References J. D. Passavant. Rafael von Urbino und sein Vater Giovanni Santi . 2, Leipzig, 1839, p. 176, under no. 114, states that the original portrait by Raphael is lost; mentions a version (possibly this one) as having been sold to a foreigner several years previously by Gaetano Capponi, Florence; notes another version by Alessandro Allori in the Uffizi, and a third, which he erroneously refers to as a fresco, in the Camuccini collection, Rome (now Northumberland collection, Alnwick Castle).Raphael d'Urbin et son père Giovanni Santi . Paris, 1860, vol. 2, p. 146, under no. 107.Notice historique sur un tableau de Raphaël représentant Julien de Médicis . Paris, 1867 [translation of pamphlet in departmental archive file], describes going to see the picture at Brini's house with the grand duchess Maria Nikolaevna and recommending that she purchase it; notes that the painting was then on canvas pasted down on a thick panel, which was removed, along with some retouches, by the copyist and restorer Tricca; suggests that the inscription originally read "R.S.MDXIV"; identifies it as the original by Raphael.Raphaël: sa vie, son oeuvre et son temps . Paris, 1881, p. 559, prefers to have more information before agreeing with Liphart [see Ref. 1867] that this work is the original by Raphael; confuses the version by Bronzino in the Museo Mediceo, Florence, with the copy by Allori in the Uffizi [see Notes].Raphael: His Life, Works, and Times . London, 1882, p. 537.Raphael: His Life and Works . 2, London, 1885, pp. 321–23, tentatively identify the MMA painting as a copy; mention the versions in the Uffizi and at Alnwick Castle, one in the Turin museum, and a variant hanging with the portraits in the passage between the Uffizi and the Pitti in Florence.Raffaello: la sua vita e le sue opere . 3, Florence, 1891, pp. 4–5 [see Ref. Zeri and Gardner 1980], suggest either that it was painted under Raphael's supervision or that it is a faithful copy of Raphael's lost work, attributing it to Timoteo Viti.Letter to Isabella Stewart Gardner . June 23, 1905 [see Ref. Brown 1983], writes that he is not surprised at Gardner's decision not to buy this picture.Letter to Bernard Berenson . June 7, 1905 [see Ref. Brown 1983], turns down the opportunity to buy this painting.Illustrated Catalogue of the Tenth Series of 100 Paintings by Old Masters . Paris, 1906, pp. 68–69, no. 56, ill. opp. p. 68, as the original by Raphael.Kunstgeschichtliche Anzeigen 3 (1906), p. 54 [see Ref. Zeri and Gardner 1980], calls it a copy, quoting a later concurring opinion of Liphart, who had earlier pronounced it to be the original [see Ref. 1867].Jahrbuch der königlich preuszischen Kunstsammlungen 28 (1907), pp. 121, 126–30, ill. opp. p. 126, as in the Huldschinsky collection, Berlin; attributes it to Raphael, calling the version in the Uffizi a copy after it; because of the view of the Castel Sant'Angelo, suggests a date of 1515, when Giuliano was made Captain of the Church.Raffael, des Meisters Gemälde . Stuttgart, 1908, pp. 239, 255, 259, 267, ill. p. 118, attribute it to Raphael; date it 1514/15.Die Sammlung Oscar Huldschinsky . Frankfurt, 1909, pp. 6–7, 39, pl. 1, attributes it to Raphael and dates it 1514 or 1515; gives provenance information.The Medici . London, 1913, vol. 1, pp. 394–95, ill. (frontispiece), attributes it to Raphael and dates it 1516, probably just after Giuliano's return from France.Das Werk der Dossi . Munich, 1914, p. 189, lists the Northumberland version of this portrait among works incorrectly attributed to Dosso, and tentatively identifies the MMA painting as the original by Raphael.Raffael, des Meisters Gemälde . 