The Meeting of Leo the Great and Attila

Last updated
The Meeting of Leo the Great and Attila
Raphael - The Meeting of Leo the Great and Attila.jpg
Artist Raphael
Year1513-1514
Type Fresco
Dimensions500 cm× 750 cm(200 in× 300 in)
Location Apostolic Palace, Vatican City

The Meeting of Leo I and Attila is a fresco by the Italian Renaissance artist Raphael. It was painted from 1513 to 1514 as part of Raphael's commission to decorate the rooms that are now known as the Stanze di Raffaello , in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple .

Contents

The painting depicts the meeting between the Pope Leo I and Attila the Hun, which took place in 452 in northern Italy. [1] Initially, Raphael depicted Leo I with the face of Pope Julius II but after Julius' death, [1] Raphael changed the painting to resemble the new pope, Leo X. [2] Leo X appears both as cardinal and as pope. [2] [3] The images of Saint Peter and Saint Paul appear in the sky bearing swords, and were said to have helped keep the king of the Huns from invading Italy. [1]

The left half of the painting is mainly by Raphael, with only minimal work by his students. [2] The result of this fresco exhibits great artistic skill, due to the usage of dark and light pigments which amplify the peaceful and the aggressive movements. It showcases a comparison of good and evil, which ties in the political and religious perspective of the Pope, who commissioned the work. [4]

Historical Context

In 1514, the Pope hired young Raphael to reimagine the project to decorate the rooms of the Vatican as the chief architect. [5] [6] Perhaps, due to Raphael's family's success in the arts, he was given the opportunity to be commissioned for the paintings in the Vatican. However, Raphael had also proven himself to be a more successful painter than his father, while still in his teenage years. [5] Once he was the chief architect for the Vatican, it resulted in the destruction of the previous frescoes that had been created in the Vatican, and marked the time in which Raphael began to create the famous Vatican frescoes that still exist today. Though Raphael is mostly attributed for the creation of The Meeting of Leo the Great and Attila, his assistants painted much of it, as he directed, and they continued to finish the project even after his early death. Some of the accredited assistants include: Raffaellino del Colle, Giulio Romano, and Gianfrancesco Penni. [7] This fresco, amongst the others in the Room of Heliodorus glorified the Church.

Subject

The main figure in this painting is Attila, the king of the Huns, who began to seriously threaten Italy in 452 AD. Pope Leo I was sent out to meet the Hun king and to attempt to persuade him to spare Italy. Their meeting is thought to have taken place near Mantua. This area was known for its association to Christianity, adding to the symbolism of finding a peaceful resolve.

The other major figure was Leo I, who reigned from 440. Both the pope and the general Roman public found that it would be best to work towards peace, even by means of begging. Pope Leo I led in hopes to come to an agreement where violence was avoided. The result was peaceful, as the Pope's approach to the situation allowed Attila to cease any plans of warfare. [7]

The Emperor of Rome realized that the odds of them being victorious against Attila and the Huns was slim, and yet Leo exhibited bravery, because he relied on his faith when going against this great foe. [8]

Interpretation

The moment that is shown in this fresco includes political and faith-based themes because of the contrast of the agitated Huns and the religious authorities. [6] Though a battle was expected, Attila the Hun decided to not engage in battle, and there have been various perspectives as to why he changes his mind. Historians prefer the explanation that the Huns withdrew because they may have suffered from lack of food and care, leading them to be ill or hungry. Though this seems to be an explanation that can be easily understood, there is not sufficient evidence to even prove that the Huns were lacking food at all in the northern region of Italy where they were located. This estimation of their location resulted from the careful calculations of academics who were not convinced that God was the only force working to keep Attila and the Huns from fighting. [9]

However, the idea of food scarcity was not accepted by all scholars who wanted to find the reason for the peaceful conclusion., Another theory that was proposed explains that the Huns left early because of the changing seasons, knowing that survival was much more difficult during the winter. So the idea that is being proposed is that they left in order to avoid the cold climate coming due to winter, and that they had all of the food provisions that were necessary. [9]

The painting, however, indicates that the Huns withdrew because of the spiritual presences of the Christian martyrs, Apostle Peter and Paul. They are shown to be working alongside Pope Leo I in order to help prevent Attila from invading. Since Peter and Paul had brought much success to the spreading of the Gospel of Jesus and lived righteous lives, they were able to influence Attila's thoughts, and even remind him of God, who has more power than Attila. This interpretations argues that Attila believed in Leo's words after thinking deeply about what had been said, since he seems to have sided with the papal nobility and have faith as well. [9]

