School of Athens isolated images. Raphael Santi

Raphael gave Plato the features of his famous older contemporary Leonardo da Vinci

Plato - Ancient Greek philosopher, founder of Platonism. Disciple of Socrates. He founded a school of philosophy in Athens.
Plato was born in 428 (427) BC. e., in the midst of the internecine Peloponnesian war, disastrous for democratic Athens and for aristocratic Sparta, who competed in hegemony over the Hellenic states - the policies. Plato belonged to one of the noble Athenian families. His paternal ancestors descended from the last Athenian king Codr. Neither Plato, nor his brothers Glavkon and Adimant, nor his half-brother Antiphon were involved in state affairs. They all loved books, poetry, were friends with philosophers.

In 408 BC. e. Plato met in Athens, his hometown, Socrates, sage and philosopher. Socrates gave Plato what he lacked so much: a firm belief in the existence of truth and the highest values ​​of life, which are learned through the introduction of goodness and beauty through the difficult path of inner self-improvement.
This friendship ended eight years later when a tyranny was established in Athens, led by Plato's cousin Critias, followed by the death of Socrates.
After the death of the teacher, Plato moved to Megara to Euclid, at which at first the disciples of Socrates gathered.

A real philosopher, according to old tradition, it was supposed to gain wisdom from those who kept it from ancient times. So, it was necessary to go to travel around the world. After the death of Socrates, Plato traveled for ten whole years, until 389-387 BC. e.

Plato can be considered one of the first ancient Greek philosophers to systematically present his understanding of the state. Social and political issues Plato devoted two of his largest works - "State" and "Laws".
Ideal state system, according to Plato, has the features of moral and political organization and is aimed at solving important government problems. He refers to them the following tasks: protection of the state from enemies, the implementation of a systematic supply of citizens, the development of the spiritual culture of society. To fulfill these tasks, according to Plato, means to implement the idea of ​​good as an idea that rules the world.

Aristotle

Aristotle, the greatest ancient Greek philosopher, lived from 384 to 322. BC e. The birthplace of Aristotle is the Stagira polis, located on the Northwest coast of the Aegean Sea, next to Macedonia, on which it depended. Aristotle's father Nicomachus is the court physician of the Macedonian king Amynta III.

In 369 BC. e. fifteen-year-old Aristotle lost his parents, and his guardian, Proxenus, took over the care of him. Aristotle inherited significant funds from his father, this gave him the opportunity to continue his education under the leadership of Proxenus. Books then were very expensive, but Proxenus bought him even the rarest; thus, Aristotle in his youth became addicted to reading. Under Proxen's guidance, he studied plants and animals.

In 367 BC. e. seventeen-year-old Aristotle arrived in Athens and became a student of the "Academy" of Plato, where he stayed for twenty years, until the death of the founder of the "Academy" in 347 BC. e.
There is reason to believe that Plato loved his brilliant and rebellious student and not only transferred all his knowledge to him, but poured his whole soul into him.
For his part, Aristotle held Plato in high regard. Aristotle, already in the school of Plato, saw the vulnerabilities of Plato's idealism. Later, Aristotle will say: "Plato is my friend, but the truth is dearer." Platonism will be subjected to shrewd and hard-hitting criticism. But at first, as can be seen from the early writings of Aristotle, he fully shares the views of Plato. Until the death of Plato, Aristotle did not open his school, although his philosophical views had long been developed.
In 355 BC. e. Aristotle's position in Athens was strengthened in connection with the coming to power in this city of the pro-Macedonian party. However, the death of Plato and the reluctance of Aristotle to remain in the "Academy" headed by Plato's successor, his nephew Speusippus, prompted Aristotle to leave Athens.

At the end of the 40s of the 4th century. BC e. Aristotle was invited by Philip II to play the role of tutor of Philip's son - thirteen-year-old Alexander - and moved to the capital of Macedonia, Pella. The upbringing of Alexander by Aristotle lasted about four years. Subsequently, the great commander will say: "I honor Aristotle on an equal basis with my father, since if I owe my life to my father, then to Aristotle that gives it a price."
Aristotle did not try to make Alexander a philosopher. The relationship between teacher and student has never been warm. And as soon as Alexander became king of Macedonia, he tried to get rid of Aristotle, who had to return to his homeland - to Stagira, where he spent about three years.

