III. Background on the Renaissance: An Artistic Case Study
“School of Athens”
Objectives:
· Student identifies painter and location of this
masterpiece
· Student thinks about the role of learning for
becoming a good leader
· Student discovers some of the characteristics
of good learning
Activities:
1--Hand out copies of the painting “The School of Athens,” study questions,
and chart identifying the characters (see Source Book). Let students
discuss the questions in pairs.
2—Provide background information: Raphael, famous Italian painter,
contemporary of Michelangelo, painting this. The painting was commissioned
by Pope Julius II, a great patron of the arts, for a room in the Vatican
that was to be his private library, a room that is now called the Stanza
della Segnatura. Each of the four walls of the room has a different
painting on it, perhaps with the theme of presenting a summary of knowledge:
Religion, Philosophy, Poetry, and Law. The School of Athens (philosophy)
is placed opposite the Dispute over the Sacrament (theology), and Parnassus
(poetry) is opposite Justice. From Raphael: The stanza
della Segnatura by James Beck (New York: George Braziller, 1993), pp.
17-25.
3—Discuss the painting, asking questions then explaining further:
--What are the colors prominent in this painting?
(cool blues and whites, reflecting the rationalism of philosophy?)
--note the different levels in the painting…Who is on
the top level? (Plato and Aristotle). Plato points up and Aristotle
points downward, symbolizing their varying philosophies. What is the
difference between the ceiling on their level and on lower levels? (it’s
open to the sky).
--On the lower right, we see Euclid writing on a slate;
what do you make of the different expressions on the faces of those watching
him? (students in the differing stages of learning). (Beck, 78-90)
--The vaults in this painting are the vaults of St. Peter’s,
and below them we see philosophers of disagreeing philosophies at peace.
--Consider the contrasts: a painting of philosophers,
under vaults that can only be build with math and science. A
woman with a sword, a man with a musical instrument. The image of Medusa,
beneath it an image of peace. What do you make of these; what does
this poem teach us about learning?
IV. School of Athens worksheet:
1. What is going on in this scene?
2. How would you describe the mood?
3. What is the highest aspiration indicated in this mural?
4. What is its focal point?
5. Where does your eye rest?
6. What does not seem to fit in its overall scheme?
7. What questions does it raise in your mind?
8. What is the effect of the architectural frames of this
mural?
Worksheet answer key:
1. What is going on in this scene?
-intellectual debates and discussions in a spacious room, with a fair number
of watchers
-It is a scene of debate and discussion, divided into two sections, and the
major division is represented by the two central characters, Plato and Aristotle.
-discussion and explanation; maybe even disagreement and arguing different
views.
2. How would you describe the mood?
-fairly calm but tense
-almost feverish excitement
-Dynamic yet controlled. The scene is full of movement, but intellectual.
Each body seems to portray the character and thoughts of the mind. The scene
is centered around intellectual action.
-Active, with attentive listening
3. What is the highest aspiration indicated in this mural?
-learning, expressed by the lively exchange of ideas, the lofty arches with
all their space and light. It seems the exchange of ideas between persons
is one of the high ideals being presented
-Almost everyone is looking down or across, at the ground or at other people.
Right directly in the center is one man who is pointing up, which is most
likely signifies a discussion on God. It is contrasted with all the earthly
sciences and discussions and is probably the highest aspiration present.
-Wisdom, not knowledge.
-a learned person; people studying and trying to improve themselves
4. What is its focal point?
-The main focal point is almost forced on the viewer by the architectural
structures of the painting. The thick overhanging arch leads the eye to the
center top; then the arches behind draw the eye down to the two men in the
center.
-The two central figures, but in the context of the nave of St. Peter’s
-There is no particular focal point. Each group of people is a different
focal point, but at first glance, it seems to be the two characters in the
middle.
5. Where does your eye rest?
-In the distance, just above Plato and Aristotle
-First, on the two men at the top, but then to the bottom to the separate
groups.
6. What does not seem to fit in its overall scheme?
-The man sitting on the steps by himself. Everyone else is involved in some
group discussion. He is all alone, separated from the others and reading.
He is also the worst dressed.
-There is one person looking directly at the viewer. He stands out from all
the other people who are busy with their or others’ work. He also has an
engaging demeanor, as if to say, “Do you know what’s going on?”
-The marble box that is out of proportion and perspective, which lies almost
centrally on the bottom floor.
7. What questions does it raise in your mind?
-How is the man sitting on the steps part of the rest of the group? Is he
an outcast?
-What is the painting suggesting with the openness of the room? Why are the
domes so high and so intricate? Is this supposed to represent the level of
discussion or the heights to which it could rise?
-What brought all these people together into this room?
-Are people expecting an announcement from the two in the center?
-What is everyone studying? Why are they so interested? Why is the man on
the steps there and what is he doing? What is the unusual character’s purpose?
-Who wins? What does Raphael claim about who wins?
-Why does that solitary figure in the center, writing on the disproportionate
box, why does he not fit?
-What are the men discussing at the top of the stairs?
-What kind of relationships seem to exist among the people in the different
groups? What is the character of those alone?
-What is the relationship between the two central figures and the many people
around them?
-Epicurus, Socrates, and many others have their backs turned towards Plato
and Aristotle. Is this intentional? If so, why?
