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Painting of a woman holding a naked child holding a cross
Exhibition

Raphael: Sublime Poetry

OverviewExhibition ObjectsAudio GuideRelated ContentInside the Exhibition
Madonna and Child, Donatello Italian, Figures: terracotta, polychromed and gilded; later background: wood, painted to represent brocade; frame: carved and painted, mouldings gilt, Italian
Madonna and Child
School of Donatello
15th century
Madonna and Child Enthroned with Saints, Raphael (Raffaello Sanzio or Santi) Italian, Oil and gold on wood
Madonna and Child Enthroned with Saints
Raphael (Raffaello Sanzio or Santi)
ca. 1504
A plague scene at right, a man at left holding a torch illuminating part of the scene at left, sick people at the right, Marcantonio Raimondi Italian, Engraving (heavily reworked)
A plague scene at right, a man at left holding a torch illuminating part of the scene at left, sick people at the right
Marcantonio Raimondi
After Raphael (Raffaello Sanzio or Santi)
ca. 1515–16
Statues of the Dioscuri at the Quirinal, Rome, Anonymous, Engraving
Statues of the Dioscuri at the Quirinal, Rome
Anonymous
Publisher Antonio Lafreri
1546
Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso), Leonardo da Vinci Italian, Silverpoint, partly reworked by the artist with pen and dark brown ink on pink prepared paper; lines ruled with metalpoint (recto); pen and brown ink (verso)
Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso)
Leonardo da Vinci
1480–85
Neptune calming the tempest which Aeolus raised against Aeneas' fleet, from Book I of the Aeneid, Marcantonio Raimondi Italian, Engraving
Neptune calming the tempest which Aeolus raised against Aeneas' fleet, from Book I of the Aeneid
Marcantonio Raimondi
After Raphael (Raffaello Sanzio or Santi)
ca. 1515–16
The Judgment of Paris: he is sitting at left with Venus, Juno and Pallas Athena, a winged victory above. In the upper section the Sun in his chariot preceeded by Castor and Pollux on horseback, at lower right two river gods and a naiad above whom Jupiter, an eagle, Ganymede, Diana and another goddess, Marcantonio Raimondi Italian, Engraving
The Judgment of Paris: he is sitting at left with Venus, Juno and Pallas Athena, a winged victory above. In the upper section the Sun in his chariot preceeded by Castor and Pollux on horseback, at lower right two river gods and a naiad above whom Jupiter, an eagle, Ganymede, Diana and another goddess
Marcantonio Raimondi
After Raphael (Raffaello Sanzio or Santi)
ca. 1510–20
Marble sarcophagus fragment, Marble, Luni and Pentelic, Roman
Marble sarcophagus fragment
Roman
mid-2nd century CE
The Massacre of the Innocents, Marcantonio Raimondi Italian, Engraving
The Massacre of the Innocents
Marcantonio Raimondi
After Raphael (Raffaello Sanzio or Santi)
ca. 1512–13
The Agony in the Garden, Raphael (Raffaello Sanzio or Santi) Italian, Oil on wood
The Agony in the Garden
Raphael (Raffaello Sanzio or Santi)
ca. 1504
The Birth of the Virgin, Fra Carnevale (Bartolomeo di Giovanni Corradini) Italian, Tempera and oil on wood
The Birth of the Virgin
Fra Carnevale (Bartolomeo di Giovanni Corradini)
1467
House of Raphael, from "Speculum Romanae Magnificentiae", Anonymous, Engraving
House of Raphael, from "Speculum Romanae Magnificentiae"
Anonymous
Publisher Antonio Lafreri
1549
Papal Benediction, from "Speculum Romanae Magnificentiae", Anonymous, Engraving and etching
Papal Benediction, from "Speculum Romanae Magnificentiae"
Anonymous
Publisher Antonio Lafreri
16th century
Il terzo libro di Sabastiano Serlio Bolognese, Sebastiano Serlio Italian, Printed book with woodcut illustrations
Il terzo libro di Sabastiano Serlio Bolognese
Author Sebastiano Serlio
Publisher Francesco Marcolini da Forli
Dedicatee François I, King of France
1540
Madonna and Child, Luca Signorelli (Luca d'Egidio di Luca di Ventura) Italian, Oil and gold on wood
Madonna and Child
Luca Signorelli (Luca d'Egidio di Luca di Ventura)
ca. 1505–7
Saint Peter's Basilica, Agostino Veneziano (Agostino dei Musi) Italian, Engraving
Saint Peter's Basilica
Agostino Veneziano (Agostino dei Musi)
1517
Madonna and Child with the Infant Saint John the Baptist; upper left, Study for the Right Arm of the Infant Saint John; upper right, Study for Drapery (recto); Study of a Nude Male Figure (verso), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk (recto); pen and brown ink (verso)
Madonna and Child with the Infant Saint John the Baptist; upper left, Study for the Right Arm of the Infant Saint John; upper right, Study for Drapery (recto); Study of a Nude Male Figure (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1506–7
Virgin and Child in a niche, Luca della Robbia Italian, Glazed terracotta with gilt and painted details, Italian, Florence
Virgin and Child in a niche
Luca della Robbia
ca. 1460
Study of a Kneeling Youth and of the Head of Another, Perugino (Pietro di Cristoforo Vannucci) Italian, Metalpoint on pale pink-beige prepared paper
Study of a Kneeling Youth and of the Head of Another
Perugino (Pietro di Cristoforo Vannucci)
1500
Landscape (recto); Landscape (verso), Perugino (Pietro di Cristoforo Vannucci) Italian, Brush and brown wash, highlighted with white gouache, on gray-green prepared paper (recto); pen and brown ink on unprepared off-white paper (verso)
Landscape (recto); Landscape (verso)
Perugino (Pietro di Cristoforo Vannucci)
1489–90
Studies of the Christ Child, Raphael (Raffaello Sanzio or Santi) Italian, Red chalk
Studies of the Christ Child
Raphael (Raffaello Sanzio or Santi)
1513–14
Lucretia, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over black chalk, partially incised with a stylus (recto); rubbed with black chalk for transfer (verso)
Lucretia
Raphael (Raffaello Sanzio or Santi)
1508–10
Portable Icon with the Virgin Eleousa, Miniature mosaic set in wax on wood panel, with gold, multicolored stones, and gilded copper, Byzantine
Portable Icon with the Virgin Eleousa
Byzantine
early 1300s
Reconstruction of the Pantheon in Rome, seen from the side, cut away to reveal the interior, Anonymous, Engraving
Reconstruction of the Pantheon in Rome, seen from the side, cut away to reveal the interior
Anonymous
Publisher Antonio Lafreri
1553
The Virgin and Child in a Landscape (The Madonna of the Pomegranate), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk on paper
On loan to The Met
The Virgin and Child in a Landscape (The Madonna of the Pomegranate)
Raphael (Raffaello Sanzio or Santi)
ca. 1503-4
The Virgin and Child with the Infant Saint John the Baptist (Studies for the Madonna of the Meadow) (recto and verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink (recto and verso) on paper
On loan to The Met
The Virgin and Child with the Infant Saint John the Baptist (Studies for the Madonna of the Meadow) (recto and verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1506
The Virgin and Child with and without the Infant Saint John the Baptist; An Idea Resembling the Northbrook Madonna (recto); Three Male Nudes in Battle Poses for an Unrealized Painting of the Siege of Perugia (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink (recto and verso) on paper
On loan to The Met
The Virgin and Child with and without the Infant Saint John the Baptist; An Idea Resembling the Northbrook Madonna (recto); Three Male Nudes in Battle Poses for an Unrealized Painting of the Siege of Perugia (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1504-5
