Who painted the Athenian school. "School of Athens" Raphael Santi

Rafael Santi. Athenian school
1511
Scuola di Atene
500 × 770 cm
Apostolic Palace, Vatican. Wikimedia Commons
Clickable - 3200px × 2037px

The School of Athens (Italian: Scuola di Atene) is a fresco by Raphael in the stanza della Senyatura of the Vatican Palace.

List of characters

1. Zeno of Kita or Zeno of Elea
2. Epicurus
3. Frederico II, Duke of Mantua
4. Anicius Manlius Torquat Severinus Boethius or Anaximander or Empedocles of Acragast
5. Averroes
6. Pythagoras
7. Alcibiades or Alexander the Great
8. Antisthenes or Xenophon
9. Hypatia (facial features of Raphael's beloved, Margherita)
10. Aeschines or Xenophon
11. Parmenides
12. Socrates
13. Heraclitus of Ephesus (portrait resemblance to Michelangelo)
14. Plato (portrait of Leonardo da Vinci) with the treatise "Timaeus" in his left hand.
15. Aristotle holding Nicomachean ethics
16. Diogenes
17. Plotinus
18. Euclid (or Archimedes) with his students (portrait resemblance to the architect Bramante)
19. Most likely Hipparchus, according to other versions Strabo or Zarathustra
20. Claudius Ptolemy
21. Protogen
R - Apelles (facial features of Raphael himself)

The fresco "The School of Athens" depicts not a real group of Athenians - not only Athenians are here (for example, the philosophers Parmenides and his student Zeno were not citizens of Athens) and not only contemporaries, but also thinkers who lived in other times and in other countries ( for example, the Persian mystic philosopher Zoroaster, who lived several centuries before Plato, or the Muslim translator and commentator of Aristotle, Averroes, who lived many centuries later). Thus the "School of Athens" represents an ideal community of thinkers of the classical era, a community of teachers and students. However, depicting these prominent people past, Raphael gives them the features of his outstanding contemporaries. In total, over 50 figures are presented on the fresco (many of them cannot be attributed, and there is no single point of view about some of them).

With a beard, in a brown toga - Speusippus, philosopher, nephew of Plato
- in a blue toga - Meneksen, philosopher, student of Socrates
- in a white toga - Xenocrates, philosopher, student of Plato
- in yellowish-greenish - the philosopher Socrates
- in bluish - presumably Alexander the Great, a student of Aristotle
- in a dark headdress, short - Xenophon, philosopher, student of Socrates
- in a helmet - Alcibiades, commander and politician, student of Socrates
- with outstretched hand - Eschines, philosopher, student of Socrates
- in pink - Critias, philosopher, orator, writer, Plato's uncle
- bare-chested - Diagoras of Melos, a poet nicknamed "The Godless"
- next to Cupid - the philosopher Zeno, a student of Parmenides
- following Zeno - Navsifan, philosopher, follower of Democritus, teacher of Epicurus
- in a wreath - the philosopher Democritus (according to another version - Epicurus)
- the boy behind him - Diogenes Laertes, historian of philosophy
- in a white turban - Averroes, an Arab philosopher
- bald, in a yellowish robe in the foreground - Anaximander, philosopher, student of Thales
- in a white robe, with a book - Pythagoras, philosopher and mathematician
- with long hair - Anaxagoras, philosopher, mathematician and astronomer
- standing in white - Hypatia, woman mathematician, astronomer and philosopher
- standing and holding a book - philosopher Parmenides
- sits leaning on a cube - the philosopher Heraclitus
- lies on the steps - philosopher Diogenes
- sit on their knees and stand bent over - students of Euclid
- with a compass - Euclid, mathematician (according to another version - Archimedes)
- in white clothes with a celestial globe - Zoroaster, astronomer and mystic philosopher
- back to the viewer, with the globe - Ptolemy, astronomer and geographer
- in a white beret - Il Sodoma, artist, friend of Raphael (according to another version - Perugino, Raphael's teacher)
- in a dark beret - Rafael
- in a dark toga - the philosopher Arcesilaus (according to another version - Plotinus)
- leaning his hand against the wall - the philosopher Pyrrho
- on one leg - ?
- in blue and pink, descending - Aristippus, philosopher, friend of Socrates
- goes up the steps - the philosopher Epicurus
- back, in pink - ?
- with a beard, in a yellowish cloak - Theophrastus, philosopher and scientist, student of Plato and Aristotle
- close to Theophrastus stands - Eudemus, philosopher, student of Aristotle

Zeno of Kita or Zeno of Elea

Epicurus

Averroes and Pythagoras

Pythagoras

Alcibiades or Alexander the Great and Antisthenes or Xenophon

Francesco Maria I della Rovere or Raphael's beloved as Hypatia and Parmenides

Parmenides

Aeschines and Socrates

Michelangelo as Heraclitus of Ephesus

Leonardo da Vinci as Plato

Aristotle

Diogenes

Donato Bramante as Euclid or Archimedes

Strabo or Zarathustra, Claudius Ptolemy, Raphael as Apelles and Pietro Perugino or Timoteo Viti as Protogenes

In 1508, at the invitation of Pope Julius II, Raphael went to Rome. The Pope instructs the artist to paint the ceremonial halls (stations) of the Vatican Palace. In the Stanza della Senyatura (1509–11), Raphael introduced four regions human activity: theology ("Disputation"), philosophy ("The School of Athens"), poetry ("Parnassus"), jurisprudence ("Wisdom, Measure, Strength"), as well as allegorical, biblical and mythological scenes corresponding to the main compositions on the ceiling.

