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* HeroicFireRescue: Predictably, "The Fire in the Borgo" captures a terrific fire breaking out in the city of Borgo. Several citizens valiantly come to the aid of the victims. On the one hand, the women carry vessels of water on their heads while battling the strong winds produced by the flames. On the other hand, the men (some of them inexplicably naked) guide and carry the victims back to safety. Additionally, the Pope is sort of implied to helping out by praying to the Christian God to save them all.
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[[caption-width-right:350:"The School of Athens", the most iconic painting of the set.]]
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[[caption-width-right:350:"The School of Athens", the most iconic painting frescof of the set.]]
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* ColorCodedPatrician: In "The Battle of Milvian Bridge", Roman Emperor Constantine I not only stands in the very foreground of the painting but he's also the only character wearing golden armor, cape, and crown. The rest of the soldiers on both sides have more muted color palettes or have their chests [[ShirtlessWalkingScene bare]].
to:
* ColorCodedPatrician: In "The Battle of Milvian Bridge", Roman Emperor Constantine I not only stands in the very foreground of the painting fresco but he's also the only character wearing golden armor, cape, and crown. The rest of the soldiers on both sides have more muted color palettes or have their chests [[ShirtlessWalkingScene bare]].
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* PeaceConference: The Italian authorities know the country doesn't stand a chance at fending off the Huns, so they send Pope Leo I to meet their king, Attila, in order to dissuade him from attacking Italy. This is the historical event depicted by "The Meeting of Leo the Great and Attila". Attila is the central figure of the painting; he and his people agitatedly watch some Christian martyrs appear in the sky. Facing him, therefore having his back turned to the viewer, is the Pope; Leo and other religious authorities stand calmly.
to:
* PeaceConference: The Italian authorities know the country doesn't stand a chance at fending off the Huns, so they send Pope Leo I to meet their king, Attila, in order to dissuade him from attacking Italy. This is the historical event depicted by "The Meeting of Leo the Great and Attila". Attila is the central figure of the painting; fresco; he and his people agitatedly watch some Christian martyrs appear in the sky. Facing him, therefore having his back turned to the viewer, is the Pope; Leo and other religious authorities stand calmly.
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* CrucialCross: "The Disputation of the Holy Sacrament" subtly includes the cross-image by the arrangement of the Trinity (who overcame death and suffering at the crucifixion) in a vertical line while the saints (who had to die to get to Heaven) make up a horizontal line through the top of that. Together, the cross-image shows all those who overcame the earthly strife seen at the bottom of the painting to find happiness.
to:
* CrucialCross: "The Disputation of the Holy Sacrament" subtly includes the cross-image by the arrangement of the Trinity (who overcame death and suffering at the crucifixion) in a vertical line while the saints (who had to die to get to Heaven) make up a horizontal line through the top of that. Together, the cross-image shows all those who overcame the earthly strife seen at the bottom of the painting fresco to find happiness.
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* ScienceIsGood: "The School of Athens" idealizes all of the ancient Greek mathematicians, physicists, and philosophers as members of a single beautiful university. A special honor goes to Creator/{{Aristotle}}, who represents earthly knowledge with his downward gesture, who is walking towards the audience alongside Creator/{{Plato}}. They are walking right into the painting across the wall from the "The School of Athens" to "The Disputation of the Sacrament", therefore indicating science and reason can lead one to the truth and goodness of the Christian [[UsefulNotes/{{Jesus}} Christ in the Eucharist]].
to:
* ScienceIsGood: "The School of Athens" idealizes all of the ancient Greek mathematicians, physicists, and philosophers as members of a single beautiful university. A special honor goes to Creator/{{Aristotle}}, who represents earthly knowledge with his downward gesture, who is walking towards the audience alongside Creator/{{Plato}}. They are walking right into the painting fresco across the wall from the "The School of Athens" to "The Disputation of the Sacrament", therefore indicating science and reason can lead one to the truth and goodness of the Christian [[UsefulNotes/{{Jesus}} Christ in the Eucharist]].