Aristotle, as a universal thinker, not only possessed the entire body of knowledge of his time, but also laid the foundations of essentially new sciences: such as physics, biology, psychology, as well as logic and ethics. At the same time, he did not cease to be worried about the question: what, in fact, does philosophy itself and what is its place among other sciences? Aristotle called "philosophy" the whole body of scientific and theoretical knowledge about reality. At the same time, he introduced the names "first philosophy" and "second philosophy", which he also called "physics".

Rejecting the Platonic doctrine of "ideas" as incorporeal essences of everything, Aristotle put forward a theory according to which everything that exists occurs and consists of two basic principles - "form" and "matter". The active and leading principle in this pair for Aristotle is form, it is with it that he connects the solution to the problem of the universal.
God, according to Aristotle, is the source of creative activity. For Aristotle, God is not the Platonic Supreme Good, but the ultimate foundation of the universe.

In political views, Aristotle proceeds from the understanding of man as a "social animal", the sphere of life of which is made up of family, society, and the state. The state (as well as the economy) Aristotle views very realistically. The best state forms are monarchy, aristocracy, moderate democracy, the reverse side of which, that is, the worst state forms, are tyranny, oligarchy, ochlocracy (the rule of the rabble).

16th century Italian art. High Renaissance.
Fresco by artist Raphael Santi " School of athens"Has another name -" Philosophical Conversations ". The size of the fresco, the length of the base is 770 cm. After moving to Rome in 1508, Raphael was entrusted with the painting of the pope's apartments - the so-called stanzas (that is, rooms), which include three rooms on the second floor of the Vatican Palace and an adjacent hall. The general ideological program of fresco cycles in the stanzas, according to the plan of the customers, was to serve to glorify the authority of the Catholic Church and its head, the Roman high priest. Along with allegorical and biblical images, episodes from the history of the papacy are captured in some frescoes, portraits of Julius II and his successor Leo X are included in some compositions. Often the very choice of plots for frescoes carries a certain allegory. But the figurative content of Raphael's compositions is not only broader than this official program, but in essence contradicts it, expressing the ideas of universal humanistic content.

In this regard, the general design of the first of the stanzas painted by Raphael is indicative - the so-called Stanza della Senyatura (which in translation means the signature room - here the papal decrees were sealed). Apparently, one of the representatives of humanistic thought grouped around the papal court took part in drawing up the program for its painting. The theme of the painting is four areas of human spiritual activity: theology is the fresco "Dispute", philosophy - "The Athenian School", poetry - "Parnassus", justice - "Wisdom, Moderation and Strength". On the vault above each fresco there is an allegorical figure in a round frame, symbolizing each of these activities, and in the corner parts of the vault there are small compositions, also related in their theme to the content of the corresponding frescoes.

The best fresco of the stanzas and the greatest work of Raphael in general should be recognized as the "School of Athens". This composition of the artist is one of the most striking evidence of the triumph in the Renaissance art of humanistic ideas and their deep connections with ancient culture. In a grandiose suite of majestic arched spans, Raphael presented a collection of ancient thinkers and scientists. In the center, among the characters grouping at powerful arched foundations, in the niches of which the statues of Apollo and Minerva are placed, Plato and Aristotle are depicted. Their gestures - the first pointing to the sky, the second extending his hand to the ground - give an idea of ​​the nature of their teaching. To the left of Plato - Socrates, talking with the audience, among whom stands out the young Alcibiades in an armor and a helmet. Directly on the steps, like a beggar at the stairs of a temple, the founder of the school of cynics, Diogenes, is at ease. Below, in the foreground, are two symmetrically placed groups: on the left - Pythagoras with his disciples, kneeling on one knee with a book in his hands; on the right, also surrounded by students, flexible, beautiful youths - Euclid (or Archimedes); bending down low, he draws with a compass on the lying on the floor slate board... To the right of this group are Zoroaster and Ptolemy (wearing a crown), each of them holding a sphere in his hand. At the very edge of the fresco, Raphael depicted himself and the painter Sodoma, who had begun work in this stanza before him. In the foreground, slightly shifted from the center to the left, Heraclitus of Ephesus is depicted sitting deep in thought.

