The Sistine Chapel A Study In Celestial Cartography

GODS MISSIVE TO THE SOUL THE SISTINE CHAPEL: A Study in Celestial Cartography is a highly mystical and contemplative inquiry into The Mysteries and Esoteric Teachings of the Catholic Church. The Catholic Churchs only onus in the world is to re-articulate the sacred scriptures esoterically into as many artistic venues as possible. Through a comprehensive comparative analysis of the symbolic and esoteric patterns codified to the Judeao Christian Scriptures, the landscape of Jerusalem, Chartres Cathedral (stone and glass), Dante Alighieris La Divina Commedia (pen and ink), the Sistine Chapel (mosaics, paint and wet plaster) and Saint Peters Basilica (marble) the reader can determine for him or herself the efficacy of the esoteric science, which hails from the dawn of the time/space continuum as a direct missive from God. The author discovered a relatively simple and yet extremely sophisticated mathematical and grammatical system of thought in ancient literature: the integration of the Seven Liberal Arts. Antiquity developed this esoteric science inherent in the soul/psyche to codify the Word of God esoterically into the worlds sacred literature. Each letter of the worlds sacred literature is symbolized and alphanumerically structured, which makes the interpretation of each word far more important than the sum of its letters. The Holy Writ: i.e. the worlds religious literature is an encyclopedic library of knowledge relating wholly to the soul/psyche. There is no purpose for esotericisms existence other than for God to have a one-on-one relationship with the soul/psyche. Why is the soul/psyche seemingly in the world? How did the soul/psyche come to its present state of existence? What can the soul/psyche do to extricate itself from its plight when the dynamic forces of the world become too oppressive for it to bear?

GOD'S MISSIVE TO THE SOUL THE SISTINE CHAPEL: A Study in Celestial Cartography is a highly mystical and contemplative inquiry into The Mysteries and Esoteric Teachings of the Catholic Church. The Catholic Church's only onus in the world is to re-articulate the sacred scriptures esoterically into as many artistic venues as possible. Through a comprehensive comparative analysis of the symbolic and esoteric patterns codified to the Judeao Christian Scriptures, the landscape of Jerusalem, Chartres Cathedral (stone and glass), Dante Alighieri's La Divina Commedia (pen and ink), the Sistine Chapel (mosaics, paint and wet plaster) and Saint Peter's Basilica (marble) the reader can determine for him or herself the efficacy of the esoteric science, which hails from the dawn of the time/space continuum as a direct missive from God. The author discovered a relatively simple and yet extremely sophisticated mathematical and grammatical system of thought in ancient literature: the integration of the Seven Liberal Arts. Antiquity developed this esoteric science inherent in the soul/psyche to codify the Word of God esoterically into the world's sacred literature. Each letter of the world's sacred literature is symbolized and alphanumerically structured, which makes the interpretation of each word far more important than the sum of its letters. The Holy Writ: i.e. the world's religious literature is an encyclopedic library of knowledge relating wholly to the soul/psyche. There is no purpose for esotericism's existence other than for God to have a one-on-one relationship with the soul/psyche. Why is the soul/psyche seemingly' in the world? How did the soul/psyche come to its present state of existence? What can the soul/psyche do to extricate itself from its plight when the dynamic forces of the world become too oppressive for it to bear?

Eucharist (Delivered directly from the altar of Christ)

The frescoes of the Sistine Chapel are often viewed as a striking study in the contrast between the middle and High Renaissance styles. On the one hand, the scenes painted on the chapel's walls by Botticelli, Ghirlandaio, Perugino, Rosselli, and Signorelli (1481-82), which depict parallel events in the lives of Moses and Jesus (and allegorically legitimize the power of the pope), exemplify the narrative art developed in quattrocento Florence, in which multiple incidents and numerous draped figures are depicted in a single view. On the other hand, Michelangelo's scenes from Genesis on the chapel's ceiling (1508-12) epitomize the art of the High Renaissance, with its emphasis on compositional clarity and the human form, and his immense Last Judgment on the chapelGÇÖs altar wall (1536-41) even anticipates Mannerism, which pushed the expressive power of the nude hypertrophied and elaborately posed to its limit. In this boldly original book, sure to inspire lively discussion among all students and enthusiasts of art history, noted scholar Heinrich Pfeiffer reveals that, despite their stylistic diversity, the frescoes of the Sistine Chapel display an iconographic unity of hitherto-unsuspected depth. Drawing on years of research, he argues that neither the frescoes of the quattrocento masters nor even those of Michelangelo are free artistic embellishments on the prescribed themes; rather, their every detail has a specific symbolic meaning that is to be discovered only in the texts available to contemporary papal theologians. As a whole, he asserts, this symbolism constitutes a single iconographic program that underlies (without supplanting) the frescoes more obvious thematic and allegorical meanings, and that expresses metaphorically a number of key theological concepts, such as the Trinity and the analogy of Christ and His Church to groom and bride. With his clearly reasoned text, Pfeiffer leads us to a new understanding of the Sistine Chapel as a collaborative creation, encompassing not only the agony and the ecstasy of Michelangelo and his artistic forebears but also the faith and erudition of the theologians who closely advised them. He inspires us to take a fresh look at this great monument, the entirety of which is illustrated here in stunning full- and double-page photographs that faithfully reproduce the brilliant colors revealed by the frescoes recent restoration. Just as significantly, he reminds us of the importance of iconography to the full appreciation of art, and of the close links that so often exist between text and image.

Traces the history of the chapel of the popes and relates information about the methods that Michelangelo used to create his paintings

Among the most beautiful and compelling works of Renaissance art, painted maps adorned the halls and galleries of princely palaces. This book is the first to discuss in detail the three-dimensional display of these painted map cycles and their full meaning in Renaissance culture. Art historian Francesca Fiorani focuses on two of the most significant and marvelous surviving Italian map murals--the Guardaroba Nuova of the Palazzo Vecchio, Florence, commissioned by Duke Cosimo de’ Medici, and the Gallery of Maps in the Vatican, commissioned by Pope Gregory XIII. Both cycles were not only pioneering cartographic enterprises but also powerful political and religious images. Presenting an original interpretation of the interaction between art, science, politics, and religion in Renaissance culture, the book also offers fresh insights into the Medici and papal courts.