Raphael's School of Athens: Composition, Figures & Meaning

Raphael: Biography and the Vatican Context

Italy's High Renaissance period has given the world some of the most famous and recognizable artists in history, whose influence can be seen throughout the history of Western art. Raffaello Sanzio—or simply Raphael—is unquestionably one of these great early sixteenth-century artists. Born on April 6, 1483 to a court painter, he showed promise in the field even as a child. In 1504, Raphael went to Florence, where he studied with such greats as Michelangelo and Leonardo da Vinci. He spent four years traveling around Italy, and after developing an admirable reputation as a painter under the guidance of Perugino, Raphael went to Rome in late 1508. While there he produced some of his most famous works, including ten tapestries for the Sistine Chapel, The Sistine Madonna, and Transfiguration. Raphael did not restrict himself to painting alone: in 1514 he was appointed architect for the new Saint Peter's church, as well as other buildings. His work is most noted for its sense of balance, softness, and harmony. Sadly, Raphael died at the young age of 37.

Almost immediately after arriving in Rome in 1508, Raphael was commissioned by Pope Julius II to paint several rooms in his papal apartment in the Palace of the Vatican. These rooms became known as the Stanze di Raffaello—"The Rooms by Raphael." Four rooms in total, they are located on the third floor of the Palace, overlooking the Belvedere Courtyard.

The first and largest room, the Hall of Constantine, includes The Vision of Constantine, The Battle of the Milvian Bridge, and The Donation of Constantine. The paintings in this room are considered the least famous because the actual painting was not done by Raphael himself, nor were they completed in either Raphael's or Pope Julius II's lifetime. Depicting the life of Constantine the Roman Emperor, this room's intention is to tell the story of paganism's defeat at the hands of Christianity. As the legend states, a cross appeared to Constantine with the words In Hoc Signo Vinces as he marched against the armies of Maxentius. It is this scene that The Vision of Constantine depicts. The success of this march is shown in The Battle of the Milvian Bridge. Constantine's conversion is depicted in The Baptism of Constantine, and the document Constantine drew up to grant the popes sovereignty over their territories is illustrated in The Donation of Constantine.

In the next room, the Room of Heliodorus, a private chamber, hang The Expulsion of Heliodorus from the Temple, The Meeting of Pope Leo I and Attila, The Mass at Bolsena, and The Liberation of St. Peter. An image of Pope Julius II can be found in each of the paintings in this room. Heliodorus was a thief whose story is told in the Book of II Maccabees; while attempting to steal the treasure of the Temple of Jerusalem, he was trampled by a horse. It is this scene that is depicted in the painting from which the room takes its name. Saints Peter and Paul appear bearing swords in the sky over a meeting between Pope Leo I and Attila the Hun in The Meeting of Leo and Attila. It is worth noting that, though the Pope's face was originally painted to resemble Raphael's patron Pope Julius II, Raphael later changed the face to resemble Pope Leo X after Julius II's death. The Mass at Bolsena illustrates the legend of a Bohemian priest whose faith was dramatically shaken at a Mass where he witnessed the consecrated bread begin to bleed—an event that forced him to abandon his disbelief in Transubstantiation. The final painting in this room, The Liberation of St. Peter, illustrates the story of an angel who frees Peter from prison, as recorded in the Book of Acts.

The third room, where the Signatura of grace was held, acquired the name the Room of the Segnatura. This room depicts the wisdom of traditional ancient sources—such as ancient Greeks and Romans—coupled in harmony with the tenets of Christianity. It presents the ideals of Truth, Beauty, and Goodness in all their forms. The first painting, the Adoration of the Sacrament (also known as the Disputa), represents Truth as illustrated through supernatural or spiritual means. Next, rational truth is shown by The School of Athens. Beauty is represented in the third painting, which depicts the Muses and Apollo on Parnassus. Goodness is illustrated through depictions of the Cardinal and Theological Virtues on the opposite wall and the space above it.

Finally, the Room of the Fire of the Borgo contains Fire in the Borgo, Crowning of Charlemagne, Justification of Leo III, and Battle of Ostia. Both Fire in the Borgo and Battle of Ostia show scenes from the life of Pope Leo IV, while Justification of Leo III and Crowning of Charlemagne depict scenes from the life of Leo III. This room was painted not for Pope Julius II but for his successor, Pope Leo X, and was used as a music and dining room.