The figures in the School of Athens are larger than in the Dispute, and the whole fresco looks more monumental. The characteristics of the characters have acquired special prominence. Plato and Aristotle turned out to be the spiritual focus of this collection not only due to their central position in the composition, but also to the significance of the images. In their posture, in their gait, there is a truly regal grandeur, just as on their faces we feel the imprint of a great thought. These are the most ideal images of the fresco; it is not for nothing that the prototype of Plato in the Raphael composition was a man of such an outstanding appearance as Leonardo da Vinci. The appearance of some other philosophers and scientists is more endowed with the features of life characteristic. So, in the image of Euclid, busy solving some geometric problem, the architect Bramante is depicted with his powerful, enlarged bald head. Magnificent in its laconic expressiveness is the image of the stoic Zeno, placed at the top on the right side of the fresco: already in one silhouette of his figure wrapped in a dark cloak, separated by intervals from other characters, the feeling of his spiritual loneliness is conveyed. II, finally, the captivating image of Heraclitus with its poetic power, inspired by the prophets of Michelangelo from the plafond of the Sistine Chapel. According to some researchers, in the gloomy Heraclitus, Raphael captured the appearance of Michelangelo himself. But no matter how expressive the individual portrayal of the characters is, it is no less important that the general atmosphere of high spiritual uplift characteristic of the "Athenian School" is expressed in the entire pictorial structure of the fresco.

An important role in achieving this impression is played by the nature of the environment surrounding the participants in the scene. If in the "Dispute" in the symmetry and geometric correctness of its upper part there is a shade of harmony, as it were, predetermined from above, then the real environment of the "Athenian School" - magnificent architecture - is perceived as an act of human reason and hands, as the realization of its lofty creative thought. While in the characters of Disputes there is - in accordance with its idea - a shade of reverent contemplation in the face of the highest truth, the characters of the Athenian School are characterized by a special inner activity, heightened spiritual energy. The viewer is captured by the feeling of the undivided power of the human mind, embracing the whole world. The expressiveness of individual images and groups in the "School of Athens" is enhanced by compositional means. So, despite the fact that Plato and Aristotle are depicted in the background, among many other participants in the scene, Raphael achieved their clear separation due to the fact that the most distant of the arches of the majestic suite includes only these two figures. But it is even more important that both of them are depicted not standing still, but walking forward, directly at the viewer. Their solemn gait, as if inextricably linked with the movement of powerful architectural masses and arched spans, not only gives the main characters of the fresco the function of a dynamic center of the composition, but also gives them an increased power of imaginative influence. Starting from the depths, this movement seems to be resolved in a plane, spreading in breadth and harmoniously ending with a powerful arched embrace of the semicircular frame of the fresco.

It has been suggested that the architectural background of the "School of Athens" was inspired by the project of St. Peter's Cathedral, which was being developed by Bramante at that time. Regardless of whether the design of the background goes back to Bramante or belongs to Raphael himself, we have before us the most classic of all images of the monumental architecture of the Renaissance, the purest expression of the spirit of the High Renaissance itself, unfortunately, on such a scale did not receive practical implementation in the architecture of that time. As for the coloring of the "School of Athens", in accordance with the nature of the images and the predominance of linear-plastic means of expressiveness, the object qualities of color and its independent expressiveness recede into the background in this fresco.

