The School of Athens

Prompt: Focus on The School of Athens and explain the abstract.

The School of Athens (Italian: Scuola di Atene) is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the Stanze di Raffaello in the Apostolic Palace in Vatican City. The fresco depicts a congregation of ancient philosophers, mathematicians, and scientists, with Plato and Aristotle featured in the center. The identities of most figures are ambiguous or discernable only through subtle details or allusions; among those commonly identified are Socrates, Pythagoras, Archimedes, Heraclitus, Averroes, and Zarathustra. Additionally, Italian artists Leonardo da Vinci and Michelangelo are believed to be portrayed through Plato and Heraclitus, respectively. Raphael included a self-portrait beside Ptolemy. Raphael is the only character who is looking directly at the viewer in the artwork.The painting is notable for its use of accurate perspective projection, a defining characteristic of Renaissance art, which Raphael learned from Leonardo; likewise, the themes of the painting, such as the rebirth of Ancient Greek philosophy and culture in Europe were inspired by Leonardo's individual pursuits in theatre, engineering, optics, geometry, physiology, anatomy, history, architecture and art.The School of Athens is regarded as one of Raphael's best-known works and has been described as his "masterpiece and the perfect embodiment of the classical spirit of the Renaissance".

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the abstract of this artwork, The School of Athens.

The School of Athens (Italian: Scuola di Atene) is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the Stanze di Raffaello in the Apostolic Palace in Vatican City. The fresco depicts a congregation of ancient philosophers, mathematicians, and scientists, with Plato and Aristotle featured in the center. The identities of most figures are ambiguous or discernable only through subtle details or allusions; among those commonly identified are Socrates, Pythagoras, Archimedes, Heraclitus, Averroes, and Zarathustra. Additionally, Italian artists Leonardo da Vinci and Michelangelo are believed to be portrayed through Plato and Heraclitus, respectively. Raphael included a self-portrait beside Ptolemy. Raphael is the only character who is looking directly at the viewer in the artwork.The painting is notable for its use of accurate perspective projection, a defining characteristic of Renaissance art, which Raphael learned from Leonardo; likewise, the themes of the painting, such as the rebirth of Ancient Greek philosophy and culture in Europe were inspired by Leonardo's individual pursuits in theatre, engineering, optics, geometry, physiology, anatomy, history, architecture and art.The School of Athens is regarded as one of Raphael's best-known works and has been described as his "masterpiece and the perfect embodiment of the classical spirit of the Renaissance".

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: How does The School of Athens explain its abstract?

The School of Athens (Italian: Scuola di Atene) is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the Stanze di Raffaello in the Apostolic Palace in Vatican City. The fresco depicts a congregation of ancient philosophers, mathematicians, and scientists, with Plato and Aristotle featured in the center. The identities of most figures are ambiguous or discernable only through subtle details or allusions; among those commonly identified are Socrates, Pythagoras, Archimedes, Heraclitus, Averroes, and Zarathustra. Additionally, Italian artists Leonardo da Vinci and Michelangelo are believed to be portrayed through Plato and Heraclitus, respectively. Raphael included a self-portrait beside Ptolemy. Raphael is the only character who is looking directly at the viewer in the artwork.The painting is notable for its use of accurate perspective projection, a defining characteristic of Renaissance art, which Raphael learned from Leonardo; likewise, the themes of the painting, such as the rebirth of Ancient Greek philosophy and culture in Europe were inspired by Leonardo's individual pursuits in theatre, engineering, optics, geometry, physiology, anatomy, history, architecture and art.The School of Athens is regarded as one of Raphael's best-known works and has been described as his "masterpiece and the perfect embodiment of the classical spirit of the Renaissance".

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the abstract discussed?

The School of Athens (Italian: Scuola di Atene) is a fresco by the Italian Renaissance artist Raphael. It was painted between 1509 and 1511 as part of a commission by Pope Julius II to decorate the rooms now called the Stanze di Raffaello in the Apostolic Palace in Vatican City. The fresco depicts a congregation of ancient philosophers, mathematicians, and scientists, with Plato and Aristotle featured in the center. The identities of most figures are ambiguous or discernable only through subtle details or allusions; among those commonly identified are Socrates, Pythagoras, Archimedes, Heraclitus, Averroes, and Zarathustra. Additionally, Italian artists Leonardo da Vinci and Michelangelo are believed to be portrayed through Plato and Heraclitus, respectively. Raphael included a self-portrait beside Ptolemy. Raphael is the only character who is looking directly at the viewer in the artwork.The painting is notable for its use of accurate perspective projection, a defining characteristic of Renaissance art, which Raphael learned from Leonardo; likewise, the themes of the painting, such as the rebirth of Ancient Greek philosophy and culture in Europe were inspired by Leonardo's individual pursuits in theatre, engineering, optics, geometry, physiology, anatomy, history, architecture and art.The School of Athens is regarded as one of Raphael's best-known works and has been described as his "masterpiece and the perfect embodiment of the classical spirit of the Renaissance".

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Focus on The School of Athens and explain the Program, subject, figure identifications and interpretations.

