HOME
The Info List - Sistine Chapel


--- Advertisement ---



The Sistine Chapel
Chapel
(/ˌsɪstiːn ˈtʃæpəl/; Latin: Sacellum Sixtinum; Italian: Cappella Sistina [kapˈpɛlla siˈstiːna]) 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
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
Chapel
lies mainly in the frescos that decorate the interior, and most particularly the Sistine Chapel
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
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
Chapel
for the Feast of the Assumption, at which ceremony the chapel was consecrated and dedicated to the Virgin Mary.[3][4] Between 1508 and 1512, under the patronage of Pope
Pope
Julius II, Michelangelo
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.[5][6] In a different climate after the Sack of Rome, he returned and between 1535 and 1541, painted The Last Judgment
Last Judgment
for Popes Clement VII and Paul III.[7] The fame of Michelangelo's paintings has drawn multitudes of visitors to the chapel ever since they were revealed five hundred years ago.

Contents

1 History

1.1 Papal conclave

2 Architecture

2.1 Structure 2.2 Interior of the Sistine Chapel

3 Decoration

3.1 History

4 Frescoes

4.1 Southern wall 4.2 Northern wall 4.3 Eastern wall 4.4 Michelangelo's frescoes

4.4.1 Ceiling 4.4.2 Last Judgement

5 Restoration and controversy 6 Replicas 7 Quotes on Michelangelo's frescoes in the Sistine Chapel 8 See also 9 References 10 Further reading 11 External links

History[edit] While known as the location of Papal conclaves, the primary function of the Sistine Chapel
Chapel
is as the chapel of the Papal Chapel
Chapel
(Cappella Pontificia), one of the two bodies of the Papal household, called until 1968 the Papal Court (Pontificalis Aula). At the time of Pope Sixtus IV in the late 15th century, the Papal Chapel
Chapel
comprised about 200 people, including clerics, officials of the Vatican and distinguished laity. There were 50 occasions during the year on which it was prescribed by the Papal Calendar that the whole Papal Chapel should meet.[8] Of these 50 occasions, 35 were masses, of which 8 were held in Basilicas, in general St. Peter's, and were attended by large congregations. These included the Christmas Day and Easter masses, at which the Pope
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
Pope
and his retinue for daily worship. At the time of Pope
Pope
Sixtus IV, this was the Chapel
Chapel
of Pope
Pope
Nicholas V, which had been decorated by Fra Angelico. The Cappella Maggiore is recorded as existing in 1368. According to a communication from Andreas of Trebizond to Pope
Pope
Sixtus IV, by the time of its demolition to make way for the present chapel, the Cappella Maggiore was in a ruinous state with its walls leaning.[9]

The Sistine Chapel
Chapel
as it may have appeared in the 15th century (19th-century drawing)

The present chapel, on the site of the Cappella Maggiore, was designed by Baccio Pontelli for Pope
Pope
Sixtus IV, for whom it is named, and built under the supervision of Giovannino de Dolci between 1473 and 1481.[1] The proportions of the present chapel appear to closely follow those of the original. After its completion, 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.[9] The first mass in the Sistine Chapel
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.[10] The Sistine Chapel
Chapel
has maintained its function to the present day, and continues to host the important services of the Papal Calendar, unless the Pope
Pope
is travelling. There is a permanent choir, the Sistine Chapel Choir, for whom much original music has been written, the most famous piece being Gregorio Allegri's Miserere.[11] Papal conclave[edit] Main article: Papal conclave One of the functions of the Sistine Chapel
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
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 with wet straw and chemical additives — it means that no successful election has yet occurred.[12] The conclave also provided for the cardinals a space in which they can hear mass, and in which they can eat, sleep, and pass time attended by servants. From 1455, conclaves have been held in the Vatican; until the Great Schism, they were held in the Dominican convent of Santa Maria sopra Minerva.[13] Since 1996, John Paul II's Apostolic Constitution Universi Dominici gregis
Universi Dominici gregis
requires the cardinals to be lodged in the Domus Sanctae Marthae
Domus Sanctae Marthae
during a papal conclave, but to continue to vote in the Sistine Chapel.[14] Canopies for each cardinal-elector were once used during conclaves—a sign of equal dignity. After the new Pope
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 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
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. Architecture[edit] Structure[edit]