Before us is one of the greatest paintings of the High Renaissance, one of those canvases that fully expresses the spirit of that era. - Yes. - This is the fresco by Raphael "The School of Athens", which adorns one of the most luxurious rooms at the Vatican. At the Vatican Palace. The room is called Stanza della Senyatura. Raphael worked on this fresco in 1509-1511. At the same time when Michelangelo was painting the ceiling of the Sistine Chapel. “They probably knew each other. - Surely. This is awesome an example of that how in the era of the High Renaissance the Catholic world absorbed the traditions of antiquity, focusing on greatest minds classical tradition. Yes. I have always considered this to be a kind of embodiment of a humanistic dream. After all, the greatest scientists, mathematicians, philosophers and thinkers gathered here under one roof ... - Ancient Greece. - Ancient Greece. And they all lived at different times, so this is definitely fiction. Fantasy, and quite imprecise to be honest. You said “under one roof”. Take a look at the roof - this is classical Roman architecture, not Greek architecture. - Right. - Rafael mixed everything a little here. Yes. And since we started talking about the architecture on this fresco, then in many ways it is probably borrowed from Bramante, who was renovating, or rather, rebuilding St. Peter's Cathedral. Yes. He's not far from here. Yes. Peter's Basilica is being rebuilt on the site of an ancient Roman basilica, while Michelangelo is painting the ceiling of the Sistine Chapel. - Which moment! - And Raphael creates frescoes in Stanzas. Stanza is the room and Stanza della Senyatura is the Signature Room. It was here that the Pope signed documents. - Yes. “We see many figures and complex architecture here. But using linear perspective and perpendiculars, the artist identifies two key figures. And these are not only the central figures of the picture, but, in general, the central figures of all Western philosophy, the Western worldview. - And science. - And science. We see two figures, effectively framed by small arches, and the rest of the arches too. This is Plato and Aristotle - his student. Yes, and in a way they represent two branches of Western thought. - Plato ... - A figure in red and gray. Yes. He points up. Because he is interested in the world of ideas. Existing outside the world of things. Therefore, he points up. There is a controversial opinion that 4 elements are represented here. Plato is red, fire, gray - what the Greeks called "ether." Both are immaterial elements. And Aristotle on the other side? - Aristotle ... - Pointing down. Yes, that's right. On the material, physical, visible, real. This was the main subject of his philosophy. What can we see? How to understand the visible world using our senses? And not the invisible world that interested Plato. Of course, he wears blue and brown robes - a symbol of water and earth, physical elements experiencing gravity. Right. Our perception of the world is divided into two parts. On the one hand, we see and experience the world through our senses. On the other hand, we think about it, accumulate knowledge and understanding that that there is something higher, ideal and divine. Plato basically described it in the language of mathematics. Interesting. It turns out that the picture reflects a balance between these two aspects. - Yes. - And the expression turned out to be beautiful, harmonious. If you look closely, all the figures here are organized and divided into two schools of philosophical thought. Yes. Mathematicians are on Plato's side. Philosophers who reflect on ideas abstracted from physical world, they ... And they don't try to explain reality. Yes, that's right. They are on the right, on the side of Aristotle - those who can be called scientists. Maybe we should name some of the figures and discuss them? Of course. But let's say a few words about architecture. - Oh sure. - In my opinion, architecture is also dual here. She is very majestic, just incredible. Too much, I would say. Architectural elements very high, all these round arches, classic statues and niches on the sides ... - By the way, I want to say that they also show a certain ... - Duality. Yes, the dualism we're talking about. On Plato's side, we see Apollo. God of poetry and music. Yes. And on the side of Aristotle, Athena is war and wisdom. - More real ... - Yes, a much more earthly figure. Yes. I wanted to say that architecture seems to raise, ennoble the figures. Provides context, as in Leonardo da Vinci's fresco "The Last Supper". There, architecture interacts with figures, helping to convey the plot, its meaning. Here, I think, architecture also plays an important role. If the space were different, the figures would be perceived differently. Here architecture exalts them, proclaims the achievements of reason. This is a real celebration. The whole picture marks the triumph of human achievement. The thought of the incredible capabilities of a person who is capable of being equal to the gods in creativity. Isn't this the quintessence of the High Renaissance? Exactly. I think it's also important that there are so many figures in this painting. Personal achievement of Raphael. - So interesting. - There are dozens of characters here, and the composition is very complex, and none of the figures is repeated. At the same time, everything looks vivid and natural, as if Raphael did not have to make any effort to paint a picture. Here the complexity is combined with ... With the lightness of an artist's brush. None of the artists managed to compare with Raphael in this. - Yes. - Everything looks natural and simple. As if it could not be otherwise. This is the lightness of a great ballerina. You look, and there is no feeling that she was rehearsing for hours. Yes. But I would like to return to what you mentioned recently. One important point : Why was it necessary to bring all these figures together? It is very interesting. The revival returned to this from time to time. Recall at least one of the most important texts of the era, although this is still a proto-Renaissance, but the roots of the Renaissance are precisely in Dante's Divine Comedy. At the very beginning of "Hell" we find ourselves in Limbus and there we meet some great Greeks. This idea was revolutionary. The idea of ​​restoring the dignity of the Greeks, whom the medieval tradition looked upon with contempt. And here they are, on the contrary, glorified. What a sharp turn. Yes, that is right. But the church won't let this last. Yes, the period is already running out. The reformation is about to begin. Well, let's take a look at the basic shapes. Okay. Let's start from the left, from the top. Certainly. Though let's start with the big shape closer to the center. This is the most massive figure in the picture. - Seated figure. - Yes. A man in heavy work boots bent down and, lost in thought, writes something. This is fun. Yes, and he also turned his torso slightly. This figure depicts the ancient Greek philosopher Heraclitus. He is best known for arguing that time is constantly in motion. Didn't he say that you can't enter the same river twice? Yes, he was the one who said it. He compared life with fire, which never repeats itself, and said that the world is infinitely diverse. Of course, Raphael did not know what Heraclitus actually looked like, and asked his friend to work as a model. This acquaintance was Michelangelo. Yes. But instead of just writing the image of Heraclitus from him, Raphael tried to adopt his style. He painted his figure as Michelangelo portrayed the prophets and sibylls - monumental seated figures. Raphael seems to be challenging him and says: “Oh so? Well, I can paint beautiful seated figures too. " Yes, as massive and majestic as in the paintings of Michelangelo. Most of the other figures in Raphael's painting are drawn in a much more sophisticated way. But Michelangelo's figure is massive and powerful. - In the spirit of Michelangelo himself. - Awesome, huh? Almost a parody. And interestingly, Heraclitus is depicted here behind a letter. So Raphael reminds us that Michelangelo is also a poet. Right. Let's now talk about my favorite shape, in the lower left corner. - With a bald head? - With a bald head. - And a beard. - And with a beard. This is Pythagoras. We remember him from school geometry lessons. a ^ 2 + b ^ 2 = c ^ 2 - this is the Pythagorean theorem. But his ideas were a whole philosophical school. Yes. Pythagoras drew up several diagrams explaining the connection between harmony with music and numbers, and the fact that harmony is based on a mathematical structure. A rational structure that can be studied and even measured. - Yes. - Yes, that's right, Pythagoras is known for his work "The Harmony of the Spheres", the link to which we see here. In this lost most important ancient text, Pythagoras set his own main question- what is beauty. Of course, this question was extremely important for Raphael himself. Right. What is beauty? How does it relate to harmony and does it have ... - Divine source. - Yes, a certain basis, the internal structure of the universe, which ... In a word, beauty is a manifestation of ... - Divinity. - Or something created by God. The High Renaissance is characterized by the idea that admiring beauty is also admiring divine creation. And, of course, we see Pythagoras on Plato's side. - This is natural. - After all, the ideas are absolutely neo-Platonic. - In many ways, yes. - Let's go right now? - To Euclid? - Here we see scientists - people who are trying to understand the world and its main structures. Right? Yes, and formulate them. Aristotle named four elements, and Euclid laid the foundations of geometry: point, line, Euclidean axioms. Yes. Almost all the geometry that we learn is ... - His merit. - Yes, in Euclidean High School, of course. - Yes. - Here, by the way, he teaches others. Another important detail for this picture and characteristic of the High Renaissance is the interaction of figures. Look, everyone here communicates, gestures. There is no feeling of constriction, all groups are active ... - Dynamic. - It seems that people are just walking, talking, having a good time. It's a forum! But how difficult it was to create these numerous groups. Raphael created a real dance. Awesome piece. - Of course, the artist depicted himself. - Yes. - He is among the astronomers in the lower right corner. - Looks out. - Looking directly at us. - Yes. Subtitles by the Amara.org community

