Disputation of the Holy Sacrament

Disputa del Sacramento ( " Dispute on the Sacrament ") is the title of a hergebrachte the most famous paintings by Raphael. The large wall fresco in the Stanza della Segnatura, today within the Vatican Museums, was 1509/10 and is part of all four walls and the ceiling of the room inclusive Christian- humanist image program. In this it represents the theology as divinarum rerum cognitio ( " knowledge of divine things ").

Title

The title Disputa del Sacramento is secondary. The " disputing " the theologians of the " Host on the altar " was first mentioned by Giorgio Vasari in 1550 in a brief description of the image in last place for other image content. The title to use today sat down until the second third of the 17th century gradually and is criticized throughout in the literature.

History

At the turn of 1508/ 09 was Raphael of Julius II ( pope 1503-1513 ) commissioned to work and soon lead the painting of the new residential and office rooms in the Apostolic Palace that are now called Raphael's Rooms, where previously but next others had worked Giovanni Antonio Bazzi. The room in which the oral defense is, Vasari in 1550 called the Stanza della Segnatura, and so he is called to this day, but is not sure whether this purpose was as a meeting room of the papal rights commission early as the time of the decorations or whether it rather originally should include the papal library, what many seem to indicate in the iconography.

The spiritual world of the Stanza della Segnatura corresponds to that of other contemporary writings and photos, but should have had Raphael consultant for the well thought out to the last detail design of its frescoes. Recently, Giles de Viterbo is assumed as a direct or indirect source of inspiration.

Description

The fresco comprises according to the architecture of the space form a wide semi-circle above a low rectangle. The image is divided into three horizontal planes, pretending by their curvature an apsidal curvature of the image surface. They are separated from each other by two regions of sky blue and connected to each other by a vertical central axis. The area between the top image plane and the apparent apex apse fills in a beam downward propagating gold.

On the cloud formation that marks the top image plane, float on both sides of the central axis of three angels in sign rich poses.

The second cloud formation, as the first interspersed with putti silhouettes, forms a bench on which, characterized by their attributes, key witnesses of the old and new covenant and the old church sit, they too vividly talking and gesticulating. There are left of the central axis Peter, Adam, John the Evangelist, David, Lawrence and Solomon or Judas Maccabeus (?), The right of the axis Joshua (?), Stephen, Moses, James, the elder, Abraham and Paul.

At the lowest level, the paved earth or church grounds, more than 40 people are to be seen, some of which are identifiable, partially represented as types. Above them is left a church construction site to see the right, a mighty pillar base, probably allusions to the simultaneously arising St. Peter's Basilica, but also to the mystical nature of the Church. Next to the central axis of the right and left to sit on marble thrones, the four Latin Fathers Gregory the Great ( with the facial features of Julius II ), Jerome, Ambrose and Augustine. Of the remaining people are, inter alia, Sixtus IV, Dante, Thomas Aquinas and the far left Fra Angelico recognizable. Striking the two bearded men are to the immediate left and right of the altar; the left, dressed in pluvial, has over with both arms outstretched to the monstrance, the right, dressed in black, with arm and index finger to the sky, in correspondence to the gestures of Plato and Aristotle in the School of Athens. Who should represent these figures is uncertain. With all the excitement and emotion of the characters themselves all attention is focused on the central axis - with the exception of a group of persons in the left foreground that reads away in a book and discussed. A fair-haired young man in blue -and-gold clothes she asks with a look and gesture to turn the middle.

These spatial and temporal planes connecting the central axis formed by God the Father in the top golden field, with white hair and beard, square nimbus and globe; including in a circular glory of Jesus Christ as the second person of the Trinity, and at the same time as the Incarnate the wounds of the cross on the chest and hands, flanked by adoring the Blessed Mother and the suggestive Baptist John; including marking in a sun disk, the geometric center of the whole image, the dove of the Holy Spirit that descends to the earth, surrounded by angel boy with four open books; including eventually, separated by a strip of sky blue, the suspended on a ornate altar in the monstrance for adoration converted Host, the Eucharistic Body of Christ, the earthly and visible presence of the form shown above heavenly reality.

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