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<img height='200' src='http://vaticanstamps.org/VPS/images/296/162.jpg'> 
Popes and Basilica Issue: Pope Julius with the plans of Bramante, Scott 162 (1953)
 The portrayal of Pope Julius on the upper portion of the stamp is taken from the portrait by Raphael
 
<img height='200' src='http://vaticanstamps.org/VPS/images/296/1333.jpg'> 
500th Anniversary of Saint Peter's Basilica: Medallion depicting Pope Julius II and Bramante's plans, Scott 1333 (2006)
 The medallion (showing Pope Julius without a beard) was issued in 1506 at the commencement of the reconstruction of Saint Peter's Basilica
 
<img height='200' src='http://vaticanstamps.org/VPS/images/296/1539.jpg'> 
Popes of the Renaissance Issue: Pope Julius II, Scott 1539 (2013)
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VPS Webmaster Marvin Lanahan recently watched a Great Courses presentation on Raphael, the great artist of the Italian Renaissance era. The presenter, William Kloss, discussed popes and papal beards. The painting of Pope Julius II by Raphael was reviewed in the context of pope and beards, since after St. Peter popes reportedly did not have beards until the 1600's and 1700's.
 
Being the consummate computer guru, Marvin presented the topic to the Microsoft CoPilot chatbot, which created the following article on Pope Julius II and his beard. The use of new technologies will surely aid in the research and development of new and interesting articles for presentation to and discussion by our membership in the future. So here it is:
 
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The Papal Beard of Pope Julius II: A Symbol of Mourning and Influence
 
Introduction
 
Pope Julius II, a prominent figure during the Italian Renaissance, left a lasting impact on papal portraiture. His distinctive appearance, particularly his beard, set him apart from his predecessors. In this comprehensive document, we delve into the fascinating story behind Pope Julius II’s beard, its symbolism, and its influence on art.
 
I. The Portrait of Pope Julius II
 
A. Unusual for Its Time 
At the bottom of the page is "The Portrait of Pope Julius II", painted by the renowned Italian High Renaissance artist Raphael between 1511 and 1512. It stands out for several reasons. Unlike previous papal portraits, which often depicted popes frontally or kneeling in profile, Raphael’s portrayal captured the pope in a contemplative mood, lost in thought. This intimacy was unprecedented in papal portraiture and would become a model followed by future painters.
 
B. The Influence of the Beard 
The most striking feature of Pope Julius II’s portrait is his beard. But why did he choose to grow it? The answer lies in historical context. After suffering defeat by the French King Louis XII, Julius II vowed not to shave until Italy was free from occupiers. His facial hair became a symbol of his failed policy and a testament to his determination.
 
II. The Date and Context
 
The painting can be dated to a specific period: between June 1511 and March 1512. During this 
time, Julius II let his beard grow as a sign of mourning for the loss of the city of Bologna in war. This act of mourning, imitating an ancient tradition, gave depth and significance to the portrait.
 
III. The Composition
 
A. The Original Hanging 
In the background of the portrait, we see a blue and gold textile, either woven silk or embroidery. This textile originally featured gold emblems in tear-shaped light blue compartments against a dark blue background. The emblems included the	Papal crossed keys, the Papal tiara, and possibly the heraldic oak tree of Julius’s family, the Della Rovere (“Of the oak”). Raphael later overpainted this background with the green cloth we now see, which itself was painted over before 1824 to create a plain dark background.
 
B. The Chair and Finials 
The chair on which Pope Julius II sits has finials shaped like acorns, representing the Della Rovere emblem. These details reveal the artist’s attention to symbolism and the pope’s lineage.
 
IV. Legacy and Enduring Influence
 
Raphael’s portrait established a type for papal portraits that endured for about two centuries. The combination of ceremonial significance and intimacy, along with Raphael’s ability to define inner structures and outer textures, left a profound impact on art. Other painters, including Sebastiano del Piombo and Diego Velázquez, followed this model.
 
Conclusion 
Pope Julius II’s beard, captured in Raphael’s masterpiece, transcends mere facial hair. It symbolizes mourning, determination, and the intersection of the personal and the ceremonial. As we examine this portrait, we glimpse not only the man but also the enduring legacy he left behind.
 
REFERENCES 
<li>Wikipedia, <a href='https://en.wikipedia.org/wiki/Portrait_of_Pope_Julius_II'>Portrait of Pope Julius II</a>
 
<li>Carina Stegerwald, The Art Inspector.com, <a href='https://www.the-artinspector.com/post/raphael-portrait-of-pope-julius-ii'>Raphael - Portrait of Pope Julius II</a>
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<img height='300px' src='http://vaticanstamps.org/cms/images/IMG_8986.jpg'>  
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This photograph of Raphael's painting of Pope Julius II was taken at National Gallery in London by Marvin Lanahan in 2023. Earlier paintings show him without a beard. See: <a href='https://en.wikipedia.org/wiki/Sixtus_IV_Appointing_Platina_as_Prefect_of_the_Vatican_Library'>Sixtus IV Appointing Platina as Prefect of the Vatican Library</a>

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