The Virgin and Child (Study for the Bridgewater Madonna; recto); Ideas for the Virgin and Child Studied from Mannequins or Lay Figures, Some Relating to the Niccolini-Cowper Madonna and Colonna Madonna (verso), Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint (leadpoint?), partly reworked by the artist in pen and brown ink, on paper prepared brownish pink (recto); pen and brown ink, red chalk (verso)
On loan to The Met
The Virgin and Child (Study for the Bridgewater Madonna; recto); Ideas for the Virgin and Child Studied from Mannequins or Lay Figures, Some Relating to the Niccolini-Cowper Madonna and Colonna Madonna (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1507-8
The Virgin Reading to the Christ Child in a Landscape with Two Figures (The Madonna of Humility) (recto); Studies for the Disputa, Stanza della Segnatura (Saints Ambrose and Peter Lombard); Sonnet (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over traces of leadpoint (recto and verso), on paper
On loan to The Met
The Virgin Reading to the Christ Child in a Landscape with Two Figures (The Madonna of Humility) (recto); Studies for the Disputa, Stanza della Segnatura (Saints Ambrose and Peter Lombard); Sonnet (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
Modello Drawing for the Disputa, Stanza della Segnatura (Discarded Idea for the Lower Left Section), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, brush and brown wash, highlighted with white gouache, over black chalk and metalpoint underdrawing, on paper
On loan to The Met
Modello Drawing for the Disputa, Stanza della Segnatura (Discarded Idea for the Lower Left Section)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
Study for the Reclining Muse Euterpe in the Parnassus, Stanza della Segnatura (based on the Sleeping Ariadne) (recto); Drapery of a Muse Seen from the Rear (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink on paper, bottom corners restored
On loan to The Met
Study for the Reclining Muse Euterpe in the Parnassus, Stanza della Segnatura (based on the Sleeping Ariadne) (recto); Drapery of a Muse Seen from the Rear (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-12
Studies of Pythagoras and His Disciples for the School of Athens, Stanza de la Segnatura, Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint, highlighted with white gouache, on paper prepared gray
On loan to The Met
Studies of Pythagoras and His Disciples for the School of Athens, Stanza de la Segnatura
Raphael (Raffaello Sanzio or Santi)
ca. 1508-10
Studies for the Massacre of the Innocents (recto); Study for the Figure of Astronomy, Stanza della Segnatura Vault (verso), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk (recto); pen ad brown ink over traces of leadpoint underdrawing and compass work (verso), on paper
On loan to The Met
Studies for the Massacre of the Innocents (recto); Study for the Figure of Astronomy, Stanza della Segnatura Vault (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1510-12
Studies for the Judgment of Solomon (recto); Study of the Executioner in the Judgment of Solomon (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, black chalk, over preliminary stylus underdrawing (recto and verso) on paper
On loan to The Met
Studies for the Judgment of Solomon (recto); Study of the Executioner in the Judgment of Solomon (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1510
The Cumean Sibyl (Study for the Chigi Chapel, Santa Maria della Pace), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk, traces of pen and brown ink, over preliminary stylus underdrawing, on paper
On loan to The Met
The Cumean Sibyl (Study for the Chigi Chapel, Santa Maria della Pace)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-13
The Miraculous Draft of the Fishes with a Crowd in the Foreground (recto); The Miraculous Draft of the Fishes (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, brown wash, highlighted with white, over black-chalk underdrawing (recto); pen and brown ink over a preliminary black-chalk underdrawing (verso), on paper
On loan to The Met
The Miraculous Draft of the Fishes with a Crowd in the Foreground (recto); The Miraculous Draft of the Fishes (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1515-16
Two Women and a Child (Study for the Fire in the Borgo, Stanza dell’Incendio), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk over traces of black-chalk underdrawing, on paper
On loan to The Met
Two Women and a Child (Study for the Fire in the Borgo, Stanza dell’Incendio)
Raphael (Raffaello Sanzio or Santi)
ca. 1514-15
Man Carrying His Father (“Aeneas and Anchises”; Study for the Fire in the Borgo, Stanza dell’Incendio), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk on paper
On loan to The Met
Man Carrying His Father (“Aeneas and Anchises”; Study for the Fire in the Borgo, Stanza dell’Incendio)
Raphael (Raffaello Sanzio or Santi)
ca. 1514-15
Studies of Two Male Nudes for the Naval Battle of Ostia, Stanza dell'Incendio, Raphael (Raffaello Sanzio or Santi) Italian, Red chalk over preliminary stylus underdrawing, on paper
On loan to The Met
Studies of Two Male Nudes for the Naval Battle of Ostia, Stanza dell'Incendio
Raphael (Raffaello Sanzio or Santi)
1515
Studies for Apostles in the Transfiguration, Giulio Romano Italian, Red chalk over traces of black-chalk underdrawing on paper
On loan to The Met
Studies for Apostles in the Transfiguration
Giulio Romano
Raphael (Raffaello Sanzio or Santi)
ca. 1518-19
The Head of an Apostle (“Auxiliary Cartoon” for the Transfiguration), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, drawn freehand over pounce marks (spolvero underdrawing) and stylus underdrawing, unrelated design in pounce marks (spolvero) on paper
On loan to The Met
The Head of an Apostle (“Auxiliary Cartoon” for the Transfiguration)
Raphael (Raffaello Sanzio or Santi)
ca. 1519-20
The Virgin and Child with the Infant Saint John the Baptist in a Landscape (The Esterházy Madonna), unfinished, Raphael (Raffaello Sanzio or Santi) Italian, Tempera and oil on wood
On loan to The Met
The Virgin and Child with the Infant Saint John the Baptist in a Landscape (The Esterházy Madonna), unfinished
Raphael (Raffaello Sanzio or Santi)
ca. 1508
Standing Nude Woman Studied from Life (Venus Pudica), Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint, highlighted with white gouache, on paper prepared pale brown
On loan to The Met
Standing Nude Woman Studied from Life (Venus Pudica)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-14
Composition Study for the Massacre of the Innocents, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, with some later retouching, highlighted with white gouache, over preliminary pounce marks (spolvero underdrawing), reworked freehand by the artist in black chalk, on paper
On loan to The Met
Composition Study for the Massacre of the Innocents
Raphael (Raffaello Sanzio or Santi)
ca. 1510-12
The Death of Lucretia, Marcantonio Raimondi Italian, Engraving
On loan to The Met
The Death of Lucretia
Marcantonio Raimondi
ca. 1510-12
The Seated Virgin and Child, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, over abundant, soft grayish-black chalk underdrawing on paper
On loan to The Met
The Seated Virgin and Child
Raphael (Raffaello Sanzio or Santi)
ca. 1501-1503
Composition Study for an Enthroned Virgin and Child with Saint Nicholas of Tolentino, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over preliminary stylus underdrawing, with some overdrawn corrections in black chalk and stylus-incised construction, on paper
On loan to The Met
Composition Study for an Enthroned Virgin and Child with Saint Nicholas of Tolentino
