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Raphael's stanzas in the Vatican - the standard " high renaissance» in fine arts, one of the most visited places of the Vatican Museums.
Raphael Stations. Fresco "Disputation" in the Stanza della Senyatura
Raphael's stanzas are relatively small rooms (from the Italian stanza = room, approximately 8x10 meters) in the Papal Palace of the Vatican, painted with frescoes. Interestingly, the time of Raphael's work on the stanzas coincides with the time of Michelangelo's work on the ceiling of the Sistine Chapel.
Of the four rooms: Stanza del Incerdio di Borgo, Stanza della Senyatura, Stanza d'Eliodoro, Stanza Constantine, only the first three belong entirely to Raphael. The last room was painted by the master's students (Gianfrancesco Penny, Giulio Romano, Rafaele Colle) after Raphael's sketches after his death in 1520.
Raphael's Stanzas in the Vatican Museum. Fresco "Fire in Borgo" in the Stanza del Incendio di Borgo
In 1508, Raphael, at the invitation of Pope Julius II, came to Rome and began work on the murals of the ceremonial halls of the Vatican. The first fresco that Raphael painted in the Stanza della Senyatura is “Dispute” (emphasis on the last syllable) or in another way “Disputation about Holy Communion”. There are still disputes about the appointment of the hall. It is generally accepted that Stanza Senyatura (from the Latin signature = to designate, put a sign, mark) is the office of Pope Julius II, where he signed his bulls and messages.
Raphael's stations in the Vatican. Fresco "School of Athens" in the Senyatura Hall
But, it is quite possible that the papal library and his collection were located in this room. This is the only one of the three stanzas whose name has remained authentic, unrelated to the works of Raphael. The mural "Disputation" depicts conversations about the sacrament of the sacrament. The symbol of communion - the host (or "hostia" = a wafer of unleavened bread) - is installed on the altar in the center of the composition. The action of the picture takes place on two planes: heavenly and earthly.
Stanza Constantine
The frescoes in this hall depict the victory of Emperor Constantine the Great over paganism. Starting with the fresco "Vision of the Cross", which tells how, on the eve of the central battle for power at the Milvian bridge between Constantine and Maxentius,
Raphael Stations. Fresco "Battle of the Milvian Bridge" in the Hall of Constantine
Konstantin dreamed of a shining cross with the words "By this, conquer!" The western wall of the stanza is decorated with the fresco "The Battle of the Milvian Bridge", after the victory in which Constantine becomes the sole ruler of the empire. On the north wall there is a fresco "The Baptism of Constantine", and the east wall tells about the "Konstantin Gift" - this is a kind of charter that Pope Sylvester supposedly received from Constantine, giving the Pope power over the entire western Roman Empire.
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get a bonus(Residenza Papale) is famous for its richly decorated halls, which contain the great treasures of a small state.
Perhaps the most famous are those where genuine masterpieces are located - the Sistine Chapel with frescoes made by Michelangelo himself, and called the standard visual arts Renaissance Stanza Raphael. The Vatican during this period fought for both spiritual and secular power, and all the works of the Renaissance were supposed to strengthen the authority of the Catholic Church and its head.
The most visited place by tourists is the four rooms, painted by the great master. Stanze di Raffaello, located one after another in the old part of the palace, delight tourists with harmonious beauty and deep meaning.
Residence for the new pope
When Pope Julius II ascended the throne, he did not want to live in the apartments occupied by the previous supreme ruler, but chose a cozy room in the old palace. The head of the Vatican dreamed of turning his residence into a real work of art and in 1503 he invited the best Italian artists so that they would fresco the interiors of his office.
True, the works did not please Julius II, and with annoyance he ordered the creations of the masters to be washed away. Five years later, the project manager, the architect Bramante, showed dad the sketches young painter Raphael, which led him to complete delight. The Pontifex summoned from Florence a 25-year-old artist who applied big hopes, and entrusted him with painting future living quarters in the palace, which later became known to the whole world as Raphael's stanzas.
The Pope wanted to see images glorifying the church, including praising the activities of Julius II himself. It must be admitted that the painter brilliantly coped with the mission entrusted to him and created immortal masterpieces that have become real treasures of world art.
