Stanzas of Raphael. Great Legacy
One of the main attractions of Rome, included in
Vatican Museum complex, includes four rooms,
painted by the great artist together with his talented
students in the period from 1508 to 1524. "Raphael's Stanzas" translated
from Italian it means “Raphael’s rooms” (la stanza-room). 
"Christ hands St. Peter the keys to heaven." Rafael Santi. 1515
One of the first and largest works of Rafael Santi
in Rome the artistic painting of the papal apartments began.
"Portrait of Pope Julius II" Rafael Santi. 1512
Giuliano della Rovere, being elected Pope under
named after Julius II, refused to use it as a personal residence
apartments where Pope Alexander VI Borzhdia previously lived.
Separating land from water. Fresco of the Loggia by Raphael
Palace of the Pontiff in the Vatican. 1519
Julius II chose several spacious rooms on the second floor
Apostolic Palace and hired famous artists to work
over the decorative design of the premises. Among those involved
masters were Bramante, Baldassare Peruzzi, Lorenzo Lotto,
and even Pietro Perugino - one of Raphael's first teachers.
Saint Paul preaches in Athens. Rafael Santi. 1515
By the way, painting the ceiling of one of the rooms I worked on
Perugino, did not please the Pontiff so much that he barely
Having seen the master’s work, he ordered it to be washed off immediately. In the same way
Julius II did not appreciate the efforts of the other artists involved.
Meeting of Jacob with Rachel. Fresco of the Loggia by Raphael II
floors of the Pontiff's Palace in the Vatican. 1519
According to Vasari, it was Bramante, who was at that time
moment the chief architect of St. Peter's Basilica, advised
invite the young and little-known Raphael to perform
assigned task. Satisfied with the first results of the work
talented artist, Julius II completely entrusted
Santi painted the apartments, ordering complete removal
works of previous masters.
Stanza della Segnatura. Fresco Parnassus. Fragment
Apollo and the Muses. Rafael Santi. 1511
Stanza della Segnatura
The name of the room comes from the location
above the Court of the Holy See, called the “Signature
Justice and Mercy." For many years this hall
used by the Pope for holding various types of meetings.
"The Triumph of Galatea". Rafael Santi. 1517
"Stanza della Segnatura" was the first room above which
Raphael worked. Luxurious paintings decorating the walls
rooms represent allegorical images
theology, philosophy, jurisprudence and poetry, components,
according to the author, the basis of human society.
“Stanza della Segnatura. Fresco Parnassus. Fragment - Sappho" 1511
Love and kindness are born along with religion, philosophy gives
Poetry and art give reason to man, beauty, and justice
may triumph through justice. This topic
decorative design of the room suggests that
that it was originally intended to place either a worker here
the Pontiff's office, or his personal library, even if
no documentary evidence of this has been found.
Stanza d'Eliodoro. Fresco "The Expulsion of Eliodorus"
from the temple." Rafael Santi. 1514
Stanza di Eliodoro
In 1511, having finished painting the first room, Raphael began
to create sketches for the frescoes of the next room,
intended for papal audiences.
“Stanza d'Eliodoro. Fresco Liberation of the Saint
Petra. Fragment - An angel leads St. Peter out” 1514
At this time, Pope Julius II had just returned to Rome after
destructive military campaign against the French, which
ended for the Holy See with the loss of Bologna and created
the threat of invasion of foreign troops on the peninsula.
“Stanza d'Eliodoro. Hall ceiling painting
Palace of the Pontiff in the Vatican" 1514
Political instability prompted Raphael to create
a cycle of frescoes telling about the protection that God can give
through the Christian faith and the Church. Submitted stories
talk about some historical events and related
miracles that happened. Painting "Elodoro's Rooms"
lasted from 1511 to 1514.
“Jacob's Dream (Jacob's Ladder). Loggia fresco
Raphael's Palace of the Pontiff in the Vatican" 1519
Stanza del Incendio di Borgo
The last of four rooms, the decorative design of which
Rafael was directly involved. Most of the work
the maestro entrusted the artistic painting of the hall to his students,
among whom were Giulio Romano, Giovanni Francesco Panni,
Giovanni da Udine and some others.
"The Fall of Jesus on the Road to Calvary." Rafael Santi. 1517
He himself was involved in the implementation of other projects, in particular,
large-scale project for the construction of St. Peter's Basilica,
being appointed to the position of chief architect of the cathedral.
Rafael Santi. "Holy Family with Saints Elizabeth
and John (Madonna Canigiani). Fragment" 1508
"Stanza del Incendio di Borgo" was intended to hold
lunches. The subjects taken as the basis for the compositions of the frescoes have
relation to real events from the history of the Holy See.
