Sistine Chapel


The Presence of God
Michelangelo's paintings on the Sistine Chapel contain a strong presence of God. The ideas and stories of the Bible lie at the surface of the entire ceiling. All these stories are taking from the book of Genesis, which would not be possible without God. The scenes depicted are placed in a time frame of an earlier world. This period is called ante legem, and is the period before the Mosaic Law. The scenes can be analyzed in numerous ways that depend on the analyzers faith and interpretation of the beginning of time. The chapel contains nine stories divided into three trilogies: The Creation of the World, the Creation of Man, and the Story of Noah. All of these stories have a strong Godly presence, as the viewer sees the creation, progression, and, eventual, fall of man. The idea of God evolves from panel to panel by allowing the onlooker to consider God in three different situations forcing his role to change throughout each. The establishment of the vision of diverse, yet related symbols of biblical foundations presents a sense of the supernatural and divine world. The stories embody separate motifs; but, the piece is expressed as a unified whole with God being the only consistent presence in either idea or visual portrayal.
The order of the ceiling, according to the book of Genesis, should be read from the Separation of Light from Darkness to the Drunkenness of Noah, if the viewer reads in chronological order. The Creation of the World is the first out of the three trilogies. This focuses on the emergence of God's presence, arising from his creation of the earth and the cosmic environment. the Separation of Light from Darkness exemplifies the physicality of God in the beginning of his worldly universe. And God said, Let there be light, and there was light... and God divided the light from the darkness1 This story is depicted in this scene, where Michelangelo shows God whirling in a spinning motion. The shading and use of light and dark creates a feeling of the light and dark in the midst of division. God furthers his role as worldly creator in the Creation of Sun , Moon, and Planets by making two great lights; the greater light to rule the day; and the lesser one to rule the night2. God appears to be in circular motion once again; but, in this instance, he seems as if he is circulating the newly created universe. He is, at first, transpiring from the universe, and then, turns his back to the viewer to concentrate on a new object in process of establishment. The final story of the origin of the world is the Separation of Land from Water. God is perceived as an ominous being, flying above the sea, and reaching out to the heavens. He appears to be extending his arms outward to a nonexistent boundary, as if he was luring the land out of the sea. Michelangelo, in the Creation of the World, demonstrates God's limitless power by illusions of movement. The arm position, the masterful flying, and the seemingly face paced motion persuades the viewer to see a universal creator, above all fathomable beings. God appears to be traveling through all earthly dimensions, as if forcing the creation on the undeveloped world before him.
The second role of God is the Creator of Man. This section is in the center of the Sistine Chapel promoting the most concentration. This is undoubtedly strategically placed, for the importance of God's role to the God creates man to rule his last creation of the universe. This section tells the story from the creation of the primarily pure to the emergence of a sinful world. The Creation of Adam delineates God giving life to Adam. This scene encompasses an intense feeling because of the naturalistic connection between Adam and God. The body language and the positioning show the events in the story. The touching fingers give a sense of the intense power traveling from God and being transported to the fingertips of Adam. Michelangelo painted this scene with a definite basis of the bible's description, so that the viewer can actually see that God formed man of the dust of the ground; and breathed into the