In the center of the composition are Plato and Aristotle, personifying ancient wisdom and representing two schools of philosophy. Plato points his finger at the sky, Aristotle stretches his hand above the earth. The warrior in the helmet is Alexander the Great, he listens attentively to Socrates, who, proving something, bends his fingers. On the left, at the foot of the stairs, Pythagoras, surrounded by students, is busy developing mathematical problems. Man in a wreath of grape leaves - Epicurus. A man sitting in a thoughtful pose, leaning on a cube, is Michelangelo in the form of Heraclitus. On the steps of the stairs is Diogenes. On the right, Euclid, leaning over the board, measures a geometric drawing with a compass. The steps of the ladder symbolize the stages of mastering the truth. Next to Euclid are Ptolemy (holding Earth) and probably the prophet Zoroaster (holding a celestial globe). A little to the right is the artist himself (looking directly at the viewer). Although the fresco contains over 50 figures, Raphael's sense of proportion and rhythm creates an impression of surprising lightness and spaciousness.

The figure of a young man in the far left corner of the fresco is absolutely remarkable. He swiftly enters this cluster of sages, holding a scroll and a book in his hand; fluttering folds of his cloak and curls on his head. The one standing nearby shows him the way, and someone from the circle of Socrates greets him. Perhaps this is how a new bold idea is personified, which will cause new disputes, inspire new searches.

Like a beggar on the steps of the temple - a lonely Diogenes, removed from worldly fuss and discussions. Someone, passing by, points to him, as if asking a companion: is this not the lot of a true philosopher? But he draws his attention (and ours) to two figures that are in the center of the composition. This is the gray-haired Plato and the young Aristotle. They are engaged in a dialogue - a calm dispute, in which truth is freed from the shackles of dogmas and prejudices. Plato points to the sky, where harmony, majesty and higher intelligence. Aristotle extends his hand to the earth, the world around people. There can be no winner in this dispute, because both the boundless cosmos and the native Earth are equally necessary for a person, the knowledge of which will last forever.

Despite the isolation of groups of philosophers, the picture gravitates towards two central figures, clearly prominent against the background of the sky. Their unity is emphasized by the system of arched vaults, the last of which forms a kind of frame in which Plato and Aristotle are located.

The unity of philosophies is in diversity individual schools and personal opinions. This is how the great symphony of human knowledge is formed. This is not hindered by the disunity of thinkers in space and time. On the contrary, knowledge unites all who sincerely strive for it. And it is no coincidence, of course, that in the picture there are people of all ages, including babies, and on their faces there is not only concentration and thoughtfulness, but also bright smiles.

In his four great compositions, Raphael showed four foundations on which human society should rest: reason (philosophy, science), kindness and love (religion), beauty (art), justice (justice).

Modern man it may seem incredible that Raphael, under the age of thirty, could create such grandiose frescoes. One is already striking in the grandeur of the idea and the ability to express deep ideas (and before that - to realize them) in the form of pictorial compositions. And how many sketches, sketches were required for this! It is hard to doubt that groups of artists worked on the frescoes. But the general idea, the structure of the paintings, specific figures and the processing of many details are the work of the hands and thoughts of the great master.