The Stanza della Segnatura was the first of the rooms to be decorated, and The School of Athens, representing philosophy, is believed to be the third painting to be finished there, after La Disputa (Theology) on the opposite wall, and the Parnassus (Literature).The School of Athens is one of a group of four main frescoes on the walls of the Stanza (those on either side centrally interrupted by windows) that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes", "Divine Inspiration", "Knowledge of Things Divine" (Disputa), "To Each What Is Due". Accordingly, the figures on the walls below exemplify philosophy, poetry (including music), theology, and justice. The traditional title is not Raphael's. The subject of the painting is actually philosophy, or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, many of the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras' monad.Commentators have suggested that nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is speculative, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, one of the figures alleged to be Epicurus is far removed from his standard depiction. Aspects of the fresco other than the identities of the figures have also been variously interpreted, but few such interpretations are unanimously accepted among scholars. That the rhetorical gestures of Plato and Aristotle are kinds of pointing (to the heavens, and down to earth) is popularly accepted as likely. However, Plato's Timaeus – which is the book Raphael places in his hand – was a sophisticated treatment of space, time, and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. It is not certain how much the young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante and whether a detailed program was dictated by his sponsor, Pope Julius II.Nevertheless, the fresco has often been interpreted as an exhortation to philosophy and as a visual representation of the role of Love in elevating people toward higher knowledge, in consonance with contemporary theories of Marsilio Ficino and other neo-Platonic thinkers linked to Raphael.Finally, according to Giorgio Vasari, the scene includes accurate portraits of Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists.However, to Heinrich Wölfflin, "it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise ... The all-important thing was the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter of indifference" in Raphael's time. Raphael's artistry then orchestrates a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions", interact, in a "polyphony" unlike anything in earlier art, in the ongoing dialogue of Philosophy.An interpretation of the fresco relating to hidden symmetries of the figures and the star constructed by Bramante was given by Guerino Mazzola and collaborators. The main basis are two mirrored triangles on the drawing from Bramante (Euclid), which correspond to the feet positions of certain figures.Paolo Zamboni, professor of vascular surgery at the University of Ferrara, made a medical study of the painting, noting that Raphael's depiction of Michelangelo (as Heraclitus) shows varicose veins in the legs.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Program, subject, figure identifications and interpretations of this artwork, The School of Athens.

The Stanza della Segnatura was the first of the rooms to be decorated, and The School of Athens, representing philosophy, is believed to be the third painting to be finished there, after La Disputa (Theology) on the opposite wall, and the Parnassus (Literature).The School of Athens is one of a group of four main frescoes on the walls of the Stanza (those on either side centrally interrupted by windows) that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes", "Divine Inspiration", "Knowledge of Things Divine" (Disputa), "To Each What Is Due". Accordingly, the figures on the walls below exemplify philosophy, poetry (including music), theology, and justice. The traditional title is not Raphael's. The subject of the painting is actually philosophy, or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, many of the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras' monad.Commentators have suggested that nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is speculative, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, one of the figures alleged to be Epicurus is far removed from his standard depiction. Aspects of the fresco other than the identities of the figures have also been variously interpreted, but few such interpretations are unanimously accepted among scholars. That the rhetorical gestures of Plato and Aristotle are kinds of pointing (to the heavens, and down to earth) is popularly accepted as likely. However, Plato's Timaeus – which is the book Raphael places in his hand – was a sophisticated treatment of space, time, and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. It is not certain how much the young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante and whether a detailed program was dictated by his sponsor, Pope Julius II.Nevertheless, the fresco has often been interpreted as an exhortation to philosophy and as a visual representation of the role of Love in elevating people toward higher knowledge, in consonance with contemporary theories of Marsilio Ficino and other neo-Platonic thinkers linked to Raphael.Finally, according to Giorgio Vasari, the scene includes accurate portraits of Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists.However, to Heinrich Wölfflin, "it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise ... The all-important thing was the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter of indifference" in Raphael's time. Raphael's artistry then orchestrates a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions", interact, in a "polyphony" unlike anything in earlier art, in the ongoing dialogue of Philosophy.An interpretation of the fresco relating to hidden symmetries of the figures and the star constructed by Bramante was given by Guerino Mazzola and collaborators. The main basis are two mirrored triangles on the drawing from Bramante (Euclid), which correspond to the feet positions of certain figures.Paolo Zamboni, professor of vascular surgery at the University of Ferrara, made a medical study of the painting, noting that Raphael's depiction of Michelangelo (as Heraclitus) shows varicose veins in the legs.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: How does The School of Athens explain its Program, subject, figure identifications and interpretations?

The Stanza della Segnatura was the first of the rooms to be decorated, and The School of Athens, representing philosophy, is believed to be the third painting to be finished there, after La Disputa (Theology) on the opposite wall, and the Parnassus (Literature).The School of Athens is one of a group of four main frescoes on the walls of the Stanza (those on either side centrally interrupted by windows) that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes", "Divine Inspiration", "Knowledge of Things Divine" (Disputa), "To Each What Is Due". Accordingly, the figures on the walls below exemplify philosophy, poetry (including music), theology, and justice. The traditional title is not Raphael's. The subject of the painting is actually philosophy, or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, many of the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras' monad.Commentators have suggested that nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is speculative, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, one of the figures alleged to be Epicurus is far removed from his standard depiction. Aspects of the fresco other than the identities of the figures have also been variously interpreted, but few such interpretations are unanimously accepted among scholars. That the rhetorical gestures of Plato and Aristotle are kinds of pointing (to the heavens, and down to earth) is popularly accepted as likely. However, Plato's Timaeus – which is the book Raphael places in his hand – was a sophisticated treatment of space, time, and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. It is not certain how much the young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante and whether a detailed program was dictated by his sponsor, Pope Julius II.Nevertheless, the fresco has often been interpreted as an exhortation to philosophy and as a visual representation of the role of Love in elevating people toward higher knowledge, in consonance with contemporary theories of Marsilio Ficino and other neo-Platonic thinkers linked to Raphael.Finally, according to Giorgio Vasari, the scene includes accurate portraits of Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists.However, to Heinrich Wölfflin, "it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise ... The all-important thing was the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter of indifference" in Raphael's time. Raphael's artistry then orchestrates a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions", interact, in a "polyphony" unlike anything in earlier art, in the ongoing dialogue of Philosophy.An interpretation of the fresco relating to hidden symmetries of the figures and the star constructed by Bramante was given by Guerino Mazzola and collaborators. The main basis are two mirrored triangles on the drawing from Bramante (Euclid), which correspond to the feet positions of certain figures.Paolo Zamboni, professor of vascular surgery at the University of Ferrara, made a medical study of the painting, noting that Raphael's depiction of Michelangelo (as Heraclitus) shows varicose veins in the legs.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Program, subject, figure identifications and interpretations discussed?