There are interpretations that view the people alongside Attila the Hun as barbarians. The connotation and definition leave the viewer seeing them as being lowly and uncultured, when that was likely not the case. This is significant because the piece also includes one of Attila's men standing his ground, facing the pope, and reaching out his hand towards the pope's entourage. This is significant in showing that there may not be total unity amongst this group. Additionally, the figure who is defying also has a feathered headdress, connecting him to the indigenous people of the Americas. Europeans considered the Native Americans to be barbarians as well, and that they should be conquered, for the benefit of humanity. So, this figure with the feather on his head indicates that Raphael may also want to paint the image of Native American defiance for the public to see. The features of all of the faces including the Native American though, are clearly with European features, because for many years, Europeans did not actually know how Native Americans looked and acted. Since their form of information was based upon the stories told by the few who visited the Americas in person. Accurate depictions are not expected until the 17th century, and so this piece is shown to lack historical authenticity, as these realities are clarified. [10]

Legacy

The same topic was addressed by Alessandro Algardi in his baroque masterpiece, a marble relief of Fuga d'Attila (c. 1650) in St Peter's Basilica.

Related Research Articles

<span class="mw-page-title-main">Raphael</span> Italian painter and architect (1483–1520)

Raffaello Sanzio da Urbino, now generally known in English as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Leonardo da Vinci and Michelangelo, he forms the traditional trinity of great masters of that period.

<span class="mw-page-title-main">Pope Leo I</span> Head of the Catholic Church from 440 to 461

Pope Leo I, also known as Leo the Great, was Bishop of Rome from 29 September 440 until his death.

<span class="mw-page-title-main">Apostolic Palace</span> Official residence of the Pope located in Vatican City

The Apostolic Palace is the official residence of the Pope, the head of the Catholic Church, located in Vatican City. It is also known as the Papal Palace, the Palace of the Vatican and the Vatican Palace. The Vatican itself refers to the building as the Palace of Sixtus V, in honor of Pope Sixtus V, who built most of the present form of the palace.

<span class="mw-page-title-main">Giulio Romano</span> Italian painter and architect (1499–1546)

Giulio Pippi, known as Giulio Romano, was an Italian painter and architect. He was a pupil of Raphael, and his stylistic deviations from High Renaissance classicism help define the sixteenth-century style known as Mannerism. Giulio's drawings have long been treasured by collectors; contemporary prints of them engraved by Marcantonio Raimondi were a significant contribution to the spread of sixteenth-century Italian style throughout Europe.

<span class="mw-page-title-main">Raphael Rooms</span> Rooms in the Vatican painted by Raphael

The four Raphael Rooms form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.

<i>Transfiguration</i> (Raphael) Painting by Raphael

The Transfiguration is the last painting by the Italian High Renaissance master Raphael. Cardinal Giulio de Medici – who later became Pope Clement VII – commissioned the work, conceived as an altarpiece for Narbonne Cathedral in France; Raphael worked on it in the years preceding his death in 1520. The painting exemplifies Raphael's development as an artist and the culmination of his career. Unusually for a depiction of the Transfiguration of Jesus in Christian art, the subject is combined with the next episode from the Gospels in the lower part of the painting. The work is now in the Pinacoteca Vaticana in the Vatican City.

<span class="mw-page-title-main">Borgia Apartments</span>

The Borgia Apartments are a suite of rooms in the Apostolic Palace in the Vatican, adapted for personal use by Pope Alexander VI. In the late 15th century, he commissioned the Italian painter Bernardino di Betto (Pinturicchio) and his studio to decorate them with frescoes.

<i>Christ Falling on the Way to Calvary</i> Painting by Raphael

Christ Falling on the Way to Calvary, also known as Lo Spasimo or Il Spasimo di Sicilia, is a painting by the Italian High Renaissance painter Raphael, of c. 1514–16, now in the Museo del Prado in Madrid. It is an important work for the development of his style.

<i>Madonna della Seggiola</i> Painting by Raphael

The Madonna della Seggiola or The Madonna della Sedia is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.

<i>Disputation of the Holy Sacrament</i> Fresco by Raphael

The Disputation of the Sacrament, or Disputa, is a painting by the Italian Renaissance artist Raphael. It was painted between 1509 and 1510 as the first part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. At the time, this room was known as the Stanza della Segnatura, and was the private papal library where the supreme papal tribunal met.

<i>The Expulsion of Heliodorus from the Temple</i> Fresco by Raphael

The Expulsion of Heliodorus from the Temple is a fresco of the Italian renaissance painter Raphael. It was painted between 1511 and 1512 as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the room that takes its name from it, the Stanza di Eliodoro.

<i>Deliverance of Saint Peter</i>

The Liberation of Saint Peter is a fresco painting by the Italian High Renaissance artist Raphael. It was painted in 1514 as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple. The painting shows how Saint Peter was liberated from Herod's prison by an angel, as described in Acts 12. It is technically an overdoor.

