1 00:00:00,090 --> 00:00:04,620 Good afternoon, ladies and gentlemen, and I hope everybody can hear me. 2 00:00:04,620 --> 00:00:18,780 I'm all wired up and I'll do my best to be audible and I think me give you something more jolly to look out from the beginning. 3 00:00:18,780 --> 00:00:26,160 It may be heresy to say so, especially after his richly merited triumph at the Smolan last year. 4 00:00:26,160 --> 00:00:37,020 But when one looks at Rafael's paintings as opposed to his drawings, he runs the risk of making it look all too easy. 5 00:00:37,020 --> 00:00:44,430 I am reasonably confident that he never made it to the city of the Dreamings bars in which we find ourselves. 6 00:00:44,430 --> 00:00:51,600 But his paintings have all the effortless superiority, which is used to be said, 7 00:00:51,600 --> 00:01:00,120 is the trademark of the Bailly old man above the waterline, to mix my metaphors. 8 00:01:00,120 --> 00:01:06,810 He may seem to be a swan gliding across the millpond calm surface of a lake. 9 00:01:06,810 --> 00:01:12,360 However, when we look at his drawings as we are about to. 10 00:01:12,360 --> 00:01:19,980 We understand that he was a swan who was paddling frantically below the waterline. 11 00:01:19,980 --> 00:01:25,830 The stance of Dallas in the Torah is one of a suite of rooms on the third floor of the Vatican Palace, 12 00:01:25,830 --> 00:01:32,100 which served as the PRIVAT, although also at times public apartments of Pope Julius. 13 00:01:32,100 --> 00:01:36,000 The second, as has often been pointed out. 14 00:01:36,000 --> 00:01:41,730 It is a happy chance that Julius could not bear the thought of living in the far 15 00:01:41,730 --> 00:01:47,490 more extensive living quarters on the floor below now called the Borgia Apartments, 16 00:01:47,490 --> 00:01:55,170 which had been inhabited and decorated baiters hated predecessor Pope Alexander the Sick. 17 00:01:55,170 --> 00:02:07,080 Instead, he moved upstairs and evidently set in motion a plan to have the stand say, as they have come to be known, decorated by a team of painters. 18 00:02:07,080 --> 00:02:11,910 This way of ensuring considerable expanses of walls and ceilings base were covered 19 00:02:11,910 --> 00:02:18,180 at some speed by artists in competition with each other was entirely routine. 20 00:02:18,180 --> 00:02:28,350 Its principal advantages were that it speeded up the process and that it pitted the artists against one another in the context of the Vatican. 21 00:02:28,350 --> 00:02:31,050 It would have come particularly naturally, 22 00:02:31,050 --> 00:02:38,520 since that was the way the walls of the Sistine Chapel been decorated under Julius's uncle Sixtus the fourth. 23 00:02:38,520 --> 00:02:46,380 The beginnings of this collaborative rivalry are preserved in the form of the ceiling 24 00:02:46,380 --> 00:02:54,510 of the stance of in Chenda a later one of the rooms which was frescoed by Perugino. 25 00:02:54,510 --> 00:02:59,900 And in those parts of the ceiling of the stance cedella senior toura frescoed by Saddam. 26 00:02:59,900 --> 00:03:07,950 That remain. But more generally, the entire plan was subverted by the incomparable genius of Rafil. 27 00:03:07,950 --> 00:03:15,150 The project is not very fully documented, but the first payment to him date from January 59, 28 00:03:15,150 --> 00:03:19,710 which suggests he began to work on the stanza in fifty eight. 29 00:03:19,710 --> 00:03:26,370 And everything indicates that the decoration was completed around the end of fifteen eleven. 30 00:03:26,370 --> 00:03:36,090 The original function of the stance of Dallas in Your Toura, which literally translates as the room of the signature and is so called because 31 00:03:36,090 --> 00:03:41,550 at a later date under Paul the third it has the court of the people signature. 32 00:03:41,550 --> 00:03:46,560 The original function used to be much debated in the scholarly literature, 33 00:03:46,560 --> 00:03:53,670 but it has in effect been established by John Sherman that it was Pope Julius the Seconds Library. 34 00:03:53,670 --> 00:03:57,660 He wasn't a big reader, by the way. There isn't a lot of room for books. 35 00:03:57,660 --> 00:04:06,060 This, in turn, explains the basic organisation of its decoration mediaeval and Renaissance libraries. 36 00:04:06,060 --> 00:04:16,350 In accordance with university faculties were divided into four categories theology or religion. 37 00:04:16,350 --> 00:04:20,140 Which is what you see here. 38 00:04:20,140 --> 00:04:32,860 And poetry, which we might think of more generally as literature, which you see in the form of preparation and the finished fresco philosophy, 39 00:04:32,860 --> 00:04:39,730 which included everything we would call science and jurisprudence or law. 40 00:04:39,730 --> 00:04:53,680 The first three walls have all acquired names. The dispute that or disputation on the holy sacrament, the Parnassus and the School of Athens. 41 00:04:53,680 --> 00:04:57,380 In consequence, the ceiling of the Stanford, 42 00:04:57,380 --> 00:05:07,720 California tour is dominated by four rank those representing each of these categories between which are predominantly narrative scenes, 43 00:05:07,720 --> 00:05:14,200 which involve a combination of the flanking abstractions. 44 00:05:14,200 --> 00:05:28,840 Thus, to give a specific example. And I'm sorry, it's upside down in this slide, the scene of the fall of man. 45 00:05:28,840 --> 00:05:35,050 That scene is between theology and justice in the same spirit. 46 00:05:35,050 --> 00:05:41,860 Each of those themes on the first three wolves to be painted involves an assembly of individuals who 47 00:05:41,860 --> 00:05:50,200 collectively bring to life the abstract concept up above the fourth wall that devoted to justice. 48 00:05:50,200 --> 00:05:55,150 And I'll just jump back from microsecond is different in character. 49 00:05:55,150 --> 00:06:04,180 It's upper zone is devoted to the three cardinal virtues, while the two narratives seems flanking the window in its lower part respectively. 50 00:06:04,180 --> 00:06:10,030 Encapsulate civil and canon or church law. 51 00:06:10,030 --> 00:06:16,960 As a rule, and not least for practical reasons to do with dripping paint, 52 00:06:16,960 --> 00:06:23,530 it was customary to begin frescoed decorations from the top and to work downwards. 53 00:06:23,530 --> 00:06:28,390 In a sense, this does indeed appear to be what happened in the Stanstead lasagne toura, 54 00:06:28,390 --> 00:06:35,560 where Saddam seems to have been at work on the ceiling before Raffel was involved in the project. 55 00:06:35,560 --> 00:06:42,160 On the other hand, and for all that, there is much debate concerning whether Rafaelle began to paint. 56 00:06:42,160 --> 00:06:50,650 It is generally agreed that he started with at least one of the walls and only returned the ceiling at a later point. 57 00:06:50,650 --> 00:06:58,510 It will nevertheless be more convenient in the present context to start with the ceiling before proceeding to the walls. 58 00:06:58,510 --> 00:07:05,190 The question of the ceilings placement within the chronology of the decoration is best left until later, 59 00:07:05,190 --> 00:07:11,890 but should be linked to the kinds of drawings that are associated with the various walls. 