The Stanza della Segnatura was the first of the rooms to be decorated, and The School of Athens, representing philosophy, is believed to be the third painting to be finished there, after La Disputa (Theology) on the opposite wall, and the Parnassus (Literature).The School of Athens is one of a group of four main frescoes on the walls of the Stanza (those on either side centrally interrupted by windows) that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: "Seek Knowledge of Causes", "Divine Inspiration", "Knowledge of Things Divine" (Disputa), "To Each What Is Due". Accordingly, the figures on the walls below exemplify philosophy, poetry (including music), theology, and justice. The traditional title is not Raphael's. The subject of the painting is actually philosophy, or at least ancient Greek philosophy, and its overhead tondo-label, "Causarum Cognitio", tells us what kind, as it appears to echo Aristotle's emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book I and Physics Book II. Indeed, Plato and Aristotle appear to be the central figures in the scene. However, many of the philosophers depicted sought knowledge of first causes. Many lived before Plato and Aristotle, and hardly a third were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato and Aristotle at its centre might be alluding to Pythagoras' monad.Commentators have suggested that nearly every great ancient Greek philosopher can be found in the painting, but determining which are depicted is speculative, since Raphael made no designations outside possible likenesses, and no contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of iconography to allude to various figures for whom there were no traditional visual types. For example, while the Socrates figure is immediately recognizable from Classical busts, one of the figures alleged to be Epicurus is far removed from his standard depiction. Aspects of the fresco other than the identities of the figures have also been variously interpreted, but few such interpretations are unanimously accepted among scholars. That the rhetorical gestures of Plato and Aristotle are kinds of pointing (to the heavens, and down to earth) is popularly accepted as likely. However, Plato's Timaeus – which is the book Raphael places in his hand – was a sophisticated treatment of space, time, and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his four-elements theory, held that all change on Earth was owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced to a mathematical science. It is not certain how much the young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante and whether a detailed program was dictated by his sponsor, Pope Julius II.Nevertheless, the fresco has often been interpreted as an exhortation to philosophy and as a visual representation of the role of Love in elevating people toward higher knowledge, in consonance with contemporary theories of Marsilio Ficino and other neo-Platonic thinkers linked to Raphael.Finally, according to Giorgio Vasari, the scene includes accurate portraits of Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists.However, to Heinrich Wölfflin, "it is quite wrong to attempt interpretations of the School of Athens as an esoteric treatise ... The all-important thing was the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter of indifference" in Raphael's time. Raphael's artistry then orchestrates a beautiful space, continuous with that of viewers in the Stanza, in which a great variety of human figures, each one expressing "mental states by physical actions", interact, in a "polyphony" unlike anything in earlier art, in the ongoing dialogue of Philosophy.An interpretation of the fresco relating to hidden symmetries of the figures and the star constructed by Bramante was given by Guerino Mazzola and collaborators. The main basis are two mirrored triangles on the drawing from Bramante (Euclid), which correspond to the feet positions of certain figures.Paolo Zamboni, professor of vascular surgery at the University of Ferrara, made a medical study of the painting, noting that Raphael's depiction of Michelangelo (as Heraclitus) shows varicose veins in the legs.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In the context of The School of Athens, explain the Figures and the Program, subject, figure identifications and interpretations.

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been ascertained. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, both as depictions of ancients and as portraits of Raphael's contemporaries. Vasari mentions a portrait of the young Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and a self-portrait of Raphael himself.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Figures about the Program, subject, figure identifications and interpretations of this artwork, The School of Athens.

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been ascertained. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, both as depictions of ancients and as portraits of Raphael's contemporaries. Vasari mentions a portrait of the young Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and a self-portrait of Raphael himself.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Figures of the Program, subject, figure identifications and interpretations explained?

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been ascertained. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, both as depictions of ancients and as portraits of Raphael's contemporaries. Vasari mentions a portrait of the young Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and a self-portrait of Raphael himself.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Describe the characteristics of the Figures in The School of Athens's Program, subject, figure identifications and interpretations.

The identities of some of the philosophers in the picture, such as Plato and Aristotle, have been ascertained. Several other of Raphael's figures have been the subject of conjecture. Some have received multiple identifications, both as depictions of ancients and as portraits of Raphael's contemporaries. Vasari mentions a portrait of the young Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and a self-portrait of Raphael himself.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In the context of The School of Athens, explain the Central figures (14 and 15) and the Program, subject, figure identifications and interpretations.

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and his student Aristotle on the right. Both figures hold contemporary (of the time), bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and barefoot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youths about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane (hence in strong foreshortening), initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies: for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the visible world.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Central figures (14 and 15) about the Program, subject, figure identifications and interpretations of this artwork, The School of Athens.

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and his student Aristotle on the right. Both figures hold contemporary (of the time), bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and barefoot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youths about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane (hence in strong foreshortening), initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies: for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the visible world.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Central figures (14 and 15) of the Program, subject, figure identifications and interpretations explained?

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and his student Aristotle on the right. Both figures hold contemporary (of the time), bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and barefoot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youths about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane (hence in strong foreshortening), initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies: for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the visible world.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Describe the characteristics of the Central figures (14 and 15) in The School of Athens's Program, subject, figure identifications and interpretations.

In the center of the fresco, at its architecture's central vanishing point, are the two undisputed main subjects: Plato on the left and his student Aristotle on the right. Both figures hold contemporary (of the time), bound copies of their books in their left hands, while gesturing with their right. Plato holds Timaeus and Aristotle holds his Nicomachean Ethics. Plato is depicted as old, grey, and barefoot. By contrast, Aristotle, slightly ahead of him, is in mature manhood, wearing sandals and gold-trimmed robes, and the youths about them seem to look his way. In addition, these two central figures gesture along different dimensions: Plato vertically, upward along the picture-plane, into the vault above; Aristotle on the horizontal plane at right-angles to the picture-plane (hence in strong foreshortening), initiating a flow of space toward viewers.It is popularly thought that their gestures indicate central aspects of their philosophies: for Plato, his Theory of Forms, and for Aristotle, an emphasis on concrete particulars. Many interpret the painting to show a divergence of the two philosophical schools. Plato argues a sense of timelessness whilst Aristotle looks into the physicality of life and the visible world.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In the context of The School of Athens, explain the Setting and the Program, subject, figure identifications and interpretations.

