Duke of Urbino

Many modern Internet sites claim that the person clad in a snow-white toga, bearing the likeness of Francesco Maria della Rovere (a favorite nephew of Pope Julius II, who became Duke of Urbino in 1508) depicted in the left foreground of "The School of Athens," was originally intended by Raphael to represent Hypatia of Alexandria. Unfortunately, there is no primary and/or objective evidence whatsoever to support this claim! Indeed, this is such a perfect example of fiction being made into fact, primarily due to the Internet, that I am going to devote considerable space at this website to explore the anomaly in some detail.

Let me begin by quoting a relatively complete version of the legend, as it is presented at one of the better and more popular Internet sites devoted to Hypatia:

Francesco Maria della Rovere (1490-1538) succeeded one of his uncles, Guidobaldo da Montefeltre, as Duke of Urbino. At first he was protected by another uncle, Pope Julius II (Giuliano della Rovere), but he later lost power under the Medici Pope Leo X, and he was unable to regain his territories until after Leo's death. Francesco was one of Italy's most important military leaders and frequently served the Republic of Venice.

When Raphael began work on Scuola di Atene, Francesco was still a teenager, living under the close protection of his uncle, Pope Julius II, who had commissioned the fresco for his private library, the Stanza della Segnatura. Two years earlier, in 1507, in a miniature celebrating his triumphal entry into Rome after his military victory over the Bolognese, the Pope had had his young nephew and constant companion depicted as a boy wearing golden armor. As an older man, circa 1536, he was again depicted in military garb, in a portrait by Titian (Tiziano Vecellio). Circa 1504, Raphael himself had painted a portrait of Francesco dressed in garb befitting an adolescent boy of fourteen.

Upon Raphael's submission of his preliminary compositional sketches of the fresco to the church fathers, the Bishop is alleged to have inquired as to the identity of a woman depicted standing at the bottom (front) and center of a sketch, in the foreground, between the figures of Parmenides and Diogenes, “Who is this woman in the middle?”

“Hypatia of Alexandria, the most famous student of the School of Athens,” replied the artist. “She was a professor of philosophy, mathematics and astronomy at the University of Alexandria and certainly one of the greatest thinkers ever.”

“Remove her. Knowledge of her runs counter to the belief of the faithful! Otherwise, the work is acceptable,” cautioned the Vatican's high priest.

The Bishop's words struck at the heart of Raphael's original artistic conception. It had been the artist's intention to depict Hypatia standing alone in the center foreground, located, spatially, between the viewers of the fresco and the central figures of Plato and Aristotle, as homage to her unique role, temporally, as guardian and transmitter of their ancient wisdom and inquiring spirit to their intellectual heirs in future eras.

Yielding to the power of the purse strings, Raphael's initial reaction was simply to omit the figure from his final working drawing, but he then proceeded instead to disguise his original intention as an intimate gesture to his holy patron. In an area which had been vacant in the preliminary compositional sketch, directly behind and between the images of Pythagoras and Parmenides, the artist's final working drawing, the “cartoon” (detail), bears the image of Hypatia, her dark skin recast to a very pale white and her facial features altered to resemble those of the “beloved” nephew of the Pope. Raphael thereby restored Hypatia to a rightful place in his masterpiece among her intellectual peers.

This is a great story, too bad there is no primary evidence anywhere which supports it! The statements concerning the Pope's nephew are quite consistent with solid historical evidence. Unfortunately, I have not been able to find any historical support whatsoever to the assertion that Raphael originally had intended for the figure to represent Hypatia of Alexandria.

The facts concerning Hypatia of Alexandria (ca. 370-415 A.D.) depend upon a very small collection of primary documents. Any source, whether it be an Internet site, book or article, that goes beyond the information contained within these primary documents, is either fiction or speculation and should be clearly labeled as such. These documents were all originally written in patristic Greek; they have all been translated into English but some translations may not be easy to locate. My source for the following information is an online article entitled: The Primary Sources for the Life and Work of Hypatia of Alexandria, by Professor Michael A. B. Deakin, Mathematics Department, Monash University, Clayton, Australia.

