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Collection:
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ADJUNCT MODULE A: ITALIAN ART
LocalCollection
ADJUNCT MODULE A: ITALIAN ART
Collection
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Preferred Title:
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Stanza della Segnatura: Ceiling
Work_PrefTitle
Stanza della Segnatura: Ceiling
Preferred Title
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Image View:
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General view of square panels between the tondi (here Apollo and Marsyas between Poetry and Theology)
Image_Title
General view of square panels between the tondi (here Apollo and Marsyas between Poetry and Theology)
Image View
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Creator:
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Raphael (Italian painter, 1483-1520); Sodoma (Italian painter, 1477-1549)
Agent_Display
Raphael (Italian painter, 1483-1520); Sodoma (Italian painter, 1477-1549)
Creator
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Location:
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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
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Location Note:
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Vatican Apartments, Stanza della Segnatura
Work_LocationNotes
Vatican Apartments, Stanza della Segnatura
Location Note
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GPS:
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41.906389 12.454444
GPS
41.906389 12.454444
GPS
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Date:
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ca. 1508-1511 (creation)
Work_DateDisplay
ca. 1508-1511 (creation)
Date
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Cultural Context:
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Italian
Work_Culture
Italian
Cultural Context
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Style Period:
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Renaissance
Work_StylePeriodDisp lay
Renaissance
Style Period
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Work Type 1:
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fresco (painting)
Work_Worktype1
fresco (painting)
Work Type 1
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Work Type 2:
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tondo
Work_Worktype2
tondo
Work Type 2
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Classification:
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painting
Work_Classification
painting
Classification
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Material:
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pigment on plaster with gilding
Work_MaterialDisplay
pigment on plaster with gilding
Material
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Technique:
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fresco painting (technique); gilding (technique)
Work_Technique
fresco painting (technique); gilding (technique)
Technique
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Measurements:
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180 cm (diameter, each tondo)
Work_MeasurementDisp lay
180 cm (diameter, each tondo)
Measurements
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Description:
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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
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Collection:
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Adjunct Module A: Italian Art
LocalCollection
Adjunct Module A: Italian Art
Collection
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Identifier:
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7A1-RS-SDSC-A21
Image_OriginalVendor ID
7A1-RS-SDSC-A21
Identifier
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Rights:
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© Scott Gilchrist, Archivision, Inc.
Image_Rights
© Scott Gilchrist, Archivision, Inc.
Rights
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