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* ColorCodedPatrician: In "The Battle of Milvian Bridge", Roman Emperor Constantine I not only stands in the very foreground of the {{painting|s}} but he's also the only character wearing golden armor, cape, and crown. The rest of the soldiers on both sides have more muted color palettes or have their chests [[ShirtlessWalkingScene bare]].
to:
* ColorCodedPatrician: In "The Battle of Milvian Bridge", Roman Emperor Constantine I not only stands in the very foreground of the {{painting|s}} painting but he's also the only character wearing golden armor, cape, and crown. The rest of the soldiers on both sides have more muted color palettes or have their chests [[ShirtlessWalkingScene bare]].
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* PeaceConference: The Italian authorities know the country doesn't stand a chance at fending off the Huns, so they send Pope Leo I to meet their king, Attila, in order to dissuade him from attacking Italy. This is the historical event depicted by "The Meeting of Leo the Great and Attila". Attila is the central figure of the painting; he and his people agitatedly watch some Christian martyrs appear in the sky. Facing him, therefore having his back turned to the viewer, is the Pope; Leo and other religious authorities stand calmly.
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* ColorCodedPatrician: In "The Battle of Milvian Bridge", Roman Emperor Constantine I not only stands in the very foreground of the {{painting|s}} but he's also the only character wearing golden armor, cape, and crown. The rest of the soldiers on both sides have more muted color palettes or have their chests [[ShirtlessWalkingScene bare]].
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* TheXOfY: Most titles fit this format.
** "Hall of Constantine":
*** "The Donation of Constantine"
*** "The Vision of the Cross"
*** "The Battle of Milvian Bridge"
*** "The Baptism of Constantine"
** "Room of Heliodorus"
*** "Deliverance of Saint Peter"
*** "The Expulsion of Heliodorus from the Temple"
*** "The Meeting of Leo the Great and Attila"
** "The Room of the Fire in the Borgo"
*** "The Oath of Leo III"
*** "Battle of Ostia"
*** "The Coronation of Charlemagne"
** "Room of the Signatura"
*** "The School of Athens"
*** "Disputation of the Holy Sacrament"
** "Hall of Constantine":
*** "The Donation of Constantine"
*** "The Vision of the Cross"
*** "The Battle of Milvian Bridge"
*** "The Baptism of Constantine"
** "Room of Heliodorus"
*** "Deliverance of Saint Peter"
*** "The Expulsion of Heliodorus from the Temple"
*** "The Meeting of Leo the Great and Attila"
** "The Room of the Fire in the Borgo"
*** "The Oath of Leo III"
*** "Battle of Ostia"
*** "The Coronation of Charlemagne"
** "Room of the Signatura"
*** "The School of Athens"
*** "Disputation of the Holy Sacrament"
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See ''Art/SevenVirtues'' for another [[UsefulNotes/TheRenaissance Renaissance]] art series that features the Christian cardinal and heavenly virtues. See ''Art/SistineChapel'' for another extensive series of High Renaissance frescoes at the Vatican.
to:
See ''Art/SevenVirtues'' for another [[UsefulNotes/TheRenaissance Renaissance]] art series that features the Christian cardinal and heavenly virtues. See ''Art/SistineChapel'' Art/SistineChapel for another extensive series of High Renaissance frescoes at the Vatican.
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Creator/RaphaelSanzio was commissioned in 1508 (or 1509, according to some historians) to decorate with {{fresco}}es the rooms in the Apostolic Palace of the UsefulNotes/VaticanCity in UsefulNotes/{{Rome}}.
to:
Creator/RaphaelSanzio was commissioned in 1508 (or 1509, according to some historians) to decorate with {{fresco}}es the rooms in the Apostolic Palace of the UsefulNotes/VaticanCity UsefulNotes/{{Vatican|City}} in UsefulNotes/{{Rome}}.
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See ''Art/SevenVirtues'' for another [[UsefulNotes/TheRenaissance Renaissance]] art series that features the Christian cardinal and heavenly virtues. See ''Art/SistineChapel'' for another extensive series of High Renaissance frescoes.
to:
See ''Art/SevenVirtues'' for another [[UsefulNotes/TheRenaissance Renaissance]] art series that features the Christian cardinal and heavenly virtues. See ''Art/SistineChapel'' for another extensive series of High Renaissance frescoes.frescoes at the Vatican.
