17th century, The Expulsion of Heliodorus from the Temple

17th century, by Raffaello Sanzio

The Expulsion of Heliodorus from the Temple

Oil on canvas, 91 x 135 cm

The work in question is based on the famous fresco The Expulsion of Heliodorus from the Temple, the eponymous work of the second of the Vatican Rooms frescoed by Raphael on commission from Pope Julius II (after the Stanza della Segnatura). The Stanza di Eliodoro was created in a historical period (1511-1514) in which the papacy was under strong threat both militarily and politically, especially from foreign powers and the ambitions of the Council of Pisa-Milan. The iconographic program of the room, unlike the philosophical balance of the Signatura, was therefore meant to be politically celebratory: the aim was to illustrate the miraculous protection granted by God to the Church in times of crisis and danger. Specifically, the scene is taken from the Second Book of Maccabees (3, 21-28) and narrates the episode of Heliodorus of Antioch, minister of the king of Syria, sent to Jerusalem to steal the treasures of the Temple. While the High Priest Onias was intent on praying, God sent a knight on his white steed and two celestial youths to whip Heliodorus, putting him to flight and forcing him to return the stolen goods. Allegorically, the episode aimed to symbolize, on the one hand, the inviolability of ecclesiastical patrimony, and, on the other, God's direct defense of the Church against its enemies (the enemies of Pope Julius II). Raffaello Sanzio makes a clear departure from the unitary approach and serene balance that had characterized the works in the Stanza della Segnatura. For this new commission, the artist adopts a more dramatic and dynamic register, fully representative of his mature phase. The composition is dominated in depth by the majestic and classicizing temple architecture, whose imposing barrel vault ideally guides the eye towards the altar, placed at the center of the scene. It is significant, however, that the action does not take place in this geometric heart, but is relegated to the sides, leaving the spatial center empty and immobile, occupied solely by the High Priest Onias in prayer. The heart of the drama is concentrated on the right: the angel on horseback, symbol of divine justice, flanked by the two young floggers (sometimes interpreted as demonic figures), bursts in with extraordinary violence. The figures of Heliodorus and his accomplices are captured in a sudden and disorderly escape, represented with a sense of whirling motion. The left side, however, is occupied by the contemporary presence of Pope Julius II, who, seated on the sedia gestatoria with the attitude of a Roman emperor, witnesses the biblical miracle. The bearded and imposing pontiff acts as witness and guarantor of the truth of the event, explicitly linking the sacred past to the present of the papacy. Around him, contemporary figures, such as the engraver Marcantonio Raimondi, observe or lean towards the action, strengthening the fusion between biblical history and current politics. From a lighting perspective, Raphael uses light to emphasize pathos and drama, creating strong chiaroscuro effects across the area of ​​Heliodorus and underlining the miraculous and supernatural nature of the intervention. The palette is rich and vibrant, with the intense use of reds and golds in the robes contributing to the sumptuousness of the scene, contrasting with the dramatic shadows. The figures' plasticity is accentuated, exhibiting vigorous bodies and agitated movements; the detail of the man climbing the column on the left for a better view is an example of the search for verisimilitude and the emotional response typical of this phase of Raphael's career. The Expulsion of Heliodorus thus marks a stylistic turning point for Raphael, who distances himself from the serene and idealistic “bella maniera” of the School of Athens to embrace a more dynamic and monumental language, also stimulated by the vision of Michelangelo's painting on the Sistine Chapel ceiling, created in those same years. The fresco is a masterpiece of papal propaganda, where the power of the Church and its divine protection are forcefully represented in a moment of great crisis. The inclusion of the Pope as a witness makes the work a powerful affirmation of temporal and spiritual power that transcends mere biblical illustration, paving the way for subsequent artistic developments of the sixteenth century.

The four walls of the Room of Heliodorus depict, in addition to the Expulsion of Heliodorus from the Temple, the Meeting between Leo I and Attila, the Mass at Bolsena, and the Liberation of Saint Peter. The model was painted by Raphael. Raphael's image was widely appreciated not only in brushwork but also in engraved replicas, such as those made by Giovanni Volpato (1735-1803) in the 18th century.

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