Santi Rafaello was born in early April 1483 in central Italy. Often his surname sounded in the Latin manner as Sanzio or Santius. The artist himself, displaying the signature on his canvases, used the Latinized version of his name - Raphael. Under this name he became famous all over the world. And his large-scale fresco "The School of Athens" became known even to those who are very far from the world of fine arts.

First steps in art

Even as a child, Rafaello knew that he would be an artist. His first experiments in drawing took place under the strict guidance of his father - Giovanni Santi. Along with parenting lessons future master mastered the painting technique with Timoteo Viti, a famous Umbrian artist at that time. When Santi Jr. was 16 years old, he was apprenticed to Pietro Vannuchi. Under the influence of this man, Raphael reached true heights of skill and perfectly mastered the basic techniques of art.

The earliest, youthful paintings by Raphael - three canvases: "Archangel Michael, defeating Satan" (today the work is in Paris), "The Knight's Dream" (exhibition site - London) and "Three Graces" (his last refuge - Chantilly). This is how Raphael Santi began his career. The School of Athens appeared when the author was 25 years old.

Greatest of frescoes

Raphael came to the Eternal City in 1508. Pope Julius II invited him here. Here the artist was supposed to paint the stanzas (state rooms) of the Vatican Palace. Stanza della Senyatura by Raphael was painted, conveying in picturesque images four spheres of human mental activity: "Dispute" (theology), "Athenian school" (philosophy), "Parnassus" (poetry) and "Wisdom, Measure, Power" (jurisprudence). And the maestro painted the ceiling with paintings that ideologically echoed the main compositions and bearing the biblical, allegorical and mythological meaning.