Exterior of the Sistine Chapel

The chapel is a high rectangular building, for which absolute measurements are hard to ascertain, as available measurements are for the interior: 40.9 metres (134 ft) long by 13.4 metres (44 ft) wide, the dimensions of the Temple of Solomon, as given in the Old Testament.[15] Its exterior is unadorned by architectural or decorative details, as is common in many Italian churches of the Medieval and Renaissance eras. It has no exterior façade or exterior processional doorways, as the ingress has always been from internal rooms within the Apostolic Palace (Papal Palace), and the 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 Chapel, the vaulted ceiling rising to 20.7 metres (68 ft). 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.

A reconstruction of the appearance of the chapel in the 1480s, prior to the painting of the ceiling.

Interior of the Sistine Chapel[edit] The general proportions of the chapel use the length as the unit of measurement. This has been divided by three to get the width and by two to get the height. Maintaining the ratio, there were six windows down each side and two at either end. Defined proportions were a feature of Renaissance architecture
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 Piermatteo Lauro de' Manfredi da Amelia.[9] 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 from the main door, used by the Pope on important occasions such as Palm Sunday. A screen or transenna in marble by Mino da Fiesole, Andrea Bregno, and Giovanni Dalmata
Giovanni Dalmata
divides the chapel into two parts.[16] Originally these made equal space for the members of the Papal Chapel
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. Decoration[edit]

Diagram of part of the vertical fresco decoration of the Sistine Chapel

History[edit] The first stage in the decoration of the Sistine Chapel
Chapel
was the painting of the ceiling in blue, studded with gilt stars, and with decorative borders around the architectural details of the pendentives. This was entirely replaced when Michelangelo
Michelangelo
came to work on the ceiling in 1508. Of the present scheme of frescos, the earliest part is that of the side walls. They are divided into three main tiers. The central tier of the walls has two cycles of paintings, which complement each other, The Life of Moses
Moses
and The Life of Christ. They were commissioned in 1480 by Pope
Pope
Sixtus IV and executed by Domenico Ghirlandaio, Sandro Botticelli, Pietro Perugino, Cosimo Roselli
Cosimo 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
Pope
Sixtus IV. The Florentines started to work in the Sistine Chapel
Chapel
in the Spring of 1481. Beneath the cycles of The Life of Moses
Moses
and The Life of Christ, the lower level of the walls 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
Michelangelo
as part of the scheme for the ceiling. The ceiling was commissioned by Pope
Pope
Julius II and painted by Michelangelo
Michelangelo
between 1508 and 1512. The commission was originally to paint the twelve apostles on the triangular pendentives which support the vault; however, Michelangelo
Michelangelo
demanded a free hand in the pictorial content of the scheme. He painted a series of nine pictures showing God's Creation of the World, God's Relationship with Mankind, and Mankind's Fall from God's Grace. On the large pendentives he painted twelve Biblical and Classical men and women who prophesied that God would send Jesus Christ
Christ
for the salvation of mankind, and around the upper parts of the windows, the Ancestors of Christ. In 1515, Raphael
Raphael
was commissioned by Pope
Pope
Leo X to design a series of ten tapestries to hang around the lower tier of the walls.[17] The tapestries depict events from the Life of St. Peter and the Life of St. Paul, the founders of the Christian Church in Rome, as described in the Gospels
Gospels
and the Acts of the Apostles. Work began in mid-1515. Due to their large size, manufacture of the hangings was carried out in Brussels, and took four years under the hands of the weavers in the shop of Pieter van Aelst.[18] Raphael's tapestries were looted during the Sack of Rome in 1527 and were either burnt for their precious metal content or were scattered around Europe. In the 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
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
Raphael Cartoons
and are in London.[19] At this point, the decorative scheme displayed a consistent iconographical pattern. The tier of Popes, which, in the scheme intended by Pope
Pope
Julius, would have appeared immediately below the Twelve Apostles, would have emphasised the apostolic succession. It has been argued that the present scheme shows the two Biblical Testaments merged in order to reveal the Old predicting and framing the New, synthesizing, the logic of the Christian Bible.[20] This was disrupted by a further commission to Michelangelo
Michelangelo
to decorate the wall above the altar with The Last Judgment, 1537–1541. The painting of this scene necessitated the obliteration of two episodes from the Lives, the Nativity of Jesus and the Finding of Moses; several of the Popes and two sets of Ancestors. Frescoes[edit]

