The better angels of our nature

Late one afternoon, early in the year, I was walking through the Vatican Stanze with a small group of critics and art historians. While we were admiring the Raphael frescoes that fill these private apartments of the Renaissance popes, Matthias Wivel, curator of the Michelangelo & Sebastiano exhibition at the National Gallery, made the most eloquent case for the painter I have ever heard. Suddenly, I felt a new enthusiasm for Raphael.

Essentially what he said is that Raphael is the supreme master of depicting human beings in interaction. Each of the frescoes around us, Wivel pointed out, was made up of a huge number of figures, all engaged with each other in fluently orchestrated groups. Indeed, Raphael organised his figures in almost musical terms — single notes, trios, quartets, cadences. The frescoes in that room are about the elements of civilisation. The ‘School of Athens’ is a choral assembly of philosophers — responding, debating, reacting, expounding.