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology (see Christianity and Paganism and Christian philosophy). The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture. The resulting architecture was similar to the then new St. Peter's Basilica.There are two sculptures in the background. The one on the left is the god Apollo, god of light, archery and music, holding a lyre. The sculpture on the right is Athena, goddess of wisdom, in her Roman guise as Minerva.The main arch, above the characters, shows a meander (also known as a Greek fret or Greek key design), a design using continuous lines that repeat in a "series of rectangular bends" which originated on pottery of the Greek Geometric period and then became widely used in ancient Greek architectural friezes.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Setting about the Program, subject, figure identifications and interpretations of this artwork, The School of Athens.

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology (see Christianity and Paganism and Christian philosophy). The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture. The resulting architecture was similar to the then new St. Peter's Basilica.There are two sculptures in the background. The one on the left is the god Apollo, god of light, archery and music, holding a lyre. The sculpture on the right is Athena, goddess of wisdom, in her Roman guise as Minerva.The main arch, above the characters, shows a meander (also known as a Greek fret or Greek key design), a design using continuous lines that repeat in a "series of rectangular bends" which originated on pottery of the Greek Geometric period and then became widely used in ancient Greek architectural friezes.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Setting of the Program, subject, figure identifications and interpretations explained?

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology (see Christianity and Paganism and Christian philosophy). The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture. The resulting architecture was similar to the then new St. Peter's Basilica.There are two sculptures in the background. The one on the left is the god Apollo, god of light, archery and music, holding a lyre. The sculpture on the right is Athena, goddess of wisdom, in her Roman guise as Minerva.The main arch, above the characters, shows a meander (also known as a Greek fret or Greek key design), a design using continuous lines that repeat in a "series of rectangular bends" which originated on pottery of the Greek Geometric period and then became widely used in ancient Greek architectural friezes.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Describe the characteristics of the Setting in The School of Athens's Program, subject, figure identifications and interpretations.

The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology (see Christianity and Paganism and Christian philosophy). The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture. The resulting architecture was similar to the then new St. Peter's Basilica.There are two sculptures in the background. The one on the left is the god Apollo, god of light, archery and music, holding a lyre. The sculpture on the right is Athena, goddess of wisdom, in her Roman guise as Minerva.The main arch, above the characters, shows a meander (also known as a Greek fret or Greek key design), a design using continuous lines that repeat in a "series of rectangular bends" which originated on pottery of the Greek Geometric period and then became widely used in ancient Greek architectural friezes.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Focus on The School of Athens and explain the Drawings and cartoon.

A number of drawings made by Raphael as studies for the School of Athens are extant. A study for the Diogenes is in the Städel in Frankfurt while a study for the group around Pythagoras, in the lower left of the painting, is preserved in the Albertina Museum in Vienna. Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athena's shield, the statue of Athena (Minerva) and three other statues, a study for the combat scene in the relief below Apollo and "Euclid" teaching his pupils are in the Ashmolean Museum of Art and Archaeology at the University of Oxford.The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan. Missing from it is the architectural background, the figures of Heraclitus, Raphael, and Protogenes. The group of the philosophers in the left foreground strongly recall figures from Leonardo's Adoration of the Magi. Additionally, there are some engravings of the scene's sculptures by Marcantonio Raimondi; they may have been based on lost drawings by Raphael, as they do not match the fresco exactly.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Drawings and cartoon of this artwork, The School of Athens.

A number of drawings made by Raphael as studies for the School of Athens are extant. A study for the Diogenes is in the Städel in Frankfurt while a study for the group around Pythagoras, in the lower left of the painting, is preserved in the Albertina Museum in Vienna. Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athena's shield, the statue of Athena (Minerva) and three other statues, a study for the combat scene in the relief below Apollo and "Euclid" teaching his pupils are in the Ashmolean Museum of Art and Archaeology at the University of Oxford.The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan. Missing from it is the architectural background, the figures of Heraclitus, Raphael, and Protogenes. The group of the philosophers in the left foreground strongly recall figures from Leonardo's Adoration of the Magi. Additionally, there are some engravings of the scene's sculptures by Marcantonio Raimondi; they may have been based on lost drawings by Raphael, as they do not match the fresco exactly.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: How does The School of Athens explain its Drawings and cartoon?

A number of drawings made by Raphael as studies for the School of Athens are extant. A study for the Diogenes is in the Städel in Frankfurt while a study for the group around Pythagoras, in the lower left of the painting, is preserved in the Albertina Museum in Vienna. Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athena's shield, the statue of Athena (Minerva) and three other statues, a study for the combat scene in the relief below Apollo and "Euclid" teaching his pupils are in the Ashmolean Museum of Art and Archaeology at the University of Oxford.The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan. Missing from it is the architectural background, the figures of Heraclitus, Raphael, and Protogenes. The group of the philosophers in the left foreground strongly recall figures from Leonardo's Adoration of the Magi. Additionally, there are some engravings of the scene's sculptures by Marcantonio Raimondi; they may have been based on lost drawings by Raphael, as they do not match the fresco exactly.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Drawings and cartoon discussed?

A number of drawings made by Raphael as studies for the School of Athens are extant. A study for the Diogenes is in the Städel in Frankfurt while a study for the group around Pythagoras, in the lower left of the painting, is preserved in the Albertina Museum in Vienna. Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athena's shield, the statue of Athena (Minerva) and three other statues, a study for the combat scene in the relief below Apollo and "Euclid" teaching his pupils are in the Ashmolean Museum of Art and Archaeology at the University of Oxford.The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan. Missing from it is the architectural background, the figures of Heraclitus, Raphael, and Protogenes. The group of the philosophers in the left foreground strongly recall figures from Leonardo's Adoration of the Magi. Additionally, there are some engravings of the scene's sculptures by Marcantonio Raimondi; they may have been based on lost drawings by Raphael, as they do not match the fresco exactly.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Focus on The School of Athens and explain the Copies.