The painting "The School of Athens" became the embodiment of the greatness of philosophy and science. The main paradigm of the fresco is also one of the most important thoughts of humanists. It can be roughly formulated as the possibility of harmonious agreement between different branches of science and philosophy. Vaults of the majestic architectural masterpiece decorated by groups of scientists and philosophers of ancient Greece.

"School of Athens" (Raphael). Description

In total, the picture shows more than fifty figures. In the center of the fresco are Aristotle and Plato. They convey the wisdom of the times of Antiquity and represent two schools of thought. Plato points his finger to heaven, and Aristotle extends his hand over the earth. A warrior dressed in a helmet - it is He who listens attentively to the great Socrates, and he bends his fingers on his hands, telling something amazing. On the left side, near the stairs, the students surrounded Pythagoras, who is busy solving mathematical questions. The "School of Athens" also found a place for Epicurus, whom Raphael depicted wearing a wreath of grape leaves.

To depict Michelangelo, the artist chose the image of Heraclitus and painted him as a man who, leaning on a cube, sits in a pensive pose. Diogenes sits on. To his right is Euclid, who measures something on a geometric drawing with a compass. Staircase steps are the stages at which the mastery of the truth takes place. Euclid's company consisted of Ptolemy (holding in his hands) and Zoroaster (holding the globe of the sky). To the right of them is the figure of Raphael himself, looking at the audience.

Other characters

Despite the fact that the "School of Athens" is a fresco depicting more than 50 characters, it feels the lightness and spaciousness that characterize Santi's manner. In addition to the figures described above, the canvas also presents to the public such characters as Speckusippus (a philosopher depicted with a beard and in a toga Brown), Menexen (philosopher, dressed in a blue toga), Xenocrates (philosopher, in a toga white). There is also Pythagoras, drawn with a book in his hands, Critias (in a pink dress), Diagoras of Melossky - a poet with a naked torso, and other historical figures.

Like all world masterpieces of art, the School of Athens presents to the public a couple of unknown figures. So, no one knows who is depicted in the fresco on one leg, and who owns the back in pink clothes... But the artist's beloved is easy to identify: she personifies Hypatia.

The stanzas in the Vatican were painted by the genius Raphael for ten years - from 1508 to 1518. Santi himself was engaged in the work for only four years (1508-1512). The rest of the time, the painting was performed by the maestro's students under his direction. There is one accidental, but very interesting coincidence: Raphael worked for four years on the Stanzas, and for the same years he worked on Michelangelo's Sistine ceiling.

The name of the famous fresco does not belong to Raphael. Historical sources say that at the very beginning the painting was named "Philosophy". "School of Athens" is a name that does not fully correspond to what is depicted on the canvas. In the picture, besides the philosophers from Athens, there are many people who have never been in this city in their lives. In addition, the fresco contains representatives of different eras who lived in different countries, and therefore did not have the opportunity to meet together at the same time.

Death of a great artist

Having lived only 37 years, the great Raphael Santi died on April 6, 1520 (his birthday). The "School of Athens" remained alive for centuries. The maestro's earthly existence was bright and short, like a comet. But even this time allotted by fate was enough for Raphael to be remembered as the greatest artist of the Renaissance.

Santi's death was sudden, breaking the rivalry between the two greatest geniuses of her time. Both took part in the decoration and creation of the Vatican. It is about Raphael and Michelangelo. Despite the fact that the latter was older than Santi, he outlived him for many years.

Raphael died in Rome, and his ashes were buried with honors that were worthy of such an unsurpassed genius and a symbol of the era. There was not a single artist who would not have accompanied the author of the "School of Athens" on his last journey and mourned the maestro.

The School of Athens (Italian: Scuola di Atene) is a fresco by Raphael in the Stanza della Senyatura of the Vatican Palace.