Original post by okprofi
Raphael Santi - "School of Athens" fresco
Why pink letters on a white background?
RAFAEL SANTI - main page
Rafael Santi
Athenian school
("Philosophy")
1509-1511
Fresco
Stanza della Senyatura, office of the Pope
The School of Athens
fresco
Vaticano, Stanza della Segnatura, Rome
The School of Athens is a great work by Raphael.
The fresco glorifies the power of the mind, embracing the whole world
Who's who on the fresco "School of Athens"
1 - Leonardo da Vinci as Plato and Aristotle
2 - Pythagoras
3 - Diogenes of Sinop
4 - Michelangelo as Heraclitus
5 - self-portrait
6 - Epicurus
7 - Alexander the Great
8 - Socrates
9 - Euclid
The fresco "The School of Athens" depicts a non-real group of Athenians - not only Athenians are here (for example, the philosophers Parmenides and his student Zeno were not citizens of Athens) and not only contemporaries, but also thinkers who lived in other times and in other countries ( for example, the Persian mystic philosopher Zoroaster, who lived several centuries before Plato, or the Muslim translator and commentator of Aristotle, Averroes, who lived many centuries later). Thus the "School of Athens" represents an ideal community of thinkers of the classical era, a community of teachers and students. However, depicting these prominent people of the past, Raphael gives them the features of his outstanding contemporaries.
In total, over 50 figures are presented on the fresco (many of them cannot be attributed, and there is no single point of view about some of them).
Website version Lectures online
With a beard, in a brown toga - Speusippus, philosopher, nephew of Plato
- in a blue toga - Meneksen, philosopher, student of Socrates
- in a white toga - Xenocrates, philosopher, student of Plato
- in yellowish-greenish - the philosopher Socrates
- in bluish - presumably Alexander the Great, a student of Aristotle
- in a dark headdress, short - Xenophon, philosopher, student of Socrates
- in a helmet - Alcibiades, commander and politician, student of Socrates
- with outstretched hand - Eschines, philosopher, student of Socrates
- in pink - Critias, philosopher, orator, writer, uncle of Plato
- with a naked torso - Diagoras Melossky, a poet nicknamed "Atheist"
- next to cupid - the philosopher Zeno, a student of Parmenides
- following Zeno - Navsifan, philosopher, follower of Democritus, teacher of Epicurus
- in a wreath - the philosopher Democritus (according to another version - Epicurus)
- the boy behind him - Diogenes Laertes, historian of philosophy
- in a white turban - Averroes, an Arab philosopher
- bald, in a yellowish robe in the foreground - Anaximander, philosopher, student of Thales
- in a white robe, with a book - Pythagoras, philosopher and mathematician
- with long hair - Anaxagoras, philosopher, mathematician and astronomer
- standing in white - Hypatia, mathematician, astronomer and philosopher
- standing and holding a book - the philosopher Parmenides
- sits leaning on a cube - the philosopher Heraclitus
- lies on the steps - the philosopher Diogenes
- sitting on their knees and standing bent over - students of Euclid, Duke Federico Gonzaga is depicted at 27 m.b
- with a compass - Euclid, mathematician (according to another version - Archimedes)
- in white clothes with a celestial globe - Zoroaster, astronomer and mystic philosopher
- back to the viewer, with the globe - Ptolemy, astronomer and geographer
- in a white beret - Il Sodoma, artist, friend of Raphael (according to another version - Perugino, Raphael's teacher)
- in a dark beret - Raphael
- in a dark toga - the philosopher Arcesilaus (according to another version - Plotinus)
- leaning his hand on the wall - the philosopher Pyrrho
- on one leg - ?
- in blue and pink, descending - Aristippus, philosopher, friend of Socrates
- goes up the stairs - the philosopher Epicurus
- back, in pink - ?
- with a beard, in a yellowish cloak - Theophrastus, philosopher and scientist, student of Plato and Aristotle
- close to Theophrastus stands - Eudemus, philosopher, student of Aristotle
In 1508, at the invitation of Pope Julius II, Raphael went to Rome. The Pope instructs the artist to paint the ceremonial halls (stations) of the Vatican Palace. In Stanza della Senyatura (1509-11), Raphael introduced four areas of human activity: theology ("Disputation"), philosophy ("Athenian school"), poetry ("Parnassus"), jurisprudence ("Wisdom, Measure, Strength"), and also corresponding to the main compositions are allegorical, biblical and mythological scenes on the plafond.
The fresco "The School of Athens" embodies the greatness of philosophy and science. Its main idea - the possibility of harmonic harmony between different areas of philosophy and science - is one of the most important ideas of the humanists. Under the vaults of the majestic building, ancient Greek philosophers and scientists settled down in groups.
In the center of the composition are Plato and Aristotle, personifying ancient wisdom and representing two schools of philosophy. Plato points his finger at the sky, Aristotle stretches his hand above the earth. The warrior in the helmet is Alexander the Great, he listens attentively to Socrates, who, proving something, bends his fingers. On the left, at the foot of the stairs, Pythagoras, surrounded by students, is busy developing mathematical problems. Man in a wreath of grape leaves - Epicurus. A man sitting in a thoughtful pose, leaning on a cube, is Michelangelo in the form of Heraclitus. On the steps of the stairs is Diogenes. On the right, Euclid, leaning over the board, measures a geometric drawing with a compass. The steps of the ladder symbolize the stages of mastering the truth. Next to Euclid are Ptolemy (holding the globe) and, probably, the prophet Zoroaster (holding the celestial globe). A little to the right is the artist himself (looking directly at the viewer). Although the fresco contains over 50 figures, Raphael's sense of proportion and rhythm creates an impression of surprising lightness and spaciousness.
The artist set himself a task of incredible complexity. And his genius manifested itself in the very approach to its solution. He divided the philosophers into several separate groups. Some examine two globes - the Earth and the sky - the latter, apparently, is in the hands of Ptolemy. Nearby, others are passionate about solving a geometric problem. On the contrary - a solitary dreamer. Near him, a venerable thinker makes corrections to a solid tome under the admiring glances of some and the intense peeping of a plagiarist trying to grab someone else's thought on the fly. A young man departs from these people, who has not yet chosen a teacher for himself, ready to search for the truth. Behind - Socrates, on the fingers explaining to the audience the course of his reasoning.
The figure of a young man in the far left corner of the fresco is absolutely remarkable. He swiftly enters this cluster of sages, holding a scroll and a book in his hand; fluttering folds of his cloak and curls on his head. The one standing nearby shows him the way, and someone from the circle of Socrates greets him. Perhaps this is how a new bold idea is personified, which will cause new disputes, inspire new searches ...
Like a beggar on the steps of the temple - a lonely Diogenes, removed from worldly fuss and discussions. Someone, passing by, points to him, as if asking a companion: is this not the lot of a true philosopher? But he draws his attention (and ours) to two figures that are in the center of the composition. This is the gray-haired Plato and the young Aristotle. They are engaged in a dialogue - a calm dispute, in which truth is freed from the shackles of dogmas and prejudices. Plato points to the sky, where harmony, grandeur and higher intelligence reign. Aristotle extends his hand to the earth, the world around people. There can be no winner in this dispute, because both the boundless cosmos and the native Earth are equally necessary for a person, the knowledge of which will last forever.
Despite the isolation of groups of philosophers, the picture gravitates towards two central figures, clearly prominent against the background of the sky. Their unity is emphasized by the system of arched vaults, the last of which forms a kind of frame in which Plato and Aristotle are located.
The unity of philosophies is in the diversity of individual schools and personal opinions. This is how the great symphony of human knowledge is formed. This is not hindered by the disunity of thinkers in space and time. On the contrary, knowledge unites everyone who sincerely strives for it... And it is no coincidence, of course, that people of all ages, including babies, are present in the picture, and their faces are not only focused and thoughtful, but also bright smiles.
In his four great compositions, Raphael showed the four foundations on which human society should rest: reason (philosophy, science), kindness and love (religion), beauty (art), justice (justice).
It may seem incredible to a modern person that Raphael, under the age of thirty, could create such grandiose frescoes. One is already striking in the grandeur of the idea and the ability to express deep ideas (and before that - to realize them) in the form of pictorial compositions. And how many sketches, sketches were required for this! It is hard to doubt that groups of artists worked on the frescoes. But the general idea, the structure of the paintings, specific figures and the processing of many details are the work of the hands and thoughts of the great master.
RAFAEL SANTI
main page
Encyclopedia main menu

