School of Athens. The Masters and Mentors

Today morning I had an intention to post a small photo gallery of shots made in Raphael’s Rooms. Raphael’s Rooms is a series of rooms in the Vatican Palace (at present in Musei Vaticani) richly decorated by Raphael with frescoes. Raphael is considered to be one of the great master artists of the Italian Renaissance (together with Michelangelo and Leonardo da Vinci). The frescoes in the Vatican are one of his greatest achievements.

However, instead of presenting a bigger shots gallery from this place, for now, I selected only a small fraction of this masterpiece that unlike many others, is of civic nature. The great artists like Raphael, Michelangelo or later Bernini had a time in their lives when they used to work exclusively for the Church (or Pope). But it does not mean that all of their works focused on the bible, saints or other religious motives.

The picture below shows one of the four walls in one of Raphael’s Rooms. I will not speculate on its size, but for sure, it is bigger than 20 sq meters. It is called the School of Athens. It shows many of the ancient Greece great masterminds of V-IV century BC.

The painting depicts a group of the most famous Greek philosophers and scientists gathered in a grand hall, engaged in discussion and debate. In its center, there are two men engaged in a conversation surrounded by people listening to it. Those two are two great masterminds of the ancient European philosophy Plato and Aristotle. Plato is shown pointing upwards, representing his belief in the transcendent world of forms or ideas, while Aristotle gestures towards the earth, representing his emphasis on empirical observation and the physical world. The painting also includes a number of other important philosophers and scientists, including Socrates, Pythagoras, Euclid, Diogenes, and Archimedes, among others. Each of these figures is shown in a pose that reflects their individual contributions to philosophy and science.

Depicting Plato and Aristotle, Raphael in fact made his self-portrait, whereas he is posting as Aristole. His older companion is Leonardo da Vinci posting as Plato. Although Leonardo da Vinci and Raphael were contemporaries and both lived and worked in Italy during the High Renaissance period, there is no conclusive evidence that they ever met in person. Leonardo may have had however influence on Raphael’s work.

A couple of weeks ago, I was attending a lecture on the psychology of teaching and mentoring. Those two together with a third one – Socrates (on the upper photo in a green robe standing back to them), were at the focus of the introductory part. Socrates was Plato’s mentor. He lived in Athens from 469 BC to 399 BC. He is often told to be a street-corner philosopher as he had a habit of walking around streets and asking questions to people, questions about virtue of things. This method of questioning is today called the Socratic method. It involves asking a series of questions to draw out a person’s beliefs and to test the logical consistency of those beliefs. Socrates believed that this method was the best way to arrive at the truth. Unlike his student Plato, Socrates was however not interested in that what we today call science. Socrates did not write any books or treatises, and much of what we know about him comes from the writings of his students, such as Plato and Xenophon. Socrates was sentenced to death by an Athenian court in 399 BC, after being accused of corrupting the youth of Athens and impiety, which means showing disrespect for the gods. Socrates had a chance to escape and go into exile, but he refused to do so. He believed that it would be wrong to violate the laws of Athens, even if he disagreed with them. Instead, he chose to accept the sentence of the court and drink a cup of hemlock, a deadly poison.

Plato and Aristotle were both thinkers (or philosophers) and scientists.

In fact, Plato was the founder of the first academia in the Western world called the School of Athens otherwise called Academy in Athens, which was one of the first institutions of higher learning in the Western world. Plato wrote many dialogues, which are works of philosophy in the form of conversations between different characters. In these dialogues, Plato explored a wide range of philosophical topics, including ethics, politics, metaphysics, epistemology, and more.

Aristotle was his most famous student, but much more versatile in his scientific interests than his mentor and teacher. After twenty years, presumably after Plato’s death, he left the School of Athens and became the tutor to future kings of Macedonia. His first student was Alexander the Great. Back in Athens, Aristotle established another school that was called The Lyceum. Aristotle’s work covers a wide range of topics, including metaphysics, ethics, politics, biology, and more. He believed that all knowledge should be based on empirical observation and logical reasoning, and he developed many of the foundational concepts of Western philosophy, including the principle of non-contradiction, the concept of causation, and the idea of the four causes. Aristotle also wrote extensively on ethics and politics, arguing that the ultimate goal of human life is happiness or eudaimonia, which can be achieved through the cultivation of virtue and the practice of ethical behavior. He also developed a theory of politics that emphasized the importance of the state in promoting the common good and maintaining social stability.