Stanza della Senyatura by Raphael
Majestic frescoes brought young talent recognition and glory, as well as the title of the founder of a new trend in art - "Roman classicism". Raphael, who received from the pope the right to paint apartments, began with a room called the Stanza della Segnatura (Signature Hall), and work continued until 1511. It is believed that in this hall, whose name is not associated with the work of the master, there was a pope's reception room or a library, and here Julius II wanted to see reconciliation between antiquity and Christianity.
Main fresco "School of Athens"
Raphael's stations are dedicated to the spiritual improvement of people and divine justice. The master created four frescoes, of which the best, according to art historians, is considered “ Athenian school". Two ancient philosophers, Plato and Aristotle, are central figures, symbolizing the world of living in higher spheres ideas closely related to earthly experience.
They argue about where the truth comes from and the various methods of reaching it. Plato, raising his hand up, stands for the philosophy of idealism, and Aristotle, pointing to the ground, explains the merits of the empirical method of knowledge. The fresco characters are extremely similar to the heroes of the Middle Ages, which emphasizes the close relationship between ancient philosophers and theology of the time.
Three works full of symbolism
The mural "Dispute" is a story about the heavenly church and the earthly one, and the action of the composition takes place in two planes. God the Father and his son Jesus, the Virgin Mary and John the Baptist, as well as the dove symbolizing the Holy Spirit, side by side with a whole army of priests and lay people, among whom one can recognize the Italian thinker Dante Alighieri. Raphael depicted the conversations that the characters have about the sacrament of the sacrament. And its symbol - the host (bread) - is in the center of the composition. By its beauty, this painting is recognized as one of the most perfect works in painting.
The fresco "Parnassus" flaunts the beautiful Apollo, surrounded by charming muses and great poets of that era. This is the embodiment of an ideal kingdom, where art is at the forefront.
The last fresco tells of justice, and it depicts in allegorical form Wisdom, Strength and Temperance, as well as a portrait of Pope Julius II himself, present at the founding of canon and civil law.
Stanza d'Eliodoro
After the artist finishes painting the first room, he proceeds to the second, dedicated to the theme of divine protection. Work on the Stanza di Eliodoro coincided with a period of political instability. And then he decides to create a whole cycle of frescoes that would inspire Christians and tell about the protection of the Lord through faith, inspired by Rafael Santi.
The pope liked the stanzas with plots on the theme of historical events and miracles so much that he renamed the room after the name of one of the frescoes - “The Expulsion of Eliodor from the Temple”, which depicts a heavenly horseman punishing the Syrian king who is trying to steal gold. On the left side, Julius II is depicted being carried to the criminal.
"Mass in Bolsena" tells of a miracle that shocked the parishioners. An unbelieving priest, who took the cake used in the rite of communion in his hands, found that it was the flesh of Christ, bleeding. The fresco also depicts the pope kneeling before the sign of God during the service.
The miraculous liberation of the disciple Jesus from captivity with the help of an angel is captured in the composition "Bringing Saint Peter out of prison". This is a very interesting work in terms of complex angles, as well as the play of light and shadow.
And the fourth fresco is dedicated to the meeting of Pope Leo I with the leader of the Huns, Attila.
Stanza Incendio di Borgo
This is the last room that Rafael Santi personally worked on. The stanzas in the Vatican were painted over several years (1513 - 1515), and the subjects of the frescoes are related to real events that took place in the history of the Holy See. After the death of Julius II, Pope Leo X was crowned. previous work painter that he ordered to paint the dining room, which later became known as Stanza dell "Incendio di Borgo.
The most significant fresco is the "Fire in Borgo". The territory of the district of the same name was completely engulfed in fire, and Pope Leo IV, who stopped the elements sign of the cross, saved the believing population of the Italian city.
Raphael's Stations: Constantine's Hall
It must be said that Rafael, busy with other projects, entrusted part of the work in the third hall to his students, who, after the death of the brilliant creator at the age of 37, painted the fourth apartment - Stanza di Constantino.
In 1517, the master received an order to decorate the last room used for lavish banquets, but the artist only had time to prepare sketches, and the frescoes on the theme of Emperor Constantine's victory over paganism were made by the master's talented followers. Four compositions tell about the power that the ruler, who made Christianity the official religion, received over the entire Roman Empire. Despite the fact that the stanza of Constantine was performed by Raphael's students according to his drawings, and not by himself, the hall still belongs to the works of the great master.