"Madonna under the canopy." Rafael Santi. 1507
Raphael began work on creating sketches for the dining room
in 1513, shortly after the coronation of Pope Leo X. Admiring more
early works of the young artist, the Pontiff wished to see
on the walls of the room there is a cycle of frescoes telling about the most
significant events in the lives of his predecessors,
in particular, Pope Leo III and Pope Leo IV.
“Fire in Borgo. Stanza del Incendio di Borgo. Rafael Santi. 1514
The most significant fresco of the third Stanza is "Fire in the Borgo"
(Incendio di Borgo), from whose name the name itself comes
rooms. The fresco tells about the events of the mid-9th century, when
There was a huge fire in Rome.
“Stanza del Incendio di Borgo. Fire in Borgo. Fragment" 1514
Borgo area (this is the name of the area near the basilica
St. Peter) was almost completely engulfed in fire.
Pope Leo IV, having sent a blessing to the Roman people, managed
miraculously stop the elements and thereby
save the city's population.
"Portrait of Pope Leo X with the Cardinals Giulio de' Medici
and Luigi Rossi. Fragment" 1518
Hall of Constantine
The fourth and last room of the famous papal
apartment is the “Constantine Hall”. Room painting
was commissioned by Raphael in 1517, but the great maestro
I only managed to prepare sketch drawings. Raphael died
in 1520 at the age of 37.
“Isaac and Rebecca are hiding from Abimelech. Fresco
Loggia Raphael of the Palace of the Pontiff in the Vatican. 1519
The frescoes were painted by students of the famous artist
- Giulio Romano, Giovanni Francesco Panni, Raffaellino
del Colle and Perin del Vaga - in the period from 1520 to 1524.
The ceiling of the hall received paintings a little later, during their creation
the Sicilian artist Tommaso Laureti worked.
"Loggia of Cardinal Bibien, frescoes of the third loggia
floors of the palace of the pontiff in the Vatican" 1516
Briefly - Raphael in numbers.
Numbers, of course, will not explain why in front of Raphael
Pontiffs, monarchs and commoners alike were in awe.
But they will help you realize how much you have accomplished in your short time.
the life of this amazing artist.
1. Raphael was 25 years old when he became official
artist of the papal court.
“Stanza d'Eliodoro. Fresco Mass in Bolsena.
Fragment - Pope Julius II" 1514
2. 13 arcades, painted with 52 frescoes on biblical scenes,
erected in the courtyard of the Vatican according to the design and sketches of Raphael.
These loggias are informally called the “Raphael Bibles.”
“The Finding of Moses or the Rescue of Moses from the Water.
Fresco of the loggia of the second floor of the palace of the pontiff in the Vatican." 1519.
3. 20 artists who painted the state rooms of the papal
palace, dismissed by Pontiff Julius II after he saw the work
Raphael "The School of Athens". In the future, “Vatican stanzas”
(from Italian stanza - room) was already painted by Raphael and his students.
By the way, one of the first teachers was among those fired
Raphael - Pietro Perugino.
Athens School. Fresco Stanza della Segnatura
Vatican Museum. Rafael Santi. 1511
4. 56 figures can be counted on the fresco “School of Athens”.
Among them are ancient Greek philosophers, many of whom Raphael
gave him the features of his contemporaries. So, for example, Plato is like
on Leonardo da Vinci, Heraclitus resembles Michelangelo,
and the artist Apelles - Raphael himself.
"Great Madonna of Cowper" 1508
5. Raphael painted more than 40 Madonnas during his short life,
but an amazingly fruitful life.
Sistine Madonna (detail with an imaginary finger)
6. Six fingers, according to the common version, are on the right
hand of Pope Sixtus II, depicted by Raphael in the painting
"Sistine Madonna". If you look closely, it becomes clear that
The “sixth finger” is part of the inner side of the palm. But
those who like to look for secret symbols continue to insist,
that Raphael thus emphasizes that this is exactly
Bishop of Rome Saint Sixtus (that is, the sixth).
“Portrait of Bindo Altoviti” 1515
7. For two years he negotiated the purchase of the “Sistine Madonna” from
Monastery in Piacenza, Elector of Saxony Augustus III. In those years
the painting was not yet so famous, but Augustus wanted to get it
to the collection of “at least some” Raphael. The monastery broke
an unprecedented price for the then art market of 25 thousand Roman scudi.
“Double portrait. Self-portrait with a friend (with Giulio Romano?)" 1517
When the parties had already agreed on the price, he intervened
Duke of Parma, who was strongly against the removal of the painting
from Italy. Augustus had to use diplomatic
communications. In the end, the deal was approved by the Pope himself, and
In 1754, the Madonna arrived in Dresden. According to legend, when
the picture was brought into the Elector's residence, he with the words
“Make way for the great Raphael!”, he himself moved his throne.
