text:
The School of Athens
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The School of Athens
Artist
Raphael
Year
1509–1511
Type
Fresco
Dimensions
500 cm × 770 cm (200 in × 300 in)
Location
Apostolic Palace, Vatican City
Bramante as Euclid or Archimedes
The School of Athens (Italian: Scuola di Atene) is one of the most famous frescoes by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as a part of Raphael's commission to decorate the rooms now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. The Stanza della Segnatura was the first of the rooms to be decorated, and The School of Athens, representing Philosophy, was probably the second painting to be finished there,[1] after La Disputa (Theology) on the opposite wall, and the Parnassus (Literature). The picture has long been seen as "Raphael's masterpiece and the perfect embodiment of the classical spirit of the Renaissance".[2]
Contents
[hide]
1 Program, subject, figure identifications and interpretations
1.1 Figures
1.2 Central figures (14 and 15)
1.3 Setting
2 Drawings and cartoon
3 Copies
4 Gallery
5 Notes
6 References
7 External links
Program, subject, figure identifications and interpretations[edit]
Zoroaster, Ptolemy, Raphael as Apelles and Perugino or Timoteo Viti as Protogenes
The School of Athens is one of a group of four main frescoes on the walls of the Stanza (those on either side centrally interrupted by windows) that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes," "Divine Inspiration," "Knowledge of Things Divine" (Disputa), "To Each What Is Due." Accordingly, the figures on the walls below exemplify Philosophy, Poetry (including Music), Theology, and Law.[3] The traditional title is not Raphael's. The subject of the "School" is actually "Philosophy," or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, all the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras' circumpunct.
Commentators have suggested that nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is difficult, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, the alleged Epicurus is far removed from his standard type. Aside from the identities of the figures depicted, many aspects of the fresco have been variously interpreted, but few such interpretations are unanimously accepted among scholars.
The popular idea that the rhetorical gestures of Plato and Aristotle are kinds of pointing (to the heavens, and down to earth) is very likely. But Plato's Timaeus – which is the book Raphael places in his hand – was a sophisticated treatment of space, time, and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. It is not certain how much the young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante, or whether a detailed program was dictated by his sponsor, Pope Julius II.
Nevertheless, the fresco has even recently been interpreted as an exhortation to philosophy and, in a deeper way, as a visual representation of the role of Love in elevating people toward upper knowledge, largely in consonance with contemporary theories of Marsilio Ficino and other neo-Platonic thinkers linked to Raphael.[4]
Finally, according to Vasari, the scene includes Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists.[5]
However, as Heinrich Wölfflin observed, "it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise ... The all-important thing was the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter of indifference" in Raphael's time.[6] What is evident is Raphael's artistry in orchestrating a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions," interact, in a "polyphony" unlike anything in earlier art, in the ongoing dialogue of Philosophy.[7]
An interpretation of the fresco relating to hidden symmetries of the figures and the star constructed by Bramante was given by Guerino Mazzola and collaborators.[8]
Figures[edit]
