By Henry M. Paynter
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Shearman, "Raphael's Unexecuted Projects zum 90. Geburtstag (1965); I. L. Zupnick, "The Significance of the Stanza dell' Incendio; Leo X and Francois I," Gazette des Beaux-Arts, Series 6, LXXX (1972), 195-204; and Philipp Fehl, "Raphael's Reconstruction of the Throne of St. Gregory the Great," for the Stanze," in Walter Friedlaender The Art Bulletin, LV (1973), 373-379. 46 segnatura. The The stanza della and is perhaps undertaken by an artist, and in the range of style it explores it may be the longest.
201 ff. 26 Adhemar, Influences antiques dans Vart du moyen age francais (London, J. 1937), pp. ; Panofsky-Saxl, op. , pp. ; Panofsky, op. cit. 27 M. Meiss, Painting in Florence and Siena after the Black Death (Princeton, 1951), passim. 28 J. von Schlosser, "Die aeltesten Medaillen und die Antike," Jahrbuch der Sammlungen des Allerhoechsten Kaiserhauses, XVIII (1897), Kunsthistorischen pp. 86 29 ff. illustri ed. A. Mai and A. Bartoli (Florence, 1859), p. 470. 30 Poggio's funeral oration for Niccoli as quoted in excerpts by Mehus, in Vespasiano da Bisticci, Vite di uomini .
The faces are strong, The scenery is confined to a few props: a with broad planes. steep, sharply cut cliff, two dwarfed trees with scanty, fan-shaped twigs. Every corner of the plaque is painstakingly filled. At first glance the relief appears strikingly new and exciting, and a good number of the judges, artists and laymen, must have been impressed. It is the work of a young man, awkward in places. But it . . . . is brimming over with the impetuosity and the endless . curiosity of teems with an experimenter's love of difficult problems and The dramatic force of the narrative and the intricate solutions.