List of characters

1. Zeno of Kitia or Zeno of Elea
2. Epicurus
3. Frederico II, Duke of Mantua
4. Anicius Manlius Torquatus Severinus Boethius or Anaximander or Empedocles of Akragant
5. Averroes
6. Pythagoras
7. Alcibiades or Alexander the Great
8. Antisthenes or Xenophon
9. Hypatia (facial features of Raphael's beloved, Margherita)
10. Aeschines or Xenophon
11. Parmenides
12. Socrates
13. Heraclitus of Ephesus (portrait resemblance to Michelangelo)
14. Plato (portrait of Leonardo da Vinci) with the Timaeus in his left hand.
15. Aristotle holding Nicomachean ethics
16. Diogenes
17. Plotinus
18. Euclid (or Archimedes) with his students (portrait resemblance to the architect Bramante)
19. Most likely, Hipparchus, according to other versions of Strabo or Zarathustra
20. Claudius Ptolemy
21. Protogen
R - Apelles (facial features of Raphael himself)

The fresco "School of Athens" does not depict a real group of Athenians - not only the Athenians are here (for example, the philosophers Parmenides and his student Zeno were not citizens of Athens) and even not only contemporaries, but also thinkers who lived in other times and in other countries ( for example, the Persian mystic philosopher Zoroaster, who lived several centuries before Plato, or the Muslim translator and commentator of Aristotle Averroes, who lived many centuries later). Thus, the "School of Athens" represents the ideal community of thinkers of the classical era, a community of teachers and students. However, in portraying these outstanding people of the past, Raphael gives them the features of his outstanding contemporaries. In total, over 50 figures are represented on the fresco (many of them defy attribution, about some there is no single point of view).

With a beard, in a brown toga - Speusippus, philosopher, nephew of Plato
- in a blue toga - Menexenus, philosopher, student of Socrates
- in a white toga - Xenocrates, philosopher, student of Plato
- in yellowish-greenish - the philosopher Socrates
- in bluish - presumably Alexander the Great, a student of Aristotle
- in a dark headdress, short - Xenophon, philosopher, student of Socrates
- in a helmet - Alcibiades, commander and politician, disciple of Socrates
- with outstretched hand - Eschin, philosopher, disciple of Socrates
- in pink - Critias, philosopher, orator, writer, uncle of Plato
- with a naked torso - Diagoras Melossky, a poet nicknamed "The Godless"
- next to Cupid - the philosopher Zeno, a student of Parmenides
- next to Zeno - Navsifan, philosopher, follower of Democritus, teacher of Epicurus
- in a wreath - the philosopher Democritus (according to another version - Epicurus)
- the boy behind him - Diogenes Laertius, historian of philosophy
- in a white turban - Averroes, Arab philosopher
- bald, in a yellowish robe in the foreground - Anaximander, philosopher, student of Thales
- in a white robe, with a book - Pythagoras, philosopher and mathematician
- With long hair- Anaxagoras, philosopher, mathematician and astronomer
- stands in white - Hypatia, woman mathematician, astronomer and philosopher
- stands and holds a book - philosopher Parmenides
- sitting leaning on a cube - philosopher Heraclitus
- lies on the steps - the philosopher Diogenes
- sit on their knees and stand bent over - students of Euclid
- with a compass - Euclid, mathematician (according to another version - Archimedes)
- in white clothes with a celestial globe - Zoroaster, astronomer and philosopher-mystic
- back to the viewer, with the globe - Ptolemy, astronomer and geographer
- in a white beret - Il Sodoma, artist, friend of Raphael (according to another version - Perugino, Raphael's teacher)
- in a dark beret - Raphael
- in a dark toga - the philosopher Arkesilaus (according to another version - Plotinus)
- leaning his hand on the wall - the philosopher Pyrrho
- on one leg -?
- in blue and pink, descending - Aristippus, philosopher, friend of Socrates
- ascends the steps - the philosopher Epicurus
- back, in pink -?
- with a beard, in a yellowish cloak - Theophrastus, philosopher and scientist, student of Plato and Aristotle
- close to Theophrastus stands - Evdem, philosopher, student of Aristotle

Zeno of Kitis or Zeno of Elea

Epicurus

Averroes and Pythagoras

Pythagoras

Alcibiades or Alexander the Great and Antisthenes or Xenophon

Francesco Maria I della Rovere or Raphael's beloved as Hypatia and Parmenides

Parmenides

Aeschines and Socrates

Michelangelo as Heraclitus of Ephesus

Leonardo da Vinci as Plato

Aristotle

Diogenes

Donato Bramante as Euclid or Archimedes

Strabo or Zarathustra, Claudius Ptolemy, Raphael as Apelles and Pietro Perugino or Timoteo Viti as Protogen

In 1508, at the invitation of Pope Julius II, Raphael went to Rome. The Pope commissions the artist to paint the ceremonial halls (stanzas) of the Vatican Palace. In Stanza della Senyatura (1509-11), Raphael introduced four areas human activity: theology ("Dispute"), philosophy ("The Athenian school"), poetry ("Parnassus"), jurisprudence ("Wisdom, Measure, Strength"), as well as allegorical, biblical and mythological scenes on the plafond corresponding to the main compositions.