The identities of some of the philosophers in the picture, such as Plato and Aristotle, are certain. Beyond that, identifications of Raphael's figures have always been hypothetical. To complicate matters, beginning from Vasari's efforts, some have received multiple identifications, not only as ancients but also as figures contemporary with Raphael. Vasari mentions portraits of the young Federico II Gonzaga, Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and Raphael himself.[9] He was writing over 40 years after the painting, and never knew Raphael, but no doubt reflects what was believed in his time. Many other popular identifications of portraits are very dubious.
Luitpold Dussler (de) counts among those who can be identified with some certainty: Plato, Aristotle, Socrates, Pythagoras,[10] Euclid,[11] Ptolemy, Zoroaster, Raphael, Sodoma and Diogenes of Sinope. Other identifications he holds to be "more or less speculative".[12]
A more comprehensive list of proposed identifications is given below:[13]
The parenthetical names are the contemporary characters from whom Raphael is thought to have drawn his likenesses.
1: Zeno of Citium[14] 2: Epicurus[14] 3: unknown[15] 4: Boethius[14] or Anaximander?[14] 5: Averroes[14] 6: Pythagoras[14][10] 7: Alcibiades[14] or Alexander the Great?[14] 8: Antisthenes[14] or Xenophon?[14] 9: unknown[15][16] or Fornarina as a personification of Love[17] (Francesco Maria della Rovere?)[13] 10: Aeschines[14] 11: Parmenides[13] or Nicomachus?[13] 12: Socrates[14] 13: Heraclitus[13] (Michelangelo?)[13] 14: Plato[13] (Leonardo da Vinci?)[13] 15: Aristotle[13] (Giuliano da Sangallo?)[18] 16: Diogenes of Sinope[13] 17: Plotinus?[13] 18: Euclid[13] or Archimedes[13] (Bramante?)[13] 19: Strabo[13] or Zoroaster?[13] (Baldassare Castiglione?)[13] 20: Ptolemy[13] R: Apelles[13] (Raphael)[13] 21: Protogenes[13] (Il Sodoma[13] or Timoteo Viti[19])
Central figures (14 and 15)[edit]
An elder Plato walks alongside Aristotle.
In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and Aristotle, his student, on the right. Both figures hold modern (of the time), bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus, Aristotle his Nicomachean Ethics. Plato is depicted as old, grey, wise-looking, and bare-foot. By contrast Aristotle, slightly ahead of him, is in mature manhood, handsome, well-shod and dressed with gold, and the youth about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the beautiful vault above; Aristotle on the horizontal plane at right-angles to the picture-plane (hence in strong foreshortening), initiating a powerful flow of space toward viewers.
It is popularly thought that their gestures indicate central aspects of their philosophies, for Plato, his Theory of Forms, and for Aristotle, his empiricist views, with an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the present realm. However,[original research?] Plato's Timaeus was, even in the Renaissance, a very influential treatise on the cosmos, whereas Aristotle insisted that the purpose of ethics is "practical" rather than "theoretical" or "speculative": not knowledge for its own sake, as he considered cosmology to be.
Setting[edit]
Detail of the architecture
The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology[2] (see Christianity and Paganism and Christian philosophy). The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture.[2] Some have suggested that the building itself was intended to be an advance view of St. Peter's Basilica.[2]
There are two sculptures in the background. The one on the left is the god Apollo, god of light, archery and music, holding a lyre.[2] The sculpture on the right is Athena, goddess of wisdom, in her Roman guise as Minerva.[2]
The main arch, above the characters, shows a meander (also known as a Greek fret or Greek key design), a design using continuous lines that repeat in a "series of rectangular bends" which originated on pottery of the Greek Geometric period and then become widely used in ancient Greek architectural friezes.[20]
Drawings and cartoon[edit]