<i>The Fire in the Borgo</i> Fresco by Raphael

The Fire in the Borgo is a painting created by the workshop of the Italian Renaissance artist Raphael between 1514 and 1517. Though it is assumed that Raphael did make the designs for the complex composition, the fresco was most likely painted by his assistant Giulio Romano. The painting was part of Raphael's commission to decorate the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It depicts Pope Leo IV halting a fire in 847 with a benediction from a balcony in front of the Old St. Peter's Basilica. The mural lends its name to the Stanza dell'incendio del Borgo.

Various perils are represented in this work. In one part we see a number of women whose hair and clothes are blown about by the terrible fury of the wind as carrying vessels full of water on their heads and in their hands they hurry to put out the fire. There are others bewildered and blinded by the smoke as they try to throw water on the flames. On the other side is depicted an infirm old man, distraught by his weakness and the flames of the fire, being carried by a young man whose face expresses his strength and courage and whose body shows the strain of carrying the figure slumped on his back. He is followed by a dishevelled, bare-footed old woman fleeing from the fire, and going before them is a naked child.

<i>The Mass at Bolsena</i> Fresco by Raphael

The Mass at Bolsena is a painting by the Italian renaissance artist Raphael. It was painted between 1512 and 1514 as part of Raphael's commission to decorate with frescoes the rooms that are now known as the Raphael Rooms, in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple.

<i>The Oath of Leo III</i>

The Oath of Leo III is a painting by the workshop of the Italian renaissance artist Raphael. The painting was part of Raphael's commission to decorate the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the room that was named after The Fire in the Borgo, the Stanza dell'incendio del Borgo. In the fresco, Pope Leo III is seen during the trial on December 23 AD 800 during which he was brought face to face with the nephews of his predecessor Pope Hadrian I, who had accused him of misconduct. The assembled bishops declared that they could not judge the pope, after which Leo took an oath of purgation of his own free will.

Events from the year 1514 in art.

<span class="mw-page-title-main">Art patronage of Julius II</span> Papal commissions in the Vatican (1503–13)

Pope Julius II, commissioned a series of highly influential art and architecture projects in the Vatican. The painting of the Sistine Chapel ceiling by Michelangelo and of various rooms by Raphael in the Apostolic Palace are considered among the masterworks that mark the High Renaissance in Rome. His decision to rebuild St Peter's led to the construction of the present basilica.

Events from the year 1512 in art.

<i>Cardinal and Theological Virtues</i> (Raphael) Fresco by Raphael

The Cardinal and Theological Virtues is a lunette fresco by Raphael found on the south wall of the Stanza della Segnatura in the Apostolic Palace of the Vatican. Three of the cardinal virtues are personified as statuesque women seated in a bucolic landscape, and the theological virtues are depicted by putti.

<span class="mw-page-title-main">Roman Renaissance</span> Renaissance in Rome

The Renaissance in Rome occupied a period from the mid-15th to the mid-16th centuries, a period which spawned such masters as Michelangelo and Raphael, who left an indelible mark on Western figurative art. The city had been a magnet for artists wishing to study its classical ruins since the early 15th century. A revived interest in the Classics brought about the first archaeological study of Roman remains by the architect Filippo Brunelleschi and the sculptor Donatello. This inspired a corresponding classicism in painting and sculpture, which manifested itself in the paintings of Masaccio and Uccello. Pisanello and his assistants also frequently took inspiration from ancient remains, but their approach was essentially cataloguing, acquiring a repertoire of models to be exploited later.

References

  1. 1 2 3 "Encounter of Leo the Great with Attila". www.museivaticani.va. Retrieved 2020-11-16.
  2. 1 2 3 Redig de Campos, Deoclécio [in Italian] (1968). Vatican Museums: Rome. New York: Newsweek. p. 13.
  3. ↑ "colbert - raphael .pdf" (PDF). Dropbox. Retrieved 2020-11-04.
  4. ↑ "The Meeting of Leo the Great and Attila - by Raphael". raphaelpaintings.org. Retrieved 2020-11-20.
  5. 1 2 "Raphael". Biography. Retrieved 2020-11-20.
  6. 1 2 "Raphael Rooms, Vatican Museum". www.visual-arts-cork.com. Retrieved 2020-11-20.
  7. 1 2 "Internet History Sourcebooks Project". sourcebooks.fordham.edu. Retrieved 2020-10-21.
  8. ↑ Charles, Elizabeth Rundle (1894). "Attila and His Conquerors: A Story of the Days of St. Patrick and St. Leo the Great" . Retrieved 2020-10-21.
  9. 1 2 3 Başaran, Vural (2019-10-18). "Ihsan Hun's Book of Military History and its Place in Military Historiography". Gaziantep University Journal of Social Sciences. 18 (4): 1501–1514. doi: 10.21547/jss.488883 . ISSN   1303-0094.
  10. ↑ Colbert, Charles (1985). "'They Are Our Brothers:' Raphael and the American Indian". Sixteenth Century Journal. 16. doi:10.2307/2540911. JSTOR   2540911.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.