In recent years, practices have been made to restore the paintings of Raphael to its original state, revealing a clearer picture of the strength and splendor that impressed his contemporaries. Being an artist who can paint both eroticism and heroism, he sought a perfect balance between form, function, and content. Last week, when the hall of the Raphael Rooms at the Apostolic Palace reopened following a ten-year restoration, it revealed an innovative mural painting technique of Raphael.
The Vatican Museum’s Director Barbara Jatta told Associated Press,
“With this restoration, we rewrite a part of the history of art.”
The years-long restoration confirmed the previous reports that Raphael wanted to paint imagery directly onto the four walls of the museum. In a previous restoration that confirmed two unknown paintings of the artist, showcasing two female figures in the Hall of Constantine, were found to be painted in this way, further confirming that the compositions were purely the work of Raphael.
In these rooms, Raphael used a grid of nails on the hall’s wall to hold the natural resin in its place. This was the surface that Raphael created, which acted as a canvas for his composition. One of the chief restorers, Fabio Piacentini told AP,
“From a historical and critical point of view, and also technical, it was truly a discovery.” The museum’s scientific research department also played a crucial role, using infrared imaging and targeted chemical analysis. The officials added that “the entire project was also documented through a 3D model created with laser scanning—now considered a benchmark for the integrated study of large-scale artistic decorations.”
A little history of these rooms dates back to the time of Pope Julius, whose actions aimed at securing the absolute power of the palace and protecting its independence against the challenges to his authority from councils, cardinals, and kings. Julius rebuilt Rome as he wanted to create for Christendom, a capital whose splendors could replace those of the pagan city. This strength of his determination was transmitted to the artists as well, who had several opportunities. The overwhelming personality of Julius further transformed the art of the High Renaissance.
At this time, he used two rooms on the third floor of the Vatican for his living quarters from 1505. These rooms were not sufficient for various ceremonial functions of the papal court, so the Borgia apartments on the second floor continued to serve for this purpose. However, they had his predecessor’s portrait, which he didn’t want. So, he decided to remodel and redecorate the third floor so that they could function as official papal apartments. The first three rooms were Julius’s private rooms, also known as Raphael’s Stanze. Next to this, the last room, Stanza della Segnatura, became the private study of Julius.
By 1508, a team of artists was assembled to paint these rooms, but they disappointed the pontiff, as per the Vatican Museum website. Hence, the restoration work was commissioned to Raphael. Though the artist died before the hall was finished, the project was completed in 1524 by Raphael’s pupils and by his main collaborator Giulio Romano, while the ceiling was painted by Tommaso Laureti. The students failed to master the oil technique that Raphael had been experimenting with, Jatta explained to AP. As a result, the remaining paintings in the room are all frescoes.
Featured Image: Estancia del Sello (Vista general II); 0ro1, CC BY-SA 3.0, via Wikimedia Commons.
.jpg){kind=link}
Related Reads.
