Overview

The murals of the Battle of the Milvian Bridge and the Vision of the Cross in the Sala di Costantino in the Vatican, named after the fresco-cycle conceived by Raphael and executed by Giulio Romano, are regarded by scholars as originating from an intense study of antiquity in Raphael’s circle, followed by a desire to achieve an historically accurate approach to ancient art. However, Raphael was recognised already by Giorgio Vasari, Ludovico Dolce and Annibale Carracci, not only for his expertise on antiquity, but also for his poetic qualities as an outstanding history painter. Based on the motto anticamente moderno e modernamente antico, with which Pietro Aretino describes Giulio Romano’s ideal synthesis of ancient and contemporary art, Michail Chatzidakis analyses the difference between historical and poetic methods of representation in order to determine more precisely the relationship between archaeological precision and poetic creativity in the work of Raphael and his circle in the Sala di Costantino.

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9783422801059

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Michail Chatzidakis is a research associate and lecturer at the Institute for Art and Visual History, Humboldt University Berlin. After studying art history, history, philology and archaeology in Rethymnon and Berlin, where he also worked on the Census of Antique Works of Art and Architecture project, and scholarship stays in Florence (KHI) and London (Warburg Institute), he completed a doctorate at Humboldt University (2012). From 2013-2016 and 2017-2020 respectively, he was a research associate in the DFG projects Knowledge and Imagination - Pictorial Transformations of Roman History(ies) in the Italian Renaissance, and Pictorial Criticism and Pragmatic Pictorial Culture in the European Middle Ages: The Libri Carolini and Carolingian Pictorial Art, both at Humboldt University Berlin. He currently holds a position as a research assistant in the DFG project Iconophilia, Image Criticism, ornamenta ecclesiae: Papal Concepts of Pragmatic Image, Object and Ornament Culture, 600-900.

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