Raphael: Artist of Renaissance

Raphael
Painter and Architect of the High Renaissance
Contents
1
Raphael
1.1
Urbino . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.2
Early life and work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.3
Inuence of Florence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.4
Roman period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.4.1
The Vatican Stanze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.4.2
Other projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Workshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.5.1
Portraits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.6
Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.7
Drawings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.8
Printmaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.9
Private life and death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.10 Critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.11 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
1.12 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
1.13 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
1.14 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
1.15 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
The School of Athens
14
2.1
Program, subject, gure identications and interpretations . . . . . . . . . . . . . . . . . . . . . .
14
2.1.1
Figures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15
2.1.2
Central gures (14 and 15) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15
2.1.3
Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15
2.2
Drawings and cartoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16
2.3
Copies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16
2.4
Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16
2.5
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16
2.6
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
17
2.7
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
18
1.5
Ansidei Madonna
19
i
ii
CONTENTS
3.1
The Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
3.1.1
Excellence through serenity and divinity . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
3.1.2
The young master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
3.1.3
Isolated characters of the Umbrian school . . . . . . . . . . . . . . . . . . . . . . . . . .
20
3.2
Commission and Provenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20
3.3
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20
Madonna del Prato (Raphael)
22
The Deposition (Raphael)
23
5.1
The Commission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
23
5.2
Preparatory studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
23
5.3
Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
24
5.4
The Altarpiece
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
24
5.5
Paintings inuenced by Raphaels deposition . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
5.6
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
5.7
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
5.8
Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
25
The Parnassus
26
6.1
Gallery
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
26
6.2
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
26
6.3
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
26
Portrait of Elisabetta Gonzaga
27
7.1
History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
27
7.2
Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
27
7.3
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
27
7.4
Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
27
Portrait of Pope Julius II (Raphael)
28
8.1
Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
28
8.2
Provenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
29
8.2.1
Santa Maria del Popolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
29
8.2.2
Cardinal Sfondrati . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
29
8.2.3
Borghese collection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
29
8.3
Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
30
8.4
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
30
8.5
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
30
Portrait of Bindo Altoviti (Raphael)
32
9.1
32
Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10 Portrait of Baldassare Castiglione
33
CONTENTS
iii
10.1 Prominent works inuenced by Portrait of Baldassare Castiglione . . . . . . . . . . . . . . . . . .
34
10.2 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34
10.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34
10.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34
10.5 Text and image sources, contributors, and licenses . . . . . . . . . . . . . . . . . . . . . . . . . .
35
10.5.1 Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
35
10.5.2 Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
36
10.5.3 Content license . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
Chapter 1
Raphael
For other uses, see Raphael (disambiguation).
Raaello Sanzio da Urbino[2] (April 6 or March 28,
1483 April 6, 1520),[3] known as Raphael, was an Italian painter and architect of the High Renaissance. His
work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal
of human grandeur. Together with Michelangelo and
Leonardo da Vinci, he forms the traditional trinity of
great masters of that period.[4]
Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving
a large body of work. Many of his works are found in the
Vatican Palace, where the frescoed Raphael Rooms were
the central, and the largest, work of his career. The best
known work is The School of Athens in the Vatican Stanza
della Segnatura. After his early years in Rome much of
his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely
inuential in his lifetime, though outside Rome his work
was mostly known from his collaborative printmaking.
After his death, the inuence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphaels more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, rst
described by Giorgio Vasari: his early years in Umbria,
then a period of about four years (15041508) absorbing the artistic traditions of Florence, followed by his last
hectic and triumphant twelve years in Rome, working for
two Popes and their close associates.[5]
Giovanni Santi, Raphaels father; Christ supported by two angels, c.1490
1.1 Urbino
phasis of Federicos court was rather more literary than

artistic, but Giovanni Santi was a poet of sorts as well as
a painter, and had written a rhymed chronicle of the life
of Federico, and both wrote the texts and produced the
decor for masque-like court entertainments. His poem
to Federico shows him as keen to show awareness of the
most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino
he was probably more integrated into the central circle of
the ruling family than most court painters.[7]
Raphael was born in the small but artistically signicant

Central Italian city of Urbino in the Marche region,[6]
where his father Giovanni Santi was court painter to
the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by
the PopeUrbino formed part of the Papal Statesand
who died the year before Raphael was born. The em-
Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the
ruler of Mantua, the most brilliant of the smaller Italian
courts for both music and the visual arts. Under them,
the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the
excellent manners and social skills stressed by Vasari.[8]
Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian hu1
2
manist court through Baldassare Castiglione's depiction
of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504,
when Raphael was no longer based there but frequently
visited, and they became good friends. He became close
to other regular visitors to the court: Pietro Bibbiena and
Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphaels period there. Raphael mixed easily in the
highest circles throughout his life, one of the factors that
tended to give a misleading impression of eortlessness
to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin.[9]
1.2 Early life and work

His mother Mgia died in 1491 when Raphael was eight,
followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven;
his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live
with his stepmother when not staying as an apprentice
with a master. He had already shown talent, according
to Vasari, who says that Raphael had been a great help
to his father.[10] A brilliant self-portrait drawing from
his teenage years shows his precocious talent.[11] His fathers workshop continued and, probably together with
his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into
contact with the works of Paolo Uccello, previously the
court painter (d. 1475), and Luca Signorelli, who until
1498 was based in nearby Citt di Castello.[12]
According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice despite the tears of his mother. The evidence
of an apprenticeship comes only from Vasari and another
source,[13] and has been disputed eight was very early
for an apprenticeship to begin. An alternative theory
is that he received at least some training from Timoteo
Viti, who acted as court painter in Urbino from 1495.[14]
But most modern historians agree that Raphael at least
worked as an assistant to Perugino from around 1500;
the inuence of Perugino on Raphaels early work is very
clear: probably no other pupil of genius has ever absorbed so much of his masters teaching as Raphael did,
according to Wlin.[15] Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specic areas of works by
Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish
medium, in shadows and darker garments, but very thinly
on esh areas. An excess of resin in the varnish often
causes cracking of areas of paint in the works of both
CHAPTER 1. RAPHAEL
masters.[16] The Perugino workshop was active in both
Perugia and Florence, perhaps maintaining two permanent branches.[17] Raphael is described as a master, that
is to say fully trained, in 1501.
His rst documented work was the Baronci altarpiece
for the church of Saint Nicholas of Tolentino in Citt di
Castello, a town halfway between Perugia and Urbino.
Evangelista da Pian di Meleto, who had worked for his
father, was also named in the commission. It was commissioned in 1500 and nished in 1501; now only some
cut sections and a preparatory drawing remain.[18] In the
following years he painted works for other churches there,
including the "Mond Crucixion" (about 1503) and the
Brera Wedding of the Virgin (1504), and for Perugia, such
as the Oddi Altarpiece. He very probably also visited
Florence in this period. These are large works, some
in fresco, where Raphael condently marshals his compositions in the somewhat static style of Perugino. He
also painted many small and exquisite cabinet paintings
in these years, probably mostly for the connoisseurs in
the Urbino court, like the Three Graces and St. Michael,
and he began to paint Madonnas and portraits.[19] In 1502
he went to Siena at the invitation of another pupil of
Perugino, Pinturicchio, being a friend of Raphael and
knowing him to be a draughtsman of the highest quality
to help with the cartoons, and very likely the designs, for
a fresco series in the Piccolomini Library in Siena Cathedral.[20] He was evidently already much in demand even
at this early stage in his career.
The Mond Crucixion, 1502-3, very much in the
style of Perugino
The Coronation of the Virgin 1502-3
The Wedding of the Virgin, Raphaels most sophisticated altarpiece of this period.
Saint George and the Dragon, a small work (29 x 21
cm) for the court of Urbino.
1.3 Inuence of Florence

Raphael led a nomadic life, working in various centres in Northern Italy, but spent a good deal of time in
Florence, perhaps from about 1504. However, although
there is traditional reference to a Florentine period of
about 1504-8, he was possibly never a continuous resident
there.[21] He may have needed to visit the city to secure
materials in any case. There is a letter of recommendation of Raphael, dated October 1504, from the mother
of the next Duke of Urbino to the Gonfaloniere of Florence: The bearer of this will be found to be Raphael,
painter of Urbino, who, being greatly gifted in his profession has determined to spend some time in Florence
to study. And because his father was most worthy and I
was very attached to him, and the son is a sensible and
1.4. ROMAN PERIOD
3
just eight years his senior. Michelangelo already disliked
Leonardo, and in Rome came to dislike Raphael even
more, attributing conspiracies against him to the younger
man.[25] Raphael would have been aware of his works in
Florence, but in his most original work of these years,
he strikes out in a dierent direction. His Deposition of
Christ draws on classical sarcophagi to spread the gures
across the front of the picture space in a complex and not
wholly successful arrangement. Wllin detects the inuence of the Madonna in Michelangelos Doni Tondo
in the kneeling gure on the right, but the rest of the
composition is far removed from his style, or that of
Leonardo. Though highly regarded at the time, and much
later forcibly removed from Perugia by the Borghese, it
stands rather alone in Raphaels work. His classicism
would later take a less literal direction.[26]
The Ansidei Madonna, c. 1505, beginning to move
on from Perugino
The Madonna of the Meadow, c. 1506, using
Leonardos pyramidal composition for subjects of
the Holy Family.[1]
The Madonna of the Pinks, c. 15067, National Gallery, London
well-mannered young man, on both accounts, I bear him

great love....[22]
As earlier with Perugino and others, Raphael was able
to assimilate the inuence of Florentine art, whilst keeping his own developing style. Frescos in Perugia of
about 1505 show a new monumental quality in the gures
which may represent the inuence of Fra Bartolomeo,
who Vasari says was a friend of Raphael. But the most
striking inuence in the work of these years is Leonardo
da Vinci, who returned to the city from 1500 to 1506.
Raphaels gures begin to take more dynamic and complex positions, and though as yet his painted subjects are
still mostly tranquil, he made drawn studies of ghting
nude men, one of the obsessions of the period in Florence. Another drawing is a portrait of a young woman
that uses the three-quarter length pyramidal composition
of the just-completed "Mona Lisa", but still looks completely Raphaelesque. Another of Leonardos compositional inventions, the pyramidal Holy Family, was repeated in a series of works that remain among his most
famous easel paintings. There is a drawing by Raphael
in the Royal Collection of Leonardos lost Leda and the
Swan, from which he adapted the contrapposto pose of
his own Saint Catherine of Alexandria.[23] He also perfects his own version of Leonardos sfumato modelling,
to give subtlety to his painting of esh, and develops the
interplay of glances between his groups, which are much
less enigmatic than those of Leonardo. But he keeps the
soft clear light of Perugino in his paintings.[24]
Saint Catherine of Alexandria, 1507, borrows from

the pose of Leonardos Leda[2]
Deposition of Christ, 1507, drawing from Roman
sarcophagi.
1. ^ Image. szepmuveszeti.hu.
2. ^ The Royal Collection. Gold ring with an onyx
cameo of Ariadne. royalcollection.org.uk. Retrieved 26 August 2010.
1.4 Roman period

1.4.1 The Vatican Stanze
By the end of 1508, he had moved to Rome, where

he lived for the rest of his life. He was invited by the
new Pope Julius II, perhaps at the suggestion of his architect Donato Bramante, then engaged on St. Peters,
who came from just outside Urbino and was distantly related to Raphael.[27] Unlike Michelangelo, who had been
kept hanging around in Rome for several months after
his rst summons,[28] Raphael was immediately commissioned by Julius to fresco what was intended to become
the Popes private library at the Vatican Palace.[29] This
was a much larger and more important commission than
any he had received before; he had only painted one altarpiece in Florence itself. Several other artists and their
teams of assistants were already at work on dierent
rooms, many painting over recently completed paintings
commissioned by Juliuss loathed predecessor, Alexander
Leonardo was more than thirty years older than Raphael, VI, whose contributions, and arms, Julius was determined
but Michelangelo, who was in Rome for this period, was to eace from the palace.[30] Michelangelo, meanwhile,
CHAPTER 1. RAPHAEL
had been commissioned to paint the Sistine Chapel ceil- These very large and complex compositions have been
ing.
regarded ever since as among the supreme works of the
grand manner of the High Renaissance, and the classic
art of the post-antique West. They give a highly idealised
depiction of the forms represented, and the compositions,
though very carefully conceived in drawings, achieve
sprezzatura, a term invented by his friend Castiglione,
who dened it as a certain nonchalance which conceals
all artistry and makes whatever one says or does seem
uncontrived and eortless ....[34] According to Michael
Levey, Raphael gives his [gures] a superhuman clarity and grace in a universe of Euclidian certainties.[35]
The painting is nearly all of the highest quality in the rst
two rooms, but the later compositions in the Stanze, especially those involving dramatic action, are not entirely as
successful either in conception or their execution by the
workshop.
The Parnassus, 1511, Stanza della Segnatura
This rst of the famous Stanze or "Raphael Rooms" to
be painted, now always known as the Stanza della Segnatura after its use in Vasaris time, was to make a stunning impact on Roman art, and remains generally regarded as his greatest masterpiece, containing The School
of Athens, The Parnassus and the Disputa. Raphael was
then given further rooms to paint, displacing other artists
including Perugino and Signorelli. He completed a sequence of three rooms, each with paintings on each wall
and often the ceilings too, increasingly leaving the work
of painting from his detailed drawings to the large and
skilled workshop team he had acquired, who added a
fourth room, probably only including some elements designed by Raphael, after his early death in 1520. The
death of Julius in 1513 did not interrupt the work at all,
as he was succeeded by Raphaels last Pope, the Medici
Pope Leo X, with whom Raphael formed an even closer
relationship, and who continued to commission him.[31]
Raphaels friend Cardinal Bibbiena was also one of Leos
old tutors, and a close friend and advisor.
Raphael was clearly inuenced by Michelangelos Sistine
Chapel ceiling in the course of painting the room. Vasari
said Bramante let him in secretly, and the scaolding
was taken down in 1511 from the rst completed section. The reaction of other artists to the daunting force of
Michelangelo was the dominating question in Italian art
for the following few decades, and Raphael, who had already shown his gift for absorbing inuences into his own
personal style, rose to the challenge perhaps better than
any other artist. One of the rst and clearest instances
was the portrait in The School of Athens of Michelangelo himself, as Heraclitus, which seems to draw clearly
from the Sybils and ignudi of the Sistine ceiling. Other
gures in that and later paintings in the room show the
same inuences, but as still cohesive with a development of Raphaels own style.[32] Michelangelo accused
Raphael of plagiarism and years after Raphaels death,
complained in a letter that everything he knew about art
he got from me, although other quotations show more
generous reactions.[33]
Stanza della Segnatura

The Mass at Bolsena, 1514, Stanza di Eliodoro
Deliverance of Saint Peter, 1514, Stanza di Eliodoro
The Fire in the Borgo, 1514, Stanza dell'incendio del
Borgo, painted by the workshop to Raphaels design.
1.4.2 Other projects

The Vatican projects took most of his time, although he
painted several portraits, including those of his two main
patrons, the popes Julius II and his successor Leo X, the
former considered one of his nest. Other portraits were
of his own friends, like Castiglione, or the immediate
Papal circle. Other rulers pressed for work, and King
Francis I of France was sent two paintings as diplomatic
gifts from the Pope.[36] For Agostino Chigi, the hugely
rich banker and Papal Treasurer, he painted the Galatea
and designed further decorative frescoes for his Villa Farnesina, and painted two chapels in the churches of Santa
Maria della Pace and Santa Maria del Popolo. He also
designed some of the decoration for the Villa Madama,
the work in both villas being executed by his workshop.
One of his most important papal commissions was the
Raphael Cartoons (now in the Victoria and Albert Museum), a series of 10 cartoons, of which seven survive,
for tapestries with scenes of the lives of Saint Paul and
Saint Peter, for the Sistine Chapel. The cartoons were
sent to Brussels to be woven in the workshop of Pier van
Aelst. It is possible that Raphael saw the nished series before his deaththey were probably completed in
1520.[37] He also designed and painted the Loggia at the
Vatican, a long thin gallery then open to a courtyard on
one side, decorated with Roman-style grottesche.[38] He
produced a number of signicant altarpieces, including
The Ecstasy of St. Cecilia and the Sistine Madonna. His
last work, on which he was working up to his death, was
a large Transguration, which together with Il Spasimo
1.6. ARCHITECTURE
shows the direction his art was taking in his nal years death), and Gianfrancesco Penni, already a Florentine
more proto-Baroque than Mannerist.[39]
master. They were left many of Raphaels drawings
and other possessions, and to some extent continued the
Galatea, 1512, his only major mythology, for Chigis workshop after Raphaels death. Penni did not achieve a
villa.
personal reputation equal to Giulios, as after Raphaels
death he became Giulios less-than-equal collaborator in
The Miraculous Draught of Fishes, 1515, one of the
turn for much of his subsequent career. Perino del Vaga,
seven remaining Raphael Cartoons for tapestries.
already a master, and Polidoro da Caravaggio, who was
Il Spasimo 1517, brings a new degree of expressive- supposedly promoted from a labourer carrying building
materials on the site, also became notable painters in their
ness to his art.
own right. Polidoros partner, Maturino da Firenze, has,
Transguration, 1520, unnished at his death.
like Penni, been overshadowed in subsequent reputation
by his partner. Giovanni da Udine had a more independent status, and was responsible for the decorative stucco
1.5 Workshop
work and grotesques surrounding the main frescoes.[41]
Most of the artists were later scattered, and some killed,
by the violent Sack of Rome in 1527.[42] This did however contribute to the diusion of versions of Raphaels
style around Italy and beyond.
Vasari emphasises that Raphael ran a very harmonious
and ecient workshop, and had extraordinary skill in
smoothing over troubles and arguments with both patrons and his assistantsa contrast with the stormy pattern of Michelangelos relationships with both.[43] However though both Penni and Giulio were suciently
skilled that distinguishing between their hands and that
of Raphael himself is still sometimes dicult,[44] there is
no doubt that many of Raphaels later wall-paintings, and
probably some of his easel paintings, are more notable for
their design than their execution. Many of his portraits,
if in good condition, show his brilliance in the detailed
handling of paint right up to the end of his life.[45]
Guidobaldo da Montefeltro, Duke of Urbino from 1482-1508,

c.1507
Vasari says that Raphael eventually had a workshop of

fty pupils and assistants, many of whom later became
signicant artists in their own right. This was arguably
the largest workshop team assembled under any single old
master painter, and much higher than the norm. They included established masters from other parts of Italy, probably working with their own teams as sub-contractors, as
well as pupils and journeymen. We have very little evidence of the internal working arrangements of the workshop, apart from the works of art themselves, often very
dicult to assign to a particular hand.[40]
Other pupils or assistants include Raaellino del Colle,

