Sistine Chapel Essay

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Although painted over five hundred years ago, Michelangelo’s magnificent works of art within the Sistine Chapel are yet to be rivaled by any other artist. The grandeur of his work continues to mesmerize people who travel from all over the world to simply catch a glimpse of the frescoes. Towering over thirteen feet tall are the largest and most life-like of the figures in the chapel: the sibyls. These complex and statue-like depictions may be overlooked because some scenes in the chapel have become more prominent through the years. However, the story behind the sibyls is much too important to underestimate. The monumental state in which the five chosen sibyls appear in the Sistine Chapel reflects Michelangelo’s knowledge of their faith-filled importance that was not necessarily acknowledged prior to his depiction of them. Because of their inclusion in the majestic Sistine Chapel and their feminist diversion from normalcy in the Middle Ages, these five ancient female seers’ prophecies on the coming of Christ have continued to be of essence throughout history. A sibyl is defined as an ancient female seer whose visions and oracles were said to have prophesized the coming of Christ. Whereas the meaning of the word “prophet” is known around the world today, the term “sibyl” is one that is seemingly foreign in modern times. This mysterious identity of what a sibyl truly is leads to their captivating presence in the Sistine Chapel. Vague mention of sibyls was first made in the early 4th century by the Roman Christian author Lactantius.1 In the Middle Ages and early Renaissance, sibyls were first presented in varying forms of artwork, but never to the extent in which Michelangelo portrayed them. It was radical at the time of Michelangelo’s creation that the sibyls were of equal status with the prophets. During this time of shifting theological beliefs throughout
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