Trials of Moses
Moses
by Botticelli

Southern wall[edit] The southern wall is decorated with the Stories of Moses, painted in 1481–1482. Starting from the altar, they include:

Moses
Moses
Leaving to Egypt by Pietro Perugino
Pietro Perugino
and assistants The Trials of Moses
The Trials of Moses
by Sandro Botticelli
Sandro Botticelli
and his workshop The Crossing of the Red Sea by Cosimo Rosselli, Domenico Ghirlandaio or Biagio di Antonio Tucci Descent from Mount Sinai by Cosimo Rosselli
Cosimo Rosselli
or Piero di Cosimo Punishment of the Rebels
Punishment of the Rebels
by Sandro Botticelli Testament and Death of Moses
Testament and Death of Moses
by Luca Signorelli
Luca Signorelli
or Bartolomeo della Gatta

Northern wall[edit]

The Delivery of the Keys by Perugino

The northern wall houses the Stories of Jesus, dating to 1481–1482. They include:

Baptism of Christ
Christ
by Pietro Perugino
Pietro Perugino
and assistants Temptation of Christ
Christ
by Sandro Botticelli Vocation of the Apostles
Vocation of the Apostles
by Domenico Ghirlandaio The Sermon on the Mount, attributed to Cosimo Rosselli The Delivery of the Keys by Pietro Perugino The Last Supper by Cosimo Rosselli

Eastern wall[edit]

Resurrection of Christ

Resurrection of Christ

by Hendrick van den Broeck (1572) over Domenico Ghirlandaio's original Disputation over Moses' Body by Matteo da Lecce
Matteo da Lecce
(1574) over Luca Signorelli's original

Michelangelo's frescoes[edit]

The Creation of Adam
The Creation of Adam
by Michelangelo

Michelangelo
Michelangelo
was commissioned by Pope
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.[21] He painted the Last Judgment
Last Judgment
over the altar, between 1535 and 1541, on commission from Pope
Pope
Paul III Farnese.[22] Michelangelo
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 was more of a sculptor than a painter, and was suspicious that such a large-scale project was being offered to him by enemies as a set-up for an inevitable fall. For Michelangelo, the project was a distraction from the major marble sculpture that had preoccupied him for the previous few years.[23] The sources of Michelangelo's inspiration are not easily determined; both Joachite and Augustinian
Augustinian
theologians were within the sphere of Julius influence.[24] Ceiling[edit] Main article: Sistine Chapel
Chapel
ceiling See also: Gallery of Sistine Chapel
Chapel
ceiling

A section of the Sistine Chapel
Chapel
ceiling

To be able to reach the ceiling, Michelangelo
Michelangelo
needed a support; the first idea was by Julius' favoured architect Donato Bramante, who wanted to build for him a scaffold to be suspended in the air with ropes. However, Bramante did not successfully complete the task, and the structure he built was flawed. He had perforated the vault in order to lower strings to secure the scaffold. Michelangelo
Michelangelo
laughed when he saw the structure, and believed it would leave holes in the ceiling once the work was ended. He asked Bramante what was to happen when the painter reached the perforations, but the architect had no answer. The matter was taken before the Pope, who ordered Michelangelo
Michelangelo
to build a scaffold of his own. Michelangelo
Michelangelo
created a flat wooden 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.[25] Michelangelo
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
Jonah
over the altar. On the highest section, Michelangelo
Michelangelo
painted nine stories from the Book of Genesis. He was originally commissioned to paint only 12 figures, the Apostles. He turned down the commission because he saw himself as a sculptor, not a painter. The Pope
Pope
offered to allow Michelangelo
Michelangelo
to paint biblical scenes of his own choice as a compromise. After the work was finished, there were more than 300. His figures showed the creation, Adam and Eve
Adam and Eve
in the Garden of Eden, and the Great Flood. The painted area is about 40 m (131 ft) long by 13 m (43 ft) wide. This means that Michelangelo
Michelangelo
painted well over 5,000 square feet (460 m2) of frescoes.[26] Last Judgement[edit]

Michelangelo's The Last Judgement.