Raphael (Raffaello Sanzio or Santi)
ca. 1503-5
Studies of Male Nudes (Discarded Idea for the Lower Left Section in the Fresco of the Disputa, Stanza della Segnatura), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over black chalk and traces of stylus underdrawing, stylus-incised ruling and compass construction, outlines pricked for transfer of the design and rubbed heavily with black-chalk pouncing dust; two horizontal axis lines and two vertical axis lines, partly pricked, on paper
On loan to The Met
Studies of Male Nudes (Discarded Idea for the Lower Left Section in the Fresco of the Disputa, Stanza della Segnatura)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
Study for Diogenes in The School of Athens, Stanza de la Segnatura, Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint (silverpoint?), on paper prepared pink
On loan to The Met
Study for Diogenes in The School of Athens, Stanza de la Segnatura
Raphael (Raffaello Sanzio or Santi)
ca. 1508-10
Study of a Soldier on Horseback, Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint, highlighted with white gouache, on paper prepared brownish gray
On loan to The Met
Study of a Soldier on Horseback
Raphael (Raffaello Sanzio or Santi)
ca. 1514-15
Studies for a Kneeling Woman (Probably for the Toilette of Psyche, Loggia di Psiche, Villa Farnesina), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk, over preliminary stylus underdrawing, with some ver slight later retouching in black chalk, on paper
On loan to The Met
Studies for a Kneeling Woman (Probably for the Toilette of Psyche, Loggia di Psiche, Villa Farnesina)
Raphael (Raffaello Sanzio or Santi)
ca. 1517-18
The Vision of Ezekiel, Raphael (Raffaello Sanzio or Santi) Italian, Oil on wood
The Vision of Ezekiel
Raphael (Raffaello Sanzio or Santi)
ca. 1515-16
Bust of a Seated Young Woman in Profile (verso), Fragment of a Profile (recto), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, over preliminary stylus underdrawing, slight retouching by another hand in pen and brown ink, traces of white gouache highlights (recto); pen and brown ink (verso); upper left corner cropped
On loan to The Met
Bust of a Seated Young Woman in Profile (verso), Fragment of a Profile (recto)
Raphael (Raffaello Sanzio or Santi)
ca. 1503
Seated Male Nude (Study for Adam in the Disputa, Stanza della Segnatura); Sketch for the Segnatura vault (lower left), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk and white highlights on yellowed white paper
On loan to The Met
Seated Male Nude (Study for Adam in the Disputa, Stanza della Segnatura); Sketch for the Segnatura vault (lower left)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
Study of a Seated Clothed Figure (Saint Stephen in the Disputa, Stanza della Segnatura), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, traces of white chalk highlights, on paper washed light brown
On loan to The Met
Study of a Seated Clothed Figure (Saint Stephen in the Disputa, Stanza della Segnatura)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
Study of a Nude Child for the Holy Family of Francis I, Raphael (Raffaello Sanzio or Santi) Italian, Red chalk, over traces of stylus underdrawing on ivory paper
On loan to The Met
Study of a Nude Child for the Holy Family of Francis I
Raphael (Raffaello Sanzio or Santi)
1518
The Virgin and Child (Study for the Holy Family of Francis I), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk over preliminary stylus underdrawing on paper
On loan to The Met
The Virgin and Child (Study for the Holy Family of Francis I)
Raphael (Raffaello Sanzio or Santi)
1518
Study of a Nude Male Figure for the Adlocutio and Vision of the Cross, Sala di Costantino, Raphael (Raffaello Sanzio or Santi) Italian, Black chalk with traces of stylus underdrawing, on paper
On loan to The Met
Study of a Nude Male Figure for the Adlocutio and Vision of the Cross, Sala di Costantino
Raphael (Raffaello Sanzio or Santi)
ca. 1519-20
Composition Study for the Coronation of Saint Nicholas of Tolentino (The Baronci Altarpiece); Sketch of Dragon (recto); Study for the Head of Saint Nicholas of Tolentino and Drapery Studies for the Angels in the Baronci Altarpiece, Birds (Swans, Heron with a Snake, Falcon), Architectural Sketch after Perugino’s Ranieri Annunciation (verso), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, over preliminary stylus underdrawing, with a construction of numerous overlapping circles incised with the compass, squared (recto), black chalk, over preliminary stylus underdrawing (verso), on paper
On loan to The Met
Composition Study for the Coronation of Saint Nicholas of Tolentino (The Baronci Altarpiece); Sketch of Dragon (recto); Study for the Head of Saint Nicholas of Tolentino and Drapery Studies for the Angels in the Baronci Altarpiece, Birds (Swans, Heron with a Snake, Falcon), Architectural Sketch after Perugino’s Ranieri Annunciation (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1500-1501
Head of a Young Man (Study for the Apostle Thomas in the Oddi Altarpiece) (recto); Two Drapery Studies; Thumbnail Sketch of a Soldier on Horseback (verso), Raphael (Raffaello Sanzio or Santi) Italian, Leadpoint (recto and verso) on paper
On loan to The Met
Head of a Young Man (Study for the Apostle Thomas in the Oddi Altarpiece) (recto); Two Drapery Studies; Thumbnail Sketch of a Soldier on Horseback (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1503-4
Head and Hands of a Young Man (Study for the Apostle Thomas in the Oddi Altarpiece) (recto; by Raphael); Study of Two Seated Young Men for the Same Altarpiece (verso; by the workshop), Raphael (Raffaello Sanzio or Santi) Italian, Leadpoint on paper prepared pale gray (recto); pen and brown ink, over black chalk, and traces of stylus underdrawing (verso)
On loan to The Met
Head and Hands of a Young Man (Study for the Apostle Thomas in the Oddi Altarpiece) (recto; by Raphael); Study of Two Seated Young Men for the Same Altarpiece (verso; by the workshop)
Raphael (Raffaello Sanzio or Santi)
ca. 1503-4
The Head of a Bearded Apostle (Saint Andrew) and Silhouettes of Two Other Heads of Apostles (“Auxiliary Cartoon” for the Oddi Altarpiece), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, drawn freehand over pounce marks (spolvero underdrawing) and stylus underdrawing, with further outlines for the heads of two figures in pounce marks (spolvero), on paper
On loan to The Met
The Head of a Bearded Apostle (Saint Andrew) and Silhouettes of Two Other Heads of Apostles (“Auxiliary Cartoon” for the Oddi Altarpiece)
Raphael (Raffaello Sanzio or Santi)
ca. 1503-4
Workshop Assistant Posing for Studies of the Seated Virgin, Marginal Sketches (The Norton Simon Madonna) (recto; by Raphael); Two Archers (verso; by workshop of Raphael), Raphael (Raffaello Sanzio or Santi) Italian, Two hues of metalpoint, over preliminary stylus underdrawing and construction (recto), pen and brown ink, over preliminary stylus underdrawing (verso), on paper
On loan to The Met
Workshop Assistant Posing for Studies of the Seated Virgin, Marginal Sketches (The Norton Simon Madonna) (recto; by Raphael); Two Archers (verso; by workshop of Raphael)
Raphael (Raffaello Sanzio or Santi)
ca. 1502-3
Head of a Young Man, Raphael (Raffaello Sanzio or Santi) Italian, Black chalk over preliminary stylus underdrawing, highlighted with traces of white gouache, on paper
On loan to The Met
Head of a Young Man
Raphael (Raffaello Sanzio or Santi)
ca. 1503-4
Head of a Man Wearing a Turban in Frontal View, Raphael (Raffaello Sanzio or Santi) Italian, Two types of metalpoint on paper prepared greenish gray
