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</html>";s:4:"text";s:7656:"The portrait was displayed on 12 December 1513, after Julius’s death, in the Roman church of Santa Maria del Popolo, which had been redecorated at the expense of the della Rovere family. Raphael, Portrait of Pope Julius II, 1511, oil on poplar, 108.7 x 81 cm (National Gallery, London) Speakers: Dr. Beth Harris and Dr. Steven Zucker Cite this page as: Beth Harris and Steven Zucker, "Raphael, Portrait of Pope Julius II," in Smarthistory , November 18, 2015, accessed November 24, 2020, https://smarthistory.org/raphael-portrait-of-pope-julius-ii/ . Pope Julius was a great patron of the arts, commissioning Raphael to decorate the papal apartments (Vatican Stanze) and ordering the rebuilding of St Peter’s in Rome. The main panel of the altarpiece, ‘The Ansidei Madonna’, is also in the National Gallery’s collection. This portrait of the careworn Pope Julius II (1443–1513) is usually dated to the one-and-a-half-year period during which he wore a beard. He grew it in 1510 as a token of mortification while recovering from a serious illness brought on by the loss of Bologna to the French, and vowed not to shave it off until French troops had been expelled from Italy, which happened in 1512. Pleasure, with fragrant flowing hair, promises a life of ease and serenity.Raphael interpreted the theme not... Catherine of Alexandria, a fourth-century princess, was converted to Christianity and in a vision underwent a mystic marriage with Christ. In this little picture Raphael depicts the moment when the Christ Child takes a carnation, traditionally symbolic of divine love and the Passion (Christ’s torture and crucifixion), from his cousin John the Baptist’s hand. Julius was a great patron of the arts, commissioning Raphael to decorate the papal apartments in the Vatican and ordering the rebuilding of St Peter’s in Rome. Sebastiano, Titian, El Greco, Velázquez, Domenichino, Reni and Guercino are among the many artists who adopted this formula. Raphael’s decision to replace it with a green background may have been prompted by Justus of Ghent’s portrait of Julius’s uncle, Pope Sixtus IV, which shows a pope with a green damask curtain behind him. This portrait of the careworn Pope Julius II (1443–1513) is usually dated to the one-and-a-half-year period during which he wore a beard. The two artworks, about the same size, appear as if they were meant to complement each other. The Portrait of Pope Julius II was created in 1511-1512 by Raphael. When she would not give up her faith, Emperor Maxentius ordered that she be bound to a spiked wheel and tortured to death. Julius II belonged to the della Rovere family.  The colours red, white and green – repeated in the stones on the sitter’s finger rings – are also those of the three theological virtues: charity, faith and hope. Giuliano della Rovere was born in 1443; he took the title of Julius II when elected pope in 1502. Help keep us free by making a donation today. The image file is 800 pixels on the longest side. In the past this painting was believed to be a portrait of Raphael as the sitter slightly resembles his self portrait in The School of Athens of 1509–11 (Vatican). The two golden acorns on the Pope’s chair allude to his family name, della Rovere (rovere is Italian for oak). This image is licensed for non-commercial use under a Creative Commons agreement. When Raphael’s portrait of Julius II entered the National Gallery in 1824 it was regarded to be the original. Julius II commissioned from Raphael this portray and Madonna of Loreto which resided at Santa Maria del Popolo, at the entrance gate to Rome.Upon the portrait’s completion, it was displayed within the church for eight days, where many people came to see it. Although our doors have temporarily closed, it's still possible to book tickets for visits from 2 December onwards. This is a copy of Raphael’s Virgin and Child known as ‘The Bridgewater Madonna’. He grew it as a token of mortification between October and December 1510 while recovering from a serious illness brought on by the loss of Bologna to French troops, and vowed to remain unshaven until the French were chased out of Italy. Read more. Virtue promises Scipio honour, fame and glory through victory in war. A brilliant administrator and belligerent defender of the temporal power of the papacy, he led the papal army in attempts to expand and consolidate the territories of the Papal States. You must agree to the Creative Commons terms and conditions to download this image. Raphael actually painted several different portraits of the Pope, which are found all over the world today. This was due to the fact that the painting was obscured by discoloured varnish and repainting. He was an important patron of the arts. All Rights Reserved. The heads in the easel portrait and the fresco match each other line for line – it seems likely that Raphael made the easel portrait first, studying his model from life. Your email address will not be published. Aside from their dimensions, they also both had a strong vertical orientation. This is one of three scenes from the predella of Raphael’s Colonna Altarpiece painted for the convent of S. Antonio da Padua in Perugia. This is the main panel of the altarpiece Raphael painted for the Ansidei family chapel in the Servite Church of S. Fiorenzo in Perugia in 1505.The Virgin sits in majesty on a carved wooden throne with the Christ Child on her lap. Although our doors have temporarily closed, it's still possible to book tickets for visits from 2 December onwards. Raphael may have painted the portrait in Julius’s apartment on the third floor of the Vatican palace – perhaps the room where he received visitors, which was lit by similar windows. It is likely that the portrait was painted very shortly after the Pope returned from his military campaign in Emilia-Romagna on 27 June 1511. He was an important patron of the arts. Portrait of Pope Julius II, Raphael (1483-1520), NG27 x-ray examination Hasan Niyazi: Portrait of Julius II - a Raphael case study Web Gallery of Art: Source/Photographer: National Gallery, London: Annotations: This image is annotated: View the annotations at Commons It was enormously influential and became the model for ecclesiastical portraiture over the following 200 years. The portrait of Pope Julius II  was unusual for its time and would carry a long influence on papal portraiture. Before Raphael covered it with the plain green colour visible today, the background was decorated with heraldic symbols representing the papal tiara, papal crossed keys and another symbol which was probably the yellow oak tree of the della Rovere coat of arms. The three-quarter length format brings the viewer very close to the elderly, war-like Pope, who, when asked if he wanted to be shown with a book in his hand in a sculpture by Michelangelo, replied: ‘Give me a sword; I am not a man of letters.’ Raphael’s portrait, however, is not the portrait of a warmonger but an astonishingly intimate image of a careworn elderly man. While resting in the shade of a bay tree, the young soldier Scipio has a vision of Virtue and her adversary Pleasure. Julius II, Pope Giuliano della Rovere was born in 1443; he took the title of Julius II when elected pope in 1502. The reflections in their gleaming surface reveal that Julius was seated opposite a doorway in a narrow room lit by a mullioned window. This portrait of Pope Julius II (1443–1513) is usually dated to the one-and-a-half-year period during which he wore a beard. It is not, however, by Raphael and is probably not a portrait of him either. 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