By Harold Spencer
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The learned among the judges would have admired the humanist connotations of such elements. By implication they would also have admired the skill of an artist able to emulate the works of the closely as a set of Rome. . . . — ancients. . HUMANISTS AND ARTISTS The visual image of antiquity, such as we hold at present, goes back to Winckelmann and Jefferson, to the Adam brothers and David, and beyond them to Bellori and Poussin, to the Carracci, 31 RICHARD KRAUTHEIMER AND TRUDE KRAUTHEIMER-HESS Raphael, and Vasari.
The rock, again in contrast to Ghiberti, is roughened not by casting but by the traditional method of stippling. This method of casting the relief in several pieces, fastening them onto a solid plaque, must have weighed heavily in the jury's adverse decision, for practical as well as technical reasons. If the entire relief were cast in one hollow sheet, as Ghiberti's was, minor failings could be easily corrected by soldering small pieces onto the back of the relief. But if the figures were cast solid, such corrections would be made impossible.
Unlike the program of the Sistine, in which a Classical cast of form and expression had been given to a profoundly Christian theme, the program of the Segnatura was, inversely, basically Classicizing and only secondarily theological. Its content represents a culminating expression of the humanism of the Renaissance: the program for the Segnatura, produced in Julius' court, is as remarkable a landmark in the history of classicism within Christianity as is the form in which Raphael illustrated The humanist it.
Readings in Art History by Harold Spencer