Andrea Sabbatini, Bartolommeo Ramenghi, Pellegrino
Aretusi, Vincenzo Tamagni, Battista Dossi, Tommaso
Vincidor, Timoteo Viti (the Urbino painter), and the
sculptor and architect Lorenzetto (Giulios brother-inlaw).[46] The printmakers and architects in Raphaels circle are discussed below. It has been claimed the Flemish
Bernard van Orley worked for Raphael for a time, and
Luca Penni, brother of Gianfrancesco, may have been a
member of the team.[47]
1.5.1 Portraits
Portrait of Elisabetta Gonzaga, c. 1504
Portrait of Pope Julius II, c. 1512
Portrait of Bindo Altoviti, c. 1514
Portrait of Balthasar Castiglione, c. 1515.
1.6 Architecture
The most important gures were Giulio Romano, a young After Bramantes death in 1514, Raphael was named arpupil from Rome (only about twenty-one at Raphaels chitect of the new St Peters. Most of his work there was
CHAPTER 1. RAPHAEL
Palazzo Branconio dell'Aquila, now destroyed
View of the Chigi Chapel
altered or demolished after his death and the acceptance

of Michelangelos design, but a few drawings have survived. It appears his designs would have made the church
a good deal gloomier than the nal design, with massive
piers all the way down the nave, like an alley according
to a critical posthumous analysis by Antonio da Sangallo
the Younger. It would perhaps have resembled the temple
in the background of The Expulsion of Heliodorus from
the Temple.[48]
for which he was accumulating the land in his last years.

It was on an irregular island block near the river Tiber. It
seems all faades were to have a giant order of pilasters
rising at least two storeys to the full height of the piano
nobile, a gandiloquent feature unprecedented in private
palace design.[53]
He designed several other buildings, and for a short time

was the most important architect in Rome, working for a
small circle around the Papacy. Julius had made changes
to the street plan of Rome, creating several new thoroughfares, and he wanted them lled with splendid palaces.[49]
In 1515 he was given powers as Prefect over all antiquities unearthed entrusted within the city, or a mile outside. Raphael wrote a letter to Pope Leo suggesting ways
of halting the destruction of ancient monuments, and proposed a visual survey of the city to record all antiquities in
an organised fashion. The Popes concerns were not exactly the same; he intended to continue to re-use ancient
masonry in the building of St Peters, but wanted to ensure
that all ancient inscriptions were recorded, and sculpture
preserved, before allowing the stones to be reused.[54]
An important building, the Palazzo Aquila for Leos Papal Chamberlain Giovanni Battista Branconio, was completely destroyed to make way for Bernini's piazza for St.
Peters, but drawings of the faade and courtyard remain.
1.7 Drawings
The faade was an unusually richly decorated one for the
period, including both painted panels on the top story (of
Raphael was one of the nest draftsmen in the history
three), and much sculpture on the middle one.[50]
of Western art, and used drawings extensively to plan his
The main designs for the Villa Farnesina were not by compositions. According to a near-contemporary, when
Raphael, but he did design, and paint, the Chigi Chapel
beginning to plan a composition, he would lay out a large
for the same patron, Agostino Chigi, the Papal Treasurer. number of stock drawings of his on the oor, and begin to
Another building, for Pope Leos doctor, the Palazzo di
draw rapidly, borrowing gures from here and there.[56]
Jacobo da Brescia, was moved in the 1930s but survives; Over forty sketches survive for the Disputa in the Stanze,
this was designed to complement a palace on the same
and there may well have been many more originally; over
street by Bramante, where Raphael himself lived for a four hundred sheets survive altogether.[57] He used diftime.[51]
ferent drawings to rene his poses and compositions, apThe Villa Madama, a lavish hillside retreat for Cardinal parently to a greater extent than most other painters, to
Giulio de' Medici, later Pope Clement VII, was never n- judge by the number of variants that survive: "... This is
ished, and his full plans have to be reconstructed specu- how Raphael himself, who was so rich in inventiveness,
latively. He produced a design from which the nal con- used to work, always coming up with four or six ways to
struction plans were completed by Antonio da Sangallo show a narrative, each one dierent from the rest, and
the Younger. Even incomplete, it was the most sophisti- all of them full of grace and well done. wrote another
cated villa design yet seen in Italy, and greatly inuenced writer after his death.[58] For John Shearman, Raphaels
the later development of the genre; it appears to be the art marks a shift of resources away from production to
only modern building in Rome of which Palladio made a research and development.[59]
measured drawing.[52]
When a nal composition was achieved, scaled-up fullOnly some oor-plans remain for a large palace planned size cartoons were often made, which were then pricked
for himself on the new via Giulia in the rione of Regola, with a pin and pounced with a bag of soot to leave dot-
1.8. PRINTMAKING
7
Red chalk study for the Villa Farnesina Three Graces
Sheet with study for the Alba Madonna and other
sketches
Developing the composition for a Madonna and
Child
1.8 Printmaking
Raphael made no prints himself, but entered into a
collaboration with Marcantonio Raimondi to produce
engravings to Raphaels designs, which created many of
the most famous Italian prints of the century, and was
important in the rise of the reproductive print. His interest was unusual in such a major artist; from his contemporaries it was only shared by Titian, who had worked
much less successfully with Raimondi.[64] A total of about
fty prints were made; some were copies of Raphaels
paintings, but other designs were apparently created by
Raphael purely to be turned into prints. Raphael made
preparatory drawings, many of which survive, for Raimondi to translate into engraving.[65]
Lucretia, engraved by Raimondi after a drawing by Raphael.[55]
ted lines on the surface as a guide. He also made unusually extensive use, on both paper and plaster, of a
blind stylus, scratching lines which leave only an indentation, but no mark. These can be seen on the wall
in The School of Athens, and in the originals of many
drawings.[60] The Raphael Cartoons, as tapestry designs, were fully coloured in a glue distemper medium, as
they were sent to Brussels to be followed by the weavers.
The most famous original prints to result from the collaboration were Lucretia, the Judgement of Paris and The
Massacre of the Innocents (of which two virtually identical versions were engraved). Among prints of the paintings The Parnassus (with considerable dierences)[66]
and Galatea were also especially well-known. Outside
Italy, reproductive prints by Raimondi and others were
the main way that Raphaels art was experienced until the
twentieth century. Baviero Carocci, called Il Baviera
by Vasari, an assistant who Raphael evidently trusted with
his money,[67] ended up in control of most of the copper
plates after Raphaels death, and had a successful career
in the new occupation of a publisher of prints.[68]
Drawing for a Sibyl in the Chigi Chapel.
In later works painted by the workshop, the drawings

The Massacre of the Innocents, engraving by (?) Raiare often painfully more attractive than the paintings.[61]
mondi from a design by Raphael. The version withMost Raphael drawings are rather preciseeven initial
out r tree.
sketches with naked outline gures are carefully drawn,
and later working drawings often have a high degree of
Judgement of Paris, still inuencing Manet, who
nish, with shading and sometimes highlights in white.
used the seated group in his most famous work.
They lack the freedom and energy of some of Leonardos
Galatea, engraving after the fresco in the Villa Farand Michelangelos sketches, but are nearly always aesnesina
thetically very satisfying. He was one of the last artists to
use metalpoint (literally a sharp pointed piece of silver or
another metal) extensively, although he also made superb
use of the freer medium of red or black chalk.[62] In his - 1.9 Private life and death
nal years he was one of the rst artists to use female models for preparatory drawingsmale pupils (garzoni)
Raphael lived in the Palazzo Caprini in the Borgo, in
were normally used for studies of both sexes.[63]
rather grand style in a palace designed by Bramante. He
never married, but in 1514 became engaged to Maria
Study for soldiers in this Resurrection of Christ, ca Bibbiena, Cardinal Medici Bibbienas niece; he seems to
1500.
have been talked into this by his friend the Cardinal, and
CHAPTER 1. RAPHAEL
elegiac distich written by Pietro Bembo, reads: Ille
hic est Raael, timuit quo sospite vinci, rerum magna
parens et moriente mori, meaning: Here lies that famous Raphael by whom Nature feared to be conquered
while he lived, and when he was dying, feared herself to
die.
Self-portraits
Probable self-portrait drawing by Raphael in his
teens
Self-portrait, Raphael in the background, from The
School of Athens
Portrait of a Young Man, 1514, Lost during Second
World War. Possible self-portrait by Raphael
1.10 Critical reception
La Fornarina, Raphaels mistress
his lack of enthusiasm seems to be shown by the marriage

not taking place before she died in 1520.[69] He is said to
have had many aairs, but a permanent xture in his life
in Rome was La Fornarina, Margherita Luti, the daughter of a baker (fornaro) named Francesco Luti from Siena
who lived at Via del Governo Vecchio.[70] He was made
a "Groom of the Chamber" of the Pope, which gave him
status at court and an additional income, and also a knight
of the Papal Order of the Golden Spur. Vasari claims
he had toyed with the ambition of becoming a Cardinal,
perhaps after some encouragement from Leo, which also
may account for his delaying his marriage.[69]
According to Vasari, Raphaels premature death on Good
Friday (April 6, 1520), which was possibly his 37th birthday, was caused by a night of excessive sex with Luti,
after which he fell into a fever and, not telling his doctors that this was its cause, was given the wrong cure,
which killed him.[71] Vasari also says that Raphael had
also been born on a Good Friday, which in 1483 fell on
Sistine Madonna 1512
March 28.[72]
Whatever the cause, in his acute illness, which lasted fteen days, Raphael was composed enough to receive the
last rites, and to put his aairs in order. He dictated his
will, in which he left sucient funds for his mistresss
care, entrusted to his loyal servant Baviera, and left most
of his studio contents to Giulio Romano and Penni. At
his request, Raphael was buried in the Pantheon.[73]
Raphael was highly admired by his contemporaries, although his inuence on artistic style in his own century
was less than that of Michelangelo. Mannerism, beginning at the time of his death, and later the Baroque,
took art in a direction totally opposed to Raphaels
qualities;[74] with Raphaels death, classic art the High
Renaissance subsided, as Walter Friedlnder put it.[75]
His funeral was extremely grand, attended by large He was soon seen as the ideal model by those disliking
crowds. The inscription in his marble sarcophagus, an the excesses of Mannerism:
1.10. CRITICAL RECEPTION
the opinion ...was generally held in the middle of the sixteenth century that Raphael was
the ideal balanced painter, universal in his talent, satisfying all the absolute standards, and
obeying all the rules which were supposed to
govern the arts, whereas Michelangelo was the
eccentric genius, more brilliant than any other
artists in his particular eld, the drawing of the
male nude, but unbalanced and lacking in certain qualities, such as grace and restraint, essential to the great artist. Those, like Dolce
and Aretino, who held this view were usually
the survivors of Renaissance Humanism, unable to follow Michelangelo as he moved on
into Mannerism.[76]
Raphaels sarcophagus
Vasari himself, despite his hero remaining Michelangelo,

came to see his inuence as harmful in some ways, and
added passages to the second edition of the Lives expressing similar views.[77]
dignity and said he stands in general foremost of the rst

[ie best] painters, especially for his frescoes (in which
he included the Raphael Cartoons), whereas Michael
Angelo claims the next attention. He did not possess so
many excellences as Raaelle, but those he had were of
the highest kind... Echoing the sixteenth-century views
above, Reynolds goes on to say of Raphael:
The excellency of this extraordinary man
lay in the propriety, beauty, and majesty of
his characters, his judicious contrivance of his
composition, correctness of drawing, purity of
taste, and the skilful accommodation of other
mens conceptions to his own purpose. Nobody
excelled him in that judgment, with which he
united to his own observations on nature the
energy of Michael Angelo, and the beauty and
simplicity of the antique. To the question,
therefore, which ought to hold the rst rank,
Raaelle or Michael Angelo, it must be answered, that if it is to be given to him who
possessed a greater combination of the higher
qualities of the art than any other man, there
is no doubt but Raaelle is the rst. But if,
according to Longinus, the sublime, being the
highest excellence that human composition can
attain to, abundantly compensates the absence
of every other beauty, and atones for all other
deciencies, then Michael Angelo demands the
preference.[78]
Raphael and Maria Bibbienas tomb in the Pantheon.

Madonna is by Lorenzetto.
The
Raphaels compositions were always admired and studied, and became the cornerstone of the training of the
Academies of art. His period of greatest inuence was
from the late 17th to late 19th centuries, when his perfect
decorum and balance were greatly admired. He was seen
as the best model for the history painting, regarded as the
highest in the hierarchy of genres. Sir Joshua Reynolds
in his Discourses praised his simple, grave, and majestic
Reynolds was less enthusiastic about Raphaels panel

paintings, but the slight sentimentality of these made
them enormously popular in the 19th century:"We
have been familiar with them from childhood onwards,
through a far greater mass of reproductions than any other
artist in the world has ever had... wrote Wlin, who was
born in 1862, of Raphaels Madonnas.[79]
In Germany Raphael had an immense inuence on religious art of the Nazarene movement and Dsseldorf
school of painting in the 19th century. In contrast in England the Pre-Raphaelite Brotherhood explicitly reacted
10
CHAPTER 1. RAPHAEL
against his inuence (and that of his admirers such as Sir

Sploshua), seeking to return to styles before what they
saw as his baneful inuence. According to a critic whose
ideas greatly inuenced them, John Ruskin:
The doom of the arts of Europe went
forth from that chamber [the Stanza della Segnatura], and it was brought about in great part
by the very excellencies of the man who had
thus marked the commencement of decline.
The perfection of execution and the beauty of
feature which were attained in his works, and
in those of his great contemporaries, rendered
nish of execution and beauty of form the chief
objects of all artists; and thenceforward execution was looked for rather than thought, and
beauty rather than veracity.
And as I told you, these are the two secondary causes of the decline of art; the rst
being the loss of moral purpose. Pray note
them clearly. In medieval art, thought is the
rst thing, execution the second; in modern art
execution is the rst thing, and thought the second. And again, in medieval art, truth is rst,
beauty second; in modern art, beauty is rst,
truth second. The medieval principles led up to
Raphael, and the modern principles lead down
from him.[80]
[3] Jones and Penny, p. 1 and 246. He died on his 37th birthday; according to dierent sources, his birth and death
both occurred on Good Friday. The matter has been much
discussed, as both cannot be true.
[4] See, for example Honour, Hugh; Fleming, John (1982).
A World History of Art. London: Macmillan Reference
Books. p. 357. ISBN 9780333235836. OCLC 8828368.
[5] Vasari, pp. 208, 230 and passim.
[6] Urbino: The Story of a Renaissance City By June Osborne,
p.39 on the population, as a few thousand at most; even
today it is only 15,000 without the students of the University
[7] Jones and Penny, pp. 1-2
[8] Vasari:207 & passim
[9] Jones & Penny:204
[10] Vasari, at the start of the Life. Jones & Penny:5
[11] Ashmolean Museum Image. z.about.com.
[12] Jones and Penny: 4-5, 8 and 20
[13] Simone Fornari in 1549-50, see Gould:207
[15] contrasting him with Leonardo and Michelangelo in this
respect. Wlin:73
[16] Jones and Penny:17
He was still seen by 20th century critics like Bernard [17] Jones & Penny:2-5
Berenson as the most famous and most loved master [18] It was later seriously damaged during an earthquake in
of the High Renaissance,[81] but it would seem he has
1789.
since been overtaken by Michelangelo and Leonardo in
[19] Jones and Penny:5-8
this respect.[82]
1.11 See also

