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Updated: May 3, 2025
This pittance does not at all cancel my indebtedness, and I come away feeling that I still owe something to somebody, without in the least knowing who it is or how I am to pay. I can't even have the poor satisfaction of making proper acknowledgment to the sculptor. I can acknowledge my obligation to Michael Angelo for the Sistine ceiling, but that doesn't cancel my indebtedness by any means.
But sculpture was his chosen art, and when called to paint the Sistine Chapel, he implored the Pope that he might be allowed to finish the mausoleum which he had begun, and that Raphael, then dazzling the whole city by his unprecedented talents, might be substituted for him in that great work.
Foremost amongst the miracle plays, in which originated the sacred drama, was the representation, during Holy Week, of the Passion of our Lord. To this day we have interesting relics of this custom, such as the Oberammergau play in South Bavaria, the performances in the Sistine Chapel in Rome, and in some parts of Spain. The oldest Protestant composition on this subject was published in 1570.
If desexed near maturity, he might look like a normal man in many respects; but if the operation were performed before puberty, his development is simply arrested and remains infantile incomplete. Only in 1878 was the practice of desexing boys to get the famous adult male soprano voices for the Sistine Choir discontinued.
There are infinite details which I pass over in silence. It is enough that, besides the divine composition, all that the human figure is capable of in the art of painting is here to be seen. LIV. Finally, Pope Paul having built a chapel on the same floor as the before-mentioned Sistine, he desired to decorate it in his own memory, and he made Michael Angelo paint the frescoes on the side walls.
I miss the Dresden Gallery very much, and it makes me sad to think that I shall never look at the face of the Sistine Madonna again, that picture beyond all pictures in the world, in which the artist certainly did get to heaven and painted a face which was never seen on earth so pathetic, so gentle, so passionless, so prophetic. . . . There are a few good Rubenses here, but the great wealth of that master is in Antwerp.
Then one day I was lying on my back on a wooden bench in the Sistine Chapel, having duly apologized for my violation of the conventions, when, wonder of wonders, there was the Cumaean Sibyl in full glory right before my eyes, and the quest of all those years was ended in triumph.
As I was saying, we had left the Sistine Chapel a mile or so behind us and had dragged our exhausted frames as far as an arched upper portico in a wing of the great palace, overlooking a paved courtyard inclosed at its farther end by a side wall of Saint Peter's.
The name of the artist, Raphael, is perhaps the most familiar of all the names of the Old Masters, mainly, it may be, because he was the painter of the Sistine Madonna, the best known and best loved of Madonnas. When Raphael drew and painted this picture of the 'Knight's Dream, about the year 1500, he was himself like a young knight, at the outset of his short and brilliant career.
Still it cannot be denied with justice that the painter of the Sistine had a keen perception of what his art required in this region, and of how to attain it. He planned a comprehensive architectural scheme, which served as setting and support for multitudes of draped and undraped human figures.
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