Virgin and Child Stained Glass in the Vatican Muse…
The School of Athens Fresco by Raphael in the Vati…
Detail of the School of Athens Fresco by Raphael i…
Detail of the School of Athens Fresco by Raphael i…
The Battle of Ostia Fresco by Raphael in the Vatic…
Raphael Fresco: The Dispute Over the Sacrament in…
Portrait of Pope Julius II by Raphael in the Vatic…
Constantine on Horseback in the Vatican Museum, De…
Constantine on Horseback in the Vatican Museum, De…
From the Room of Constantine in the Vatican Museum…
The Crowning of Charlemagne by Raphael in the Vati…
View of the Beach from the Acropolis of Selinunte,…
On the Acropolis of Selinunte, 2005
Remains of Punic Houses on the Acropolis of Selinu…
The Remains of Temple C on the Acropolis of Selinu…
Doric Columns and Triglyphs of Temple E at Selinun…
Columns and Triglyphs of Temple E at Selinunte, 20…
View of the Acropolis from Temple E at Selinunte,…
Fragments of Temples E, F, & G at Selinunte, 2005
Fragments of Temple F at Selinunte, 2005
Fragments of Temple F at Selinunte, 2005
Standing Column and Fragments of Temple F at Selin…
Triglyph and Fragments of Temple F at Selinunte, 2…
Italian Couple Posing for Wedding Pictures in the…
Ceiling in the Sistine Chapel, Dec. 2003
Ceiling in the Sistine Chapel, Dec. 2003
Ceiling in the Sistine Chapel, Dec. 2003
Ceiling in the Sistine Chapel, Dec. 2003
Staircase in the Vatican Museum, Dec. 2003
The Pyramid of Gaius Cestius, 1995
The Tellus Relief on the Ara Pacis in Rome, June 1…
The Ara Pacis in Rome, June 1995
The Ceiling of the Sistine Chapel, 1995
Michelangelo's Last Judgment in the Sistine Chapel…
View through the Window from the Vatican Museum, 1…
The Apollo Belvedere, 1995
The Apollo Belvedere, 1995
River God in the Belvedere Courtyard, 1995
Laocoon in the Belvedere Courtyard, 1995
Laocoon in the Belvedere Courtyard in the Vatican…
Apotheosis of Antoninus and Faustina from the Base…
The Mustering of the Cavalry from the Base of the…
Perseus by Antonio Canova in the Belvedere Courtya…
The Vatican Library, 1995
The Spinario, 1995
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The School of Athens Fresco by Raphael in the Vatican Museum, Dec. 2003
The Room of the Segnatura
The Room of the Segnatura contains Raphael's most famous frescoes. Besides being the first work executed by the great artist in the Vatican they mark the beginning of the high Renaissance. The room takes its name from the highest court of the Holy See, the "Segnatura Gratiae et Iustitiae", which was presided over by the pontiff and used to meet in this room around the middle of the 16th century. Originally the room was used by Julius II (pontiff from 1503 to 1513) as a library and private office. The iconographic programme of the frescoes, which were painted between 1508 and 1511, is related to this function. It was certainly established by a theologian and meant to represent the three greatest categories of the human spirit: Truth, Good and Beauty. Supernatural Truth is illustrated in the Disputation of the Most Holy Sacrament (theology), while rational Truth is illustrated in the School of Athens (philosophy). Good is expressed in the Cardinal and Theological Virtues and the Law. Beauty is represented in the Parnassus with Apollo and the Muses. The frescoes of the ceiling are connected with the scenes below them. The allegorical figures of Theology, Philosophy, Justice and Poetry allude in fact to the faculties of the spirit painted on the corresponding walls. Under Leo X (pontiff from 1513 to 1521) the room was used as a small study and music room, in which the pontiff also kept his collection of musical instruments. The original furnishings of the time of Julius II were removed and replaced with a new wooden wainscot, the work of Fra Giovanni da Verona. The wood covered all the walls with the exception of that of the Parnassus, where, for reasons of space, the same decoration, still visible today, was painted in fresco. The wooden wainscot was probably destroyed following the Sack of Rome in 1527 and in its place, during the pontificate of Paul III (pontiff from 1534 to 1549) a wainscot in chiaroscuro was painted by Perin del Vaga.
