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Renaissance History Through His Humanist Accomplishments

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Renaissance History Through His Humanist Accomplishments 3-79 A / /vO.7Y HUMANISM AND THE ARTIST RAPHAEL: A VIEW OF RENAISSANCE HISTORY THROUGH HIS HUMANIST ACCOMPLISHMENTS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of Master of Science By Douglas W. Miller, B.A., M.S. Denton, Texas August, 1991 Miller, Douglas W., Humanism and the Artist Raphael: A View of Renaissance History Through His Humanist Accomplishments. Master of Science (History), August, 1991, 217 pp., 56 illustrations, bibliography, 43 titles. This thesis advances the name of Raphael Santi, the High Renaissance artist, to be included among the famous and highly esteemed Humanists of the Renaissance period. While the artistic creativity of the Renaissance is widely recognized, the creators have traditionally been viewed as mere craftsmen. In the case of Raphael Santi, his skills as a painter have proven to be a timeless medium for the immortalizing of the elevated thinking and turbulent challenges of the time period. His interests outside of painting, including archaeology and architecture, also offer strong testimony of his Humanist background and pursuits. ACKNOWLEDGEMENT I would like to gratefully acknowledge the kind and loving support (and patience) that I have received from my wife and my entire family. Thank you for everything, and I dedicate this thesis to all of you, but especially to the person that most embodies all those humanist qualities this thesis attempts to celebrate and honor. That person is my father. iii TABLE OF CONTENTS LIST OF ILLUSTRATIONS.. ... .. v INTRODUCTION................. CHAPTER I. HUMANISM: THE ESSENCE OF THE RENAISSANCE. 6 II. INFLUENCES IN RAPHAEL'S DEVELOPMENT. .... 50 III. THE STANZE DELLA SEGNATURA .........-.. 77 IV. THE STANZE DI ELIODORO AND DELL' INCENDIO. 132 V. OTHER RAPHAEL PROJECTS AND INTERESTS. 158 VI. POSTERITY'S APPRAISAL ... ......... 174 ILLUSTRATIONS..........-.............. ..... 185 BIBLIOGRAPHY.................................200 iv LIST OF ILLUSTRATIONS Figure Page 1. Michelangelo. Moses (detail). 185 2. Piero della Francesca. Portrait of Federigo Montefeltre, The Duke of Urbino . 185 3. Piero della Francesca. An Ideal City . 185 4. Raphael. A Self-Portrait . 185 5. Raphael. The Marriage of the Virgin . 187 6. Perugino. Christ's Charge to Peter . 187 7. Peter Paul Rubens. Fight for the Standard (from Leonardo's Anghiari studies) . 187 8. Raphael. Portrait of Agnolo Doni . 1 87 9. Raphael. Portrait of Maddalena Doni . 1 89 10. Raphael. La Donna Gravida . 1 89 11. Raphael. Lady with a Unicorn . 1 89 12. Raphael. La Donna Muta . 189 13. Raphael. The Connestabile Madonna . 191 14. Raphael. The Madonna in the Meadows . 191 V 15. Raphael. The Madonna del Granduca 191 16. Raphael. The Alba Madonna . 191 17. Raphael. The Madonna della Sedia . 193 18. Leonardo da Vinci. The Virgin of the Rocks 193 19. Raphael. The Sistine Madonna . 193 20. Raphael. St. George and the Dragon . 193 21. Raphael. St. George and the Dragon . 195 22. Raphael. The Knight's Vision. 195 23. Raphael. The Three Graces . 195 24. Raphael. The Entombment of Christ . 195 25. Raphael. The Ceiling of the Stanze della Segnatura 197 26. Raphael. Original Sin . 197 27. Raphael. The School of Athens . 197 28. Raphael. Disputa. 1 97 29. Raphael. Parnassus . 199 30. Raphael. The Jurisprudence wall of the S. d. Segnatura 199 31. Raphael. The Cardinal Virtues . 199 32. Raphael. Gregory IX and the Decretals . 199 33. Raphael. The Expulsion of Heliodorus . 201 vi 34. Raphael. The Mass of Bolsena 201 35. Raphael. The Liberation of St. Peter 201 36. Raphael. Portrait of Julius 11 . 201 37. Raphael. The Meeting of Leo I and Attila. 203 38. Raphael. The Fire in the Borgo . 203 39. Raphael. The Oath of Purgation . 203 40. Raphael. The Coronation of Charlemagne 203 41. Raphael. The Battle of Ostia. 205 42. Raphael. The Miraculous Draught of Fishes 205 43. Raphael. The Vatican Logge . 205 44. Rpahael. The Creation series of the Vatican Logge 205 45. Raphael. Portrait of Pope Leo X and Two Cardinals 207 46. Raphael. La Donna Velata . 207 47. Raphael. Self-Portrait with Fencing Master . 207 48. Raphael. Portrait of Baldassare Castiglione . 207 49. Raphael. Study for the Alba Madonna 209 50. Raphael. The Triumph of Galatea . 209 51. Raphael. The Villa Fornesina Logge 209 52. Raphael. Cupid and the Three Graces 209 vii 53. Raphael. The Cupola of the Chigi Chapel. 211 54. Raphael. The Villa Madama . 211 55. Unknown (Rhodes). Laocoon . 211 56. Raphael. The Transfiguration . 