List of works by Raphael
List of paintings by Raphael
Italian Renaissance
Renaissance painting
1.12 Notes
[1] Jones and Penny, p. 171. The portrait of Raphael is probably a later adaptation of the one likeness which all agree
on": that in The School of Athens, vouched for by Vasari.
[2] Variants include Raaello Santi, Raaello da Urbino
or Rafael Sanzio da Urbino. The surname Sanzio derives from the latinization of the Italian Santi into Santius.
He normally signed documents as Raphael Urbinasa
latinized form. Gould:207
[20] One surviving preparatory drawing appears to be mostly

by Raphael; quotation from Vasari by - Jones and
Penny:20
[21] Gould:207-8
[22] Jones and Penny:5
[23] National Gallery, London Jones & Penny:44
[24] Jones & Penny:21-45
[25] Vasari, Michelangelo:251
[26] Jones & Penny:44-47, and Wllflin:79-82
[27] Jones & Penny:49, diering somewhat from Gould:208
on the timing of his arrival
[28] Vasari:247
[29] although Julius was no great readeran inventory compiled after his death has a total of 220 books, large for the
time, but hardly requiring such a receptacle. There was
no room for bookcases on the walls, which were in cases
in the middle of the oor, destroyed in the 1527 Sack of
Rome. Jones & Penny:4952
1.12. NOTES

[31] Jones & Penny:49-128
[32] Jones & Penny:101-105
[33] Blunt:76, Jones & Penny:103-5
[34] Book of the Courtier 1:26 The whole passage
[35] Levey, Michael; Early Renaissance, p.197 ,1967, Penguin
11
[58] Ludovico Dolce (1508-68), from his L'Aretino of 1557,

quoted Pon:114
[59] quoted Pon:114, from lecture on The Organization of
Raphaels Workshop, pub. Chicago, 1983
[60] Not surprisingly, photographs do not show these well, if at
all. Leonardo sometimes used a blind stylus to outline his
nal choice from a tangle of dierent outlines in the same
drawing. Pon:106-110.
[36] One a portrait of Joanna of Aragon, Queen consort of

Naples, for which Raphael sent an assistant to Naples to
make a drawing, and probably left most of the painting to
the workshop. Jones & Penny:163
[61] Lucy Whitaker, Martin Clayton, The Art of Italy in the

Royal Collection; Renaissance and Baroque, p.84, Royal
Collection Publications, 2007, ISBN 978-1-902163-29-1
[37] Jones & Penny:133-147
[63] National Galleries of Scotland
[38] Jones & Penny:192-197
[64] Pon:102. See also a lengthy analysis in: Landau:118
[39] Jones & Penny:235-246, though the relationship of

Raphael to Mannerism, like the denition of Mannerism
itself, is much debated. See Craig Hugh Smyth, Mannerism & Maniera, 1992, IRSA Vienna, ISBN 3-900731-330
[65] The enigmatic relationship is discussed at length by both

Landau and Pon in her Chapters 3 and 4.
[40] Jones and Penny:146-147, 196-197, and Pon:82-85

[41] Jones and Penny:147, 196
[42] Vasari, Life of Polidoro online in English Maturino for
one is never heard of again
[62] Pon:104
[66] Pon:86-87 lists them

[67] Il Baviera may mean the Bavarian"; if he was German,
as many artists in Rome were, this would have been helpful
during the 1527 Sack; Marcantonio had many printingplates looted from him. Jones and Penny:82, see also
Vasari
[68] Pon:95-136 & passim; Landau:118-160, and passim
[43] Vasari:207 & 231
[69] Vasari:230-231
[44] See for example, the Raphael Cartoons
[70] Art historians and doctors debate whether the right hand
on the left breast in La Fornarina reveal a cancerous
breast tumour detailed and disguised in a classic pose
of love."The Portrait of Breast Cancer and Raphaels La
Fornarina, The Lancet, December 21, 2002/December
28, 2002.
[45] Jones & Penny:163-167 and passim

[46] The direct transmission of training can be traced to some
surprising gures, including Brian Eno, Tom Phillips and
Frank Auerbach
[47] Vasari (full text in Italian) pp197-8 & passim; see also
Getty Union Artist Name List entries
[48] Jones & Penny:215-218
[49] Jones & Penny:210-211
[50] Jones & Penny:221-222
[51] Jones & Penny:219-220
[52] Jones and Penny:226-234; Raphael left a long letter describing his intentions to the Cardinal, reprinted in full on
pp.247-8
[53] Jones & Penny:224(quotation)$-$226
[54] Jones & Penny:205 The letter may date from 1519, or
before his appointment
[55] Lucretia. Metropolitan Museum of Art. Retrieved 26
August 2010.
[56] Giovanni Battista Armenini (1533-1609) De vera precetti
della pittura(1587), quoted Pon:115
[57] Jones & Penny:58 & ; 400 from Pon:114
[71] Various other historians provide dierent theories:

Bernardino Ramazzini (1700), in his De morbis articum,
noted that painters at the time generally led sedentary
lives and melancholic disposition and often worked with
mercury- and lead-based materials. Bufarale (1915) diagnosed pneumonia or a military fever while Portigliotti
suggested pulmonary disease. Joannides has stated that
Raphael died of over-work. Note also that Raphaels age
at death is also debated by some, with Michiel asserting
that Raphael died at thirty-four, while Pandolfo Pico and
Girolamo Lippomano arguing that Raphael died at thirtythree. For all see: Shearman:573.
[72] Whereas Michiel said he died on his birthday. Art historian John Shearman addressed this apparent discrepancy:
The time of death can be calculated from the convention of counting from sundown, which Michaelis puts at
6.36 on Friday 6 April, plus half-an-hour to Ave Maria,
plus three hours, that is, soon after 10.00 pm. The coincidence noted between the birth-date and death-date is usually thought in this case (since it refers to the Friday and
Saturday in Holy Week, the movable feast rather than the
day of the month) to fortify the argument that Raphael was
also born on Good Friday, i.e., 28 March 1483. But there
is a notable ambiguity in Michiels note, not often noticed:
12
CHAPTER 1. RAPHAEL
Morse Venerdi Santo venendo il Sabato, giorno della sua

Nativita, may also be taken to mean that his birthday was
on Saturday, and in that case the awareness could as well
be the date, thus producing a birth-date of 7 April 1483.
Shearman:573.
[73] Vasari:231
[74] Chastel Andr, Italian Art,p. 230, 1963, Faber
[75] Walter Friedlnder, Mannerism and Anti-Mannerism in
Italian Painting, p.42 (Schocken 1970 edn.), 1957,
Columbia UP
[76] Blunt:76
[77] See Jones & Penny:102-4
[78] The 1772 Discourse Online text of Reynolds Discourses
The whole passage is worth reading.
[79] Wlin:82,
[80] John Ruskin (1853), Pre-Raphaelitism, p. 127 online at
Project Gutenburg
[81] Berenson, Bernard, Italian Painters of the renaissance, Vol
2 Florentine and Central Italian Schools, Phaidon 1952
(refs to 1968 edn), p.94
[82] For what it is worth, Amazon UKs Renaissance top
25 bestsellers list included ve books with Leonardo in
the title, three with Michelangelo, and one with Raphael.
Bestsellers in Renaissance. Amazon.com. Retrieved 26
August 2010. Their US site does not run a comparable
list.
1.13 References
Blunt, Anthony, Artistic Theory in Italy, 1450-1660,
1940 (refs to 1985 edn), OUP, ISBN 0-19-8810504
Gould, Cecil, The Sixteenth Century Italian Schools,
National Gallery Catalogues, London 1975, ISBN
0-947645-22-5
Roger Jones and Nicholas Penny, Raphael, Yale,
1983, ISBN 0-300-03061-4
Landau, David in:David Landau & Peter Parshall,
The Renaissance Print, Yale, 1996, ISBN 0-30006883-2
Pon, Lisa, Raphael, Drer, and Marcantonio Raimondi, Copying and the Italian Renaissance Print,
2004, Yale UP, ISBN 978-0-300-09680-4
Shearman, John; Raphael in Early Modern Sources
1483-1602, 2003, Yale University Press, ISBN 0300-09918-5
Vasari, Life of Raphael from the Lives of the Artists,
edition used: Artists of the Renaissance selected &
ed Malcolm Bull, Penguin 1965 (page nos from
BCA edn, 1979)
Wlin, Heinrich; Classic Art; An Introduction to

the Renaissance, 1952 in English (1968 edition),
Phaidon, New York.
1.14 Further reading

The standard source of biographical information is
now: V. Golzio, Raaello nei documenti nelle testimonianze dei contemporanei e nella letturatura del
suo secolo, Vatican City and Westmead, 1971
The Cambridge Companion to Raphael, Marcia B.
Hall, Cambridge University Press, 2005, ISBN 0521-80809-X,
New catalogue raisonn in several volumes, still being published, Jrg Meyer zur Capellen, Stefan B.
Polter, Arcos, 2001-2008
Raphael. James H. Beck, Harry N. Abrams, 1976,
LCCN 73-12198, ISBN 0-8109-0432-2
Raphael, Pier Luigi De Vecchi, Abbeville Press,
2003. ISBN 0789207702
Raphael, Bette Talvacchia, Phaidon Press, 2007.
ISBN 9780714847863
Raphael, John Pope-Hennessy, New York University Press, 1970, ISBN 0-8147-0476-X
Raphael: From Urbino to Rome; Hugo Chapman,
Tom Henry, Carol Plazzotta, Arnold Nesselrath,
Nicholas Penny, National Gallery Publications Limited, 2004, ISBN 1-85709-999-0 (exhibition catalogue)
The Raphael Trail: The Secret History of One of the
Worlds Most Precious Works of Art; Joanna Pitman,
2006. ISBN 0091901715
Raphael - A Critical Catalogue of his Pictures, WallPaintings and Tapestries, catalogue raisonn by Luitpold Dussler published in the United States by
Phaidon Publishers, Inc., 1971, ISBN 0-7148-14695 (out of print, but there is an online version here )
Wolk-Simon, Linda. (2006). Raphael at the
New
Metropolitan: The Colonna Altarpiece.
York: The Metropolitan Museum of Art. ISBN
9781588391889.
1.15 External links

Raphael Research Resource from the National
Gallery, London
V&A London online feature on the Raphael Cartoons
1.15. EXTERNAL LINKS

Ten drawings and three paintings from the Royal
Collection
Web Gallery of Art
Most of the Raphael/Raimondi prints from the San
Francisco Museums
Raphael Project/Raael Projekt
Website of Teylers Museum on the provenance of
the Raphael drawings in the museums collection.
13
Chapter 2
The School of Athens

The School of Athens, or Scuola di Atene in Italian, is
one of the most famous frescoes by the Italian Renaissance artist Raphael. It was painted between 1509 and
1511 as a part of Raphaels commission to decorate with
frescoes the rooms now known as the Stanze di Raaello,
in the Apostolic Palace in the Vatican. The Stanza della Segnatura was the rst of the rooms to be decorated,
and The School of Athens, representing Philosophy, was
probably the second painting to be nished there,[1] after La Disputa (Theology) on the opposite wall, and the
Parnassus (Literature). The picture has long been seen
as Raphaels masterpiece and the perfect embodiment
of the classical spirit of the High Renaissance.[2]
2.1 Program, subject, gure identications and interpretations

The School of Athens is one of a group of four main
frescoes on the walls of the Stanza (those on either side
centrally interrupted by windows) that depict distinct
branches of knowledge. Each theme is identied above
by a separate tondo containing a majestic female gure
seated in the clouds, with putti bearing the phrases: Seek
Knowledge of Causes, Divine Inspiration, Knowledge of Things Divine (Disputa), To Each What Is
Due. Accordingly, the gures on the walls below exemplify Philosophy, Poetry (including Music), Theology,
and Law.[3] The traditional title is not Raphaels. The
subject of the School is actually Philosophy, or at
least ancient Greek philosophy, and its overhead tondolabel, Causarum Cognitio, tells us what kind, as it appears to echo Aristotles emphasis on wisdom as knowing why, hence knowing the causes, in Metaphysics Book
I and Physics Book II. Indeed, Plato and Aristotle appear
to be the central gures in the scene. However, all the
philosophers depicted sought knowledge of rst causes.
Many lived before Plato and Aristotle, and hardly a third
were Athenians. The architecture contains Roman elements, but the general semi-circular setting having Plato
and Aristotle at its centre might be alluding to Pythagoras
circumpunct.
termining which are depicted is dicult, since Raphael

made no designations outside possible likenesses, and no
contemporary documents explain the painting. Compounding the problem, Raphael had to invent a system of
iconography to allude to various gures for whom there
were no traditional visual types. For example, while the
Socrates gure is immediately recognizable from Classical busts, the alleged Epicurus is far removed from
his standard type. Aside from the identities of the gures depicted, many aspects of the fresco have been variously interpreted, but few such interpretations are unanimously accepted among scholars. The popular idea that
the rhetorical gestures of Plato and Aristotle are kinds of
pointing (to the heavens, and down to earth) is very likely.
But Platos Timaeus which is the book Raphael places
in his hand was a sophisticated treatment of space, time,
and change, including the Earth, which guided mathematical sciences for over a millennium. Aristotle, with his
four-elements theory, held that all change on Earth was
owing to motions of the heavens. In the painting Aristotle carries his Ethics, which he denied could be reduced
to a mathematical science. It is not certain how much the
young Raphael knew of ancient philosophy, what guidance he might have had from people such as Bramante,
or whether a detailed program was dictated by his sponsor, Pope Julius II. Nevertheless, the fresco has even recently been interpreted as an exhortation to philosophy
and, in a deeper way, as a visual representation of the
role of Love in elevating people toward upper knowledge, largely in consonance with contemporary theories
of Marsilio Ficino and other neo-Platonic thinkers linked
to Raphael.[4] Finally, according to Vasari, the scene includes Raphael himself, the Duke of Mantua, Zoroaster
and some Evangelists.[5]
However, as Heinrich Wlin observed, it is quite

wrong to attempt interpretations of the School of Athens
as an esoteric treatise ... The all-important thing was
the artistic motive which expressed a physical or spiritual state, and the name of the person was a matter
of indierence in Raphaels time.[6] What is evident is
Raphaels artistry in orchestrating a beautiful space, continuous with that of viewers in the Stanza, in which a
great variety of human gures, each one expressing menCommentators have suggested that nearly every great tal states by physical actions, interact, in a polyphony
Greek philosopher can be found in the painting, but de- unlike anything in earlier art, in the ongoing dialogue of
14
2.1. PROGRAM, SUBJECT, FIGURE IDENTIFICATIONS AND INTERPRETATIONS
15
Philosophy.[7]
An interpretation of the fresco relating to hidden symmetries of the gures and the star constructed by Bramante
was given by Guerino Mazzola and collaborators.[8]
2.1.1
Figures
The identities of some of the philosophers in the picture,

such as Plato or Aristotle, are certain. Beyond that, identications of Raphaels gures have always been hypothetical. To complicate matters, beginning from Vasaris
eorts, some have received multiple identications, not
only as ancients but also as gures contemporary with
Raphael. [9]
Luitpold Dussler counts among those who can be identied with some certainty: Plato, Aristotle, Socrates,
Pythagoras,[10] Euclid,[11] Ptolemy, Zoroaster, Raphael,
Sodoma and Diogenes. Other identications he holds to
be more or less speculative.[12]
A more comprehensive list of proposed identications is
given below:[13]
An elder Plato walks alongside Aristotle.
7 81012
2
3 5
4 6
14 15
9 11
13
17
16
R
19 21
20
18
The parenthetical names are the contemporary characters from

whom Raphael is thought to have drawn his likenesses.
their books in their left hands, while gesturing with their

right. Plato holds Timaeus, Aristotle his Nicomachean
Ethics. Plato is depicted as old, grey, wise-looking, and
bare-foot. By contrast Aristotle, slightly ahead of him,
is in mature manhood, handsome, well-shod and dressed
with gold, and the youth about them seem to look his
way. In addition, these two central gures gesture along
dierent dimensions: Plato vertically, upward along the
picture-plane, into the beautiful vault above; Aristotle on
the horizontal plane at right-angles to the picture-plane
(hence in strong foreshortening), initiating a powerful
ow of space toward viewers. It is popularly thought that
their gestures indicate central aspects of their philosophies, for Plato, his Theory of Forms, and for Aristotle, his empiricist views, with an emphasis on concrete
particulars. However, Platos Timaeus was, even in the
Renaissance, a very inuential treatise on the cosmos,
whereas Aristotle insisted that the purpose of ethics is
practical rather than theoretical or speculative": not
knowledge for its own sake, as he considered cosmology
to be.
1: Zeno of Citium 2: Epicurus Possibly, the image of two

philosophers, who were typically shown in pairs during
the Renaissance: Heraclitus, the weeping philosopher,
and Democritus, the laughing philosopher. 3: unknown
(believed to be Raphael)[14] 4: Boethius or Anaximander
or Empedocles? 5: Averroes 6: Pythagoras 7: Alcibiades
or Alexander the Great? 8: Antisthenes or Xenophon or
Timon? 9: Raphael,[14][15][16] Fornarina as a personication of Love[17] or Francesco Maria della Rovere? 10:
Aeschines or Xenophon? 11: Parmenides? (Leonardo
da Vinci) 12: Socrates 13: Heraclitus (Michelangelo) 14:
Plato (Leonardo da Vinci) 15: Aristotle (Giuliano da Sangallo) 16: Diogenes of Sinope 17: Plotinus (Donatello?)
18: Euclid or Archimedes with students (Bramante?)
19: Strabo or Zoroaster? (Baldassare Castiglione) 20:
Ptolemy? R: Apelles (Raphael) 21: Protogenes (Il
2.1.3
Sodoma, Perugino, or Timoteo Viti)[18]
2.1.2
Central gures (14 and 15)
In the center of the fresco, at its architectures central

vanishing point, are the two undisputed main subjects:
Plato on the left and Aristotle, his student, on the right.
Both gures hold modern (of the time), bound copies of
Setting
The building is in the shape of a Greek cross, which

some have suggested was intended to show a harmony
between pagan philosophy and Christian theology[2] (see
Christianity and Paganism and Christian philosophy).
The architecture of the building was inspired by the work
of Bramante, who, according to Vasari, helped Raphael
with the architecture in the picture.[2] Some have sug-
16
CHAPTER 2. THE SCHOOL OF ATHENS
gested that the building itself was intended to be an ad- of Guns N' Roses.
vance view of St. Peters Basilica.[2]
There are two sculptures in the background. The one on
the left is the god Apollo, god of light, archery and music,
holding a lyre.[2] The sculpture on the right is Athena,
goddess of wisdom, in her Roman guise as Minerva.[2]
The main arch, above the characters, shows a meander
(also known as a Greek fret or Greek key design), a design using continuous lines that repeat in a series of rectangular bends which originated on pottery of the Greek
Geometric period and then become widely used in ancient Greek architectural friezes.[19]
2.2 Drawings and cartoon

