Stanza Fire in the Borgo: Fire in the Borgo Raphael (1483-1520)
Raphael – Stanza Fire in the Borgo: Fire in the Borgo
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Painter: Raphael
Location: Vatican Museums (fresco) (Musei Vaticani (murales)), Vatican.
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The fresco Fire in Borgo tells the story of events taking place in a central area of Rome. Legend has it that a fire broke out near the palace of the Pope, which only subsided after Pope Leo IV himself appeared. Appearing on the balcony, the pope stopped the fire with the sign of the cross, aimed at the crowd and the flames that framed an entire block of Rome. The painting depicts the panic and terror of the inhabitants of Rome suffering under the indomitable tongues of flame.
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Description of Raphael Santi’s painting Fire at Borgo
The fresco Fire in Borgo tells the story of events taking place in a central area of Rome. Legend has it that a fire broke out near the palace of the Pope, which only subsided after Pope Leo IV himself appeared. Appearing on the balcony, the pope stopped the fire with the sign of the cross, aimed at the crowd and the flames that framed an entire block of Rome.
The painting depicts the panic and terror of the inhabitants of Rome suffering under the indomitable tongues of flame. In the upper left corner we see a woman handing over her infant child from a balcony to a man in order to save the child from the elements. Embraced by the flames, she is ready to sacrifice herself to save her child.
Below is a part of the area, engulfed in bright red tongues of flame and black smoke. The overall light color palette of the work is emphasized by the darkest part of the composition which conveys the bearing of death and indomitability of the elements, and the distress that has suddenly overtaken the peaceful town. To the right is an expressive group of people with jugs of water, making every effort to save themselves. In the central and farthest part of the painting one can see a building, on the balcony of which stands Pope Leo IV, directing the sign of the cross toward the immense flames. In anticipation of the Holy One’s miracle and salvation, a group of women and children gather under the balcony, stretching out their arms toward their ruler. They are praising the pope and begging him to save Rome from the fire.
The painting shows a handsome young man, Aeneas, carrying an exhausted old man on his shoulders from the burning quarter. Next to him is his wife Creusa and his son Ascanius. The appearance of Aeneas on the canvas indicates that the main subject of the cloth originates from Virgil’s Troy, which also describes the fire.
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A multitude of individuals are depicted in various states of distress and action. Some flee the blaze, their gestures conveying panic and urgency. Others appear to be assisting those in need; one figure carries a child away from the danger while another offers water from a large vessel. The artist has rendered these figures with considerable anatomical detail, emphasizing muscularity and dynamic poses that contribute to the overall sense of movement and turmoil.
The architectural setting is complex, featuring classical columns, stairways, and buildings constructed in a style reminiscent of ancient Rome. A grand staircase leads up to a raised platform where several individuals are observing the scene from a position of relative safety. Their expressions suggest a mixture of concern and detachment, hinting at social stratification within the unfolding disaster.
The use of light is particularly noteworthy. The fiery illumination contrasts sharply with the cooler tones in the background, creating depth and highlighting the emotional intensity of the moment. The artist’s handling of color contributes to this effect; the vibrant reds and oranges of the fire are juxtaposed against the pale skin tones of the figures, further emphasizing their vulnerability.
Beyond a literal depiction of a destructive event, the painting seems to explore themes of human resilience in the face of adversity, social hierarchy during times of crisis, and perhaps even divine intervention or judgment. The presence of onlookers suggests a commentary on the varying degrees of responsibility and involvement within a community experiencing catastrophe. The overall impression is one of dramatic spectacle combined with poignant observations about the human condition.