A visual Journey into the Bible The Book of Genesis

A Visual Journey into the Bible Page: 20
out of Paradise '(6), 'Noah’s Sacrifice' (7), the 'Universal Deluge' (8) and finally
'Noah’s Drunkenness' (9). The middle painting is thus the’ Original Sin’ and the
‘Expulsion out of Paradise’, which reminds us of our mortality and transitoriness.
Among these scenes there are full, large scenes that alternate with smaller ones which
are held by large nudes and medallions. The large scenes are 2, 4, 6 and 8: the
‘Creation of the Stars’, the ‘Creation of Adam’, the ‘Original Sin’ and the Deluge.
These are probably the most important ones for Michelangelo, the ones he wanted the
devote invitees of the Popes, the privileged who were allowed to assist the High
Masses of the Pope in person, the ambassadors, emperor, princes and kings, to
remember.
Michelangelo knew that the wall frescoes already tried to establish the credibility of
the Popes as inheritors of the Kingdom installed by God. He continued this idea by
filling in the space between the walls and the central scenes with prophets and Sibyls.
In front of the first scene he painted the prophet Jonas, on the other end the prophet
Zachary. On the right side of Jonas started the Lybian Sibyl, and then came the
prophet Daniel, the Cumaean Sibyl, the prophet Isaiah, and the Delphic Sibyl. On the
left side of Jonas started scenes with the prophet Jeremiah, the Persian Sibyl, the
prophet Ezechiel, the Erythreian Sibyl and the prophet Joel. So, each prophet has on
the opposite side a Sibyl. There are five Sibyls and 5 prophets along the walls, but two
supplementary prophets are at the ends. Next to the prophet Zachary, there are two
scenes made possible by somewhat larger surfaces between the supporting structures
of the roof: David and Goliath on one side, Judith and Holophernes on the other side.
Next to Jonas are similar surfaces, the ‘Punishment of Aman’ and the scene of the
Brazen Serpent. Between the prophets and Sibyls there are smaller scenes of
precursors of Christ like the family of Ozias, the parents of King Jesse, many others.
Why the Sibyls, pagan symbols in a Catholic chapel The Sibyls were women who
prophesied while in ecstasy. So, just like the prophets they were announcers of
wonders to come. In the Middle Ages, the Church adopted their sayings as foretelling
the story of Christ. The ‘Golden Legend’ narrated of strange events that had happened
during Jesus’s birth and that had been prophesied by the Sibyls. In Rome, a fountain
of water turned to oil and burst into the Tiber. A Sibyl had foretold that when a
fountain of oil sprang from the ground, a Saviour would be born. The Sibyls had also
shown to Emperor Octavian a most beautiful virgin that appeared in a golden circle
around the sun. The virgin held a child in her lap. The Sibyls said that this child was
greater than the emperor was and that Octavian should worship it. The Sibyls were
thus considered ancient Roman counterparts of the Hebrew prophets.
Michelangelo emphasised with the Sibyls the link between pre-testament times and
the Christian era. There are twelve Sibyls, of which Michelangelo represents five.
These five Sibyls are also the best known. They were named after their places of
origin. Michelangelo painted the Sibyls of Delphi, of Cumae, of Persia, of Erythraea
and the Sibyl of Libya. The Sibyls are not shown with their usual symbols, which
would be a crown of thorns for Delphi, a shell-like bowl for the Cumaean Sibyl, a
lantern and serpent for the Persian, a lily for the Erythraean Sibyl and a candle or
torch for the Libyan Sibyl G41 . Each Sibyl holds a book or a scroll. These would be the
Sibylline books, in which the proverbs and sayings of the Sibyls were recorded. A
Roman, Tarquinius Superbus allegedly bought the Sibylline books from the last Sibyl,
and then guarded by a college of priests that could only open the books on special
Copyright ©: René Dewil Date: October, 24 2000