A number of drawings made by Raphael as studies for
the School of Athens are extant.[20] A study for the Diogenes is in the Stdel in Frankfurt[21] while a study for the
group around Pythagoras, in the lower left of the painting,
is preserved in the Albertina Museum in Vienna.[22] Several drawings, showing the two men talking while walking up the steps on the right and the Medusa on Athenas
shield,[23] the statue of Athena (Minerva) and three other
statues,[24] a study for the combat-scene in the relief below Apollo[25] and Euclid teaching his pupils[26] are
in the Ashmolean Museum of Art and Archaeology at
Oxford University.
The cartoon for the painting is in the Pinacoteca Ambrosiana in Milan. School of Athens Cartoon
2.4 Gallery
Architecture
Zeno of Citium
Epicurus
Averroes and Pythagoras
Pythagoras
Alcibiades or Alexander the Great and Antisthenes
or Xenophon
Parmenides
Aeschines and Socrates
Michelangelo as Heraclitus
Leonardo da Vinci as Plato
Aristotle
Diogenes
Bramante as Euclid or Archimedes
Zoroaster, Ptolemy, Raphael as Apelles and
Perugino or Timoteo Viti as Protogenes
2.5 Notes
2.3 Copies
The Victoria and Albert Museum has a rectangular version over 4 metres by 8 metres in size, painted on canvas,
dated 1755 by Anton Raphael Mengs on display in the
eastern Cast Court.[27]
Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old
Cabell Hall at the University of Virginia. Produced in
1900 by George W. Breck to replace an older reproduction that was destroyed in a re in 1895, it is four inches
o scale from the original, because the Vatican would not
allow identical reproductions of its art works.[28]
Other reproductions include: by Neide, in Knigsberg
Cathedral, Kaliningrad,[29] in the University of North
Carolina at Asheville's Highsmith University Student
Union, and a recent one in the seminar room at Baylor
University's Brooks College. A copy of Raphaels School
of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-oor reading room of
the Bibliothque Sainte-Genevive in Paris.
The two gures at the left of Plotinus were used as part
of the cover art of both Use Your Illusion I and II albums
[1] Jones and Penny, 74

[2] History of Art: The Western Tradition By Horst Woldemar
Janson, Anthony F. Janson
[3] See Giorgio Vasari, Raphael of Urbino, in Lives of the
Artists, vol. I: In each of the four circles he made an
allegorical gure to point the signicance of the scene
beneath, towards which it turns. For the rst, where he
had painted Philosophy, Astrology, Geometry and Poetry
agreeing with Theology, is a woman representing Knowledge, seated in a chair supported on either side by a goddess Cybele, with the numerous breasts ascribed by the
ancients to Diana Polymastes. Her garment is of four
colours, representing the four elements, her head being
the colour of re, her bust that of air, her thighs that of
earth, and her legs that of water. For further clarication,
and introduction to more subtle interpretations, see E. H.
Gombrich, Raphaels Stanza della Segnatura and the Nature of Its Symbolism, in Symbolic Images: Studies in the
Art of the Renaissance (London: Phaidon, 1975).
[4] M. Smolizza, Rafael y el Amor. La Escuela de Atenas
como protrptico a la losoa, in Idea y Sentimiento.
Itinerarios por el dibujo de Rafael a Czanne, Barcelona,
2007, pp. 2977. [A review of the main interpretations
proposed in the last two centuries.]
2.6. REFERENCES
17
[5] According to Vasari, Raphael received a hearty welcome

from Pope Julius, and in the chamber of the Segnatura he
painted the theologians reconciling Philosophy and Astrology with Theology, including portraits of all the wise
men of the world in dispute.
[18] The interpretation of this gure as Sodoma may be in

error, as Sodoma was 33 at the time of painting, while
Raphaels teacher, Perugino, was a renowned painter and
aged about 60 at the time of this painting, consistent with
the image. Timoteo Viti is another plausible candidate.
[6] Wlin, p. 88.
[19] Lyttleton, Margaret. Meander. Grove Art Online. Oxford University Press, 2012. Accessed 5 Aug 2012.
[7] Wlin, pp. 94f.

[8] Guerino Mazzola et al.: Rasterbild - Bildraster. SpringerVerlag, Berlin, et al. 1986, ISBN 3-540-17267-X.
[9] Vasari mentions portraits of Federico II of Mantua, Bramante, and Raphael himself: Giorgio Vasari, Lives of the
Artists, v. I, sel. & transl. by George Bull (London: Penguin, 1965), p. 292.
[10] Jrg Meyer zur Capellen, however, qualies the certainty
of this identication writing eine Gruppe von Lesenden
und Disputierenden, die um eine Sitzgur, vielleicht
Pythagoras, angeordnet ist. (a group of people reading
and debating, arranged around a seated gure, perhaps
Pythagoras.) Jrg Meyer zur Capellen: Raael (Munich:
Beck 2010), p.49
[11] Again, Meyer zur Capellen is more cautious: Eine
Gruppe von Schlern umgibt einen Lehrer (Archimedes
oder Euklid?), der auf einer Tafel ein geometrisches
Prinzip erlutert Jrg Meyer zur Capellen: Raael (Munich: Beck 2010), p.50
[12] Luitpold Dussler: Raphael. A Critical Catalogue (London
and New York: Phaidon 1971), p.73
[13] [Following The School of Athens, Who is Who?" by
Michael Lahanas
[14] Raphael has reused the motif of two women from his earlier work the Vision of a Knight. Raphal, page 215, Edition 31; Edition 42 of Chefs-d'oeuvre de l'art: Grands
peintres, Taylor & Francis, 1966. or (Federico II of Mantua?)
[15] Understanding art concise history page 118
[16] The interpretation of this gure as Hypatia seems to have
originated from the Internet. Serious sources don't mention it at all. H. J. Mozans (=John Augustine Zahm)
specically regrets that Hypatia doesn't appear in the
painting in his book Women in Science p.141
[17] Raphaels lover Fornarina is portrayed in a famous painting in the National Gallery of Ancient Art in Rome.
This identication has been introduced on 2002 by Matteo Smolizza during his cooperation with Lorenza Mochi
Onori, former Director of the Museum, in the occasion of
the Exhibit La Fornarina di Raaello, Milan, Fondazione
Arte e Civilt, March 14 - June 2, 2002. It was later investigated on the basis of 1) position of the portrait (specular
to Raphaels one) ; 2) appearance compared with contemporary Raphaels drawings; 3) strictly contemporary texts
by Raphael to the woman; 4) frescos general meaning.
Cfr. Smolizza, pp. 68-74
[20] Luitpold Dussler: Raphael. A Critical Catalogue (London

and New York: Phaidon 1971), p.74
[21] Zeichnungen 16. Jahrhundert Graphische Sammlung Sammlung Stdel Museum. Staedelmuseum.de
(2010-11-18). Retrieved on 2011-06-13.
[22] Raaello Santi. mit seinen Schlern (Studie fr die
Schule von Athen, Stanza della Segnatura, Vatikan)
(trans.: Pythagoras and his students (Study for the 'School
of Athens, Stanza della Signatura, the Vatican) (inventory number 4883)). Albertina Museum. Vienna, Austria, 2008. Retrieved on 2011-06-13.
[23] Raphael (1482 - 1520).Two Men conversing on a Flight of
Steps, and a Head shouting. Ashmolean Museum of Art
and Archaeology, University of Oxford, 2011. Retrieved
on 2011-06-13.
[24] Raphael (1482 - 1520).Studies for a Figure of Minerva
and Other Statues. Ashmolean Museum of Art and Archaeology, University of Oxford, 2011. Retrieved on
2011-06-13.
[25] Raphael (1482 - 1520). Recto: Combat of nude men.
Ashmolean Museum of Art and Archaeology, University
of Oxford, 2011. Retrieved on 2011-06-13.
[26] Raphael (1482-1520).Euclid instructing his Pupils. Ashmolean Museum of Art and Archaeology, University of
Oxford, 2011. Retrieved on 2011-06-13.
[27] V&A Museum: Copy of Raphaels School of Athens in
the Vatican. Images.vam.ac.uk (2009-08-25). Retrieved
on 2011-06-13.
[28] Information on Old Cabell Hall from University of Virginia
[29] Northern Germany: As Far as the Bavarian and Austrian
Frontiers, Baedeker, 1890, p. 247.
2.6 References
Roger Jones and Nicholas Penny, Raphael, Yale,
1983, ISBN 0300030614
Heinrich Wlin, Classic Art: An Introduction to
the Italian Renaissance (London: Phaidon, 2d edn.
1953)
Inspired Guns n' Roses Use Your Illusion albums
cover
18
In the music video for the song Tessellate by the
british band Alt-J the director Ben Newbury shows
an artistic reworking of the painting, using 21st century characters of lower socio-economic status in a
room similar to the paintings background.
2.7 External links
The School of Athens on In Our Time at the BBC.

(listen now)
The School of Athens at the Web Gallery of Art
The School of Athens (interactive map)
Cartoon of The School of Athens
The School of Athens reproduction at UNC
Asheville
BBC Radio 4 discussion about the signicance of
this picture in the programme In Our Time with
Melvyn Bragg.
CHAPTER 2. THE SCHOOL OF ATHENS
Chapter 3
Ansidei Madonna
The Ansidei Madonna (Italian: Pala Ansidei) is a 15051507 painting by the Italian High Renaissance artist
Raphael, painted during his Florentine period. It shows
the Blessed Virgin Mary sitting on a wooden throne, with
the child Christ on her lap. On her right John the Baptist
stands, on her left Saint Nicholas is reading.
spirit or soul of a character, rather than their appearance.

And, last, you see joy, contentment or beauty in the face
of the subject, not negative connotations, such as pain or
vileness.[3]
Each subject and the landscape of Ansidei Madonna
evokes serenity and divinity:
At the time the painting was commissioned, there were

other paintings that made up the grouping for the altarpiece. Of the predellas, the only that remains is Saint
John the Baptist Preaching, the others are inexplicably
lost.
Madonna, by her complete devotion to her child,

Christ child through his secure faith in his mother,
St. John through his contemplative expression of his
spiritual journey,
Both the main painting, Ansidei Madonna, and the predella Saint John the Baptist Preaching, are located at the
National Gallery in London.
Bishop Nicholas of Bari through spiritual knowledge, and

the soothing landscape and the open, innite sky,
closest to God.[3]
3.1 The Painting

The Virgin sits formally on a high throne, with an adult
Saint John the Baptist on the left, and Saint Nicholas of
Bari to the right. Painted for eect rather than realism,
the throne has no arms and the steps are very steep, but
beautifully set o the arches above and the approach to
the throne.[1]
3.1.1
The three balls at Bishop Nicholas feet may symbolize

the holy trinity, or the three bags of gold he is said to
have thrown into the window of a poor mans home for
his daughters welfare.[3]
3.1.2 The young master
Excellence through serenity and di- Raphaels years in Florence exposed him to a plethora of
artistic inuences, rst his teacher Perugino and then othvinity
The Ansidei Madonna was greatly inuenced by the strict

expression of divinity of the Umbrian School within his
Florentine Period. Above the Madonnas throne is inscribed Hail, Mother of Christ. This compares to the
more natural poses and interaction found in Madonna, the
Christ Child and infant John the Baptist in paintings of his
Roman period.[2]
Per Ruskin of the National Gallery, the painting is considered one of the greatest paintings in history, and as such
an embodiment of the best of Christianity, for several
reasons. First, the execution was near perfect and wellweathered the test of centuries of time. The gold within
the painting looks real, but was totally painted by aect.
Secondly, another test of a great painting, the characters
look serene. Third, the painting attracts attention to the
ers, such as Donatello's sculptured marble, Masaccio's

frescoes, Michelangelo's David, Leonardo da Vinci's
paintings, and so much more which Raphael used to developed his ne-tuned sense of style, composition and execution as seen in the Ansidei Madonna.[1][4]
Raphael achieved excellence in Ansidei Madonna through
execution of every minute detail. A master at the young
age of twenty-three, Raphael brought new life to wellrepresented subjects, through careful, methodic performance. Care is represented by what one does - and what
one does not do, or more clearly: There is a saying that a
true artist is known best by what he omits. Consider the
landscape behind our subjects, it is clean and serene, not
overdone with unnecessary detail. When color is used, its
used decidedly and for eect, such as the jeweled robe,
the chaplet of red coral.[5]
19
20
CHAPTER 3. ANSIDEI MADONNA
In 1508 Raphael arrived in Rome at the age of twentyve and already a great reputation as a master of the
arts, known for such works as "Madonna of the Grand
Duke", "Madonna of the Goldnch", Ansidei Madonna
and more.[4]
3.1.3
young Lord Robert Spenser in 1764, for an undisclosed,

but apparently large sum of money as a gift to his brother,
the 4th Duke of Marlborough.[4][11] Placed in Blenheim
Palace, one of the most magnicent buildings in Europe
and home of the Duke of Marlborough, the work was
sometimes known as the Blenheim Madonna. [6][12]
Ansidei Madonna, considered one of the most per-
Isolated characters of the Umbrian fect pictures of the world,[3] of the Blenheim Collecschool
tion was sold by George Spencer-Churchill, 8th Duke of
Marlborough, under the Lord Cairns Act for 75,000[13]

The Virgin Mary, Saint John and Bishop Nicholas are iso- or nearly unanimously cited at 70,000,[3][4] which was
lated from one another, without interchange, a style com- about $350,000,[14] to the London National Gallery in
mon in the Umbrian school, and particularly Perugino.[6] 1885.[7][14] At the time, this was three times the highest
amount paid for a painting, likely in large part because
there were few Raphael paintings placed in foreign galleries at that time.[3]
3.2 Commission and Provenance
3.3 References
[1] The Ansidei Madonna. London: National Gallery. Retrieved 2011-03-11.
[2] Ruskin, J (1888). A Popular Handbook to the National
Gallery 1. London: MacMillan & Company. p. 113.
Saint John the Baptist preaching, one of the paintings on the predella for Ansidei Madonna. National Gallery, London
Niccol Ansidei commissioned Raphael to paint an altarpiece of a group of paintings titled The Madonna and
Child with Saint John the Baptist and Saint Nicholas of
Bari (The Ansidei Madonna)" [7] for his family chapel dedicated to Saint Nicholas in the church of San Fiorenzo,
Perugia.[8]
Two paintings formed the predella for Raphaels altarpiece the Ansidei Madonna. The rst, Saint John the
Baptist Preaching, was placed beneath the image of Saint
John in the main altarpiece, and is now owned by the National Gallery. The panels that depicted her betrothal,
positioned below the Virgin and Child and another below
Saint Nicholas of one of his miracles have not survived.[8]
[3] Ruskin, J (1888). A Popular Handbook to the National

Gallery 1. London: MacMillan & Company. pp. 111
112.
[4] Macfall, H. A History Of Painting: The Renaissance In
Central Italy Part I. pp. 188189.
[5] Pater, W (2007) [1895]. Miscellaneous Studies: A Series
of Essays. pp. 5961.
[6] Grant, A (SeptemberDecember 1895). Evolution in
Early Italian Art - The Madonna and the Saints. The Pall
Mall magazine (London: Hazell, Watson & Viney) 7: 65.
[7] The Ansidei Madonna, Key Facts. London: National
Gallery. Retrieved 2011-03-11.
[8] The Ansidei Madonna, Saint John. London: National
Gallery. Retrieved 2011-03-11.
[9] Mntz, E (1888). Armstrong, W, ed. Raphael; His Life,
Works and Times. London: Chapman and Hall. p. 170.
There is some question about the date, or dates, of the

painting. Original understanding was that the painting [10] San Fiorenzo (rebuilt in 1471-1519, remodeled in 176370)". Key to Umbria: City Walks.
was begun in 1505, tting with Raphaels style at that
time, strongly inuenced by Perugino. Careful obser[11] Hogg, J; Marryat, F (1885). London Society 48. London:
vation revealed that the painting was dated 1507. One
Kelly & Company. p. 49.
can fairly reasonably assume, though, based upon the
Raphaels style, that the work began in 1505 and was n- [12] Killikelly, S (1886). Curious Questions in History, Literaished in 1507.[9]
ture, Art, and Social Life 1. Philadelphia: David McKay.
p. 74.
The chapel that held Ansidei Madonna was dismantled in 1763 when the church of San Fiorenzo was re- [13] Boase, F (1897). Modern English Biography: Containmodeled. The chapel was reassembled and now contains
ing Many Thousand Concise Memoirs Who Have Died
a 19th-century copy of its original altarpiece, the AnSince the Year 1850 2. Truro: Netherton & Worth (selfpublished). p. 1646.
sidei Madonna, by Raphael.[10] The work was bought by
3.3. REFERENCES
[14] Editorial Sta, Mentor Association, ed.