On loan to The Met
Head of a Man Wearing a Turban in Frontal View
Raphael (Raffaello Sanzio or Santi)
ca. 1504-5
Head of a Bald Man in Three-Quarter View, Facing Right, Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint, highlighted with white gouache, on paper prepared greenish gray
On loan to The Met
Head of a Bald Man in Three-Quarter View, Facing Right
Raphael (Raffaello Sanzio or Santi)
ca. 1504-5
Portrait of Young Woman in Three-Quarter View, Inspired by Leonardo’s Mona Lisa, Raphael (Raffaello Sanzio or Santi) Italian, Two types of metalpoint on paper prepared greenish gray
On loan to The Met
Portrait of Young Woman in Three-Quarter View, Inspired by Leonardo’s Mona Lisa
Raphael (Raffaello Sanzio or Santi)
ca. 1504-5
Studies for the Virgin and Child and the Infant Saint John the Baptist (Sheet from the “Pink Sketchbook”), Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint on pink prepared paper
On loan to The Met
Studies for the Virgin and Child and the Infant Saint John the Baptist (Sheet from the “Pink Sketchbook”)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-10
Figural Studies for a Composition of the Virgin and Child with the Infant Saint John the Baptist (Sheet from the “Pink Sketchbook”), Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint on paper prepared pink
On loan to The Met
Figural Studies for a Composition of the Virgin and Child with the Infant Saint John the Baptist (Sheet from the “Pink Sketchbook”)
Raphael (Raffaello Sanzio or Santi)
ca. 1507-11
Studies for the Virgin and Child; Architectural Studies (recto); The Virgin and Child (verso) (Sheet from the “Pink Sketchbook”), Raphael (Raffaello Sanzio or Santi) Italian, Two types of metalpoint on paper prepared pink (recto); pen and brown ink, framing outline in leadpoint by the artist, on unprepared, off-white paper (verso)
On loan to The Met
Studies for the Virgin and Child; Architectural Studies (recto); The Virgin and Child (verso) (Sheet from the “Pink Sketchbook”)
Raphael (Raffaello Sanzio or Santi)
ca. 1507-11
Composition Study for the Holy Family with Saints and a Pomegranate (recto); Letter to Domenico Alfani (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, over leadpoint underdrawing, squared in red chalk; upper portion of the sheet outlined like an arch with the field colored in blue gouache (recto); pen and brown ink (verso), on paper
On loan to The Met
Composition Study for the Holy Family with Saints and a Pomegranate (recto); Letter to Domenico Alfani (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1507-8
Composition Study for the Alba Madonna; Two Sketches of the Virgin and Child for the Tempi Madonna; Façade and Plan of a Building; Sketch of a Recumbent Child (recto); Study of a Male Model Posing for the Virgin in the Alba Madonna (verso), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk, pen and brown ink, over preliminary stylus underdrawing, stylus-incised compass work (recto); red chalk, over preliminary stylus underdrawing (verso), on paper
On loan to The Met
Composition Study for the Alba Madonna; Two Sketches of the Virgin and Child for the Tempi Madonna; Façade and Plan of a Building; Sketch of a Recumbent Child (recto); Study of a Male Model Posing for the Virgin in the Alba Madonna (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
Sketches for Bearded Man and Youth for the Disputa and the School of Athens, Stanza della Segnatura (recto); Figure Studies (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, over preliminary stylus underdrawing (recto); pen and brown ink (verso), on paper partially squared in leadpoint
On loan to The Met
Sketches for Bearded Man and Youth for the Disputa and the School of Athens, Stanza della Segnatura (recto); Figure Studies (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
Drapery on a Seated Mannequin or Lay Figure (Study for Christ in the Disputa, Stanza della Segnatura) (recto); Two Male Figures (Studies for the Seated Saints at Right in the Disputa) (verso), Raphael (Raffaello Sanzio or Santi) Italian, Brush and brown wash, highlighted with white gouache, over leadpoint and stylus underdrawing, with a construction of numerous overlapping circles incised with the compass, figure squared in leadpoint or black chalk (recto); pen and brown ink, over leadpoint underdrawing, framing outlines in leadpoint (verso), on paper
On loan to The Met
Drapery on a Seated Mannequin or Lay Figure (Study for Christ in the Disputa, Stanza della Segnatura) (recto); Two Male Figures (Studies for the Seated Saints at Right in the Disputa) (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
Seated Male Model in Frontal View and a Lyre (Study for Apollo in the Parnassus, Stanza della Segnatura) (recto); Two Drapery Studies (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink (recto and verso), on paper
On loan to The Met
Seated Male Model in Frontal View and a Lyre (Study for Apollo in the Parnassus, Stanza della Segnatura) (recto); Two Drapery Studies (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-12
Study of Flying Infant Angel with Body Turning to the Right, Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, over preliminary stylus underdrawing, squared in black chalk, on paper
On loan to The Met
Study of Flying Infant Angel with Body Turning to the Right
Raphael (Raffaello Sanzio or Santi)
ca. 1510
Study of a Flying Infant Angel Holding a Tablet (Figure to the Right of Theology in the vault of the Stanza della Segnatura) (recto); Sketch of a Standing Figure (verso), Raphael (Raffaello Sanzio or Santi) Italian, Grayish black chalk over traces of stylus underdrawing, incised compass arcs (recto); black chalk (verso), on paper
On loan to The Met
Study of a Flying Infant Angel Holding a Tablet (Figure to the Right of Theology in the vault of the Stanza della Segnatura) (recto); Sketch of a Standing Figure (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1510
Standing Youth in Three-Quarter View, Facing Left (Study for the Bronze Tondo Relief of Christ’s Descent into Limbo, Chigi Chapel, Santa Maria della Pace), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over leadpoint and stylus underdrawing on paper
On loan to The Met
Standing Youth in Three-Quarter View, Facing Left (Study for the Bronze Tondo Relief of Christ’s Descent into Limbo, Chigi Chapel, Santa Maria della Pace)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-14
The Virgin and Child with Raphael, Tobias, and Saint Jerome (The Madonna del Pesce), Raphael (Raffaello Sanzio or Santi) Italian, Oil on canvas, transferred from wood
On loan to The Met
The Virgin and Child with Raphael, Tobias, and Saint Jerome (The Madonna del Pesce)
Raphael (Raffaello Sanzio or Santi)
ca. 1512-14
The Holy Family with Infant Saint John the Baptist (The Madonna of the Rose), Raphael (Raffaello Sanzio or Santi) Italian, Oil on canvas, transferred from wood
On loan to The Met
The Holy Family with Infant Saint John the Baptist (The Madonna of the Rose)
Raphael (Raffaello Sanzio or Santi)
ca. 1517-18
Portrait of Baldassarre Castiglione, Raphael (Raffaello Sanzio or Santi) Italian, Oil on canvas
On loan to The Met
Portrait of Baldassarre Castiglione
Raphael (Raffaello Sanzio or Santi)
1514-16
Modello Drawing for the Virgin and Child with Raphael, Tobias, and Saint Jerome (The Madonna del Pesce), Raphael (Raffaello Sanzio or Santi) Italian, Brush and brown wash, highlighted with white gouache (some oxidized), over extensive black-chalk under- and overdrawing, on paper