The ancient Academy of Athens was one of the most important centers of learning in the ancient world, and it attracted students and scholars from all over Greece and beyond. Plato was the Academy’s first head, and he taught a wide range of subjects, including philosophy, mathematics, astronomy, and politics. After Plato’s death, the leadership of the Academy passed to a series of his students, including Aristotle. Under Aristotle’s guidance, the Academy became more focused on the natural sciences, and he developed many of the foundational concepts of Western science and philosophy. The Academy continued to operate for several centuries after Aristotle’s death, and it remained a center of learning and scholarship throughout the Hellenistic and Roman periods. However, it declined in importance after the Roman conquest of Greece in the 2nd century BC, and it was eventually closed down by the Emperor Justinian in AD 529, as part of his campaign to suppress pagan learning and philosophy.

School of Athens. The Masters and Mentors

Jan III Sobieski and the Battle of Vienna in the Vatican Museums

The Vatican Museums are home to one of the world’s greatest collections of art. Most visitors come to admire the Raphael Rooms, the Sistine Chapel, or the extraordinary collection of classical sculpture. It is easy to spend hours looking at masterpieces created by some of the most famous artists in history.

While walking through one of the galleries, however, I stopped in front of a painting I had not expected to find there. It was enormous, stretching almost nine metres across, and at its centre was a mounted commander surrounded by soldiers, clergy, and captured Ottoman banners. To most visitors, it is simply another large historical painting. To a Pole, the central figure is immediately recognisable. It is Jan III Sobieski, King of Poland and Grand Duke of Lithuania.

At first, I simply wondered why such a monumental painting of a Polish ruler was hanging in the Vatican Museums. The answer turned out to be far more interesting than I expected. It is not only the story of one of Europe’s most important battles, but also of an artist, a pope, and a painting created two centuries after the events it depicts.

At first glance, the painting appears to depict the aftermath of a military victory. The battlefield itself is no longer the focus. Instead, Jan Matejko concentrated on the people and symbols that, in his view, best represented the significance of the event.

The central figure is King Jan III Sobieski, mounted on a white horse and placed slightly above everyone else. Rather than charging into battle, he appears calm and composed. In his outstretched hand he holds a letter announcing the victory, while around him gather soldiers, commanders, clergy, and members of his entourage. The composition immediately directs the viewer’s attention to the king, making him the undisputed focal point of the scene.

One of the most striking details is the collection of captured Ottoman banners displayed in the foreground. In the seventeenth century, military standards were among the most valuable trophies that an army could seize. Their presence in the painting is a clear indication that the battle has already been won.

Matejko also filled the canvas with remarkable historical detail. Armour, weapons, horse harnesses, ceremonial clothing, and military equipment were all carefully researched before the painting was completed. Like many of his historical works, the canvas rewards close observation. The longer you look, the more individual figures and symbolic details begin to emerge.

Despite its monumental scale, the painting does not celebrate violence. There are no dramatic scenes of fighting or moments of personal heroism on the battlefield. Instead, Matejko chose a quieter and more ceremonial moment. The victory has already been achieved. What remains is to announce it to the world.

This choice makes the painting quite different from many other famous battle scenes. Rather than depicting the climax of the conflict, Matejko focused on its consequences, presenting the event as both a military success and a diplomatic achievement.

Jan III Sobieski (1629–1696) was one of the most accomplished military commanders of the 17th century and is regarded as one of Poland’s greatest monarchs. Before becoming king, he spent decades serving in the army of the Polish–Lithuanian Commonwealth, gaining experience in campaigns against the Cossacks, the Crimean Tatars, and the Ottoman Empire. His military talent, combined with political skill, earned him widespread respect both at home and abroad.

Sobieski was born into one of the most influential noble families of the Commonwealth. Unlike many European monarchs, he did not inherit the throne. Poland and Lithuania formed an elective monarchy, which meant that every new king was chosen by the nobility rather than succeeding automatically through birth. After the death of King Michał Korybut Wiśniowiecki, Sobieski was elected king in 1674, largely because of his outstanding military reputation.

His rise to the throne had been sealed only months earlier by the Battle of Khotyn in 1673. Commanding the Commonwealth’s army, Sobieski defeated a much larger Ottoman force, winning one of the most important Polish victories of the century. The triumph turned him into a national hero and made him the obvious candidate for the crown.

Despite his military achievements, Sobieski was far more than a battlefield commander. He received an excellent education, studied at the Jagiellonian University in Kraków, and travelled extensively across Western Europe as a young man. During these journeys he became familiar with the courts of France, Germany, and the Netherlands, broadening his political outlook and developing an interest in science, architecture, and the arts. Like many members of the educated European elite of his time, he spoke several languages, including Latin, French, Italian, and Turkish.

When Sobieski became king, the Polish–Lithuanian Commonwealth was still one of the largest states in Europe, stretching from the Baltic almost to the Black Sea. Its territory covered much of present-day Poland, Lithuania, Belarus, and large parts of Ukraine. Although the Commonwealth remained a major European power, decades of war and growing political tensions had begun to weaken the state. Even so, its army was still regarded as one of the finest in Europe, and Sobieski himself was recognised as one of its most capable commanders.