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Creator/RaphaelSanzio was commissioned in 1508 (or 1509, according to some historians) to decorate with [[{{Paintings}} frescoes]] the rooms in the Apostolic Palace of the UsefulNotes/VaticanCity in UsefulNotes/{{Rome}}.
to:
Creator/RaphaelSanzio was commissioned in 1508 (or 1509, according to some historians) to decorate with [[{{Paintings}} frescoes]] {{fresco}}es the rooms in the Apostolic Palace of the UsefulNotes/VaticanCity in UsefulNotes/{{Rome}}.
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* GoodAnimalsEvilAnimals: In "Cardinal and Theological Virtues", Fortitude is casually petting her lion companion, one of the few animals brave and noble enough to sit beside courage personified.
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* BlindMistake: In "The Parnassus", Creator/{{Homer}}, Creator/{{Virgil}}, and Creator/DanteAlighieri are seen engaging with each other, only the blind Homer is looking in the opposite of his fellow {{poet|ry}}s and is seen reaching out his hands looking for them.
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* TheCardinalVirtues: In "Cardinal and Theological Virtues", {{anthropomorphic personifications}} of the Christian cardinal virtues (Fortitude, Prudence, and Temperance) are depicted as {{putt|o}}i. Justice is present on the fresco across the room, "The Parnassus".
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* SevenHeavenlyVirtues: In "Cardinal and Theological Virtues", {{anthropomorphic personifications}} of the Christian theological virtues (Faith, Hope, and Charity) are depicted as {{putt|o}}i.
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* GrandpaGod: "The Disputation of the Holy Sacrament" differentiates God the Father from God the Son by displaying God the Father as a man with a long grey beard and hair down to his shoulders, presiding over God the Son's throne.
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* PrimaryColorChampion: In "Disputation of the Holy Sacrament", the Catholic devotion to the Virgin Mary and her unique goodness is obvious from her red and blue robes.
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* OurAngelsAreDifferent: In "Disputation of the Holy Sacrament", the angels are blonde infants with tiny white/gold wings. Their role appears to be holding up the clouds of the FluffyCloudHeaven to keep the saints afloat and hoisting ''Literature/TheFourGospels'' above the Eucharist at all times.
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* CrucialCross: "The Disputation of the Holy Sacrament" subtly includes the cross-image by the arrangement of the Trinity (who overcame death and suffering at the crucifixion) in a vertical line while the saints (who had to die to get to Heaven) make up a horizontal line through the top of that. Together, the cross-image shows all those who overcame the earthly strife seen at the bottom of the painting to find happiness.
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* DivineBirds: "Disputation of the Holy Sacrament", per tradition, depicts the Christian Holy Spirit as a dove with wings spread as if to welcome all of humanity into Heaven. Peculiar to the "Disputation" is that the Spirit's dove is directly below the Father and Christ, making visible the belief that all of them are the same TopGod.
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* DeclarativeFinger: This [[TropeCodifier probably goes back]] to Creator/{{Plato}} (the quintessential Western philosopher), as depicted on Creator/RaphaelSanzio's famous fresco "The School of Athens". Plato's upward-pointing finger is contrasted by Creator/{{Aristotle}}'s downturned palm, which [[RuleOfSymbolism symbolically]] depicts Plato's abstract view of nature and Aristotle's more empirical way of thinking.
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* TheEeyore: Among the brightly colored geniuses of "The School of Athens" sharing their knowledge in excitement, the pessimist philosopher Heraclitus bends over a piece of marble, covering his face in shadow, as he looks away from the writing he seems to get no joy from contemplating.
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** "Art/TheSchoolOfAthens": Ptolemy and Zoroaster are holding globes of the heavens and the Earth to demonstrate their mastery over the science of astronomy.
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** "Art/TheSchoolOfAthens": "The School of Athens": Ptolemy and Zoroaster are holding globes of the heavens and the Earth to demonstrate their mastery over the science of astronomy.