5th ed. Stuttgart, 1923, pp. 240–41, ill. p. 126 [see Ref. Zeri and Gardner 1980].Personalities in Art . New York, 1925, pp. 66–69, 74, ill. opp. p. 68, identifies it as the original by Raphael.Kunstchronik und Kunstmarkt , n.s., 35 (May 16, 1925), pp. 116–17, ill., attributes it to Raphael but comments on its mediocre quality.New York Times (May 6, 1925), p. 3, ill.La Renaissance 9 (December 1926), pp. 1016, 1018, ill. p. 1015, attributes it to Raphael.R. Galleria degli Uffizi: Catalogo dei dipinti . Florence, 1926, pp. 58–59, under no. 775, mentions it as the original by Raphael under the catalogue entry for the copy by Allori.Storia dell'arte italiana . part 2, 9, Milan, 1926, pp. 275–77, 279–80, fig. 212, attributes it to Raphael and dates it 1514 or 1515.Raffaello Santi da Urbino, His Life and Works . London, 1926, p. 135, no. XXIV, attributes it to Penni, identifying it with the work mentioned by Bembo in a letter of April 19, 1516 [see Notes].Cable to Frick trustees . September 10, 1927 [see Ref. Brown 1983], attributes it to Raphael and states that it is in good condition.Letter to Helen Clay Frick . [1927?] [see Ref. Brown 1983], describes his reasons for returning the picture to Duveen.Letter to Bernard Berenson . December 14, 1928 [see Ref. Brown 1983], writes that the picture is hanging in Bache's home and that he is pleased with it.A Catalogue of Paintings in the Collection of Jules S. Bache . New York, 1929, unpaginated, ill., as by Raphael.New York Times (March 12, 1929), p. 3, ill.Pantheon 6 (December 1930), p. 541, ill. p. 538 (detail), attributes it to Raphael.International Studio 99 (May 1931), pp. 17–18, 84, ill., attributes it to Raphael and dates it 1515.Pitture italiane in America . Milan, 1931, unpaginated, pl. CCCXXXVI.Italian Pictures of the Renaissance . Oxford, 1932, p. 481, lists it as by Raphael and dates it not later than 1516.Raphaël . Paris, 1932, p. 103, considers it the best of the copies after the original portrait by Raphael; does not believe that the view of the Castel Sant' Angelo was conceived by Raphael.Italian Paintings in America . 3, New York, 1933, unpaginated, pl. 446, attributes it to Raphael and dates it 1514–15.in Allgemeines Lexikon der bildenden Künstler . 29, Leipzig, 1935, p. 439, attributes it to Raphael and dates it about 1515; states that the view of the Castel Sant' Angelo was obviously a later addition.Pitture italiane del rinascimento . Milan, 1936, p. 414.A Catalogue of Paintings in the Bache Collection . under revision. New York, 1937, unpaginated, no. 13, ill., as by Raphael.Raphael . New York, 1941, pp. 25, 29, colorpl. 10 [2nd ed., 1948, pp. 18–19, 26, colorpl. 95], attributes it to Raphael and dates it 1514–15.A Catalogue of Paintings in the Bache Collection . rev. ed. New York, 1943, unpaginated, no. 12, ill., as by Raphael.The J. S. Bache Collection . [after 1943], pp. 20, 36.Raffaello . 2nd ed. Bergamo, 1945, p. 59, dates it about 1514–15 and calls it probably the best copy after Raphael's original; notes that the view of the Castel San'Angelo must have been added by the copyist.Metropolitan Museum of Art Bulletin 5 (November 1946), p. 76, ill., attributes it to Raphael and dates it about 1515.The Book of Costume . New York, 1948, vol. 2, p. 494, no. 1312, ill. (cropped).Raphael . London, 1948, vol. 1, pp. 114, 365, believes that the head and composition were designed by Raphael, but that the execution can only be attributed to a pupil such as Giulio Romano; notes that the inclusion of the view of the Castel Sant'Angelo is completely foreign to Raphael.Pittura umbra del rinascimento: Raffaello . Novara, 1949, p. LX, rejects it as the original by Raphael.Raffaello . [Milan], 1952, p. 181 [see Ref. Langedijk 1983], attributes it to Raphael.Tutta la pittura di Raffaello . 1, Milan, 1956, pp. 85–86, pl. 150A, includes it among works doubtfully attributed to Raphael.L'arte , n.s., 24 (October–December 1959), pp. 317–21, 323–24 nn. 64, 66, ill., attributes it to Francesco Penni, calling it a copy after the original portrait by Raphael, which she identifies as a work in the collection of Zambrini di Vallescura, Canton Ticino.Painting of the High Renaissance in Rome and Florence . Cambridge, Mass., 1961, vol. 1, pp. 177–79; vol. 2, pl. 246 [rev. ed., New York, 1985, vol. 1, pp. 177–79; vol. 2, pl. 246], calls it a ruined work and attributes the design to Raphael but believes the execution was carried out mostly by an assistant, perhaps Penni; dates it late 1514; suggests that the landscape view may be due to the influence of Sebastiano del Piombo.Raphael . Berlin, 1962, p. 85.in Enciclopedia universale dell'arte . 