Sistine Madonna. Rafael Santi. 1513
8. I stood (or rather, sat on the sofa) for a whole hour in 1821 in
Dresden Gallery in front of the “Sistine Madonna” Vasily
Zhukovsky. It took him so long to experience
catharsis and come up with the formulation “genius of pure beauty”, which
It will later become iconic when performed by Pushkin.
“I clearly began to feel that the soul was spreading;
some touching feeling of greatness came into her;
the image was indescribable to her, and she was there,
where only in the best moments of life can be. Genius pure
beauty was with her." - Zhukovsky described his experience.
Self-portrait. Rafael Santi. 1506
9. For ten years the “Sistine Madonna” was in the USSR.
In May 1945, the Soviet military discovered her along with
other paintings in an abandoned quarry 30 kilometers away
from Dresden. After the war, the painting was kept in storage rooms
Pushkin Museum. In 1955, The Sistine Madonna was shown
Moscow public, after which she and other masterpieces of Dresden
the meetings were handed over to the GDR authorities.
Madonna with fish. Rafael Santi. 1514
11. 3000 gold - for this amount, according to popular legend,
Raphael bought his Roman lover Fornarina from her
father - baker Francesco Luti. Fornarina was a regular model
Raphael, most researchers agree that she
served as the prototype for the “Sistine Madonna” and other women’s
images created by the artist during the Roman period.
“Altar of Baglioni. Predella Theological
virtue." Raphael Santi 1507
12. 136.57 meters from the floor of the basilica to the top of the crowning
cross - this is the height of the dome of St. Peter's Basilica in the Vatican.
This is the tallest dome in the world. Rafael was appointed chief
architect of the cathedral in 1514.
Head of a young apostle. Sketch for the painting
"Transfiguration" Rafael Santi. 1519
13. Sold for £29,721,250 from
Sotheby’s auction drawing by Raphael “Head of the Young Apostle”
to the painting "Transfiguration".
"Transfiguration" Rafael Santi. 1520
14. 500,000,000 euros - insurance cost of 11 works,
exhibited in 2016 at the Pushkin Museum. A. S. Pushkina
at the exhibition “Raphael. Poetry of the image."
15. 500,000 Italian liras - on this banknote
Raphael's images quoted
"The Judgment of Solomon. Fresco of the loggia of Raphael's palace
pontiff in the Vatican." 1519
16. At least 6 times Pope Leo X sent to inquire
about Raphael's health during his illness, which lasted 15 days.
Rafael Santi. "Saint George and the Dragon" 1506
17. Raphael was 37 years old when he died in Rome in 1520.
Modern researchers believe that death could
occur as a result of a fever, which the artist
became infected while visiting excavations.
Rafazl Santi. "Saint Catherine of Alexandria" 1507
Although the artist's contemporary Giorgio Vasari testifies,
that Raphael died "after spending some time
more slutty than usual."
Title picture: “Pope Gregory the Ninth affirms
decrees. Fragment of the fresco Stanza della Segnatura.” 1511
The world is beautiful, our earthly world! This is the slogan of all Renaissance art. Man has just discovered and tasted the beauty of the visible world, and he admires it as a most magnificent spectacle, created for the joy of the eyes, for spiritual delight. He himself is a part of this world, and therefore he admires himself in it. The joy of contemplating earthly beauty is a life-giving, kind joy. The artist’s job is to reveal more and more fully, more and more clearly the harmony of the world and thereby defeat chaos, affirm a certain higher order, the basis of which is measure, an internal necessity that gives birth to beauty. What is all this for? To present to people that festive spectacle that they long to enjoy, opening their eyes to the world, but which is revealed in full splendor only by the inspiration of the artist. This task, the greatest task of Renaissance painting, which the trecento masters first took on, was completed at the dawn of the Cinquecento by Raphael.
In medieval churches, paintings, mosaics or stained glass windows seem to merge with the architecture, creating together with it a whole that should evoke a solemn mood in the worshiper. Due to their location, the pictorial compositions in them are not always easy to see in all details. Photography has given us the opportunity to see these compositions in various aspects that previously often went unnoticed. In Romanesque or Gothic churches, people of the Middle Ages sometimes did not realize that before them were not only symbols, not only conventional images glorifying the ideals of their faith, but also works of art. The painting of the temple did not seem to them to be an independent creation; it was good to look at it while the church choir was singing, which, like the vaults of the temple themselves with its high arches, carried their imagination into the world of dreams, comforting hopes or superstitious fears. And therefore they did not look for the illusion of reality in this painting.