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removed duplication
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* GotTheWholeWorldInMyHand:
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See ''Art/SevenVirtues'' for another [[UsefulNotes/TheRenaissance Renaissance]] art series that features the Christian cardinal and heavenly virtues. See Art/SistineChapel for another extensive series of High Renaissance frescoes.
to:
See ''Art/SevenVirtues'' for another [[UsefulNotes/TheRenaissance Renaissance]] art series that features the Christian cardinal and heavenly virtues. See Art/SistineChapel ''Art/SistineChapel'' for another extensive series of High Renaissance frescoes.
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* LongHairedPrettyBoy: Raphael's long hair and effeminate beauty are depicted as a self-portrait in "The School of Athens".
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* InkSuitActor:
** "The School of Athens".
*** Plato's appearance is derived from Creator/LeonardoDaVinci, whose wizened beard fit well with the wise aesthetic Raphael wanted Plato to have.
*** The grumpy-looking figure in the foreground with the boots is Creator/{{Michelangelo}}, representing an ancient philosopher who was seen as solitary.
** The "[[UsefulNotes/TheBorgias Borgia]] Apartment" directly downstairs has the same gimmick, with Pope Alexander's daughter Lucrezia as St. Catherine, his son Cesare as St. Sebastian, and the pope himself kneeling and praying as Jesus flies out of his tomb).
** It was Pope Julius II who first commissioned Raphael to paint the rooms-- he chose the 3rd-floor apartment because he wanted to stomp on the spirit of his old, dead enemy Borgia downstairs. After he died, the project was continued by Pope Leo X (a Medici, the son of Lorenzo the Magnificent). Leo chose as a subject... the accomplishments of previous popes named Leo. On the pope's orders, Raphael depicted Pope Leo III with Leo X's appearance.
** "The School of Athens".
*** Plato's appearance is derived from Creator/LeonardoDaVinci, whose wizened beard fit well with the wise aesthetic Raphael wanted Plato to have.
*** The grumpy-looking figure in the foreground with the boots is Creator/{{Michelangelo}}, representing an ancient philosopher who was seen as solitary.
** The "[[UsefulNotes/TheBorgias Borgia]] Apartment" directly downstairs has the same gimmick, with Pope Alexander's daughter Lucrezia as St. Catherine, his son Cesare as St. Sebastian, and the pope himself kneeling and praying as Jesus flies out of his tomb).
** It was Pope Julius II who first commissioned Raphael to paint the rooms-- he chose the 3rd-floor apartment because he wanted to stomp on the spirit of his old, dead enemy Borgia downstairs. After he died, the project was continued by Pope Leo X (a Medici, the son of Lorenzo the Magnificent). Leo chose as a subject... the accomplishments of previous popes named Leo. On the pope's orders, Raphael depicted Pope Leo III with Leo X's appearance.
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* InkSuitActor: In "The School of Athens".
** Plato's appearance is derived from Creator/LeonardoDaVinci, whose wizened beard fit well with the wise aesthetic Raphael wanted Plato to have.
** The grumpy-looking figure in the foreground with the boots is Creator/{{Michelangelo}}, representing an ancient philosopher who was seen as solitary.
** Plato's appearance is derived from Creator/LeonardoDaVinci, whose wizened beard fit well with the wise aesthetic Raphael wanted Plato to have.
** The grumpy-looking figure in the foreground with the boots is Creator/{{Michelangelo}}, representing an ancient philosopher who was seen as solitary.
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* GotTheWholeWorldInMyHand: In "The School of Athens", Ptolemy and Zoroaster are holding globes of the heavens and the Earth to demonstrate their mastery over the science of astronomy.
* HeavenAbove: In "The School of Athens", Plato [[DeclarativeFinger points his finger skyward]], which visualizes his philosophical focus on identifying [[{{God}} the Metaphysical Form of the Good]] which produces goodness like the sun produces light.
* HeavenAbove: In "The School of Athens", Plato [[DeclarativeFinger points his finger skyward]], which visualizes his philosophical focus on identifying [[{{God}} the Metaphysical Form of the Good]] which produces goodness like the sun produces light.
to:
* GotTheWholeWorldInMyHand: In CreatorCameo: Raphael's self-portrait is hidden in the crowd of Greek philosophers in "The School of Athens", Athens"; he's set apart from the others by the AsideGlance he gives to the audience.