11, Venice, 1963, col. 241, lists it as a copy.in L'opera completa di Raffaello . Milan, 1966, p. 109, no. 104, ill. [English ed., 1966], refers to it as one of several copies after the original.Raffael: Kritisches Verzeichnis der Gemälde, Wandbilder und Bildteppiche . Munich, 1966, p. 53, no. 92, concurs with Maffei [see Ref. 1959] in attributing it to Penni, but disagrees with her identification of the painting in the Zambrini di Vallescura collection as the original by Raphael, calling it more probably an old copy.Country Life (April 6, 1967), p. 770, attributes it to Raphael in discussing a portrait of the same sitter in the collection of Jerome Pycha, Los Angeles.Antichità viva 7, no. 1 (1968), p. 50, accepts it as the original by Raphael.in "Raphael's Collaborators." The Complete Work of Raphael . New York, 1969, p. 284 n. 97, fig. 104 [Italian ed., 1968], calls it an anonymous copy after Raphael's lost original, rejecting the attribution to Giulio Romano [see Ref. Fischel 1948].Raphael: A Critical Catalogue of his Pictures, Wall-Paintings, and Tapestries . London, 1971, p. 41, pl. 89.Painting in Italy: 1500 to 1600 . Harmondsworth, England, 1971, p. 470 n. 36, calls it possibly a replica from Raphael's workshop; incorrectly notes that what he identifies as the original has recently appeared on the New York art market.Times Literary Supplement (June 11, 1971), p. ?, notes that x-ray photographs prove it to be a copy.Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections . Cambridge, Mass., 1972, pp. 172, 515, 608, as a copy after Raphael.National Gallery of Art, Washington . New York, [1976], p. 31, notes that this is one of the few pictures Andrew Mellon returned to a dealer.Raphael von Urbino: Leben und Werk . Stuttgart, 1979, p. 443, no. 85, pl. 85.Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools . New York, 1980, pp. 78–80, pl. 112, discuss the various versions of the portrait, calling this one the finest and referring to it as a nearly contemporary copy; believe that all the details of the MMA composition were probably included in the original work.Raffaello, la pittura . Florence, 1981, p. 259, ill., calls it a copy, possibly by Penni, of a Raphaelesque prototype.Raphael and America . Exh. cat., National Gallery of Art. Washington, 1983, pp. 29, 53, 88, 90–91, 95, 103 n. 173, p. 107 nn. 323–24, 326–28, 330–31, p. 108 n. 333, figs. 41, 42 (frontispiece from another edition of Ref. Young 1913), discusses how the picture was offered to both Gardner and Mellon, and also possibly to the Frick collection, before being acquired by Bache.The Portraits of the Medici, 15th–18th Centuries . 2, Florence, 1983, pp. 1047–51, 1059, no. 58, 6, ill., attributes it to Raphael's workshop, possibly by Penni; identifies it as the portrait mentioned by Bembo and also probably as the portrait mentioned by Vasari [see Notes]; catalogues all the known portraits of the sitter, including ten copies after this composition.Andrea Solario . Milan, 1987, pp. 217, 255 n. 8, fig. 160.Raphael . Oxford, 1987, p. 188, refer to the lost original as a "state portrait".Dosso Dossi: la pittura a Ferrara negli anni del ducato di Alfonso I . Cittadella (Padua), 1994–95, vol. 2, fig. 438, dates the lost original about 1513.Raffaello: la mimesi, l'armonia e l'invenzione . Florence, 1995, p. 250.Apollo 151 (February 2000), p. 26 n. 23, identify the close-fitting cap worn underneath the hat as a "scuffiotto".in Art and Love in Renaissance Italy . Exh. cat., The Metropolitan Museum of Art. New York, 2008, p. 22, fig. 13.
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