The Victoria and Albert Museum in London has a rectangular copy over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs, on display in the eastern Cast Court.Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old Cabell Hall at the University of Virginia. Produced in 1902 by George W. Breck to replace an older reproduction that was destroyed in a fire in 1895, it is four inches off scale from the original, because the Vatican would not allow identical reproductions of its art works. A 1689 tapestry reproduction by the Gobelins Manufactory and commissioned by Louis XIV hangs above the presiding officer's platform in the French National Assembly chamber. It had been removed in 2017 for a three-year restoration process undertaken by the Mobilier National, which manages Gobelins Manufactory.Other reproductions include: in Königsberg Cathedral, Kaliningrad by Neide, in the University of North Carolina at Asheville's Highsmith University Student Union, and a recent one in the seminar room at Baylor University's Brooks College. A copy of Raphael's School of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-floor reading room of the Sainte-Geneviève Library in Paris.The two figures to the left of Plotinus were used as part of the cover art of both Use Your Illusion I and II albums of Guns N' Roses.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Copies of this artwork, The School of Athens.

The Victoria and Albert Museum in London has a rectangular copy over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs, on display in the eastern Cast Court.Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old Cabell Hall at the University of Virginia. Produced in 1902 by George W. Breck to replace an older reproduction that was destroyed in a fire in 1895, it is four inches off scale from the original, because the Vatican would not allow identical reproductions of its art works. A 1689 tapestry reproduction by the Gobelins Manufactory and commissioned by Louis XIV hangs above the presiding officer's platform in the French National Assembly chamber. It had been removed in 2017 for a three-year restoration process undertaken by the Mobilier National, which manages Gobelins Manufactory.Other reproductions include: in Königsberg Cathedral, Kaliningrad by Neide, in the University of North Carolina at Asheville's Highsmith University Student Union, and a recent one in the seminar room at Baylor University's Brooks College. A copy of Raphael's School of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-floor reading room of the Sainte-Geneviève Library in Paris.The two figures to the left of Plotinus were used as part of the cover art of both Use Your Illusion I and II albums of Guns N' Roses.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: How does The School of Athens explain its Copies?

The Victoria and Albert Museum in London has a rectangular copy over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs, on display in the eastern Cast Court.Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old Cabell Hall at the University of Virginia. Produced in 1902 by George W. Breck to replace an older reproduction that was destroyed in a fire in 1895, it is four inches off scale from the original, because the Vatican would not allow identical reproductions of its art works. A 1689 tapestry reproduction by the Gobelins Manufactory and commissioned by Louis XIV hangs above the presiding officer's platform in the French National Assembly chamber. It had been removed in 2017 for a three-year restoration process undertaken by the Mobilier National, which manages Gobelins Manufactory.Other reproductions include: in Königsberg Cathedral, Kaliningrad by Neide, in the University of North Carolina at Asheville's Highsmith University Student Union, and a recent one in the seminar room at Baylor University's Brooks College. A copy of Raphael's School of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-floor reading room of the Sainte-Geneviève Library in Paris.The two figures to the left of Plotinus were used as part of the cover art of both Use Your Illusion I and II albums of Guns N' Roses.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Copies discussed?

The Victoria and Albert Museum in London has a rectangular copy over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs, on display in the eastern Cast Court.Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old Cabell Hall at the University of Virginia. Produced in 1902 by George W. Breck to replace an older reproduction that was destroyed in a fire in 1895, it is four inches off scale from the original, because the Vatican would not allow identical reproductions of its art works. A 1689 tapestry reproduction by the Gobelins Manufactory and commissioned by Louis XIV hangs above the presiding officer's platform in the French National Assembly chamber. It had been removed in 2017 for a three-year restoration process undertaken by the Mobilier National, which manages Gobelins Manufactory.Other reproductions include: in Königsberg Cathedral, Kaliningrad by Neide, in the University of North Carolina at Asheville's Highsmith University Student Union, and a recent one in the seminar room at Baylor University's Brooks College. A copy of Raphael's School of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-floor reading room of the Sainte-Geneviève Library in Paris.The two figures to the left of Plotinus were used as part of the cover art of both Use Your Illusion I and II albums of Guns N' Roses.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Focus on The School of Athens and explain the Precursors.

Similar subjects are known from antiquity, notably the Plato's Academy mosaic. It perhaps also appeared in two groups of statues from Roman Egypt. The 19th century French consul Jean-François Mimaut mentioned nine statues at the Serapeum of Alexandria holding rolls, while eleven statues were found at the Memphis Saqqara. A review of "Les Statues Ptolémaïques du Sarapieion de Memphis" ascribed them to the 3rd century, sculpted of limestone and stucco, some standing and others sitting. Rowe and Rees 1956 suggested that both statue groups share a similar subject to the Plato's Academy mosaic, with the Saqqara figures identified as: "(1) Pindare, (2) Démétrios de Phalère, (3) x (?), (4) Orphée (?) aux oiseaux, (5) Hésiode, (6) Homère, (7) x (?), (8) Protagoras, (9) Thalès, (10) Héraclite, (11) Platon, (12) Aristote (?)." However, there have been other suggestions (e.g. Mattusch 2008). Plato and Thales are commonly identified as central figures.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Precursors of this artwork, The School of Athens.

Similar subjects are known from antiquity, notably the Plato's Academy mosaic. It perhaps also appeared in two groups of statues from Roman Egypt. The 19th century French consul Jean-François Mimaut mentioned nine statues at the Serapeum of Alexandria holding rolls, while eleven statues were found at the Memphis Saqqara. A review of "Les Statues Ptolémaïques du Sarapieion de Memphis" ascribed them to the 3rd century, sculpted of limestone and stucco, some standing and others sitting. Rowe and Rees 1956 suggested that both statue groups share a similar subject to the Plato's Academy mosaic, with the Saqqara figures identified as: "(1) Pindare, (2) Démétrios de Phalère, (3) x (?), (4) Orphée (?) aux oiseaux, (5) Hésiode, (6) Homère, (7) x (?), (8) Protagoras, (9) Thalès, (10) Héraclite, (11) Platon, (12) Aristote (?)." However, there have been other suggestions (e.g. Mattusch 2008). Plato and Thales are commonly identified as central figures.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: How does The School of Athens explain its Precursors?