A number of drawings made by Raphael as studies for the School of Athens are extant.[21] A study for the Diogenes is in the Städel in Frankfurt[22] while a study for the group around Pythagoras, in the lower left of the painting, is preserved in the Albertina Museum in Vienna.[23] Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athena's shield,[24] the statue of Athena (Minerva) and three other statues,[25] a study for the combat-scene in the relief below Apollo[26] and "Euclid" teaching his pupils[27] are in the Ashmolean Museum of Art and Archaeology at Oxford University.
The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan.[28]
Copies[edit]
The Victoria and Albert Museum has a rectangular version over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs on display in the eastern Cast Court.[29]
Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old Cabell Hall at the University of Virginia. Produced in 1902 by George W. Breck to replace an older reproduction that was destroyed in a fire in 1895, it is four inches off scale from the original, because the Vatican would not allow identical reproductions of its art works.[30]
Other reproductions include: by Neide, in Königsberg Cathedral, Kaliningrad,[31] in the University of North Carolina at Asheville's Highsmith University Student Union, and a recent one in the seminar room at Baylor University's Brooks College. A copy of Raphael's School of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-floor reading room of the Bibliothèque Sainte-Geneviève in Paris.
The two figures at the left of Plotinus were used as part of the cover art of both Use Your Illusion I and II albums of Guns N' Roses.
Gallery[edit]
Zeno of Citium
Epicurus
Averroes and Pythagoras
Pythagoras
Alcibiades or Alexander the Great and Antisthenes or Xenophon
Parmenides
Aeschines and Socrates
Michelangelo as Heraclitus
Leonardo da Vinci as Plato
Aristotle
Diogenes
Notes[edit]
Jump up ^ Jones and Penny, 74
^ Jump up to: a b c d e f History of Art: The Western Tradition by Horst Woldemar Janson, Anthony F. Janson
Jump up ^ See Giorgio Vasari, "Raphael of Urbino", in Lives of the Artists, vol. I: "In each of the four circles he made an allegorical figure to point the significance of the scene beneath, towards which it turns. For the first, where he had painted Philosophy, Astrology, Geometry and Poetry agreeing with Theology, is a woman representing Knowledge, seated in a chair supported on either side by a goddess Cybele, with the numerous breasts ascribed by the ancients to Diana Polymastes. Her garment is of four colours, representing the four elements, her head being the colour of fire, her bust that of air, her thighs that of earth, and her legs that of water." For further clarification, and introduction to more subtle interpretations, see E. H. Gombrich, "Raphael’s Stanza della Segnatura and the Nature of Its Symbolism", in Symbolic Images: Studies in the Art of the Renaissance (London: Phaidon, 1975).
Jump up ^ M. Smolizza, ‘’Rafael y el Amor. La Escuela de Atenas como protréptico a la filosofia’’, in ‘Idea y Sentimiento. Itinerarios por el dibujo de Rafael a Cézanne’, Barcelona, 2007, pp. 29–77. [A review of the main interpretations proposed in the last two centuries.]
Jump up ^ According to Vasari, "Raphael received a hearty welcome from Pope Julius, and in the chamber of the Segnatura he painted the theologians reconciling Philosophy and Astrology with Theology, including portraits of all the wise men of the world in dispute."
Jump up ^ Wōlfflin, p. 88.
Jump up ^ Wōlfflin, pp. 94f.
Jump up ^ Guerino Mazzola et al.: Rasterbild - Bildraster. Springer-Verlag, Berlin, et al. 1986, ISBN 3-540-17267-X.
Jump up ^ Giorgio Vasari, Lives of the Artists, v. I, sel. & transl. by George Bull (London: Penguin, 1965), p. 292.
^ Jump up to: a b Jürg Meyer zur Capellen, however, qualifies the certainty of this identification writing "eine Gruppe von Lesenden und Disputierenden, die um eine Sitzfigur, vielleicht Pythagoras, angeordnet ist." ("a group of people reading and debating, arranged around a seated figure, perhaps Pythagoras."). Jürg Meyer zur Capellen: Raffael (Munich: Beck 2010), p. 49.