* GotTheWholeWorldInMyHand:
* GotTheWholeWorldInMyHand:
** "Art/TheSchoolOfAthens": Ptolemy and Zoroaster are holding globes of the heavens and the Earth to demonstrate their mastery over the science of astronomy.
** "Disputation of the Holy Sacrament": The Christian {{God}} casually holds the planet in his left hand as he towers over the throne of Heaven.
* HeavenAbove: In "The School of Athens", Plato [[DeclarativeFinger points his fingerskyward]], which visualizes skyward]]; thus visualizing his philosophical focus on identifying [[{{God}} the Metaphysical Form of the Good]] which produces goodness like the sun produces light.
* GotTheWholeWorldInMyHand:
* GotTheWholeWorldInMyHand:
** "Art/TheSchoolOfAthens": Ptolemy and Zoroaster are holding globes of the heavens and the Earth to demonstrate their mastery over the science of astronomy.
** "Disputation of the Holy Sacrament": The Christian {{God}} casually holds the planet in his left hand as he towers over the throne of Heaven.
* HeavenAbove: In "The School of Athens", Plato [[DeclarativeFinger points his finger
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* {{Allegory}}: "The School of Athens" represents philosophy by putting Creator/{{Plato}}, Creator/{{Aristotle}}, and every other pagan philosopher in a huge dialogue in an imagined academy of wisdom.
* AnachronismStew: "The School of Athens" depicts an adult Aristotle in the same building as Socrates, who was executed when Aristotle was 15. Then there's TheCameo from Raphael himself and the Muslim philosopher Averroes, none of which had access to enough TimeTravel to make it to the school on time.
* AnachronismStew: "The School of Athens" depicts an adult Aristotle in the same building as Socrates, who was executed when Aristotle was 15. Then there's TheCameo from Raphael himself and the Muslim philosopher Averroes, none of which had access to enough TimeTravel to make it to the school on time.
to:
* {{Allegory}}: The frescoes in the "Room of the Signatura" represent the four greatest human pursuits.
** "Disputation of the Holy Sacrament" represents the science of theology by showing the greatest Hebrew and Christian saints fondly regarding the clergy of the time debating around the Holy Eucharist.
** "The School of Athens" represents philosophy by putting Creator/{{Plato}}, Creator/{{Aristotle}}, and every other pagan philosopher in a huge dialogue in an imagined academy of wisdom.
** "The Parnassus" represents the pursuit of beauty with a concert by [[Myth/ClassicalMythology Greek god Apollo]] attended by the Nine Muses and every great poet from Creator/{{Homer}} to Raphael's contemporary, [[Literature/OrlandoFurioso Ludovico Ariosto]].
** "Cardinal and Theological Virtues" represents the pursuit of goodness with {{Anthropomorphic Personification}}s of the four cardinal and three theological virtues resting above two great law-makers, [[UsefulNotes/ByzantineEmpire Emperor Justinian]] and UsefulNotes/ThePope Gregory IX.
* AnachronismStew: "The School of Athens" depicts an adult Aristotle in the same building as Socrates, who was executed when Aristotle was 15. Then there's TheCameo from Raphael himself and the Muslim philosopher Averroes, none ofwhich whom had access to enough TimeTravel to make it to the school on time.
** "Disputation of the Holy Sacrament" represents the science of theology by showing the greatest Hebrew and Christian saints fondly regarding the clergy of the time debating around the Holy Eucharist.
** "The School of Athens" represents philosophy by putting Creator/{{Plato}}, Creator/{{Aristotle}}, and every other pagan philosopher in a huge dialogue in an imagined academy of wisdom.
** "The Parnassus" represents the pursuit of beauty with a concert by [[Myth/ClassicalMythology Greek god Apollo]] attended by the Nine Muses and every great poet from Creator/{{Homer}} to Raphael's contemporary, [[Literature/OrlandoFurioso Ludovico Ariosto]].