60 00:07:11,890 --> 00:07:19,480 For as will emerge more fully in due course. One of the most striking features of the drawings for the stanza is the way in 61 00:07:19,480 --> 00:07:25,990 which Raffel employed different preparatory methods for the individual wards. 62 00:07:25,990 --> 00:07:31,210 The surviving drawings for the ceiling of the stance of Alassane Ouattara are relatively few in number, 63 00:07:31,210 --> 00:07:36,340 but they involve considerable number of the relevant frescoes and also revealed the 64 00:07:36,340 --> 00:07:43,280 range of techniques and media Raffaelle employed in the stance and more generally. 65 00:07:43,280 --> 00:07:48,620 Starting with the round dolls, there are designs for three out of four of them, 66 00:07:48,620 --> 00:07:54,740 one of which is only known in the form of a copy, which I will not be discussing. 67 00:07:54,740 --> 00:08:02,960 The first, which you see here, is a study in pen and ink in the Ashmolean for the thing, for the figure of theology, 68 00:08:02,960 --> 00:08:09,260 which broadly corresponds to the finished work, but in which there are numerous differences. 69 00:08:09,260 --> 00:08:15,500 The alignment of the head and body is essentially the same, but the legs are differently disposed. 70 00:08:15,500 --> 00:08:24,980 The arms spread wide from the body and the book rests on the fingers lap instead of being held in her left hand. 71 00:08:24,980 --> 00:08:32,120 This is clearly an early idea in which the handling is bold and confident with few changes of mind. 72 00:08:32,120 --> 00:08:39,560 But it is telling that the left leg has not really been sketched in at all. 73 00:08:39,560 --> 00:08:46,570 A second study for around all carefully squared sheet executed in black chalk over extensive stihler, 74 00:08:46,570 --> 00:08:51,790 some drawing in the Royal Library of Windsor is for the figure of poetry. 75 00:08:51,790 --> 00:08:58,780 It is one of the most spectacularly beautiful of all Rafael's drawings and possesses an infamous touch, 76 00:08:58,780 --> 00:09:04,690 an ecstatic characterisation, the figure that were not carried through into the fresco. 77 00:09:04,690 --> 00:09:11,980 Informal terms to there are changes. The tilt of the woman's head is more extreme in the drawing. 78 00:09:11,980 --> 00:09:22,900 Allar is differently positioned. But above all, her upper half, with the exception of her left forearm, is draped. 79 00:09:22,900 --> 00:09:27,610 Nudity is found elsewhere in the stanza, both on the ceiling and on the walls. 80 00:09:27,610 --> 00:09:38,110 But it may nevertheless have been deemed inappropriate for this context, and it is hard not to regret the modification. 81 00:09:38,110 --> 00:09:46,510 A third drawing for one of the rounds was a sheet in Lille, executed in black, chalk heightened with white, 82 00:09:46,510 --> 00:09:52,930 which gives the impression of being a definitive study for the puto holding a tabula hansadutta to the 83 00:09:52,930 --> 00:09:59,740 proper left of the figure of theology when it is actually compared to the pleasure in the fresco. 84 00:09:59,740 --> 00:10:07,480 However, a host of minor differences emerge. The head in the drawing is in the purer profile. 85 00:10:07,480 --> 00:10:17,890 The left hand is more fully visible. The figure is nude, not draped, and the distribution of light and shade is far more dramatically contrasted. 86 00:10:17,890 --> 00:10:19,420 It seems unlikely, on the other hand, 87 00:10:19,420 --> 00:10:31,240 that even as meticulous artist as Rafil would have felt the need to make another study after this one and before the cartoon. 88 00:10:31,240 --> 00:10:40,720 And finally, mention should be made of a very rawly executed clar to fragment in the British Museum, 89 00:10:40,720 --> 00:10:48,910 which is for the head of the POTO holding the tablet inscribed flat to up in the fresco representing poetry, 90 00:10:48,910 --> 00:10:55,630 which underlines Rafael's capacity for boldness as well as finace. 91 00:10:55,630 --> 00:11:00,730 Turning to the intermediate rectangular seems the simplest of the preliminary drawings 92 00:11:00,730 --> 00:11:06,640 is a sheet in the other Tina for the figure generally identified as Ramaiah, 93 00:11:06,640 --> 00:11:09,100 executed in Pen and Browning. 94 00:11:09,100 --> 00:11:17,710 It is much more controlled than the study for theology discussed previously, and yet at the same time, utterly sure-footed. 95 00:11:17,710 --> 00:11:26,050 It comes impressively close to the final resolution. The only significant differences being in the tipping of the axes of the celestial 96 00:11:26,050 --> 00:11:31,960 sphere and in the possession of the dramatically distinct gesticulating left arm, 97 00:11:31,960 --> 00:11:40,120 the sole detail which Rafeal restudying on the largest Gayl on this sheet, but which he evidently felt required. 98 00:11:40,120 --> 00:11:44,380 Still further tweaking. 99 00:11:44,380 --> 00:11:53,050 The most visually arresting of the rectangular seams on the ceiling shows the judgement of Solomon and is the focus of a group of drawings. 100 00:11:53,050 --> 00:12:03,370 It seems logical to suppose that the earliest of these drawings is a sheet executed in metal point on grey green prepared paper in the smolan. 101 00:12:03,370 --> 00:12:09,340 The main study shows all the actors in the scene there in the nude and the numerous 102 00:12:09,340 --> 00:12:14,710 changes of mind confirm one sense that it must have been executed at speed, 103 00:12:14,710 --> 00:12:27,080 as does the meandering framing line, which separates it from a notably more tentative second attempt at the X Kruschen. 104 00:12:27,080 --> 00:12:29,620 That's the second attempt. 105 00:12:29,620 --> 00:12:37,870 The only details which assist with the identification that the subject of the sword being brandished by the soldier and the beardless at this stage. 106 00:12:37,870 --> 00:12:46,930 King Solomon's Crown. This study was presumably followed by a double sided sheet in the outback Tina, 107 00:12:46,930 --> 00:12:54,490 where the handling of the recto in pen over black chalk is almost identically engraver ish and where the 108 00:12:54,490 --> 00:13:02,020 only finished elements are the kneeling mother and the soldier who has studied one and a half times. 109 00:13:02,020 --> 00:13:11,620 He's shown far more frontally than in the previous studies, but his attitude is still completely different from the deal scorpion's bad pose. 110 00:13:11,620 --> 00:13:20,230 He will ultimately adopt. In contrast, the supplicate tree mother is unchanged in the frasca. 111 00:13:20,230 --> 00:13:27,450 As mentioned already, the chronological sequence in which the walls were painted has been the object of considerable debate. 112 00:13:27,450 --> 00:13:32,800 For Saari, who was the first writer to give a reasonably comprehensive account of the stance of Delphinium. 113 00:13:32,800 --> 00:13:40,900 Torah specifically states that Raffel began by painting the School of Athens even before the ceiling. 114 00:13:40,900 --> 00:13:44,820 He then proceeds to consider that the ceiling and the other walls. 