Jump up ^ Again, Meyer zur Capellen is more cautious: "Eine Gruppe von Schülern umgibt einen Lehrer (Archimedes oder Euklid?), der auf einer Tafel ein geometrisches Prinzip erläutert" Jürg Meyer zur Capellen: Raffael (Munich: Beck 2010), p. 50.
Jump up ^ Luitpold Dussler: Raphael. A Critical Catalogue (London and New York: Phaidon 1971), p. 73.
^ Jump up to: a b c d e f g h i j k l m n o p q r s t u v "The School of Athens, Who is Who?", Part 1 by Michael Lahanas.
^ Jump up to: a b c d e f g h i j k l "The School of Athens, Who is Who?" (Part 2) by Michael Lahanas.
^ Jump up to: a b Raphael has reused the motif of two women from his earlier work the Vision of a Knight (see Chefs d'oeuvre de l'art : grands peintres N° 31 : Raphaël (en deux parties), Hachette, 1966, p. 215).
Jump up ^ The interpretation of this figure as Hypatia seems to have originated from the Internet. Serious sources do not mention it at all. H. J. Mozans (=John Augustine Zahm specifically regrets that Hypatia does not appear in the painting in his book Women in Science (1913), p. 141.
Jump up ^ Raphael's lover Fornarina is portrayed in a famous painting in the National Gallery of Ancient Art in Rome. This identification has been introduced on 2002 by Matteo Smolizza during his cooperation with Lorenza Mochi Onori, former Director of the Museum, in the occasion of the Exhibit La Fornarina di Raffaello, Milan, Fondazione Arte e Civiltà, March 14 – June 2, 2002. It was later investigated on the basis of 1) position of the portrait (specular to Raphael's one); 2) appearance compared with contemporary Raphael's drawings; 3) strictly contemporary texts by Raphael to the woman; 4) fresco's general meaning. Cf. Smolizza, pp. 68–74.[full citation needed]
Jump up ^ Jill Burke (ed.), Rethinking the High Renaissance: The Culture of the Visual Arts in Early Sixteenth-century Rome, Ashgate Publishing, 2012, p. 170.
Jump up ^ Timoteo Viti is another plausible candidate according to Esperienze letterarie, 24, Società editrice napoletana, 1999, p. 151.
Jump up ^ Lyttleton, Margaret. "Meander." Grove Art Online. Oxford University Press, 2012. Accessed 5 August 2012.
Jump up ^ Luitpold Dussler: Raphael. A Critical Catalogue (London and New York: Phaidon 1971), p. 74
Jump up ^ Zeichnungen – 16. Jahrhundert – Graphische Sammlung – Sammlung – Städel Museum. Staedelmuseum.de (2010-11-18). Retrieved on 2011-06-13.
Jump up ^ Raffaello Santi. mit seinen Schülern (Studie für die "Schule von Athen", Stanza della Segnatura, Vatikan) (trans.: Pythagoras and his students (Study for the 'School of Athens', Stanza della Signatura, the Vatican) (inventory number 4883)). Albertina Museum. Vienna, Austria, 2008. Retrieved on 2011-06-13.
Jump up ^ Raphael (1482 - 1520).Two Men conversing on a Flight of Steps, and a Head shouting. Ashmolean Museum of Art and Archaeology, University of Oxford, 2011. Retrieved on 2011-06-13.
Jump up ^ Raphael (1482 - 1520).Studies for a Figure of Minerva and Other Statues. Ashmolean Museum of Art and Archaeology, University of Oxford, 2011. Retrieved on 2011-06-13.
Jump up ^ Raphael (1482 - 1520). Recto: Combat of nude men. Ashmolean Museum of Art and Archaeology, University of Oxford, 2011. Retrieved on 2011-06-13.
Jump up ^ Raphael (1482-1520).Euclid instructing his Pupils. Ashmolean Museum of Art and Archaeology, University of Oxford, 2011. Retrieved on 2011-06-13.
Jump up ^ School of Athens Cartoon
Jump up ^ V&A Museum: Copy of Raphael's School of Athens in the Vatican. collections.vam.ac.uk (2009-08-25). Retrieved on 2016-03-24.
Jump up ^ Information on Old Cabell Hall from University of Virginia
Jump up ^ Northern Germany: As Far as the Bavarian and Austrian Frontiers, Baedeker, 1890, p. 247.
References[edit]
Roger Jones and Nicholas Penny, Raphael, Yale, 1983, ISBN 0300030614.
Heinrich Wölfflin, Classic Art: An Introduction to the Italian Renaissance (London: Phaidon, 2d edn. 1953).
External links[edit]
Wikimedia Commons has media related to The School of Athens.
The School of Athens on In Our Time at the BBC.
The School of Athens at the Web Gallery of Art
The School of Athens (interactive map)
Cartoon of The School of Athens
