query: Who painted the ceiling of the Sistine Chapel?

title: Sistine Chapel ceiling

text: Sistine Chapel ceiling The Sistine Chapel ceiling, painted by Michelangelo between 1508 and 1512, is a cornerstone work of High Renaissance art. The ceiling is that of the Sistine Chapel, the large papal chapel built within the Vatican between 1477 and 1480 by Pope Sixtus IV, for whom the chapel is named. It was painted at the commission of Pope Julius II. The chapel is the location for papal conclaves and many other important services. The ceiling's various painted elements form part of a larger scheme of decoration within the Chapel, which includes the large fresco "The Last Judgment" on

title: Sistine Chapel ceiling

text: particular pentimenti, highlights and shadows, and other detailing painted "a secco" – was lost in the removal of various accretions. Vasari Johann Wolfgang Goethe Waldemar Januszczak The art critic and television producer Waldemar Januszczak wrote that when the Sistine Chapel ceiling was recently cleaned, he "was able to persuade the man at the Vatican who was in charge of Japanese TV access to let me climb the scaffold while the cleaning was in progress." Gabriele Bartz and Eberhard König Pope John Paul II Sistine Chapel ceiling The Sistine Chapel ceiling, painted by Michelangelo between 1508 and 1512, is a cornerstone

title: Gallery of Sistine Chapel ceiling

text: on the Flight into Egypt. The "Ignudi" which surround the narrative scenes may show the perfection of Humanity, or may represent angels. They were often imitated by other artists. The shields represent violent episodes in the history of Israel. Gallery of Sistine Chapel ceiling The Sistine Chapel ceiling, painted by Michelangelo between 1508 and 1512, is one of the most renowned artworks of the High Renaissance. Central to the ceiling decoration are nine scenes from the Book of Genesis of which "The Creation of Adam" is the best known, the hands of God and Adam being reproduced in countless imitations.

title: Gallery of Sistine Chapel ceiling

text: Gallery of Sistine Chapel ceiling The Sistine Chapel ceiling, painted by Michelangelo between 1508 and 1512, is one of the most renowned artworks of the High Renaissance. Central to the ceiling decoration are nine scenes from the Book of Genesis of which "The Creation of Adam" is the best known, the hands of God and Adam being reproduced in countless imitations. The complex design includes several sets of individual figures, both clothed and nude, which allowed Michelangelo to fully demonstrate his skill in creating a huge variety of poses for the human figure, and have provided an enormously influential pattern

title: Sistine Chapel ceiling

text: and the relatively conservative concept of the relationship between Eve and her Creator adheres closely to Jacopo's design. Other panels on the ceiling, most particularly the iconic "Creation of Adam" show "... unprecedented invention". The ceiling of the Sistine Chapel was to have a profound effect upon other artists, even before it was completed. Vasari, in his Life of Raphael, tells us that Bramante, who had the keys to the chapel, let Raphael in to examine the paintings in Michelangelo's absence. On seeing Michelangelo's prophets, Raphael went back to the picture of the Prophet Isaiah that he was painting on

title: Restoration of the Sistine Chapel frescoes

text: Restoration of the Sistine Chapel frescoes The conservation-restoration of the frescoes of the Sistine Chapel was one of the most significant conservation-restorations of the 20th century. The Sistine Chapel was built by Pope Sixtus IV within the Vatican immediately to the north of St. Peter's Basilica and completed in about 1481. Its walls were decorated by a number of Renaissance painters who were among the most highly regarded artists of late 15th century Italy, including Ghirlandaio, Perugino, and Botticelli. The Chapel was further enhanced under Pope Julius II by the painting of the ceiling by Michelangelo between 1508 and 1512

title: Sistine Chapel ceiling

text: picture is crowded with figures and separate incidents as the various individuals who have been attacked by snakes struggle and die or turn toward the icon that will save them. This is the most Mannerist of Michelangelo's earlier compositions at the Sistine Chapel, picking up the theme of human distress begun in the "Great Flood" scene and carrying it forward into the torment of lost souls in the "Last Judgement", which was later painted below. Between the large pendentives that support the vault are windows, six on each side of the chapel. There were two more windows in each end

title: Sistine Chapel ceiling

text: Church as the agent of God. To be outside the Church was to be beyond "Salvation". In the ceiling of the Sistine Chapel, Michelangelo presented both Catholic and Humanist elements in a way that does not appear visually conflicting. The inclusion of "non-biblical" figures such as the Sibyls or "Ignudi" is consistent with the rationalising of Humanist and Christian thought of the Renaissance. This rationalisation was to become a target of the Counter Reformation. The iconography of the ceiling has had various interpretations in the past, some elements of which have been contradicted by modern scholarship. Others, such as the

text: and by the painting of the "Last Judgment", commissioned by Pope Clement VII and completed in 1541, again by Michelangelo. The tapestries on the lowest tier, today best known from the Raphael Cartoons (painted designs) of 1515–16, completed the ensemble. Together the paintings make up the greatest pictorial scheme of the Renaissance. Individually, some of Michelangelo's paintings on the ceiling are among the most notable works of western art ever created. The frescoes of the Sistine Chapel and in particular the ceiling and accompanying lunettes by Michelangelo have been subject to a number of restorations, the most recent taking place

title: Sistine Chapel

text: ceiling restoration began on 7 November 1984. The restoration complete, the chapel was re-opened to the public on 8 April 1994. The part of the restoration in the Sistine Chapel that has caused the most concern is the ceiling, painted by Michelangelo. The emergence of the brightly coloured Ancestors of Christ from the gloom sparked a reaction of fear that the processes being employed in the cleaning were too severe and removed the original intent of the artist. The problem lies in the analysis and understanding of the techniques utilised by Michelangelo, and the technical response of the restorers to

title: Sistine Chapel

text: 1512, under the patronage of Pope Julius II, Michelangelo painted the chapel's ceiling, a project which changed the course of Western art and is regarded as one of the major artistic accomplishments of human civilization. In a different climate after the Sack of Rome, he returned and between 1535 and 1541, painted "The Last Judgment" for Popes Clement VII and Paul III. The fame of Michelangelo's paintings has drawn multitudes of visitors to the chapel ever since they were revealed five hundred years ago. While known as the location of Papal conclaves, the primary function of the Sistine Chapel is

