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M from Alberti's Window

Thanks for this post! I did not know the significance of the putti in relation to the Parnassus theme before, so I was especially intrigued by your discussion of the putti (or lack thereof) in Raphael/Raimondi/Poussin designs. At first, I wondered if Raphael abandoned the putti in his version for the Stanza della Segnatura due to the curve of the molding that frames the fresco, but that assumption seemed absurd upon closer look. Raphael could have included those putti if he had really wanted to do so!

On another note, I do like the idea that some of the figures in the Raphael's "Parnassus" are depictions of contemporary Renaissance writers. Since the "School of Athens" is adjacent to the "Parnassus" painting in the Stanza della Segnatura, it's nice to think that there might be a parallel with how portraits of contemporary Renaissance figures appear in both works of art.


Hi Monica,

The putti problem? I don't know. Poussin generally seems to have been more sensitive to the iconographical significance of these figures. I don't know what work has been done on the iconography of R's putti- might be worth checking out.

I took the point about contemporary portraits from Ingrid Rowlands. I think the intention was to make some kind of comparison/contrast between R's poetic contemporaries and the writers of antiquity.


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