** "Cardinal and Theological Virtues" represents the pursuit of goodness with {{Anthropomorphic Personification}}s of the four cardinal and three theological virtues resting above two great law-makers, [[UsefulNotes/ByzantineEmpire Emperor Justinian]] and UsefulNotes/ThePope Gregory IX.
* AnachronismStew: "The School of Athens" depicts an adult Aristotle in the same building as Socrates, who was executed when Aristotle was 15. Then there's TheCameo from Raphael himself and the Muslim philosopher Averroes, none of
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[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/the_school_of_athens__by_raffaello_sanzio_da_urbino.jpg]]
[[caption-width-right:350:"The School of Athens", the most iconic painting of the set.]]
[[caption-width-right:350:"The School of Athens", the most iconic painting of the set.]]
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Changed line(s) 79 (click to see context) from:
* IronicName: The "The School of Athens" might be titled like that but only 1/3 of the people depicted there are Athenians. (Admittedly, several of the non-Athenians did live and study in Athens—most notably Aristotle, a Macedonian who both studied under Plato in Athens and then founded a school in Athens.)
to:
* IronicName: The "The School of Athens" might be titled like that but only 1/3 of the people depicted there are Athenians.UsefulNotes/{{Athen|s}}ians. (Admittedly, several of the non-Athenians did live and study in Athens—most notably Aristotle, a Macedonian who both studied under Plato in Athens and then founded a school in Athens.)
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Creator/RaphaelSanzio was commissioned in 1508 (or 1509, according to some historians) to decorate with [[{{Paintings}} frescoes]] the rooms in the Apostolic Palace of the UsefulNotes/VaticanCity in UsefulNotes/{{Rome}}.
The four ''Raphael Rooms'' (Italian: ''Stanze di Raffaello'') are the "Room of the Signatura" (Italian: "Stanza della Segnatura"), the first to be painted; the "Hall of Constantine" (Italian: "Sala di Costantino"), the largest of them all; the "Room of Heliodorus" (Italian: "Stanza di Eliodoro"); and "The Room of the Fire in the Borgo" (Italian: "Stanza dell'Incendio del Borgo").
Each room has its four walls adorned by a fresco as well as a variable number painted on the ceiling. They are named after the main subject of the paintings or the most prominent piece. The rest of the walls' surface is occupied by [[{{Sculptures}} reliefs]] on wood and plaster.
This set has long been seen as "Raphael's masterpiece and the perfect embodiment of the classical spirit of the Renaissance". In particular, because of the masterful usage of perspective, which Raphael learned from Creator/LeonardoDaVinci.
See ''Art/SevenVirtues'' for another [[UsefulNotes/TheRenaissance Renaissance]] art series that features the Christian cardinal and heavenly virtues. See Art/SistineChapel for another extensive series of High Renaissance frescoes.
----
!!This set provides examples of:
[[foldercontrol]]
[[folder:In General]]
[[/folder]]
[[folder:"Hall of Constantine"]]
[[quoteright:1000:https://static.tvtropes.org/pmwiki/pub/images/hall_of_constantine.jpg]]
%%[[caption-width-right:1000:some caption text]]
# "The Donation of Constantine" (north wall)
# "The Vision of the Cross" (east wall)
# "The Battle of Milvian Bridge" (south wall)
# "The Baptism of Constantine" (west wall)
----
!!Tropes:
[[/folder]]
[[folder:"Room of Heliodorus"]]
[[quoteright:1000:https://static.tvtropes.org/pmwiki/pub/images/room_of_heliodorus.jpg]]
%%[[caption-width-right:1000:some caption text]]
# "Deliverance of Saint Peter" (north wall)
# "The Expulsion of Heliodorus from the Temple" (east wall)
# "The Mass at Bolsena" (south wall)
# "The Meeting of Leo the Great and Attila" (west wall)
----
!!Tropes:
[[/folder]]
[[folder:"The Room of the Fire in the Borgo"]]
[[quoteright:1000:https://static.tvtropes.org/pmwiki/pub/images/room_of_the_fire_in_the_borgo.png]]
%%[[caption-width-right:1000:some caption text]]
# "The Oath of Leo III" (north wall)
# "Battle of Ostia" (east wall)
# "The Fire in the Borgo" (south wall)
# "The Coronation of Charlemagne" (west wall)
----
!!Tropes:
[[/folder]]
[[folder:"Room of the Signatura"]]
[[quoteright:1000:https://static.tvtropes.org/pmwiki/pub/images/room_of_the_signatura.jpg]]
%%[[caption-width-right:1000:some caption text]]
# "The Parnassus" (north wall)
# "The School of Athens" (Italian: ''Scuola di Atene''; east wall)
# "Cardinal and Theological Virtues" (south wall)
# "Disputation of the Holy Sacrament" (west wall)
----
!!Tropes:
* {{Allegory}}: "The School of Athens" represents philosophy by putting Creator/{{Plato}}, Creator/{{Aristotle}}, and every other pagan philosopher in a huge dialogue in an imagined academy of wisdom.