(1916).
Raphael, The Florentine Period. The Mentor-World
Traveler. serial 114 (New York: Mentor Association) 4
(4): 57. Retrieved 2011-03-11.
21
Chapter 4
Madonna del Prato (Raphael)

Not to be confused with the Madonna del Prato (Bellini).
The Madonna with the Christ Child and Saint John the
Baptist is a 1506 painting by Raphael, now held in the
Kunsthistorisches Museum in Vienna. It is also known
as Madonna del prato (Madonna of the Meadow) or
Madonna del Belvedere (after its long residence in the
imperial collection in the Vienna Belvedere).
The three gures in a calm green meadow are linked by
looks and touching hands. The Virgin Mary is shown in a
contrapposto pose, wearing a gold-bordered blue mantle
set against a red dress and with her right leg lying along
a diagonal. The blue symbolizes the church and the red
Christs death, with the Madonna the uniting of Mother
Church with Christs sacrice. With her eyes xed on
Christ, her head is turned to the left and slightly inclined,
and in her hands she holds up Christ, as he leans forward
unsteadily to touch the miniature cross held by John. The
poppy refers to Christs passion, death and resurrection.
22
Chapter 5
The Deposition (Raphael)

The Deposition, also known as the Pala Baglione,
Borghese Deposition or The Entombment, is an oil painting by the Italian High Renaissance painter Raphael.
Signed and dated Raphael Urbinas MDVII (1507)", the
painting is in the Galleria Borghese in Rome.[1] It is the
central panel of a larger altarpiece commissioned by Atalanta Baglioni of Perugia in honor of her slain son, Grifonetto Baglioni.[2] Like many works, it shares elements
of the common subjects of the Deposition of Christ, the
Lamentation of Christ, and the Entombment of Christ.
The painting is on wood panel and measures 184 x 176
cm.
ily (with whom they were also intermarried), and other

large works. The new commission marked an important
stage in his development as an artist, and the formation of
his mature style.[7] The painting remained in its location
until in 1608, it was forcibly removed by a gang working for Cardinal Scipione Borghese, nephew of Pope Paul
V. In order to pacify the city of Perugia, the Pope commissioned two copies of the painting from Giovanni Lanfranco and the Cavaliere dArpino,[1] and that by Arpino
is still in Perugia. Though conscated by the French in
1797 and exhibited in Paris in the Louvre, then renamed
the Napoleon Museum, it was returned to the Galleria
Borghese in 1815, except for the predella which was taken
to the Vatican Museums.[8]
5.1 The Commission

5.2 Preparatory studies
In the early part of the 16th Century, violence among
factions, mostly in the form of hand-to-hand combat,
was relatively common in Perugia and other parts of
Italy, such as Florence.[3] The Baglioni family were the
lords of Perugria and surrounding areas, and also leading condottiere or leaders of mercenary troops. There
was an especially bloody episode in Perugia on the night
of July 3, 1500, when Grifonetto Baglioni and some angry members of the family conspired to murder much of
the rest of the Baglioni family as they slept.[4] According
to Matarazzo, the chronicler of the family, following the
bloodshed, Grifonettos mother Atalanta Baglioni refused
to give her son refuge in her home and when he returned
to the city he was confronted by Gian Paolo Baglioni, the
head of the family who had survived the night by escaping over the roof tops. Atalanta changed her mind and
rushed after her son, but arrived only in time to see her
son being killed by Gian Paolo and his men.[5] A few years
later, Atalanta commissioned the young Raphael to paint
an altarpiece to commemorate Grifonetto in the family
chapel in San Francesco al Prato. Raphael took the commission very seriously, over the course of two years working on and developing his design through two phases and
numerous preparatory drawings.[6] This was the last of
several major commissions by the young Raphael for Perugia, the home city of his master Perugino. He had already painted for the same church the Oddi Altarpiece
(now in the Vatican) for the Baglionis great rival fam-
Study in the Louvre
Raphael made numerous preparatory sketches or drafts

as his idea for the composition evolved (several are on
Wikimedia Commons - see link below). He started with
the subject of a Lamentation over the dead Christ,[9] similar to the famous painting of the same name by his
teacher Pietro Perugino. He moved from that idea to
an Entombment of Christ,[10] perhaps inspired by an ancient Roman sarcophagus relief of Meleager from Greek
mythology, Michelangelos Entombment or the print of
23
24
CHAPTER 5. THE DEPOSITION (RAPHAEL)

this picture, has great reason to marvel, for it
amazes all who behold it, what with the air of
the gures, the beauty of the draperies, and in
short, the supreme excellence that it reveals in
every part.[13]
Another study, Uzi
Vasari takes a reverential tone in describing The Entombment, taking great care to discuss not only the important gures in the painting, but also their eect on the
viewer. Looking at it formally, the scene depicted is actually neither the Deposition nor the Entombment, but
located somewhere in-between. We can determine this
through the background: on the right is Mount Calvary,
the location of the Crucixion and Deposition, and on the
left is the cave where the Entombment will take place.
And so two men, lacking halos, use a piece of linen to
carry the dead Christ and it seems as if all the participants
in the bearing of the body are in suspended animation.[14]
The two men and Christ form very strong diagonals in
the shape of a V. The younger man on the right holding
Christ is posited to be a representation of the slain youth,
Grifonetto himself.[1] Besides the two men carrying the
body, we have St. John and Nicodemus behind and to
the left and Mary Magdalene holding the hand of Christ.
The legs of St. John and Nicodemus do present a distracting problem, especially in the case of Nicodemus because
due to the obstruction of the view, it is not clear what he
is exactly doing, or what he is exactly looking at.[15]
the Entombment by Mantegna.[11] Looking through his

studies, we can see that this long period of evolution gave
Raphael the opportunity to put into practice much of the
new style and techniques he had been developing from his
studies of Renaissance masters Leonardo da Vinci and
Michelangelo as well as others artists of the period. The
two design phases may broadly be labeled Perugian and
Florentine.[6] The signicant change of subject from a
Lamentation to an Entombment aected the character of On the far right, in the other gural group slightly bethe painting on the whole because it changed from a more hind the action, are the three Marys supporting the Virgin
iconic Piet to a subject with more narrative interest.[12] Mary, who has fainted (a controversial depiction known
as the Swoon of the Virgin) most likely due to her overwhelming grief.[12] The way in which the Virgin is kneeling is excessively awkward, with extreme torsion and
5.3 Analysis
sharply cut drapery, also known as a gura serpentinata. Though seen in other famous works, her positioning
Giorgio Vasari, the famous biographer of Italian artists, seems to have been directly inspired by the example of
also understood Raphaels piece as a narrative painting. Michelangelos Doni Tondo, completed only a few years
Having seen the altarpiece in its original setting, Vasari earlier. In terms of color, Raphael balances his use of
gives a detailed description:
strong reds, blues, yellows and greens and he creates subtle contrast in his esh tones, best seen with the living
Mary Magdalenes holding of the dead Christs hand.[16]
In this most divine picture there is a Dead
Christ being borne to the Sepulcher, executed
with such freshness and such loving care, that
5.4 The Altarpiece
it seems to the eye to have been only just
painted. In the composition of this work, Raffaello imagined to himself the sorrow that the
nearest and most aectionate relatives of the
dead one feel in laying to rest the body of him
who has been their best beloved, and on whom,
in truth, the happiness, honor, and welfare of a
whole family have depended. Our Lady is seen
in a swoon; and the heads of all the gures are
very gracious in their weeping, particularly that
of St. John, who, with his hands clasped, bows
his head in such a manner as to move the hardFaith, one of the predella panels
est heart in pity. And in truth, whoever considAs stated above, the altarpiece consisted of more than just
ers the diligence, love, art and grace shown by
5.7. REFERENCES
25
the main panel. The top molding (now in the Galleria [17] Baldini 107
Nazionale dellUmbria in Perugia) had a panel of God
the Father in a glory of cherubim, blessing his son.[1] [18] Pedretti 104
The main panel itself had a frame, parts of which still
survive, decorated by grins being crowned and fed by
winged putti seated on rams heads, all of a yellow-bronze 5.7 References
color against a blue ground (the Baglioni family crest was
a grins head, as well as the name of Atalantas husband
Ames-Lewis, Francis (1986). The Draftsman
and son being Grifonetto).[17] Below there was a predella
Raphael. New Haven: Yale UP.
of three grisaille (monochrome) compartments illustrat Baldini, Nicoletta (2005). Raphael. New York:
ing the Theological Virtues (1507. Oil on panel, three
Rizzoli.
[18]
sections of 18 x 44 cm each. Rome, Vatican Gallery).
The three panels were originally lined up at the base of
Capellan, Jrg Meyer zur (2001). Raphael a critical
the altarpiece to show, left to right, Hope, Charity, and
catalogue of his paintings. Landshut: Archos.
Faith, with each gure anked by two putti.[18] The subjects of the predellas are meant to relate symbolically to
Capellan, Jrg Meyer zur (1996). Raphael in Flothe main panel above: Charity in the center emphasizes
rence. New York: Art Books International.
the theme of motherhood, while Hope and Faith refer to
Jones, Roger; Nicholas Penny (1983). Raphael.
the principle motif, Christs martyrdom. Thus Raphaels
New Haven: Yale UP.
conception not only refers to the theme of the altarpiece,
but also to the private circumstances of the donor, Ata Pedretti (1998). Raphael. Florence: Giunti Gruppo
lanta Baglioni.[12]
Editoriale.
5.5 Paintings
inuenced
Raphaels deposition
by 5.8 Further reading
The Deposition of Christ Friedrich Overbeck

(1814)
5.6 Notes
[1] Baldini 106
[2] Pedretti 102
[3] Jones and Penny 40
[4] Baldini 106, Jones and Penny 40
[6] Ames-Lewis 144
[7] Jones and Penny 14-17, 40-47
[8] Pendretti 102
[9] drawing
[10] drawing
[11] Jones and Penny, p. 43
[12] Capellan 216
[13] Capellan 214
[14] Capellan 215
Raphaels Altar-Pieces in S. Francesco al Prato,

Perugia: Patronage, Setting and Function, Donal
Cooper, The Burlington Magazine, Vol. 143, No.
1182 (Sep., 2001), pp. 554561
Chapter 6
The Parnassus
The Parnassus is a fresco painting by the Italian High Renaissance artist Raphael in the Raphael Rooms ("Stanze di
Raaello"), in the Palace of the Vatican in Rome, painted
at the commission of Pope Julius II. It was probably the
second wall of the Stanza della segnatura to be painted,
in about 1511, after La disputa and before The School of
Athens, which occupy other walls of the room.
The whole room shows the four areas of human knowledge: philosophy, religion, poetry and law, with The
Parnassus representing poetry. The fresco shows the
mythological Mount Parnassus where Apollo dwells; he
is in the centre playing an instrument (a contemporary
violin rather than a classical lyre), surrounded by the nine
muses, nine poets from antiquity, and nine contemporary
poets. Apollo, along with Calliope, the muse of epic poetry, inspired poets.[1][2]
Apollo
6.2 See also

Frieze of Parnassus
6.3 References
Raphael used the face of Laocon from the classical

sculpture Laocon and His Sons, excavated in 1506 and
also in the Vatican for his Homer (in dark blue robe
to the left of centre), expressing blindness rather than
pain.[3] Two of the female gures in the fresco have been
said to be reminiscent of Michaelangelos Creation of
Adam, Euterpe and Sappho, who is named on a scroll she
holds.[4] Sappho is the only female poet shown, presumably identied so that she is not confused with a muse;
she is a late addition who does not appear in the print
by Marcantonio Raimondi that records a drawing for the
fresco.
The window below the fresco Parnassus frames the view
of Mons Vaticanus, believed to be sacred to Apollo.
Humanists, such as Biondo, Vegio, and Albertini, refer
to the ancient-sun god of the Vatican.[2]
6.1 Gallery
Statius, Thalia, Clio, Euterpe and Calliope
Erato, Ludovico Ariosto and Giovanni Boccaccio
Dante Alighieri, Homer and Virgil
Sappho
Terpsichore
26
[1] Paoletti, J; Radke, G (2005) [1997]. Art in Renaissance

Italy. London: Laurence King Publishing. p. 409. ISBN
1-85669-439-9.
[2] Stinger, C (1998) [1985 (hardback)]. The Renaissance in
Rome. Bloomington, IN: Indiana Bloomington Press. p.
199. ISBN 0-253-33491-8.
[3] Roger Jones and Nicholas Penny, Raphael, p. 74, Yale,
1983, ISBN 0300030614
[4] Joannides, P (1983). The Drawings of Raphael: With a
Complete Catalogue. Berkeley and Los Angeles, CA: University of California Press. p. 20. ISBN 0-520-05087-8.
Chapter 7
Portrait of Elisabetta Gonzaga

The Portrait of Elisabetta Gonzaga is a painting from
around 1504, attributed to the Italian Renaissance artist
Raphael and housed in the Uzi Gallery, Florence.
7.4 Sources
7.1 History
Contemporary sources speak of a portrait of Elisabetta
Gonzaga executed by Raphael.
The painting was likely part of the Ducal collection of
Urbino, brought to Florence in 1635 as Vittoria della Rovere's dowry. In is mentioned with certainty for the rst
time in 1773, when it was transferred from Palazzo Pitti
to the Grand Ducal wardrobe of the Uzi. In a 1784
inventory it was attributed to Giovanni Bellini's school,
while that of 1825 listed it as by Andrea Mantegna.
It was attributed to Raphael for the rst time in 1905.
Other artists to whom the portrait has been assigned
include Francesco Francia, Giovan Francesco Caroto,
Francesco Bonsignori and Albrecht Drer.
7.2 Description
The woman portrayed is Elisabetta Gonzaga, wife of
Duke Guidobaldo I of Urbino (the portrait is now exhibited at the Uzi next to the latters) and a woman of
literary and artistic interests. Details include the black
dress with applied trim in a patchwork pattern, and the
scorpion-like diadem on the womans forehead. Her
hairdo includes the coazzone, a long plait which is present
also in a medal of her now at the British Museum.
7.3 See also

Portrait of Guidobaldo da Montefeltro
Portrait of Emilia Pia da Montefeltro
27
De Vecchi, Pierluigi (1975). Raaello. Milan: Rizzoli.
Chapter 8
Portrait of Pope Julius II (Raphael)

Portrait of Pope Julius II is an oil painting of 1511
1512 by the Italian High Renaissance painter Raphael.
The portrait of Pope Julius II was unusual for its time and
would carry a long inuence on papal portraiture. From
early in its life, it was specially hung at the pillars of the
church of Santa Maria del Popolo, on the main route from
the north into Rome, on feast and high holy days. Giorgio
Vasari, writing long after Julius death, said that it was
so lifelike and true it frightened everyone who saw it, as
if it were the living man himself.[1]
The painting exists in many versions and copies, and for
many years, a version of the painting which now hangs in
the Uzi Gallery in Florence was believed to be the original or prime version, but in 1970 opinion shifted. The
original is currently believed to be the version owned by
the National Gallery, London.
8.1 Composition
The presentation of the subject was unusual for its time.
Previous Papal portraits showed them frontally, or kneeling in prole. It was also exceptional at this period to
show the sitter so evidently in a particular mood - here
lost in thought.[2] The intimacy of this image was unprecedented in Papal portraiture, but became the model,
what became virtually a formula, followed by most future painters, including Sebastiano del Piombo and Diego
Velzquez.[3] The painting established a type for papal
portraits that endured for about two centuries.[4] According to Erica Langmuir, it was the conation of ceremonial signicance and intimacy which was so startling,
combined with Raphaels ability to dene the inner structure of things along with their outer texture.[5]
The Uzi version
natura, as well as in the Sistine Madonna.[7]