By the late seventeenth century, the Ottoman Empire was one of the world’s largest and most powerful states. Its territory stretched from North Africa across the Middle East and deep into South-Eastern Europe. After the conquest of Constantinople in 1453, the Ottomans continued to expand into the Balkans, bringing large parts of the region under their control.

In the summer of 1683, a vast Ottoman army under the command of Grand Vizier Kara Mustafa Pasha laid siege to Vienna, the capital of the Habsburg Monarchy. The city was one of the most important political centres in Central Europe. If it had fallen, the balance of power in the region could have changed dramatically.

Emperor Leopold I appealed to his allies for help. The Polish–Lithuanian Commonwealth honoured an alliance signed earlier that year, and King Jan III Sobieski personally led his army south to join the Imperial forces. The allied army included troops from the Habsburg lands and several German states, including Bavaria, Saxony, and Franconia. Although each contingent retained its own commanders, overall command of the coalition was entrusted to Sobieski.

The decisive battle took place on 12 September 1683. Fighting continued throughout the day as the allied forces gradually pushed the Ottoman army back towards its camp. Late in the afternoon, Sobieski launched the attack for which the battle is best remembered. More than 20,000 cavalry, including around 3,000 Polish Winged Hussars, charged down the slopes of the Kahlenberg towards the Ottoman positions. It remains one of the largest cavalry charges in recorded history.

The Ottoman lines collapsed, Kara Mustafa’s army retreated, and the siege of Vienna came to an end. The victory brought Jan III Sobieski international recognition and marked a turning point in the long struggle between the Habsburg Monarchy and the Ottoman Empire. Although the Ottomans remained a major power for many decades, their expansion into Central Europe had effectively come to an end.

Shortly after the battle, Sobieski sent a message to Pope Innocent XI, announcing the victory. In a deliberate reference to Julius Caesar’s famous words Veni, vidi, vici (“I came, I saw, I conquered”), the Polish king wrote:

Venimus, vidimus, Deus vicit.
“We came, we saw, God conquered.”

The painting displayed in the Vatican Museums is Jan III Sobieski at Vienna, one of the largest works created by the Polish painter Jan Matejko (1838–1893). Measuring approximately 4.6 by 8.9 metres, it was painted between 1879 and 1883 to commemorate the 200th anniversary of the Battle of Vienna.

Matejko is widely regarded as Poland’s greatest historical painter. Throughout his career, he created monumental canvases depicting key moments in the country’s past, including The Battle of Grunwald, The Prussian Homage, and The Constitution of 3 May 1791. His paintings were based on extensive historical research. He studied written sources, historical costumes, weapons, armour, and works of art to make every scene as authentic as possible. Although many details inevitably reflected nineteenth-century artistic interpretation, his work shaped the way generations of Poles came to imagine their own history.

Interestingly, Matejko did not choose to paint the most dramatic moment of the battle itself. There are no charging Winged Hussars dominating the composition, nor is the focus on fighting or victory on the battlefield.

Instead, the artist depicted what happened after the battle.

At the centre of the painting sits King Jan III Sobieski on horseback. Around him are soldiers, commanders, clergy, and captured Ottoman banners. Sobieski is shown handing a letter to Bishop Jan Kazimierz Denhoff, who would carry the news of the victory to Pope Innocent XI in Rome.

The choice of this scene was deliberate. It linked the military victory outside Vienna with its wider significance for Europe and for the Holy See. Rather than presenting Sobieski simply as a victorious commander, Matejko portrayed him as the leader of an allied Christian army reporting the outcome of the campaign to the Pope.

The painting is filled with carefully researched historical details. Contemporary weapons, armour, military standards, liturgical vestments, horses, and ceremonial objects all contribute to the richness of the composition. Like many of Matejko’s works, it rewards close attention, revealing new details each time it is viewed.

When Jan Matejko completed the painting in 1883, it immediately attracted enormous attention. Measuring almost nine metres in width, it was one of the largest historical paintings ever created by the artist and presented considerable logistical challenges. Transporting such a monumental canvas across Europe required careful planning, while displaying it demanded a suitably large interior.

Before leaving for Rome, the painting was exhibited in Kraków, where it was seen by thousands of visitors. Interest was enormous, not only because of its size, but also because Matejko was already recognised as the leading historical painter of his generation. His latest work quickly became one of the artistic highlights of the bicentenary celebrations of the Battle of Vienna.

Later that year, the canvas was transported to Rome and formally presented to Pope Leo XIII during a ceremony attended by a Polish delegation. The Pope accepted the gift, and the painting became part of the Vatican collections.

Today, it remains one of the very few monumental works by Jan Matejko permanently displayed outside Poland. Visitors encounter it among paintings illustrating key moments in European history, where it continues to remind viewers of the role played by the Polish–Lithuanian Commonwealth in the events of 1683.