Text from: mv.vatican.va/3_EN/pages/SDR/SDR_03_SalaSegn.html
School of Athens
The most famous philosophers of ancient times move within an imposing Renaissance architecture which is inspired by Bramante's project for the renewal of the early Christian basilica of St Peter. Some of these are easily recognizable. In the centre Plato points upwards with a finger and holds his book Timeus in his hand, flanked by Aristotle with Ethics; Pythagoras is shown in the foreground intent on explaining the diatesseron. Diogenes is lying on the stairs with a dish, while the pessimist philosopher, Heracleitus, a portrait of Michelangelo, is leaning against a block of marble, writing on a sheet of paper. Michelangelo was in those years executing the paintings in the nearby Sistine Chapel. On the right we see Euclid, who is teaching geometry to his pupils, Zoroaster holding the heavenly sphere and Ptolemy holding the earthly sphere. The personage on the extreme right with the black beret is a self-portrait of Raphael.
Text from: mv.vatican.va/3_EN/pages/x-Schede/SDRs/SDRs_03_02_020.html
Translate into English
The Room of the Segnatura contains Raphael's most famous frescoes. Besides being the first work executed by the great artist in the Vatican they mark the beginning of the high Renaissance. The room takes its name from the highest court of the Holy See, the "Segnatura Gratiae et Iustitiae", which was presided over by the pontiff and used to meet in this room around the middle of the 16th century. Originally the room was used by Julius II (pontiff from 1503 to 1513) as a library and private office. The iconographic programme of the frescoes, which were painted between 1508 and 1511, is related to this function. It was certainly established by a theologian and meant to represent the three greatest categories of the human spirit: Truth, Good and Beauty. Supernatural Truth is illustrated in the Disputation of the Most Holy Sacrament (theology), while rational Truth is illustrated in the School of Athens (philosophy). Good is expressed in the Cardinal and Theological Virtues and the Law. Beauty is represented in the Parnassus with Apollo and the Muses. The frescoes of the ceiling are connected with the scenes below them. The allegorical figures of Theology, Philosophy, Justice and Poetry allude in fact to the faculties of the spirit painted on the corresponding walls. Under Leo X (pontiff from 1513 to 1521) the room was used as a small study and music room, in which the pontiff also kept his collection of musical instruments. The original furnishings of the time of Julius II were removed and replaced with a new wooden wainscot, the work of Fra Giovanni da Verona. The wood covered all the walls with the exception of that of the Parnassus, where, for reasons of space, the same decoration, still visible today, was painted in fresco. The wooden wainscot was probably destroyed following the Sack of Rome in 1527 and in its place, during the pontificate of Paul III (pontiff from 1534 to 1549) a wainscot in chiaroscuro was painted by Perin del Vaga.
Text from: mv.vatican.va/3_EN/pages/SDR/SDR_03_SalaSegn.html
School of Athens
The most famous philosophers of ancient times move within an imposing Renaissance architecture which is inspired by Bramante's project for the renewal of the early Christian basilica of St Peter. Some of these are easily recognizable. In the centre Plato points upwards with a finger and holds his book Timeus in his hand, flanked by Aristotle with Ethics; Pythagoras is shown in the foreground intent on explaining the diatesseron. Diogenes is lying on the stairs with a dish, while the pessimist philosopher, Heracleitus, a portrait of Michelangelo, is leaning against a block of marble, writing on a sheet of paper. Michelangelo was in those years executing the paintings in the nearby Sistine Chapel. On the right we see Euclid, who is teaching geometry to his pupils, Zoroaster holding the heavenly sphere and Ptolemy holding the earthly sphere. The personage on the extreme right with the black beret is a self-portrait of Raphael.
Text from: mv.vatican.va/3_EN/pages/x-Schede/SDRs/SDRs_03_02_020.html
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