The original hanging in the background was a blue and
gold textile, either woven silk or embroidery, with gold
emblems in tear shaped light blue compartments against
a dark blue background. The emblems were the Papal
crossed keys, the Papal tiara, and perhaps the heraldic oak
tree of Juliuss family, the Della Rovere (Of the oak).
This was overpainted by Raphael with the green cloth now
seen, which itself was painted over before 1824 to give a
plain dark background.[8] The nials of the chair are also
formed as acorns to represent the Della Rovere emblem.
The six nger rings with large jewels reect another of
Juliuss obsessions, which caused Michelangelo to walk
out from his service to him.[9]
The painting can be dated to between June 1511 and

March 1512, when Julius let his beard grow as a sign of
mourning for the loss in war of the city of Bologna.[6]
Raphael had also included fresco portraits of the bearded
Julius, representing earlier popes, in the Raphael Rooms
of the Vatican Palace, in The Mass at Bolsena, with portraits of his daughter Felice della Rovere and Raphael According to the 1901 catalogue of the National Gallery,
himself in the same group, and in the painting represent- This portrait was repeated several times by Raphael,
ing Jurisprudence round a window in the Stanza della Seg- or his scholars. Passavant enumerates nine repeti28
8.2. PROVENANCE
29
tions...besides three of the head only.[10] There is a possible cartoon for the London version in Palazzo Corsini,
Florence,[3] and a red chalk drawing at Chatsworth
House.[11]
8.2 Provenance
The provenances of the various versions of this painting are constructed based on documents, analysis of the
paintings and preliminary sketches. For over two centuries the prime version of the painting remained together
with the Madonna of Loreto, rst at Santa Maria del
Popolo until 1591, then in private collections; then for a
time in the early 19th century its location was unknown.
Until 1970 it was commonly believed that the London
version of the painting was a studio copy of a Raphael
original, which was believed to be the version in the Uzi
Gallery, Florence.[12] In 1969 Konrad Oberhuber of the
National Gallery of Art in Washington asked the National
Gallery to take x-ray photographs of their version. These
revealed that the background of the painting behind the
chair had been entirely repainted, concealing an inventory
number from the Borghese collection and the green textile hanging now visible after the overpaint was removed
in 1970. Small paint samples removed during this cleaning showed that there had been an even earlier hanging
with a coloured pattern.[13] The National Gallerys Cecil
Gould published the results of the research in 1970, asserting that Raphaels original had been rediscovered, an
attribution that is now generally accepted.[12][14] However, the attribution was challenged in 1996 by James
Beck in an article in Artibus et Historiae.[12]
8.2.1
Santa Maria del Popolo
The Madonna of Loreto was displayed with the Portrait of Pope

Julius II during the 16th century.
Madonna, which resulted in the pairing of paintings,

Julius commissioned the Sistine Madonna in the last year
of his life where his adoration is shown by the Pope kneeling at the feet of the Virgin.[23]
There are many rival suppositions about the circumstances surrounding the history of the painting after it
was removed from Santa Maria del Popolo, partly because there were many copies of the painting and partly
due to delays in publication of vital documents.[24]
Julius II commissioned from Raphael[15] this painting and

Madonna of Loreto which resided at Santa Maria del 8.2.2 Cardinal Sfondrati
Popolo,[16][17][18] at the entrance gate to Rome.[19]
An impressive array of Renaissance artists were brought In 1591, the Raphael paintings Julius II and what was
in to decorate Santa Maria del Popolo, beginning with later called Madonna of Loreto were removed from the
Raphael.[20] Both paintings by Raphael, Julius II and the church by Paolo Camillo Sfondrati, later Cardinal Sfon[24][25][26]
In 1608,
Madonna were hung on pillars during feast days[21][22] or drati, nephew of Pope Gregory XIV.
[24]
[17]
Cardinal
Scipione
Borghese.
he
sold
the
paintings
to
high holy days.
The two paintings, nearly the same size, seem as if they
were meant to complement each other. Aside from their
dimensions, they also both had a strong vertical orientation. The eyes of the paintings were downcast and
gave a contemplative feeling. The positioning and lighting within the paintings seems to indicate that they were
meant to each ank an altar in the domed chapel. Although the paintings were paired for a time, through
change of ownership the Madonna of Loreto is now located in the Muse Cond, Chantilly.[21]
8.2.3 Borghese collection
The paintings were still recorded as part of the Borghese

collection in 1693,[26] as a small inventory number 118 at
the bottom left of the London Julius shows. The discovery of this number, hidden by over-paint, in x-ray photographs in 1969 was one of the key pieces of evidence
establishing the primacy of the London version.[27] It
matches a catalogue of paintings in the Palazzo Borghese
As a means of indicating Julius appreciation of the in Rome in 1693. The painting presumably left the collec-
30
CHAPTER 8. PORTRAIT OF POPE JULIUS II (RAPHAEL)
tion between 1794 and 1797, and its whereabouts are then [20] Santa Maria del Popolo, Rome - History. Rome: Santa
Maria del Popolo. 2009. Retrieved 2011-03-11.
unknown until it reppears in the Angerstein Collection in
London by 1823, and so was acquired by the National
Gallery in 1824, initially catalogued as a Raphael, but this [21] Partridge, L; Starn, R (1980). Renaissance Likeness: Art
and Culture in Raphaels Julius II. Berkeley, Los Angeles
attribution was soon abandoned for over a century.[3]
and London: University of California Press. pp. 1, 96,
102103. ISBN 0-520-03901-7.
8.3 Gallery
Julius in The Mass at Bolsena
Julius commissioned the Sistine Madonna in the last
year of his life
8.4 Notes
[1] Quoted Langmuir, 146
[2] Jones & Penny: 158
[3] Gould (1975): 210
[4] Chilvers: 576 quoted; Gould (1975), 209; Langmuir, 147
[5] Langmuir, 147
[6] Gould, 209, 210 note 2
[22] Grimm, H; Adams, S (1888). The Life of Raphael. London: Alexander Gardner, Publisher to the Queen. pp.
170171.
[23] Shaw, C. (1996) [1993]. Julius II: The Warrior Pope. Oxford and Cambridge: Blackwell Publishers. p. 201. ISBN
9780631202820.
[24] Gould, C (May 1980). Afterthoughts on Raphaels soCalled Loreto Madonna. The Burlington Magazine. 926
(The Burlington Magazine Publications) 122: 336. Retrieved 2011-03-11.
[25] Crowe, J; Cavalcaselle, G (1885). Raphael: His Life and
Works 2. London: John Murray. pp. 108109Much of
this reference is involved in conjecture about the nature
and movement of the painting. Anything later refuted has
been ignored.
[26] Shearman, J (2003). Raphael in early modern sources
(1483-1602) 2. p. 1400. ISBN 9780300099188.
[27] Dunkerton and Roy, 757
[7] Jones and Penny, 76, 157

[8] Dunkerton and Roy, 759, which reports further testing
modifying Gould (1975), 208-10.
[10] National Gallery: 522.
[11] Jones & Penny: 157-8
[12] Beck: 69.
[13] Dunkerton and Roy, 757-758
[14] Gould (2004)
8.5 References
Beck, James (1996). The Portrait of Julius II in
Londons National Gallery. The Goose That Turned
into a Gander. Artibus et Historiae 17 (33): 6995.
doi:10.2307/1483552.
Chilvers, Ian (2004). The Oxford Dictionary of
Art. Oxford University Press US. ISBN 978-0-19860476-1. Retrieved 29 June 2010.
[15] Mntz, E (2005) [1888]. Sir Walter Armstrong, ed.

Raphael: His Life, Works and Times. London: Chapman
& Hall. p. 213. ISBN 0766193969.
Dunkerton, Jill; Roy, Ashok (Nov 2004). The

Altered Background of Raphaels 'Portrait of Pope
Julius II' in the National Gallery. The Burlington
Magazine 146 (1220): 757759. JSTOR 20073750.
[16] Szakolczai, A (2007). Sociology, Religion, and Grace:

A Quest for the Renaissance. United States and Canada:
Routledge. p. 294. ISBN 9780203968185.
Gould, Cecil (October 2004). A Raphael Goose

Turns into a Swan. Apollo. Retrieved June 29,
2010.
[17] Berlin and its treasures. New York: D. Appleton and

Company. 1867. p. 158Any information later refuted
was ignored.
Gould, Cecil (1975). The Sixteenth Century Italian Schools. London: ?National Gallery Catalogues.
ISBN 0-947645-22-5.
[18] Partridge, L; Starn, R (1980). Renaissance Likeness: Art

and Culture in Raphaels Julius II. Berkeley, Los Angeles
and London: University of California Press. p. 77. ISBN
0-520-03901-7.
Jones, Roger; Nicholas Penny (1983). Raphael.

Yale. ISBN 0-300-03061-4.
[19] Raphael, Hermann Knackfuss (1966). Raphal. pp. 129,

342.
Langmuir, Erica (1997). The National Gallery companion guide. London: National Gallery. ISBN
185709218X.
8.5. REFERENCES
National Gallery (Great Britain) (1901). Descriptive
and Historical Catalogue of the Pictures in the National Gallery. London. Retrieved 3 May 2013.
Niyazi, Hasan (2011-12-14). Portrait of Julius II a Raphael case study. Retrieved 2014-11-15.
31
Chapter 9
Portrait of Bindo Altoviti (Raphael)

The Portrait of Bindo Altoviti is a painting nished
around 1515 by the Italian High Renaissance painter
Raphael. It is housed in the National Gallery of Art of
Washington, D.C., United States.
Bindo Altoviti was a rich banker born in Rome in 1491,
but of Florentine origin. He was a cultured man who
loved the arts.
The graceful, almost eeminate position of the subject
along with the heavy contrast between light and shadow
are atypical of Raphaels work, particularly of his portraits of men, demonstrating the artists experimentation
with dierent styles and forms in his later Roman period.
The inuence of the works of Leonardo, which Raphael
studied astutely during this period of his career, is strikingly evident in this particular piece.
The painting was a property of Altovitis descendants
until 1808, when it was sold to Ludwig I of Bavaria.
It remained at the Alte Pinakothek until 1936, when,
after many debates about its attribution, the painting
was lured out of Nazi Germany by canny English
dealers. Acquired by Samuel Kress, the portrait subsequently became property of the National Gallery of Art
in Washington, D.C..
9.1 Further reading

David Brown and Jane Van Nimmen. Raphael and
the Beautiful Banker: The Story of the Bindo Altoviti
Portrait. Yale University Press, 2005.
32
Chapter 10
Portrait of Baldassare Castiglione

Portrait of Baldassare Castiglione is a c. 15141515
oil painting attributed to the Italian High Renaissance
painter Raphael. Considered one of the great portraits of
the Renaissance, it has an enduring inuence. It depicts
Raphaels friend, the diplomat and humanist Baldassare
Castiglione, who is considered a quintessential example
of the High Renaissance gentleman.
tiglione argued on behalf of the cultivation of ne manners and dress.[5] He popularized the term sprezzatura,
which translates roughly to nonchalant mastery, an ideal
of eortless grace betting a man of culture. The concept eventually found its way into English literature, in
the plays of Ben Jonson and William Shakespeare.[6]
The pictures elegance of execution is consistent with the

attitude of the subject.[7] Art historian Lawrence Gowing noted the counter-intuitive handling of gray velvet
as contrary to an academic modeling of form, with the
broad surfaces banked in rich darkness and the fabric
shining most brightly as it turns away from the light.[7]
For Gowing, The picture has the subtlety of baroque
observation but the stillness and noble contour of classic
painting at its peak.[7] The portraits composition and atmospheric quality suggest an homage to the Mona Lisa,
which Raphael would have seen in Rome.[4] Yet the Castiglione portrait transcends questions of inuence; art historian James Beck wrote that The Portrait of Baldassare
Castiglione stands as a nal solution for single male por[8]
Portrait of Baldassare Castiglione may have had a prac- traiture within the Renaissance style....
tical and intimate purpose. Castiglione left his family Notwithstanding shifts in the critical appraisal of
behind when he went to Rome, and he wrote a poem in Raphaels work, the painting has enjoyed consistent adwhich he imagined his wife and son consoling themselves miration from other artists.[7] Titian was strongly inuwith the picture during his absence.[2]
enced by this portrait, and may have rst viewed it in
[2][7]
The Venetian masThe composition is pyramidal. It was originally painted Castigliones home in Mantua.
ters
Portrait
of
a
Man
(Tommaso
Mosti?)
is generally
[3]
on a wood panel, and later transferred to canvas. Copies
seen
as
owing
a
strong
compositional
debt
to
Raphaels
produced in the 17th century show Castigliones hands
painting,
and
also
reects
Castigliones
inuential
adin full, suggesting that the picture was subsequently cut
vice
regarding
the
restrained
elegance
of
attire
recom[3]
by several inches at the bottom. Castiglione is seated
[2][9][10]
In 1639 Rembrandt drew
against an earth-toned background and wears a dark dou- mended for courtiers.
a
sketch
of
the
painting
while
it was being auctioned in
blet with a trim of squirrel fur and black ribbon; on his
Amsterdam,
and
subsequently
referenced the composi[4]
head is a turban topped by a notched beret. The attire
tion
in
several
self-portraits.
A
copy of the painting,
indicates that this was painted during the winter, likely
now
in
the
Courtauld
Institute
of
Art, was painted by
that of 15141515, when Castiglione was in Rome by
Peter
Paul
Rubens.
Both
Rembrandts
and Rubenss verappointment of Guidobaldo da Montefeltro to Pope Leo
sions
display
Baroque
ourish,
quite
dierent
from the
[4]
X. The lightest areas are the subjects face seen nearly
[3]
In
the
19th
century
original
paintings
sober
restraint.
head-on, a billow of white shirt front at his chest, and
Jean
Auguste
Dominique
Ingres
chose
a
frame
for his
his folded hands, which are mostly cropped at the botPortrait
of
Monsieur
Bertin
much
like
that
which
adorned
tom edge of the canvas. Castiglione is seen as vulnerable, possessing a humane sensitivity characteristic of Raphaels painting, perhaps indicating Ingress ambitions,
similarities of colRaphaels later portraits.[5] The soft contours of his cloth- while also underscoring the paintings [11]
At the turn of
oration
and
extraordinary
illusionism.
ing and rounded beard express the subtlety of the subHenri
Matisse
copied
the
painting, and
the
20th
century
jects personality. In his The Book of the Courtier CasThe portrait was produced as a result of Raphaels friendship with Castiglione, whose ascent in courtly circles paralleled that of the artist. They were close friends by 1504,
when Castiglione made his second visit to Urbino, as
Raphael was gaining recognition as an artist in the humanist circle of the citys ducal court.[1] Raphael was commissioned by Guidobaldo da Montefeltro in 1505 to paint
a picture for Henry VII; Castiglione traveled to England
to present the nished painting to the king.[1] It is possible that Castiglione later served as a scholarly advisor
for Raphaels The School of Athens, and that the depiction of Zoroaster in that fresco may be a portrait of the
courtier.[1]
33
34
CHAPTER 10. PORTRAIT OF BALDASSARE CASTIGLIONE
Paul Czanne exclaimed of Raphaels portrait: How well

rounded the forehead is, with all the distinct planes. How
well balanced the patches in the unity of the whole....[7]
Now in the Louvre, the painting was acquired by Louis
XIV in 1661 from the heirs of Cardinal Mazarin.[7]
10.1 Prominent works inuenced

by Portrait of Baldassare Castiglione
Titian, Portrait of a Man (Tommaso Mosti?), ca.
1620.[1]
Rembrandt, Self-portrait Leaning on a Stone Sill,
etching, 1639.[2]
Rembrandt, Self Portrait, 1640.[2]
Rembrandt, Self Portrait with Beret and Turned-Up
Collar, 1659. A later self-portrait by Rembrandt
showing the inuence of the Castiglione portrait.[3]
Jean Auguste Dominique Ingres, Portrait of Monsieur Bertin, 1832.[4]
1. ^ Ilchman, 201
2. ^ a b Ackley, 308
3. ^ White, 200
4. ^ Tinterow, 305
10.2 Notes
[1] Loudon, 43
[3] Beck, 160
[4] Portrait of Baldassare Castiglione (14781529), Louvre
[5] Jones
[6] Cunningham, Reich, 319
[7] Gowing, 170
[8] Beck, 156
[9] Ilchman, 201
[10] Writing about the Titian portrait, Serena Padovani disagreed, calling the connection to Portrait of Baldassare
Castiglione rather dubious. Titian: Prince of Painters,
188. Venice, Marsilio Editori, 1990.
[11] Tinterow, 305
10.3 References
Ackley, Cliord S. Rembrandts Journey:
PainterDraftsmanEtcher.
Boston, Museum
of Fine Arts, 2003. ISBN 0-87846-677-0
Beck, James H. Raphael. New York, Harry N.
Abrams, Inc., 1976. ISBN 0-8109-0432-2
Cunningham, Lawrence S., Reich, John J. Culture &
Values, Volume II: A Survey of the Humanities with
Readings. Cengage Learning, 2009
Gowing, Lawrence. Paintings in the Louvre. New
York, Stewart, Tabori & Chang, 1987. ISBN 155670-007-5
Ilchman,
Frederick,
et
al.
TitianTintorettoVeronese:
Rivals in Renaissance Florence. Boston, Museum of Fine Arts,
2009. ISBN 978-0-87846-739-6
Jones, Jonathan. Baldassare Castiglione, Raphael,
The Guardian. 12 September 2003.
Jones, Roger; Penny, Nicholas. Raphael. New
Haven and London, Yale University Press, 1983.
ISBN 0-300-03061-4
Loudon, Lynn M. Sprezzatura in Raphael and
Castiglione, Art Journal, Vol. 28, No. 1, Autumn
1968.
Tinterow, Gary, et al. Portraits by Ingres: Images of
an Epoch. New York, Harry N. Abrams, Inc., 1999.
ISBN 0-8109-6536-4
White, Christopher, et al. Rembrandt by himself.
Yale University Press.
10.4 External links