115 00:13:44,820 --> 00:13:54,400 But there is no indication of the order in which he discusses the remaining walls is intended to reflect the sequence in which they were executed. 116 00:13:54,400 --> 00:14:03,970 Moreover, nothing about the way in which the sari analyses the room and its decoration suggests that he was especially well informed about it. 117 00:14:03,970 --> 00:14:10,990 And it has frequently been observed that his reference to the presence of evangelist's in the School of 118 00:14:10,990 --> 00:14:20,750 Athens proves that he was relying upon reproductive prints as opposed to his memory of the actual frescoes. 119 00:14:20,750 --> 00:14:32,940 It was Geovani Pietro Belorussia whose description was published posthumously in 16 96, who first proposed that Rafeal began with the dispute. 120 00:14:32,940 --> 00:14:40,220 A view which has been very widely accepted, he argued, on the basis of style, 121 00:14:40,220 --> 00:14:49,040 contending that the go background in the upper zone of the dispute that revealed Rafael's dependence on earlier modes of decoration. 122 00:14:49,040 --> 00:14:56,360 Recently, a number of scholars have endorsed FACA, his belief that Raffel began with the School of Athens and attempts have been made to support 123 00:14:56,360 --> 00:15:03,800 this hypothesis with the aid technical findings arising from the restoration work in the stance. 124 00:15:03,800 --> 00:15:09,830 Although it has not been claimed that this amounts to proof, what has been lacking, however, 125 00:15:09,830 --> 00:15:16,340 in these revisionist accounts is any engagement with the evidence afforded by the drawings. 126 00:15:16,340 --> 00:15:22,610 It is true that one might in theory accept that the drawings for one wall preceded those 127 00:15:22,610 --> 00:15:30,170 for another and still argue that the respective walls were executed in the reverse order. 128 00:15:30,170 --> 00:15:37,220 But this mode of working would be highly unusual and as will emerge in due course. 129 00:15:37,220 --> 00:15:42,570 There is some evidence in this particular case to suggest the contrary. 130 00:15:42,570 --> 00:15:48,040 The Laury may have confined himself to the frescoes. But subsequent scholarship does not. 131 00:15:48,040 --> 00:15:54,470 And it has been widely accepted that the style of the drawings does indeed support his intuition. 132 00:15:54,470 --> 00:15:55,010 In fact, 133 00:15:55,010 --> 00:16:04,760 it would be no exaggeration to contend that this is an object lesson in the value of studying drawings to help determine the chronology of paintings. 134 00:16:04,760 --> 00:16:11,900 There are more extant drawings for the dispute than for all the other walls of the stance of the senator to put together, 135 00:16:11,900 --> 00:16:22,220 which may suggest the Rafael felt the need to take particular trouble over it, but could of course simply be an accident of survival. 136 00:16:22,220 --> 00:16:27,320 Most of the drawings are focussed upon individual figures in small groups, 137 00:16:27,320 --> 00:16:35,570 but it makes sense to begin by examining those sheets which are concerned with the composition as a whole. 138 00:16:35,570 --> 00:16:39,680 The earliest, but also the most informative of these, 139 00:16:39,680 --> 00:16:49,100 which you see is a drawing in Penland Wash over black chalk under drawing heightened with white in the Royal Library at Windsor Castle. 140 00:16:49,100 --> 00:16:57,100 The design comprises only the left half of the composition, and the presumption must be that the right half is intended to mirror it. 141 00:16:57,100 --> 00:17:04,480 And it represents a logical progression from Raffles only previous work in Fresco. 142 00:17:04,480 --> 00:17:16,990 The Trinity with saints of around 55 five in the Church of Sanseverino in Perugia, which was completed down below by Perugino after Rafael's death. 143 00:17:16,990 --> 00:17:26,230 Be that as it may, the general disposition of the figure groups is clearly established and demonstrates at this stage 144 00:17:26,230 --> 00:17:33,400 in the evolution of the design must have been preceded by a number of now lost exploratory ideas. 145 00:17:33,400 --> 00:17:39,070 Reading from the top downwards and implying subsequent studies and the finished work as guides, 146 00:17:39,070 --> 00:17:49,060 it becomes possible to identify most of the figure groups. The top part of the heavenly zone contains the figure of Christ and the Wrangel, 147 00:17:49,060 --> 00:17:54,580 raising his right hand in benediction, seemingly with God, the father above him. 148 00:17:54,580 --> 00:18:02,990 This area of the chief is almost indecipherable. Christ is flanked on his proper right by the figure of the Virgin leaning inwards. 149 00:18:02,990 --> 00:18:11,950 Then she and her turn is joined by two additional figures who are to be identified as saints or prophets, evidently. 150 00:18:11,950 --> 00:18:17,890 She was to have been balanced by John the Baptist and to further figures on the other side. 151 00:18:17,890 --> 00:18:23,950 Immediately below Christ as a seated figure with a short beard who must be Saint Peter and 152 00:18:23,950 --> 00:18:30,310 who was to have been paired with Saint Paul marginally lower down and over to the side, 153 00:18:30,310 --> 00:18:36,100 two seated bearded figures with books with their counterparts on the other side. 154 00:18:36,100 --> 00:18:47,920 Plainly, the four evangelists, the remaining inhabitants of the celestial zone of various flying angels moving on to the terrestrial zone. 155 00:18:47,920 --> 00:18:56,020 The extreme left margin of the composition is occupied by an architectural structure, seemingly a kind of PED demented logic, 156 00:18:56,020 --> 00:19:01,900 which has two child angels on top of its and tablature who appear to be attaching a coat of 157 00:19:01,900 --> 00:19:08,740 arms topped by the papal tiara to its most prominent column in front of this structure. 158 00:19:08,740 --> 00:19:18,280 There is a male figure partially draped in a windswept mantle, standing on a cloud and pointing dramatically upwards. 159 00:19:18,280 --> 00:19:26,680 Similar figure. By this stage, Earthbound is retained in the final fresco in roughly the same location. 160 00:19:26,680 --> 00:19:32,590 But in neither context is it all clear whom he is intended to represent. 161 00:19:32,590 --> 00:19:40,480 The remaining figures in this lower zone consist of two seated ecclesiastical who must be two of the four doctors of the Latin 162 00:19:40,480 --> 00:19:49,750 church and ten miscellaneous bystanders in the middle of the composition seems to have been closed off by a low balustrade. 163 00:19:49,750 --> 00:19:57,250 And there is no evidence that Rafael planned to include an altar at this juncture. 164 00:19:57,250 --> 00:20:05,710 The next stage in the evolution of the composition is enshrined in a pair of pair of drawings, 165 00:20:05,710 --> 00:20:13,900 one in the smolan and the other in Shortie, which may well originally have been the two halves of a single sheet. 166 00:20:13,900 --> 00:20:19,150 They concentrate exclusively on the main figures and deliberately ignore their setting, 167 00:20:19,150 --> 00:20:24,370 but give every indication of representing a markedly more developed conception. 