On loan to The Met
Modello Drawing for the Virgin and Child with Raphael, Tobias, and Saint Jerome (The Madonna del Pesce)
Raphael (Raffaello Sanzio or Santi)
ca. 1512-14
The Virgin and Child with the Infant Saint John the Baptist, Perugino (Pietro di Cristoforo Vannucci) Italian, Oil and tempera grassa on poplar
On loan to The Met
The Virgin and Child with the Infant Saint John the Baptist
Perugino (Pietro di Cristoforo Vannucci)
ca. 1495-1500
Cartoon for Saint Mary Magdalene, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, brush and brown wash, over black chalk or leadpoint underdrawing; squared in black chalk, with framing outlines in black chalk, and one in red chalk; outlines finely pricked for transfer; verso rubbed heavily with black chalk pouncing dust, on paper
On loan to The Met
Cartoon for Saint Mary Magdalene
Raphael (Raffaello Sanzio or Santi)
ca. 1503
Two Roundels with the Mater Dolorosa and Saint Peter, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, over leadpoint underdrawing; incised compass construction for the drawn framing circular framing outlines; outlines finely pricked for transfer of the design; verso rubbed with black chalk pouncing dust, with an equilateral triangle drawn in pen and brown ink, and an unintelligible, cropped design in black chalk, on paper
On loan to The Met
Two Roundels with the Mater Dolorosa and Saint Peter
Raphael (Raffaello Sanzio or Santi)
ca. 1501-1503
The Seated Saint Augustine (Cartoon for a Painting), Perugino (Pietro di Cristoforo Vannucci) Italian, Pen and brown ink, brush and pale brown wash, with underdrawing and overdrawing in black chalk; traces of a vertical axis line in black chalk; outlines pricked and rubbed with pouncing dust for transfer, silhouetted closely along the figure and mounted on secondary paper support
On loan to The Met
The Seated Saint Augustine (Cartoon for a Painting)
Perugino (Pietro di Cristoforo Vannucci)
ca. 1500
Three Male Figures, Two Kneeling, One Standing (Study for the Apostles in the Monteluce Altarpiece [The Coronation of the Virgin]), Raphael (Raffaello Sanzio or Santi) Italian, Soft black chalk, with traces of highlights in brush and white gouache (now partly faded), unrelated design in pounce marks (spolvero), on paper
On loan to The Met
Three Male Figures, Two Kneeling, One Standing (Study for the Apostles in the Monteluce Altarpiece [The Coronation of the Virgin])
Raphael (Raffaello Sanzio or Santi)
ca. 1516-18
Study of Putto with the Impresa of Pope Leo X de’ Medici, Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, heightened with white chalk, with later framing lines in black
On loan to The Met
Study of Putto with the Impresa of Pope Leo X de’ Medici
Raphael (Raffaello Sanzio or Santi)
ca. 1513-14
Study for Saint Paul (recto), Drapery Study (verso), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk, over preliminary stylus underdrawing (recto); red chalk over traces of preliminary stylus underdrawing (verso), on paper
On loan to The Met
Study for Saint Paul (recto), Drapery Study (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1515-16
Studies for an Angel and the Virgin, Raphael (Raffaello Sanzio or Santi) Italian, Red chalk, partly over preliminary stylus underdrawing, on paper
On loan to The Met
Studies for an Angel and the Virgin
Raphael (Raffaello Sanzio or Santi)
ca. 1516-18
Portrait of a Young Woman with a Unicorn (Laura Orsini della Rovere?), Raphael (Raffaello Sanzio or Santi) Italian, Oil on wood panel, transferred to canvas, glued to a wood support
On loan to The Met
Portrait of a Young Woman with a Unicorn (Laura Orsini della Rovere?)
Raphael (Raffaello Sanzio or Santi)
1505-1506
Sketches of Infants; the Virgin and Child (recto), Two Studies for Draperies on a Seated Figure; Head of a Man in Profile (verso) , Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, over leadpoint underdrawing (recto), metalpoint, highlighted with white gouache, on paper prepared yellowish pink (verso)
On loan to The Met

Sketches of Infants; the Virgin and Child (recto), Two Studies for Draperies on a Seated Figure; Head of a Man in Profile (verso)

Raphael (Raffaello Sanzio or Santi)
ca. 1507-8
Study for the Right Half of the Council of the Gods (Venus and Cupid before Jupiter), Loggia di Psiche, Villa Farnesina, Raphael (Raffaello Sanzio or Santi) Italian, Red chalk, selective deepening of tone with pen or brush with brownish-red in wash, over extensive preliminary stylus underdrawing; slight, unrelayed stylis-incised underdrawing at center; stylus-ruled horizontal and vertical axis lines, sheets glued onto a secondary support
On loan to The Met
Study for the Right Half of the Council of the Gods (Venus and Cupid before Jupiter), Loggia di Psiche, Villa Farnesina
Raphael (Raffaello Sanzio or Santi)
ca. 1517-18
Saints Peter and John the Baptist in a Landscape (Cartoon for a Painting?), Baldassarre Tommaso Peruzzi Italian, Pen and brown ink, brush and light brown wash, over extensive black-chalk underdrawing; stylus-incised outlines of the arch-shaped composition (arch incised with compass); outlines of the figures and silhouetted framing lines pricked for transfer of the design
On loan to The Met
Saints Peter and John the Baptist in a Landscape (Cartoon for a Painting?)
Baldassarre Tommaso Peruzzi
ca. 1510-15
Modello Drawing for the Altarpiece of the Ecstasy of Saint Cecilia, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, brush and brown wash, over soft grayish black-chalk underdrawing; vertical and horizontal axes in black chalk, framing outlines constructed and measured with pinpricks; laid down
On loan to The Met
Modello Drawing for the Altarpiece of the Ecstasy of Saint Cecilia
Raphael (Raffaello Sanzio or Santi)
ca. 1515-1516
Processional Cross with the Crucified Christ and Roundels depicting the Virgin and Saints Peter, John the Evangelist, and Mary Magdalene (obverse); Crucified Christ and Roundels Depicting Saints Francis of Assisi, Louis of Toulouse, Claire, and Anthony of Padua (reverse), Raphael (Raffaello Sanzio or Santi) Italian, Tempera and gold on wood
On loan to The Met
Processional Cross with the Crucified Christ and Roundels depicting the Virgin and Saints Peter, John the Evangelist, and Mary Magdalene (obverse); Crucified Christ and Roundels Depicting Saints Francis of Assisi, Louis of Toulouse, Claire, and Anthony of Padua (reverse)
Raphael (Raffaello Sanzio or Santi)
ca. 1500-3
Saint Mary Magdalene (obverse); Fictive Colored Marble with Inscription (reverse), Raphael (Raffaello Sanzio or Santi) Italian, Tempera grassa and oil, with touches of gold, on wood
On loan to The Met
Saint Mary Magdalene (obverse); Fictive Colored Marble with Inscription (reverse)
Raphael (Raffaello Sanzio or Santi)
ca. 1503
The Virgin and Child with Infant Saint John the Baptist, and Saints Elizabeth and Joseph (The Madonna del Divino Amore), Raphael (Raffaello Sanzio or Santi) Italian, Oil on wood
On loan to The Met
The Virgin and Child with Infant Saint John the Baptist, and Saints Elizabeth and Joseph (The Madonna del Divino Amore)
Raphael (Raffaello Sanzio or Santi)
ca. 1516-18
Studies of a Seated Female Nude and a Child (Sheet from the “Pink Sketchbook”), Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint on prepared pink paper
On loan to The Met
Studies of a Seated Female Nude and a Child (Sheet from the “Pink Sketchbook”)
Raphael (Raffaello Sanzio or Santi)
ca. 1507-11