Before Stanza della Senyatura, Raphael rarely had to deal with frescoes, but he surprisingly managed to cope with his task and painted his famous Vatican fresco "School of Athens"(1509), which became one of the greatest masterpieces not only of Raphael, but of all Renaissance painting. Raphael created this monumental fresco when he was only 25 years old, and it became one of the masterpieces of the High Renaissance. The fresco depicts the world of ancient philosophers, whose ideas inspired Renaissance artists. Under the majestic barrel vaults of a fictitious ancient building, we see all the prominent philosophers of antiquity, talking with their students. It was these conversations that contributed to the development of philosophical thought.

The "School of Athens", as this fresco began to be called many years after it was painted, depicts the Academy founded by Plato in Athens in the 4th century BC. e. Raphael, like his contemporaries, was well aware that the meetings of this Academy were held under open sky, in an olive grove. Nevertheless, the artist chooses a majestic building in the classical style as a backdrop. Perhaps Raphael came to this decision because such a structure seemed to him a more appropriate place for the birth of the high ideas of the Golden Age than any natural landscape. And the fact that the building depicted in the fresco is closer in its architecture to the classical Roman than to the Greek style emphasizes the fusion of two cultures that occurred in the Italian Renaissance under the influence of philosophical ideas. Ancient Greece. When looking at the fresco, the base of which is located above the door, the vaults depicted on it seem to go to infinity, although in fact the height of the fresco is only four times the height of a person. Raphael builds the architecture of the building depicted in the fresco according to the laws of the theater, and on these stages, as on a stage, he effectively and harmoniously arranges human figures.

Larger than human figures, and above them a marble sculpture of the Greek god Apollo, uses contraposto, which is often found in the works of Michelangelo. The embodiment of masculine beauty and intelligence, Apollo was also the god of music, symbolized by the lyre he holds in his hands. In the opposite nave, in a wall niche, there is a symmetrically located statue of Minerva, the goddess of war and wisdom, the patroness of all educational institutions. In his works, Pythagoras (c. 580-c. 500 BC) tried to connect mathematics and music, so it is deeply symbolic that his figure is depicted under the statue of Apollo. On the tablet in his hands, mathematical formulas are inscribed, with the help of which he sought to describe musical harmony, which was supposed to be the key to understanding the harmony of the world. Plato used these formulas to calculate the harmonic proportions of the soul, and this idea is detailed by him in the treatise Timaeus, with which he is depicted in the fresco.

On this fresco, Raphael also painted your self-portrait, and behind him, perhaps, a portrait of his teacher, Perugino. In the same group we see Ptolemy holding the earth sphere in his hand (Ptolemy lived in the 2nd century BC, was an astronomer and claimed that the Earth is the center of the Universe). It is believed that the figure holding the celestial sphere in his hand belongs to the Persian prophet Zoroaster. The half-naked figure sitting on the steps in an extremely uncomfortable position is the Greek cynic Diogenes (c. 400-325 BC), whose philosophy was based on the acceptance of an ascetic lifestyle as the only way to achieve true independence and freedom. Diogenes himself completely denied all conveniences and lived on the outskirts of Athens in a barrel of baked clay. The bald mathematician Euclid (Vasari claims that this is a portrait of Raphael's comrade, the architect Bramante) demonstrates the drawings drawn on the tablet, which should confirm his geometric idea. The students of Euclid are depicted in such a way that by their gestures and facial expressions we can trace at what stage of understanding the teacher's thought each of them is.

Not all figures on the fresco can be identified with absolute certainty, however, the great Greek philosophers Plato(427-347 BC) and his student Aristotle(384-322 BC) are easily recognizable by the titles of the books they hold in their hands. Plato's hand is turned up, and Aristotle's hand is down, with an open palm to the ground. Their philosophical ideas are concentrated in these gestures - Plato's are more abstract, Aristotle's are more practical and logically justified. Aristotle and Plato stand side by side at the top of the stairs. Three arches, following one after another, frame them. The viewer's attention immediately focuses on their figures. They are the center of the composition. With his left hand, Aristotle holds his "Ethics", with a movement of his right, he seems to calm the inspired pathos of Plato. His figure appears easily and freely. The nobility of movements, the soft curves of the shoulders, arms and folds of clothes, the dark and light alternating tones give her a smooth regularity, grace and harmony. The softness of the contour and the emancipation of the movements do not detract from the majesty of Aristotle. They emphasize the even more powerful vertical of the figure of Plato and at the same time give the image of Aristotle more humanity and extraordinary picturesqueness. Elder Plato with the face of Leonardo is illuminated by inspiration. He looks like a biblical prophet. Pointing to the sky with his finger, he broadcasts about the world of ideas. Still young, strong, Aristotle is the most beautiful creation of the earth. His face, turned towards Plato against the background of floating clouds, glows with reason and kindness. Calmness, moderation, genuine strength, commanding human passions, are imprinted in his image. The uplifting gesture of Plato and the grounding gesture of Aristotle testify to the ongoing dispute. What is truth? Socrates, Heraclitus, Aesop, Pythagoras think about the same thing...

