After visiting the murals in the Elliodoro Hall and the sculptures on display, Ye Tian and the others left the exhibition hall and entered the third and most important room of Raphael's studio, the 'Signature Room'.

When he walked to the door of the 'Signature Hall', Ye Tian's eyes couldn't help but flash with a burst of excitement, his mood was also a little agitated, and even his steps became much brisker, and he couldn't wait to step into this exhibition hall in one step.

Betty and Anderson were the same, each with excitement on their faces and anticipation in their eyes.

There is no other reason for this, because the 'Signature Room' contains two of Raphael's greatest frescoes, the School of Athens and the Controversy of the Holy Sacraments.

In particular, "The Academy of Athens" can be regarded as the pinnacle of Raphael's artistic career, and "Sistine Madonna" is called Raphael's most outstanding work, and it is also the treasure of the Vatican Museums.

In addition to these two masterpieces, there are two other masterpieces by Raphael, "Parnas Hill" and "Three Virtues", which are also priceless works of art.

While walking into the 'Signature Hall', Ye Tian also introduced Betty to this famous exhibition hall so that they could better appreciate the artworks in the exhibition hall.

"The Signature Room was once the study and private office of Pope Julius II, where the pope signed the archives and various orders, and it is associated with many important historical events.

The hall is about nine meters long and six meters wide, and according to the shape of the hall, Raphael painted four frescoes on the four walls, "The Controversy of the Sacraments", "The Athens Academy", "Parnas Hill" and "Three Virtues".

The four murals embody the 'theology', 'philosophy', 'poetics' and 'law' advocated by the society at that time, and echo the four elements of the universe that people believed at that time: air, water, fire and earth.

The central purpose of the Pope's request for Raphael to paint these four frescoes was to harmoniously express the teachings of ancient civilizations and Christianity, and at the top of this hall there is also a series of zenith paintings"

As they spoke, Ye Tian and the others had already walked into this splendid hall and had a full view of the situation in the hall.

In the next second, Ye Tian's explanation came to an abrupt end, and he stopped, admiring everything in this famous hall with fascination.

Betty next to him, and Anderson behind him, were also completely shocked by the golden hall and the dazzling artworks in the hall, and they were stunned in place.

Standing at the entrance of the exhibition hall, you can see the "Sacramental Controversy", which represents theology, occupying an entire wall, and the visual shock effect is very strong.

On the right wall of the adjacent exhibition hall is "Parnas Mountain", which represents poetry, and on the left wall opposite, "Three Virtues", which represents law, is painted.

On the wall next to Ye Tian and them, where the main door of the exhibition hall is located, one of Raphael's most well-known and famous masterpieces, the "School of Athens", which represents philosophy, is painted.

On the ceiling corresponding to these four walls, there are also four statues of goddesses, representing theology, philosophy, poetry and law, decorated with a gold background in the style of mosaics, all in circles.

Between the four round statues of goddesses, there are also four rectangular paintings drawn from the Bible and ancient Greek mythology.

They are The Primordial Mover, The Judgment of Solomon, Adam and Eve, and Apollo and Malceas, each corresponding to a goddess.

In the center of the ceiling of the hall, a group of dancing angels are depicted, surrounding the coat of arms of the Holy See, which is a bit like the stars holding the moon.

Without exception, all the paintings in the Signature Room, whether frescoes or ceiling paintings, are by Raphael, and each one is a priceless and intoxicating work of art!

Standing at the door and admiring it for a long time, Ye Tianfang came to his senses, and then he sighed.

"Wow! It's an art paradise, it's incredible, it's impossible to see so many Raphael's works anywhere else, and every one of them is so outstanding that it's fascinating!"

With his words, Betty and Anderson were all awakened.

In the next moment, there was a sound of exclamation at the scene.

"Oh my God! It's like a dream, Raphael's masterpieces such as The Academy of Athens and The Controversy of the Sacraments are so unreal that they are right in front of my eyes at this moment!"

"These classicist paintings are truly impressive, worthy of the title of the Vatican Museums, and deservedly deserved!

After some exclamation, everyone's emotions gradually calmed down, but they were still very excited.

After adjusting his mood slightly, Ye Tian took a few steps forward, then turned around and began to admire the mural on the wall at the entrance of the 'Signature Hall', "The School of Athens".