The Annunciation (Cartoon for the Left Scene in the Predella of the Oddi Altarpiece), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, brush and brown wash, ruling in pen and brown ink and stylus; stylus-incised compass work, some leadpoint or black-chalk axis lines, some preliminary stylus underdrawing on figures and traces of black-chalk underdrawing on two sheets of paper glued with overlapping seams (original paper support); pricked outlines for transfer of the design; glued onto a secondary paper support
On loan to The Met
The Annunciation (Cartoon for the Left Scene in the Predella of the Oddi Altarpiece)
Raphael (Raffaello Sanzio or Santi)
ca. 1503-4
Saint Catherine of Alexandria in Three-Quarter Length, Raphael (Raffaello Sanzio or Santi) Italian, Charcoal, black chalk, highlighted with white gouache and white chalk, on four sheets of paper glued with overlapping seams (original paper support), outlines pricked for transfer of the design
On loan to The Met
Saint Catherine of Alexandria in Three-Quarter Length
Raphael (Raffaello Sanzio or Santi)
ca. 1507
The Head, Neck, and Hands of a Man (Bramante); Drapery for a Standing Man (Studies for the Disputa, Stanza della Segnatura), Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint on paper prepared greenish gray
On loan to The Met
The Head, Neck, and Hands of a Man (Bramante); Drapery for a Standing Man (Studies for the Disputa, Stanza della Segnatura)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
God the Father in Bust Length (Cartoon Fragment for the Disputa, Stanza della Segnatura), Raphael (Raffaello Sanzio or Santi) Italian, Charcoal, black chalk, originally highlighted with white gouache (now lost), shadows deepened in brush and brown wash, over preliminary stylus underdrawing, outlines pricked for transfer of the design, on three sheets glued with overlapping seams (original paper support); figural design silhouetted along the shape of a giornata, mounted onto secondary paper support
On loan to The Met
God the Father in Bust Length (Cartoon Fragment for the Disputa, Stanza della Segnatura)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
Head of an Angel in Profile View (Cartoon Fragment for the Expulsion of Heliodorus from the Temple, Stanza di Eliodoro), Raphael (Raffaello Sanzio or Santi) Italian, Charcoal, black chalk, traces of white gouache highlights, outlines pricked for transfer of the design on two glued sheets of paper; with numerous integrations of the original support; small bits of the drawn outlines reinforced by restorers (back of ear, underside of the nose, fulcrum and upper lip, which are all part of a long horizontal band extending from the lower cheek to the back of the neck, then along bits of the chin, underside of jaw, upper right and lower left corners); glued onto a Mariette mount (secondary paper support)
On loan to The Met
Head of an Angel in Profile View (Cartoon Fragment for the Expulsion of Heliodorus from the Temple, Stanza di Eliodoro)
Raphael (Raffaello Sanzio or Santi)
ca. 1512
Study of a Young Woman from Life, with the Figure of a Child Drawn in Reserve (Possibly for the Holy Family of Francis I), Raphael (Raffaello Sanzio or Santi) Italian, Pale, slightly orange red chalk over traces of stylus underdrawing, glued onto secondary paper support; fragmentary watermark at upper right
On loan to The Met
Study of a Young Woman from Life, with the Figure of a Child Drawn in Reserve (Possibly for the Holy Family of Francis I)
Raphael (Raffaello Sanzio or Santi)
ca. 1518
The Head of a Young Woman in Three-Quarter View Looking Down (Study for Charity in the Sala di Costantino), Raphael (Raffaello Sanzio or Santi) Italian, Charcoal, soft grayish black chalk and denser black chalk; slight accenting of shaows with wetted black chalk; minor accenting in black wash by a restorer (on the hair at the left and the iris of the eye); traces of white gouache highlights (now sunken); finely stylus-incised outlines; on beige paper, glued onto a secondary paper support
On loan to The Met
The Head of a Young Woman in Three-Quarter View Looking Down (Study for Charity in the Sala di Costantino)
Raphael (Raffaello Sanzio or Santi)
ca. 1519-20
Psyche Presenting the Phial of Water to Venus (Study for a Pendentive in the Loggia di Psiche, Villa Farnesina), Raphael (Raffaello Sanzio or Santi) Italian, Slightly purplish red chalk, over extensive stylus underdrawing on paper
On loan to The Met
Psyche Presenting the Phial of Water to Venus (Study for a Pendentive in the Loggia di Psiche, Villa Farnesina)
Raphael (Raffaello Sanzio or Santi)
ca. 1517-18
Composition Sketch for Moses Receiving the Tablets of the Law, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, brush and brown wash, highlighted with white gouache, over grayish black chalk, squared on top of all layers of design in grayish black chalk, on paper
On loan to The Met
Composition Sketch for Moses Receiving the Tablets of the Law
Raphael (Raffaello Sanzio or Santi)
ca. 1518-20
Modello Drawing for the Battle of the Milvian Bridge, Sala di Costantino; An Eagle and the Drapery of a Caryatid; An Arm holding a Tablet and a Leg (for the Figure of Virtue?), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, brush and brown wash, highlighted with white gouache, ver extensive black-chalk underdrawing, squared in black chalk, on many glued sheets of paper washed beige; lined with a secondary support; with early restorations
On loan to The Met
Modello Drawing for the Battle of the Milvian Bridge, Sala di Costantino; An Eagle and the Drapery of a Caryatid; An Arm holding a Tablet and a Leg (for the Figure of Virtue?)
Raphael (Raffaello Sanzio or Santi)
Giovanni Francesco Penni
ca. 1519-20
Head of a Bishop (“Auxiliary Cartoon” for the Coronation of Charlemagne, Stanza dell’Incendio), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, highlighted with white gouache (partly now lost), drawn freehand over pounce marks (spolvero underdrawing), partly unrelated design in pounce marks (spolvero), on light brown paper
On loan to The Met
Head of a Bishop (“Auxiliary Cartoon” for the Coronation of Charlemagne, Stanza dell’Incendio)
Raphael (Raffaello Sanzio or Santi)
ca. 1515-16
Modello Drawing with an Early Idea for the Enthroned Pope Urban I in a Niche with Virtues, Angels, and Other Figures, Sala di Costantino, Giovanni Francesco Penni Italian, Pen and brown ink, brush and brown wash, over leadpoint underdrawing, with leadpoint and pen-and-ink ruling, compass work (arcs, points), and a lightly stylus-incised vertical axis line (running through the figure of the pope); extensively highlighted with white gouache; on paper washed pale brown
On loan to The Met
Modello Drawing with an Early Idea for the Enthroned Pope Urban I in a Niche with Virtues, Angels, and Other Figures, Sala di Costantino
Giovanni Francesco Penni
ca. 1519-20
The Virgin and Child (The Niccolini-Cowper Madonna; or, The Large Cowper Madonna), Raphael (Raffaello Sanzio or Santi) Italian, Oil on wood, likely poplar
On loan to The Met
The Virgin and Child (The Niccolini-Cowper Madonna; or, The Large Cowper Madonna)
Raphael (Raffaello Sanzio or Santi)
1508
The Virgin and Child with the Infant Saint John the Baptist in a Landscape (The Alba Madonna), Raphael (Raffaello Sanzio or Santi) Italian, Oil on canvas, transferred from wood
On loan to The Met
The Virgin and Child with the Infant Saint John the Baptist in a Landscape (The Alba Madonna)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
Portrait of Bindo Altoviti, Raphael (Raffaello Sanzio or Santi) Italian, Oil on wood (the original panel, presumed to be of poplar wood, was shaved off and replaced with masonite, then cradled)
