Ceiling of the Sistine Chapel발음듣기
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Ceiling of the Sistine Chapel
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(piano music) [Male voiceover]: We're in the Sistine Chapel in the Vatican, which has tremendous importance to Catholicism.발음듣기
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This is where the Pope will lead mass, but perhaps most famously this is the room that the college of cardinals uses to decide the next Pope.발음듣기
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[Female voiceover] And every surface of this space is decorated, from the beautiful mosaics on the floor.발음듣기
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The wall behind the alter was painted by Michelangelo later in his life, and then of course the ceiling.발음듣기
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[Female voiceover] And you can imagine what it was like when this was unveiled in 1512, after Michelangelo had worked on it for years, how different, how revolutionary Michelangelo's figures seemed.발음듣기
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[Male voiceover] Well he was first and foremost a sculptor, and it wasn't actually until a relatively recent cleaning that we knew his brilliance as a colorist, but for him line and drawing and the act of carving figures out of paint was primary.발음듣기
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[Female voiceover] They have a massiveness and a presence that is charismatic, but there's also a sense of elegance and ideal beauty.발음듣기
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[Male voiceover] Okay. Probably the most important are the series of nine scenes that move across the central panels.발음듣기
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[Female voiceover] And those are framed by a painted architectural framework that looks real.발음듣기
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This primordial God, light on one side of his body and the darkness of night on the other, this initial separation and division to create order in the universe.발음듣기
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[Female voiceover] Man and woman disobeying God causing the expulsion of Adam and Eve from the Garden of Eden and then the far end by the entrance we see the scenes of Noah.발음듣기
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[Male voiceover] So, these are all scenes from the first book of the bible, from the Book of Genesis, and it's so interesting because of course this is a Catholic church and yet we don't see images of Christ, but these Old Testament scenes lay the foundation for the coming of Christ.발음듣기
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Not only does the disobedience of Adam and Eve make the coming of Christ necessary but when we look on either side of those central scenes we see the prophets and the Sibyls who predicted the coming of a savior for mankind.발음듣기
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[Male voiceover] The image of the Libyan sibyl that we're sitting directly across from is spectacularly beautiful.발음듣기
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So sibyls are these ancient Pagan soothsayers who can foresee the future and according to the Catholic tradition foretell the coming of Christ, but look at the Libyan sibyl.발음듣기
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There's that sense of potential in the way that her toe just reaches down and touches the ground but seems as if she's in the act of moving and possibly of standing.발음듣기
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[Female voiceover] There's the presence and drama to these figures, to the Libyan sibyl especially.발음듣기
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She twists her body in an almost impossible way and we can see Michelangelo has articulated every muscle in the back, and in fact we know that he used a male model for that figure.발음듣기
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When I first studied Michelangelo we spoke only of line, of sculptural form, but of course after the dramatic cleaning of the Sistine Chapel those original colors, their brilliance, their delicacy came out.발음듣기
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[Male voiceover] She, of course, is reaching back and presumably that's a book of prophecy that she holds, and there's a look of confidence and knowing on her face.발음듣기
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[Female voiceover] Sitting on the architectural framework on the four corners of all of the central scenes are male nude figures that we refer to as gundi.발음듣기
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[Male voiceover] I think this is really important because Michelangelo is not painting simply separate paintings, but he's creating this enormously complex stage set with which to create levels of reality and so for example the Libyan sibyl seems as if she is seated amongst the architecture and then set next to her are bronze figures and then in the spandrels, as you mentioned, other scenes that seem to recede into a kind of illusionistic distance.발음듣기
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[Female voiceover] And then relief sculptures on the architecture on either side of her, and then seated above those the gundi, and it's so clear that we're at this moment, at the rediscovery of ancient Greek and Roman sculpture and Michelangelo is in Rome.발음듣기
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It's so interesting to compare the optimism, the elegance, the nobility of the figures of the figures on the ceiling with the far darker and more pessimistic view that Michelangelo will paint decades later on the back wall, The Last Judgment.발음듣기
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There's a big difference between 1512 when Michelangelo completes the ceiling and when he begins The Last Judgment.발음듣기
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[Male voiceover] Michelangelo's world had been shattered, but when you look at the ceiling you see instead all of the optimism, all of the intellectual and emotional power that characterizes the high Renaissance in all of its new found appreciation for the ancient world.발음듣기
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This was a moment of incredible promise, and all of that comes shining through these figures.발음듣기
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[Female voiceover] And let's not forget that just a few doors away simultaneously Raphael is painting the frescoes in the papal palace.발음듣기
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