Raphael Rooms
| Raphael Rooms | |
|---|---|
 The Stanza della Segnatura | |
 Click on the map for a fullscreen view | |
| Artist | Raphael |
| Location | Apostolic Palace,part ofVatican Museums,Rome |
| 41°54′13″N12°27′23″E/ 41.903611°N 12.456389°E | |
The fourRaphael Rooms(Italian:Stanze di Raffaello) form a suite of reception rooms in theApostolic Palace,now part of theVatican Museums,inVatican City.They are famous for theirfrescoes,painted byRaphaeland his workshop. Together withMichelangelo'sSistine Chapel ceilingfrescoes, they are the grand fresco sequences that mark theHigh RenaissanceinRome.
TheStanze,as they are commonly called, were originally intended as a suite of apartments forPope Julius II.He commissioned Raphael, then a relatively young artist fromUrbino,and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor (and rival)Pope Alexander VI,as theStanzeare directly above Alexander'sBorgia Apartment.They are on the second floor, overlooking the south side of theBelvedere Courtyard.
Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which theStanzewere frescoed, the rooms are theSala di Costantino( "Hall of Constantine" ), theStanza di Eliodoro( "Room of Heliodorus" ), theStanza della Segnatura( "Room of the Signatura" ), and theStanza dell'Incendio del Borgo( "The Room of theFire in the Borgo").
After the death of Julius in 1513, with two rooms frescoed,Pope Leo Xcontinued the program. Following Raphael's death in 1520, his assistantsGianfrancesco Penni,Giulio RomanoandRaffaellino del Collefinished the project with the frescoes in theSala di Costantino.
Scheme
[edit]The scheme of the works is as follows:
| Room of the Signatura | Room of Heliodorus | Room of the Fire in the Borgo | Hall of Constantine |
|---|---|---|---|
| General view (I) | |||
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| General view (II) | |||
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| East wall | |||
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| The School of Athens | The Expulsion of Heliodorus from the Temple | Battle of Ostia | The Vision of the Cross |
| South wall | |||
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| Cardinal and Theological Virtues | The Mass at Bolsena | The Fire in the Borgo | The Battle of the Milvian Bridge |
| West wall | |||
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| Disputation of the Holy Sacrament | The Meeting of Leo the Great and Attila | The Coronation of Charlemagne | The Baptism of Constantine |
| North wall | |||
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| The Parnassus | Deliverance of Saint Peter | The Oath of Leo III | The Donation of Constantine |
| Ceiling | |||
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Sala di Costantino
[edit]The largest of the twelve rooms is theSala di Costantino( "Hall of Constantine" ). Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died. The room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman EmperorConstantine,and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle. Because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff,Clement VII,toPope Sylvesterin the paintings.
The Vision of the Cross
[edit]The fresco ofThe Vision of the Crossdepicts the legendary story of a great cross appearing to Constantine as he marched to confront his rivalMaxentius.The vision in the sky is painted with the words in Greek "Εν τούτω νίκα" ( "By this, conquer", better known as the LatinIn hoc signo vinces) written next to it.
The Battle of Milvian Bridge
[edit]The Battle of Milvian Bridgeshows thebattlethat took place on October 28, 312, following Constantine's vision.
The Baptism of Constantine
[edit]
The third painting in the sequence,The Baptism of Constantine,was most likely painted byGianfrancesco Penni,and shows the emperor being baptised byPope Sylvester Iin theLateran BaptisteryatRome.This follows the account of Constantine's baptism given in theActs of Sylvesterand theLiber Pontificalis,rather than the alternate deathbed version recounted inEusebius'sLife of Constantine.InThe Baptism of Constantine,Pope Sylvester I has the physical features ofPope Clement VII(1523–1534), who ordered the completion of the Raphael Rooms.[1]
The Donation of Constantine
[edit]The final painting in the sequence,The Donation of Constantine,records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famousforged documents,incorporated into Gratian'sDecretum,granting the Papacy sovereignty over Rome's territorial dominions.
Stanza di Eliodoro
[edit]The next room, going from East to West, is theStanza di Eliodoro( "Room of Heliodorus" ). Painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the heavenly protection granted by Christ to the Church.[2]The four paintings are:The Expulsion of Heliodorus from the Temple,The Mass at Bolsena,The Meeting of Pope Leo I and Attila,andThe Deliverance of Saint Peter from Prison.In the first two of these frescoes, Raphael flatteringly includes his patron, Pope Julius II, as participant or observer; the third, painted after Julius's death, includes a portrait of his successor, Leo X.
Raphael's style changed here from theStanza della Segnatura.Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects. He represented fewer, larger figures so that their actions and emotions have more direct impact on the viewers, and he used theatrical lighting effects to spotlight certain figures and heighten tension.
The Expulsion of Heliodorus from the Temple
[edit]
InThe Expulsion of Heliodorus from the TempleRaphael illustrated the biblical episode fromII Maccabees(3:21–28) aboutHeliodorus,who was sent to seize the treasure preserved in theTemple in Jerusalem,but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura. Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting. At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event. His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.[3]
The Mass at Bolsena
[edit]
The Mass at Bolsenadepicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine ofTransubstantiationwhen he saw the bread begin to bleed during its consecration atMass.The cloth that was stained by the blood was held as a relic at the nearby town ofOrvieto;Julius II had visited Orvieto and prayed over the relic in 1506.[4]The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia (also portraits) standing behind him. Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.