But why is Raphael himself in this host of wise men? He turned his beautiful, touchingly trusting face towards us, sadness in his face ... He observes impassively, not wanting to participate in a heated conversation, a clash of gigantic minds, or takes someone's side ...? "Painting is a philosophy," said Leonardo da Vinci. For Raphael, painting was a philosophy of beauty. In painting, he is a great idealist and a great realist at the same time. That is why Plato and Aristotle march so equally in the "School of Athens".

In the art of Raphael, the image of a perfect man found a very concrete expression. This is Aristotle wearing the "School of Athens" fez.

In this fresco by Raphael one can feel the influence of a number of more early work other great artists. One of them was the "Altarpiece of Montefeltro" by Piero della Francesca, which Raphael saw in his native Urbino, in which the Madonna, the baby, saints, angels and the donor (customer) are depicted in the nave of a classical church against the backdrop of a skillfully painted vault. Raphael's teacher Pietro Perugino used the classical cityscape as a backdrop for the Sistine Chapel painting Christ Handing the Keys to the Apostle Peter, just as Sandro Botticelli does in his Adoration of the Magi. However, in his work, Raphael goes further and strengthens the internal harmonic connection between architecture and human figures, creating for this group of figures that repeat in the rhythm of the architectural ensemble. The central arches of the building reinforce and emphasize the main figures - Plato and Aristotle, and at the same time create an empty space in front of them. Without arches, the overall impression of the fresco would be different.

Tapestries after designs by Raphael (1515)

One of the most significant works of Raphael was the papal order for ten tapestries illustrating the gospel scenes from the life of the apostles Peter and Paul and intended for the Sistine Chapel. They became unsurpassed examples of monumental narration in the visual arts as the stanzas of the Vatican.

Wanting to complete the Sistine Chapel, where Michelangelo painted the ceiling with episodes from the Book of Genesis, the Sibyls, the Prophets and the Forefathers, in 1514 Leo X ordered Sanzio tapestries on the theme of the Acts of the Apostles. They were supposed to be located under the murals of the 15th century, depicting scenes from the life of Moses and Christ, and become their plot and historical continuation. On important days church holidays, on the walls, in the first level of the Sistine Chapel, hung tapestries depicting scenes from the life of the apostles, with the coats of arms of the Cause of Rovers (Popes Sixtus IV and Julius II), and, according to one legend, they came originally from Jerusalem.

According to Pope Leo X, they had become too worn and unsightly and had to be replaced. The idea was excellent, as this replacement gave Leo X the opportunity to display his coat of arms in the most important chapel in Christendom. The coat of arms of Leo X, based on a drawing by Raphael, adorns the edges of the new tapestries.

Initially, the artist may have been commissioned for a cycle of tapestries, and stipulated the choice of scene, which is consistent with the key features of the spiritual policy of the new pope, while maintaining the style of the already existing interior. Leo X expected Raphael to interpret these themes masterfully. It may have been at the end of 1514 or at the beginning of 1515. The drawings were completed at the end of 1516, as there is documentary evidence that the final payment was made on December 20, 1516.

Raphael made drawings for these tapestries in their full size (the so-called cardboards). Then they were sent to Brussels, to the weaving workshop of the famous master Pieter Jan Alest (van Elst), the best at that time. One tapestry was completed in 1517, and seven tapestries were ready for the Christmas holidays of 1519. Three others must have arrived shortly before the death of Leo X, in 1521. Apparently, Raphael could see them before his death displayed in the Sistine Chapel. Pope Leo X saw these tapestries for sure, since he died a year later than Raphael. In the list made after the death of Leo X, there are 10 drawings of tapestries. In 1527, these works were stolen, and were not returned until the 1550s. The tapestries are currently in the Vatican Museum. Seven of Raphael's original cardboards have survived, and all of them are in the collection of the Victoria and Albert Museum in London, where they came from the British Royal Collection (the cardboards were bought in 1623 by the Prince of Wales, the future King Charles I).

In the execution of this work, Raphael faced a double challenge to his pride as a man and an artist. On the one hand, he knew how important this project was for Leo X and how much he hoped for it. On the other hand, he felt that because of the ceiling of Michelangelo, he, a famous artist, would be pushed into the shadows, albeit a famous one, but a sculptor, and their works would be compared, not in volume, but in quality of execution. He succeeded in this difficult task, and the tapestries were a huge success when they were shown in the Sistine Chapel in 1519.

As Wolflin writes, "These cardboards were a treasury from which artists drew forms to express the movements of the human soul. Surprise, fear, suffering, greatness and dignity are embodied here with such perfection that the West could not even imagine other forms for them".

The most famous Vatican tapestries: "Great Fishing", "St. Paul preaching in Athens", "Feed my sheep", or "The call of St. Peter to the apostolate", "Death of Ananias".

Tapestry "Great Fishing" depicts the plot of the Biblical story, which describes one of the miracles of Jesus. When the fishermen, among whom were several of His followers, failed to catch a worthy catch, working all night, following the command of the Lord, once again swam into the depths and cast their nets, the catch exceeded their wildest expectations. Under the weight of the fish, the nets began to break, the fragile boats began to sink. And then the fishermen began to see, and Simon, whom Jesus called Peter (Stone), realized what had happened as a miracle of God, along with which came the realization of his own sinfulness.

The miraculous bountiful fishing was a type of God's calling for the Apostles. From now on, they stopped fishing, but began to serve the Lord - "fishers of men" for the Kingdom of God.