168 00:20:24,370 --> 00:20:30,790 The major difference in the upper zone is in the definite inclusion at the top of the hovering. 169 00:20:30,790 --> 00:20:34,120 God, the father admittedly crocked, 170 00:20:34,120 --> 00:20:43,090 but he is there and in the incomparably more animated and characterised treatment of the evangelists in the lower zone. 171 00:20:43,090 --> 00:20:53,560 The concentration of the attendance figures upon the books of the central doctors is far more apparent in here to the heads and more individualised. 172 00:20:53,560 --> 00:21:04,840 This conception of the earthly zone is all but identically repeated or anticipated in a much sketchier blakroc drawing Windsor, 173 00:21:04,840 --> 00:21:12,360 where the head gear of three of the four doctors is represented and confirms that the only one with the beard is Saint Jerome, 174 00:21:12,360 --> 00:21:20,830 who is both shielding his eyes, who is shown or is shielding his eyes from the heavenly radiance. 175 00:21:20,830 --> 00:21:28,150 In the event, both the respective positions and the attitudes of the doctors were to change. 176 00:21:28,150 --> 00:21:33,010 But typically Rafil was loath to waste the general idea. 177 00:21:33,010 --> 00:21:42,790 In essence, the frontal doctor on the left is reused for the seated figure of Pythagoras and for the group around him in the school of Athens. 178 00:21:42,790 --> 00:21:48,550 And this connexion is a powerful argument in favour of the chronology proposed here. 179 00:21:48,550 --> 00:21:55,570 If the School of Athens really was complete before the drawings for the dispute, then it is hard to explain why Rafil, 180 00:21:55,570 --> 00:22:03,440 the most inventive of artists, should have experimented with a visual solution which he would surely have recognised as. 181 00:22:03,440 --> 00:22:12,790 Being unacceptably repetitious in such close proximity to the facing wall. 182 00:22:12,790 --> 00:22:18,550 A fascinating pen drawing in the Louv now split into two connected fragments, 183 00:22:18,550 --> 00:22:26,680 proves that Rafil made studies from posed new marvels that this unexpectedly early stage of the conception. 184 00:22:26,680 --> 00:22:33,360 It shows both the seated doctors on the left side of the composition surrounded by standing figures 185 00:22:33,360 --> 00:22:39,130 and must record a slightly different moment in the evolution of this part of the composition. 186 00:22:39,130 --> 00:22:52,480 From any of the other surviving studies, a number of related sheets, the bottom left half of the design come much closer to the final arrangement. 187 00:22:52,480 --> 00:22:58,660 Two of them. One which you see in colour and the original. 188 00:22:58,660 --> 00:23:06,190 And the other in black and white. A copy basically represent the same grouping of figures with any very minor variations. 189 00:23:06,190 --> 00:23:13,240 The most important difference between them being that in the copy, Jerome is shown with a beard. 190 00:23:13,240 --> 00:23:19,060 In addition, the original is also less cropped at the right margin, 191 00:23:19,060 --> 00:23:30,240 which means that the chalice with the consecrated host on the altar and the dive of the Holy Spirit in and Tonda above it, a much more fully visible. 192 00:23:30,240 --> 00:23:40,130 I hope you can see that the chalice with the highest and the dive at this stage to. 193 00:23:40,130 --> 00:23:44,270 Raffaelle made nude studies of the various groups of figures, 194 00:23:44,270 --> 00:23:54,740 the most ambitious of these is a sheet executed in pan over black chalk drawing partially incised for transfer in Frankfurt. 195 00:23:54,740 --> 00:24:02,060 It includes no fewer than 17 nude figures, seemingly with nudes covering their hair, 196 00:24:02,060 --> 00:24:13,790 but must presumably have been confected from a series of studies for individuals and groups and can be divided into five or six discrete sections. 197 00:24:13,790 --> 00:24:21,380 I don't think you should assume he got a of rugby fifteen into his studio all in one day. 198 00:24:21,380 --> 00:24:27,770 Confirmation of the presumption that its groups assembled is provided by the existence 199 00:24:27,770 --> 00:24:32,990 in the British Museum of the drawing you see on the left are more freely handled. 200 00:24:32,990 --> 00:24:44,150 Penn Study. The most prominent figure of all we've seen from the rear in the event this figure was not used for the disparate but the ever economical. 201 00:24:44,150 --> 00:24:55,580 Rafeal adapted his pose, admittedly in reverse, since wife flipped the Frankfurt drawing for the figure, crowning a polo in the flag of mass. 202 00:24:55,580 --> 00:25:06,380 Yes, on a fault. This seems the opportune moment to repeat the observation made in connexion with Michelangelo's drawings for the 203 00:25:06,380 --> 00:25:14,420 Sistine Chapel ceiling to the effect that for all that such life drawings are routinely referred to as Sonus studies, 204 00:25:14,420 --> 00:25:19,280 it seems extremely unlikely that the models were actual apprentices. 205 00:25:19,280 --> 00:25:29,150 It is true that the exceptional muscular development of Michelangelo's nudes makes their otherness flagrantly apparent. 206 00:25:29,150 --> 00:25:38,180 But even raffles in knew Jersey here seem more than averagely well proportioned. 207 00:25:38,180 --> 00:25:43,460 A very substantial feat in the Alvare teen bottom left in Panama, Wash. 208 00:25:43,460 --> 00:25:51,290 Over black chalk heightened with white, must represent the definitive composition or drawing for this section of the fresco, 209 00:25:51,290 --> 00:25:55,670 since it is almost identical to the final solution. 210 00:25:55,670 --> 00:26:03,200 The only difference of note concerns the absence of the balustrade in the foreground and the bold man leaning upon it, 211 00:26:03,200 --> 00:26:08,060 together with the related figures eyeing his book, 212 00:26:08,060 --> 00:26:15,500 which would seem to suggest that any studies for them were executed at a very late stage in the planning of the work. 213 00:26:15,500 --> 00:26:17,540 Moving on to the individual figures, 214 00:26:17,540 --> 00:26:28,820 it seems logical to start with the more exploratory studies in Penn and then move on to the more finished ones in black chalk. 215 00:26:28,820 --> 00:26:34,430 The most impressive and drawings for the dispute, two double sided sheets. 216 00:26:34,430 --> 00:26:40,670 One in more Pelletiere, which you see here and the other in Munich. 217 00:26:40,670 --> 00:26:47,180 The former comprises studies for the man in pink wearing a kind of turban who leans over the balustrade in the 218 00:26:47,180 --> 00:26:56,330 right foreground on the rector was Bringelly hatched and crosshatch complete study shows him with two options. 219 00:26:56,330 --> 00:27:07,160 The right arm by the Vasso concentrates on the head, which is repeated twice and the strong, muscular hands. 220 00:27:07,160 --> 00:27:16,760 Rafael paid particular attention to the definition of the tendons of the neck, but ended up rather blurring this area in the fresco. 