L'art de la Cité du Vatican ; une brève histoire du palais, et un compte rendu des principales œuvres d'art dans ses murs . nd, est habillé en jaune ; autres passe sa robe est d'un vert olive sur une dullyellow. Il y a beaucoup plus blues que les rouges dans la fresque, et le ciel est d'un profond indigo, growingwhite près du bord de la lointaine blue hills. Thefoliage des chênes (l'appareil de Sixte IV.)et la majeure partie du paysage sont d'un vert foncé. Plus loin le long du même côté vient le calembour-ishment de les faux prêtres. Au premier plan, à droite, Moïse, élevé à la main, un denouncesthe blasphe qui

• Contributeur: The Reading Room / Alamy Banque D'Images
• ID de l’image: 2AJ685H
• Taille du fichier: 7,1 MB (529,9 KB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 1244 x 2007 px | 21,1 x 34 cm | 8,3 x 13,4 inches | 150dpi

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The art of the Vatican; a brief history of the palace, and an account of the principal works of art within its walls . nd, is dressed in yellow; inother places his robe is an olive green over a dullyellow. There are many more blues than reds inthe fresco, and the sky is a deep indigo, growingwhite near the edge of the distant blue hills. Thefoliage of the oak-trees (the device of Sixtus IV.)and most of the landscape are a dark green. Farther on along the same side comes the Pun-ishment of the False Priests. In the foreground, at the right, Moses, with upraised hand, denouncesthe one who blasphemed. By his side the ofiFendertries to protect himself from the indignant group ofmen who are armed with stones. A fire is burningon the centre altar, and gathered round it are thedeceiving priests, Korah, Dathan, and Abiram.Before them, Moses with lifted rod calls upon Godfor their punishment. Already they have fallenback, dropping their censers, one grovelling on theground. Just behind them, and at the left, Aaron isswinging his censer. Again, Moses bends with con-demnatory hand over the defilers of the temple, . XLbe Sistfne Cbapel 99 while the earth is opening and swallowing thesinners. The centre middle distance has a fineRoman arch going to the top of the picture, at theright is a ruined building with many Corinthianpillars, and beyond a line of sea-broken coast. Herethe three episodes are even less connected than inthe other fresco. The separate groups, however, arefine, — extreme violent action contrasting with dig-nified calm. The architectural background is splen-didly done, so well that it has sometimes beencredited to Filippino Lippi. Though on the other side of the chapel and calledthe Temptation of Our Lord, this fresco really dealsprincipally with the Old Testament. In front ofthe altar erected in the foreground, a young man ispresenting a basin to the High Priest. On eachside of these two are men, women, and children, bringing in bundles on their heads, or talki

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