Estelle M. Hurll

Science has long been trying to solve the problem of the origin of the human race. Great books are published by learned men to explain how the being called man came to be what he is. But centuries before the beginnings of science a wonderful poem was written on the same subject of the creation. This poem is called Genesis, that is, the Birth or Origin of things, and it forms a part of the first book of our Bible. Ever since it was written it has been one of the sacred books of many people.

Michelangelo's decoration of the Sistine Chapel ceiling did not stop with the series of panels running along the flat space in the centre. On either side, where the ceiling arches to meet the side walls, he painted a row of figures, which seem to be seated in sculptured niches. There are twelve of these figures in all, and seven of them are Hebrew prophets.

Savonarola, 1452-1498, prior of monastery of S. Marco, Florence, preacher, reformer, martyr.

Marc' Antonio, 1487-1539, engraver.

Bramante, 1444-1514, architect of St. Peter's.

Antonio da San Gallo, 1485-1546, architect of St. Peter's.

Christopher Columbus, 1436 or 1446-1506, discoverer.

Aldo Manuzio (Teobaldo Mannucci), 1450-1515, printer, established press at Venice 1490.

Vittoria Colonna, 1490-1547, poet.

In striking contrast to the bowed and sorrowful old prophet Jeremiah is the alert and eager youth Daniel. The two men were contemporaries, though there was a difference in their ages. When, in the reign of Jehoiakim, the Jews were taken into captivity to Babylon, the youth Daniel went with them, while the old prophet Jeremiah was left behind. Daniel was chosen, with three companions, to be educated at the court of the Babylonian king, Nebuchadnezzar. They were taught the Chaldean language and the sciences, and the king was delighted with their progress.

In the rows of figures which Michelangelo painted along the arched portion of the ceiling of the Sistine Chapel, the prophets are associated with sibyls. Hence, in the plan of decoration, there comes first the figure of a man, and then the figure of a woman.

Now, as the Bible contains no allusion to sibyls, it may seem strange that they should have a place in a series of Bible illustrations, and especially that they should appear side by side with the prophets. To explain this, we must learn something about the sibyls.

Of all the sibyls, the one we hear most about is the Cumæan. The legend runs that, having asked a boon of Apollo, she gathered a handful of sand and said, "Grant me to see as many birthdays as there are sand grains in my hand." The wish was gratified, but unluckily she forgot to ask for enduring youth, so she was doomed to live a thousand years in a withered old age. Thus we always think of her as an old woman, as Michelangelo has represented her.