Raphael’s Disputation of the Holy Sacrament

Linear Perspective

Raphael uses linear perspective to give the viewer the illusion of depth, and to draw the viewer to the monstrance. Raphael uses orthogonals to lead the eye to the monstrance. We see this with the figures pointing, reaching, and adoring in the direction of the monstrance. He leads the eyes of the of the viewer through this toward the Eucharist inside the monstrance to show that God is truly present in the Eucharist and that it isn't mearly a symbol. Raphael practically invites the viewer into the painting through the use of this perspective to join with these saints in adoration of God. His use of realism with the curvature of the marble, steps, and the space allows the viwer to do this.

Symmetry

In this work by Rapahel he uses symmetry to convey how Jesus Christ is present in the Eucharist, and how Heaven and Earth is a reality. The point of symmetry is where the clouds divide Heaven and Earth. The divide allows the viewer to see two relaities. Christ is positioned towards the top and is clearly the focal point for the the divine, especially with the saints and angels around him showing unity. This unity allows the viewer to seamlessly transition from looking at the monstrance to seeing the reality above it in this case.

Forshortening

Raphael shows his amazing skill of foreshortening figures in this fresco, and his mastery of this technique is truly shown in this work of his. His mastery of forshortening has allowed the figures to appear to more realistic to the viewer. One of the best examples of this is the saint on the left crossing his feet. His knee looks as if it is sticking out at the viewer while his chest and head appear to recede back into the work, this makes the figures in the work appear real. This forshortening has also allowed the figures to look like they occupy space in the world of the viewer, making it seem almost as if the viewer could just step into the fresco and hear the saints talking.

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Raphaels Disputation of the Holy Sacrament shows his amazing ability use Linear Perspective, Forshortening, Atmospheric Perspective, Chiaroscuro, and Symmetry to make a complicated subject a simple fresco. His use of linear perspective drives our eyes towards the main figures of the painting, God and the Eucharist. Then the forshortening brings life to the fresco, it makes the viewer feel as if they can just step into the wall and be in the work, adoring God with the other figures. Then the atmospheric perspective bring dimension to the work it gives depth and helps divide the two planes; it also makes heaven feel infinite. The Chiaroscuro allows the viewer to feel with their eyes, and gives depth to the fresco. Rapahels use of all of this creates a very realisitic artwork that bleeds beauty and adoration.

Concluding Summary

Chiaroscuro

Raphael does a great job at modeling his figures clothing, making the fabric look like it is draped over the body, and he does this through chiaroscuro. The clothing of the Vrigin Mary shows this perfectly, with its folds, that make the fabric look real, and look like they have weight. In addition, the way light hits the fabric makes the fabric have movement. Rapahel, allows the viewer to feel the fabric with their eyes through the way he play with the light, and folds of the farbic.

Atmospheric Pespective

This work is so impresive because Raphael is able to show Heaven and Earth differently. Catholics believe that once end of ages has come there will be a ressurection of the body where people will have glorified bodies, and the world will somehow be better than what it is now. This is seen perfectly executed because the blues on Earth appear more light and faded while the blues of Heaven are more saturated and darker. The Saints also appear to have a more saturated almost golden glow of their person showing this difference. This contrast between Heaven and Earth allows the viewer to feel the divinity of Heaven.