(a) The inscription at the beginning of Book III of Theon's Commentary on Ptolemy's Almagest.

Please note that pertinent extracts from several of the above primary documents, in English translation, are provided at my web page devoted to the life of Hypatia.

Information Available to Raphael

None of the sources of information regarding Hypatia, mentioned above, could reasonably be expected to have been available to Raphael or his Vatican advisors. As mentioned at the home page of this website, Raphael seems to have primarily used the histories of Diogenes Laertius (written in the early 3rd century A.D.) to determine which philosophers to include and where to group them. Almost all of these philosophers date from the 6th century B.C. through the 1st century A.D. Hypatia lived during the late 4th century and early 5th century A.D. more than two centuries after the death of Laertius. In Raphael's time, she was probably totally unknown, even to the most learned scholars of Western Europe. Indeed, the Polish historian, Maria Dzielska, has asserted that Hypatia was not written about in the West until the 18th century.

In my opinion, the best modern, scholarly biography of Hypatia is by María Dzielska entitled: Hypatia of Alexandría (published 1995). Dzielska is a professor of History at Jagiellonian University in Cracow, Poland. Her 167 page book is an exhaustive review of all the primary materials. Her account of Hypatia is very balanced and fair with respect to both the Christian and Pagan viewpoints. In fact, I would have liked her to have been a bit more Pro-Pagan in her assessment!

I offer the following quotation from the beginning of her most excellent work (see pages 1-4):

Hypatia first appeared in European literature in the 18^th century. In the era of skepticism known historically as the Enlightenment, several writers used her as an instrument of religious and philosophical polemic.

In 1720 John Toland in youth a zealous Protestant published a long historical essay titled: Hypatia or the History of a Most Beautiful, Most Virtuous, Most Learned and in Every Way Most Accomplished Lady; Who Was Torn to Pieces by the Clergy of Alexandria, to Gratify the Pride, Emulation and Cruelty of the Archbishop, Commonly but Undeservedly Titled St. Cyril. Though basing his account of Hypatia on sources such as the 10^th century Suda, Toland begins by asserting that the male part of humanity has forever been disgraced by the murder of “the incarnation of beauty and wisdom”; men must always “be ashamed, that any could be found among them of so brutal and savage a disposition as, far from being struck with admiration at so much beauty, innocence and knowledge, to stain their barbarous hands with her blood, and their impious souls with the indelible character of sacrilegious murderers.” Toland focuses on the Alexandrian clergy, headed by the Patriarch Cyril: “A Bishop, a Patriarch, nay a Saint, was the contriver of so horrid a deed, and his clergy the executioner of his implacable fury.” …

… for the most part Toland's work enjoyed a favorable reception among the Enlightenment elite. Voltaire exploited the figure of Hypatia to express his repugnance for the church and revealed religion. In a style not unlike Toland's, he writes … Hypatia's death was “a bestial murder perpetrated by Cyril's tonsured hounds, with a fanatical gang at their heels.” She was murdered, Voltaire asserts, because she believed in the Hellenic gods, the laws of rational Nature, and the capacities of the human mind free of imposed dogmas. …

Influenced by Enlightenment ideas, neo-Hellenism, and Voltaire's literary and philosophical style, Edward Gibbon elaborated the legend of Hypatia, In the Decline and Fall of the Roman Empire he identifies Cyril as the perpetrator of all conflicts in Alexandria at the beginning of the fifth century, including the murder of Hypatia. … Like Toland and Voltaire, Gibbon retells Damascius' story about Cyril's burning envy of Hypatia, who was “in the bloom of beauty and in the maturity of wisdom,” … This representation of “the Alexandrian crime” perfectly fitted Gibbon's theory that the rise of Christianity was the crucial cause of the fall of that ancient civilization. ...

Based on the above, it would seem that Western writers discovered Hypatia no earlier than the 18th century. In 1509 it would have been virtually impossible for Raphael to have known of her. It should also be noted that Professor Dzielska make no mention whatsoever of the Raphael - Hypatia legend; if this story had any credence at all, I am sure that she would have mentioned it!

