![]() Peter’s and which had a strong influence in the work of Raphael. These frescoes were also detached from their original location, and their fragments went on to adorn the staircase of the Quirinal Palace (the figure of Christ who appears boldly and effectively foreshortened), while others are now in the Vatican in the sacristy of St. 1472-1474, Melozzo painted the vault of the apse in the Basilica of the Holy Apostles in Rome with the Ascension of the Christ between angels, which was considered one of the most beautiful of his works. The background represents classic architectures in perspective, with arcades and a gilded coffer ceiling.īetween ca. Platina points his finger to the Latin inscription below and composed by himself, which exalts Sixtus’ deeds in Rome. The man standing beside the throne is Apostolic Protonotary Raffaello Riario, and behind Platina are Girolamo Riario and Giovanni della Rovere. Bartolomeo Platina is kneeling in front of Pope Sixtus IV. The standing figure in the center of the composition facing Sixtus can be identified as his nephew the cardinal Giuliano della Rovere, later Pope Julius II. The then reigning pope, Sixtus IV, seated on the right, is shown in the company of several individuals, including two of his nephews. The fresco represents the historical event of the foundation of the Vatican library in 1475 and the nomination of its first head, Bartolomeo Platina, and was the central decoration of the Vatican Library. Sixtus IV Appointing Platina as Prefect of the Vatican Library, fresco (transferred to canvas), by Melozzo da Forlì, 1477, (Pinacoteca Vaticana, Vatican City). In this way Melozzo obtained extraordinary results: the viewer thinks he/she is contemplating the figures and architectural elements from below. However, what was new and surprising about this work, the great contribution of Melozzo da Forlì, is his new sense of perspective based not only on the convergence of lines towards the “vanishing point” located on the horizon (according to Brunelleschi’s teachings and practiced by all Florentine artists), but on an aerial perspective based on a bold foreshortening from the bottom up. In this fresco, the portraits are admirable, as well as the color scheme, soft and very natural but, furthermore, Melozzo could be recognized as a disciple of Piero della Francesca because of this fresco’s background painted with an admirable sense of perspective with the windows of a gallery seen in the distance, through which light enters illuminating the whole room. ![]() ![]() This fresco, detached from its original place, today occupies a place of honor in the Pinacoteca Vaticana (the Vatican Painting Gallery). This interesting fresco represents Sixtus IV Appointing Platina as Prefect of the Vatican Library. For these set of frescoes Melozzo painted the three rooms of the Library, and in 1477 he finished his first major work, the only one that remains from these set of frescoes and that was later transferred to canvas. Pope Sixtus IV called him to Rome around 1472-1474 to decorate the Vatican Library. He also had the opportunity to study architectures by Bramante and the work of Flemish painters who were then also working for the Duke of Urbino, in fact, Melozzo probably worked in collaboration with Justus of Ghent and Pedro Berruguete to decorate the studiolo of the Ducal Palace. ![]() While in Urbino, Melozzo met Piero della Francesca, who would have a profound influence in his style and use of perspective. ![]() Later, Melozzo moved to Urbino, probably between 14, to work for the Duke Federico da Montefeltro. During his formative years he was also influenced by Andrea Mantegna. 1438 in Forlì (now a municipality in Emilia-Romagna, and the capital of the province of Forlì-Cesena). Melozzo was thought to be born in a wealthy family named Ambrosi from Forlì. One of Piero della Francesca’s disciples was Melozzo da Forlì, born ca. ![]()
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