On loan to The Met
Portrait of Bindo Altoviti
Raphael (Raffaello Sanzio or Santi)
ca. 1515-16
The Virgin and Child in a Landscape (The Small Cowper Madonna), Raphael (Raffaello Sanzio or Santi) Italian, Oil on wood
On loan to The Met
The Virgin and Child in a Landscape (The Small Cowper Madonna)
Raphael (Raffaello Sanzio or Santi)
ca. 1505
The Virgin and Child with the Infant Saint John the Baptist (Cartoon for La Belle Jardinière), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, charcoal, highlighted with white gouache on light brown paper, outlines pricked for transfer of the design and rubbed with pouncing dust; heavily retouched by early modern restorers
On loan to The Met
The Virgin and Child with the Infant Saint John the Baptist (Cartoon for La Belle Jardinière)
Raphael (Raffaello Sanzio or Santi)
ca. 1507
Study of a Marble Horse on the Quirinal Hill (“OPVS PRAXITELIS”), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk, over leadpoint and stylus underdrawing, with annotations in pen and brown ink, on laid paper
On loan to The Met
Study of a Marble Horse on the Quirinal Hill (“OPVS PRAXITELIS”)
Raphael (Raffaello Sanzio or Santi)
ca. 1515-16
Tthe Prophets Hoseas and Jonah with an Angel (Studies for the Chigi Chapel, Santa Maria della Pace), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, brush and brown wash, highlighted with white gouache, over black chalk and stylus underdrawing, squared under the drawing in stylus, squared over the drawing in red chalk, on paper
On loan to The Met
Tthe Prophets Hoseas and Jonah with an Angel (Studies for the Chigi Chapel, Santa Maria della Pace)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-13
The Upper Figures of Eight Apostles (Fragmentary Study for Christ’s Charge to Peter, from the Acts of the Apostles Tapestry Series), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk, over leadpoint and preliminary stylus underdrawing (recto); verso bears blind imprints from Marcantonio’s copper plate of the Massacre of the Innocents
On loan to The Met
The Upper Figures of Eight Apostles (Fragmentary Study for Christ’s Charge to Peter, from the Acts of the Apostles Tapestry Series)
Raphael (Raffaello Sanzio or Santi)
ca. 1515-16
Saint Sebastian in Half Length, Raphael (Raffaello Sanzio or Santi) Italian, Tempera grassa and oil, with gold highlights, on wood
On loan to The Met
Saint Sebastian in Half Length
Raphael (Raffaello Sanzio or Santi)
ca. 1502-3
Lamentation Over the Dead Christ (Panel from the Predella of the Colonna Altarpiece), Raphael (Raffaello Sanzio or Santi) Italian, Oil and traces of gold on wood (probably poplar)
On loan to The Met
Lamentation Over the Dead Christ (Panel from the Predella of the Colonna Altarpiece)
Raphael (Raffaello Sanzio or Santi)
ca. 1504-5
Angel in Bust-Length (Fragment from the Baronci Altarpiece), Raphael (Raffaello Sanzio or Santi) Italian, Oil with gold highlights on canvas (transferred from wood)
On loan to The Met
Angel in Bust-Length (Fragment from the Baronci Altarpiece)
Raphael (Raffaello Sanzio or Santi)
ca. 1500-1501
Christ Blessing with the Stigmata in a Landscape, Raphael (Raffaello Sanzio or Santi) Italian, Oil on wood
On loan to The Met
Christ Blessing with the Stigmata in a Landscape
Raphael (Raffaello Sanzio or Santi)
ca. 1504-5
Saint Anthony of Padua (Panel from the Predella of the Colonna Altarpiece), Raphael (Raffaello Sanzio or Santi) Italian, Oil on wood (probably poplar)
On loan to The Met
Saint Anthony of Padua (Panel from the Predella of the Colonna Altarpiece)
Raphael (Raffaello Sanzio or Santi)
ca. 1504-5
Saint Francis of Assisi (Panel from the Predella of the Colonna Altarpiece), Raphael (Raffaello Sanzio or Santi) Italian, Oil on wood (probably poplar)
On loan to The Met
Saint Francis of Assisi (Panel from the Predella of the Colonna Altarpiece)
Raphael (Raffaello Sanzio or Santi)
ca. 1504-5
Martyrdom of Saint Sebastian, Perugino (Pietro di Cristoforo Vannucci) Italian, Point of brush, gouache, watercolor, and ink, highlighted and signed in gold, on parchment (flesh side and burnished)
On loan to The Met
Martyrdom of Saint Sebastian
Perugino (Pietro di Cristoforo Vannucci)
ca. 1500-1505
Modello Drawing for the Coronation of Charlemagne, Stanza dell’Incendio, Giovanni Francesco Penni Italian, Pen and brown ink, brush and brown wash, highlighted with white gouache, traces of red-chalk corrections, over stylus-incised ruled and compass construction, and black chalk underdrawing, on several glued sheets of paper
On loan to The Met
Modello Drawing for the Coronation of Charlemagne, Stanza dell’Incendio
Giovanni Francesco Penni
Giulio Romano
ca. 1515-16
Dëesis (Christ in Glory with the Virgin Mary and Saints John the Baptist, Catherine, and Paul), Giulio Romano Italian, Tempera grassa and oil on wood
On loan to The Met
Dëesis (Christ in Glory with the Virgin Mary and Saints John the Baptist, Catherine, and Paul)
Giulio Romano
ca. 1520
Portrait of a Woman in Three-Quarter Length (La Muta), Raphael (Raffaello Sanzio or Santi) Italian, Oil on limewood
On loan to The Met
Portrait of a Woman in Three-Quarter Length (La Muta)
Raphael (Raffaello Sanzio or Santi)
ca. 1503-5
Saint Catherine (obverse); Fictive Colored Marble with Inscription (reverse), Raphael (Raffaello Sanzio or Santi) Italian, Tempera grassa and oil, with touches of gold, on wood
On loan to The Met
Saint Catherine (obverse); Fictive Colored Marble with Inscription (reverse)
Raphael (Raffaello Sanzio or Santi)
ca. 1503
Female Martyr-Saint Standing in a Landscape (Probably Saint Ursula), Giovanni Santi Italian, Oil and tempera grassa on wood
On loan to The Met
Female Martyr-Saint Standing in a Landscape (Probably Saint Ursula)
Giovanni Santi
ca. 1490-94
Sketches for Figures on the Lower Left Section of the Disputa, Stanza della Segnatura (recto and verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over traces of preliminary stylus underdrawing (recto and verso), on paper
On loan to The Met
Sketches for Figures on the Lower Left Section of the Disputa, Stanza della Segnatura (recto and verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
Saint Paul Rending His Garments (Study for the Sacrifice of Lystra, from the Acts of the Apostles Tapestry Series), Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint, highlighted with white gouache, on paper prepared gray-violet
On loan to The Met
Saint Paul Rending His Garments (Study for the Sacrifice of Lystra, from the Acts of the Apostles Tapestry Series)
Raphael (Raffaello Sanzio or Santi)
ca. 1515-1516
Seated Christ in Glory (Study for Giulio Romano’s Dëesis), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, brush and gray wash, highlighted with white chalk, on paper washed pale gray wash; original support cut down on the left and right borders and made up with toned-in strips
On loan to The Met
Seated Christ in Glory (Study for Giulio Romano’s Dëesis)
Raphael (Raffaello Sanzio or Santi)
ca. 1519-20
Allegorical Personification of an Earthquake (Il Terremoto) (Study for Saint Paul in Prison, from the Acts of the Apostles Tapestry Series), Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint, highlighted with white gouache, on paper prepared gray
On loan to The Met
Allegorical Personification of an Earthquake (Il Terremoto) (Study for Saint Paul in Prison, from the Acts of the Apostles Tapestry Series)
Raphael (Raffaello Sanzio or Santi)
ca. 1515-1516