Comments by Scholars and Historians Regarding the Duke of Urbino Figure in "The School of Athens"

Although, I believe the Raphael - Hypatia legend to be of very recent origin, it may be of interest to see what some earlier scholars and historians of the culture and art of the Italian Renaissance have to say concerning the Duke of Urbino figure depicted in Raphael's painting:

Mariana Starke (1762-1838): Starke was an English writer and playwright. The following is an extract from her book entitled: Travels in Europe (Ninth Edition, Paris: 1836):

... The Figure in a toga is Lucretius, placed near Empedocles, as having been his follower; but looking another way, because he differed from his master. This figure is the portrait of Francesco, Duke of Urbino, nephew to Julius II. ...

Johann David Passavant (1787-1861): Passavant is considered to be one of the founders of the modern art and science museum; he was a German painter and museum curator. The following is an excerpt from the English translation of his book entitled: Raphael of Urbino and his father Giovanni Santi (London and New York: 1872):

... The philosopher standing arguing on a book, is Anaxagoras, the friend of Pericles. ... Behind him is standing a handsome young man, in whom Raphael has perpetuated the features of his Prince, Francesco Maria della Rovere, Duke of Urbino, at that time at Rome.

Jacob Burckhardt (1818-1897): What does the greatest historian of the Italian Renaissance have to say about the Duke of Urbino figure? Does he mention Hypatia? He does not. The formidable Jacob Burckhardt has only the following comment in his book entitled Art Guide to Painting in Italy (London: 1879), page 152:

Perhaps the only figure that appears quite inactive in this hall is the young Duke of Urbino, who stands in the middle of the left half of the School of Athens. On closer inspection, we find that he is not only pictorially required with his white dress, but is also indispensable as a neutral figure between the upper and lower groups. And what does the quiet smile on this wonderful countenance say? It is the victorious consciousness of beauty that, along with all recognition of other things, it will maintain its place in this motley world.

Eugène Müntz (1845-1902): Müntz was a French savant and historian. The following is an extract from his book entitled Raphael: His Life, Works and Times (New York: 1888):

... The gloomy dreamer who is seated in the foreground, who is carelessly tracing figures upon a papyrus in front of him, his thoughts being evidently far away, is meant for Heraclitus of Ephesus. The young man standing up near him seems to be Francesco-Maria della Rovere, Duke of Urbino ...

Giorgio I Spadaro (Born 1925): Spadaro is an Anthroposophist and artist. The following is an extract from his book entitled: Esoteric Meaning in Raphael's Paintings (2006), page 61:

... He is holding a tablet with the title "epogdoon" meaning "full tone." This tablet contains the human understanding of cosmic relationships understood through music and arithmetic ratios. ... The heel and ankle of a right foot are visible on the left-hand side of the tablet. This foot belongs to the figure wrapped in white. White stands for earthly purity and for the image of light. The garment is embroidered with gold, which stands for the splendor of light; therefore, we can say that this figure bears purity and splendor of light, divine wisdom. He has golden curly hair which frames his oval face elliptically, symbolic of eternity. This is the adult Jesus. His posture and hand held over his heart emphasize that he is the carrier of love.

I have not been able to find any books or articles written prior to the 1990s that state or imply that Raphael meant to depict Hypatia in the "School of Athens." However, an Internet search at Google Books, disclosed several recent books which reference this alleged fact. I provide seven examples below. However, it should be noted that none of these examples may be considered serious, scholarly works.

2010: Sandy Donovan, Hypatia: Mathematician, Inventor, and Philosopher: "Hypatia is thought to be the only woman shown in the painting School of Athens, created by the famous Renaissance artist Raphael."

2004: Fiona McHardy and Eireann Marshall, Women's Influence on Classical Civilization: "Hypatia ... was originally included among the famous classical philosophers in Raphael's iconic School of Athens."

2007: John W. Casperson, Toward Spiritual Sovereignty: A Secular Bible: "Hypatia was honored by the genius Raphael when he included Hypatia ... in his masterpiece, The School of Athens."