Main article: The Last Judgment
Last Judgment
(Michelangelo) The Last Judgement
The Last Judgement
was painted by Michelangelo
Michelangelo
from 1535 to 1541, between two important historic events, the Sack of Rome by mercenary forces of the Holy Roman Empire
Holy Roman Empire
in 1527 and the Council of Trent
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
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 the right are those who are assigned to Hell
Hell
and are dragged down by demons. The Last Judgement
The Last Judgement
was an object of a bitter dispute between Cardinal Carafa and Michelangelo. Because he depicted naked figures, the artist was accused of immorality and obscenity. A censorship campaign (known as the "Fig-Leaf Campaign") was organized by Carafa and Monsignor Sernini (Mantua's ambassador) to remove the frescoes. The Pope's Master of Ceremonies Biagio da Cesena
Biagio da Cesena
said "it was most disgraceful that in so sacred a place there should have been depicted all those nude figures, exposing themselves so shamefully, and that it was no work for a papal chapel but rather for the public baths and taverns,"[27] In response Michelangelo
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
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"). Restoration and controversy[edit] Main article: Restoration of the Sistine Chapel
Chapel
frescoes The Sistine Chapel's 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
Chapel
that has caused the most concern is the ceiling, painted by Michelangelo. The emergence of the brightly coloured Ancestors of Christ
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.

Daniel, before and after restoration.

The problem lies in the analysis and understanding of the techniques utilised by Michelangelo, and the technical response of the restorers to that understanding. A close examination of the frescoes of the lunettes convinced the restorers that Michelangelo
Michelangelo
worked exclusively in "buon fresco"; that is, the artist worked only on freshly laid plaster and each section of work was completed while the plaster was still in its fresh state. In other words, Michelangelo
Michelangelo
did not work "a secco"; he did not come back later and add details onto the dry plaster. The restorers, by assuming that the artist took a universal approach to the painting, have taken a universal approach to the restoration. A decision was made that all of the shadowy 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.[citation needed]

Replicas[edit] The only reproduction of the Sistine Chapel
Chapel
ceiling was painted by Gary Bevans at a church in Goring-by-Sea, West Sussex, England.[28] A full-size architectural and photographic replica of the entire building was commissioned by the Mexican Government and funded by private donors.[29] 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.[30] A video of the history of the Chapel
Chapel
is shown to the visitors before entering the building; inside, a light-and-sound demonstration explains the content of each of the frescoes. Quotes on Michelangelo's frescoes in the Sistine Chapel[edit]

"Without having seen the Sistine Chapel
Chapel
one can form no appreciable idea of what one man is capable of achieving." — Johann Wolfgang Goethe, 23 August 1787, [31]

"This work has been and truly is a beacon of our art, and it has brought such benefit and enlightenment to the art of painting that it was sufficient to illuminate a world which for so many hundreds of years had remained in the state of darkness. And, to tell the truth, anyone who is a painter no longer needs to concern himself about seeing innovations and inventions, new ways of painting poses, clothing on figures, and various awe-inspiring details, for Michelangelo
Michelangelo
gave to this work all the perfection that can be given to such details." —  Giorgio Vasari
Giorgio Vasari
on Michelangelo's frescoes in the Sistine Chapel

See also[edit]

Architecture portal Catholicism portal Vatican City
Vatican City
portal

Art patronage of Julius II Italian Renaissance painting Index of Vatican City-related articles Basilica di Santa Maria Maggiore Miserere (Allegri)

References[edit]