Renaissance painting is addressed to the viewer. How wonderful visions pass before his eyes, pictures that depict a world where harmony reigns. The people, landscapes and objects on them are the same as he sees around him, but they are brighter, more expressive, more beautiful. The illusion of reality is complete, but reality, transformed by the artist’s inspiration, And he admires it, equally admiring the charming child’s head and the stern old head, which, perhaps, is not at all attractive in life. On the walls of palaces and cathedrals, frescoes are often painted at the height of the human eye, and in the composition some figure directly looks at the viewer, connecting him with all the others.
Translated from Italian the word "fresco" means "fresh", "raw". This is painting on wet plaster, that is, in those short tens of minutes while the solution has not yet “set” and freely absorbs paint. Monumentalists call such a solution “ripe.” You need to paint on it easily and freely, and most importantly, as soon as the artist feels that the stroke of the brush is losing smoothness and it begins to “harrow”, the paint is not absorbed, but is smeared, as if “salting” the wall, he must finish the work: anyway, the paint is already will not take hold. Therefore, fresco is one of the most labor-intensive types of painting, requiring the greatest creative effort and composure, but also giving, as the oldest Russian mural master N. M. Chernyshev said, “hours of incomparable joy.” Many great masters of world painting were engaged in fresco painting - Leonardo da Vinci, Michelangelo, Raphael, P. Veronese, famous Russian icon painters Theophanes the Greek, Andrei Rublev, Dionysius, and among the artists of modern times - P. Picasso, F. Léger, V.A. Favorsky. They worked as if in technology "a fresco"(i.e. raw), and in the way "a secco"(i.e. dry). Here painting is done on dried, already hard, lime plaster, only moistened a second time, and with paints pre-mixed with lime.
Raphael is completion. All his art is extremely harmonious, breathes inner peace, and the highest reason is combined in him with philanthropy and spiritual purity. His art, joyful and happy, expresses a certain moral satisfaction, acceptance of life in all its fullness and even doom. Unlike Leonardo, Raphael does not torment us with his secrets, does not overwhelm us with his omniscience, but affectionately invites us to enjoy the earthly beauty with him. During his short life, he managed to express in painting, probably, everything that he could, that is, the complete kingdom of harmony, beauty and goodness.
Pope Julius II was a colorful and extraordinary personality, and his role in the history of Europe at that time was significant. In essence, he continued the work of the dark memory of Pope Alexander VI, although he was his constant enemy - in the pope's attempts to unite Italy under the rule of the Roman Curia. This high priest was of a tough and decisive character. Despite his rank and age, he mounted a horse and himself led the papal army in battles. "Down with the barbarians!" - such was his battle cry, and by “barbarians” he meant the Spaniards and French who robbed and humiliated Italy. And this cry, an echo of the ancient Rome of the Caesars, inspired the Italians to fight in those few years when it seemed that papal power could create a unified and independent Italian state. The pope conquered Bologna, Perugia and other cities that had not previously obeyed his will. His policy was not only bold, but also flexible. In the fight against the Venetian Republic, whose population was also Italian, he did not hesitate to enter into an alliance with the “barbarians,” that is, with the same Spaniards and French. However, as soon as Venice was defeated, he united with her to fight against France.
Like his predecessors, Julius II put the interests of the Vatican above the national interests of Italy. It is not for nothing that Machiavelli saw the main misfortune of Italy in the fact that the church did not have sufficient power to unite the country, but was strong enough to prevent its unification not under its leadership. And yet, it was under Pope Julius II that Rome became the largest political and cultural center of Italy.
Julius II was not a particularly subtle connoisseur of art, but he understood that art could revive the former glory of the eternal city and glorify it itself. The most famous architects work for him in Rome, and he calls Michelangelo and young Raphael into his service, having heard that Florence recognized them as great artists. Under him, the construction of St. Peter's Cathedral began.
In 1508, Raphael, at the invitation of Pope Julius II, came to Rome, and immediately began to carry out an extremely honorable order - painting the state rooms (stanzas) of the Vatican. In Rome, where so many great monuments of art were created or collected, the Vatican frescoes by Raphael (1509-1511) make one of the most powerful and irresistible impressions. They revealed the brilliant gift of Raphael the monumentalist. In the Stanza della Segnatura there is one of the most remarkable creations of Raphael, representing four spheres of human activity:
- theology - "Dispute, or Dispute about Communion"
- philosophy - "School of Athens"
- poetry - "Parnassus"
- jurisprudence - “Wisdom, Measure and Strength”.
