Exploring Philosophy Through Art

Chapter 13

Exploring Philosophy Through Art: An Analysis of The School of Athens

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Good evening, fellow art enthusiasts! Today, we’ll be picking apart the timeless brilliance of Raphael’s The School of Athens, a masterpiece that brings Ancient Greece to life through its depiction of history’s greatest philosophers.

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The School of Athens – Raphael (1508-11)


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The School of Athens is a monumental work, framing some of the greatest thinkers of classical antiquity. Through its spiritual approach, this piece links philosophy, the arts and sciences with the Catholic Church.

This piece was first commissioned by Pope Julius II, who occupied the Vatican (Rome, Italy) in the 16th century. The painting was meant to decorate the Pope's personal library. However, it was also meant to praise the Church, especially at a time when it was losing legitimacy. Raphael, the creator, wanted to glorify certain pagan treasures by subsuming them into the Christian doctrine. It shows that despite their differences, science, philosophy, and theology, all aim to discover universal truth.

The large size of this fresco makes room for many characters—52 in total! In the center, Plato and Aristotle hold a place against the background. Around them are various figures connected to philosophical currents and sciences. To the left of the duo, we see the Pythagoras, who represents mathematics. The presence of Socrates, Heraclitus and Francesco Maria Della Rovere (the nephew of Julius II) can be found as well. On the right side, the portrait of Euclid evokes geometry, while Ptolemy and Zoroaster refer to cosmology and astronomy. The Epicureans, Stoics, and Cynics are also present, the most notable among them being Diogenes. And finally, we can see Raphael himself, who has represented himself looking on at the spectators. You can spot his face to the far right, beside Ptolemy!

The School of Athens holds two currents of thought, so let’s look at the opposition between the two world views of Plato and Aristotle. On the one hand, you have the world of ideas and the contemplative by Plato. On the other hand, Aristotle's theory focuses on experience, the sensible, and the earthly. Tactics used in this fresco are made to highlight the rivalry between the two intellects and demonstrate their contrasts.

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Plato and Aristotle (the Idealist and Realist)

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Looking closer, their eyes face each other in a challenging way, Plato’s old age and wisdom questioning Aristotle’s youth. We can see Plato’s finger pointing at the sky, which refers to his philosophy around an eternal and higher reality. The palm of Aristotle’s hand is face down in front of himself, indicating his interest in the grounded and changing reality around him. To emphasise the contrast further, the two are dressed in reverse colours: Plato in a blue tunic and red cloak, and Aristotle in a red robe and blue drape. Additionally, their location at the vanishing point, a compositionally central position, indicates their centrality to the Western philosophical tradition.

Raphael made many strategic choices in this fresco, coming down to the gestures and stances of each figure. There is also the staircase, as it’s not only for the aesthetic—it serves as an allegory of knowledge. It highlights the different degrees of philosophy and science. For Raphael, each character has a precise place on the ladder of knowledge, corresponding to their importance. There is also the interpretation that the staircase illustrates the approach of philosophers and scientists. It serves as a path, an ascent to knowledge, but also the continuous process of gaining knowledge and passing wisdom from generation to generation.

This work remains emblematic because of its strong antagonisms, both symbolically and visually. However, like much other Renaissance art, it largely excludes women, who are dramatically underrepresented in this painting. It remains worthwhile to recognise the one woman amongst everyone—Hypatia of Alexandria. She is the first woman documented to have contributed to mathematics, astronomy, and philosophy.

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I would simply love to go on endlessly about this piece, but I’ll spare you my rambling. I hope this explanation has somewhat deepened your appreciation for The School Of Athens and the mastery behind Raphael’s artistry. I’ll leave you now to read the next amazing chapter in this amazing issue of Hogwarts Monthly News. Goodbye!

Written by Daphne Clarke. 
Edited by Hazel Antler.
Proofread by Daphne Clarke.