title: Sistine Chapel ceiling

text: "The whole world came running when the vault was revealed, and the sight of it was enough to reduce them to stunned silence." The frescoes of the Sistine Chapel were restored between June 1980 and December 1999, with preliminary tests taking place in 1979. The first stage of restoration, the work upon Michelangelo's lunettes, was achieved in October 1984. The work then proceeded on the ceiling, completed December 1989 and from there to the Last Judgement. The restoration was unveiled by Pope John Paul II on 8 April 1994. The restoration team comprised Gianluigi Colalucci, Maurizio Rossi, Piergiorgio Bonetti, Bruno

title: Sistine Chapel ceiling

text: despair or jubilation. Among the artists in whose work can be seen the direct influence of Michelangelo are Pontormo, Andrea del Sarto, Correggio, Tintoretto, Annibale Carracci, Paolo Veronese and El Greco. In January 2007, it was claimed that as many as 10,000 visitors passed through the Vatican Museums in a day and that the ceiling of the Sistine Chapel is the biggest attraction. The Vatican, anxious at the possibility that the newly restored frescoes will suffer damage, announced plans to reduce visiting hours and raise the price in an attempt to discourage visitors. Five hundred years earlier Vasari had said

title: Sistine Chapel ceiling

text: of the chapel, now closed, and those above the High Altar covered by the Last Judgement. Above each window is an arched shape, referred to as a lunette and above eight of the lunettes at the sides of the chapel are triangular "spandrels" filling the spaces between the side pendentives and the vault, the other eight lunettes each being below one of the corner pendentives. Michelangelo was commissioned to paint these areas as part of the work on the ceiling. The structures form visual bridges between the walls and the ceiling, and the figures which are painted on them are

text: paintings as if we had been given the chance of being present when they were first shown." Other writers were less flattering. Andrew Wordsworth of "The Independent", London, expressed the major point of concern: This crucial matter was also emphasised by Beck and defined in very clearly expressed terms on the website of the artist, Peter Layne Arguimbau. That part of the restoration in the Sistine Chapel which has caused the most concern is the ceiling, painted by Michelangelo. The emergence of the brightly coloured Ancestors of Christ from the gloom sparked a reaction of fear that the processes being

title: Sistine Chapel ceiling

text: painted in only two days. The Eleazar and Mathan picture contains two figures with a wealth of costume detail that is not present in any other lunette. Prior to restoration, of all the paintings in the Sistine Chapel, the lunettes and spandrels were the dirtiest. Added to this, there has always been a problem of poor daytime visibility of the panels nearest the windows because of "halination". Consequently, they were the least well known of all Michelangelo's publicly accessible works. The recent restoration has made these masterly studies of human nature and inventive depiction of the human form known once

title: Sistine Chapel

text: Sistine Chapel ceiling and "The Last Judgment" by Michelangelo. During the reign of Sixtus IV, a team of Renaissance painters that included Sandro Botticelli, Pietro Perugino, Pinturicchio, Domenico Ghirlandaio and Cosimo Rosselli, created a series of frescos depicting the "Life of Moses" and the "Life of Christ", offset by papal portraits above and trompe l’oeil drapery below. These paintings were completed in 1482, and on 15 August 1483 Sixtus IV celebrated the first mass in the Sistine Chapel for the Feast of the Assumption, at which ceremony the chapel was consecrated and dedicated to the Virgin Mary. Between 1508 and

title: Sistine Chapel ceiling

text: He learned his trade first under the direction of a masterly fresco painter, Domenico Ghirlandaio, known for two great fresco cycles in the Sassetti Chapel and Tornabuoni Chapel, and for his contribution to the cycle of paintings on the walls of the Sistine Chapel. As a student Michelangelo studied and drew from the works of the two most renowned Florentine fresco painters of the early Renaissance, Giotto and Masaccio. Masaccio's figures of Adam and Eve being expelled from the Garden of Eden had a profound effect on the depiction of the nude in general, and in particular on the use

title: Sistine Chapel ceiling

text: the dynamic motion, the luminous colouration, the haunting expressions of the figures in the lunettes, the abundance of putti. Gabriele Bartz and Eberhard König have said of the "Ignudi", "There is no image that has had a more lasting effect on following generations than this. Henceforth similar figures disported themselves in innumerable decorative works, be they painted, formed in stucco or even sculpted." Within Michelangelo's own work, the chapel ceiling led to the later and more Mannerist painting of the Last Judgement in which the crowded compositions gave full rein to his inventiveness in painting contorted and foreshortened figures expressing

title: Sistine Chapel ceiling

text: the two at either end, Michelangelo painted the largest figures on the ceiling: twelve people who prophesied or represented some aspect of the Coming of Christ. Of those twelve, seven were Prophets of Israel and were male. The remaining five were prophets of the Classical World, called "Sibyls" and were female. The prophet Jonah is placed above the altar and Zechariah at the further end. The other male and female figures alternate down each side, each being identified by an inscription on a painted marble panel supported by a putto. The seven prophets of Israel chosen for depiction on the

text: between 1980 and 1994. This most recent restoration had a profound effect on art lovers and historians, as colours and details that had not been seen for centuries were revealed. It has been claimed that as a result "Every book on Michelangelo will have to be rewritten". Others, such as the art historian James Beck of ArtWatch International, have been extremely critical of the restoration, saying that the restorers have not realised the true intentions of the artist. This is the subject of continuing debate. The frescoes on the ceiling of the Sistine Chapel had a number of interventions prior

text: time, monotonous, "tend[ing] towards dull red and grey". Mancinelli writes that the restoration reveals "a new Michelangelo" as a colourist and that this "new character makes much better sense of his historical position". He goes on to say that perceptive viewers of the Sistine Chapel ceiling have always been aware that the range of colours used was very different from that which could be seen, and included the same pinks, apple greens, oranges, yellows and pale blues that were employed by Michelangelo's teacher, Domenico Ghirlandaio, one of the most competent fresco painters of the Renaissance. The brilliant palette ought to

title: Sistine Chapel ceiling

text: according to the Gospel of Matthew. However, the genealogy is now incomplete, since the two lunettes of the windows in the Altar wall were destroyed by Michelangelo when he returned to the Sistine Chapel in 1537 to paint The Last Judgment. Only engravings, based on a drawing that has since been lost, remain of them. The sequence of tablets seems a little erratic as one plaque has four names, most have three or two, and two plaques have only one. Moreover, the progression moves from one side of the building to the other, but not consistently, and the figures the