221 00:27:16,760 --> 00:27:24,980 Similarly, for all the confidence with which the left hand is rendered leaning on the Ballester on both sides of the sheet, 222 00:27:24,980 --> 00:27:37,020 it ended up being dramatically raised. The Munich drawing, which is perhaps slightly drier than the one in more Polier, could also more effortlessly. 223 00:27:37,020 --> 00:27:46,550 Sure-footed has what may legitimately be described as a final study for the figure of St. Ambrose on the Recto and on the Vasseur, 224 00:27:46,550 --> 00:27:52,880 which I'm not showing you very resolve Gattoni study of a youth kneeling in prayer, 225 00:27:52,880 --> 00:27:59,870 which nevertheless cannot be directly associated with any figure in the various evolutions 226 00:27:59,870 --> 00:28:06,620 of the dispute or any of the other frescoes in the Stance Centre tour instantly. 227 00:28:06,620 --> 00:28:13,550 Its existence should serve as a reminder of the fact that the surviving drawings that stand still, as in the Torah, 228 00:28:13,550 --> 00:28:21,560 as for almost all projects of the period, truly do represent the tip of what was once an iceberg. 229 00:28:21,560 --> 00:28:29,000 Two drapery studies, both in the Ashmolean, four figures below on Earth, on the left side of the composition. 230 00:28:29,000 --> 00:28:36,290 One in Pan and above all, wash. And the other in exploratory black chalk. 231 00:28:36,290 --> 00:28:41,180 Underline quite how various Rafil could be. 232 00:28:41,180 --> 00:28:48,740 And it's the chalk on the right. Obviously, the latter's the latter sheets, Vasso. 233 00:28:48,740 --> 00:28:58,610 Features a tentative preliminary idea for the same figure, combined with a study for one of the muses in The Parnassus, 234 00:28:58,610 --> 00:29:07,340 who is already conceived of in this pose in the engraving, which is I'll explain more fully in a minute, 235 00:29:07,340 --> 00:29:13,950 represents an earlier stage in the evolution of the idea. 236 00:29:13,950 --> 00:29:26,050 This drawing, in effect, proves that both the dispute and the policies were being planned at the same time. 237 00:29:26,050 --> 00:29:32,260 Two studies, four figures and live in the upper zone are executed in black chalk. 238 00:29:32,260 --> 00:29:41,440 The first is a study in the smolan for the figure of St. Paul, although his identity in the drawing is far from obvious. 239 00:29:41,440 --> 00:29:47,530 The exposed left arm is surprising and the representation of any apostle. 240 00:29:47,530 --> 00:29:56,530 While the absence of the sword with which he was martyred means the figure is effectively without an identifying attributes. 241 00:29:56,530 --> 00:30:06,490 Conversely, the pensive characterisation, which is even more apparent in the drawing where he supports his chin on his right hand and fingers, 242 00:30:06,490 --> 00:30:11,380 his long beard is entirely apposite for Paul. 243 00:30:11,380 --> 00:30:18,610 Intriguingly, Raffel experimented with a number of different solutions for the head of the St. 244 00:30:18,610 --> 00:30:25,220 As you can see, yet none of them is especially close to the fresco. 245 00:30:25,220 --> 00:30:32,540 In contrast, the connexion between the study in C. And the figure of Adam is entirely uncomplicated. 246 00:30:32,540 --> 00:30:38,540 This is one of the freshest of all Rafael's life drawings in the bottom corner. 247 00:30:38,540 --> 00:30:43,310 There is a schematic diagram of part of the vault of the stanza, 248 00:30:43,310 --> 00:30:50,240 which would appear to confirm the fact that the planning of the disputes preceded the painting of the ceiling. 249 00:30:50,240 --> 00:31:00,230 The final drawing I have time to consider for many have had to be admitted is a cartoon fragment for the head, 250 00:31:00,230 --> 00:31:06,050 upper torso and right hand of God, the father in the Louv. 251 00:31:06,050 --> 00:31:14,360 It is typical of Rafael's perfectionism that his actual gesture was to be modified in the fresco. 252 00:31:14,360 --> 00:31:22,850 Having considered all the drawings related to the dispute that the time has now come to turn to the works iconography, 253 00:31:22,850 --> 00:31:28,120 when it comes to the subject matter of the fresco, it is necessary to begin with. 254 00:31:28,120 --> 00:31:32,510 For Sari, his account of the dispute is twofold. 255 00:31:32,510 --> 00:31:37,610 There is a brief mention in connexion with the representation of theology on the vault 256 00:31:37,610 --> 00:31:45,830 where he refers to and I quote the scene where the holy doctors are ordaining the maths. 257 00:31:45,830 --> 00:31:53,120 And then there is the full dress description. This combines a brief summary of the subject, and I quote again, God, 258 00:31:53,120 --> 00:31:59,750 the father sending down the Holy Spirit over them all and particularly over an endless 259 00:31:59,750 --> 00:32:08,840 number of saints who are below writing the mass and engaged in disputation about the host, 260 00:32:08,840 --> 00:32:18,560 which is on the altar. And then he gives a not entirely reliable account of the person now of the scene in bylaw, 261 00:32:18,560 --> 00:32:22,170 his version when it comes to the overall meaning of the fresco. 262 00:32:22,170 --> 00:32:27,240 He's less detailed, but arguably more trustworthy than the salary. 263 00:32:27,240 --> 00:32:30,030 Simply stated that altogether, 264 00:32:30,030 --> 00:32:44,580 these figures compose a most wholly Senate of theologians and fathers who are followers of the first four doctors of the Holy Church. 265 00:32:44,580 --> 00:32:55,110 And they're all contemplating the high mystery of the Eucharistic transubstantiation. 266 00:32:55,110 --> 00:33:00,210 The emphasis here is on contemplation as opposed to disputation, 267 00:33:00,210 --> 00:33:07,260 which seemed convincing and upon the importance of the consecrated host upon the altar, 268 00:33:07,260 --> 00:33:12,300 whose empty Pandian, incidentally, is adorned with Julius's men. 269 00:33:12,300 --> 00:33:20,730 The implications of such a reading for the notion of their having been a defined, iconographic old programme have been initio. 270 00:33:20,730 --> 00:33:29,940 Given the fact that both the altar and the host are absent from the early project drawings Uplay, 271 00:33:29,940 --> 00:33:40,830 the evidence of the preparatory drawings strongly supports the notion that the second of the wall frescoes to have been executed with the Parnassus. 272 00:33:40,830 --> 00:33:41,880 And furthermore, 273 00:33:41,880 --> 00:33:51,660 suggests that it was being projected before the but it was actually executed in addition to the double sided Smolan drawing already referred 274 00:33:51,660 --> 00:34:01,980 to the main argument in favour of this sequence of events is in the form of two records of preliminary ideas for the whole composition. 275 00:34:01,980 --> 00:34:10,890 The aforementioned engraving by Marcantonio right Monday, which you see here. 276 00:34:10,890 --> 00:34:19,020 And an anonymous workshop copy drawing in the smolan in which the figures are studied in nude, 277 00:34:19,020 --> 00:34:24,720 as in the drawing in Frankfurt for the left half of the disk. 278 00:34:24,720 --> 00:34:30,660 These to help chronicle the evolution of this concept in both. 279 00:34:30,660 --> 00:34:41,580 There is a figure at the right margin with both arms held horizontally who is shown gesticulating to his right. 