View Page: Raphael's Stanze at the Vatican

	Raphael's Stanze at the Vatican
	written by saruw / 09.17.2004

Section Four

4 of 7

Patron

http://www.christusrex.org/www1/stanzas/Sul-Ceiling.jpg

Temptation of Adam

This combines theology and justice

http://www.christusrex.org/www1/stanzas/Sur-Ceiling.jpg

Judgement of Solomon

The link between philosophy and justice

http://www.christusrex.org/www1/stanzas/Sll-Ceiling.jpg

Platonic doctrine of harmony in astronomy

The link between the walls of philosophy and art

http://www.christusrex.org/www1/stanzas/Slr-Ceiling.jpg

The Flaying of Marsyas

The link between art and theology

The Segnatura and the School of Athens define the return to classical idealism that was so prevalent during the time of the Renaissance. For the purpose of the library of Julius II and following the artistic norms, the room itself was meant to force the viewer to one specific point in the room. In this case, the center of the ceiling is the point where Raphael combines the singular pieces of the walls and paintings on the way up to the center to link the whole room in one powerful statement. The walls were chosen with a deliberate purpose, by putting theology and philosophy, and literary art and justice on opposite walls, Raphael brought the viewer~{!/~}s attention upwards to the linkage between opposing themes. The path between theology and philosophy are greatly contrasting but provide two separate avenues of truth, one through faith, the other through reason and observation. Following the same idea of opposites coming together, art and law show how discipline and inspiration become a temple of the human mind.
In the spaces on the way up to the center, Raphael painted four blends between the two adjacent themes. Between theology and law, the Temptation of Adam depicts the divine judgement of man. Likewise, between law and philosophy, the Judgment of Solomon shows the combination of a philosopher king as well as a judge in the human form. Another reference to the Platonic doctrine of harmony in astronomy can be seen above the walls of philosophy and art. Between the last two walls, art and theology, the Flaying of Marsyas depicts the consequence of challenging divine authority. Above each wall is a painting of each of the four traits which depict in an even more direct way the themes of the books originally housed against their walls. Above them, the center medallion displays a crest surrounded by angels. The ultimate goal of this room was to combine these four traits to their relationship to the heavens above. Like most religiously commissioned pieces, they lead the viewer~{!/~}s eyes to the heavens, but Raphael achieved this in a much more classical way rather than in a purely biblically way like Michelangelo~{!/~}s Sistine Chapel.

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