Citations

^ a b c d Ekelund, Hébert & Tollison 2006, p. 313 ^ Vatican City, Whc.unesco.org, retrieved 9 August 2011  ^ Pietrangeli 1986, p. 28 ^ Monfasani, John (1983), "A Description of the Sistine Chapel
Chapel
under Pope
Pope
Sixtus IV", Artibus et Historiae, IRSA s.c., 4 (7): 9–18, doi:10.2307/1483178, ISSN 0391-9064, JSTOR 1483178.  ^ Gardner, Helen (1970) Art through the Ages, p. 469, Harcourt, Brace and World. ISBN 978-0-15-508315-8 ^ Robert Coughlan, The World of Michelangelo, Time-Life International, (1966) p. 116 ^ Robert Coughlan, p. 127 ^ Pietrangeli 1986, p. 24 ^ a b c John Shearman, "The Chapel
Chapel
of Sixtus IV". In Pietrangeli 1986 ^ "The Sistine Chapel", Vatican Museums, retrieved 9 August 2013  ^ Stevens, Abel & Floy, James. "Allegri's Miserere". The National Magazine, Carlton & Phillip, 1854. 531. ^ Saunders, Fr. William P. "The Path to the Papacy". Arlington Catholic Herald, 17 March 2005. Retrieved on 2 June 2008. ^ Chambers, D. S. (1978), "Papal Conclaves and Prophetic Mystery in the Sistine Chapel", Journal of the Warburg and Courtauld Institutes, The Warburg Institute, 41: 322–326, doi:10.2307/750878, JSTOR 750878.  ^ "Interesting Conclave Facts". ewtn.com.  ^ Campbell, Ian (1981), "The New St Peter's: Basilica or Temple?" (PDF), Oxford Art Journal, 4 (1): 3–8, doi:10.1093/oxartj/4.1.3, ISSN 0142-6540, archived from the original (PDF) on 16 October 2015.  ^ Hersey 1993, p. 180 ^ Talvacchia 2007, p. 150 ^ Talvacchia 2007, p. 152 ^ Cheney, Iris. Review of "Raphael's Cartoons in the Collection of Her Majesty The Queen and the Tapestries for the Sistine Chapel" by John Shearman". The Art Bulletin, Volume 56, No. 4, December 1974. 607–609. ^ Oliveira, Paulo Martins "The Sistine Chapel
Chapel
and the two Testaments", 2013, (online, academia.edu) ^ Graham-Dixon 2008, p. 2 ^ Stollhans, Cynthia (1988), "Michelangelo's Nude Saint Catherine of Alexandria", Woman's Art Journal, Woman's Art, Inc., 19 (1): 26–30, doi:10.2307/1358651, ISSN 0270-7993, JSTOR 1358651.  ^ Graham-Dixon 2008, p. 1 ^ Graham-Dixon 2008, p. xii ^ 7 Things You May Not Know About the Sistine Chapel  ^ Michelangelo
Michelangelo
– The Sistine Chapel
Chapel
Ceiling, "Seven Common Questions About the Frescoes"  ^ Vasari 1987, p. 379 ^ Welcome to The Sistine Chapel
Chapel
Reproduction United Kingdom  ^ Vatican Approves $2.4 Million Replica of Sistine Chapel
Chapel
in Mexico City  ^ Full-size replica of Vatican's Sistine Chapel
Chapel
opens in Mexico City  ^ Letter. Original: (in German) Ich kann euch nicht ausdrücken, wie sehr ich euch zu mir gewünscht habe, damit ihr nur einen Begriff hättet, was ein einziger und ganzer Mensch machen und ausrichten kann; ohne die Sixtinische Kapelle gesehen zu haben, kann man sich keinen anschauenden Begriff machen, was ein Mensch vermag. Italian Journey, 2nd journey to Rome.Italienische Reise, Teil 21