The master also depicted on the frescoes the corresponding allegorical figures, scenes based on biblical and mythological subjects. This greatest masterpiece harmoniously combines grandeur and grace. Poets, sages, philosophers, and theologians form complex spatial groups located among majestic architectural scenery and landscape. The artist shows a world where a person is majestic, wise, and self-confident. Raphael painted a dream of a perfect man, free and noble. His frescoes depict people of strong will and high dignity. The artist appears here as the creator of a heroic style, glorifying the greatness and grandeur of the culture he created.
Left: Controversy over Communion. Raphael. 1514. Fresco. Vatican.
Right: Appearance of St. Apostle. Peter and St. Apostle Paul or the Meeting of Pope Leo I with Attila. Raphael. 1514. Fresco. Vatican.
The meeting of the sages of classical antiquity (the “School of Athens”) is adjacent to the meeting of the fathers of the Christian church (the “Disputa”), this neighborhood seems to show two faces of a single truth or the triumph of humanism in the bosom of the Vatican. The past merges with the present: philosophers of the ancient world talk in front of the vaults of the palace in the style of the High Renaissance, and among them, on the edge, Raphael depicted himself, and among the church fathers - artists and poets of Italy: Dante, Fra Beato Angelico, Bramante. Poets of classical antiquity communicate with poets of the Renaissance ( "Parnassus"). Praise is given to secular and ecclesiastical legislation (“Jurisprudence”). The next stanza depicts a miraculous event dating back to the distant past, but the pope present is Julius II himself (“Mass at Bolsena”). And again Julius II appears to the viewer as the personification of victory over foreigners who dared to encroach on the treasures and power of the Roman Church ( "Exile of Iliodor"). And in another fresco - "Bringing the Apostle Peter out of prison"- the triumph of light over darkness could be perceived as hope for liberation from the “barbarians.” It is not for nothing that it was said about Raphael’s frescoes that they represent a true epic of Italy. Each fresco is in perfect harmony with the architecture of the chambers and at the same time is a completely independent work. Moving from one to another, the viewer seems to be present at a majestic performance.
Left: Fire in Borgo. Raphael. 1514. Fresco. Vatican.
Right: Parnassus. Raphael. 1509-1510. Fresco. Vatican.
Even if we did not know history, had never heard of the papacy and classical antiquity, of Parnassus and the Apostle Peter, these frescoes would also shock us. For their content is the greatness of man, his spiritual and physical beauty, the flight of his thoughts, this wisdom and nobility, which are revealed in wonderful images, in the arrangement of figures, in the strength, significance, patterns of every gesture, every turn of the head, in ingenious comparisons, in a composition that sometimes rises to the most grandiose achievements of architecture, sometimes smoothly unfolding like a luxurious panorama, in a kind of absolute ease.
This is the completion of what Leonardo da Vinci first gave to the world in The Last Supper. What was a discovery for Leonardo, was a natural existence for Raphael. And therefore he seems to increase tenfold the possibilities of art that Leonardo provided with his Milan fresco.
Despite the fact that he had never before had to deal with such image sizes or with such a technique, Raphael demonstrates his ability to combine a huge number of figures into a harmonious, harmonious composition. In this regard, his first fresco, “The School of Athens,” can still serve as a high example of this genre. In a number of subsequent Vatican frescoes, Raphael managed to achieve even greater expressiveness in conveying movement and a wider range of lighting effects.
Raphael's four stanzas are rooms in the Vatican Palace that are open to the public. They are best known for the amazing frescoes painted by Raphael and his talented students. Along with Michelangelo's ceiling frescoes in the Sistine Chapel, they are the most outstanding works dating back to the Renaissance. Initially, the stanzas were the personal apartments of Pope Julius II, who did not want to occupy the same rooms that once belonged to representatives of the hated Borgia family.
It was he who invited Raphael, at that time a relatively young artist from Urbino (he was only twenty-five years old), to completely change the interior of the rooms. With the death of Julius in 1513, Leo X became Pope. He continued to control the decoration of the rooms, but, unfortunately, the great artist also died. The frescoes were completed by Raphael's students - Gianfrancesco Penni, Giulio Romano and Raffaellino del Collier. Thus, each of the walls is decorated with a fresco composition; there are four of them in total in the stanza.
The Stanza della Segnatura contains Raphael's most outstanding frescoes. All of them, except the first Vatican work of the great artist, date back to the beginning of the Renaissance period. The name of the stanza literally translates as “signature room” - until the mid-16th century, the pontiff held meetings here and signed important documents. Initially, however, it was used by Julius II as a library and personal office, as frescoes painted between 1508 and 1511 eloquently tell. They reflect the three greatest aspects of the human spirit: Truth, Goodness and Beauty. Supernatural Truth is illustrated in the Disputation, and Reasonable Truth in the School of Athens.
