The Reading Images Project

Notes
                                                                                                                                                    

(1) Vasari, iv, 328-329.

(2)Published in 1751 as G.P. Bellori, Descrizzione delle quattro immagini dipinte da Raffaelle d'Urbino nella Camera della Segnatura nel Palazzo Vaticano, e nella Farnesina alla Lungara, con alcuni ragionamenti in onore delle sue opere.  Rome, 29-47.  Translated by Alice Sedgewick Wohl in Hall, 48-56.

(3)Timothy Verdon in Hall, 114-130, for more on this reading.

(4)Vasari named the room the Stanza della Segnatura, since in his time it was used for the Signatura gratiae, a papal tribunal.  Its original function as Julius's private library was only established relatively recently.  See Shearman, 14-17; Joost-Gaugier, 14-16.

(5) Ingrid D. Rowland, "The Intellectual Background of the School of Athens:  Tracking Divine Wisdom in the Rome of Julius II" in Hall, 136; Joost-Gaugier, 9-16.

(5a) On Humanist libraries, see Paul Lawrence Rose, "Humanist Culture and Renaissance Mathematics: The Italian Libraries of the Quattrocento," Studies in the Renaissance, 20 (1973) 46-105.

(6)Jean K. Cadogan, Domenico Ghirlandaio: Artist and Artisan, New Haven, 2000, 197-202.

(7)Luciano Cheles, The Studiolo of Urbino:  An Iconographic Investigation, Universiity Park, PA, 1986.

(8)Steffi Roettgen, Italian Frescoes of the Renaissance:  The Flowering of the Renaissance, 1470-1510, New York, 1997, 296-331.

(8a) Christianne L. Joost-Gaugier, "Poggio and the Visual Tradition: Uomini Famosi in Classical Literary Description," Artibus et historiae 12 (1985) 57-74.

(9) Julian Gardner, "Andrea di Bonaiuto and the Chapterhouse Frescoes in Santa Maria Novella," Art History, 2 (1979) 107-138.

(10)John Spencer, Andrea del Castagno and his Patrons, Durham and London, 1991, 10ff.

(11) Redig de Campos, 3-4; Ingrid D. Rowland, "The Vatican Stanze," in Marcia Hall, ed., The Cambridge Companion to Raphael, Cambridge, 2005, 95-119..

(12) Vasari; Pope-Hennessey, 58-59; Sheryl E. Reiss, "Raphael and his Patrons: From the Court of Urbino to the Curia and Rome," in Marcia Hall, ed., The Cambridge Companion to Raphael, Cambridge, 2005, 48-50. 

(13) Some scholars feel that Raphael's exposure to humanism at the Ducal court in Urbino would have prepared him to create a complex program, while others believe that the layers of meaning in the Stanza della Segnatura frescoes are too profound for any but the most sophisticated mind to have devised.  See Marcia Hall, "Introduction" in Hall, 3-5; Rowland, in Hall; 131-170; Joost-Gaugier, 17-42 .

(14) David Bomford et.al., Art in the Making:  Italian Painting Before 1400, National Gallery of Art, London, 1989.

(15) Eugenio Garin, "Raffaello e la 'pace filosofica,'" in Umanisti, artisti, scienziati, Rome, 1989, 171-181; Ingrid D. Rowland, "The Intellectual Background," in Hall, 131-170; Joost-Gaugier, 85-91.

(16)Paul Hills,  The Light of Early Italian Painting, New Haven, 1987.

(17)For more on Plato, see  Routledge Encyclopedia of Philosophy and World Civilizations:  Plato; Plato and his Republic.

(18)On this interpretation, see Joost-Gaugier, 92-94.

(19) For more on Aristotle, see Internet Encyclopedia of Philosophy; World Civilizations:  Aristotle.

(20) For more on Heraclitus, see  Internet Encyclopedia of Philosophy.

(21) For more on Socrates, see  Routledge Encyclopedia of Philosophy; World Civilizations:  Socrates.

(22) For more on Diogenes, see  Internet Encyclopedia of Philosophy.

(23) See Joost-Gaugier, 82-84; Reale, 14-16. For more on Pythagoras, see Internet Encyclopedia of Philosophy; Pythagoras of Samos.

(24) André Chastel, Art et humanisme ŕ Florence au temps de Laurent le Magnifique, Paris, 1959, 476-480.  See also Hall's comments in Hall, 33-35.

(25) See Joost-Gaugier, 81-82. For more on Euclid, see: Euclid of Alexandria.

(26)For more on Zoroaster, see Encyclopedia Brittanica.

(27) For more on Ptolemy, see Greek Astronomy; Encyclopedia Brittanica.

(28) Ralph E. Lieberman, "The Architectural Background," in Hall, 64-84.

(29) Arnold Nesselrath, Raphael's School of Athens, Vatican City, 1997; Konrad Oberhuber and Lamberto Vitali, Il cartone per la Scuola di Atene, Milan, 1972.

(30) See Joost-Gaugier and Rowland on the author of the program.

(31) On classical allegories, see Sara Nair James, Signorelli and Fra Angelico at Orvieto: Liturgy, Poetry and a Vision of the End-time, Aldershot, 2003, 106-129.

(32)John O'Malley, "The Vatican Library and the School of Athens: A Text of Battista Casali, 1508," Journal of Medieval and Renaissance Studies 7 (1977) 271-287