repository: Musei Vaticani (Rome (Vatican City), Santa Sede (Holy See), Italy)
Work_Location_Type_D isplay
repository: Musei Vaticani (Rome (Vatican City), Santa Sede (Holy See), Italy)
Location
Location Note:
Vatican Apartments, Stanza della Segnatura
Work_LocationNotes
Vatican Apartments, Stanza della Segnatura
Location Note
GPS:
41.906389 12.454444
GPS
41.906389 12.454444
GPS
Date:
ca. 1508-1511 (creation)
Work_DateDisplay
ca. 1508-1511 (creation)
Date
Cultural Context:
Italian
Work_Culture
Italian
Cultural Context
Style Period:
Renaissance
Work_StylePeriodDisp lay
Renaissance
Style Period
Work Type 1:
fresco (painting)
Work_Worktype1
fresco (painting)
Work Type 1
Work Type 2:
tondo
Work_Worktype2
tondo
Work Type 2
Classification:
painting
Work_Classification
painting
Classification
Material:
pigment on plaster with gilding
Work_MaterialDisplay
pigment on plaster with gilding
Material
Technique:
fresco painting (technique); gilding (technique)
Work_Technique
fresco painting (technique); gilding (technique)
Technique
Measurements:
180 cm (diameter, each tondo)
Work_MeasurementDisp lay
180 cm (diameter, each tondo)
Measurements
Description:
The ceiling design is attributed to Sodoma, but he painted only the central octagon and the small spaces between the tondi. Evidence of Raphael's numerous surviving drawings suggest that the program was not fixed, but evolved in response to the artist’s own ideas, the patron’s changing ambitions and the opportunities offered by the space. Raphael painted the personifications of Philosophy, Poetry, Theology, and Justice, as well as the four large panels in the corners, whose subjects refer to the two adjacent personifications (thus, for example, the Judgment of Solomon is placed between Justice and Philosophy). The architectural frames and their decorations are thought to be the work of a German painter, Jan Ruysch. The tondi repeat the themes of the entire room as a humanist quadripartition of culture; theology, philosophy, poetry and justice. (Source: Grove Art Online; http://www.oxfordart online.com/)
Work_Description_Sou rce
The ceiling design is attributed to Sodoma, but he painted only the central octagon and the small spaces between the tondi. Evidence of Raphael's numerous surviving drawings suggest that the program was not fixed, but evolved in response to the artist’s own ideas, the patron’s changing ambitions and the opportunities offered by the space. Raphael painted the personifications of Philosophy, Poetry, Theology, and Justice, as well as the four large panels in the corners, whose subjects refer to the two adjacent personifications (thus, for example, the Judgment of Solomon is placed between Justice and Philosophy). The architectural frames and their decorations are thought to be the work of a German painter, Jan Ruysch. The tondi repeat the themes of the entire room as a humanist quadripartition of culture; theology, philosophy, poetry and justice. (Source: Grove Art Online; http://www.oxfordart online.com/)
Description
Image Description:
The lyre and the laurel wreath are the symbols of Poetry, who here appears as a winged figure. Like Aristotle in The School of Athens, she is holding a book in an unusual way; the title is not known. Two putti are holding the tablets on which are written the words of the Roman poet Virgil's, "Numine Afflatur" (Inspired by the Spirit). The Christian "spirit" is meant here, since putti are holding the text and not genii, as with the figure of Philosophy.
Image_Description
The lyre and the laurel wreath are the symbols of Poetry, who here appears as a winged figure. Like Aristotle in The School of Athens, she is holding a book in an unusual way; the title is not known. Two putti are holding the tablets on which are written the words of the Roman poet Virgil's, "Numine Afflatur" (Inspired by the Spirit). The Christian "spirit" is meant here, since putti are holding the text and not genii, as with the figure of Philosophy.