Similar subjects are known from antiquity, notably the Plato's Academy mosaic. It perhaps also appeared in two groups of statues from Roman Egypt. The 19th century French consul Jean-François Mimaut mentioned nine statues at the Serapeum of Alexandria holding rolls, while eleven statues were found at the Memphis Saqqara. A review of "Les Statues Ptolémaïques du Sarapieion de Memphis" ascribed them to the 3rd century, sculpted of limestone and stucco, some standing and others sitting. Rowe and Rees 1956 suggested that both statue groups share a similar subject to the Plato's Academy mosaic, with the Saqqara figures identified as: "(1) Pindare, (2) Démétrios de Phalère, (3) x (?), (4) Orphée (?) aux oiseaux, (5) Hésiode, (6) Homère, (7) x (?), (8) Protagoras, (9) Thalès, (10) Héraclite, (11) Platon, (12) Aristote (?)." However, there have been other suggestions (e.g. Mattusch 2008). Plato and Thales are commonly identified as central figures.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Precursors discussed?

Similar subjects are known from antiquity, notably the Plato's Academy mosaic. It perhaps also appeared in two groups of statues from Roman Egypt. The 19th century French consul Jean-François Mimaut mentioned nine statues at the Serapeum of Alexandria holding rolls, while eleven statues were found at the Memphis Saqqara. A review of "Les Statues Ptolémaïques du Sarapieion de Memphis" ascribed them to the 3rd century, sculpted of limestone and stucco, some standing and others sitting. Rowe and Rees 1956 suggested that both statue groups share a similar subject to the Plato's Academy mosaic, with the Saqqara figures identified as: "(1) Pindare, (2) Démétrios de Phalère, (3) x (?), (4) Orphée (?) aux oiseaux, (5) Hésiode, (6) Homère, (7) x (?), (8) Protagoras, (9) Thalès, (10) Héraclite, (11) Platon, (12) Aristote (?)." However, there have been other suggestions (e.g. Mattusch 2008). Plato and Thales are commonly identified as central figures.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


Winged Victory of Samothrace

Prompt: Focus on Winged Victory of Samothrace and explain the abstract.

The Winged Victory of Samothrace, or the Niké of Samothrace, is a votive monument originally discovered on the island of Samothrace, north of the Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BC (190 BC).  It is composed of a statue representing the goddess Niké (Victory), whose head and arms are missing and its base is in the shape of a ship's bow.The total height of the monument is 5.57 metres (18 ft 3 in) including the socle; the statue alone measures 2.75 metres (9 ft 0 in). The sculpture is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.Winged Victory has been exhibited at the Louvre Museum in Paris, at the top of the main staircase, since 1884. Greece is seeking the return of the sculpture.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the abstract of this artwork, Winged Victory of Samothrace.

The Winged Victory of Samothrace, or the Niké of Samothrace, is a votive monument originally discovered on the island of Samothrace, north of the Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BC (190 BC).  It is composed of a statue representing the goddess Niké (Victory), whose head and arms are missing and its base is in the shape of a ship's bow.The total height of the monument is 5.57 metres (18 ft 3 in) including the socle; the statue alone measures 2.75 metres (9 ft 0 in). The sculpture is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.Winged Victory has been exhibited at the Louvre Museum in Paris, at the top of the main staircase, since 1884. Greece is seeking the return of the sculpture.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: How does Winged Victory of Samothrace explain its abstract?

The Winged Victory of Samothrace, or the Niké of Samothrace, is a votive monument originally discovered on the island of Samothrace, north of the Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BC (190 BC).  It is composed of a statue representing the goddess Niké (Victory), whose head and arms are missing and its base is in the shape of a ship's bow.The total height of the monument is 5.57 metres (18 ft 3 in) including the socle; the statue alone measures 2.75 metres (9 ft 0 in). The sculpture is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.Winged Victory has been exhibited at the Louvre Museum in Paris, at the top of the main staircase, since 1884. Greece is seeking the return of the sculpture.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the abstract discussed?

The Winged Victory of Samothrace, or the Niké of Samothrace, is a votive monument originally discovered on the island of Samothrace, north of the Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BC (190 BC).  It is composed of a statue representing the goddess Niké (Victory), whose head and arms are missing and its base is in the shape of a ship's bow.The total height of the monument is 5.57 metres (18 ft 3 in) including the socle; the statue alone measures 2.75 metres (9 ft 0 in). The sculpture is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.Winged Victory has been exhibited at the Louvre Museum in Paris, at the top of the main staircase, since 1884. Greece is seeking the return of the sculpture.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In the context of Winged Victory of Samothrace, explain the In the 19th century and the Discovery and restorations.