280 00:34:41,580 --> 00:34:50,790 And you see him there with a companion. And they're sort of save lives. 281 00:34:50,790 --> 00:34:59,980 A detailed autograph drawing. That's the first fix to that for a moment. 282 00:34:59,980 --> 00:35:18,930 Where he is not at all present and the detailed. 283 00:35:18,930 --> 00:35:25,720 Yes, it is detail the detailed autograph drawing in pen from the same figure in the British Museum, 284 00:35:25,720 --> 00:35:31,470 which you see here, confirms that the invention was indeed Rafael's. 285 00:35:31,470 --> 00:35:41,410 This figure did not survive into the fresco of the Parnassus, but a variant of his sideways pointing gesture was employed in reverse for 286 00:35:41,410 --> 00:35:48,070 the attitude of the bearded ecclesiastic next to Saint Jerome in the dispute. 287 00:35:48,070 --> 00:35:52,960 Since it seems hard to believe that Rafael would have wanted an all but identical 288 00:35:52,960 --> 00:35:59,290 attitude to feature in the Parnassus after having used it in the dispute. 289 00:35:59,290 --> 00:36:06,340 It seems more reasonable to suppose that the early schemes for the Parnassus preceded the execution of the fresco. 290 00:36:06,340 --> 00:36:13,840 The dispute is also worth asking for all that the connexion is more generic. 291 00:36:13,840 --> 00:36:22,260 Whether Rafael would have wanted flying pooty in both the dispute and the Parnassus, 292 00:36:22,260 --> 00:36:28,270 the ones brandishing the Gospels in the form were evidently not part of his original conception. 293 00:36:28,270 --> 00:36:41,560 Well, the ones with just remind you of them, the ones with Laurel wreaths in Mark continued print did not survive in the final version of the latter. 294 00:36:41,560 --> 00:36:46,520 The basic conception of the Parnassus. 295 00:36:46,520 --> 00:36:57,170 Which from the outset, tapes in such a masterful fashion with the extreme inconvenience, the window in its middle portrays Apollo, the nine muses, 296 00:36:57,170 --> 00:37:05,360 and a number of Lorrel crowned and often identifiable poets on the mound was already established 297 00:37:05,360 --> 00:37:15,830 and the now lost drawing that Marcantonio must have had at his disposal to engrave the print. 298 00:37:15,830 --> 00:37:26,150 Famously inscribed with the misleading legend Rafael Pink's IT in Vatican, Cano Rafael painted this in the Vatican where he nearly painted this. 299 00:37:26,150 --> 00:37:36,860 He actually painted something else. Be that as it may, the differences between this print and the fresco are nevertheless fascinating, 300 00:37:36,860 --> 00:37:43,510 not least because they once again reveal the extent to which Rafael was determined to improve upon 301 00:37:43,510 --> 00:37:51,350 a solution that lesser artists would have been more than happy with the removal of the five flag. 302 00:37:51,350 --> 00:37:53,720 Puti is the subtraction. 303 00:37:53,720 --> 00:38:07,460 Most of the other modifications, and not least the alterations to the bottom right corner of the design involved additions on the left. 304 00:38:07,460 --> 00:38:15,050 The poses of the surviving figures tend to remain essentially unchanged, but one extra poet is joined respectively. 305 00:38:15,050 --> 00:38:28,550 The foreground group and the group with Dante and Homer up above Dante and Homer. 306 00:38:28,550 --> 00:38:36,590 More significantly, a very prominent and wholly new figure of Sappho holding her Barbie dolls, 307 00:38:36,590 --> 00:38:42,770 but also a scroll with her name to avoid any possible confusion with the Muses. 308 00:38:42,770 --> 00:38:49,220 No doubt, rests illusionist Akeley on the painted window embracer over to the right. 309 00:38:49,220 --> 00:38:59,330 In contrast, one of the muses is now seen from behind, and all the attendant poets have changed both that poses and their appearances. 310 00:38:59,330 --> 00:39:04,850 Last but not least, the attitude of the central figure of Apollo has changed utterly. 311 00:39:04,850 --> 00:39:16,100 And he is playing Martin Vile as opposed to an ancient liar, Fannings the copy drawing in Smolin. 312 00:39:16,100 --> 00:39:23,300 It is apparent that it must represent an intermediate stage between the other two conceptions, 313 00:39:23,300 --> 00:39:30,530 although in some details the fresco reverts to a solution found in print and then temporarily rejected. 314 00:39:30,530 --> 00:39:38,870 The other general observation to make about this drawing is that it excludes the outer margins and the upper part of the scheme, 315 00:39:38,870 --> 00:39:49,370 which means that certain peripheral figures are missing from it and that it is impossible to pass judgement on the presence or absence of the Putih. 316 00:39:49,370 --> 00:39:59,150 He might still have wanted to include them, but they'd been, as it were, over the top out of sight here. 317 00:39:59,150 --> 00:40:05,030 It's left half differs from the print in only one significant respect, 318 00:40:05,030 --> 00:40:16,020 namely ensuring the scribe taking dictation from blind Homer, turning his head away from the poet. 319 00:40:16,020 --> 00:40:29,150 Sorry towards. In the middle, Apollo is already playing. 320 00:40:29,150 --> 00:40:33,420 His veil is in his final attitude while on the right. 321 00:40:33,420 --> 00:40:42,630 The music scene from the back. But the gesticulating man in the foreground has retained. 322 00:40:42,630 --> 00:40:46,490 In considering the more detailed drawings for individual figures and groups, 323 00:40:46,490 --> 00:40:53,300 it is as a rule possible to associate them with one of the three stages in the evolution of the composition, 324 00:40:53,300 --> 00:41:02,430 whether it should be added that the stylistic uniformity of these drawings suggests that very little time needed elapsed between the various stages. 325 00:41:02,430 --> 00:41:11,550 The fact that the study for the figure of the gesticulating man relates to the stage recorded in Mark Antonia's print has already been established. 326 00:41:11,550 --> 00:41:17,790 But this is something of an exception rather than the rule. 327 00:41:17,790 --> 00:41:28,860 That was that. The magnificently talked life study and pan for the figure of Apollo, which shows a naked except for his underpants, 328 00:41:28,860 --> 00:41:37,690 is for the second conception and includes a detailed, separate study of his foreshortened musical instrument. 329 00:41:37,690 --> 00:41:50,060 Similarly, the drapery study in Penn for Dante holding a book cannot be linked with the print where these details are not included. 330 00:41:50,060 --> 00:41:54,410 There are two pending studies for the drapery of Holmer. 331 00:41:54,410 --> 00:42:02,720 One is closer to the print in showing a mantel over his right shoulder and arm, as well as drapery bunching on the ground. 332 00:42:02,720 --> 00:42:10,640 The disposition of the drapery patterns in the other is closer to the fresco. 333 00:42:10,640 --> 00:42:15,810 Two of the muses represent fascinating transitional cases in both studies. 