The School of Athens is a fresco painted by Raphael between 1508 and 1512. It is located in the Room of the Signature, one of the four rooms decorated by the painter in the apartments of Pope Julius II at the Vatican. It depicts the main philosophers and scholars of Greco-Roman antiquity, gathered in a vast building inspired by classical architecture. This fresco is considered one of the most important works of the Italian Renaissance and one of the highest expressions of humanist culture.
The historical and cultural context of the fresco
Raphael (1483-1520) is a painter from Urbino, who moved to Florence in 1504. He studied the works of his contemporaries, such as Leonardo da Vinci and Michelangelo, and learned perspective, composition and expression of feelings. He went to Rome in 1508, called by Pope Julius II, who entrusted him with the decoration of his apartments at the Vatican.
The School of Athens is part of a cycle of frescoes dedicated to the four domains of knowledge: theology, philosophy, poetry and law. It occupies the wall opposite to that of the Disputation of the Holy Sacrament, which illustrates the truth revealed by Christian faith. It symbolizes thus the rational truth, based on human reason.
The fresco reflects the influence of humanist ideas, which developed in Florence under the patronage of the Medici. The humanists rediscovered the texts and arts of Greco-Roman antiquity and sought to reconcile classical culture and Christian faith. They were inspired especially by Neoplatonism.
The analysis of the fresco
The fresco is composed according to a rectangular format, which follows the shape of the wall on which it is painted. The painter uses the technique of fresco, which consists in applying colors on a fresh plaster. He uses bright colors (red, blue, green) that contrast with the light background, which evokes light.
The main character of the fresco is the building that occupies the center of the composition. It is a monumental edifice, inspired by classical architecture. It has a columned facade, a triangular pediment, a dome and niches adorned with statues. It recalls Bramante’s new Saint Peter’s basilica, which was under construction at that time.
Around the building, a crowd of characters is divided into more or less distinct groups. They are the main philosophers and scholars of Greco-Roman antiquity, who represent different branches of knowledge. In the center, two figures stand out: Plato and Aristotle, who each hold a book in their hand. They symbolize the two major currents of ancient philosophy: idealism and realism.
To the left of Plato and Aristotle, other famous characters are recognized: Socrates, who discusses with his disciples; Pythagoras, who writes on a board; Heraclitus, who meditates on a block of marble; Diogenes, who rests on the steps; Euclid, who draws a geometric figure; Zoroaster, who holds a celestial globe; Ptolemy, who holds an earthly globe.
To the right of Plato and Aristotle, other notable figures are also distinguished: Alexander the Great, who wears armor; Epicurus, who holds a cup; Averroes, who wears a turban; Seneca, who resembles Michelangelo; Pyrrho, who doubts everything; Raphael himself, who represents himself as a spectator.
The interpretation of the fresco
The fresco can be interpreted according to several levels of reading:
• A historical reading: The fresco pays tribute to the thinkers of Greco-Roman antiquity, who contributed to the progress of human knowledge. It also shows the influence of classical culture on the Italian Renaissance, which rediscovered and reinterpreted the texts and arts of antiquity.
• A symbolic reading: The fresco expresses the concept of universal harmony, based on the dialogue between the different disciplines of knowledge. It also shows the role of human reason in the quest for truth. It illustrates thus the humanist ideal, which aims to develop the intellectual and moral faculties of man.
• An allegorical reading: The fresco represents the school of Athens as the place par excellence of philosophy and culture. It suggests thus that Rome is the heir of Athens and that Pope Julius II is the protector of arts and letters. It glorifies thus the papal power and its legitimacy.
The School of Athens is therefore a major work of Raphael and the Italian Renaissance. This fresco testifies to the interest of the artists for the ancient culture and for the humanist ideas. This fresco invites the spectator to admire the richness of human knowledge, but also to reflect on the meaning of philosophy and on its relation with faith.
