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A 5 page research paper that compares two Renaissance works ñ the painting on the Sistine Chapel ceiling by Michelangelo and 'School of Athens' by Raphael. The writer argues that both of these works display the Renaissance fascination with ancient Greek philosophy. Bibliography lists 5 sources. 99mic&ra.wps
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5 pages (~225 words per page)
File: KE9_99micrap.rtf
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and a similar examination of Raphaels masterful fresco "School of Athens" will demonstrate the tremendous influence of classical Greek philosophy on their work. Michelangelo Buonarroti (1475-1564) painted the ceiling
of the Sistine Chapel in the Vatican fairly early on in his career (1508-1512) (Ryan 23). It was a time when the optimism of Renaissance humanism was very much in
evidence throughout Italy, and the Roman Catholic Church, as well (Ryan 23). The entire Sistine ceiling was conceived as an "organic composition," which was motivated by a single unifying
philosophical as well as artistic design (Fleming 191). The iconography represents a fusion of traditional Hebrew-Christian theology and the Neoplatonic philosophy that Michelangelo acquired from his days in the Medici
household (Fleming 191). This can be seen in numerous instances throughout the painting. For instance, the Sibylline Oracles are pictured side-by-side with the Hebrew Prophets (Anonymous 56). The Oracle "Eritrea"
speaks for "Gnosis," while "Delphica" symbolizes "Vision" (Anonymous 56). Michelangelo divided the space on the Sistine ceiling into geometrical forms, such as the triangle, circle and square, and this,
again, refers back to Plato since Plato regarded these forms as eternal, and believed that they furnished clues to the true nature of the universe (Fleming 191). Michelangelo also divided
the overall painting into three different zones in which there are varying intensities of light (Fleming 191; Bates 93). These zones also have Platonic significance in that they
refer to the three Platonic stages?"the world of matter, the world of becoming and the world of being" (Fleming 192). The story which the painting depicts, rather then starting at
Genesis and proceeding in chronologically order, has the story of creation in reverse order, "or as the Platonic ascent of man from his lowest estate back to his divine origin"
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