334 00:42:15,810 --> 00:42:19,830 There are elements from both the print and the fresco, 335 00:42:19,830 --> 00:42:28,230 as it's particularly obvious with the one on the right here where the turn of the head relates to the print. 336 00:42:28,230 --> 00:42:32,550 But the elaboration of the drapery relates to the fresco. 337 00:42:32,550 --> 00:42:34,290 Other studies are uncomplicated. 338 00:42:34,290 --> 00:42:44,820 Four figures were not present or are wholly differently characterised in the first two stages drapery study in the British Museum. 339 00:42:44,820 --> 00:42:48,300 The poet at bottom. Right in the frescoes. Case in point. 340 00:42:48,300 --> 00:42:54,780 And there is a supplementary drawing which you see on the right and pan over black chalk under drawing in Lille, 341 00:42:54,780 --> 00:43:00,570 which studies his feet on the right foot of the poet beside him. 342 00:43:00,570 --> 00:43:14,460 Likewise, there is a preliminary pen study for the bearded head of the poet leaning on the tree in the left foreground. 343 00:43:14,460 --> 00:43:28,380 That poet in red and white. And in this drawing he is together with what turned out to be definitive studies for the heads of Homer and Dumpty. 344 00:43:28,380 --> 00:43:34,530 And this study must relate to the frescoes, since only there is he bearded. 345 00:43:34,530 --> 00:43:38,160 You see him beardless in print. 346 00:43:38,160 --> 00:43:48,510 It was followed by a second and more evolved head study, this time in Silver Point and by another metal point sheet on pink prepared paper. 347 00:43:48,510 --> 00:43:55,250 On the left here. Whose technique looks forward to many of the studies for the school of. 348 00:43:55,250 --> 00:44:00,200 Last, but by no means least a pair of gorgeous head studies in black chalk. 349 00:44:00,200 --> 00:44:02,150 Two of the muses. 350 00:44:02,150 --> 00:44:13,710 They are both what are now known as auxiliary cartoons, which means that they were based upon the now lost cartoon for the whole fresco, 351 00:44:13,710 --> 00:44:23,770 but gave Raffaelle a final opportunity to restudy these particular heads separately. 352 00:44:23,770 --> 00:44:31,300 When it comes to School of Athens, the grand total of extant drawings is significantly fewer, 353 00:44:31,300 --> 00:44:36,880 but amongst them are a number of the most ravishing sheets Rafael ever executed. 354 00:44:36,880 --> 00:44:42,040 The fresco depicts an assembly of ancient philosophers and the magnificent classical building, 355 00:44:42,040 --> 00:44:47,170 which is presided over by statues of Apollo and Minerva. 356 00:44:47,170 --> 00:44:56,350 In the centre are Plato holding a copy of the TIMSS, who has the features of Leonardo da Vinci and Aristotle with his ethics. 357 00:44:56,350 --> 00:44:59,770 But they are not the only ones who are identifiable. 358 00:44:59,770 --> 00:45:07,480 The half kneeling figure at bottom left his Pythagoras's with his musical scale was balanced on the right by a John Mutter, 359 00:45:07,480 --> 00:45:16,780 who must presumably be Euclid. Beside him are two figures respectively, holding a terrestrial and a celestial globe. 360 00:45:16,780 --> 00:45:27,850 Evidently, Ptolemy and Zoroaster, not far from Plato into his proper right is Socrates expounding a point in his argument. 361 00:45:27,850 --> 00:45:34,750 While the figure reclining on the stairs is Diogenes with his bow. 362 00:45:34,750 --> 00:45:44,470 Plato and Aristotle, Socrates, Progeny's, Pythagoras and Euclid. 363 00:45:44,470 --> 00:45:49,050 Suggestions have been made concerning the end identities of several other figures, 364 00:45:49,050 --> 00:45:57,250 and not least the brooding seated figure in the left foreground resting his left elbow on a stone block to whom we will return. 365 00:45:57,250 --> 00:46:05,560 But they are altogether less certain. The overwhelming majority of the drawings for the School of Athens are in Metal Point, 366 00:46:05,560 --> 00:46:11,230 predominantly on pink prepared paper, sometimes heightened with white. 367 00:46:11,230 --> 00:46:15,910 One of the most revealing is a sheet in Vienna for the group around Pythagoras, 368 00:46:15,910 --> 00:46:22,870 which shows the figures in everyday clothes and in essence, exactly as they will appear in the fresco. 369 00:46:22,870 --> 00:46:29,370 In the case of the standing figure holding a book and with a small stone block under his left foot, 370 00:46:29,370 --> 00:46:36,940 it's clear that he is maintaining his difficult pose by holding Krutch under his left armpit. 371 00:46:36,940 --> 00:46:41,110 And indeed, the attitude of his right arm is completely different. 372 00:46:41,110 --> 00:46:44,560 In the finished work over to the right of the page, 373 00:46:44,560 --> 00:46:53,430 he is restarted in the definitive pose and clothed in the classical draperies he will wear in the fresco. 374 00:46:53,430 --> 00:46:58,860 And now, I'm sorry, almost Insaf, indecipherable, faint, 375 00:46:58,860 --> 00:47:08,850 but extremely informative Metropol drawing on greenish grey prepared paper here in their smolan shows the group around Euclid. 376 00:47:08,850 --> 00:47:11,850 They are likewise dressed in everyday clothes, 377 00:47:11,850 --> 00:47:20,680 as is particularly clear when it comes to what will become the crowned figure of Ptolemy standing to the right and seen from behind. 378 00:47:20,680 --> 00:47:29,290 In the main and above all, because my time is limited, I've avoided discussing possible sources for raffles inventions. 379 00:47:29,290 --> 00:47:38,410 But in this instance, and not least since the connexion has not previously been noted, 380 00:47:38,410 --> 00:47:45,160 I would like to suggest that Rafael's Ptolemy must have been inspired by the figure of Judith by Michelangelo 381 00:47:45,160 --> 00:47:51,790 in one of the corners mandrels he executed at the outset of his work on the Sistine Chapel ceiling. 382 00:47:51,790 --> 00:47:53,650 As I explained last week, 383 00:47:53,650 --> 00:48:03,910 the scaffolding covering the first half of the ceiling was removed in fifteen ten and although it was not generally open for viewing, 384 00:48:03,910 --> 00:48:07,820 for may well be right in relating that Broman place. 385 00:48:07,820 --> 00:48:15,490 Margot Rafaelle in when Michelangelo was not about whether it should be noted that Vasari 386 00:48:15,490 --> 00:48:20,780 implies that this sneak preview took place after the completion of the stance of Dallas. 387 00:48:20,780 --> 00:48:32,800 Enter the pose of Ptolemy is not absolutely identical, but strikes me as more than coincidentally close. 388 00:48:32,800 --> 00:48:38,140 And even the general colour scheme of oranges, blues and greens is tellingly similar. 389 00:48:38,140 --> 00:48:43,690 Finally, it is worth adding that it is extremely uncommon in Renaissance art to represent 390 00:48:43,690 --> 00:48:49,720 major figures from the rear and without showing their facial features at all. 391 00:48:49,720 --> 00:48:58,150 You kind of get lost profiles, but the back of the neck is a bit of a rarity to return to the drawings. 