title: Sistine Chapel ceiling

text: of the Sistine Chapel. At the outset, the plaster, "intonaco", began to grow mold because it was too wet. Michelangelo had to remove it and start again. He then tried a new formula created by one of his assistants, Jacopo l'Indaco, which resisted mold and entered the Italian building tradition. Because he was painting "fresco", 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. The edges between "giornate" remain slightly visible; thus, they give a good idea of

title: Sistine Chapel ceiling

text: reread the Old Testament while he was painting the ceiling, drawing his inspiration from the words of the scripture, rather than from the established traditions of sacral art. A total of 343 figures were painted on the ceiling. To reach the chapel's ceiling, Michelangelo designed his own scaffold, a flat wooden platform on brackets built out from holes in the wall near the top of the windows, rather than being built up from the floor. Mancinelli speculates that this was in order to cut the cost of timber. According to Michelangelo's pupil and biographer Ascanio Condivi, the brackets and frame

title: Sistine Chapel ceiling

text: "real" architectural elements by accentuating the lines where spandrels and pendentives intersect with the curving vault. Michelangelo painted these as decorative courses that look like sculpted stone moldings. These have two repeating motifs, a formula common in Classical architecture. Here, one motif is the acorn, the symbol of the family of both Pope Sixtus IV, who built the chapel, and Pope Julius II, who commissioned Michelangelo's work. The other motif is the scallop shell, one of the symbols of the Madonna, to whose assumption the chapel was dedicated in 1483. The crown of the wall then rises above the spandrels,

title: Sistine Chapel ceiling

text: known as the Papal Chapel who would observe the decorations and interpret their theological and temporal significance, it was Pope Julius' intention and expectation that the iconography of the ceiling was to be read with many layers of meaning. Michelangelo, who was not primarily a painter but a sculptor, was reluctant to take on the work. Also, he was occupied with a very large sculptural commission for the pope's own tomb. The pope was adamant, leaving Michelangelo no choice but to accept. But a war with the French broke out, diverting the attention of the pope, and Michelangelo fled from

title: Sistine Chapel

text: the chapel was decorated with frescoes by a number of the most famous artists of the High Renaissance, including Sandro Botticelli, Domenico Ghirlandaio, Pietro Perugino, and Michelangelo. The first mass in the Sistine Chapel was celebrated on 15 August 1483, the Feast of the Assumption, at which ceremony the chapel was consecrated and dedicated to the Virgin Mary. The Sistine Chapel has maintained its function to the present day, and continues to host the important services of the Papal Calendar, unless the Pope is travelling. There is a permanent choir, the Sistine Chapel Choir, for whom much original music has

title: Sistine Chapel ceiling

text: 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, while on others a grid is evident, indicating that he enlarged directly onto the ceiling from a small drawing. Michelangelo painted onto the damp plaster using a wash technique to apply

title: Sistine Chapel ceiling

text: tier down each side. There were also two windows at each end, but these have been closed up above the altar when Michelangelo's Last Judgement was painted, obliterating two lunettes. Between the windows are large "pendentives" which support the vault. Between the pendentives are triangularly shaped arches or "spandrels" cut into the vault above each window. Above the height of the pendentives, the ceiling slopes gently without much deviation from the horizontal. This is the "real" architecture. Michelangelo has elaborated it with illusionary or "fictive" architecture. The first element in the scheme of painted architecture is a definition of the

title: Sistine Chapel ceiling

text: on the fictive cornice. Pictorially, the Ignudi appear to occupy a space between the narrative spaces and the space of the chapel itself. (see below) Along the central section of the ceiling, Michelangelo depicted nine scenes from the Book of Genesis, the first book of the Bible. The pictures are organized into three groups of three alternating large and small panels. The first group shows God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden where

title: Sistine Chapel ceiling

text: Section reference. Michelangelo wrote a poem describing the arduous conditions under which he worked The overt subject matter of the ceiling is the doctrine of humanity's need for Salvation as offered by God through Jesus. It is a visual metaphor of Humankind's need for a covenant with God. The Old Covenant of the Children of Israel through Moses and the New Covenant through Christ had already been represented around the walls of the chapel. Some experts, including Benjamin Blech and Vatican art historian Enrico Bruschini, have also noted less overt subject matter, which they describe as being "concealed" and "forbidden."

title: Sistine Chapel ceiling

text: towards the altar with the scenes of the Creation. The first three scenes, from the story of Noah, contain a much larger number of small figures than the later panels. This is partly because of the subject matter, which deals with the fate of Humanity, but also because all the figures at that end of the ceiling, including the prophets and "Ignudi", are smaller than in the central section. As the scale got larger, Michelangelo's style became broader; the final narrative scene of God in the act of Creation was painted in a single day. The bright colours and broad,

title: Sistine Chapel ceiling

text: more. Section References The "Ignudi" are the 20 athletic, nude males that Michelangelo painted as supporting figures at each corner of the five smaller narrative scenes that run along the centre of the ceiling. The figures hold or are draped with or lean on a variety of items which include pink ribbons, green bolsters and enormous garlands of acorns. The "Ignudi", although all seated, are less physically constrained than the Ancestors of Christ. While the pairs of the monochrome male and female figures above the spandrels are mirrors of each other, these "Ignudi" are all different. In the earliest paintings,

title: Sistine Chapel

text: no work for a papal chapel but rather for the public baths and taverns." In response Michelangelo worked da Cesena's semblance into the scene as Minos, judge of the underworld. It is said that when he complained to the Pope, the pontiff responded that his jurisdiction did not extend to hell, so the portrait would have to remain. Michelangelo also painted his own portrait, on the flayed skin held by St Bartholomew. The genitalia in the fresco were later covered by the artist Daniele da Volterra, whom history remembers by the derogatory nickname "Il Braghettone" ("the breeches-painter"). The Sistine Chapel's

title: Sistine Chapel

text: The northern wall houses the "Stories of Jesus", dating to 1481–1482. They include: Michelangelo was commissioned by Pope Julius II in 1508 to repaint the vault, or ceiling, of the Chapel. It was originally painted as golden stars on a blue sky. The work was completed between 1508 and 2 November 1512. He painted the "Last Judgment" over the altar, between 1535 and 1541, on commission from Pope Paul III Farnese. Michelangelo was intimidated by the scale of the commission, and made it known from the outset of Julius II's approach that he would prefer to decline. He felt he

title: Sistine Chapel ceiling

text: of God, impassively watching and waiting on the fate of Humankind. Their painting demonstrates, more than any other figures on the ceiling, Michelangelo's mastery of anatomy and foreshortening and his enormous powers of invention. In their reflection of classical antiquity they resonate with Pope Julius' aspirations to lead Italy towards a new 'age of gold'; at the same time, they staked Michelangelo's claim to greatness. However, a number of critics were angered by their presence and nudity, including Pope Adrian VI who wanted the ceiling stripped. Michelangelo was the artistic heir to the great 15th-century sculptors and painters of Florence.

