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The Mass at Bolsena
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The_Mass_at_Bolsena
1512 Fresco Stanza di Eliodoro, Palazzi Pontifici, Vatican Julius II had founded the Swiss Guard as a military elite in May 1510, and granted them the distinction of their own costume. The Guard had played a vital role in a victory over French forces, who had occupied parts of the Papal State. The pope was probably bestowing an honour on them for that loyal service by letting Raphael portray some of their important representatives in the fresco, thus giving them pride of place in his audience chamber.Artist:RAFFAELLO Sanzio Title: The Mass at Bolsena (detail) Painted in 1501-1550 , Italian - - painting : religious
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Prime Mover
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Prime_Mover
1509-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The figure bending in a beautiful scorcio over the celestial globe is a masterly example of perspective. Philosophically, this figure can be seen as an allegory of the beginning of the universe, but it might also be an embodiment of the science of astronomy. The constellation on the globe can be calculated exactly: the night of 31 October 1503, the date that Julius II was elected pope.Artist:RAFFAELLO Sanzio Title: Prime Mover (ceiling panel) Painted in 1501-1550 , Italian - - painting : religious
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Apollo and Marsyas
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Apollo_and_Marsyas
1509-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The shepherd Marsyas had challenged the god Apollo to a musical contest. Marsyas lost and as a punishment for daring to challenge a god he was flayed alive. The scene is an allegory of divine harmony triumphing over earthly passion. With its unrhythmical composition and its elongated figures, this scene is probably by an unknown hand, and not by Raphael.Artist:RAFFAELLO Sanzio Title: Apollo and Marsyas (ceiling panel) Painted in 1501-1550 , Italian - - painting : mythological
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The Judgment of Solomon
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The_Judgment_of_Solomon
1510-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The story from the Old Testament tells how two women came to Solomon to settle a dispute about which one was the mother of a child. When Solomon ordered the baby to be cut in half, one of the women agreed to give up the child. Solomon recognized her as the true mother. The man holding the sword derives from a classical figure, either Castor or Pollux from the Quirinal, an ancient Roman palace.Artist:RAFFAELLO Sanzio Title: The Judgment of Solomon (ceiling panel) Painted in 1501-1550 , Italian - - painting : religious
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Adam and Eve
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Adam_and_Eve
1509-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican This portrayal of the Fall is generally attributed to Raphael. Standing in a distinct contrapposto pose, Eve recalls the figure of Leda in a study by Leonardo da Vinci - Raphael made a drawing of this while he was in Florence.Artist:RAFFAELLO Sanzio Title: Adam and Eve (ceiling panel) Painted in 1501-1550 , Italian - - painting : religious
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RAFFAELLO_Sanzio
Italian High Renaissance Painter, 1483-1520
Italian painter and architect. As a member of Perugino's workshop, he established his mastery by 17 and began receiving important commissions. In 1504 he moved to Florence, where he executed many of his famous Madonnas; his unity of composition and suppression of inessentials is evident in The Madonna of the Goldfinch (c. 1506). Though influenced by Leonardo da Vinci's chiaroscuro and sfumato, his figure types were his own creation, with round, gentle faces that reveal human sentiments raised to a sublime serenity. In 1508 he was summoned to Rome to decorate a suite of papal chambers in the Vatican. The frescoes in the Stanza della Segnatura are probably his greatest work; the most famous, The School of Athens (1510 C 11), is a complex and magnificently ordered allegory of secular knowledge showing Greek philosophers in an architectural setting. The Madonnas he painted in Rome show him turning away from his earlier work's serenity to emphasize movement and grandeur, partly under Michelangelo's High Renaissance influence. The Sistine Madonna (1513) shows the richness of colour and new boldness of compositional invention typical of his Roman period. He became the most important portraitist in Rome, designed 10 large tapestries to hang in the Sistine Chapel, designed a church and a chapel, assumed the direction of work on St. Peter's Basilica at the death of Donato Bramante,
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