Bibliography

Deimling, Barbara (2000), Sandro Botticelli
Sandro Botticelli
1444/45–1510, Köln: Taschen, ISBN 3-8228-5992-3  Earls, Irene (1987), Renaissance Art: A Topical Dictionary, Westport: Greenwood Press, ISBN 0-313-24658-0  Ekelund, Robert B.; Hébert, Robert F.; Tollison, Robert D. (2006), The Marketplace of Christianity, Cambridge: MIT Press, ISBN 0-262-05082-X  Graham-Dixon, Andrew (2008), Michelangelo
Michelangelo
and the Sistine Chapel, London: Weidenfeld & Nicolson, ISBN 0-297-85365-1  Hersey, George (1993), High Renaissance
High Renaissance
Art in St. Peter's and the Vatican, Chicago: University of Chicago Press, ISBN 0-226-32782-5  Michelangelo
Michelangelo
(1999), Bull, George, ed., Michelangelo, Life, Letters, and Poetry, Oxford Oxfordshire: Oxford University Press, ISBN 0-19-283770-2  Pietrangeli, Carlo, ed. (1986), The Sistine Chapel, New York: Harmony Books, ISBN 0-517-56274-X  Seymour, Charles (1972), Michelangelo, the Sistine Chapel
Chapel
Ceiling: illustrations, introductory essays, backgrounds and sources, critical essay, New York: W. W. Norton, ISBN 0-393-04319-3  Stinger, Charles (1998), The Renaissance in Rome, Bloomington: Indianapolis, ISBN 0-253-21208-1  Talvacchia, Bette (2007), Raphael, Oxford Oxfordshire: Phaidon Press, ISBN 978-0-7148-4786-3  Vasari, Giorgio (1987), The Lives of the Artists, George Bull, New York: Penguin Books, ISBN 0-14-044500-5  Wright, Lawrence (1983), Perspective in Perspective, London: Routledge & K. Paul, ISBN 0-7100-0791-4 

Further reading[edit]

Ettlinger, Leopold (1965), The Sistine Chapel
Chapel
before Michelangelo: Religious Imagery and Papal Primacy, Oxford: Clarendon Press, OCLC 230168041  King, Ross (2003), Michelangelo
Michelangelo
& the Pope's Ceiling, New York: Penguin Books, ISBN 0-14-200369-7  Lewine, Carol (1993), The Sistine Chapel
Chapel
Walls and the Roman Liturgy, University Park: Pennsylvania State University Press, ISBN 0-271-00792-3  Hirst, Michael; Colalucci, Gianluigi; Mancinelli, Fabrizio; Shearman, John; Winner, Matthias; Maeder, Edward; De Vecchi, Pierluigi; Nazzareno, Gabrielli; et al. (1994), Pietrangeli, Carlo, ed., The Sistine Chapel: A Glorious Restoration, Takashi Okamura (photographer), New York: H.N. Abrams, ISBN 0-8109-3840-5  Pfeiffer, Heinrich (2007), Die Sixtinische Kapelle neu entdeckt (in German), Stuttgart: Belser, ISBN 978-0-8109-3840-3  Stone, Irving (2004), The Agony and the Ecstasy, London: Nal Trade, ISBN 0-451-21323-8 . Previously publish by Doubleday in 1961; a novel. Blech, Benjamin; Doliner, Roy (2008), The Sistine Secrets: Michelangelo's Forbidden Messages in the Heart of the Vatican, New York: HarperOne, ISBN 978-0-06-146904-6  The Vatican: spirit and art of Christian Rome. New York: The Metropolitan Museum of Art. 1982. ISBN 0-87099-348-8. 

External links[edit]

Media related to Sistine Chapel
Chapel
at Wikimedia Commons Vatican Museums
Vatican Museums
Online: Sistine Chapel
Chapel
A virtual detailed tour of the frescoes and panels High-resolution interactive virtual tour of the Sistine Chapel Zoomable Panoramic View of the Sistine Chapel
Chapel
(HTML5) The Devilish Chapel
Chapel
of Michelangelo Web Gallery of Art: Visit to the Sistine Chapel
Chapel
in Vatican BBC News: Sistine Chapel
Chapel
Restored (1999) The Restoration of the Sistine Chapel: Right or Wrong? www.christusrex.org Capella Sistina Master Plan & Pictures

v t e

Decoration of the Sistine Chapel

Life of Moses

Moses
Moses
Leaving to Egypt 1 Youth of Moses
Moses
2 The Crossing of the Red Sea 3/4/5 The Descent from Mount Sinai 3/6 The Punishment of the Rebels
Punishment of the Rebels
2 The Testament and Death of Moses
Testament and Death of Moses
7/8