Masterpiece of world art
Raphael's stanzas delight visitors with talented performance, attention to detail and realism. This is a unique work of art, the plots of which touch upon extremely important topics - human activity, his spiritual perfection and self-knowledge.
To get acquainted with the works of Raphael, you must visit museum complex, the entrance to which is possible if there is single ticket costing 16 euros.
Raphael's successes in Florence were so significant that they made his name widely known. In 1508, thanks to the patronage of his countryman, the great architect Bramante, he was invited to the papal court and left for Rome.
At that time, the papal throne was occupied by Julius II, who introduced his characteristic scope into the artistic policy of Rome. Under him, the best craftsmen were called to Rome, and the city began to be decorated with architectural monuments, paintings and sculptures. Bramante began the construction of St. Peter's; Michelangelo, previously busy with the design of the tomb of Julius II, began painting the ceiling of the Sistine Chapel. Around the papal court, poets and humanist scholars were grouped. In this atmosphere of creative creation, in communication with outstanding representatives of culture, Raphael's work entered a phase of the highest rise.
According to Vasari, Bramante, who was the chief architect under Pope Julius II, begged the pope to entrust the painting of the newly built halls to his distant relative and countryman. So the artist received an order to paint the pope's front apartments, the so-called stanza (stanza - room), which include three rooms on the second floor of the Vatican Palace and an adjacent hall. The painting of the stanzas was supposed to be the result of a strictly thought-out program dedicated to glorification of the church.
The Pope was so delighted with the skill of the young Raphael that he decided to cancel the order, already entrusted to such famous artists like Luca Signorelli, Pinturicchio, Perugino and Sodoma. Raphael began work on frescoes when he was only twenty-five years old. The stanzas were painted by Raphael together with his students. within 12 years in 1509-1517 (the hall was painted after the death of the master). The best of these frescoes belong to the greatest creatures renaissance art. The murals amaze with the depth of conception, figurative richness, compositional clarity and orderliness, and general harmony. The choice of subjects for them is undoubtedly predetermined by the pope.
Stanza della Segnatura
The first room in which Raphael began his paintings in the Vatican was the so-called signature room - Stanza della Senyatura(Stanza della Segnatura), where papal decrees and decrees were sealed. This stanza was the papal office. It was painted by Raphael in 1508-1511. The theme of the paintings is the spiritual activity of man.
Interior of the stanza della Senyatura
The theme of the paintings is the spiritual activity of man: theology, philosophy, poetry and jurisprudence. In comparing and interpreting these plots, the desire of the papacy to demonstrate the unity of various areas of human spiritual activity was manifested. This was especially important at a time when the flourishing of a life-affirming secular culture led to the relegation of theology to the background and to a significant decline in the authority of the church.
Stanza della Senyatura was the hall where all the paintings were conceived and worked out in detail in cardboard and executed on the wall by Raphael himself.
The plot of the first of the frescoes made by Raphael, usually called " Dispute”, - the dispute of the fathers of the church about the sacrament of the sacrament. The action takes place in two planes - on earth and in heaven.
Theologians, possibly with the participation of Pope Julius II himself, determined the persons who must certainly be depicted in the heavenly and earthly hierarchy.
Below, in a clearly marked center, stands a simple-shaped altar with a tabernacle. It stores host (wafer)- a flat cake of unleavened dough, which is taken by Catholics who take communion (only priests partake of wine and host). On both sides of the altar on a stepped elevation, the church fathers, popes, prelates, clergymen, elders and youths settled down. Their figures are given in living, plastically finished turns and movements; the eye immediately captures their expressive silhouettes. Among other participants here you can find Savonarola, a pious monk-painter Beato Fra Angelico, architect Bramante, Dante. . . Dante twice depicted in this room: as a poet ascending Parnassus among other geniuses of poetic art and as an outstanding theologian in a select society in this fresco.
Above the whole mass of figures in the lower part of the fresco, like a heavenly vision, the personification of the trinity appears: God the Father, below him in a halo of golden rays is Christ with the Mother of God and John the Baptist, even lower, as if marking geometric center frescoes, - a dove in a sphere, a symbol of the Holy Spirit. On either side of them, 12 figures sit on floating clouds, among which four evangelists stand out with books in their hands, the apostles Peter and Paul. And all this huge number of figures, with such a complex compositional design, is distributed with such art that the fresco leaves an impression of amazing clarity and beauty. The appearance of the characters in the fresco is so majestic, their postures and gestures are so inspired that the Debate appears before us not so much as a dispute about the host, but as a majestic triumph of Truth and Faith.
