the correspondences between Old and New Testament. Sixtus IV was employing a precisely conceived program to illustrate through the entire cycle the legitimacy of papal authority, running from Moses, via Christ, to Peter, whose ultimate authority, conferred by Christ, ultimately to the Pope of present. The portraits of the latter above the narrative depictions served emphatically to illustrate the ancestral lineage of their God-given authority.
The two most important scenes from the fresco cycle, Perugino's Christ Giving the Keys to St. Peter and Botticelli's The Punishment of Korah; both contain in the background the triumphal arch of Constantine, the first Christian emperor, who gave the Pope temporal power over the Roman western world. The triumphal arch alludes to the imperial grant of papal power of the Pope. Sixtus IV was thereby not only illustrating his position in a line of succession starting in the Old Testament and continuing through the New Testament up to contemporary times, but was simultaneously restating the view of the papacy as the legitimate successor to the Roman Empire.
Christ Giving the Key to St. Peter
This fresco is located in the fifth compartment in the northern wall.
Among Perugino's frescoes in the Chapel, the Christ Giving the Keys to St. Peter is stylistically the most instructive. This scene is a reference to the bible passage in which the "keys" to heaven are given to not only St.Peter but to the entire fellowship of believers. These keys represent the power to forgive and to share the word of God thereby giving them the power to allow others into heaven. The main figures are organized in a frieze in two tightly compressed rows close to the surface of the picture and well below the horizon. The principal group, showing Christ handing the silver and gold keys to the kneeling St. Peter, is surrounded by the other Apostles, including Judas (fifth figure to the left of Christ), all with halos, together with portraits of contemporaries, including one said to be a self-portrait (fifth from the right edge). The flat, open square is divided by coloured stones into large foreshortened rectangles, although they are not used in defining the spatial organization. Nor is the relationship between the figures and the felicitous invention of the porticoed Temple of Solomon that dominates the picture effectively resolved. The triumphal arches at the extremities appear as superfluous antiquarian references, suitable for a Roman audience. Scattered in the middle distance are two secondary scenes from the life of Christ, including the Tribute Money on the left and the Stoning of Christ on the right.
The style of the figures is inspired to Verrocchio. The active drapery, with its massive complexity, and the figures, particularly several apostles, including St. John the Evangelist, with beautiful features, long flowing hair, elegant demeanour, and refinement recall St Thomas from Verrocchio's bronze group on Orsanmichele. The poses of the actors fall into a small number of basic attitudes that are consistently repeated, usually in reverse from one side to the other, signifying the use of the same cartoon. They are graceful and elegant figures who tend to stand firmly on the earth. Their heads are smallish in proportion to the rest of their bodies, and their features are delicately distilled with considerable attention to minor detail.
The octagonal temple with its ample porches that dominates the central axis must have had behind it a project created by an architect, but Perugino's treatment is like the rendering of a wooden model, painted with exactitude. The building with its arches serves as a backdrop in front of which the action unfolds. Perugino has made a significant contribution in rendering the landscape. The sense of an infinite world that stretches across the horizon is stronger than in almost any other work of his contemporaries, and the feathery trees against the cloud-filled sky with the bluish-gray hills in the distance represent a solution that later painters would find instructive, especially Raphael.
Scenes of the Life of Moses
Scenes from the Life of Moses by Sandro Botticelli.
Botticelli painted three scenes within the short period of eleven months: Scenes from the Life of Moses, The Temptation of Christ and The Punishment of Korah. He also painted, with much help from his workshop, in the niches above the biblical scenes, some portraits of popes which have been considerably painted over. In all these works his painting appears relatively weak.
The Scenes of the Life of Moses fresco is opposite The Temptation of Christ also painted by Botticelli. The two pictures are typologically related in that both deal with the theme of temptation. Botticelli integrated seven episodes from the life of the young Moses into the landscape with considerable skill, by opening up the surface of the picture with four diagonal rows of figures.