Goodness is presented in Virtue and Law, and Beauty in Parnassus. The School of Athens is rightfully considered one of Raphael's greatest works. The artist depicted prominent philosophers on the canvas (about fifty characters), placing Aristotle and Plato in the center: the first points down as a sign of connection with the earth, the second raises his hands to him.
In the most beautiful fresco “Parnassus”, Raphael painted Apollo playing the lyre and nine muses with talented writers: Homer, Dante, Horace, Ovid, etc. During the reign of Leo X, the room was used as a training or music classroom, here he kept his musical instruments . The setting from the time of Julius II was replaced by Fra Giovanni da Verona. He covered all the walls with wood.
Stanza d'Eliodoro
This stanza was originally intended for the Pope's private audiences and was decorated immediately after Raphael completed work on Segnaturoi. The images of the frescoes are filled with one idea - faith in God’s miraculous protection of the church. On the ceiling are four episodes of the Old Testament - all painted by Raphael himself, while in the grotesques and arches there are some works by Luca Signorelli, Bramantino, Lorenzo Lotto and Cesare da Sesto. The fresco “The Expulsion of Eliodorus” gave the dance its name - it depicts a heavenly horseman expelling the Syrian Eliodorus from the temple in Jerusalem.
Another work, “Mass in Bolsena,” shows an amazing miracle - the hands of an unbelieving priest were stained with blood. Another fresco - “The Liberation of the Apostle Peter” - tells about the release of the apostle from prison. The work is divided into two parts: in the right, Peter escapes from prison, led by an angel, in the left, the awakened guards raise the alarm. Art critics agree that a colossal amount of work has been done on the lighting. Refractions of rays and shadows, flickering flames, blinding darkness - it’s hard to imagine that one person wrote this.
Stanza del Incendio di Borgo
During the time of Julius II, the stanza was used as a meeting room for the highest court of the Holy See, presided over by the Pope. This is evidenced by the frescoes on the ceiling, executed by Pietro Vannucci. During the time of Leo X, the room was used as a dining room, and Raphael was entrusted with painting the walls, who, however, entrusted most of the work to his students.
The painting of the frescoes took three years, from 1514 to 1517. The frescoes illustrate the political aspirations of Leo X through the narrative of the lives of two previous popes of the same name: Leo III ("Coronation of Charlemagne by Pope Leo III") and Leo IV ("Fire of the Borgo" ). In all episodes, the Pope is depicted with the face of the then-ruling Pontiff Leo X. It was thanks to the work “Fire in the Borgo” that the stanza acquired its name, and the fresco itself reflects the ancient legend, according to which Pope Leo IV was able to tame the flames and protect the townspeople.
Stanza of Constantine
A room designed for receptions and other official events. After Raphael's sudden death in 1520, it was completed by his students based on the artist's sketches and previous works. The stanza was named after Constantine, the first Christian emperor who officially recognized the Christian faith and granted others freedom of religion.
The wall paintings reflect four episodes from the life of the great ruler: evidence of the defeat of paganism and the triumph of the Christian religion, the battle with Maxentius, the tyrant invader, and the vision of Christ, the baptism of Constantine and the donation of Rome. The original wooden roof, erected under Pope Leo X, was replaced by a decree of Gregory XIII with modern roofing. They were decorated by order of Pope Tomaso Laureti, depicting the victory of Christianity in the center. The work was completed at the end of 1585 under the direction of Pope Sixtus V.
Where is it and how to get there
Raphael's stanzas occupy four rooms of the Papal Palace in the very center of the Vatican. Exact address: 00120 Vatican City, Papal See, Apostolic Palace, Apostolic Palace.
Metro: line A, towards Battistini, Ottaviano and Cipro stations.
Buses: No. 49 – stops in the square opposite the Vatican Museum; No. 32, 81, 982 – stop Piazza del Risorgimento.
Raphael Santi is a genius of the High Renaissance. Read about Raphael’s fresco paintings of the Stanza della Segnatura and Stanza d’Eliodoro (rooms in the Papal Vatican Palace), and the fresco paintings “Disputa”, “Parnassus”, “The Expulsion of Eliodorus from the Temple” in our article.
Raphael's Stanzas in the Vatican Palace Complex are three relatively small rooms in the papal Vatican Palace, painted by Raphael together with his students in 1508 - 1517. These Apartments already existed under Pope NicholasV(1447-1455). Stanza della Segnatura (Room of Signatures) is the only one of the three stanzas whose name remains authentic, not associated with the works of Raphael. The walls of this room, which was the first to be decorated, are decorated with frescoes: “Disputa”, “School of Athens”, “Parnassus” and “Justice”.
"Disputa" is the first fresco painted by Raphael in the Stanza della Segnatura. In this fresco depicting Religion, Raphael's manner indicates that he had not yet freed himself from the influence of artists whose works on a similar subject he had seen in Florence and Rome.