Life of Christ

The Baptism of Christ
Christ
1 The Temptations of Christ
Christ
2 The Vocation of the Apostles
Vocation of the Apostles
4 The Sermon on the Mount
Sermon on the Mount
3 The Delivery of the Keys 1 The Last Supper 3

Ceiling 9 (Gallery)

Scenes from Genesis

The Separation of Light from Darkness The Creation of the Sun, Moon and Vegetation The Separation of Land and Water The Creation of Adam The Creation of Eve The Fall of Man and the Expulsion from the Garden of Eden The Sacrifice of Noah The Flood The Drunkenness of Noah

Prophets

Jonah Jeremiah Ezekiel Joel Zechariah Isaiah Daniel

Sibyls

Persian Sibyl Erythraean Sibyl Delphic Sibyl Cumaean Sibyl Libyan Sibyl

Altar
Altar
wall

The Last Judgment
Last Judgment
9

Tapestries

The Lives of Saints Peter and Paul 10

Key: 1 Pietro Perugino 2 Sandro Botticelli 3 Cosimo Rosselli 4 Domenico Ghirlandaio 5 Biagio d'Antonio 6 Piero di Cosimo 7 Luca Signorelli 8 Bartolomeo della Gatta 9 Michelangelo 10 Raphael Pope
Pope
Sixtus IV Art patronage of Julius II Restoration of the Sistine Chapel
Chapel
frescoes

Pope
Pope
portal Vatican City
Vatican City
portal Catholicism portal

v t e

Landmarks of Rome

Bridges

Pons Cestius Pons Fabricius Ponte Milvio Ponte Sant'Angelo Ponte Sisto

Basilicas and churches

St. Peter's Basilica

Sistine Chapel

Archbasilica of St. John Lateran Basilica of San Clemente al Laterano Basilica di Santa Maria Maggiore Basilica of Santa Maria in Ara Coeli Basilica of Saint Paul Outside the Walls Catacombs Church of the Gesù San Carlo alle Quattro Fontane Santa Croce in Gerusalemme Santa Maria degli Angeli e dei Martiri Santa Maria in Cosmedin Santa Maria in Trastevere Santa Prassede Santa Sabina Sant'Ivo alla Sapienza Santa Maria della Vittoria Santa Maria del Popolo San Pietro in Vincoli

Roman architecture

Villas

Villa of Livia Villa of the Quintilii Villa of the sette bassi

Temples

Pantheon Temple of Castor and Pollux Temple of Hercules Victor Temple of Portunus Temple of Saturn Temple of Vesta

Architecture

Altare della Patria Ara Pacis Aurelian Walls Baths of Caracalla Castel Sant'Angelo Circus Maximus Colosseum Column of Marcus Aurelius Comitium Imperial fora Largo di Torre Argentina Mausoleum of Augustus Obelisks Palazzo Barberini Palazzo Farnese Piazza Navona Pyramid of Cestius Roman Forum Servian Wall Spanish Steps Theatre of Marcellus Theatre of Pompey Tiber Island Torre dei Capocci Torre delle Milizie Trajan's Column Trajan's Market Trevi Fountain

Art

Apollo Belvedere Augustus of Prima Porta La Bocca della Verità Laocoön and His Sons Ecstasy of Saint Teresa

Seven Hills

Aventine Caelian Capitoline Esquiline Palatine Quirinal Viminal

Parks and gardens

Villa Ada Villa Borghese gardens Villa Doria Pamphili Villa Medici Villa Torlonia Parco degli Acquedotti

Piazzas and public spaces

Campo de' Fiori Piazza Colonna Piazza d'Aracoeli Piazza del Popolo Piazza della Minerva Piazza della Repubblica Piazza Farnese Piazza Navona Piazza di Spagna Piazza Venezia

Streets

Appian Way Clivus Capitolinus Via del Corso Via della Conciliazione Via dei Fori Imperiali Via Sacra Via Veneto

Museums

Vatican Museums Galleria Borghese Doria Pamphilj Gallery Museum of Roman Civilization Capitoline Museums National Roman Museum National Museum of Oriental Art