Betty and the others were the same, following Ye Tian, took a few steps forward, and then turned around, stood beside Ye Tian, and began to admire Raphael's masterpiece.

The School of Athens is a fresco created between 1510 and 1511 by Raphael, one of the three masters of Renaissance art and a master of art, and it is also one of his most outstanding frescoes.

Of all Raphael's artworks, the fresco "The School of Athens" is considered to be one of Raphael's two most outstanding works, alongside the Sistine Madonna!

Compared with the religious theme of "Sistine Madonna", the picture of "The School of Athens" is magnificent and grand, and the characters in the painting are vivid and vivid.

In Ye Tian's view, "The School of Athens" has a larger pattern, better than "Sistine Madonna", and has a higher artistic value, and it is a work that represents Raphael's highest artistic level!

Of course, this is only his personal opinion as an atheist, and others may not agree with him, especially those who are Christians.

The subject of this famous painting comes from the ancient Greek philosopher Plato's anecdote of the Academy of Athens.

Raphael's eclectic, free and open mind transcends the boundaries of time and space, bringing together cultural luminaries representing different fields such as philosophy, mathematics, music, astronomy, etc., to recall the golden age of history.

It embodies the painter Raphael's yearning for a better future, and expresses a concentrated tribute to those who seek wisdom and truth among mankind.

The whole picture is set against the backdrop of a tall architectural arch that spreads out in depth, depicting eleven groups of 57 scholars and celebrities, with Plato and Aristotle at the center of the painting.

In the center of the painting, under the arch, Plato points to the heavens and Aristotle to the ground, two giants of ancient philosophy, strolling along and debating with scriptures.

On either side of Plato and Aristotle stood a large number of people, each with reverence, listening to the debate of the two great philosophers.

To Plato's left, Plato's teacher, the famous ancient Greek philosopher Socrates, is discussing something with a group of people with his fingers crossed in the way he is accustomed to.

Standing opposite Socrates was a young soldier in armor who did not seem to be listening to Socrates very attentively.

According to research, the soldier in the armor should be Aristotle's student, Alexander the Great, the king of Macedon.

In the crowd on the left side of the platform at the bottom of the staircase, the central figure is the ancient Greek philosopher and mathematician Pythagoras.

He was sitting intently calculating something, and next to him a child was holding him a paddle with a diagram of the structure that might have been an important reference for Pythagoras' mathematical calculations.

On the side of Pythagoras, an old man was secretly copying his formula.

Behind Pythagoras, there was a man in a white turban, it was the Arab scholar Ibn Lucid Averoi.

The man on the pedestal, wearing a laurel wreath on his head, and copying something, is the late Greek philosopher Epicurus.

Standing in front of Pythagoras with a large book in his finger was the rhetorician St. Nocritus, who did not know what important hint he wanted to give Pythagoras.

Behind San Nocritus was a man in a white cloak, the future Grand Duke of Urbino, Francisco de la Rafael.

In the group to the right of the platform under the staircase, the balding mathematician Archimedes is the central figure, leaning over and drawing geometric drawings on the stone slab with a compass.

Around him, four young students were watching earnestly.

Behind Archimedes was a man wearing a laurel wreath and holding a globe, the great Egyptian astronomer Ptolemy.

Outside the picture, there is a man holding an astronomical instrument, which is the Persian prophet and Zoroasd master.

The man on the far right of the picture is said to be Raphael's teacher Perrogino, and Raphael's friend painter Sodom.

Next to this man is Raphael himself, who once again paints himself in his work, standing side by side with these great men of ancient history.

In front of Plato, in a prominent position, sat a contemplative man, the great Greek philosopher Heraclitus.

On the steps in front of Aristotle's feet, there is a disheveled, beggar-like figure, who looks quite eye-catching, he is the ancient Greek cynic philosopher Diogenes.

Next to Diogenes, a man walked up the stairs and spread his hands to express his frustration at Diogenes' behavior.

As far as the eye can see, the figures in the painting are walking, talking, arguing, calculating, or contemplating, completely immersed in a strong academic atmosphere and an atmosphere of free debate.

Ye Tian and Betty, who were standing in front of the painting, had already been completely attracted by this great painting and immersed in the wonderful artistic conception created by the painting.

At this time, they seem to be in the middle of the painting, listening to the debate between Plato and Aristotle, whispering to Socrates, staring at the mathematical formulas of Pythagoras, the geometric diagrams of Archimedes, and so on!