Rafael Santi. Fresco "Disputation"
The theme of the painting is the triumph of the highest truth of religious revelation. The semantic axis of the complex but clear composition of this fresco is in the center - this is the Trinity: God the Father, Christ and the Holy Spirit, whose symbol - a dove in a sphere - descends to the altar with a host (Eucharistic bread, a small unleavened flatbread). The image of other events develops horizontally. Next to Christ, surrounded by radiance and glory, sit the Holy Virgin and John the Baptist, and on a semicircular cloud are the forefathers, prophets, Saints Peter, Paul and others. Below, symmetrically on either side of the altar with the Holy Gifts, about which there is a dispute, the earthly Church is presented. Scientists, philosophers, pontiffs of the Roman Catholic Church, whose faith has left a mark on history, are engaged in a debate. Raphael gave the four men at the altar the features of Dante, Savonarola, Bramante and the artist - monk Fra Beato Angelico. But, despite the disagreements of the disputants, the picture is filled with majestic calm. This harmony and compositional unity is achieved through construction - the fresco is similar to an architectural structure and is inseparable from the room in which it is located.
Rafael Santi. Fresco "Parnassus"
Raphael placed the composition “Poetry” (it received the name “Parnassus” later) between the “School of Athens” and the “Disputa” on the eastern side of the Stanza della Segnatura. The plot of the painting was developed in the spirit of the humanistic teachings of his time, according to the ideas of Petrarch, Boccaccio, Salutati and personified the ideaBello- beauty, beautiful.
Raphael easily solved the problem of visual representation of Poetry, which in the Renaissance was considered the “second theology” and “divine art.” The artist depicted a hill with a grove symbolizing Parnassus, the famous Greek mountain, considered in ancient times to be the residence of the Muses.
In the center of the composition, Apollo, the god of music and poetry, plays the lyre da braccio. This lyre is an obvious anachronism (violation of chronological plausibility), because ancient music did not know bowed instruments at all. Raphael gave Apollo not an ancient instrument, but a contemporary lyre and braccio in order to emphasize the main idea of the entire cycle of stanzas - the continuity of ancient and contemporary cultures to Raphael.
Around Apollo are nine muses and poets, both ancient and Renaissance. On the left, the artist placed a powerful figure of an inspiredly singing blind Homer in a dark blue pallium (long woolen cloak). To balance the figure of Homer, on the right, with his back to the viewer, the artist depicted the muse Urania in a red robe. To the right of Urania, a young dark-haired man with a sharply turned torso looks intently at the viewer. This look, which speaks of a strong character, belongs to Michelangelo. Raphael was shocked by Michelangelo's poetic talent, and boldly ranked him among the host of poets, with which many of his contemporaries agreed.
Rafael Santi. Fresco "Parnassus". Image of Michelangelo
Creation can survive the Creator:
The Creator will leave, defeated by nature,
However, the image he captured,
It will warm hearts for centuries.
Michelangelo Buonarroti
It is impossible to define the purpose of art more precisely.
The fourth fresco is dedicated to the theme of justice and consists of three parts. Above the window, the artist placed three female figures, symbolizing Wisdom, Measure and Strength. To the left of the window is an image of Emperor Justinian with a code of civil laws, and to the right is an image of Pope GregoryIXwith a set of church rules. They symbolize the history of ecclesiastical and secular law.
The ensemble of frescoes of Raphael's Stanza della Segnatura is the embodiment of the humanistic dream of the Renaissance about the spiritual and physical perfection of man, his high calling and his creative potential.
Rafael Santi. Stanza d'Eliodoro
The dominant idea of all paintings and frescoes by Raphael of the Roman period is the power of the Church. Raphael's motto - all forces on earth are subordinate to the Church - is especially clearly expressed in the frescoes of Stanza d'Eliodoro. This stanza was the second of the rooms in the Vatican chambers of the pope, which was decorated by Raphael in 1511 - 1514. By order of Pope JuliusII This stanza was reserved for private audiences, which the pontiff often granted to major political and religious figures and diplomats. The artistic design of the stanza was supposed to emphasize the importance of this place, which determined the theme of its painting.
The subjects for the frescoes of this stanza were legends and episodes from the history of the Church, when, supposedly, thanks to divine intervention, it got rid of the danger that threatened it. As a Catholic and the official painter of the papal throne, Raphael in four frescoes of this stanza depicted the greatness of the Church, its All-conquering power and the mighty wrath of God against its enemies and the pope.