Portrait of Baldassare Castiglione (14781529),
Louvre
high denition picture of the painting, website of the
Center for Research and Restoration of Museums of
France using IIPImage
10.5. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
35
10.5 Text and image sources, contributors, and licenses

10.5.1
Text
Raphael Source: http://en.wikipedia.org/wiki/Raphael?oldid=634845268 Contributors: Magnus Manske, Eclecticology, Danny, Hajhouse,

Gianfranco, William Avery, SimonP, Ellmist, Hephaestos, Olivier, Rbrwr, Ixfd64, Zanimum, AlexR, Arpingstone, Ahoerstemeier, Haakon,
Jebba, Jdforrester, Samw, Astarte, Frieda, Wikiborg, Rednblu, Tpbradbury, Marshman, Xyb, AaronSw, Finlay McWalter, Robbot, Chris
73, Wally, JackofOz, Lzur, TOO, DocWatson42, Christopher Parham, Sj, Tom harrison, Everyking, Alison, Michael Devore, Waltpohl,
Jorge Stol, Solipsist, Gugganij, CryptoDerk, Antandrus, Bcameron54, DNewhall, Kesac, Wkdewey, Bodnotbod, Pethan, Buickid, Kevin
Rector, Dryazan, D6, Ham II, DanielCD, Lectiodicilior, Ma'ame Michu, Discospinster, ESkog, Kaisershatner, Goplat, Shanes, Remember, Kaveh, Bill Thayer, Causa sui, Bobo192, Hurricane111, Jojit fb, Acjelen, MPerel, Helix84, Haham hanuka, Pearle, Jonathunder, Hooperbloob, Dmanning, Merope, Jumbuck, Gary, Jic, Strobie, Arthena, AarHan3, Andrew Gray, AzaToth, Ciceronl, Mailer diablo, Hohum, Mcferran, Almafeta, Danntm, Sumergocognito, Pethr, Haros, Kusma, Pwqn, Iustinus, HenryLi, Tariqabjotu, Njk, Fred26,
Woohookitty, FeanorStar7, Scriberius, NewbieDoo, Etacar11, Thorpe, James Kemp, Aaron McDaid, Jacobolus, MattGiuca, Miss Madeline, CiTrusD, Bkwillwm, Thruston, SDC, Jon Harald Sby, Dysepsion, Slgrandson, Sparkit, Magister Mathematicae, BD2412, Chun-hian,
Legendaryhen, FreplySpang, Sjakkalle, Koavf, Astronaut, Vary, Tawker, RE, Yamamoto Ichiro, Titoxd, Sgkay, FlaBot, Ian Pitchford,
RobertG, AJR, RexNL, Chobot, Gwernol, The Rambling Man, YurikBot, TexasAndroid, Sarranduin, Severa, Pigman, SpuriousQ, Fabricationary, Kerowren, Stephenb, Manop, CambridgeBayWeather, Alex Bakharev, Wimt, Think Fast, Idan d, Wiki alf, Worldwalker,
Veledan, Deskana, Jaxl, Milo99, Usingha, Pgehr, Dureo, Chkiss, Multichill, Cleared as led, Syrthiss, EEMIV, Samir, DeadEyeArrow, Haemo, 1717, Lumaga, Black Falcon, Wknight94, FF2010, Zello, Mike Dillon, Theda, SMcCandlish, BorgQueen, Danny-w, Fram,
Tyrenius, Emc2, CIreland, Sardanaphalus, Attilios, Sintonak.X, SmackBot, Reedy, KnowledgeOfSelf, Bigbluesh, Hu Gadarn, Golwengaud, SupermanReturns, HalfShadow, Alsandro, Yopie, Caravaggisti, Yamaguchi , Peter Isotalo, Gilliam, Smeggysmeg, Andy M. Wang,
Kurykh, Dahn, Liamdaly620, SchftyThree, Nedlum, CARAVAGGISTI, John Reaves, Can't sleep, clown will eat me, Jwillbur, Ioscius, Vanis314, Metaphysicus, Rsm99833, Amazins490, Mosca, Flyguy649, Tapered, Khukri, Nakon, B jonas, Harvestman, Wizardman, Johnor,
DDima, Matthew hk, RossF18, Ceoil, Paul 012, Chwech, Michael David, The undertow, SashatoBot, Srikeit, Kuru, Ian Spackman, Saigon
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Ken Gallager, Keithh, Chicheley, MrFish, Flying Saucer, Nilfanion, Cydebot, Mblumber, Gogo Dodo, Travelbird, Corpx, Adolphus79,
Amandajm, Tawkerbot4, DumbBOT, DBaba, Omicronpersei8, Robert.Allen, Thijs!bot, Epbr123, Kiyane, Mohsinwaheed, Ucanlookitup,
Lanky, Marek69, Tapir Terric, Tellyaddict, Philippe, NERIUM, Escarbot, Omaunder, AntiVandalBot, Luna Santin, Christopherwils,
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MartinDK, Miguelemejia, JNW, EOBeav, Economicprof, Bubba hotep, Vanished user dkjsdfkljeritekk4, Eiyuu Kou, Alekjds, DerHexer,
Pax:Vobiscum, BenWoodru, Skarioszky, MartinBot, Poeloq, Rettetast, MNAdam, Jokerman88, Uriel8, Kostisl, R'n'B, CommonsDelinker, PrestonH, J.delanoy, Ali, Elysonius, Hans Dunkelberg, WarthogDemon, SU Linguist, Raver212, EH74DK, Dispenser, Gorka
alustiza, Johnbod, SethShreve, Smeira, Gurchzilla, RoboMaxCyberSem, Richard D. LeCour, Mufka, Ilikepie22, Cometstyles, Ilikepie55,
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Despadas, VolkovBot, CWii, Alyssa kat13, AlnoktaBOT, WOSlinker, TXiKiBoT, Rizalninoynapoleon, A4bot, Rei-bot, Ann Stouter,
Qxz, Andreas Kaganov, Steveboy90, Ocolon, John Carter, Greennight37, Henryodell, Katimawan2005, Kiinslayer, Ride em' cowgirl,
Dominicgump, Cantiorix, Cmcnicoll, Burntsauce, WatermelonPotion, AlleborgoBot, Kiss-me-baby, Lukashka, Nick Denkens, EmxBot,
Austriacus, D. Recorder, Cosprings, SieBot, PurpleGiraeXXX, Dudette62, YonaBot, Tiddly Tom, Nihil novi, Euryalus, BotMultichill,
Meldor, Viskonsas, Caltas, Twirling, SuzanneIAM, Lucas bsalles, Pattystumpslover, Toddst1, Radon210, VAwebteam, Bookermorgan,
Guycalledryan, Ayudante, Phil Bridger, Oxymoron83, SkyBlue eagle, Alphablast, Fratrep, Ravanacker, Iloveschooltootoo, Zachiscoolisher, Coldcreation, Schlier22, Faithlessthewonderboy, Martarius, Separa, ClueBot, Veltro33, MarconiBarrosJr, The Thing That Should
Not Be, Bob5990, Der Golem, Hafspajen, P. S. Burton, Edmondc1, Ganesa, DragonBot, Stepshep, *TPC* Clan, Leanv, Nymf, Beyblayde,
AZatBot, Monkey guy49, Aitias, DumZiBoT, Valeriejcz, Dark Mage, Thegame23thegame, Nepenthes, 101tammi123, Tongarewa, Good
Olfactory, Addbot, KJS1631, Betterusername, Cst17, LaaknorBot, Roux, Favonian, LinkFA-Bot, Numbo3-bot, Lightbot, Zorrobot, HerculeBot, Legobot, Kokodyl, Luckas-bot, Yobot, TaBOT-zerem, Renddslow, DEDB, Archon 2488, Rubinbot, Klimenok, ArthurBot, Xqbot,
Smk436, J04n, GrouchoBot, Omnipaedista, RibotBOT, FrescoBot, LucienBOT, Meno1else, Pshent, RedBot, FoxBot, TobeBot, ,
Wikiwiserick, Lapskingwiki, Nascar1996, Tbhotch, TjBot, Alph Bot, DASHBot, EmausBot, John of Reading, MikeyMouse10, Kkm010,
ZroBot, QuentinUK, Ida Shaw, AvicAWB, H3llBot, L Kensington, Philafrenzy, ChuispastonBot, FAM1885, Dinodestroyer, Movses-bot,
-sche, Hype supper, Soccershoes1, Heavy Horse, Rezabot, CaroleHenson, Helpful Pixie Bot, Tommyt.tft, KLBot2, Maculosae tegmine
lyncis, PhnomPencil, Rococo1700, Gjjanse, Minsbot, Dexbot, Hong12kong, Makecat-bot, VIAFbot, WilliamDigiCol, Reverse polish,
William w stalino, Jackson Gumprecht, MrHistorianDude, OccultZone, Xenxax, Monkbot, Trackteur, Neverbeg4plikekeithsweat and
Anonymous: 599
The School of Athens Source: http://en.wikipedia.org/wiki/The%20School%20of%20Athens?oldid=643557376 Contributors: Danny,
D, Paul Barlow, Raven in Orbit, Derekvanlessen, TimothyPilgrim, Tom harrison, MistToys, Ccord, Eep, Andy Smith, Blanchette, Discospinster, Rich Farmbrough, Paul August, Bender235, Remember, 96T, Bobo192, Kookoobirdz, Snowolf, Suruena, Sumergocognito,
Zntrip, Kmg90, Mandarax, BD2412, Pmj, Rjwilmsi, Koavf, Nihiltres, Gene.arboit, RussBot, Jugander, Wimt, Robertvan1, Howcheng,
Apokryltaros, Froth, Tomisti, 21655, Gtdp, E Wing, Kansaikiwi, Finell, Attilios, SmackBot, Zserghei, Flamarande, Yamaguchi , Apple2, Skizzik, Persian Poet Gal, Can't sleep, clown will eat me, Addshore, Grover cleveland, Jwy, Sokrat3000, Bowlhover, Nishkid64,
John, Waggers, Kanon6996, Novangelis, ISBN, GDallimore, Ewulp, Makeemlighter, S0ulreaper, Sdorrance, Jjwhalen, Gregbard, Gogo
Dodo, JFreeman, Amandajm, Christian75, Thijs!bot, Pstanton, Peter Gulutzan, Antique Rose, Ecclesias, Modernist, JAnDbot, Leuko,
Neoman2026, RR, El Greco, VoABot II, JNW, Jim Douglas, Relinjin, Sam Medany, Galileo01, ForgottenManC, Arfst, Skarioszky, MartinBot, CommonsDelinker, Fconaway, J.delanoy, Extransit, Johnbod, Pschmedeman, NineteenEighty, SJP, Artemisia11564, BrettAllen,
Billytheboy, VolkovBot, CWii, Je G., Philip Trueman, Hank Ramsey, DennyColt, BotKung, Enigmaman, Life, Liberty, Property, Dessymona, Funeral, Rknasc, Entoaggie09, SieBot, Coee, Jacques l'Aumne, Jaksap, Tiddly Tom, Ballanti, BloodDoll, Peterbruce01, Flyer22,
Mimihitam, Ayudante, Alethe, Oxymoron83, BjrnEF, Eric1337, Techman224, Prof saxx, ClueBot, Plastikspork, Drmies, P. S. Burton,
Piledhigheranddeeper, Singinglemon, Excirial, Tnxman307, Flooga, The cookie villan nuber 3, B3hzad, SchreiberBike, Philipp Grunwald,
BarretB, David enek, Pgeisler21, Nepenthes, Avoided, Addbot, Willking1979, CanadianLinuxUser, Damiens.rf, NjardarBot, MrOllie,
NittyG, Lightbot, JEN9841, HerculeBot, Xinstalker, Luckas-bot, Yobot, II MusLiM HyBRiD II, AnomieBOT, 9258fahskh917fas, Pi-
36
ano non troppo, Materialscientist, Rtyq2, Vesprcom, ArthurBot, MauritsBot, Xqbot, Capricorn42, DSisyphBot, Onedaylemurswillruletheworld, Bdaro, DriveShaft 815, Mlwgsgis1487, Omnipaedista, RibotBOT, Margarite tulipe, Ease to mmbr, Rafael gates, Tales23, FrescoBot, Sshas75, I dream of horses, Adlerbot, PrincessofLlyr, RedBot, Meaghan, AustinAsDeidara, TobeBot, Pollinosisss, Lotje, Rain
drop 45, Reaper Eternal, Rahulsdp, Minimac, NameIsRon, NerdyScienceDude, Hypathos, Alyeliza, EmausBot, Triantap, Dewritech, Racerx11, Wikipelli, K6ka, ZroBot, Liquidmetalrob, Josve05a, Anir1uph, Wayne Slam, Rcsprinter123, Brandmeister, Donner60, Ak169808,
ChuispastonBot, Herk1955, DASHBotAV, Willisam, ClueBot NG, Hoppson, Wagn3r, Gesellschaftsspiel, CaroleHenson, Zmaher, Amp71,
History1976, Pasicles, Glacialfox, Cygnature, Dourios, Inhonoredglory, Hopeoight, Simeondahl, HueSatLum, Asisman, Dexbot, Asadron,
YasBot, Userbot12, Lugia2453, SFK2, GabeIglesia, 069952497a, 44kona44, Theinfoman69, Wikijosephine, Joebucci13, Clb457, T.slich,
JaconaFrere, Melcous, Cupcakeknight, Smileyface84 and Anonymous: 358
Ansidei Madonna Source: http://en.wikipedia.org/wiki/Ansidei%20Madonna?oldid=631276789 Contributors: Ham II, Rich Farmbrough,
Remember, Mandarax, Nihiltres, RussBot, Fram, SmackBot, Ser Amantio di Nicolao, Skarioszky, Joanenglish, John Carter, Mild Bill
Hiccup, BOTarate, MelonBot, DumZiBoT, Addbot, Luckas-bot, Erik9bot, Trappist the monk, JeepdaySock, RjwilmsiBot, Speedsh,
ZroBot, Rezabot, CaroleHenson, YFdyh-bot and Anonymous: 1
Madonna del Prato (Raphael) Source: http://en.wikipedia.org/wiki/Madonna%20del%20Prato%20(Raphael)?oldid=641731123 Contributors: Ham II, Discospinster, Nihiltres, Neddyseagoon, Epbr123, Modernist, Johnbod, VolkovBot, Alexbot, Addbot, Luckas-bot, Rubinbot, Xqbot, LucienBOT, DrilBot, RedBot, MondalorBot, EmausBot, WikitanvirBot, ClueBot NG and Anonymous: 9
The Deposition (Raphael) Source: http://en.wikipedia.org/wiki/The%20Deposition%20(Raphael)?oldid=618002372 Contributors: SimonP, Pigsonthewing, MakeRocketGoNow, Ham II, Woohookitty, Koavf, Nihiltres, Jaraalbe, RussBot, Fifat, Attilios, SmackBot, Ceoil,
Sailko, Neddyseagoon, Cydebot, ColdShine, Escarlati, Skarioszky, R'n'B, Johnbod, Sgeureka, Gillyweed, Oxxo, SlackerMom, MelonBot,
Camboxer, Wertuose, Good Olfactory, Addbot, Mephiston999, Lightbot, Yobot, Fraggle81, GrouchoBot, Henry25, Aai2107, Timetu,
Mercatornilus, EmausBot, WikitanvirBot, ZroBot, FAM1885, RM Vollmer, Monkbot and Anonymous: 11
The Parnassus Source: http://en.wikipedia.org/wiki/The%20Parnassus?oldid=619883755 Contributors: Discospinster, Remember, Carcharoth, Nihiltres, Attilios, B7T, JamesAM, Sluzzelin, Magioladitis, Skarioszky, Johnbod, GrahamHardy, VolkovBot, BotKung, Oxxo,
Rosiestep, MelonBot, Addbot, Luckas-bot, Amirobot, Jonesey95, MondalorBot, Diiscool, CaroleHenson, Helpful Pixie Bot, Hopeoight,
ChrisGualtieri, Hmainsbot1 and Anonymous: 7
Portrait of Elisabetta Gonzaga Source: http://en.wikipedia.org/wiki/Portrait%20of%20Elisabetta%20Gonzaga?oldid=621176567 Contributors: Rich Farmbrough, Remember, Arthena, Rjwilmsi, Nihiltres, Attilios, Neddyseagoon, Cydebot, Skarioszky, Johnbod, Joanenglish, VolkovBot, AlleborgoBot, Hasanbay, MelonBot, Addbot, Mephiston999, HerculeBot, Luckas-bot, Yngvadottir, Mattis, Erik9bot,
TjBot, Pokbot and Anonymous: 5
Portrait of Pope Julius II (Raphael) Source: http://en.wikipedia.org/wiki/Portrait%20of%20Pope%20Julius%20II%20(Raphael)
?oldid=633889869 Contributors: Wetman, Varlaam, Firsfron, Rjwilmsi, Nihiltres, Aaadddaaammm, Andrew Dalby, Ceoil, PhilKnight,
CommonsDelinker, Johnbod, VolkovBot, Moonriddengirl, Afernand74, Louis-garden, Good Olfactory, Addbot, Amirobot, Citation bot,
Lotje, RjwilmsiBot, EmausBot, John of Reading, Fex1993, ZroBot, Oursana, Mjbmrbot, Pokbot, CaroleHenson, Helpful Pixie Bot, BattyBot, Monkbot and Anonymous: 5
Portrait of Bindo Altoviti (Raphael) Source: http://en.wikipedia.org/wiki/Portrait%20of%20Bindo%20Altoviti%20(Raphael)?oldid=
621274760 Contributors: Aidan Elliott-McCrea, SimonP, MakeRocketGoNow, Rajah, Ghirlandajo, Hailey C. Shannon, BD2412, Nihiltres,
Attilios, Oscarthecat, Deli nk, Lambiam, Neddyseagoon, DabMachine, Ken Gallager, Cydebot, Skarioszky, Joanenglish, AlleborgoBot,
WRK, P. S. Burton, MelonBot, David enek, Addbot, Lightbot, Luckas-bot, On tour, SunOfErat, ZroBot and Anonymous: 8
Portrait of Baldassare Castiglione Source:
http://en.wikipedia.org/wiki/Portrait%20of%20Baldassare%20Castiglione?oldid=
593599599 Contributors: SimonP, Finlay McWalter, MakeRocketGoNow, Bschoner, Mandarax, Bruce1ee, Nihiltres, MoRsE, YurikBot, Jpbowen, Attilios, SmackBot, Wittylama, Ceoil, Neddyseagoon, Cydebot, Grahamec, Casliber, Modernist, JNW, Skarioszky,
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DumZiBoT, David enek, MystBot, Addbot, CactusWriter, Lightbot, Amirobot, Denics, DSisyphBot, Armbrust, Mattis, Erik9bot,
Goodness Shamrock, MastiBot, Lightlowemon, FoxBot, VernoWhitney, EmausBot, Jeannbnd1, Wasbeer, Jllg1996 and Anonymous: 8
10.5.2
Images
File:ChigiLorenzetto.jpg Source: http://upload.wikimedia.org/wikipedia/commons/f/f2/ChigiLorenzetto.jpg License: CC BY 2.0 Contributors: Santa Maria del Popolo: Cappella Chigi Original artist: Francesco Gasparetti from Senigallia, Italy
File:Commons-logo.svg Source: http://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original
artist: ?
File:Flag_of_Italy.svg Source: http://upload.wikimedia.org/wikipedia/en/0/03/Flag_of_Italy.svg License: ? Contributors: ? Original
artist: ?
File:Fornarina.jpg Source: http://upload.wikimedia.org/wikipedia/commons/4/4c/Fornarina.jpg License: Public domain Contributors:
Web Gallery of Art:
<a href='http://www.wga.hu/art/r/raphael/5roma/5/06forna.jpg' data-x-rel='nofollow'><img
alt='Inkscape.svg'
src='//upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.png'
width='20'
height='20' srcset='//upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png 1.5x,
//upload.
wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-width='60' data-le-height='60'
/></a> Image <a href='http://www.wga.hu/html/r/raphael/5roma/5/06forna.html' data-x-rel='nofollow'><img alt='Information icon.svg'
src='//upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png'
width='20'
height='20' srcset='//upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/30px-Information_icon.svg.png 1.5x,
//upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/40px-Information_icon.svg.png 2x' data-le-width='620'
data-le-height='620' /></a> Info about artwork Original artist: Raphael
File:Giovanni_Santi_-_Christ_supported_by_two_angels.jpg Source:
http://upload.wikimedia.org/wikipedia/commons/7/72/
Giovanni_Santi_-_Christ_supported_by_two_angels.jpg License: Public domain Contributors: .. -
XV . : , 1984. Original artist: Giovanni Santi
File:P_vip.svg Source: http://upload.wikimedia.org/wikipedia/en/6/69/P_vip.svg License: PD Contributors: ? Original artist: ?
10.5. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
37
File:Padlock-silver.svg Source: http://upload.wikimedia.org/wikipedia/commons/f/fc/Padlock-silver.svg License: CC0 Contributors:

