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