Tapestry "Feed my sheep" depicts the moment of calling St. Peter to the apostolic ministry. The crucified, resurrected Savior called Peter to be a shepherd. When Christ was crucified, Peter denied Him three times. Three times Peter confirmed his consent to follow God's calling - from now until his martyrdom. On the tapestry, the disciples of Christ, many of whom, including Peter, were formerly fishermen, turned to Jesus with a flock of meek sheep, turning away from their former occupations, former life, from the lake and boats.

A copy of the famous painting by Raphael Santi "The School of Athens" ("Philosophy", 1509-1511, The fresco of Stanza della Senyatura, the office of the Pope) can be seen in St. Petersburg in the building of the Museum of the Academy of Arts, in the Raphael Hall.

The fresco depicts not a real group of Athenians - there are not only Athenians here (for example, the philosophers Parmenides and his student Zeno were not citizens of Athens) and not only contemporaries, but also thinkers who lived in other times and in other countries (for example, the Persian philosopher - the mystic Zoroaster, who lived several centuries before Plato, or the Muslim translator and commentator of Aristotle, Averroes, who lived many centuries later). Thus, the "School of Athens" represents the ideal community of thinkers of the classical era, a community of teachers and students. However, depicting these prominent people of the past, Raphael gives them the features of his outstanding contemporaries.

1 - Leonardo da Vinci as Plato and Aristotle

2 - Pythagoras 3 - Diogenes of Sinop 4 - Michelangelo as Heraclitus 5 - self-portrait 6 - Epicurus 7 - Alexander the Great 8 - Socrates 9 - Euclid

Source:http://www.abc-people.com/data/rafael-santi/pic-8.htm

The rest of the characters in the picture, according to the site Lectures online :

- with a beard, in a brown toga - Speusippus, philosopher, nephew of Plato

- in a blue toga- Menexenus, philosopher, student of Socrates- in a white toga- Xenocrates, philosopher, student of Plato- in yellowish green - Philosopher Socrates- in bluish- presumably Alexander the Great, a student of Aristotle- in a dark headdress, short - Xenophon, philosopher, student of Socrates- in a helmet- Alcibiades, commander and politician, student of Socrates- with outstretched hand - Eschines, philosopher, student of Socrates- in pink- Critias, philosopher, orator, writer, Plato's uncle- bare-chested - Diagoras of Melos, a poet nicknamed "The Godless"- next to Cupid- Philosopher Zeno, student of Parmenides- next to Zeno - Navsifan, philosopher, follower of Democritus, teacher of Epicurus- in a wreath- philosopher Democritus (according to another version - Epicurus)- boy behind him — Diogenes Laertes, historian of philosophy- in a white turban— Averroes, Arab philosopher- bald, in a yellowish robe in the foreground - Anaximander, philosopher, student of Thales- dressed in white, with a book - Pythagoras, philosopher and mathematician- with long hair - Anaxagoras, philosopher, mathematician and astronomer- stands in white– Hypatia, female mathematician, astronomer and philosopherstanding and holding a book - Philosopher Parmenides- sits leaning on a cube - Philosopher Heraclitus- lies on the steps - Philosopher Diogenes- sit on their knees and stand bent over - students of Euclid, in 27 m.b depicts Duke Federico Gonzaga- with a compass- Euclid, mathematician (according to another version - Archimedes)- in white clothes with a celestial globe - Zoroaster, astronomer and mystic philosopher- back to the viewer, with the globe - Ptolemy, astronomer and geographer- in a white beret- Il Sodoma, artist, friend of Raphael (according to another version - Perugino, Raphael's teacher)- in a dark beret– Raphael- in dark toga- philosopher Arcesilaus (according to another version - Plotinus)- put your hand on the wall - Philosopher Pyrrho- on one leg– ? - in blue and pink, descending - Aristippus, philosopher, friend of Socrates- going up the stairs - the philosopher Epicurus- back, in pink – ? - with a beard, in a yellowish cloak - Theophrastus, philosopher and scientist, student of Plato and Aristotle- close to Theophrastus stands - Eudemus, philosopher, student of Aristotle

From the history of the painting:

In 1508, at the invitation of Pope Julius II, Raphael went to Rome. The Pope instructs the artist to paint the ceremonial halls (stations) of the Vatican Palace. In the Stanza della Senyatura (1509-11)Raphaelpresented four areas of human activity: theology ("Dispute"), philosophy (), poetry ("Parnassus"), jurisprudence ("Wisdom, Measure, Strength"), as well as allegorical, biblical and mythological scenes corresponding to the main compositions on the ceiling.

The fresco "The School of Athens" embodies the greatness of philosophy and science. Its main idea - the possibility of harmonic harmony between different areas of philosophy and science - is one of the most important ideas of the humanists. Under the vaults of the majestic building, ancient Greek philosophers and scientists settled down in groups.In the center of the composition are Plato and Aristotle, personifying ancient wisdom and representing two schools of philosophy. Plato points his finger at the sky, Aristotle stretches his hand above the earth. The warrior in the helmet is Alexander the Great, he listens attentively to Socrates, who, proving something, bends his fingers. On the left, at the foot of the stairs, Pythagoras, surrounded by students, is busy developing mathematical problems. Man in a wreath of grape leaves - Epicurus. A man sitting in a thoughtful pose, leaning on a cube, is Michelangelo in the form of Heraclitus. On the steps of the stairs is Diogenes. On the right, Euclid, leaning over the board, measures a geometric drawing with a compass. The steps of the ladder symbolize the stages of mastering the truth. Next to Euclid are Ptolemy (holding the globe) and, probably, the prophet Zoroaster (holding the celestial globe). A little to the right is the artist himself (looking directly at the viewer). Although the fresco contains over 50 figures, Raphael's sense of proportion and rhythm creates an impression of surprising lightness and spaciousness.