392 00:48:58,150 --> 00:49:09,330 Arguably, the most perfect of all these metal point studies is the sheet for Day is in Frankfurt, in which Raffaelle dispenses with white height. 393 00:49:09,330 --> 00:49:18,100 Its way of surrounding the complete figure of the reclining philosopher with immaculately rendered Close-Up details of various parts of his anatomy, 394 00:49:18,100 --> 00:49:23,500 is strikingly reminiscent of Michelangelo's practise in such drawings for the Sistine Chapel 395 00:49:23,500 --> 00:49:29,830 ceiling as the red chalk study for the Libyan civil in the Metropolitan HRO last week. 396 00:49:29,830 --> 00:49:37,930 Although relatively speaking, Raffaelle keeps his distance and does not, in, for instance, on the tapes. 397 00:49:37,930 --> 00:49:43,960 There are two further metal point drawings, both in the Ishmail. 398 00:49:43,960 --> 00:49:49,030 The first is a study for the two men on the steps beyond Euclid and his entourage, 399 00:49:49,030 --> 00:49:52,690 where the only significant difference between their appearance here and in the 400 00:49:52,690 --> 00:50:01,870 fresco is that the one facing us is beardless and not yet in pure profile. 401 00:50:01,870 --> 00:50:07,710 Below them is an incredibly intense screaming head. 402 00:50:07,710 --> 00:50:17,870 Which relates to that of the Gorgon Medusa on the shield by the statue of Minerva in the niche behind them. 403 00:50:17,870 --> 00:50:30,080 In her turn, she Minerva, together with a number of apprentices in their work clothes, posing as further statues in the flight of niches beyond her. 404 00:50:30,080 --> 00:50:38,750 The subject of the second drawing when it comes to her attitude, an expression they could hardly be closer to the final fresco, 405 00:50:38,750 --> 00:50:47,910 except that the position of a right arm and the extent to which it emerges from the niche are fractionally modified. 406 00:50:47,910 --> 00:50:53,790 Two final drawings for the school of Athens are both executed in a new medium red chalk. 407 00:50:53,790 --> 00:51:01,470 And I'm sorry I couldn't get this one in colour, which Raffaelle had only occasionally previously employed the first. 408 00:51:01,470 --> 00:51:08,190 This one in Frankfurt is almost certainly a workshop copy of a now lost study by Rafil. 409 00:51:08,190 --> 00:51:15,250 But interestingly, is on the reverse of an autograph study unrelated to the stance of the listening tour. 410 00:51:15,250 --> 00:51:23,790 So it really does come from his world. It combines the standing bearded philosopher with the celestial glow. 411 00:51:23,790 --> 00:51:32,810 Customarily, I densified the Zoroaster with two of the figures beyond him and beneath the Nitsch with the statue of Minerva. 412 00:51:32,810 --> 00:51:35,680 The second yet again here and there, 413 00:51:35,680 --> 00:51:43,940 monium is a thrillingly energetic study for the fictive marble relief of fighting figures directly below the nitch, 414 00:51:43,940 --> 00:51:52,730 which seems to be based on actual life studies and serves to underline the fact that no detail of the fresco was too minor, 415 00:51:52,730 --> 00:52:05,040 not to inspire Rafael's meticulous attention. Almost miraculously, there also insists Rafael's cartoon for the school of outfitters, 416 00:52:05,040 --> 00:52:11,850 which is preserved in the Bibliotheque Ambrosiano in Milan as one would expect it. 417 00:52:11,850 --> 00:52:19,670 And the fresco of virtually identical. But there is one major change of plan in the cartoon. 418 00:52:19,670 --> 00:52:26,520 The seated figure in the left foreground resting his left elbow on a stone block is missing. 419 00:52:26,520 --> 00:52:32,720 In fact, as can be established by study of the plaster on which the fresco is painted, 420 00:52:32,720 --> 00:52:45,570 Raffaelle must have faithfully followed the cartoon and only then hacked out the relevant section had new plaster laid and repainted it. 421 00:52:45,570 --> 00:52:53,560 The pensive additional figure is often identified as Heraclitus. 422 00:52:53,560 --> 00:53:06,690 Yeah, and it has been suggested that he may in some sense represent my client, maybe a kind of push to make. 423 00:53:06,690 --> 00:53:14,700 The final wall of the stance deals with the intrusive window by dividing the space into three separate compartments, maddeningly, 424 00:53:14,700 --> 00:53:25,360 there are no extant drawings for the upper zone in which the three monumental figures of the virtues of fortitude with a Delta rover, 425 00:53:25,360 --> 00:53:38,180 a Oaktree prudence gazing into a mirror and temperance with the bridle represented with a surely Michelangelo inspired amplitude. 426 00:53:38,180 --> 00:53:46,260 I can't believe that the person who painted that these figures haven't seen the Sistine Chapel see. 427 00:53:46,260 --> 00:53:57,190 Instead, we must settle for the two single sheets respectively, connected with the frescoes below, which are both in Frankfurt. 428 00:53:57,190 --> 00:54:05,380 These frescoes, as I've said, represent civil law in the form of Justinian receiving the pan depth and canon law 429 00:54:05,380 --> 00:54:14,170 in the form of Gregory and the 9th handing the decreed falls to raiment of Penfold. 430 00:54:14,170 --> 00:54:21,340 In this latter scene, the pope is endowed with the features of Julius the second and the fresco must date 431 00:54:21,340 --> 00:54:26,290 from after the bellicose pontiff's return to Rome on the twenty seventh of June. 432 00:54:26,290 --> 00:54:31,510 Fifteen. Eleven. Because he'd only grown the splendid beard he sports. 433 00:54:31,510 --> 00:54:37,300 During his 12 month absence from the city on a military campaign, 434 00:54:37,300 --> 00:54:44,200 the worriedly disciplined pen drawing for the right side of the fresco reveals that the rest of the composition 435 00:54:44,200 --> 00:54:53,590 must already have been devised by reserving space for the figure to the immediate left of this group. 436 00:54:53,590 --> 00:54:58,420 Even more winning, however, is to study for the other scene, 437 00:54:58,420 --> 00:55:08,020 which was only recognised as having been delegated to the Venetian painter Lorenzo Lotto as recently as the year 2000, 438 00:55:08,020 --> 00:55:13,960 when Arnold Nessel Ruppe made the attribution in an article in the Burlington magazine. 439 00:55:13,960 --> 00:55:18,510 This drawing is almost entirely executed in Wash. 440 00:55:18,510 --> 00:55:24,550 There's a tiny bit of pen and was presumably above all designed to establish the 441 00:55:24,550 --> 00:55:31,190 distribution of the respective areas of light and shade within the composition. 442 00:55:31,190 --> 00:55:36,120 It may serve as a compelling reminder when needed. 443 00:55:36,120 --> 00:55:45,710 Of the fact that almost without exception and for all that they serve a preparatory purpose within the scheme of design, 444 00:55:45,710 --> 00:55:51,020 these drawings are extremely beautiful. 445 00:55:51,020 --> 00:55:55,910 They may be part of a process leading to a painting, but Raffaelle, for one, 446 00:55:55,910 --> 00:56:07,900 can scarcely have been unaware of their purely visual appeal and must surely have taken immense pride and delight in it. 447 00:56:07,900 --> 00:56:12,141 Thank.