http://openclipart.org/people/Anonymous/padlock_aj_ashton_01.svg Original artist: This image le was created by AJ Ashton. Uploaded
from English WP by User:Eleassar. Converted by User:AzaToth to a silver color.
File:PalazzoBranconioDellAquila.jpg Source: http://upload.wikimedia.org/wikipedia/commons/a/a8/PalazzoBranconioDellAquila.jpg
License: Public domain Contributors: drawing of Giovan Battista Naldini Original artist: Dead more than 70 years ago
File:Pantheon-raphaels-tomb.jpg Source: http://upload.wikimedia.org/wikipedia/commons/e/ef/Pantheon-raphaels-tomb.jpg License:
CC BY-SA 3.0 Contributors: taken by Ricardo Andr Frantz Original artist: Ricardo Andr Frantz (User:Tetraktys)
File:RAFAEL_-_Madonna_Sixtina_(Gemldegalerie_Alter_Meister,_Dresde,_1513-14._leo_sobre_lienzo,_265_x_196_cm)
.jpg Source:
http://upload.wikimedia.org/wikipedia/commons/d/d7/RAFAEL_-_Madonna_Sixtina_%28Gem%C3%A4ldegalerie_
Alter_Meister%2C_Dresde%2C_1513-14._%C3%93leo_sobre_lienzo%2C_265_x_196_cm%29.jpg License: Public domain Contributors: Google Art Project: Home - pic Maximum resolution. Original artist: Raphael
File:Raffael_001.jpg Source: http://upload.wikimedia.org/wikipedia/commons/d/de/Raffael_001.jpg License: Public domain Contributors:
The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN
3936122202. Distributed by DIRECTMEDIA Publishing GmbH. Original artist: Raphael
File:Raffael_072.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/64/Raffael_072.jpg License: Public domain Contributors:
The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN
3936122202. Distributed by DIRECTMEDIA Publishing GmbH. Original artist: Raphael
File:Raffaello,_pala_baglioni,_deposizione.jpg Source: http://upload.wikimedia.org/wikipedia/commons/f/f2/Raffaello%2C_pala_
baglioni%2C_deposizione.jpg License: Public domain Contributors: www.aiwaz.net Original artist: see lename or category
File:Raffaello,_studio_per_la_pala_baglioni_01.jpg
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Raffaello%2C_studio_per_la_pala_baglioni_01.jpg License:
Public domain Contributors:
Web Gallery of Art:
<a
href='http://www.wga.hu/art/r/raphael/7drawing/1/09study.jpg'
data-x-rel='nofollow'><img
alt='Inkscape.svg'
src='//upload.
wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.png'
width='20'
height='20'
srcset='//upload.
wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png
1.5x,
//upload.wikimedia.org/wikipedia/
commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-width='60' data-le-height='60' /></a> Image <a
href='http://www.wga.hu/html/r/raphael/7drawing/1/09study.html'
data-x-rel='nofollow'><img
alt='Information
icon.svg'
width='20'
File:Raffaello,_studio_per_la_pala_baglioni_03.2.jpg Source: http://upload.wikimedia.org/wikipedia/commons/3/38/Raffaello%
2C_studio_per_la_pala_baglioni_03.2.jpg License: Public domain Contributors: http://www.mostraraffaello.it/dep-dis.htm Original artist:
see lename or category
File:Raffaello_Loreto.jpg Source: http://upload.wikimedia.org/wikipedia/commons/e/e0/Raffaello_Loreto.jpg License: Public
domain Contributors: Web Gallery of Art: <a href='http://www.wga.hu/art/r/raphael/5roma/1/01loreto.jpg' data-x-rel='nofollow'><img
alt='Inkscape.svg'
width='20'
height='20' srcset='//upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png 1.5x,
//upload.
wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-width='60' data-le-height='60'
/></a> Image <a href='http://www.wga.hu/html/r/raphael/5roma/1/01loreto.html' data-x-rel='nofollow'><img alt='Information icon.svg'
width='20'
File:Raffaello_Sanzio.jpg Source: http://upload.wikimedia.org/wikipedia/commons/f/f6/Raffaello_Sanzio.jpg License: Public domain
Contributors: http://nevsepic.com.ua/art-i-risovanaya-grafika/2409-raffaello-sanzio-rafael-santi-37-rabot.html Original artist: Raphael
File:Raffaello_Sanzio_-_Guidobaldo_da_Montefeltro_-_WGA18653.jpg
Source:
http://upload.wikimedia.org/wikipedia/
commons/4/41/Raffaello_Sanzio_-_Guidobaldo_da_Montefeltro_-_WGA18653.jpg License: Public domain Contributors: Web
Gallery of Art: <a href='http://www.wga.hu/art/r/raphael/2firenze/2/36montef.jpg' data-x-rel='nofollow'><img alt='Inkscape.svg'
width='20'
height='20'
srcset='//upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png
1.5x,
//upload.wikimedia.
org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-width='60' data-le-height='60' /></a>
Image <a href='http://www.wga.hu/html/r/raphael/2firenze/2/36montef.html' data-x-rel='nofollow'><img alt='Information icon.svg'
width='20'
File:Raffaello_Sanzio_-_Portrait_of_Julius_II_-_WGA18799.jpg
Source:
http://upload.wikimedia.org/wikipedia/
commons/e/e2/Raffaello_Sanzio_-_Portrait_of_Julius_II_-_WGA18799.jpg License:
Public domain Contributors:
Web
Gallery of Art:
<a href='http://www.wga.hu/art/r/raphael/5roma/1/10julius.jpg' data-x-rel='nofollow'><img alt='Inkscape.svg'
width='20'
height='20'
srcset='//upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png
1.5x,
//upload.wikimedia.
org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png 2x' data-le-width='60' data-le-height='60' /></a>
Image <a href='http://www.wga.hu/html/r/raphael/5roma/1/10julius.html' data-x-rel='nofollow'><img alt='Information icon.svg'
width='20'
data-le-height='620' /></a> Info about artwork Original artist: Workshop of Raphael
38
File:Raffaello_Scuola_di_Atene_numbered.svg Source: http://upload.wikimedia.org/wikipedia/commons/f/fb/Raffaello_Scuola_di_

Atene_numbered.svg License: Public domain Contributors: Own work (use Image:Raffael 058.jpg for background, and Image:
Schoolofathenswithnumbers.jpg for numbering, with many improvements from this site and some from this site). Used File:Sanzio 01.jpg
and Image:Raffael 058.jpg for new version. --Beao 15:00, 24 February 2010 (UTC) Original artist: User:Bibi Saint-Pol
File:Raimondi_Lucretia{}s_suicide.jpg Source: http://upload.wikimedia.org/wikipedia/commons/d/d5/Raimondi_Lucretia%27s_
suicide.jpg License: Public domain Contributors: http://www.britishmuseum.org/ Original artist: Raimondi
File:Raphael{}s_grave,_Pantheon_2010.jpg Source: http://upload.wikimedia.org/wikipedia/commons/f/fd/Raphael%27s_grave%
2C_Pantheon_2010.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Wknight94 <a href='//commons.wikimedia.
org/wiki/User_talk:Wknight94' title='User talk:Wknight94'>talk </a>
File:Raphael_-_Saint_John_the_Baptist_Preaching.JPG Source: http://upload.wikimedia.org/wikipedia/commons/7/76/Raphael_-_
Saint_John_the_Baptist_Preaching.JPG License: Public domain Contributors: 1. NGL
Original artist: Raphael
File:Raphael_Madonna_of_the_Pinks.jpg Source: http://upload.wikimedia.org/wikipedia/commons/0/06/Raphael_Madonna_of_the_
Pinks.jpg License: Public domain Contributors: eostour.co.kr Original artist: Raphael
File:Sanzio_01_Plato_Aristotle.jpg Source: http://upload.wikimedia.org/wikipedia/commons/9/98/Sanzio_01_Plato_Aristotle.jpg
License: Public domain Contributors: Web Gallery of Art: <a href='http://www.wga.hu/art/r/raphael/4stanze/1segnatu/1/athens1.jpg' datax-rel='nofollow'><img alt='Inkscape.svg' src='//upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/20px-Inkscape.svg.
png' width='20' height='20' srcset='//upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/30px-Inkscape.svg.png
1.5x,
//upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Inkscape.svg/40px-Inkscape.svg.png
2x'
data-le-width='60'
Image
<a
href='http://www.wga.hu/html/r/raphael/4stanze/1segnatu/1/athens1.html'
data-xdata-le-height='60'
/></a>
rel='nofollow'><img alt='Information icon.svg' src='//upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/
20px-Information_icon.svg.png' width='20' height='20' srcset='//upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_
icon.svg/30px-Information_icon.svg.png
1.5x,
//upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/
40px-Information_icon.svg.png 2x' data-le-width='620' data-le-height='620' /></a> Info about artwork Original artist: Raphael
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Raphael: Artist of Renaissance

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Raphael: Artist of Renaissance

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Raphael

Painter and Architect of the High Renaissance

Early life and work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The Vatican Stanze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Private life and death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1.10 Critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1.11 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1.14 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1.15 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The School of Athens

Program, subject, gure identications and interpretations . . . . . . . . . . . . . . . . . . . . . .

Central gures (14 and 15) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Drawings and cartoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Excellence through serenity and divinity . . . . . . . . . . . . . . . . . . . . . . . . . . .

The young master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Isolated characters of the Umbrian school . . . . . . . . . . . . . . . . . . . . . . . . . .

Commission and Provenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Madonna del Prato (Raphael)

The Deposition (Raphael)

Paintings inuenced by Raphaels deposition . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Portrait of Elisabetta Gonzaga

Portrait of Pope Julius II (Raphael)

Santa Maria del Popolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Portrait of Bindo Altoviti (Raphael)

10 Portrait of Baldassare Castiglione

10.1 Prominent works inuenced by Portrait of Baldassare Castiglione . . . . . . . . . . . . . . . . . .

10.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10.5 Text and image sources, contributors, and licenses . . . . . . . . . . . . . . . . . . . . . . . . . .

10.5.3 Content license . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Giovanni Santi, Raphaels father; Christ supported by two angels, c.1490

phasis of Federicos court was rather more literary than

Raphael was born in the small but artistically signicant

1.2 Early life and work

1.3 Inuence of Florence

1.4. ROMAN PERIOD

The Madonna of the Pinks, c. 15067, National Gallery, London

well-mannered young man, on both accounts, I bear him

Saint Catherine of Alexandria, 1507, borrows from

1.4 Roman period

By the end of 1508, he had moved to Rome, where

Stanza della Segnatura

1.4.2 Other projects

Guidobaldo da Montefeltro, Duke of Urbino from 1482-1508,

Vasari says that Raphael eventually had a workshop of

Other pupils or assistants include Raaellino del Colle,

Palazzo Branconio dell'Aquila, now destroyed

View of the Chigi Chapel

altered or demolished after his death and the acceptance

for which he was accumulating the land in his last years.

He designed several other buildings, and for a short time

Lucretia, engraved by Raimondi after a drawing by Raphael.[55]

In later works painted by the workshop, the drawings

1.10 Critical reception

La Fornarina, Raphaels mistress

his lack of enthusiasm seems to be shown by the marriage

1.10. CRITICAL RECEPTION

Vasari himself, despite his hero remaining Michelangelo,

dignity and said he stands in general foremost of the rst

Raphael and Maria Bibbienas tomb in the Pantheon.

Reynolds was less enthusiastic about Raphaels panel

against his inuence (and that of his admirers such as Sir

1.11 See also

[20] One surviving preparatory drawing appears to be mostly

[30] Jones & Penny:49