The artist set himself a task of incredible complexity. And his genius manifested itself in the very approach to its solution. He divided the philosophers into several separate groups. Some examine two globes - the Earth and the sky - the latter, apparently, is in the hands of Ptolemy. Nearby, others are passionate about solving a geometric problem. On the contrary - a solitary dreamer. Near him, a venerable thinker makes corrections to a solid tome under the admiring glances of some and the intense peeping of a plagiarist trying to grab someone else's thought on the fly. A young man departs from these people, who has not yet chosen a teacher for himself, ready to search for the truth. Behind - Socrates, on the fingers explaining to the audience the course of his reasoning.The figure of a young man in the far left corner of the fresco is absolutely remarkable. He swiftly enters this cluster of sages, holding a scroll and a book in his hand; fluttering folds of his cloak and curls on his head. The one standing nearby shows him the way, and someone from the circle of Socrates greets him. Perhaps this is how a new bold idea is personified, which will cause new disputes, inspire new searches ... Like a beggar on the steps of a temple - a lonely Diogenes, removed from worldly fuss and discussions. Someone, passing by, points to him, as if asking a companion: is this not the lot of a true philosopher? But he draws his attention (and ours) to two figures that are in the center of the composition. This is the gray-haired Plato and the young Aristotle. They are engaged in a dialogue - a calm dispute, in which truth is freed from the shackles of dogmas and prejudices. Plato points to the sky, where harmony, grandeur and higher intelligence reign. Aristotle extends his hand to the earth, the world around people. There can be no winner in this dispute, because both the immense cosmos and the native Earth are equally necessary for a person, the knowledge of which will last forever. Despite the isolation of groups of philosophers, the picture gravitates towards two central figures, clearly prominent against the background of the sky. Their unity is emphasized by the system of arched vaults, the last of which forms a kind of frame in which Plato and Aristotle are located. The unity of philosophies is in the diversity of individual schools and personal opinions. This is how the great symphony of human knowledge is formed. This is not hindered by the disunity of thinkers in space and time. On the contrary, knowledge unites everyone who sincerely strives for it... And it is no coincidence, of course, that people of all ages, including babies, are present in the picture, and their faces are not only focused and thoughtful, but also bright smiles. In their four great compositions Raphael showed four foundations on which human society should rest: reason (philosophy, science), kindness and love (religion), beauty (art), justice (justice). It may seem incredible to a modern person that Raphael, who has not reached the age of thirty,could create such grandiose frescoes.