title: Sistine Chapel ceiling

text: identity of the figures in the lunettes and spandrels, continue to defy interpretation. Modern scholars have sought, as yet unsuccessfully, to determine a written source of the theological program of the ceiling and have questioned whether or not it was entirely devised by the artist himself, who was both an avid reader of the Bible and a genius. Also of interest to some modern scholars is the question of how Michelangelo's own spiritual and psychological state is reflected in the iconography and the expression of the ceiling. One such speculation is that Michelangelo was tormented by conflict between homosexual desires

title: Chigi Chapel

text: Adam", "Creation of Eve", "Creation of the Animals", "The Original Sin" and "Expulsion from Paradise". The paintings show the strong influence of the sculptural style of Michelangelo's famous Genesis-cycle on the ceiling of the Sistine Chapel. The scenes are not in strictly chronological order. The first five are the same as the parallel Genesis paintings in the Sistine Chapel but the sixth fresco adds a new subject, the creation of the fishes, birds and wild animals. The sixth scene of the Sistine ceiling is separated into two individual paintings on the drum of the Chigi Chapel. Salviati's cycle ends here,

title: Separation of Light from Darkness

text: the Book of Genesis: Although in terms of the Genesis chronology it is the first of nine central panels along the Sistine ceiling, the "Separation of Light from Darkness" was the last of the nine panels painted by Michelangelo. Michelangelo painted the Sistine ceiling in two stages. Between May 1508 and the summer of 1511, he completed the "entrance half" of the Sistine chapel and ended this stage by painting the "Creation of Eve" and the scenes flanking this central panel. After an idle period of about 6 months, he painted the "altar half," starting with the "Creation of Adam",

title: Sistine Chapel ceiling

text: Elijah's role as a prophet was one marked by accusation and warnings to repent, and the purpose of his translation into Heaven was traditionally seen as so that he might stand before God to condemn Israel for its sins. In four of the five most highly finished "medallions" the space is crowded with figures in violent action, similar to Michelangelo's cartoon for the "Battle of Cascina". The application of gold on the shields, in contrast to its absence on the rest of the ceiling, serves to link the ceiling to some extent with the frescoes around the walls. In the

title: Sistine Chapel ceiling

text: Rome to continue sculpting. The tomb sculptures, however, were never to be finished because in 1508 the pope returned to Rome victorious and summoned Michelangelo to begin work on the ceiling. The contract was signed on 10 May 1508. The scheme proposed by the pope was for twelve large figures of the Apostles to occupy the pendentives. However, Michelangelo negotiated for a grander, much more complex scheme and was finally permitted, in his own words, "to do as I liked". His scheme for the ceiling eventually comprised some three hundred figures and took four years to execute, being completed and

title: Sistine Chapel ceiling

text: love and creative power." For the central section of the ceiling, Michelangelo has taken four episodes from the story of Adam and Eve as told in the first, second and third chapters of Genesis. In this sequence of three, two of the panels are large and one small. In the first of the pictures, and one of the most widely recognised images in the history of painting, Michelangelo shows God reaching out to touch Adam, who, in the words of Vasari, is "a figure whose beauty, pose and contours are such that it seems to have been fashioned that very

title: Ceiling

text: by the damage from smoke from candles or a fireplace. Many historic buildings have celebrated ceilings. Perhaps the most famous is the Sistine Chapel ceiling by Michelangelo. Ceiling height may have psychological impacts. The most common ceiling that contributes to fire-resistance ratings in commercial and residential construction is the dropped ceiling. In the case of a dropped ceiling, the rating is achieved by the entire system, which is both the structure above, from which the ceilings is suspended, which could be a concrete floor or a timber floor, as well as the suspension mechanism and, finally the lowest membrane or

title: Sistine Chapel

text: is decorated with frescoed hangings in silver and gold. Above the narrative frescos, 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 was commissioned by Pope Julius II and painted by Michelangelo between 1508 and 1512. The commission was originally to paint the twelve apostles on the triangular pendentives

title: The Creation of Adam

text: famous for his central figure of "Moses", completed in 1516. Of the other statues intended for the tomb, two known as the "Rebellious Slave" and the "Dying Slave", are now in the Louvre. During the same period, Michelangelo painted the ceiling of the Sistine Chapel, which took approximately four years to complete (1508–1512). According to Condivi's account, Bramante, who was working on the building of St Peter's Basilica, resented Michelangelo's commission for the Pope's tomb and convinced the Pope to commission him in a medium with which he was unfamiliar, in order that he might fail at the task. Michelangelo

text: of the work. Based on this decision, according to Arguimbau's critical reading of the restoration data that has been provided, the chemists of the restoration team decided upon a solvent that would effectively strip the ceiling down to its paint-impregnated plaster. After treatment, only that which was painted "buon fresco" would remain. According to critics, the inherent problem with this approach is that it relied heavily upon an assumption that Michelangelo only painted "buon fresco", that he was always satisfied with the result at the end of the day, and that in four and a half years spent on the

title: Sistine Chapel ceiling

text: midway in size (approximately 2 metres high) between the very large prophets and the much smaller figures of Popes which had been painted to either side of each window in the 15th century. Michelangelo chose the Ancestors of Christ as the subject of these images, thus portraying Jesus' physical lineage, while the papal portraits are his spiritual successors, according to Church doctrine. (see "gallery") Centrally placed above each window is a "faux" marble tablet with a decorative frame. On each is painted the names of the male line by which Jesus, through his Earthly father, Joseph, is descended from Abraham,

title: Giuliano Bugiardini

text: moved to the studio of Fra Bartolomeo. He completed certain works left unfinished by Fra Bartolomeo when he died. Some years later in Rome, while at work on the ceiling of the Sistine Chapel, Michelangelo sought Giuliano Bugiardini's services but later rejected them. Vasari mentioned Bugiardini assisted Michelangelo very briefly in 1508 with the painting of the ceiling of the Sistine Chapel. He painted a "Martyrdom of St Catherine" for Santa Maria Novella in Florence, based on Michelangelo's sketches. He also painted in Bologna in 1526–1530. His earliest known works of between 1495 and 1500 show the influence of his