211 viii INTRODUCTION The Renaissance occurred because of the individual and corporate contributions and accomplishments of men that history has labeled Humanists. While all sorts of questions and doubts surround both the notion of A Renaissance and thj Humanists, the events which occurred throughout Europe, but especially in Italy, from around 1300 - 1600, had, and continue to have, dramatic and profound effects. To be an admirer of one personality of this era, and a staunch advocate of that personality's significance both locally in that time frame, and also in terms of a legacy created, pushes one to demonstrate the association of that personality with the widely accepted giants of the period. These giants, the humanists of the Renaissance, produced inspirational messages for their period, and those same messages should inspire us in our troubled times as well. It is in this vein, therefore, that the author argues that the artist Raphael Santi should be acknowledged, because of his 1 RWMWN 2 activities and accomplishments, as a humanist - the most honored appellation possible for a person living during those centuries. Towards this pursuit, I will first attempt to define "Humanism" as a point of reference; specifically as it relates to the other definition-weary concept - the Renaissance. I will next recount the nature of Raphael's life and accomplishments as they reflect similarities and relevance to the previous definition of humanism. Humanists led active lives and pursued a variety of interests. An attempt to recount such an individual's relevant life activities may tend to appear disjointed. I have attempted to supply all necessary transitions. The most significant activities and works will obviously receive the greatest attention. As a true humanist, Raphael continually matured intellectually and expanded personally throughout his life, and at life's end his accomplishments (some unfinished) remained as a lasting legacy. This aspect of Raphael will be addressed last. Raphael is remembered and revered as one of the most skilled 3 painters of all time. A study of the subjects he painted, and how he planned his compositions, as well as how those two aspects relate to his interests outside of painting, provide the real guideposts to an exploration of Raphael as a Renaissance humanist. To this end, some fifty color photographs of the paintings discussed in the text are included. Although these are much reduced in size, they enable the reader to experience some of the effect that these creations had on Raphael's contemporaries and continue to have on us who live in a quite different age. It is constructive to consider the lasting impact of Raphael's pictorial "statement" of those virtues and accomplishments which are most highly valued (treasured) by the humanists. Certainly, the writings which propound the humanist point of view have had a major influence upon the institutions and foundations of our civilization. But it must be acknowledged that few individuals today read the works of Petrarch, Valla, Erasmus, or More. By contrast, Raphael every week, through his inspired depictions of the power of the Biblical heritage and the fascinating contributions of 4 the Ancients to science, art, and philosophy, "speaks" to thousands of visitors, who come from all over the world to the Papal Apartments. As we witness this we are forced to concede that wily Pope Julius II must have had a perception that the art of Raphael, Michelangelo, and Bramante, conceived through his patronage and iron will, would be a powerful, continuing influence upon posterity. The lofty and noble ideals of humanity have never been more eloquently or effectively conceived, in any form, than in Raphael's Stanze della Segnatura works. Their execution required Raphael to reach beyond his previously demonstrated artistic and intellectual ability, and he did so by assimilating others' talents and strengths with his own. Raphael relied heavily on the knowledge and expertise of scholars during the planning of his commission, as he brought very little previous classical scholarship with him when he first arrived in Rome. But his powerful and naturally-curious intellect rendered him an enthusiastic student of this new world that had opened for him. The other int rests he developed during the period he lived in Rome offer strong testimony to that. Raphael, like other 5 humanists, dedicated himself to the identification of classical accomplishments, and the development of systems to assimilate ancient glories with efforts to address the uncertainties and regressions of the times. Raphael's contribution to the expression of these ideals came primarily, though not entirely, through his peerless abilities of presentation as a painter. Horace described painting as "poetry without words." Raphael's "poetry" in the Stanze della Segnatura offers to observers the inspiration and challenge to continually seek the nature and goals of our humanity. CHAPTER I HUMANISM: THE ESSENCE OF THE RENAISSANCE The ultimate effect of this recovery of classical literature was, once and for all, to liberate the intellect. -Paul Oskar Kristeller Prayer, to be sure, is the stronger weapon...yet knowledge is no less necessary. -Erasmus of Rotterdam Definitions The thought of attempting one more definition of the Renaissance and Humanism is daunting, considering the previous, countless scholarly attempts. This presentation makes no claim, nor has any pretense, that the opinions and interpretations expressed here are going to shift the balance of the debates fought for nearly one and a half centuries.
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