Rafael Santi. Fresco "The Expulsion of Eliodorus from the Temple"
In the fresco that gave the name to this stanza, Raphael depicted the expulsion of the Syrian leader Eliodorus from the Temple of Jerusalem (3rd chapter, 2nd book of the Maccabees). Eliodor came to the Temple of Jehovah to plunder it and steal gold intended for widows and orphans. But the robber was overtaken by God's punishment in the form of an angel - a beautiful horseman in golden armor. A crowd of people, women and children on the left side of the fresco, look with fear and amazement at the miracle that has taken place. It is somewhat surprising to see the calm Yuli among this dynamic crowd.II, who is brought into the Temple by the Drabants (medieval German warriors), one of whom is endowed with the features of the great German artist Albrecht Durer. In this episode Raphael sinned against the truth, but this false touch was quite natural inXVIcentury. The fresco was painted to glorify Pope JuliusII, therefore, the main themes of the painting are related to historical or legendary events from the life of JuliusII: victory over the French, whom the pope expelled from the Papal States and his miraculous deliverance from captivity in Bologna in 1509. The frescoes of this stanza are also interesting because they show the true position of even such a genius as Raphael at the court of the pope, the artist’s dependence on the trends of his time and the impossibility of presenting his own vision of a historical event. Raphael began work on this stanza in 1512, completing the painting two years later, and Pope Julius was able to see The Expulsion of Heliodorus before his death in February 1513, when work on the stanza was in full swing.
Raphael's stanzas or rooms are rightfully included in the list of the most striking Four rooms(la stanza from Italian “room”) painted with incredibly beautiful frescoes by the genius Raphael, commissionedPope Julius II. The history of the masterpiece began with a whim: the newly elected pontiff simply did not want to live in the apartments of his predecessor, Pope Alexander VI Borgia, so he ordered other rooms to be prepared for his residence and painted with new frescoes.
The Pontiff wanted to decorate his home with paintings with a spiritual meaning, for which he involved Raphael in the work. The master began work in 1508. It took the painter and his students 16 years to paint four rooms in turn. Looking at the thoughtfulness and symbolism of the scenes depicted, and how carefully the smallest details were worked out, it becomes clear why it took so much time to create the masterpiece. Raphael never saw the completion of the work: he died in 1520. The painting of the premises was completed by masters trained by him.
There are four station rooms in total:
Stanza della Segnatura
This room was painted first. The artist created a complete plot ensemble illustrating human activity in spiritual spheres: the theme of justice is reflected in the plot of the painting “Wisdom, Moderation and Strength,” “Disputation” is dedicated to theology, “Parnassus” praises poetry, and a collective portrait of philosophy is depicted in “The School of Athens.” By the way, in the latter, in addition to Aristotle, Plato and Socrates, you can see Raphael himself - his self-portrait can be seen in the image of a young man talking with Ptolemy.
Stanza di Eliodoro
The general theme of the paintings in the next room is related to the theme of divine protection of the church. Here Raphael seeks to instill in the viewer confidence in the protection of the Lord. The artistic concept is revealed through paintings united by one idea: God intervenes in a situation when a church or believer is faced with dangers or threats. Proof of this is the biblical and historical events depicted on the walls of the room:
The fresco “Mass in Bolsena” serves as a reminder of the miracle of 1263, when, at the moment of communion, bread in the hands of a church minister began to bleed. “The Release of Peter from Prison” reminds the viewer of an episode from the New Testament when the apostle was miraculously released from a prison cell. The painting that gives the dance its name tells the story of the Syrian general Eliodorus, who was driven out of the Jerusalem temple by an angel.
Stanza del Incendio di Borgo
The Pontiff wished that the most striking episodes from the lives of previous Popes be painted in this dining room. As a result, a painting was born that tells how, during a fire in the Borgo (hence the name of the room), Leo IV, using the sign of the cross, stopped the spread of fire. Raphael painted this and the rest of the frescoes of the stanza together with his assistants, working in parallel on other projects.
Hall of Constantine
The artist, having received an order to paint the reception hall, only managed to draw sketches, after which he died. Work on the fourth room was carried out by Raphael's students, guided by his sketches.
All the frescoes in the room are dedicated to the struggle of Emperor Constantine with the pagans. Constantine played an important role in the formation of the church: he was the first of the Roman emperors to be baptized and began to promote the spread of the Christian faith in every possible way. One of the key moments in this matter was the battle at the Milvian Bridge, when the sign of a shining cross that appeared in the sky gave strength to the troops of Constantine, who at that moment were fighting with the pagan army.
How to see Raphael's dances?
The painted rooms are located in the Vatican Museums, which can be accessed by pre-booking a ticket. The museum is open every day except Sunday. Please note that entry in short shorts, tank tops and T-shirts with bare shoulders is prohibited. Visitors are asked to cover their shoulders and knees.