title: Sistine Chapel ceiling

text: the sanctuary wall, also by Michelangelo, wall paintings by several leading painters of the late 15th century including Sandro Botticelli, Domenico Ghirlandaio and Pietro Perugino, and a set of large tapestries by Raphael, the whole illustrating much of the doctrine of the Catholic Church. Central to the ceiling decoration are nine scenes from the Book of Genesis of which "The Creation of Adam" is the best known, having an iconic standing equaled only by Leonardo da Vincis "Mona Lisa", the hands of God and Adam being reproduced in countless imitations. The complex design includes several sets of individual figures, both

title: Sistine Chapel ceiling

text: a column in the Church of Sant'Agostino and, according to Vasari, although it was finished, he scraped it off the wall and repainted it in a much more powerful manner, in imitation of Michelangelo. John O'Malley points out that even earlier than the Isaiah is Raphael's inclusion of the figure of Heraclitus in the "School of Athens", a brooding figure similar to Michelangelo's Jeremiah, but with the countenace of Michelangelo himself, and leaning on a block of marble. There was hardly a design element on the ceiling that was not subsequently imitated: the fictive architecture, the muscular anatomy, the foreshortening,

title: Sistine Chapel ceiling

text: motif. "When Perugino's altar painting was removed and ... "Last Judgement" fresco came to cover the altar wall", after at least twenty five years Michelangelo depicted Christ just below Jonah: not only for his role as precursor of Christ, Christianity and Christocentrism, but also because his powerful torsion of the body, bent backwards from the bust to the eyes and with his forefingers that now point the glorious Jesus to the characters of the ceiling, assumes a function of link between the Old and New Testament. In Vasari's description of the Prophets and Sibyls he is particularly high in his

title: Sistine Chapel ceiling

text: ceiling include the four so-called Major prophets: Isaiah, Jeremiah, Ezekiel and Daniel. Of the remaining possibilities among the Twelve Minor Prophets, the three represented are Joel, Zechariah and Jonah. Although the prophets Joel and Zechariah are considered "minor" because of the comparatively small number of pages that their prophecy occupies in the Bible, each one produced prophesies of profound significance. They are often quoted, Joel for his "Your sons and your daughters shall prophesy, your elderly shall dream dreams and your youth shall see visions". These words are significant for Michelangelo's decorative scheme, where women take their place among men

title: Sistine Chapel ceiling

text: from the early church, the ceiling also has elements that express the specifically Renaissance thinking that sought to reconcile Christian theology with the philosophy of Renaissance Humanism. During the 15th century in Italy, and in Florence in particular, there was a strong interest in Classical literature and the philosophies of Plato, Socrates and other Classical writers. Michelangelo, as a young man, had spent time at the Humanist academy established by the Medici family in Florence. He was familiar with early Humanist-inspired sculptural works such as Donatello's bronze "David" and had himself responded by carving the enormous nude marble "David", which

title: Sistine Chapel

text: platform on brackets built out from holes in the wall, high up near the top of the windows. Contrary to popular belief, he did not lie on this scaffolding while he painted, but painted from a standing position. Michelangelo used bright colours, easily visible from the floor. On the lowest part of the ceiling he painted the ancestors of Christ. Above this he alternated male and female prophets, with Jonah over the altar. On the highest section, Michelangelo painted nine stories from the Book of Genesis. He was originally commissioned to paint only 12 figures, the Apostles. He turned down

text: similar to Michelangelo's, which involved cantilevering a shelf outwards from the scaffolding to support a stepped and arched platform. The advantages of modern lightweight materials meant that the platform could be wheeled, facilitating easy movement along the length of the building rather than dismantling and replacement, as Michelangelo had done in 1506. The findings of the investigation of 1979 were that the entire interior of the chapel, but particularly the ceiling, was covered with a grime of candle smoke comprising wax and soot (amorphous carbon). Above the windows (the main source of ventilation), the lunettes were particularly stained from the

title: Rosie the Riveter

text: of his 'Rosie' on that of Michelangelo's 1509 painting "Prophet Isaiah" from the Sistine Chapel ceiling. Rosie is holding a ham sandwich in her left hand, and her blue overalls are adorned with badges and buttons: a Red Cross blood donor button, a white "V for Victory" button, a Blue Star Mothers pin, an Army-Navy E Service production award pin, two bronze civilian service awards, and her personal identity badge. Rockwell's model was a Vermont resident, 19-year-old Mary Doyle, who was a telephone operator near where Rockwell lived, not a riveter. Rockwell painted his "Rosie" as a larger woman than

title: Sistine Chapel ceiling

text: and passionate Christian beliefs. The Sistine Chapel is 40.9 metres long and 14 metres wide. The ceiling rises to 13.4 metres above the main floor of the chapel. The vault is of quite a complex design and it is unlikely that it was originally intended to have such elaborate decoration. Pier Matteo d'Amelia provided a plan for its decoration with the architectural elements picked out and the ceiling painted blue and dotted with gold stars, similar to that of the Arena Chapel decorated by Giotto at Padua. The chapel walls have three horizontal tiers with six windows in the upper

title: Sistine Chapel ceiling

text: Julius who began the rebuilding of St. Peter's Basilica in 1506, as the most potent symbol of the source of papal power. In the same year 1506, Pope Julius conceived a program to paint the ceiling of the Sistine Chapel. The walls of the chapel had been decorated twenty years earlier. The lowest of three levels is painted to resemble draped hangings and was (and sometimes still is) hung on special occasions with the set of tapestries designed by Raphael. The middle level contains a complex scheme of frescoes illustrating the "Life of Christ" on the right side and the

text: out of the gloom above the lunette of Jesse. Arguimbau says: Richard Serrin, in an essay entitled "Lies and Misdemeanors: Gianluigi Colalucci's Sistine Chapel Revisited" says: Carlo Pietrangeli, former Director General of the Vatican Museums, writes of the restoration: "It is like opening a window in a dark room and seeing it flooded with light." His words resonate with those of Giorgio Vasari who, in the 16th century, said of the Sistine Chapel ceiling: Pietrangeli, in his foreword to "The Sistine Chapel", written after the restoration of the lunettes, but prior to the restoration of the ceiling, commends those who

title: Sistine Chapel ceiling

text: God, he was swallowed by a "mighty fish". He spent three days in its belly and was eventually spewed up on dry land where he went about God's business. Jonah was thus seen as presaging Jesus, who having died by crucifixion, spent part of three days in a tomb and was raised on the third day. So, on the ceiling of the Sistine Chapel, Jonah, with the "great fish" beside him and his eyes turned towards God the Creator, represents a "portent" of the Passion and Resurrection of Christ. The Jonah figure placed right over the altar activated the Passion