Dispute
in heaven
Angels
Holy spirit in the form of a dove and angels with the Gospels
Angels
Saint Peter, Forefather Adam, Evangelist John, King David, Saint Lawrence, Prophet Jeremiah
God the Father, Virgin Mary, Jesus Christ, John the Baptist
Judas Maccabeus, Saint Stephen, Moses, Evangelist(?), Forefather Abraham, Apostle Paul
On the ground
Left-hand side
Right side
Beato Fra Angelico, Monk Painter
Ambrosius of Milan, Blessed Augustine
Thomas Aquinas, Pope Innocent III
Bonaventure, Pope Sixtus IV
architect Bramante
Gregory the Great, Saint Jerome with a lion
Savonarola (behind the man)
Dante Alighieri
The best of all the frescoes in the stanzas is unanimously recognized as " Athenian school" - one of greatest creations Renaissance art in general and Raphael in particular. The fresco glorifies the power of the mind, embracing the whole world. Representatives of different teachings, only formally united by a single architectural space, for the most part do not belong to a particular Athenian school, so the name of the grandiose fresco is conditional. There is no doubt that Raphael was familiar with the works of great philosophers and understood the essence of the philosophical method of cognition, which involves the manifestation of personal aspirations and principles of the thinker's life.
This composition is one of the most striking evidence of the triumph in Renaissance art of humanistic ideas and their deep connections with ancient culture. In a grandiose enfilade of majestic arched spans, Raphael presented a collection of ancient thinkers and scientists. Here are not only the Athenians (the philosophers Parmenides and his disciple Zeno were not citizens of Athens) and not only contemporaries, but also thinkers who lived in other times and in other countries (the Persian philosopher-mystic Zoroaster, who lived several centuries before Plato, or Muslim translator and commentator of Aristotle Averroes, who lived many centuries later). The School of Athens thus represents an ideal community of thinkers classical era, a community of teachers and students. However, depicting these prominent people past, Raphael gives them the features of his outstanding contemporaries.
In the center, among the characters grouped at the powerful arched abutments, in the niches of which the statues of Apollo and Minerva are placed, are depicted Plato And Aristotle. They turned out to be the spiritual center of this collection not only due to their central position in the composition, but also due to the significance of the images. In their posture, in their gait, a truly regal grandeur is poured, just as on their faces we feel the seal of a great thought. This is the most perfect images frescoes; No wonder the prototype of Plato was Leonardo da Vinci.
Athenian school
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. The right group at the bottom of the picture examines two globes: the earth in the hands of the geographer Ptolemy(in the crown) and heavenly - at Zoroaster(astronomer and mystic philosopher) with the face of the humanist Pietro Bembo. Two young men are talking with scientists (one of them has the facial features of Raphael himself (looks directly at the audience), the other is his friend the painter Sodomy, who began to work in this station before Raphael).
Nearby, others are passionate about solving a geometric problem: surrounded by students, beautiful young men, Euclid(or Archimedes). Bending low, he draws with a compass on a slate lying on the floor. Euclid depicts an architect Bramante with his powerful, enlarged bald forehead.
Euclid (Bramante)
Zoroaster and Ptolemy
Rafael and Sodomo's friend
Peripatetics
Almost in the center of the fresco is immersed in deep thought dressed in the clothes of a bricklayer Heraclitus Ephesus is a philosopher lamenting the recklessness of man. In fact, this person Michelangelo. Shocked by the mighty talent of his elder brother in the shop, Rafael thus praised him. Like a beggar on the steps of the stairs, which symbolize the stages of mastering the truth, the founder of the school of cynics, the 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 majestic old man Plato, whitened with gray hair, with the portrait features of Leonardo da Vinci and the young inspired Aristotle. They are engaged in a dialogue - a calm argument in which truth is freed from the shackles of dogmas and prejudices.
Plato (with the book "Timaeus") represents an abstract philosophy, and Aristotle (with the book "Ethics"), as if gesturing the world, represents natural philosophy. 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 immense cosmos and the motherland whose knowledge will last forever.
The unity of philosophies is in the diversity of individual schools and personal opinions. That's how it goes grand symphony human knowledge. 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.
