The political interpretation of the iconography of Raphael's frescoes in the Stanza della Segnatura in the Vatican palace is strongly supported by a reassessment of the other three papal rooms, decorated during the pontificates of Julius II, Leo X and Clement VII. In the Stanza di Eliodoro, Stanza dell'Incendio di Borgo and Stanza di Costantino, the political significance of the frescoes is in fact indisputable: they celebrate the Roman papacy and the individual po-Des who commissioned this cycle of paintings. In tnis contribution, we reassess the main theories put forward to identify the characters portrayed in the Parnassus (1510-1511), taking as a starting point the assumption that they are grouped according to the literary genres they practised: epic, lyric, tragedy and comic or elegiac literature. In the latter, we would include two poets looking towards the spectator, probably two contemporaries of Raphael. After numerous comparisons, our conclusions confirm that one is Jacopo Sannazaro, whereas for the other we suggest a new hypothesis, i.e. Jacopo Sadoleto. As a result, the Parnassus aimed to reiterate, with its strategic choices of ancient, modern and contemporary poets, the celebration of the patronage of Giuliano della Rovere, which is the real central and unifying theme of the iconographic choices made in the Stanza della Segnatura: in this fresco, the pope is identified with Apollo, Achilles and Augustus, and presented as a champion of literature and patron of the cultural revival in contemporary Rome.
Una nuova indagine sulla presenza di poeti moderni nel Parnaso di Raffaello
Il Parnaso di Raffaello: criptoritratti di poeti moderni e ideologia pontificia
FARINELLA, VINCENZO;CASADEI, ALBERTO
2017-01-01
Abstract
The political interpretation of the iconography of Raphael's frescoes in the Stanza della Segnatura in the Vatican palace is strongly supported by a reassessment of the other three papal rooms, decorated during the pontificates of Julius II, Leo X and Clement VII. In the Stanza di Eliodoro, Stanza dell'Incendio di Borgo and Stanza di Costantino, the political significance of the frescoes is in fact indisputable: they celebrate the Roman papacy and the individual po-Des who commissioned this cycle of paintings. In tnis contribution, we reassess the main theories put forward to identify the characters portrayed in the Parnassus (1510-1511), taking as a starting point the assumption that they are grouped according to the literary genres they practised: epic, lyric, tragedy and comic or elegiac literature. In the latter, we would include two poets looking towards the spectator, probably two contemporaries of Raphael. After numerous comparisons, our conclusions confirm that one is Jacopo Sannazaro, whereas for the other we suggest a new hypothesis, i.e. Jacopo Sadoleto. As a result, the Parnassus aimed to reiterate, with its strategic choices of ancient, modern and contemporary poets, the celebration of the patronage of Giuliano della Rovere, which is the real central and unifying theme of the iconographic choices made in the Stanza della Segnatura: in this fresco, the pope is identified with Apollo, Achilles and Augustus, and presented as a champion of literature and patron of the cultural revival in contemporary Rome.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
