Sixtus IV Appointing Platina as Prefect of the Vatican Library

Sixtus IV appoints Platina as Prefect of the Vatican Library - also in numerous similar names - is a fresco by Melozzo da Forlì. It is his most famous work and was in the third quarter of the 15th century into the early Renaissance. In addition to Pope Sixtus IV and Bartolomeo Platina are still four nephews of the Pope mapped, including the future Pope Julius II as a Cardinal. The picture is one of art history 's most important works in the representation of groups of people in the 15th century.

Event, dating and whereabouts

Melozzo da Forli, on whose training or possible early works hardly anything is known or received, was one of the best painters of his time. In the early 1470s - years, he is mentioned as pictor papalis, so as a painter of the pope. The fresco of the appointment Platinas is the only remaining of a series of frescoes for the Vatican Library, which he created in the direct order of Sixtus IV and his family.

The event illustrated the appointment of the humanist Bartolomeo Sacchi, called Bartolomeo Platina prefect of the Vatican Library, was held on June 15, 1475. It is unclear whether the members of the family were pictured actually present and whether the room has ever existed as depicted in the painting so.

The history of art is very disagree on the dating of the fresco. Be Called 1475-1477, Wolfgang Braunfels is the image before 1477, others to 1477, Karl Woermann exactly 1477, and others a little later, around 1480, the latter period 1480 bis 1481st

Melozzo da Forlì it created originally on the wall opposite the entrance to the so-called Latin library in the Vatican Library, on that very wall and into adjacent rooms had previously created frescoes, among others, Domenico Ghirlandaio and his brothers, with his he completed the program. It was later removed, transferred to canvas and placed in the Pinacoteca Vaticana in the Vatican Museum, where it is located today.

Representation

Melozzo da Forlì divided the participating six people in two groups of three, which is considered a pioneering anticipation of the High Renaissance. All persons depicted together are the clear outlines, the strong color of the garments and the voltage applied to monumentality single representation of the people; This type of representation has Melozzo da Forlì safely taken by Piero della Francesca. Another characteristic of the image is the quiet, measured posture of the figures with very economical gestures. Although there are quite eye contacts, the participants act independently and almost a little isolated from each other in it.

Left group

The left group consists of two nephews of Sixtus IV della Rovere Giovanni very outside, right next to him Girolamo Riario. Right below the two kneeling appointed Platina before the Pope. His right hand points to the inscription in the lower part of the image. It reads: " Templa domvm expositis: vicos fora moenia pontes / Virgineam Trivii qvod repararis aqvam. / Prisca licet navtis statvas dare Commoda portvs: / Et Vaticanvm cingere Syxte ivgum: / PLVS VRBS tamen debet: Nam qvae Squallore latebat: / Cernitvr in loco celebri biblioteca " It thus refers to the activities of the Pope as a builder. .

Rights group

It consists of the people of the then Cardinal Giuliano della Rovere, later Pope Julius II, tonsured and cardinal purple and him from appealing Cardinal Pietro Riario right, also tonsured and both nephews of the Pope. As in the left group is the third person of the group, seated Pope Sixtus IV, slightly shifted to the right, a fine trick to stimulate the action. This is the first representation of a pope as a seated figure in the history of art. This model was followed by numerous artists in their portraits of Popes, Raphael, Titian, Velázquez, etc., ultimately goes thus created tradition to this day.

Space representation

The representation of the surrounding space is considered a masterpiece of perspective. The back expiring under three arcades pillars follow an ornate and partially gilded in the capitals variant of the Tuscan order. The ceiling is coffered and illustrated with gilded rosettes on a blue background. The vanishing point of the design lies exactly at the level of the lower third of the image between the robes Platinas and the future Pope. In contrast, the standing behind the arc column follows the Corinthian order. It is not known if there ever was this space in this form in the Vatican, more likely is an ideal conception of an appropriate courtly suitableness of the period. Both the image laterally limiting pillar fronts are decorated with oak leaves and acorns on a blue background. This is no accident, but is the heraldic symbols of the Della Rovere family represents comes from the both Sixtus IV as well as the one pictured later Julius II. Overall, the design follows models of Andrea Mantegna and Leon Battista Alberti.

Image statement

The statement of the image results from the monumentality of the people, the inscription and the original location of the image. Sixtus IV would have made sure that he was understood as a patron, owner and promoter of humanism. He had not only appointed Platina prefect of the Vatican Library, but made ​​it accessible to the public. The image portrays the same time in a ceremony the encounter between religious and secular culture. It is a representation of the image Della Rovere, shows the high artistic and literary culture of the time, but also the self-confidence of Sixtus IV for the Holy See, and ultimately for Rome itself