michelangelo painted the dome of sistine chapel in rome.
michelangelo painted the dome of sistine chapel in rome.
who painted the dome of sistine chapel in rome?
michelangelo
bullet::::- hirst, michael (1986). in "the sistine chapel", ed. massimo giacometti









































bullet::::- , various authors, king james version.









































bullet::::- — via waldemar januszczak archive









































bullet::::- mancinelli, fabrizio (1986). in "the sistine chapel", ed. massimo giacometti









































bullet::::- o'malley, john (1986). "the theology behind michelangelo's ceiling" in "the sistine chapel", ed. massimo giacometti.









































bullet::::- paoletti, john t.; radke, gary m. (2005). "art in renaissance italy", laurence king.









































bullet::::- pietrangeli, hirst and colalucci, eds. (1994). "the sistine chapel: a glorious restoration. italy", harry n abrams









































bullet::::- shearman, john (1986) "the chapel of sixtus iv" in "the sistine chapel", ed. massimo giacometti.
sistine chapel ceiling
the sistine chapel choir was run on traditional lines centuries old, and had a strict system of hierarchies. in 1886, the senior castrato, giovanni cesari, retired, and it was probably then that moreschi took over as "direttore dei concertisti" (director of soloists). in 1891 moreschi took his turn as "segretario puntatore", being responsible for the day-book of the choir's activities, and the following year was appointed "maestro pro tempore", a largely administrative post concerned with calling choir meetings, fixing rehearsals, granting leave of absence and the like. during this year, alessandro was also responsible for overseeing the choir's correct performance of its duties in the sistine chapel. artistically speaking, the job involved him in choosing soloists and in developing repertoire. this entire period was one of great upheaval within the sistine choir's organisation as well as catholic church music at large: the reforming movement known as cecilianism, which had originated in germany, was beginning to have its influence felt in rome. its calls for the church's music to return to the twin bases of gregorian chant and the polyphony of palestrina were a direct threat to both the repertoire and the practice of the sistine chapel. these were resisted by mustafà, but time was against him. in 1898, he celebrated fifty years as a member of the sistine, but also appointed lorenzo perosi as joint perpetual director. this 26-year-old priest from tortona in piedmont turned out to be a real thorn in mustafà's side. moreschi was very much a silent witness to the struggles between the forces of tradition and reform, but was also caught up in secular matters: on 9 august 1900, at the express request of the italian royal family, he sang at the funeral of the recently assassinated king, umberto i. this was all the more extraordinary because the papacy still had no formal contact with the italian secular state, which it regarded as a mere usurper (see unification of italy).
alessandro moreschi