In 1863, Charles Champoiseau (1830–1909), acting chief of the Consulate of France in Adrianopolis (now Edirne in Turkey), undertook from March 6 to May 7 the exploration of the ruins of the sanctuary of the Great Gods on the island of Samothrace. On April 13, 1863, he discovered part of the bust and the body of a large female statue in white marble accompanied by numerous fragments of drapery and feathers. He recognised this as the goddess Niké, Victory, traditionally represented in Greek antiquity as a winged woman. In the same place was a jumble of about fifteen large grey marble blocks whose form or function was unclear: he concluded it was a funerary monument. He decided to send the statue and fragments to the Louvre Museum, and to leave the large blocks of grey marble on site. Departing Samothrace at the beginning of May 1863, the statue arrived in Toulon at the end of August and in Paris on May 11, 1864.A first restoration was undertaken by Adrien Prévost de Longpérier, then curator of Antiquities at the Louvre, between 1864 and 1866. The main part of the body (2.14 m from the upper belly to the feet) is erected on a stone base, and largely completed by fragments of drapery, including the fold of himation that flares behind the legs on the Nike. The remaining fragments – the right part of the bust and a large part of the left wing – too incomplete to be placed on the statue, are stored. Given the exceptional quality of the sculpture, Longpérier decided to present the body alone, exhibited until 1880 among the Roman statues first in the Caryatid Room, then briefly in the Tiber Room.From 1875, Austrian archaeologists who, under the direction of Alexander Conze, had been excavating the buildings of the Samothrace sanctuary since 1870, studied the location where Champoiseau had found the Victory. Architect Aloïs Hauser drew the grey marble blocks left on-site and apprehended that, once properly assembled, they form the tapered bow of a warship, and that, placed on a base of slabs, they served as the basis for the statue. Tetradrachmas of Demetrios Poliorcetes struck between 301 and 292 BC. representing a Victory on the bow of a ship, wings outstretched, give a good idea of this type of monument. For his part, the specialist in ancient sculpture Otto Benndorf is responsible for studying the body of the statue and the fragments kept in reserve at the Louvre, and restored the statue blowing into a trumpet that she raises with her right arm, as on the coin. The two men thus managed to make a model of the Samothrace monument as a whole.Champoiseau, informed of this research, undertook a second mission to Samothrace from August 15 to 29, 1879, for the sole purpose of sending the blocks of the base and the slabs of the Victory base to the Louvre. He abandoned on the island the largest block of the base, unsculpted. Two months later, the blocks reached the Louvre Museum, where in December an assembly test was carried out in a courtyard.The curator of the Department of Antiquities, Félix Ravaisson-Mollien, then decided to reconstruct the monument, in accordance with the model of Austrian archaeologists. On the body of the statue, between 1880 and 1883 he restored the belt area in plaster, placed the right part of the marble bust, recreated the left part in plaster, attached the left marble wing with a metal frame, and replaced the entire right wing with a plaster model. But he did not reconstruct the head, arms or feet. The ship-shaped base is rebuilt and completed, except for the broken bow of the keel, and there is still a large void at the top aft. The statue was placed directly on the base. The entire monument was then placed from the front, on the upper landing of the Daru staircase, the main staircase of the museum.Champoiseau returned to Samothrace a third time in 1891 to try to obtain the Victory's head, but without success. He did however bring back debris from the drapery and base, a small fragment with an inscription and fragments of coloured plaster.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the In the 19th century about the Discovery and restorations of this artwork, Winged Victory of Samothrace.

In 1863, Charles Champoiseau (1830–1909), acting chief of the Consulate of France in Adrianopolis (now Edirne in Turkey), undertook from March 6 to May 7 the exploration of the ruins of the sanctuary of the Great Gods on the island of Samothrace. On April 13, 1863, he discovered part of the bust and the body of a large female statue in white marble accompanied by numerous fragments of drapery and feathers. He recognised this as the goddess Niké, Victory, traditionally represented in Greek antiquity as a winged woman. In the same place was a jumble of about fifteen large grey marble blocks whose form or function was unclear: he concluded it was a funerary monument. He decided to send the statue and fragments to the Louvre Museum, and to leave the large blocks of grey marble on site. Departing Samothrace at the beginning of May 1863, the statue arrived in Toulon at the end of August and in Paris on May 11, 1864.A first restoration was undertaken by Adrien Prévost de Longpérier, then curator of Antiquities at the Louvre, between 1864 and 1866. The main part of the body (2.14 m from the upper belly to the feet) is erected on a stone base, and largely completed by fragments of drapery, including the fold of himation that flares behind the legs on the Nike. The remaining fragments – the right part of the bust and a large part of the left wing – too incomplete to be placed on the statue, are stored. Given the exceptional quality of the sculpture, Longpérier decided to present the body alone, exhibited until 1880 among the Roman statues first in the Caryatid Room, then briefly in the Tiber Room.From 1875, Austrian archaeologists who, under the direction of Alexander Conze, had been excavating the buildings of the Samothrace sanctuary since 1870, studied the location where Champoiseau had found the Victory. Architect Aloïs Hauser drew the grey marble blocks left on-site and apprehended that, once properly assembled, they form the tapered bow of a warship, and that, placed on a base of slabs, they served as the basis for the statue. Tetradrachmas of Demetrios Poliorcetes struck between 301 and 292 BC. representing a Victory on the bow of a ship, wings outstretched, give a good idea of this type of monument. For his part, the specialist in ancient sculpture Otto Benndorf is responsible for studying the body of the statue and the fragments kept in reserve at the Louvre, and restored the statue blowing into a trumpet that she raises with her right arm, as on the coin. The two men thus managed to make a model of the Samothrace monument as a whole.Champoiseau, informed of this research, undertook a second mission to Samothrace from August 15 to 29, 1879, for the sole purpose of sending the blocks of the base and the slabs of the Victory base to the Louvre. He abandoned on the island the largest block of the base, unsculpted. Two months later, the blocks reached the Louvre Museum, where in December an assembly test was carried out in a courtyard.The curator of the Department of Antiquities, Félix Ravaisson-Mollien, then decided to reconstruct the monument, in accordance with the model of Austrian archaeologists. On the body of the statue, between 1880 and 1883 he restored the belt area in plaster, placed the right part of the marble bust, recreated the left part in plaster, attached the left marble wing with a metal frame, and replaced the entire right wing with a plaster model. But he did not reconstruct the head, arms or feet. The ship-shaped base is rebuilt and completed, except for the broken bow of the keel, and there is still a large void at the top aft. The statue was placed directly on the base. The entire monument was then placed from the front, on the upper landing of the Daru staircase, the main staircase of the museum.Champoiseau returned to Samothrace a third time in 1891 to try to obtain the Victory's head, but without success. He did however bring back debris from the drapery and base, a small fragment with an inscription and fragments of coloured plaster.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the In the 19th century of the Discovery and restorations explained?