title: Sistine Chapel ceiling

text: "Life of Moses" on the left side. It was carried out by some of the most renowned Renaissance painters: Botticelli, Ghirlandaio, Perugino, Pinturicchio, Signorelli and Cosimo Rosselli. The upper level of the walls contains the windows, between which are painted pairs of illusionistic niches with representations of the first thirty-two popes. A draft by Matteo d'Amelia indicates that the ceiling was painted blue like that of the Arena Chapel and decorated with gold stars, possibly representing the zodiacal constellations. It is probable that, because the chapel was the site of regular meetings and Masses of an elite body of officials

title: Sistine Chapel ceiling

text: to a strongly projecting painted cornice that runs right around the ceiling, separating the pictorial areas of the biblical scenes from the figures of Prophets, Sibyls, and Ancestors, who literally and figuratively support the narratives. Ten broad painted crossribs of travertine cross the ceiling and divide it into alternately wide and narrow pictorial spaces, a grid that gives all the figures their defined place. A great number of small figures are integrated with the painted architecture, their purpose apparently purely decorative. These include two faux marble "putti" below the cornice on each rib, each one a male and female pair;

title: Sistine Chapel ceiling

text: was made to rich and to poor, to mighty and to humble, to Jew and to Gentile. The Three Wise Men (the "Magi" of the Bible) who sought out the infant King with precious gifts were pagan foreigners. In the Roman Catholic Church, where there was an increasing interest in the remains of the city's pagan past, where scholars turned from reading Medieval Church Latin to Classical Latin and the philosophies of the Classical world were studied along with the writings of St Augustine, the presence, in the Sistine Chapel of five pagan prophets is not surprising. It is not

title: Sistine Chapel

text: light-and-sound demonstration explains the content of each of the frescoes. Sistine Chapel The Sistine Chapel (; ; ) is a chapel in the Apostolic Palace, the official residence of the Pope, in Vatican City. Originally known as the "Cappella Magna", the chapel takes its name from Pope Sixtus IV, who restored it between 1477 and 1480. Since that time, the chapel has served as a place of both religious and functionary papal activity. Today it is the site of the Papal conclave, the process by which a new pope is selected. The fame of the Sistine Chapel lies mainly in

title: Sistine Chapel

text: Sistine Chapel The Sistine Chapel (; ; ) is a chapel in the Apostolic Palace, the official residence of the Pope, in Vatican City. Originally known as the "Cappella Magna", the chapel takes its name from Pope Sixtus IV, who restored it between 1477 and 1480. Since that time, the chapel has served as a place of both religious and functionary papal activity. Today it is the site of the Papal conclave, the process by which a new pope is selected. The fame of the Sistine Chapel lies mainly in the frescos that decorate the interior, and most particularly the

text: had the courage to commence the restoration process, and thanks not only those who visited the restoration while it was in progress and gave the benefit of their knowledge and experience, but also those who were critical of the enterprise. Pietrangeli made acknowledgement that these people spurred the team on to punctilious documentation so that a full report of criteria and methods should be available to those who are interested, both in the present and the future. Restoration of the Sistine Chapel frescoes The conservation-restoration of the frescoes of the Sistine Chapel was one of the most significant conservation-restorations of

title: The Crossing of the Red Sea (Sistine Chapel)

text: Gozzoli's paintings in the Magi Chapel. The Crossing of the Red Sea (Sistine Chapel) The Crossing of the Red Sea is a fresco executed in 1481–1482 and located in the Sistine Chapel, Vatican City. Of uncertain attribution, it has been assigned to one between Domenico Ghirlandaio, Biagio d'Antonio or Cosimo Rosselli. On 27 October 1480 several Florentine painters left for Rome, where they had been called as part of the reconciliation project between Lorenzo de' Medici, the "de facto" ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring

text: the summer and winter months so that changes to the atmospheric environment occur gradually. The air near the ceiling is kept at a temperate level, while the air in the lower section of the building is cooler and circulates more rapidly, with the effect that dirt particles fall towards the floor rather than being streamed upwards. Bacteria and chemical pollutants are filtered out. Environmental specifications: When the restoration of the Sistine Chapel was announced, it sparked a barrage of queries and objections from art historians around the world. One of the most vocal of these critics was James Beck, of

text: The Crossing of the Red Sea (Sistine Chapel) The Crossing of the Red Sea is a fresco executed in 1481–1482 and located in the Sistine Chapel, Vatican City. Of uncertain attribution, it has been assigned to one between Domenico Ghirlandaio, Biagio d'Antonio or Cosimo Rosselli. On 27 October 1480 several Florentine painters left for Rome, where they had been called as part of the reconciliation project between Lorenzo de' Medici, the "de facto" ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino,

title: Sistine Chapel

text: layer of animal glue and "lamp black", all of the wax, and all of the overpainted areas were contamination of one sort or another: smoke deposits, earlier restoration attempts, and painted definition by later restorers in an attempt to enliven the appearance of the work. Based on this decision, according to Arguimbau's critical reading of the restoration data that have been provided, the chemists of the restoration team decided upon a solvent that would effectively strip the ceiling down to its paint-impregnated plaster. After treatment, only that which was painted "buon fresco" would remain. The only reproduction of the Sistine

title: Descent from Mount Sinai (Sistine Chapel)

text: it: the position of some of them, painted from behind, was usually used for negative characters, such as Judas Iscariot in the "Last Supper". Once seeing that, Moses, in the center, gets angry and breaks the Tables on the ground. On the right background is the punishment of the idolatrous and the receiving of the new Tables. Joshua, in the blue and yellow, appears with Moses. Descent from Mount Sinai (Sistine Chapel) The Descent from Mount Sinai is a fresco by the Italian Renaissance painter Cosimo Rosselli and his assistants, executed in 1481–1482 and located in the Sistine Chapel, Rome.

