The Fire in the Borgo
In today's world, The Fire in the Borgo has gained transcendental relevance in all areas. From the personal to the professional level, The Fire in the Borgo has been the subject of interest and debate in today's society. Its impact has transcended borders and has generated all kinds of reflections and analyzes by experts and ordinary citizens. In this article, we will further explore the meaning and importance of The Fire in the Borgo, as well as its influence on our daily lives. Since its appearance, The Fire in the Borgo has been the subject of numerous studies and discussions seeking to understand its true nature and its impact on society. Throughout this text, we will explore different perspectives and points of view on The Fire in the Borgo, with the aim of shedding light on a topic that concerns us all.
| The Fire in the Borgo | |
|---|---|
 | |
| Artist | Giulio Romano, following original design by Raphael |
| Year | 1514-1517 |
| Type | Fresco |
| Dimensions | 670 cm (22.0 ft) wide |
| Location | Apostolic Palace, Vatican City |
The Fire in the Borgo is a painting created by the workshop of the Italian Renaissance artist Raphael between 1514 and 1517. Though it is assumed that Raphael did make the designs for the complex composition, the fresco was most likely painted by his assistant Giulio Romano. The painting was part of Raphael's commission to decorate the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It depicts Pope Leo IV halting a fire in 847 with a benediction from a balcony in front of the Old St. Peter's Basilica. The mural lends its name to the Stanza dell'incendio del Borgo ("The Room of the Fire in the Borgo").
Various perils are represented in this work. In one part we see a number of women whose hair and clothes are blown about by the terrible fury of the wind as carrying vessels full of water on their heads and in their hands they hurry to put out the fire. There are others bewildered and blinded by the smoke as they try to throw water on the flames. On the other side is depicted an infirm old man, distraught by his weakness and the flames of the fire, being carried (as Virgil describes Anchises being carried by Aeneas) by a young man whose face expresses his strength and courage and whose body shows the strain of carrying the figure slumped on his back. He is followed by a dishevelled, bare-footed old woman fleeing from the fire, and going before them is a naked child.
References
Further reading
- "The Fire in the Borgo". Web Gallery of Art.
- Hagen, Rose-Marie; Hagen, Rainer (2003). What great paintings say, Volume 1. Taschen. p. 117. ISBN 3-8228-2100-4.
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