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Updated: June 10, 2025
On the walls of the Sixtine Chapel there are paintings by such men as Perugino, Luca Signorelli, Botticelli, and Ghirlandajo, as well as by a number of others; but Michelangelo overshadows them all with his ceiling and his 'Last Judgment. There is something overpowering about him, and there is no escaping from his influence.
He learns; and what he has learned at Orvieto he teaches with doubled force in Rome; and the ceiling of the Sixtine Chapel, the superb and heroic nudities, the majestic draperies, the reappearance in the modern art of painting of the spirit and hand of Phidias, give a new impulse and hasten on perfection.
MERTON, SURREY, ENGLAND, April, 1896. II "BLACK MOUTH, RED SOUL" The Boccaneras, their Mansion, Ancestors, History, and Friends CONTENTS TO PART II. IV ROMANS OF NEW ITALY The Pradas and the Saccos The Corso and the Pincio Peter's. VI VENUS AND HERCULES The Vatican The Sixtine Chapel Michael Angelo and Raffaelle Botticelli and Bernini Gods and Goddesses The Gardens Leo XIII The Revolt of Passion
Then, on the right-hand, came the covered stairway conducting to the Court of San Damaso; but to reach the Sixtine Chapel it was necessary to follow a long gallery, with columns on either hand, and ascend the royal staircase, the Scala Regia.
Michelangelo himself, in the stupendous decoration of the ceiling to the Sixtine Chapel, had elected to treat the subjects of the flat surface which constitutes the centre and climax of the whole, as a series of pictures designed under ordinary conditions.
Titian here solves the problem of combining the strong and simple decorative aspect demanded by the position of the work as the central feature of a small church, with the utmost pathos and dignity, thus doing incomparably in his own way the way of the colourist and the warm, the essentially human realist what Michelangelo had, soaring high above earth, accomplished with unapproachable sublimity in the Prophets and Sibyls of the Sixtine Chapel.
They are sung in the Sixtine chapel by members of the papal choir, and are read by the Card. celebrant. After each prophecy the Cardinal standing up sings a prayer: the deacon chants Flectamus genua and the subdeacon Levate before each, except the last, when the knee is not bent, in order to shew abhorence of the idolatry exacted by Nabuchodonosor for his statue.
Again, in the Sacrifice of Noah, there is in the foreshortened figure of God, floating, brooding, like a cloud, with face downward and outstretched hands over the altar, something which is a prophecy, and more than a prophecy, of what art will come to in the Sixtine and the Loggie.
We have spoken on these subjects in the preceding chapters. We may here recapitulate the principal ceremonies of the day, as Morcelli has done in his Calendar. The oils are blessed in S. Peter's; the Pope assists at mass in the Sixtine chapel, carries the B. Sacrament to the Pauline chapel, gives His solemn benediction from S. Peter's, washes the feet of thirteen priests and serves them at table.
Leo staying Attila at the Gates of Rome," the artist had lost the flower of his divine grace, through the deep impression which the overwhelming grandeur of Michael Angelo had wrought upon him. How crushing indeed had been the blow when the Sixtine Chapel was thrown open and the rivals entered!
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