Palaces

Palazzo Farnese Palazzo Colonna Palazzo Chigi Palazzo Barberini Palazzo Riario Palazzo Pamphilj Quirinal Palace

Metropolitan City of Rome Capital

Castello Orsini-Odescalchi Hadrian's Villa Villa Aldobrandini Villa d'Este Villa Farnese

Events and traditions

Festa della Repubblica Rome Quadriennale Rome Film Festival

Related

Vatican City

St. Peter's Square

v t e

Papacy

of the Catholic Church

Titles Papal names

Bishop of Rome Vicar of Jesus Christ Successor of the Prince of the Apostles Supreme Pontiff of the Universal Church Primate of Italy Archbishop and Metropolitan of the Roman Province Sovereign of the Vatican City
Vatican City
State Servant of the servants of God Vicarius Filii Dei

Symbols

Coats of arms Coats of arms of the Holy See
Holy See
and Vatican City Cross Keys of Heaven Regalia and insignia Rota Umbraculum

Proclamations

Apostolic constitution Bull

List

Encyclical Apostolic exhortation Ecclesiastical letter

Activities

Conclave Oath Coronation Consistory Inauguration Mass Travel

Paul VI John Paul II Benedict XVI Francis

Vestments

Camauro Falda Fanon Ferula Flabellum Mitre Mozzetta Pallium Ring of the Fisherman Shoes Sub-cinctorium Tiara Zucchetto

Major basilicas

Archbasilica of Saint John Lateran Basilica of Saint Paul Outside the Walls Basilica di Santa Maria Maggiore St. Peter's Basilica

Locations

Apostolic Palace Holy See Papal Apartments Saint Peter's Square Sistine Chapel Vatican City

Transportation

Popemobile Sedia gestatoria

Staff

Prefecture of the Pontifical Household Office for Liturgical Celebrations

Pope
Pope
portal Vatican City
Vatican City
portal Catholicism portal

‹ The template below ( Vatican City
Vatican City
topics) is being considered for merging. See templates for discussion to help reach a consensus. ›

v t e

Vatican City articles

Sovereign territory of the  Holy See

History

History of the papacy Papal States Duchy of Rome Donation of Sutri Donation of Pepin "Prisoner in the Vatican" Lateran Palace Circus of Nero Old St. Peter's Basilica Savoyard era First Vatican Council Lateran Treaty Second Vatican Council

Geography

Apostolic Palace

Papal Apartments Raphael
Raphael
Rooms

Castel Gandolfo Domus Sanctae Marthae
Domus Sanctae Marthae
( Pope
Pope
Francis' residence) Gardens Mater Ecclesiae Monastery ( Pope
Pope
Emeritus Benedict XVI's residence) Paul VI Audience Hall

The Resurrection

Passetto di Borgo St. Peter's Basilica St. Peter's Square Saint Peter's tomb Sistine Chapel

ceiling

Vatican Hill Vatican Museums

Historical Museum Modern Religious Art

Vatican Necropolis St. Peter's Baldachin Cortile del Belvedere Bramante Staircase

Politics

Politics Pope

List of sovereigns

Elections Foreign relations Pontifical Commission Pontifical Council Government Roman Curia Secretariat of State Vicar General Law

Fundamental Law of Vatican City
Vatican City
State Crime

Military

Corpo della Gendarmeria Swiss Guard

Economy

Banking Communications

.va
.va
[Internet domain]

Secretariat for the Economy Tourism Transport

rail

Culture

Academy of Sciences

AT telescope observatory

Anthem Catholic Church Coats of arms Demographics Flag Languages Media

Holy See
Holy See
Press Office Secretariat for Communications Annuario Pontificio newspaper radio television information service News.va

Music National football team Philatelic and Numismatic Office Public holidays Vatican Cricket Team Vatican Library

film secret archives

Pope
Pope
portal Vatican City
Vatican City
portal Catholicism portal

Authority control

WorldCat Identities VIAF: 268642532 LCCN: n96096549 GND: 4104970-6 BNF: cb139022841 (d

.