2003: Laurence Gardner, Realm of the Ring Lords: The Myth and Magic of the Grail Quest: "When ... the Italian Renaissance artist Raphael (1483-1520) painted his masterwork The School of Athens, he was instructed to remove Hypatia from the scene."

2010: William H. Young, Ordering America: "Raphael also includes in his fresco Hypatia of Alexandria, a natural philosopher."

I note that several of the above authors assert that the figure in white is the only woman depicted. This is most definitely wrong! There are at least two and possibly three women shown, In the Plato group, there are two female students of Plato, i.e., Lasthenia and Axiothaea (she appears to be holding a child in her arms). In the lower left group there is probably another woman; she is depicted holding up two fingers (the number two being the first female number in Pythagorean tradition).

We are fortunate that the cartoon for "The School of Athens" fresco has survived (see above). This cartoon clearly shows that the Duke of Urbino figure is positioned exactly as he appears in the final painting. In fact, the only significant element missing is the figure of Michelangelo leaning upon his block of marble. Michelangelo was a later addition, painted in after the fresco had been completed (see this special topic). The fact that the "figure in white" is in a group composed only of philosophers interested in the nature of the material world (physicists), effectively precludes the possibility that the figure represents Hypatia. She was an idealist and a Neo-Platonist; as such she would have been placed into the Platonic group, not into a group of materialists!

The time has come to put me on the spot! Based on the above discussion, I believe that I have shown that the Duke of Urbino figure never was intended to represent Hypatia. But who does the figure represent? The Duke of Urbino not only was a favorite of the Pope but also was Raphael's own "liege lord." Raphael would take great care in selecting the person whom the Duke was to portray. It would have to be someone relatively important in the philosophical realm. Mariana Starke, noting that the Duke wears a Roman Toga, thought that he represented the Roman philosopher Lucretius, who, like Leucippus and Democritus, was a strong advocate of the atomic theory of matter. I think that her guess is reasonable, certainly far more reasonable than Hypatia or Jesus Christ! However, I think that the handsome young man was intended to represent a more important philosopher than either Hypatia or Lucretius. I think that he represents Epicurus (341-270 B.C.).

Epicurus was the founder of a major school of philosophy called Epicureanism. For Epicurus, the purpose of philosophy was to enable one to attain a happy and tranquil life. Life should be enjoyed in a peaceful manner, free from fear and without pain. One should live in comfort surrounded by one's friends. Death should not be feared. From what I have been able to learn about Raphael, his personal philosophy of life was probably quite similar to that advocated by Epicurus. Certainly Raphael had many friends, both male and female; he knew how to enjoy life with plenty of fine food, drink and mistresses. He knew how to live life to the fullest extent.

Epicurus had many beliefs in common with other materialist philosophers, such as Democritus and Leucippus. Epicurus believed that the Cosmos was infinite and eternal; events in the physical world were ultimately based on the motions and interactions of atoms moving in empty space. Epicurus is considered by many historians of science to be a key figure in the development of science and the scientific method. This is because Epicurus insisted that nothing should be believed unless it had been tested through direct observation and logical deduction. Many of his ideas about nature and physics are fully consistent with modern scientific concepts. If anyone were to question the importance of this choice, all Raphael need do was to refer to his primary source of information, Diogenes Laertius. Out of his ten book history, only two philosophers had an entire book devoted to their biography: Plato (Book III) and Epicurus (Book X). Indeed, some scholars think that Laertius was himself an Epicurean.

Raphael made the Duke of Urbino representation extremely important in the overall composition of the fresco. Giving the figure an attention grabbing, snow-white costume and a position above the other figures in his group, indicates that he considered the personage of Epicurus to be an important bridge between the scientific materialists below him and the Platonic idealists who are grouped just above him.

I believe that the young Duke of Urbino was most pleased with his role in the painting!

Eugène Müntz (1845-1902): Müntz was a French savant and historian. The following is an extract from his book entitled Raphael: His Life, Works and Times (New York: 1888):