Heraclitus (Michelangelo)
Diogenes
Plato and Aristotle
To the left of Plato Socrates, explaining to the listeners the course of his reasoning by the listeners, among whom the commander stands out Alcibiades in armor and helmet and young Alexander the Great whose teacher was Aristotle.
The figure of a young man is remarkable in the far left corner of the fresco. 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. Standing beside 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 ...
In the foreground, on the left, kneeling down with a book in his hands, the venerable Pythagoras, surrounded by students, explains another theorem to enchanted listeners. Youth with long hair —Anaxagoras, philosopher, mathematician and astronomer; he is holding a slate board. Pythagoras personifies arithmetic and music. Behind him sits a philosopher Anaximander, student of Thales. To the left of this group is shown Epicurus with grape leaves on his head, behind him you can see the head of a small Federico Gonzaga. stands nearby Hypatia, woman mathematician, philosopher and astronomer, and philosopher Parmenides.
The appearance of some other philosophers and scientists is more endowed with features of life characteristic. So, magnificent in its laconic expressiveness is the image of a Stoic, a philosopher Dam, placed at the top on the right side of the fresco: already in one silhouette of his figure wrapped in a cloak, separated by intervals from other characters, the feeling of his spiritual loneliness is conveyed.
Although the fresco features over 50 figures, Raphael's sense of proportion and rhythm creates an impression of surprising lightness and spaciousness.
Socrates with students
Pythagoras with students
Hypatia and Parmenides
Plotinus
The third fresco of the Stanza della Senyatura, " Parnassus”, - the personification of the idea of Bello - Beauty, the Beautiful. The fresco - an allegory of the realm of poetry - depicts the patron of the arts, playing the viol (violin) of the god Apollo, at his feet the Castal key flows, giving inspiration to poets. Apollo sits surrounded by muses and poets, both ancient and renaissance. IN bright world inspiration and beauty, in the circle of muses are Homer, Pindar, Sappho, Anacreon, Virgil, Ovid, Horace; here are the great Italians Dante, Petrarch, Boccaccio...
"Parnassus", like some other frescoes, is located above the window; wedged into the plane intended for the picture, it created additional compositional difficulties. Rafael showed ingenuity by placing the top of the mountain above the window, and on its sides gentle slopes running down.
Parnassus
The figures on the fresco are grouped in accordance with certain stylistic trends in literature - ancient and modern to Raphael.
On a fresco, ancient Greek poets Sappho(portrait of a Roman courtesan?) and Alcay(turned away from the audience) as if they begin that “arc” along which the eye moves. It was not by chance that Raphael placed these two figures close to each other. They are contemporaries, their fates are in many ways similar: both he and she came from noble families, lived in Mytilene on the island of Lesbos, experienced the hardships of exile, and became famous for poetry glorifying love. Alcaeus is attentively listening to Corinne, Petrarch and Anacreon.
Corinna An ancient Greek poetess from Tanagra. The works are based on legends about native Boeotia. Her works have come down to us only in fragments.
petrarch- Italian poet (1304-1374), was recognized as one of the greatest scientists of his time. He wrote sonnets, ballads, madrigals on the life and death of Laura. In 1341 (at Easter) he was crowned in Rome, on the Capitol, with a laurel wreath. Petrarch's gaze is fixed on his ancient predecessor, Alcaeus, and this betrays his interested participation in the conversation.
Anacreon- Ancient Greek lyric poet, "singer of love." The motives of his poetry are the enjoyment of the sensual pleasures of life.Imitation of Anacreon gave rise toAnacreontic poetryLate Antiquity, Renaissance and Enlightenment. In Russia, examples of Anacreontic poetry are found in Derzhavin, Batyushkov, Pushkin...
Shown higher Dante Alighieri- most great poet Italy. He is best known as the author of the epic epic poem The Divine Comedy.
To his right Homer, author of the Iliad and the Odyssey. Legends portray Homer as a blind wandering singer. Tradition dictated that Homer be depicted with an accompanying guide, who writes down his words on a waxed tablet with a stylus.
Behind Homer, Dante "exchanges glances" with Virgil. Publius Virgil Maro- Roman poet His heroic epic"Aeneid" about the wanderings of the Trojan Aeneas - the pinnacle of Roman classical poetry; glorifies the historical mission of Rome. The connection of the figures of Dante and Virgil is justified: in Dante's journey through Hell and Purgatory (" The Divine Comedy Dante's companion was Virgil.
