Falò delle Vanità- the Bonfire of the Vanities..(the Xtian Anti- Renaissance Movement.)
European pagans have, from very ancient times, celebrated the beauty of nature and creation in every way possible and in great variety, in art, in music and in epic poetry. We feel that these endeavors are divinely inspired.. Aniconism, the proscription against representational art and the belief that it is somehow evil, is a Semitic jewish and Islamic notion, not a European one. We Europeans, as a people, have instead always felt that beautiful art is inspiring, not “sinful”.
I was actually recently told by one Christian that the Renaissance was the product of Christianity. This is so bizarre an assertion that I am not going to go into it here except to say that the Renaissance was a rebirth of Classical pagan art, culture and values, such as reason. For the most part the proponents of the semitic xtian cult “the Church”, contented themselves with semitic thought policing and with micromanaging the efforts of our great European artists by threatening to defund or condemn them if they did not submit to their will, but sometimes they truly went overboard, as in the case of Girolamo Savonarola, a Dominican friar of very authentic “Messianic jewish” appearance.
Girolamo Savonarola and his judeo-christian thought police thugs were so hateful of the new free thinking and creative European, not Semitic, atmosphere of the Renaissance that on 7 February 1497, xtian hordes began confiscating anything they considered to be “sinful”. This atrocity against European culture is referred to as the falò delle vanità. Thousands of works of art, including paintings and sculpture, musical notation, tapestries, musical instruments, cosmetics, playing cards, and any books that were too entertaining or thought provoking, such as those of Boccaccio, were publically burned.
Botticelli, who painted the famous “Venus” on the upper left, was also terrorized and guilt tripped into burning some of his paintings. Such masterpieces are “elitist” in the Christian philosophy. This orgy of destruction was repeated more than once. At least we can see why Savonarola (shown upper right) wanted to burn mirrors.
According to historical commentaries, when Raphael submitted his preliminary compositional sketches of the beautiful “Scuola di Atene” fresco to the church fathers, the Bishop asked. “Who is this woman in the middle?” (see sketch lower right)
Raphael replied, “Hypatia of Alexandria, the most famous student of the School of Athens,”. “She was a professor of philosophy, mathematics and astronomy at the University of Alexandria and certainly one of the greatest thinkers of all time.”
The Bishop replied. “Remove her. Knowledge of her runs counter to the belief of the faithful! Otherwise, the work is acceptable,”
Raphael had intended to depict Hypatia in her proper place at the center of the painting and clearly did not want to omit her, but had no choice since the Church was in control. He bravely included her in another way. He took her out in seeming acquiescence, and then added her in a different place that had been empty. This figure (see lower left) clearly is the same Hypatia as in his original sketch and even has the white skin conventionally reserved for females, but her facial features were altered somewhat to resemble those of the “beloved” nephew of the Pope. In this way, Raphael appeared to be giving homage to his patron instead of defying him. Sadly, this was the only way that Raphael could include Hypatia in her rightful place…by disguising her as a boy who was the object of the interest of a perverted pope. He still did manage to find a subtle way to give her the honor she deserves. Unlike the other characters in the fresco, Hypatia is shown with her eyes directly facing the viewer, just as Raphael depicted himself in it.