Jan III Sobieski and the Battle of Vienna in the Vatican Museums

Charlemagne. The King of Franks

Charlemagne (Charles the Great) is one of the most influential figures in French and European history of the early medieval time. He was a skilled military commander and a shrewd politician. His reign from 768 to 814 AD marked the set up of the Carolingian Empire that replaced the Roman Empire in the Western parts of Europe. Its successor (although with a smaller territory limited to so-called West Francia) was the Kingdom of France and consequently after the French Revolution the present French Republic.

Statue of Charlemagne standing at the front of the Notre Dame cathedral in Paris.

For around 400 years, Frankish kings united and ruled descendants of Germanic, Gaul and Roman people. The Franks were a Germanic tribe that migrated to the area that is now modern-day France in the 3rd century AD. Over time, they intermarried and assimilated with the local Gallo-Roman population. Although having different roots ‘Frankish’ people seemingly developed a common language and seemed to be a coherent nation for the outsiders. Charlemagne himself was of Frankish descent, but he saw himself as a ruler of all the peoples within his empire, regardless of their ethnic background. He encouraged the use of Latin as a unifying language, and his court was open to scholars, artists, and intellectuals from across the continent.

The ruling dynasty of the Franks from the 5th to the mid-8th century were the Merovingians. Founded by Clovis I, they were the first Frankish rulers to unite the tribes and convert to Christianity, establishing strong ties with the Roman Catholic Church. However, over time, the Merovingians became more symbolic rulers, with real power shifting into the hands of the Mayors of the Palace – high-ranking officials who governed in the kings’ names. The latter set the stage for the rise of the Carolingians, the family of Charlemagne. His grandfather, Charles Martel, was one of the most influential Mayors of the Palace. In 732, he won a decisive victory at the Battle of Poitiers (also known as the Battle of Tours), where he halted the advance of Muslim forces into Western Europe. Although Charles Martel never claimed the title of king, he effectively ruled the Frankish territories. His son, Pepin the Short, took the next step. In 751, Pepin deposed the last Merovingian king, Childeric III, and declared himself king, with the backing of the Church. This act formally ended the Merovingian dynasty and established the Carolingian dynasty. It was this dynasty that Charlemagne would later expand.

During his reign, Charlemagne extended by far the Frankish territories. He led numerous military campaigns and conquered many territories, including parts of modern-day France, Germany, Italy, Austria, Spain, and even parts of Hungary. This way, he was able to convince the pope (head of the Catholic Church, who that time in history had much political power in Western Europe) to crown him (800 AD). He became the first recognized emperor in Western Europe after the fall of the Roman Empire. Technically, he was already ruling an empire, but the papal ‘blessing’ gave him the ultimate power. This coronation was, however, to the detriment of relations between Rome (Western Europe) and Constantinople (South-Eastern Europe). On the other hand, the coronation of Charlemagne by the pope was not without controversy, as it raised questions about the relationship between church and state, and about the role of the pope in political affairs. However, despite these concerns, Charlemagne’s reign as Holy Roman Emperor helped to establish a strong tradition of cooperation between the Catholic Church and secular rulers in Western Europe.

Charlemagne was married several times over the course of his life, and he had a total of at least 18 children. Charlemagne’s first recorded marriage was to a Frankish noblewoman named Himiltrude, with whom he had a son named Pepin the Hunchback. After this marriage was dissolved, Charlemagne married a Lombard princess named Desiderata, but this marriage was also annulled. His next marriage was to a Frankish noblewoman named Hildegard, who became his main wife and with whom he had nine children, including three sons who would go on to become kings: Charles the Younger, Pepin of Italy, and Louis the Pious. In addition to his legitimate children, Charlemagne also had several children born out of wedlock, although little is known about them.

It is alleged that among Charlemagne’s illegitimate sons was Roland, the famed hero later celebrated in medieval epic poetry, particularly in the Song of Roland. However, this claim is not confirmed by historical research. While Roland was a real figure – a Frankish military leader who died at the Battle of Roncevaux Pass in 778 – the connection between him and Charlemagne’s family remains a part of legend rather than documented history.

Charlemagne died in 814 AD at the age of 72, and he was buried in the city of Aachen. After Charlemagne’s death, his empire was divided among his heirs. Charlemagne himself did not have a clear plan for succession, and he did not designate a single heir to the throne. Instead, he divided his empire among his three sons, with Charles the Younger receiving the western Frankish lands, Louis the Pious receiving the eastern Frankish lands, and Pepin of Italy receiving the Italian lands. The Empire was weakened by succession struggles, Viking invasions, and other external pressures. Eventually it evolved into a series of smaller, more localized kingdoms.

Charlemagne. The King of Franks