Next are Apollo and the Muses. To the right of them, Ariosto and Boccaccio stand side by side as representatives of Italian literature. Ariosto- the author of comedies of manners, his main creation is " Furious Roland». Giovanni Boccaccio - author of poems on the plots ancient mythology. In the book of short stories "The Decameron" - the humanistic ideal of Renaissance literature.
Tibull And Propertius, Roman poets, have much in common (placed side by side): they came from the environment of Italian farmers, in the center of the work of both is the image of the only beloved - “lady”. She is sung under conditional Greek name, chosen so that the present (rhyming) could be inserted instead.
Looks at the audience (what are we doing there) Tibaldi- Italian writer He lived at the courts of Ferrari, Mantua and in Rome; left a description of the sack of Rome, during which he himself lost everything.
"Picking in the nose" Sannazaro- Italian poet His pastoral novel Arcadia was a popular monument of Italian literature.
Horace turned out to be the extreme figure on the right in the fresco and his place exactly corresponds to the position of Alcaeus (the extreme figure on the left); both are shown in profile. This, apparently, is not accidental: Horace imitated Alcaeus in his work. Raphael emphasized this with the similarity of their clothes.
Horace- Roman poet In the books of satires, odes, messages - discussions about the frailty of life, the immortality of poetry. Singing the affordable joys of being (solitary life, peace of mind, friendship, love), he affirms the cult of moderation - the "golden mean". The famous "Monument" of Horace gave rise to many imitations: (Derzhavin, Pushkin) ...
Pointing at the audience Pindar- Ancient Greek lyric poet. He wrote choral chants, hymns in honor of the winners at the Olympic and other sports games.
Alcaeus, Corinne, Petrarch, Anacreon, Sappho ("the tenth muse")
The young man is the guide of Homer, Dante, Homer, Virgil
Melpomene, Calliope, Terpsichore, Loligimnia, Apollo, Clio, Erato, Thalia
Euterpe, Urania, Ariosto, Boccaccio, Tibull, Propertius, Tibaldi, Sannazaro, Horace, Pindar
Why does Apollo need a bow? Then, to play the... lyre. Such strange picture we can see not only on the Parnassus fresco, but also on other works of Renaissance artists.
Dossy. Apollo and Daphne
Provencal. Orpheus
Henrik de Klerk. Midas Punishment
Giovanni. Dispute between Apollo and Marsyas
Lorrain. Landscape with Apollo and Hermes
These paintings depict Apollo playing a violin-like instrument. Actually, this is the lyre. That is how it was called in those days (XV-XVI centuries). Today, this tool, in order to avoid confusion, is called " lira da braccio", which means " shoulder lyre».
This instrument (was distributed throughout the Apennine Peninsula and was simply called the lyre. That is probably why the artists of that time “gave” it into the hands of Apollo. Maybe they did not know about the lyre that is known to us from the lyrics of the ancient Greeks?
But no, citharas and ancient lyres are sometimes found on the same canvases. The artists of the Renaissance did not forget what the ancient lyre is, because they “revived” precisely the ancient culture. A modern tool for artists, perhaps, symbolized the connection of times and the continuity of cultures. That is actually rebirth.
So on this fresco exactly reproduced cithara at the Muse Erato to the right of Apollo. We see lyre at the feet of Sappho. The object in her hand, resembling a horn, is used for tuning. Raphael was one of the very first to sketch a completely unfamiliar type of lyre before - an instrument made from a tortoise shell.
The lyre was made by Hermes from the shell of a tortoise, and the stands were made from the horns of an antelope. Hermes pulled the veins of the bulls of Apollo instead of strings. There were seven strings, in honor of the seven daughters of Atlas. After the lyre was ready, Apollo tuned it and presented it to Orpheus, the son of the muse Calliope. Orpheus pulled two more strings, and there were nine of them, in honor of the nine muses.
The violin and the lyre da braccio are close relatives to each other: in design (to a lesser extent in form), in the manner of playing (on the shoulder) and in the structure of the strings. There were several subspecies of the Italian lira: lira da braccio(soprano), lirone da braccio(alto), lira da gamba(baritone), lirone perfetto(bass), differing in the number of strings - from 5 to 10.
