The Sala Ducale lies between the Sala Regia and the Loggia of Giovanni da Udine. Formerly there were here two separate halls, which were converted into one by Bernini by the removal of the separating wall (the position of which is still clearly perceptible). The decorative paintings, which are of a purely ornamental nature, are by Raffaellino da Reggio, Sabbatini, and Matthæus Brill. In this impressive hall were formerly held the public consistories for the reception of ruling princes. It now serves occasionally for the reception of pilgrims, the consecration of bishops, when (as rarely happens) this is undertaken by the Pope, or is used for the accommodation of specified divisions of the papal household, when the pope holds a consistory in the Sala Regia, proceeds to the Sistine Chapel, or sets out with great solemnity for St. Peter’s.
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| The Sala Ducale |
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| The Sala Ducale |
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| The Sala Ducale |
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| The Sala Ducale |
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| The four Raphael Rooms form a suite of reception rooms, now part of the Vatican Museums in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome. Raphael Rooms |
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| The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor (and rival) Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the third floor, overlooking the south side of the Belvedere Courtyard. Raphael Rooms |
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| Scuola di Atene The School of Athens | Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco. Raphael Rooms |
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| Raphael - Cardinal and Theological Virtues | The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope. Raphael Rooms |
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| Raphael - Disputation of the Holy Sacrament | The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth. Raphael Rooms |
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| Raphael - Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time. Raphael Rooms |
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| Estancia de Heliodoro Raphael Rooms |
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| Raphael Rooms |
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| Raphael - The Expulsion of Heliodorus from the Temple In The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees (3:21–28) about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura. Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting. At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event. His inclusion here refers to his battles to prevent secular leaders from usurping papal territories. Raphael Rooms |
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| Raphael The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12. It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli (St. Peter in Chains), so the painting is at once a general reference to the papacy and a specific reference to Julius. The fresco is a study in light: natural moonlight, man-made torchlight, and God-provided angel light. It is the latter, of course, that outshines the others. Raphael Rooms |
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| Raphael - Ceiling of the Room of Eliodorus Raphael Rooms |
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| Borgo Fire Room. Raphael Rooms |
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| Raphael - Battle of Ostia Raphael Rooms |
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| Raphael - Fire in the Borgo Raphael Rooms |
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| Raphael - Coronation of Charlemagne Raphael Rooms |
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| Raphael - Oath of Leo III Raphael Rooms |
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| Estancia. Raphael Rooms |
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| Estancia. Raphael Rooms |
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| School of Raphael - Vision of the Cross The fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek "Εν τούτω νίκα" ("By this, conquer", better known as the Latin In hoc signo vinces) written next to it. Raphael Rooms |
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| Giulio Romano - The Battle of the Milvian Bridge The Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision. Raphael Rooms |
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| Giannfrancesco Penni - Baptism of Constantine | The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the Lateran Baptistery at Rome, following the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis (and not the different deathbed version recounted in Eusebius's Life of Constantine). Raphael Rooms |
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| The final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions. Raphael Rooms |
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| Tommaso Laureti - Ceiling of Room of Constantine Raphael Rooms |