The School of Athens reproduction at UNC Asheville
BBC Radio 4 discussion about the significance of this picture in the programme In Our Time with Melvyn Bragg.
3 Cool Things You Might Not Know About Raphael’s School of Athens
[hide]
v
t
e
Raphael
Early works
The Kinnaird Resurrection
Baronci Altarpiece
St. Sebastian
Oddi Altar
Solly Madonna
Mond Crucifixion
Three Graces
St Michael
Portrait of a Man
Connestabile Madonna
Madonna and Child
The Marriage of the Virgin
Vision of a Knight
St George
Colonna Altarpiece
Portrait of Perugino 1
Madonna and Child with the Book
Florentine period
Portrait of Elisabetta Gonzaga 2
Portrait of Emilia Pia da Montefeltro 2
Portrait of Guidobaldo da Montefeltro
Self-portrait
Madonna of the Grand Duke
Ansidei Madonna
Young Man with an Apple
Christ Blessing
Madonna Terranuova
Madonna of the Goldfinch
Madonna of the Meadow
Esterhazy Madonna
Small Cowper Madonna
St George and the Dragon
La donna gravida
Portrait of Agnolo Doni
Portrait of Maddalena Doni
Madonna of the Pinks
Young Woman with Unicorn
Madonna with Beardless St Joseph
Saint Catherine of Alexandria
Canigiani Holy Family
La belle jardinière
Deposition of Christ
Portrait of a Young Woman
Tempi Madonna
Madonna Colonna
Madonna de Bogota
Roman period
Portrait of Cardinal Alessandro Farnese
La disputa
The School of Athens
Madonna of Loreto
Aldobrandini Madonna
Madonna with the Blue Diadem
Portrait of a Cardinal
Alba Madonna
Niccolini-Cowper Madonna
The Parnassus
Cardinal and Theological Virtues
The Prophet Isaiah
The Expulsion of Heliodorus from the Temple
Portrait of Pope Julius II
Madonna of Foligno
Madonna with the Fish
Triumph of Galatea
Sistine Madonna
Madonna della seggiola
Madonna dell'Impannata
Madonna della tenda
The Fire in the Borgo
The Meeting of Leo the Great and Attila
Deliverance of Saint Peter
The Mass at Bolsena
Portrait of Bindo Altoviti
The Sibyls
Ecstasy of St. Cecilia
Portrait of Balthasar Castiglione
La donna velata
Portrait of Tommaso Inghirami
Palazzo Branconio dell'Aquila
Portrait of Andrea Navagero and Agostino Beazzano
Portrait of Cardinal Bibbiena
Church of Sant'Eligio degli Orefici
Creation of the World
Transfiguration
Portrait of Pope Leo X with Two Cardinals
Christ Falling on the Way to Calvary
The Holy Family of Francis I
Ezekiel's Vision
St. Michael Vanquishing Satan
Madonna of the Rose
Self-Portrait with a Friend
La Fornarina
Visitation
Portrait of a Young Man
Miraculous Draught of Fishes
Christ's Charge to Peter
Healing of the Lame Man
Death of Ananias
Stoning of St. Stephen
Conversion of the Proconsul
Sacrifice at Lystra
St Paul in Prison
St Paul Preaching in Athens
Palazzo Jacopo da Brescia
St Margaret and the Dragon
1 Also attributed to Lorenzo di Credi
2 Attributed
Authority control
GND: 4103544-6
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_School_of_Athens&oldid=802352935"
Categories:
Raphael rooms
1510s paintings
Images of philosophers
Philosophy and culture
Cultural depictions of Socrates
Cultural depictions of Plato
Cultural depictions of Archimedes
Cultural depictions of Aristotle
Cultural depictions of Alexander the Great
Cultural depictions of Diogenes
Hidden categories:
Articles needing more detailed references
Articles containing Italian-language text
Interlanguage link template link number
All articles that may contain original research
Articles that may contain original research from June 2011
Wikipedia articles with GND identifiers
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikimedia Commons
Languages
العربية
Azərbaycanca
বাংলা
Беларуская
Български
Català
Čeština
Cymraeg
Deutsch
Ελληνικά
Español
Esperanto
Euskara
فارسی
Français
Հայերեն
Hrvatski
Bahasa Indonesia
Íslenska
Italiano
עברית
Basa Jawa
ქართული
Latina
Lietuvių
Bahasa Melayu
Nederlands
日本語
Norsk
Polski
Português
Русский
Scots
Shqip
Simple English
Slovenčina
Српски / srpski
Srpskohrvatski / српскохрватски
Suomi
Svenska
தமிழ்
ไทย
Türkçe
Українська
Tiếng Việt
中文
Edit links
This page was last edited on 25 September 2017, at 16:51.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view