title: Sistine Chapel ceiling

text: they have lived and where they walked with God. The third group of three pictures shows the plight of Humanity and in particular the family of Noah. The pictures are not in strictly chronological order. If they are perceived as three groups, then the pictures in each of the three units inform upon each other, in the same way as was usual in Medieval paintings and stained glass. The three sections of Creation, Downfall, and Fate of Humanity appear in reverse order, when read from the entrance of the chapel. However, each individual scene is painted to be viewed when

text: Descent from Mount Sinai (Sistine Chapel) The Descent from Mount Sinai is a fresco by the Italian Renaissance painter Cosimo Rosselli and his assistants, executed in 1481–1482 and located in the Sistine Chapel, Rome. On 27 October 1480, several Florentine painters left for Rome, where they had been called as part of the reconciliation project between Lorenzo de' Medici, the "de facto" ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel as early as spring 1481, along with Pietro Perugino, who was already there. Rosselli brought with him his son-in-law, Piero di Cosimo,

title: Sistine Chapel

text: Chapel ceiling was painted by Gary Bevans at a church in Goring-by-Sea, West Sussex, England. A full-size architectural and photographic replica of the entire building was commissioned by the Mexican Government and funded by private donors. It was on view at Mexico City from June 1 to July 15, 2016; it may then be exhibited at other Mexican cities and possibly elsewhere in the world. It took 2.6 million high definition photographs to reproduce the totality of the frescoes and tapestries. A video of the history of the Chapel is shown to the visitors before entering the building; inside, a

title: Sistine Chapel

text: Roselli and their workshops. They originally ran all round the walls, but have since been replaced on both end walls. The project was perhaps supervised by Perugino, who arrived at the chapel prior to the Florentines. It is probable that the commission of Ghirlandaio, Botticelli and Roselli was part of a reconciliation project between Lorenzo de' Medici, the "de facto" ruler of Florence, and Pope Sixtus IV. The Florentines started to work in the Sistine Chapel in the Spring of 1481. Beneath the cycles of "The Life of Moses" and "The Life of Christ", the lower level of the walls

title: Sistine Chapel Choir

text: Michael's Cathedral Basilica. Sistine Chapel Choir The Sistine Chapel Choir, as it is generally called in English, or properly the "Coro della Cappella Musicale Pontificia" in Italian, is one of the oldest choirs in the world, having been formally active since 1471. Based in Vatican City, it normally comprises twenty men (tenors and basses) and thirty boys (sopranos and altos), the latter receiving free tuition. As early as in the pontificate of Sylvester I (314–35), a regularly constituted company of singers, under the name of "schola cantorum", lived together in a building devoted to their exclusive use. The word ""schola""

title: Sistine Chapel Choir

text: Sistine Chapel Choir The Sistine Chapel Choir, as it is generally called in English, or properly the "Coro della Cappella Musicale Pontificia" in Italian, is one of the oldest choirs in the world, having been formally active since 1471. Based in Vatican City, it normally comprises twenty men (tenors and basses) and thirty boys (sopranos and altos), the latter receiving free tuition. As early as in the pontificate of Sylvester I (314–35), a regularly constituted company of singers, under the name of "schola cantorum", lived together in a building devoted to their exclusive use. The word ""schola"" was in those

title: Sistine Chapel Choir

text: "Any kind of guerilla action against Vatican II does not produce good fruits. The council's principles by now are untouchable." In 2010, Massimo Palombella, a Salesian priest, was appointed to replace Liberto as head of the choir. In September 2015, Deutsche Grammophon released a CD recorded in Sistine Chapel with the choir, the very first recording allowed there. Authorised by Pope Francis, he ruled that profits from sales of the album must be used for charity purposes only. On September 26, 2017, the Sistine Chapel Choir made their first visit to Canada, hosted by St. Michael's Choir School, at St.

title: Sistine Chapel ceiling

text: 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". 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 it which were highlighted with a great deal of

title: Sistine Chapel

text: congregations. These included the Christmas Day and Easter masses, at which the Pope himself was the celebrant. The other 27 masses could be held in a smaller, less public space, for which the "Cappella Maggiore" was used before it was rebuilt on the same site as the Sistine Chapel. The "Cappella Maggiore" derived its name, the Greater Chapel, from the fact that there was another chapel also in use by the Pope and his retinue for daily worship. At the time of Pope Sixtus IV, this was the Chapel of Pope Nicholas V, which had been decorated by Fra Angelico.

title: Sister Chapel

text: the concept for "The Sister Chapel". Originally planned as a hall of fame for women, "The Sister Chapel" evolved from a written concept in early 1974 to become a celebration of female "role models" who were chosen by women and portrayed by women. The nominal pun regarding the Sistine Chapel ceiling was intentional. As the Sistine Chapel represented an apex of global and western culture, and a realization of the patriarchal conceptualization of history, "The Sister Chapel" comprised an invitation for people to re-imagine familiar, often unconscious presumptions about gender roles, recognition and relations from a female perspective. Greenstein explained

text: to the Last Judgment. The restoration was unveiled by Pope John Paul II on 8 April 1994. The final stage was the restoration of the wall frescoes, approved in 1994 and unveiled on 11 December 1999. The aims of the conservators were as follows: In 1979 Colalucci undertook a series of experiments to discover the right approach for the restoration of the frescoes of the Sistine Chapel. The investigation began by testing small areas of the wall fresco, "Conflict over the Body of Moses" by Matteo de Lecce, which had similar physical and chemical attributes to the painting techniques employed

text: have been predicted by previous restorers. One of the major dangers to the frescoes is automotive exhaust, and they are also vulnerable to the effects of the crowds of tourists that pass through the chapel every day, bringing with them heat, humidity, dust and bacteria (the latter of which can biodegrade paints and pigments). The clean plaster surfaces are more in danger from these destructive elements than they were when they were covered with a layer of smoky wax. Previously, the Sistine Chapel's only ventilation was from its windows in the upper level of the walls. To prevent exhaust fumes

text: watercolour, to integrate the pictorial material. These areas are distinctively textured with vertical brushstrokes, not visible from a distance but easily discernible as restoration work when viewed close up. Certain small areas were left unrestored, in order to maintain a physical record of the previous restorations that had taken place, for example, an area left with overpainting and candle wax, and another area demonstrating the attempt to counteract salination with oil. Once the many layers of candle wax, varnish, and animal glue were removed from the surface of the Sistine Chapel frescoes, they became subject to dangers that could not

title: Sistine Chapel ceiling

text: various components of the ceiling are linked to this Christian doctrine. Traditionally, the Old Testament was perceived as a prefiguring of the New Testament. Many incidents and characters of the Old Testament were commonly understood as having a direct symbolic link to some particular aspect of the life of Jesus or to an important element of Christian doctrine or to a sacrament such as Baptism or the Eucharist. Jonah, for example, was readily recognisable by his attribute of the large fish and was commonly seen to symbolise Jesus' death and resurrection. While much of the symbolism of the ceiling dates