* AnachronismStew: "The School of Athens" depicts an adult Aristotle in the same building as Socrates, who was executed when Aristotle was 15. Then there's TheCameo from Raphael himself and the Muslim philosopher Averroes, none of which had access to enough TimeTravel to make it to the school on time.
* AsideGlance: In "The School of Athens", the only character who seems to see the viewer is an Italian pretty boy who looks suspiciously like [[CreatorCameo Raphael himself]].
* GotTheWholeWorldInMyHand: In "The School of Athens", Ptolemy and Zoroaster are holding globes of the heavens and the Earth to demonstrate their mastery over the science of astronomy.
* HeavenAbove: In "The School of Athens", Plato [[DeclarativeFinger points his finger skyward]], which visualizes his philosophical focus on identifying [[{{God}} the Metaphysical Form of the Good]] which produces goodness like the sun produces light.
* InkSuitActor: In "The School of Athens".
** Plato's appearance is derived from Creator/LeonardoDaVinci, whose wizened beard fit well with the wise aesthetic Raphael wanted Plato to have.
** The grumpy-looking figure in the foreground with the boots is Creator/{{Michelangelo}}, representing an ancient philosopher who was seen as solitary.
* IronicName: The "The School of Athens" might be titled like that but only 1/3 of the people depicted there are Athenians. (Admittedly, several of the non-Athenians did live and study in Athens—most notably Aristotle, a Macedonian who both studied under Plato in Athens and then founded a school in Athens.)
* RedIsHeroic: One of the central figures of "The School of Athens" is Plato, who wears a bright red that distinguishes him and his metaphysical ideals from the muted world of his fate.
* ScienceIsGood: "The School of Athens" idealizes all of the ancient Greek mathematicians, physicists, and philosophers as members of a single beautiful university. A special honor goes to Creator/{{Aristotle}}, who represents earthly knowledge with his downward gesture, who is walking towards the audience alongside Creator/{{Plato}}. They are walking right into the painting across the wall from the "The School of Athens" to "The Disputation of the Sacrament", therefore indicating science and reason can lead one to the truth and goodness of the Christian [[UsefulNotes/{{Jesus}} Christ in the Eucharist]].
[[/folder]]
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The four ''Raphael Rooms'' (Italian: ''Stanze di Raffaello'') are the "Room of the Signatura" (Italian: "Stanza della Segnatura"), the first to be painted; the "Hall of Constantine" (Italian: "Sala di Costantino"), the largest of them all; the "Room of Heliodorus" (Italian: "Stanza di Eliodoro"); and "The Room of the Fire in the Borgo" (Italian: "Stanza dell'Incendio del Borgo").
Each room has its four walls adorned by a fresco as well as a variable number painted on the ceiling. They are named after the main subject of the paintings or the most prominent piece. The rest of the walls' surface is occupied by [[{{Sculptures}} reliefs]] on wood and plaster.
This set has long been seen as "Raphael's masterpiece and the perfect embodiment of the classical spirit of the Renaissance". In particular, because of the masterful usage of perspective, which Raphael learned from Creator/LeonardoDaVinci.
See ''Art/SevenVirtues'' for another [[UsefulNotes/TheRenaissance Renaissance]] art series that features the Christian cardinal and heavenly virtues. See Art/SistineChapel for another extensive series of High Renaissance frescoes.