values: mw-page-base noprint

values: mw-head-base noprint

attrs: id class style

value: i

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

values: text-align:center;font-size:125%;font-weight:bold;font-size: 125%; font-weight: bold; font-style: italic

attrs: alt src width height srcset data-file-width data-file-height

attrs: scope style

values: width:22em;width: 22em; line-height: 1.4em; text-align: left; float:right;

values:
/wiki/Stanza_della_Segnatura
mw-redirect
Stanza della Segnatura

values: Edit section: Program, subject, figure identifications and interpretations

values:
/wiki/Ethics_(Aristotle)
mw-redirect
Ethics (Aristotle)

values:
/wiki/Duke_of_Mantua
mw-redirect
Duke of Mantua

values:
noprint
font-size:85%; font-style: normal;

values: Francesco Maria I della Rovere, Duke of Urbino

values:
/wiki/Diogenes_of_Sinope
mw-redirect
Diogenes of Sinope

values: Edit section: Central figures (14 and 15)

values:
/wiki/Theory_of_Forms
mw-redirect
Theory of Forms

values: The material near this tag possibly contains original research. (June 2011)

values:
/wiki/St._Clement%27s_Cross
mw-redirect
St. Clement's Cross

values:
/wiki/Oxford_University
mw-redirect
Oxford University

values:
/wiki/Pinacoteca_Ambrosiana
mw-redirect
Pinacoteca Ambrosiana

values:
/wiki/Barberini_Gallery_Rome
mw-redirect
Barberini Gallery Rome

values: -moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;

values: Madonna and Child Enthroned with Saints (Raphael)

values:
/wiki/File:Raffaello_Sanzio.jpg
image
Self-portrait, 1506

values:
navbox-image
3
width:1px;padding:0px 0px 0px 2px

values: Madonna with Beardless St. Joseph (Raphael)

values: Cardinal and Theological Virtues (Raphael)

values: nowraplinks vcard hlist collapsible autocollapse navbox-inner

values:
nofollow
external text
http://d-nb.info/gnd/4103544-6

values: Category:Cultural depictions of Socrates

values: Category:Cultural depictions of Archimedes

values: Category:Cultural depictions of Aristotle

values: Category:Cultural depictions of Alexander the Great

values: Category:Cultural depictions of Diogenes

values: Category:Articles needing more detailed references

values: Category:Articles containing Italian-language text

values: Category:Interlanguage link template link number

values: Category:All articles that may contain original research

values: Category:Articles that may contain original research from June 2011

values: Category:Wikipedia articles with GND identifiers

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values:
/wiki/The_School_of_Athens
View the content page [ctrl-alt-c]
c

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

values:
uls-settings-trigger
Language settings
0
button
true

values: مدرسة أثينا (لوحة) – Arabic

values: দ্য স্কুল অফ এথেন্স – Bangla

values: Афінская школа – Belarusian

values: Атинската школа (картина) – Bulgarian

values: Η Σχολή των Αθηνών (Ραφαήλ) – Greek

values: مکتب آتن (نقاشی) – Persian

values: Աթենական դպրոց (Ռաֆայել) – Armenian

values: אסכולת אתונה – Hebrew

values: ათენის სკოლა – Georgian

values: アテナイの学堂 – Japanese

values: interlanguage-link interwiki-ja badge-Q17437798 badge-goodarticle

values: Афинская школа – Russian

values: Атинска школа – Serbian

values: ஏதென்சு கல்விக்கூடம் – Tamil

values: โรงเรียนแห่งเอเธนส์ (ราฟาเอล) – Thai

values: Афінська школа (Рафаель) – Ukrainian

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-The_School_of_Athens rootpage-The_School_of_Athens vector-nav-directionality skin-vector action-view