title: Sistine Chapel Choir

text: Thus the ""magister capellae"" came immediately after the cardinals, followed, in the order given, by the ""sacrista"", ""cantores"", ""capellani"" and ""clerici"". With the building by Sixtus IV (1471–84) of the church for the celebration of all papal functions since known as the Sistine Chapel, the original ""schola cantorum"" and subsequent ""capella pontificia"" or ""capella papale"" became the ""capella sistina"", or Sistine Choir. Up to this time the number of singers had varied considerably, there being sometimes as few as nine men and six boys. By a Bull dated November, 1483, Sixtus IV fixed the number at twenty-four, six for each

title: Sistine Chapel

text: been written, the most famous piece being Gregorio Allegri's "Miserere". One of the functions of the Sistine Chapel is as a venue for the election of each successive pope in a conclave of the College of Cardinals. On the occasion of a conclave, a chimney is installed in the roof of the chapel, from which smoke arises as a signal. If white smoke appears, created by burning the ballots of the election, a new Pope has been elected. If a candidate receives less than a two-thirds vote, the cardinals send up black smoke — created by burning the ballots along

title: Sistine Chapel

text: 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 area 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. The first stage in the decoration of the Sistine Chapel was the

title: Sistine Chapel

text: exterior can be seen only from nearby windows and light-wells in the palace. 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. The building is divided into three stories of which the lowest is a very tall basement level with several utilitarian windows and a doorway giving onto the exterior court. Internally, the basement is robustly vaulted to support the chapel. Above is the main space, the Sistine

title: The Homer of Seville

text: to finish her off. Every bullet misses, except for one; a second later, the giant chandelier falls from the ceiling and crashes on top of Julia. Julia is wheeled into an ambulance, vowing to return. Homer and the family head for home and Homer announces that he is retiring from the opera and explains that he can think of a much more fun thing he can do while on his back: painting. It is shown then that he painted a version of the Sistine Chapel roof on the ceiling of his living room, with him as Adam and Marge as

title: Sistine Chapel ceiling

text: completed by four large corner "pendentives", each illustrating a dramatic Biblical story. The narrative elements of the ceiling illustrate that God made the World as a perfect creation and put humanity into it, that humanity fell into disgrace and was punished by death and by separation from God. Humanity then sank further into sin and disgrace, and was punished by the Great Flood. Through a lineage of Ancestors – from Abraham to Joseph – God sent the saviour of humanity, Christ Jesus. The coming of the Saviour was prophesied by Prophets of Israel and Sibyls of the Classical world. The

title: Sistine Chapel ceiling

text: looking toward the altar. This is not easily apparent when viewing a reproduced image of the ceiling but becomes clear when the viewer looks upward at the vault. Paoletti and Radke suggest that this reversed progression symbolises a return to a state of grace. However, the three sections are generally described in the order of Biblical chronology. The scenes, from the altar toward the main door, are ordered as follows: The three Creation pictures show scenes from the first chapter of Genesis, which relates that God created the Earth and all that is in it in six days, resting on

title: Sistine Chapel

text: Rome by mercenary forces of the Holy Roman Empire in 1527, and the Council of Trent which commenced in 1545. The work was designed on a grand scale, and spans the entire wall behind the altar of the Sistine Chapel. The painting depicts the second coming of Christ on the Day of Judgment as described in the Revelation of John, Chapter 20. High on the wall is the heroic figure of Christ, with the saints clustered in groups around him. At the bottom left of the painting the dead are raised from their graves and ascend to be judged. To

title: Sistine Chapel

text: of different colours to designate which Cardinals had been appointed by which Pope. Paul VI abolished the canopies altogether, since, under his papacy, the population of the College of Cardinals had increased so much to the point that they would need to be seated in rows of two against the walls, making the canopies obstruct the view of the cardinals in the back row. In the wake of a conclave taking place to preserve the integrity of the rubble floor on the Sistine Chapel, carpenters install a slightly elevated wooden floor alongside a wooden ramp in the entrance for those

title: Sistine Chapel

text: late 20th century, a set was reassembled from several further sets that had been made after the first set, and displayed again in the Sistine Chapel in 1983. The tapestries continue in use at occasional ceremonies of particular importance. The full-size preparatory cartoons for seven of the ten tapestries are known as the Raphael Cartoons and are in London. At this point, the decorative scheme displayed a consistent iconographical pattern. The tier of Popes, which, in the scheme intended by Pope Julius, would have appeared immediately below the Twelve Apostles, would have emphasised the apostolic succession. It has been argued

title: Sistine Chapel

text: with wet straw and chemical additives — it means that no successful election has yet occurred. The first papal conclave to be held on the Sistine Chapel was the conclave of 1492, which took place from August 6 from August 11 of the same year and in which Pope Alexander VI, also known as Rodrigo Borja, was elected. The conclave also provided for the cardinals a space in which they could hear mass, and in which they could eat, sleep, and pass time attended by servants. From 1455, conclaves have been held in the Vatican; until the Great Schism, they

title: Sistine Chapel

text: were held in the Dominican convent of Santa Maria sopra Minerva. Since 1996, John Paul II's Apostolic Constitution "Universi Dominici gregis" requires the cardinals to be lodged in the Domus Sanctae Marthae during a papal conclave, but to continue to vote in the Sistine Chapel. Canopies for each cardinal-elector were once used during conclaves—a sign of equal dignity. After the new Pope accepts his election, he would give his new name; at this time, the other Cardinals would tug on a rope attached to their seats to lower their canopies. Until reforms instituted by Saint Pius X, the canopies were

title: Gallery of Sistine Chapel ceiling

text: enemies, or from their own sinful ways. The ancestors of Jesus are listed in the Biblical books of Matthew and Luke. This is the first known large painted series, although they were often shown in stained glass. See Tree of Jesse. Although each picture has a title, the characters cannot be positively identified. Above the windows are a series of families with young children. The children may represent particular children who are mentioned in the Bible, such as Isaac and Samuel. The composition of many of the pictures is similar to that found in depictions of the Holy Family resting

title: Sistine Chapel

text: Chapel, the vaulted ceiling rising to . The building had six tall arched windows down each side and two at either end, several of which have been blocked. Above the vault is a third story with wardrooms for guards. At this level, an open projecting gangway was constructed, 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 leaking in to the vault of the Chapel. The general proportions of the chapel use the length as the unit of measurement. This has been divided by