In the stanza della Senyatura, on the opposite wall from the "Parnassus" are depicted " virtues» (a group of three allegorical figures): Force holding an oak branch in her hands - a symbol of the family of Pope Julius II, Wisdom And Moderation. Their figures are full of grace.
On the left is the emperor Justinian presenting his codex to Trebonian. The fresco was made by Raphael's students. On the right, Gregory XI (beautiful portrait of Julius II) hands over decretals (papal decrees) to a lawyer.
Virtues: Strength, Wisdom, Temperance
On the vault above each fresco is placed in a round medallion an allegorical figure symbolizing each of these activities: Theology, Philosophy, Poetry And Justice, personifying the four spiritual forces - religion, science, law and beauty. In the corner parts of the vault there are small compositions, also related in their subject matter to the content of the corresponding frescoes: fall"("Adam and Eve"), " Apollo's victory over Marsyas», « Astronomy" And " Judgment of Solomon". All the work of a decorative nature was masterfully planned and executed.
Just as on the adjacent walls the Christian trinity and the Church Fathers in the fresco of "Disputation" side by side with the pagan ones - the gods and poets of "Parnassus", so in the compositions of the vault the biblical "Fall" is correlated with the "Victory of Apollo over Marsyas". The fact of unification within the framework of a common artistic intent images Christian religion And pagan mythology exemplifies true attitude people of that time to questions of religious dogma. Official program the creation of frescoes by the Stanza della Senyatura was a reflection of the ideas reconciliation of the Christian religion with ancient culture, common humanist scientists of that time. And the artistic implementation of this program in the frescoes of Rafael Santi became evidence unity of secular and ecclesiastical principles.
The four stanzas of Raphael are rooms of the Vatican Palace 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 Sistine Chapel they are the most outstanding works relating 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 Penny, Giulio Romano and Rafaellino del Collier. Thus, each of the walls is decorated with a fresco composition, there are four of them on the stanza, respectively.
Stanza della Senyatura
The most outstanding frescoes of Raphael are collected in the Stanza della Senyatura. All of them, except for the first Vatican work of the great artist, belong to the beginning of the Renaissance period. The name of the stanza literally translates as “signing room” – until the middle of the 16th century, the pontiff held meetings here and signed important documents. Initially, however, it was used by Julius II as a library and personal account, which is eloquently narrated by frescoes painted between 1508 and 1511. They reflect the three greatest aspects of the human spirit: Truth, Goodness and Beauty. Supernatural Truth is illustrated in the Disputation, and Reasonable Truth is illustrated in The School of Athens.
Good is represented in Virtue and Law, and Beauty in Parnassus. The "School of Athens" rightfully considers one of the greatest works Raphael. The artist depicted prominent philosophers (about fifty characters) on the canvas, 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.
On 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 study or music room, here he kept his musical instruments. The furnishings of the times of Julius II were replaced by Fra Giovanni da Verona. He covered all the walls with timber.
Stanza d'Eliodoro
This stanza was originally intended for private audiences of the Pope and was decorated immediately after Raphael finished his work on the Senyatura. The images of the frescoes are filled with one idea - faith in God's miraculous protection of the church. Four episodes of the Old Testament flaunt on the ceiling - all written by Raphael himself, while some works by Luca Signorelli, Bramantino, Lorenzo Lotto and Cesare da Sesto remain in the grotesques and arches. The fresco "The Expulsion of Eliodor" gave the station its name - it depicts a heavenly rider driving the Syrian Eliodor from the temple in Jerusalem.
In another work, Mass in Bolsena, an amazing miracle is shown - 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: on the right, Peter escapes from the dungeon, led by an angel, on the left, the awakened guards raise the alarm. Art critics agree that the work on the light has been colossal. The refraction of rays and shadows, the flickering of the flame, the blinding darkness - it's hard to imagine what one person wrote this.
Stanza del Incendio di Borgo
During the time of Julius II, the stanza was used as a meeting room high court Holy See under the presidency of 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 instructed to paint the walls, who, however, most entrusted 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 with the same name: Leo III ("Coronation of Charlemagne by Pope Leo III") and Leo IV ("Fire in 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 Borgo” that the stanza got its name, and the fresco itself reflects an ancient legend, according to which Pope Leo IV managed to tame the flame and protect the townspeople.
