The Stanza della Segnatura contained apartments for Pope Julius II, who commissioned Raphael to paint them. Vatican patrons say, “The Stanza della Segnatura was to be Julius' library, Bibiotheca Iulia, which would house a small collection of books intended for his personal use.” The frescoes depict four themes, Philosophy, Theology, Poetry and Law. All of the frescoes show heavy influence from his predecessors as well as his contemporaries. Raphael learned much from his travels around Italy and from studying with his master Perugino in his native town of Urbino. From Perugino, he learned oil painting and how to manipulate figures. Raphael’s earliest intact altarpiece, the Mond Crucifixion, “is remarkably close to Perugino, in the lightly posed figures, which are meek and decorous in gesture and sweet in expression, in its linear elegance and atmospheric distant hills, which are bare but for soft clumps and individual trees as light as columns of smoke. All details of the formal language—crooked little fingers, solid scaly wings, hooked drapery folds—derive from Perugino, and Raphael also imitated Perugino’s technique of painting, largely in an oil medium.”
The Stanza della Segnatura contained apartments for Pope Julius II, who commissioned Raphael to paint them. Vatican patrons say, “The Stanza della Segnatura was to be Julius' library, Bibiotheca Iulia, which would house a small collection of books intended for his personal use.” The frescoes depict four themes, Philosophy, Theology, Poetry and Law. All of the frescoes show heavy influence from his predecessors as well as his contemporaries. Raphael learned much from his travels around Italy and from studying with his master Perugino in his native town of Urbino. From Perugino, he learned oil painting and how to manipulate figures. Raphael’s earliest intact altarpiece, the Mond Crucifixion, “is remarkably close to Perugino, in the lightly posed figures, which are meek and decorous in gesture and sweet in expression, in its linear elegance and atmospheric distant hills, which are bare but for soft clumps and individual trees as light as columns of smoke. All details of the formal language—crooked little fingers, solid scaly wings, hooked drapery folds—derive from Perugino, and Raphael also imitated Perugino’s technique of painting, largely in an oil medium.”