As the Moses cycle starts on the wall behind the altar, the scenes should, unlike the pictures of the temptations of Christ, be read from right to left: (1) Moses in a shining yellow garment, angrily strikes an Egyptian overseer and then (2) flees to the Midianites. There (3) he disperses a group of shepherds who were preventing the daughters of Jethro from (4) drawing water at the well. After (5,6) the divine revelation in the burning bush at the top left, Moses obeys God's commandment and (7) leads the people of Israel in a triumphal procession from slavery in Egypt.
The Punishment of Korah
The Punishment of Korah by Sandro Botticelli.
The message of this painting provides the key to an understanding of the Sistine Chapel as a whole before Michelangelo's work. The fresco reproduces three episodes, each of which depicts a rebellion by the Hebrews against God's appointed leaders, Moses and Aaron, along with the ensuing divine punishment of the agitators. On the right-hand side, the revolt of the Jews against Moses is related, the latter portrayed as an old man with a long white beard, clothed in a yellow robe and an olive-green cloak. Irritated by the various trials through which their emigration from Egypt was putting them, the Jews demanded that Moses be dismissed. They wanted a new leader, one who would take them back to Egypt, and they threatened to stone Moses; however, Joshua placed himself protectively between them and their would-be victim, as depicted in Botticelli's painting.
Detail of The Punishment of Korah.The centre of the fresco shows the rebellion, under the leadership of Korah, of the sons of Aaron and some Levites, who, setting themselves up in defiance of Aaron's authority as high priest, also offered up incense. In the background we see Aaron in a blue robe, swinging his incense censer with an upright posture and filled with solemn dignity, while his rivals stagger and fall to the ground with their censers at God's behest. Their punishment ensues on the left-hand side of the picture, as the rebels are swallowed up by the earth, which is breaking open under them. The two innocent sons of Korah, the ringleader of the rebels, appear floating on a cloud, exempted from the divine punishment.
The principal message of these scenes is made manifest by the inscription in the central field of the triumphal arch: "Let no man take the honour to himself except he that is called by God, as Aaron was." The fresco thus holds a warning that God's punishment will fall upon those who oppose God's appointed leaders. This warning also contained a contemporary political reference through the portrayal of Aaron in the fresco, depicted wearing the triple-ringed tiara of the Pope and thus characterized as the papal predecessor. It was a warning to those questioning the ultimate authority of the Pope over the Church. The papal claims to leadership were God-given, their origin lay in Christ giving Peter the keys to the kingdom of heaven and thereby granting him primacy over the young Church. Perugino painted this crucial element of the doctrine of papal supremacy immediately opposite Botticelli's fresco.
The Temptation of Christ
The Temptation of Christ by Sandro Botticelli.
The fresco which Botticelli began in July, 1481, is the third scene within the Christ cycle and depicts the Temptation of Christ. Christ's threefold temptation by the Devil, as described in the Gospel according to Matthew, can be seen in the background of the picture, with the devil disguised as a hermit. At top left, up on the mountain, he is challenging Christ to turn stones into bread; in the centre, we see the two standing on a temple, with the Devil attempting to persuade Christ to cast himself down; on the right-hand side, finally, he is showing the Son of God the splendour of the world's riches, over which he is offering to make Him master. However, Christ drives away the Devil, who ultimately reveals his true devilish form.
Detail of The Temptation of Christ.On the right in the background, three angels have prepared a table for the celebration of the Eucharist, a scene which only becomes comprehensible when seen in conjunction with the event in the foreground of the fresco. The unity of these two events from the point of view of content is clarified by the reappearance of Christ with three angels in the middle ground on the left of the picture, where He is apparently explaining the incident occurring in the foreground to the heavenly messengers. We are concerned here with the celebration of a Jewish sacrifice, conducted daily before the Temple in accordance with ancient custom. The high priest is receiving the blood-filled sacrificial bowl, while several people are bringing animals and wood as offerings.
At first sight, the inclusion of this Jewish sacrificial scene in the Christ cycle would appear extremely puzzling; however, its explanation may be found in the typological interpretation. The Jewish sacrifice portrayed here refers to the crucifixion of Christ, who through His death offered of His flesh and blood for the redemption of mankind. Christ's sacrifice is re