Stanza Constantine
A room decorated for receptions and other official events. After sudden death Raphael in 1520, it was completed by his students on the basis of sketches and previous works of the artist. The station was named after Constantine, the first Christian emperor, who officially recognized the Christian faith and granted the rest 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 ceilings. 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 located and how to get there
Raphael's rooms 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.
Buses: No. 49 - stops at the square opposite Vatican Museum; No. 32, 81, 982 - stop Piazza del Risorgimento.
Raphael's stations in the Vatican Museum on the map
The life and work of Rafael Santi is closely connected with Rome, it is here that most of his works are located.
Paintings by Raphael in the Vatican Pinacothek - "Madonna Foligno" and "Transfiguration"
Rafael Santi - biography
Raphael Santi lived relatively short life(1483 - 1520), he was born in Urbino in the Papal States and studied with Pietro Perugino. Early work Raphael are similar to the creations of his teacher. In 1504 - 1508, Raphael worked in Florence, where Michelangelo and Leonardo da Vinci worked during these years.
It is believed that under the influence of Leonardo, softness and ideal composition appeared in the paintings of Raphael, and from Michelangelo he took a strong dynamic. However, the characters of Raphael, like those of Leonardo, are immersed in themselves.
Painting by Raphael Santi in Rome
Raphael returned to the theme of the Madonna and Child many times. The beautiful and feminine Madonnas of Raphael are the pride of almost all major museums.
We began our acquaintance with Rafael Santi in Rome at the Vatican Pinacoteca, where several of his paintings are located at the very entrance.
In addition to paintings, Raphael painted frescoes, they can also be seen at Villa Farnesina, as well as in the Vatican. They are also called "Raphael's Stanzas" and Raphael's loggias. I. Tourists tend to crowd past the halls painted by Raphael, straight to the Sistine Chapel, although at this point it would be worth slowing down and looking around.
Raphael also acted as an architect: during the construction of Villa Madama. After Bramante's death, he assumed the position of chief architect of St. Peter's Basilica. In Rome, he also built the Chigi Chapel of the Church of Santa Maria del Popolo (1512-1520).
Liberation of Saint Peter Loggias of Raphael
In the 80s of the XV century, the ruins of the Golden House of Nero were discovered in Rome, in which fragments of ancient frescoes were preserved.
Frescoes were produced on artists of the 15th century great impression, they enthusiastically began to study the style in which they were made. Since the Golden House had already turned into caves, it began to be called a grotto, and the style of the wall painting was “grotesque”. It was in this style that Raphael decided to paint the loggias of the Belvedere courtyard.
The loggias were painted by Raphael's students and followers according to his design. In the XVIII century, exact copies of the loggias of Raphael in the Vatican were made in the royal winter palace(Hermitage).
Loggias of Raphael in the Hermitage Stanza Raphael
The stanzas of Raphael are rooms painted by him and his students in the papal palace. Stanza del Incendio di Borgo ( Stanza dell'Incendio di Borgo) is dedicated to episodes related to the activities of Popes Leo III and Leo IV, which made it possible to glorify Leo X, who was then on the papal throne.
The fresco "Fire in Borgo" depicts the fire of 847. Then Pope Leo IV miraculously stopped him, overshadowing the crowd fleeing the fire with the sign of the cross.
Charlemagne was crowned imperial in 800 by Pope Leo III 
Fresco "Battle of Ostia" Battle of Ostia - naval battle, which occurred in 849 between Muslim and Christian troops, ending with the victory of the Christians. The Christian fleet was blessed by Pope Leo IV before the battle.
Stanza della Segnatura was the papal office. The frescoes in this room represent four areas of human activity: Athenian school"- philosophy," Dispute"- theology," Parnassus"- poetry, and" Wisdom, moderation and strength» - justice.
Raphael's fresco The School of Athens depicts, among others, Leonardo da Vinci as Plato (in the center in a red cloak), Michelangelo as Heraclitus (sitting in deep thought), Bramante as Euclid (with a compass in his hands) and, finally, Raphael himself in the form of Appeles.
Stanzu d'Eliodoro ( Stanza d'Eliodoro) Raphael painted in 1511-1514. The theme of her paintings is the miraculous patronage provided by God to the church.
On the fresco Exile of Eliodor” tells how the heavenly horseman expels the Syrian commander Eliodor from the Jerusalem temple, which he wanted to plunder. This fresco alludes to the expulsion of the French from the Papal States.