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!!This set provides examples of:
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[[folder:In General]]
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[[folder:"Hall of Constantine"]]
[[quoteright:1000:https://static.tvtropes.org/pmwiki/pub/images/hall_of_constantine.jpg]]
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# "The Donation of Constantine" (north wall)
# "The Vision of the Cross" (east wall)
# "The Battle of Milvian Bridge" (south wall)
# "The Baptism of Constantine" (west wall)
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!!Tropes:
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[[folder:"Room of Heliodorus"]]
[[quoteright:1000:https://static.tvtropes.org/pmwiki/pub/images/room_of_heliodorus.jpg]]
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# "Deliverance of Saint Peter" (north wall)
# "The Expulsion of Heliodorus from the Temple" (east wall)
# "The Mass at Bolsena" (south wall)
# "The Meeting of Leo the Great and Attila" (west wall)
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!!Tropes:
[[/folder]]
[[folder:"The Room of the Fire in the Borgo"]]
[[quoteright:1000:https://static.tvtropes.org/pmwiki/pub/images/room_of_the_fire_in_the_borgo.png]]
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# "The Oath of Leo III" (north wall)
# "Battle of Ostia" (east wall)
# "The Fire in the Borgo" (south wall)
# "The Coronation of Charlemagne" (west wall)
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!!Tropes:
[[/folder]]
[[folder:"Room of the Signatura"]]
[[quoteright:1000:https://static.tvtropes.org/pmwiki/pub/images/room_of_the_signatura.jpg]]
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# "The Parnassus" (north wall)
# "The School of Athens" (Italian: ''Scuola di Atene''; east wall)
# "Cardinal and Theological Virtues" (south wall)
# "Disputation of the Holy Sacrament" (west wall)
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!!Tropes:
* {{Allegory}}: "The School of Athens" represents philosophy by putting Creator/{{Plato}}, Creator/{{Aristotle}}, and every other pagan philosopher in a huge dialogue in an imagined academy of wisdom.
* AnachronismStew: "The School of Athens" depicts an adult Aristotle in the same building as Socrates, who was executed when Aristotle was 15. Then there's TheCameo from Raphael himself and the Muslim philosopher Averroes, none of which had access to enough TimeTravel to make it to the school on time.
* AsideGlance: In "The School of Athens", the only character who seems to see the viewer is an Italian pretty boy who looks suspiciously like [[CreatorCameo Raphael himself]].
* GotTheWholeWorldInMyHand: In "The School of Athens", Ptolemy and Zoroaster are holding globes of the heavens and the Earth to demonstrate their mastery over the science of astronomy.
* HeavenAbove: In "The School of Athens", Plato [[DeclarativeFinger points his finger skyward]], which visualizes his philosophical focus on identifying [[{{God}} the Metaphysical Form of the Good]] which produces goodness like the sun produces light.
* InkSuitActor: In "The School of Athens".
** Plato's appearance is derived from Creator/LeonardoDaVinci, whose wizened beard fit well with the wise aesthetic Raphael wanted Plato to have.
** The grumpy-looking figure in the foreground with the boots is Creator/{{Michelangelo}}, representing an ancient philosopher who was seen as solitary.
* IronicName: The "The School of Athens" might be titled like that but only 1/3 of the people depicted there are Athenians. (Admittedly, several of the non-Athenians did live and study in Athens—most notably Aristotle, a Macedonian who both studied under Plato in Athens and then founded a school in Athens.)
* RedIsHeroic: One of the central figures of "The School of Athens" is Plato, who wears a bright red that distinguishes him and his metaphysical ideals from the muted world of his fate.
* ScienceIsGood: "The School of Athens" idealizes all of the ancient Greek mathematicians, physicists, and philosophers as members of a single beautiful university. A special honor goes to Creator/{{Aristotle}}, who represents earthly knowledge with his downward gesture, who is walking towards the audience alongside Creator/{{Plato}}. They are walking right into the painting across the wall from the "The School of Athens" to "The Disputation of the Sacrament", therefore indicating science and reason can lead one to the truth and goodness of the Christian [[UsefulNotes/{{Jesus}} Christ in the Eucharist]].
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