The Meeting of Leo the Great and Attila
[edit]
The Meeting of Leo the Great and Attiladepicts the storied parley between thePopeandthe Hun conqueror,and includes the legendary images of Saint Peter andSaint Paulin the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.[5]
Deliverance of Saint Peter
[edit]
TheDeliverance of Saint Petershows, in three episodes, howSaint Peterwasliberatedfrom prison by anangel,as described inActs 12.It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli (St. Peter in Chains), so the painting is at once a general reference to the papacy and a specific reference to Julius.[6]The fresco is a study in light: natural moonlight, man-made torchlight, and God-provided angel light. It is the latter, of course, that outshines the others.
Stanza della Segnatura
[edit]TheStanza della segnatura( "Room of the Signatura" ) was the first to be decorated by Raphael's frescoes. It was the study housing the library of Julius II, in which theSignatura of Gracetribunal was originally located. The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented intondiabove the lunettes of the walls. The theme of this room is worldly and spiritual wisdom and the harmony whichRenaissancehumanistsperceived betweenChristianteaching andGreek philosophy.The theme of wisdom is appropriate as this room was the council chamber for theApostolic Signatura,where most of the important papal documents were signed and sealed.
Disputation of the Holy Sacrament
[edit]
The first composition Raphael executed between 1509 and 1510[7]was theDisputation of the Holy Sacrament,the traditional name for what is really anAdoration of the Sacrament.In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.
The Parnassus
[edit]
Raphael completed the second composition between 1509 and 1511.[8]It representsThe Parnassus,the dwelling place of the godApolloand the Muses and the home of poetry, according to classical myth. In the frescoApolloand the Muses are surrounded by poets from antiquity and Raphael's own time.
The School of Athens
[edit]
Between 1509 and 1511, Raphael also completed another work on the wall opposite theDisputa.This third painting,[9]entitledThe School of Athens,represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity.[10]It was meant to reside over the philosophical section ofPope Julius II's library. It is perhaps Raphael's most famous fresco.
The Cardinal Virtues
[edit]
The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing theCardinal Virtues,were painted in 1511.The Cardinal Virtuesallegorically presents the virtues offortitude,prudenceandtemperancealongsidecharity,faith,andhope.
Stanza dell'incendio del Borgo
[edit]TheStanza dell'incendio del Borgowas named for theFire in the Borgofresco which depictsPope Leo IVmaking the sign of the cross to extinguish a raging fire in theBorgodistrict ofRomenear theVatican.This room was prepared as a music room for Julius' successor,Leo X.The frescos depict events from the lives of PopesLeo IIIand Leo IV. The other paintings in the room areThe Oath of Leo III,The Coronation of Charlemagne by Leo III,andThe Battle of Ostia.Though theFire in the Borgowas based on Raphael's mature designs it was executed by his assistants, who painted the other three paintings without his guidance.
The Oath of Leo III
[edit]On December 23, 800AD,Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessorPope Hadrian I.This event is shown inThe Oath of Leo III.
The Coronation of Charlemagne
[edit]
The Coronation of Charlemagneshows howCharlemagnewas crownedImperator Romanorumon Christmas Day, 800.
Fire in the Borgo
[edit]
The Fire in the Borgoshows an event that is documented in theLiber Pontificalis:a fire that broke out in theBorgoinRomein 847. According to the Catholic Church,Pope Leo IVcontained the fire with his benediction.
The Battle of Ostia
[edit]
TheBattle of Ostiawas inspired by thenaval victoryof Leo IV over theSaracensatOstiain 849.
See also
[edit]Notes
[edit]- ^"Raphael | Stanze in the Palazzi Pontifici, Vatican | Podere Santa Pia, Holiday house in the south of Tuscany".Archivedfrom the original on 2021-05-09.Retrieved2021-04-17.
- ^Roger Jones and Nicholas Penny,Raphael,New Haven, 1983, 113; Ingrid D. Rowland, "The Vatican Stanze," inThe Cambridge Companion to Raphael,ed.Marcia B. Hall,Cambridge, 2005, 111.
- ^Jones and Penny, 117; Rowland, 112.
- ^Jones and Penny, 117; John Pope-Hennessy,Raphael,London, 1970, 112; Rowland, 113.
- ^Jones & Penny, 118–121; Pope-Hennessy, 115.
- ^Jones & Penny, 118; Rowland,112–113.
- ^Raphael,Phaidon Publishers, 1948, p. 24.
- ^Raphael, Marcia B. Hall (ed.),The Cambridge Companion to Raphael,Cambridge University Press, 2005, p. 195.
- ^Jones and Penny, p. 74: "The execution of theSchool of Athens... probably followed that of theParnassus."
- ^M. Smolizza,Rafael y el Amor. La Escuela de Atenas como protréptico a la filosofia,inIdea y Sentimiento. Itinerarios por el dibujo de Rafael a Cézanne,Barcelona, 2007, pp. 29–77
Further reading
[edit]- Rijser, David. “Tradition and Originality in Raphael: The Stanza Della Segnatura, the Middle Ages and Local Traditions.” The Quest for an Appropriate Past in Literature, Art and Architecture, edited by Karl A.E. Enenkel and Konrad A. Ottenheym, vol. 60, Brill, LEIDEN; BOSTON, 2019, pp. 106–126. JSTOR, www.jstor.org/stable/10.1163/j.ctvbqs5nk.11. Accessed 24 Mar. 2021.
External links
[edit]- The Stanze of the Vatican - with virtual tour
- Visual Tour of the Raphael Rooms, with identifications of figures in frescoes
- Raphael Rooms' 360x180 degree panorama virtual tour
- The Vatican: spirit and art of Christian Rome,a book from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on the Raphael Rooms (pp. 111–123)
Media related toRaphael Rooms (Vatican Museums)at Wikimedia Commons
| Preceded by Ecstasy of Saint Teresa |
Landmarks of Rome Raphael Rooms |
Succeeded by Sistine Chapel ceiling |
