C. L. Frommel – Abstract

How the iconographic plan changed as work progressed from the preparatory drawings to the final paintings in the Stanza della Segnatura. The walls in the Stanza della Segnatura are analyzed in relationship both to the transformation of the pictorial structure as witnessed by the drawings and how they were carried out following Pope Julius II’s instructions, who is present in the paintings in several portraits and represented as founder of the new Golden Era. The theological reference is The Apokalypsis Nova by Amadeo de Silva and the cycle of paintings may be considered to be the first representation of the entire tradition of Western culture between classicism and the contemporary.