We have one of greatest paintings High Renaissance, one of those paintings that fully express the spirit of that era. - Yes. - This is a fresco by Raphael "The School of Athens", which adorns one of the most luxurious rooms in the Vatican. In the Vatican Palace. The room is called "Stanza della Senyatura". Raphael worked on this fresco in 1509-1511. At the same time when Michelangelo painted the ceiling of the Sistine Chapel. - They probably knew each other. - For sure. This is a stunning example of how, during the High Renaissance, the Catholic world absorbed the traditions of antiquity, focusing on the greatest minds of the classical tradition. Yes. I always considered it a kind of embodiment of a humanistic dream. After all, here under one roof gathered the greatest scientists, mathematicians, philosophers and thinkers ... - Ancient Greece. - Ancient Greece. And they all lived in different time, so it's definitely a hoax. Fantasy, and rather inaccurate, to be honest. You said "under the same roof". Look at the roof - it's classical Roman, not Greek architecture. - Right. - Raphael mixed everything up a little here. Yes. And since we are talking about the architecture on this fresco, in many respects it is probably borrowed from Bramante, who just during this period was updating, or rather re-creating St. Peter's Cathedral. Yes. He's around here. Yes. Peter's Cathedral is being rebuilt on the site of an ancient Roman basilica, and at the same time Michelangelo is painting the ceiling of the Sistine Chapel. - Which moment! - And Rafael creates frescoes in Stanza. "Stanza" is "room" and "Stanza della Senyatura" is "Signature Room". It was here that the Pope signed documents. - Yes. - We see here a lot of figures and complex architecture. But with the help of linear perspective and perpendiculars, the artist highlights two key figures. And these are not only the central figures of the picture, but in general the central figures of the whole Western philosophy, Western worldview. - And science. - And science. We see two figures, effectively framed by small arches, and the rest of the arches too. This is Plato and Aristotle - his student. Yes, and in a way they represent two branches of Western thought. - Plato ... - A figure in red-gray. Yes. He points up. Because he is interested in the world of ideas. Existing outside the world of things. So he points up. There is a controversial opinion that 4 elements are represented here. Plato is red, fire, gray is what the Greeks called "ether". Both are immaterial elements. And Aristotle on the other hand? - Aristotle... - Points down. Yes, that's right. On the material, physical, visible, real. This was the main subject of his philosophy. What can we see? How to understand the visible world with the help of our senses? And not the invisible world that Plato was interested in. Of course, he is wearing blue and brown robes - a symbol of water and earth, physical elements that experience gravity. Right. Our perception of the world is divided into two parts. On the one hand, we see and feel the world through the senses. On the other hand, we reflect on it, accumulate knowledge and understanding that there is something higher, ideal and divine. Plato basically described it in the language of mathematics. Interesting. It turns out that the picture reflects the balance between these two aspects. - Yes. - And the expression turned out to be beautiful, harmonious. If you look closely, all the figures here are organized and divided into two schools of philosophical thought. Yes. On Plato's side are mathematicians. Philosophers who think about ideas abstracted from physical world, they… And they don't try to explain reality. Yes, that's right. They are on the right, on the side of Aristotle - those who can be called scientists. Maybe we should name some figures and discuss them? Of course. But let's say a few words about architecture. - Yes, sure. - In my opinion, the architecture here is also dual. She is very majestic, just incredible. I would say even too much. The architectural elements are very high, all these round arches, classical statues and niches on the sides… - By the way, I want to say that they also show some… - Duality. Yes, the dualism we're talking about. On Plato's side we see Apollo. God of poetry and music. Yes. And on the side of Aristotle, Athena is war and wisdom. - More real... - Yes, much more earthly figure. Yes. I wanted to say that the architecture seems to lift, ennoble the figures. Creates a context, as in Leonardo da Vinci's fresco "The Last Supper". There, the architecture interacts with the figures, helping to convey the plot, its meaning. Here, I think architecture also plays an important role. If the space were different, the figures would be perceived differently. Here architecture exalts them, proclaims the achievements of the mind. This is a real celebration. The whole picture marks the triumph of human achievement. The thought of the incredible human capabilities capable of being equal to the gods in creativity. Is this not the quintessence of the High Renaissance? Exactly. I think it's also important that there are so many figures in this painting. Raphael's personal achievement. - So interesting. - There are dozens of characters here, and the composition is very complex, and none of the figures is repeated. At the same time, everything looks alive and natural, as if Raphael did not have to make any effort to paint a picture. Here, complexity is combined with ... With the lightness of an artist's brush. None of the artists could compare in this with Raphael. - Yes. Everything looks natural and simple. As if it could not be otherwise. This is the lightness of a great ballerina. You look, and there is no feeling that she rehearsed for hours. Yes. But I would like to return to what you mentioned recently. One important point: Why was it necessary to bring all these figures together? It is very interesting. The revival has returned to this from time to time. Recall at least one of the most important texts of the era, although it is still a proto-Renaissance, but the roots of the Renaissance are precisely in Dante's Divine Comedy. At the very beginning of "Hell" we get to Limbo and there we meet some great Greeks. This idea was revolutionary. The idea of restoring the dignity of the Greeks, whom the medieval tradition looked upon with contempt. But here they are glorified. What a sharp turn. Yes, that is right. But the church won't let it last long. Yes, the period is over. The Reformation is about to begin. Well, let's look at the main figures. Fine. Let's start from the top left. Certainly. Although let's start with a large figure closer to the center. This is the most massive figure in the picture. - Seated figure. - Yes. A man in heavy work boots leans over and writes something in thought. It's entertaining. Yes, and he also twisted his torso slightly. This figure represents ancient Greek philosopher Heraclitus. He is best known for arguing that time is constantly in flux. Wasn't he the one who said you can't step into the same river twice? Yes, that's what he said. He compared life to a fire that never repeats, and said that the world is infinitely diverse. Of course, Raphael did not know what Heraclitus really looked like, and asked his friend to work as a model. That acquaintance was Michelangelo. Yes. But instead of simply writing the image of Heraclitus from him, Raphael tried to adopt his style. He painted his figure the way Michelangelo portrayed the prophets and sibyls - monumental seated figures. Rafael seems to challenge him and says: “Oh, so? Well, I can paint beautiful seated figures too.” Yes, as massive and majestic as in the paintings of Michelangelo. Most of the other figures in Raphael's painting are much more refined. But the figure of Michelangelo is massive and powerful. - In the spirit of Michelangelo himself. - Amazing, right? Almost a parody. And interestingly, Heraclitus is depicted here behind a letter. So Raphael reminds us that Michelangelo is also a poet. Right. Let's now talk about my favorite shape, in the lower left corner. - With a bald head? - With a bald head. - And a beard. - And with a beard. This is Pythagoras. We remember him from school geometry lessons. a^2 + b^2 = c^2 is the Pythagorean theorem. But his ideas were a whole philosophical school. Yes. Pythagoras made several diagrams explaining the relationship of harmony with music and numbers and the fact that harmony is based on a mathematical structure. A rational structure that can be studied and even measured. - Yes. - Yes, that's right, Pythagoras is known for his work "Harmony of the Spheres", a link to which we see here. In this lost, most important ancient text, Pythagoras set his main question- which is beauty. Of course, this issue was extremely important for Raphael himself. Right. What is beauty? How does it relate to harmony and does it have… - Divine source. - Yes, a certain basis, internal structure of the universe, which… In a word, beauty is a manifestation of… - Divinity. - Or something created by God. The High Renaissance is characterized by the idea that admiring beauty is also admiring divine creation. And, of course, we see Pythagoras on Plato's side. - It's natural. - After all, the ideas are absolutely neoplatonic. - In many ways, yes. Let's move to the right now, shall we? - To Euclid? - Here we see scientists - people who are trying to understand the world and its main structures. Right? Yes, and formulate them. Aristotle named four elements, and Euclid laid the foundations of geometry: point, line, Euclidean axioms. Yes. Almost all the geometry that we learn is ... - His merit. - Yes, in high school Euclidean, of course. - Yes. - Here he, by the way, teaches others. Another important detail for this painting and characteristic of the High Renaissance is the interaction of the figures. Look, here everyone communicates, gesticulates. There is no feeling of tightness, all groups are active… - Dynamic. - It seems that people are just walking, talking, having a good time. It's a forum! But how difficult it was to create these numerous groups. Rafael created a real dance. An amazing work. - Of course, the artist portrayed himself. - Yes. - He is among the astronomers in the lower right corner. - Peeps out. - Looks straight at us. - Yes. Subtitles by the Amara.org community