In 1863, Charles Champoiseau (1830–1909), acting chief of the Consulate of France in Adrianopolis (now Edirne in Turkey), undertook from March 6 to May 7 the exploration of the ruins of the sanctuary of the Great Gods on the island of Samothrace. On April 13, 1863, he discovered part of the bust and the body of a large female statue in white marble accompanied by numerous fragments of drapery and feathers. He recognised this as the goddess Niké, Victory, traditionally represented in Greek antiquity as a winged woman. In the same place was a jumble of about fifteen large grey marble blocks whose form or function was unclear: he concluded it was a funerary monument. He decided to send the statue and fragments to the Louvre Museum, and to leave the large blocks of grey marble on site. Departing Samothrace at the beginning of May 1863, the statue arrived in Toulon at the end of August and in Paris on May 11, 1864.A first restoration was undertaken by Adrien Prévost de Longpérier, then curator of Antiquities at the Louvre, between 1864 and 1866. The main part of the body (2.14 m from the upper belly to the feet) is erected on a stone base, and largely completed by fragments of drapery, including the fold of himation that flares behind the legs on the Nike. The remaining fragments – the right part of the bust and a large part of the left wing – too incomplete to be placed on the statue, are stored. Given the exceptional quality of the sculpture, Longpérier decided to present the body alone, exhibited until 1880 among the Roman statues first in the Caryatid Room, then briefly in the Tiber Room.From 1875, Austrian archaeologists who, under the direction of Alexander Conze, had been excavating the buildings of the Samothrace sanctuary since 1870, studied the location where Champoiseau had found the Victory. Architect Aloïs Hauser drew the grey marble blocks left on-site and apprehended that, once properly assembled, they form the tapered bow of a warship, and that, placed on a base of slabs, they served as the basis for the statue. Tetradrachmas of Demetrios Poliorcetes struck between 301 and 292 BC. representing a Victory on the bow of a ship, wings outstretched, give a good idea of this type of monument. For his part, the specialist in ancient sculpture Otto Benndorf is responsible for studying the body of the statue and the fragments kept in reserve at the Louvre, and restored the statue blowing into a trumpet that she raises with her right arm, as on the coin. The two men thus managed to make a model of the Samothrace monument as a whole.Champoiseau, informed of this research, undertook a second mission to Samothrace from August 15 to 29, 1879, for the sole purpose of sending the blocks of the base and the slabs of the Victory base to the Louvre. He abandoned on the island the largest block of the base, unsculpted. Two months later, the blocks reached the Louvre Museum, where in December an assembly test was carried out in a courtyard.The curator of the Department of Antiquities, Félix Ravaisson-Mollien, then decided to reconstruct the monument, in accordance with the model of Austrian archaeologists. On the body of the statue, between 1880 and 1883 he restored the belt area in plaster, placed the right part of the marble bust, recreated the left part in plaster, attached the left marble wing with a metal frame, and replaced the entire right wing with a plaster model. But he did not reconstruct the head, arms or feet. The ship-shaped base is rebuilt and completed, except for the broken bow of the keel, and there is still a large void at the top aft. The statue was placed directly on the base. The entire monument was then placed from the front, on the upper landing of the Daru staircase, the main staircase of the museum.Champoiseau returned to Samothrace a third time in 1891 to try to obtain the Victory's head, but without success. He did however bring back debris from the drapery and base, a small fragment with an inscription and fragments of coloured plaster.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Describe the characteristics of the In the 19th century in Winged Victory of Samothrace's Discovery and restorations.

In 1863, Charles Champoiseau (1830–1909), acting chief of the Consulate of France in Adrianopolis (now Edirne in Turkey), undertook from March 6 to May 7 the exploration of the ruins of the sanctuary of the Great Gods on the island of Samothrace. On April 13, 1863, he discovered part of the bust and the body of a large female statue in white marble accompanied by numerous fragments of drapery and feathers. He recognised this as the goddess Niké, Victory, traditionally represented in Greek antiquity as a winged woman. In the same place was a jumble of about fifteen large grey marble blocks whose form or function was unclear: he concluded it was a funerary monument. He decided to send the statue and fragments to the Louvre Museum, and to leave the large blocks of grey marble on site. Departing Samothrace at the beginning of May 1863, the statue arrived in Toulon at the end of August and in Paris on May 11, 1864.A first restoration was undertaken by Adrien Prévost de Longpérier, then curator of Antiquities at the Louvre, between 1864 and 1866. The main part of the body (2.14 m from the upper belly to the feet) is erected on a stone base, and largely completed by fragments of drapery, including the fold of himation that flares behind the legs on the Nike. The remaining fragments – the right part of the bust and a large part of the left wing – too incomplete to be placed on the statue, are stored. Given the exceptional quality of the sculpture, Longpérier decided to present the body alone, exhibited until 1880 among the Roman statues first in the Caryatid Room, then briefly in the Tiber Room.From 1875, Austrian archaeologists who, under the direction of Alexander Conze, had been excavating the buildings of the Samothrace sanctuary since 1870, studied the location where Champoiseau had found the Victory. Architect Aloïs Hauser drew the grey marble blocks left on-site and apprehended that, once properly assembled, they form the tapered bow of a warship, and that, placed on a base of slabs, they served as the basis for the statue. Tetradrachmas of Demetrios Poliorcetes struck between 301 and 292 BC. representing a Victory on the bow of a ship, wings outstretched, give a good idea of this type of monument. For his part, the specialist in ancient sculpture Otto Benndorf is responsible for studying the body of the statue and the fragments kept in reserve at the Louvre, and restored the statue blowing into a trumpet that she raises with her right arm, as on the coin. The two men thus managed to make a model of the Samothrace monument as a whole.Champoiseau, informed of this research, undertook a second mission to Samothrace from August 15 to 29, 1879, for the sole purpose of sending the blocks of the base and the slabs of the Victory base to the Louvre. He abandoned on the island the largest block of the base, unsculpted. Two months later, the blocks reached the Louvre Museum, where in December an assembly test was carried out in a courtyard.The curator of the Department of Antiquities, Félix Ravaisson-Mollien, then decided to reconstruct the monument, in accordance with the model of Austrian archaeologists. On the body of the statue, between 1880 and 1883 he restored the belt area in plaster, placed the right part of the marble bust, recreated the left part in plaster, attached the left marble wing with a metal frame, and replaced the entire right wing with a plaster model. But he did not reconstruct the head, arms or feet. The ship-shaped base is rebuilt and completed, except for the broken bow of the keel, and there is still a large void at the top aft. The statue was placed directly on the base. The entire monument was then placed from the front, on the upper landing of the Daru staircase, the main staircase of the museum.Champoiseau returned to Samothrace a third time in 1891 to try to obtain the Victory's head, but without success. He did however bring back debris from the drapery and base, a small fragment with an inscription and fragments of coloured plaster.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg