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''The End of the World'', commonly known as ''The Great Day of His Wrath'',〔Michael Wheeler, ''Heaven, Hell, and the Victorians'', Cambridge University Press, 1994, p.83〕 is an 1851–1853 oil painting on canvas by the English painter John Martin.〔(Martin, John – Biography )〕 According to Frances Carey, the painting shows the "destruction of Babylon and the material world by natural cataclysm".〔 This painting, Frances Carey holds, is a response to the emerging industrial scene of London as a metropolis in the early nineteenth century, and the original growth of the Babylon civilisation and its final destruction.〔 Some other scholars such as William Feaver see the painting as "the collapse of Edinburgh in Scotland".〔〔 Charles F. Stuckey is sceptical of the link with Edinburgh.〔 According to the Tate, the painting depicts a portion of Revelation 16, a chapter from the New Testament.〔 Leopold Martin, John Martin's son, said that his father found the inspiration for this painting on a night journey through the Black Country. This has led some scholars to hold that the rapid industrialisation of England in the early nineteenth century influenced Martin.〔〔 Some authors have used the painting as the front cover for their books, examples include ''Mass of the Apocalypse''〔Peter Dickinson, Mass of the Apocalypse, Novello, London, 1989〕 and ''Studies in the Book of Revelation''.〔Steve Moyise, ''Studies in the Book of Revelation'', Continuum International Publishing Group, 2001〕 The painting is one of three works that together form a triptych entitled ''The Last Judgment''. ==Description== According to Frances Carey, Deputy Keeper in the Department of Prints and Drawings, British Museum, the painting shows the destruction of Babylon and the material world by natural cataclysm.〔Frances Carey,'' The Apocalypse and the Shape of Things to Come'', University of Toronto Press, 1999, p.267〕 William Feaver, art critic of the Observer, believes that this painting pictures the collapse of Edinburgh in Scotland. Calton Hill, Arthur's Seat, and the Castle Rock, Feaver says, are falling together upon the valley between them.〔The Art of John Martin , London, Oxford University Press, 1975, p.6〕 Charles F. Stuckey, professor of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, however is sceptical about such connections arguing that it has not been carefully proved.〔Charles F. Stuckey, review of ''The Art of John Martin'' by William Feaver, The Art Bulletin, Vol. 58, No. 4. (Dec. 1976), pp. 630–632.〕 Michael Freeman, Supernumerary Fellow and Lecturer in Human Geography at Mansfield College, describes the painting as follows:〔Michael Freeman, ''Victorians and the Prehistoric: Tracks to a Lost World,Michael Freeman'', Yale University Press, p.91〕 Storms and volcanic eruptions, earthquakes and other natural disasters 'swept like tidal waves through early nineteenth-century periodicals, broadsheets and panoramas'. Catastrophic and apocalyptic visions acquired a remarkable common currency, the Malthusian spectre a constant reminder of the need for atonement. For some onlookers, Martin's most famous canvases of divine revelation seemed simultaneously to encode new geological and astronomical truths. This was ... powerfully demonstrated in ''The Great Day of his Wrath (1852)'', in which the Edinburgh of James Hutton, with its grand citadel, hilltop terraces and spectacular volcanic landscape, explodes outwards and appears suspended upside-down, flags still flying from its buildings and before crashing head-on into the valley below. According to the Tate Gallery, the United Kingdom's national museum of British and Modern Art, the painting closely follows a portion of Revelation 6, a chapter from the New Testament of the Bible:〔(The Great Day of His Wrath, 1851-3 )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「The Great Day of His Wrath」の詳細全文を読む スポンサード リンク
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