Term Paper on "Raphael's School of Athens"

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Italy's High Renaissance period has given the world some of the most famous and recognizable artists in history, whose influence can be seen throughout the history of Western art. Raffaello Sanzio, or simply Raphael, is unquestionably one of these great early 16th century artists. Born on April 6, 1483 to a court painter, he showed promise in the field even as a child. In 1504 Raphael went to Florence where he studied with such greats as Michelangelo and Leonardo da Vinci. He spent four years traveling around Italy, and after developing an admirable reputation as a painter under the guidance of Perugino, Raphael went to Rome in late 1508. While there he produced some of his most famous works including ten tapestries for the Sistine Chapel, The Sistine Madonna, and Transfiguration. Raphael did not just restrict himself to painting, however. In 1514 he was appointed as the architect for the new Saint Peter's church, as well as other buildings. His work is most noted for his sense of balance, softness and harmony in his painting. Sadly, Raphael died at the young age of 37.

Almost immediately after arriving in Rome in 1508, Raphael was commissioned by Pope Julius II to paint some of his rooms in his papal apartment in the Palace of the Vatican. These rooms became known as "The Stanze di Raffaello," which translates simply as "The Rooms by Raphael." Four rooms in total, they are located on the third floor of the Palace, and overlook the Belvedere Courtyard.

The first and largest room, "The Hall of Constantine" includes The Vision of Constantine, The Battle of the Milvian Bridge, and Donation of Constatine. The paintings in this room are considered the least famous because the actual painting was not done by Raphael himself, nor were they done in either Raphael's or Pope Julian's lifetime. Depicting the life of Constatine the Roman Emperor, this room's intention is to tell the story of paganism's defeat at the hand of Christianity. As the legend states, a cross appeared to Constantine with the words "In Hoc Signo Vinces" as he marched on the armies of Maxentius. It is this scene that The Vision of Constantine depicts. The success of this march is shown in The Battle of the Milvian Bridge. Constantine's death is depicted in The Baptism of Constantine, and later, the document that Constantine drew up to grant the popes sovereignty over their territories is illustrated in The Donation of Constantine.

In the next room, "Room of the Heliodorus," is a private chamber and contains The Expulsion of Heliodorus from the Temple, The Meeting of Pope Leo I and Attila, The Mass at Bolsena, and The Liberation of St. Peter. An image of Pope Julius II can be found in each of the paintings in this room. Heliodorus was a thief whose story was told in the Book of II Maccabees. While attempting to steal the treasure of the Temple of Jerusalem, Heliodorus was trampled to by horse. It is this scene that is depicted in the painting from which the room takes its name, The Expulsion of Heliodorus from the Temple. Saints Peter and Paul bear swords in the sky over a meeting between Pope Leo I and Attila the Hun in The Meeting of Leo and Attila. It is interesting to note that, though the face of the Pope was originally painting to resemble Raphael's original patron, Pope Julius II, Raphael later changed the face to resemble Pope Leo X after Pope Julius II's death. The Mass at Belsema illustrates the legend of a Bohemian priest whose faith was dramatically affected at a Mass where he saw the consecrated bread begin to bleed. This even forced the priest to give up his belief of Transubstantiation. The last painting in this room, The Liberation of St. Peter, illustrates the story of an angel who sets Peter free from prison in the Book of Acts.

Next is the room where the Signatura of grace was held and so acquired the name the "Room of the Segnatura." This room depicts wisdom of the traditional, ancient sources, such as ancient Greeks and Romans, coupled in harmony with the tenets of Christianity. It presents the idea of Truth, Beauty and Goodness in all their forms. The first painting is referred to as the Adoration of the Sacrament, which represents the Truth as illustrated through supernatural or spiritual means. Next is rational truth as shown by The School of Athens (see fig.1). Beauty is shown in the third painting which depicts the Muses and Apollo in Parnassus. Goodness is shown through illustrations of each of the Cardinal and Theological Virtues on the opposite wall and the space above it.

And finally, there is the Room of the Fire of the Borgo, which contains Fire in the Borgo, Crowing of Charlemagne, Justification of Leo III, and Battle of Ostia. Both Fire of the Borgo and Battle of Ostia show scenes from the lives of Pope Leo IV, and the other two paintings, Justifcation of Leo III, and Crowning of Charlemagne depict scenes from the life of Leo III. This room was painted not for Pope Julius II, but for his successor, Pope Leo X and was used as a music and dining room.

As stated before, The School of Athens is a work that is meant to depict the pursuit of Truth through rational means. This, along with the other paintings in the "Room of the Segnatura" are some of Raphael's most famous works. This painting portrays antiquity's greatest thinkers all under one magnificent roof. Combined, the figures represent the disciplines required to intelligently debate any facet of philosophy. These disciplines are arithmetic, geometry and astronomy. The liberal arts are also in attendance by the depiction of the statues of Minerva and Apollo.

The School of Athens is a fresco located on the eastern wall of the "Room of the Segnatura," and is approximately 770 cm wide at the base. A fresco is painted using pigments mixed with water and painted onto sections of wet plaster. Because the pigment is worked into the plaster of the wall before it has dried, no bonding agent is needed and once the plaster is dried the pigment becomes a permanent part of the wall itself. The preliminary sketches, or sinopia, is drawn on the rough primary layer of plaster in a reddish pigment of the same name as the sketch itself. This red sketch serves as a guideline of the basic figures and shapes to be painted in the final fresco. This allowed the artist to have control over which parts would be frescoed in a day's work.

The composition of The School of Athens is anchored on the two major figures presented and the center of the work. The grand, sweeping arch that frames the work serves to unite the individuals depicted there at the fictitious meeting of the minds, and also symbolically separate the viewer from this congregation. Raphael needed to make the distinction that the viewer, as a modern personality, is not a part of this, but a witness to it. It effectively separates present from past in that, though we can witness the teachings of these great philosophers, we cannot physically interact with these ideas. Not only this, but it allows us to see how these philosophies serve as a foundation for our modern thought, and though we can only see these ideas as static and complete, we can use them and manipulate them to even greater heights in the present.

Though standing together, the two figures in the center are not only separated from the viewer, but also separated from one another. They exist on either side of an invisible axis that splits the entire work into two sides. There is also a vanishing point between their heads that draws the eye back to these two after roaming over the rest of the work. This vanishing point, since it goes on into the sky in the background, is infinite and can be seen to make a statement about the infinity of God, as well as the infinity of the influence these two have on the process of modern thinking.

There is also a pattern of circles… READ MORE