raphael the school of athens with what philosophy was that person associated
School of Athens refers to a famous fresco painted by Raphael in the Apostolic Palace in Vatican City. The fresco was painted between 1510 and 1511 and is one of four frescoes painted by Raphael in the rooms now known as the Stanze di Raffaello. School of Athens was the second fresco completed in the room and depicts Raphael”s interpretation of philosophy as a branch of knowledge. Showing a gathering of Greek philosophers engaged in various activities, the fresco is considered a prime example of High Renaissance art and considered Raphael”s masterpiece.
The central figures in School of Athens are Plato and Aristotle. Depicted at the central vanishing point of the shown architecture, Plato holds a bound copy of Timaeus in his left hand and is shown as an older, wise, gray-haired man. In contrast, his student Aristotle is shown as a younger, handsome man looking to his teacher. Aristotle carries a bound copy of Nicomachean Ethics in his left hand and walks slightly ahead of Plato. The two central figures both gesture with their right hands but along different visual planes. Plato gestures upwards into the vault while Aristotle gestures horizontally ahead of the figures. Plato and Aristotle are deep in conversation while walking through the other figures.
Study on the ” School of Athens ”
Study on the ” School of Athens ”
But just what does this famous painting mean? Let’s look at what the iconic The School of Athens meant for Raphael as an artist and how it’s become such a symbol of the Renaissance. At the time, a commission by the pope was the apex of any artist’s career. For Raphael, it was validation of an already burgeoning career.
Raphael was in Florence when he received word that Pope Julius II, the same man who asked Michelangelo to paint the Sistine Ceiling, asked him to decorate apartments on the second floor of the Vatican Palace. He was hoping to outshine the Early Renaissance paintings his predecessor, Pope Alexander VI, had done in the Borgia Apartments, which sat directly below. It could be seen as a bold choice, as a young Raphael had never executed fresco works as complex as the commission would require. At that point, he’d mainly been known for his small portraits and religious paintings on wood, in addition to a few altarpieces. Some believe that his friend Bramante, who was the architect of St. Peter’s, recommended him for the job. They’d both grown up in Urbino and knew each other well.
The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology  (see Christianity and Paganism and Christian philosophy). The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture.  The resulting architecture was similar to the then new St. Peter’s Basilica. 
The identities of some of the philosophers in the picture, such as Plato and Aristotle, are certain. Beyond that, identifications of Raphael’s figures have always been hypothetical. To complicate matters, beginning from Vasari’s efforts, some have received multiple identifications, not only as ancients but also as figures contemporary with Raphael. Vasari mentions portraits of the young Federico II Gonzaga, Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and Raphael himself. 
THE FIRST POINT is that the study of the natural world was part of philosophy. It was a branch of philosophy called “natural philosophy.” Many of the people whose work we will study in this class considered themselves to be “philosophers.” (For example, Galileo and Newton called themselves natural philosophers.) The term “scientist” was not coined until the nineteenth century. Although there were no “scientists” (or nobody who called him or herself a scientist) until the nineteenth century, there was certainly lively interest in the natural world.
Throughout the course we will look at range of motivations for studying the natural world. We will examine the work of people whose study of the heavens, earth and human body was motivated by a philosophical search for knowledge for its own sake – the pursuit of wisdom. And we will also look at more pragmatic motivations, including the need to predict and/or control natural phenomena. Of course, as we will see, some individuals were stimulated to investigate the world around them by a desire for BOTH wisdom and practical gain. Within each section of the course we move roughly chronologically, but also up and down hierarchy of knowledge. For example, in the first section of the course, on the heavens, we will look at attempts to understand the structure of the universe (a philosophical quest), as well as attempts to gauge the effects of the heavens on life on earth. This latter pursuit, astrology, was largely practical in nature.