Stanze by Raphael

These rooms were originally part of the papal apartments.  Julius II had the apartments moved upstairs and these rooms redecorated to remove traces of Alexander VI whom Julius detested.  Julius was a warrior prince and larger than life-Terebilita-but something of an uncultured, pompous jerk.

Stanza della Segnatura-1508-1511-Julius II

Disputation over the Sacrament (Disputa), School of Athens, Parnassus, Jurisprudence

Now called the signature room, this was originally Julius’ library.  It was dived into four sections corresponding to the four disciplines-Poetry, Law/Justice, Philosophy, and Theology, the last two being the most important.  Each wall had a fresco dedicated to one of the disciplines and tables were set up against each of the four walls with books relating to the discipline depicted laying out.  

Disputa-This was the first wall visitors would see as they walked into the library and was the wall dedicated to Theology.  The fresco depicts the Holy Trinity with God above blessing visitors.  Below him is Christ showing his stigmata with the Virgin Mary and John the Baptist flanking him on either side.  The Holy Ghost below Christ is flying down to the host on the altar.  Each of the three figures is surrounded by a radiant, gold circle, the circles diminishing in size as this vertical axis moves downward with the host being the smallest.  The vertical axis is intersected by three curvilinear, horizontal axes.  The upper most axis is at the level of God and is made up of Angels.  The middle axis is comprised of various saints and prophets sitting on clouds supported by putti.  They are recognizable both by their attributes and inscriptions on their halos.  The lowest axis is made up of forefathers of the church, identified by inscriptions on the books lying at their feet, and other polysemic figures discussing the exact meaning and importance of the host.  Two figures to note are Dante in red on the right and the lone, enigmatic female figure pointing to the scene-La Bella Pictura.  The frescoes shape reflects the apse of a church-appropriate with the inclusion of an altar and the host.  In the background is a church under construction which represents the building of the new St. Peter’s.

School of Athens-This fresco is directly opposite the Disputa and represents the Philosophy discipline.  It is populated with a large number of ancient philosophers including Socrates, Pythagoras, Euclid, Ptolemy, Zoroaster, and Diogenes who are discussing their philosophies with each other, with their students, their disciples, and/or interlocutors.  The setting is a stable, three arcaded classical structure that is a representation of the new St. Peter’s.  In the arcades are sculptures including one of Apollo and one of Minerva.  At the center are Plato and Aristotle, Plato holding Timaeus, the Socratic Dialog in which Plato introduced his Ideals and refers to a single creator, Aristotle holding Ethics, his treatise on how people should act.  Plato points to the sky-the heavens-where perfection exists.  Aristotle’s gesture is pragmatic, he points to the ground as if to say it is what happens on earth that matters, not some heavenly ideal.  The two are walking forward toward the Theology wall and, therefore, toward Christianity.  Both Plato and Aristotle are pointing to the Trinity; Plato is pointing up at a tripartite window above him and Aristotle is pointing to the Disputa across the room.  Plato, by referencing a single creator/god in Timaeus, prepared the world for Christianity and this idea made him and the other ancient authors worthy of study by Renaissance humanists fusing antiquity with Christianity, Philosophy with Theology, creating a new, modern society  Again an enigmatic figure appears on the left in white, looking directly at the viewer.  Also, on the right, Raphael included himself in the scene.

Parnassus-This is the fresco dedicated to poetry.  There is a mountain-Parnassus-surrounding a window through which the modern Parnassus was visible.  Apollo, playing a vielle, is at the center surrounded by muses and poets including Sappho, Homer, Virgil, and Dante.

Jurisprudence-The final wall has a lunette above a doorway and contains the cardinal virtues, Fortitude, Prudence, and Temperance.  On one side of the doorway, Justinian is receiving Civic law and on the other side, Gregory the Great is receiving Canon law.  The two have become fused in the power of the pope.

Stanza di Eliodoro-Raphael-1511-1514-Julius II and Leo X

Expulsion of Heliodorus, Miracle at Bolsena, Liberation of St. Peter, Meeting of Attila and Leo the Great

This room was a waiting room for European royalty, ambassadors, visiting clergy and other dignitaries.  While waiting, sometimes for hours, they would sit in this room and contemplate the scenes around them-or at least that was the idea.  The scenes are meant to represent the special place papal authority has in God’s eyes; God is on the side of the pope.  You attack us (the Church/Papal authority) and God will help the pope stop you-Meeting of Attila and Leo the Great.  You imprison us and God will set us free-Liberation of St. Peter (being portrayed by Julius himself!).  You disavow our miracles and God will convince you-Miracle (Mass) at Bolsena.  You steal from us (or refuse to pay your church taxes) and God will strike you down-Expulsion of Heliodorus.  These frescoes served as not so subtle reminders to the various visitors to mind their p’s and q’s.

Stanza dell’Incendio-Raphael-1514-Leo X

Continuing on the theme from above, here Leo X is shown as Leo IV, with the aid of God, is putting a stop to a fire in the Borgo by raising his hand in blessing.