The fresco "School of Athens" embodies the greatness of philosophy and science. Its main idea - the possibility of harmonious agreement between different areas of philosophy and science - is one of the most important ideas of the humanists. Ancient Greek philosophers and scientists were grouped under the arches of the majestic building.

In the center of the composition are Plato and Aristotle, personifying ancient wisdom and representing two schools of philosophy. Plato points his finger to the sky, Aristotle extends his hand over the earth. The warrior in the helmet is Alexander the Great, he listens attentively to Socrates, who, proving something, bends his fingers. On the left, at the foot of the stairs, Pythagoras, surrounded by students, is busy working on mathematical problems. Man in a wreath of grape leaves- Epicurus. A man sitting in a pensive pose, leaning on a cube - Michelangelo in the image of Heraclitus. Diogenes sat on the steps of the staircase. On the right, Euclid, bending over the board, measures a geometric drawing with a compass. The steps of the ladder symbolize the stages of mastering the truth. Next to Euclid are Ptolemy (holding Earth) and, probably, the prophet Zoroaster (holding a celestial globe). Slightly to the right is the artist himself (looking directly at the viewer). Although the fresco features over 50 figures, Raphael's sense of proportion and rhythm creates an impression of surprising lightness and spaciousness.

The artist has set himself a task of incredible difficulty. And his genius was manifested already in the very approach to its solution. He divided philosophers into several distinct groups. Some examine two globes - the Earth and the sky - the latter, apparently, is in the hands of Ptolemy. Nearby others are keen on solving a geometric problem. On the contrary, a solitary dreamer. Near him, the venerable thinker makes corrections to a solid tome under the admiring glances of some and the tense peeping of a plagiarist trying to grab someone else's thought on the fly. A young man departs from these people, who has not yet chosen a teacher for himself, who is ready to search for truth. Behind - Socrates, on his fingers explaining to the audience the course of his reasoning.

The figure of a young man in the far left corner of the fresco is absolutely remarkable. He swiftly enters this gathering of sages, holding a scroll and a book in his hand; the folds of his cloak and the curls on his head flutter. Standing next to shows him the way, and someone from the circle of Socrates greets him. Perhaps this is how a new bold thought is personified, which will cause new disputes, inspire new searches.

It is like a beggar on the steps of a temple - a lonely Diogenes, aloof from worldly vanity and discussions. Someone, passing by, points at him, as if asking a companion: is this the lot of a true philosopher? But he draws his attention (and ours) to two figures that are in the center of the composition. These are gray-haired Plato and young Aristotle. They conduct a dialogue - a calm debate in which truth is freed from the shackles of dogma and prejudice. Plato points to the sky, where harmony, greatness and higher reason reign. Aristotle stretches out his hand to the earth, the world around people. There can be no winner in this dispute, for a person equally needs an immense space and a native Earth, the knowledge of which will last forever.

Despite the isolation of the groups of philosophers, the picture gravitates towards two central figures, clearly prominent against the background of the sky. Their unity is emphasized by the system of arched vaults, the last of which forms a kind of frame in which Plato and Aristotle are located.

The unity of philosophies lies in the diversity of individual schools and personal opinions. This is how the great symphony of human knowledge is formed. This is not hindered by the disunity of thinkers in space and time. On the contrary, knowledge unites everyone who sincerely strives for it. And it is no coincidence, of course, that the picture contains people of all ages, including babies, and on their faces there is not only concentration and thoughtfulness, but also bright smiles.

In his four great compositions, Raphael showed four foundations on which human society should rest: reason (philosophy, science), kindness and love (religion), beauty (art), justice (justice).

It may seem incredible to a modern person that Raphael, under the age of thirty, could create such grandiose frescoes. The grandeur of the idea alone and the ability to express deep ideas (and first of all - to realize them) in the form of pictorial compositions amazes. And how many sketches and sketches were required for this! It is hard to doubt that groups of artists worked on the frescoes. But the general concept, structure of paintings, concrete figures and processing of many details are the work of the hands and thoughts of the great master.