Façade, Section, and Elevation of Raphael’s Project for Saint Peter’s Basilica (as recorded in the Codex Mellon), Anonymous, Italian Italian, Pen and brown ink over preliminary stylus construction, some brush and brown wash; paper text block, with a binding made from pasteboard (laminated paper) covered in parchment manuscript waste; other binding elements made from alum-tawed animal skin and vegetable fiber (thread)
On loan to The Met
Façade, Section, and Elevation of Raphael’s Project for Saint Peter’s Basilica (as recorded in the Codex Mellon)
Anonymous, Italian
ca. 1514-20
Studies for Kneeling Youths, Perugino (Pietro di Cristoforo Vannucci) Italian, Metalpoint on paper prepared pale pink-cream
On loan to The Met
Studies for Kneeling Youths
Perugino (Pietro di Cristoforo Vannucci)
ca. 1495-1500
Sepulcrum Christi (Dead Christ with Joseph of Arimathea and Nicodemus), Perugino (Pietro di Cristoforo Vannucci) Italian, Oil and tempera grassa on wood, transferred to canvas and mounted on wood
On loan to The Met
Sepulcrum Christi (Dead Christ with Joseph of Arimathea and Nicodemus)
Perugino (Pietro di Cristoforo Vannucci)
ca. 1495-98
Studies for the Battle of Anghiari Cartoon and the Proportions of the Head, Leonardo da Vinci Italian, Pen and two hues of brown ink (that of lighter color later reworked with black-brown ink), over traces of preliminary stylus work, soft black chalk, red chalk (recto); ren and two hues of brown ink (that of lighter color later reworkedwith black-brown ink), over soft black chalk, with densely pinpricked holes close to the figure's profile
On loan to The Met
Studies for the Battle of Anghiari Cartoon and the Proportions of the Head
Leonardo da Vinci
ca. 1490-95; 1503-5
Head of an Apostle (Saint James; “Auxiliary Cartoon” for the Oddi Altarpiece), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk drawn freehand over pounce marks (spolvero underdrawing) on paper
On loan to The Met
Head of an Apostle (Saint James; “Auxiliary Cartoon” for the Oddi Altarpiece)
Raphael (Raffaello Sanzio or Santi)
ca. 1503-4
Study of a Female Saint in Half-Length (Saint Catherine?), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, over preliminary stylus underdrawing, on paper
On loan to The Met
Study of a Female Saint in Half-Length (Saint Catherine?)
Raphael (Raffaello Sanzio or Santi)
ca. 1504
The Virgin and Child Studied from Mannequins or Lay Figures (recto); Study for the Virgin and Child (verso; parrtly visible in transmitted light), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over traces of red chalk (recto); red chalk (verso), on paper
On loan to The Met
The Virgin and Child Studied from Mannequins or Lay Figures (recto); Study for the Virgin and Child (verso; parrtly visible in transmitted light)
Raphael (Raffaello Sanzio or Santi)
ca. 1506-7
The Entombment (Composition Study for the Baglioni Altarpiece) (recto); Study after Michelangelo’s Marble Saint Matthew (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over black chalk and preliminary stylus underdrawing (recto), pen and brown ink (verso), on paper
On loan to The Met
The Entombment (Composition Study for the Baglioni Altarpiece) (recto); Study after Michelangelo’s Marble Saint Matthew (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1507
Composition Sketch for the Massacre of the Innocents, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, corrections in red chalk (figures at right), stylus-ruled construction and compass work, vertical axis line (partly pricked); outlines pricked for transfer of the design (except for the corrected figures), on paper
On loan to The Met
Composition Sketch for the Massacre of the Innocents
Raphael (Raffaello Sanzio or Santi)
ca. 1510-12
The Heads of the Virgin and Child (Sheet from the “Pink Sketchbook”), Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint on paper prepared pink
On loan to The Met
The Heads of the Virgin and Child (Sheet from the “Pink Sketchbook”)
Raphael (Raffaello Sanzio or Santi)
ca. 1509
The Virgin and Child (Cartoon for the Mackintosh Madonna), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, charcoal, highlighted with touches of white chalk, with incised compass arcs and a vertical axis line; outlines incised and pricked for transfer of the design, and rubbed with pouncing dust; on two sheets glued with overlapping seams (original paper support); retouching and integrations by early restorers
On loan to The Met
The Virgin and Child (Cartoon for the Mackintosh Madonna)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
Composition Study for the Disputa, Stanza della Segnatura (Discarded Idea for the Lower Left Section), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, brush and brown wash, highlighted with white gouache, over traces of stylus underdrawing, on paper
On loan to The Met
Composition Study for the Disputa, Stanza della Segnatura (Discarded Idea for the Lower Left Section)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
A Seated Male Nude and a Right Leg (Studies for the Resurrection, Chigi Chapel, Santa Maria della Pace), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk on paper
On loan to The Met
A Seated Male Nude and a Right Leg (Studies for the Resurrection, Chigi Chapel, Santa Maria della Pace)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-14
The Phrygian Sibyl (Second Idea for the Chigi Chapel Frescoes, Santa Maria della Pace) (recto), Drapery Study for the Lower Half of a Seated Figure (verso), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk, over preliminary stylus underdrawing, on paper
On loan to The Met
The Phrygian Sibyl (Second Idea for the Chigi Chapel Frescoes, Santa Maria della Pace) (recto), Drapery Study for the Lower Half of a Seated Figure (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1511–13
A Woman Standing Before Rocks (The Muse Clio), Giovanni Santi Italian, Off-green gouache preparation, stylus underdrawing, pen and iron gall ink, iron gall wash, lead white gouache, on paper
On loan to The Met
A Woman Standing Before Rocks (The Muse Clio)
Giovanni Santi
ca. 1490-94
Heads of Two Apostles (“Auxiliary Cartoon” for the Oddi Altarpiece), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk drawn freehand over pounce marks (spolvero underdrawing) with unrelated design in pounce marks (spolvero), on paper
On loan to The Met
Heads of Two Apostles (“Auxiliary Cartoon” for the Oddi Altarpiece)
Raphael (Raffaello Sanzio or Santi)
ca. 1503-4
Composition Study for the Virgin and Child with Saint Elizabeth and the Infant Saint John the Baptist, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, on some black chalk underdrawing, very slight retouches in black-brown ink, on paper
On loan to The Met
Composition Study for the Virgin and Child with Saint Elizabeth and the Infant Saint John the Baptist
Raphael (Raffaello Sanzio or Santi)
ca. 1507
Studies of the Heads of the Three Poets (Homer, Unidentified Poet, and Dante) in the Parnassus, Stanza della Segnatura (recto); Drapery Study (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, (?) on traces of black chalk underdrawing, on paper
On loan to The Met
Studies of the Heads of the Three Poets (Homer, Unidentified Poet, and Dante) in the Parnassus, Stanza della Segnatura (recto); Drapery Study (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-12
The Virgin and Child in an Interior (The Madonna of the Pinks), Raphael (Raffaello Sanzio or Santi) Italian, Oil on wood (yew)
On loan to The Met
The Virgin and Child in an Interior (The Madonna of the Pinks)
Raphael (Raffaello Sanzio or Santi)
ca. 1506-7
The Procession to Calvary (Panel from the Predella of the Colonna Altarpiece), Raphael (Raffaello Sanzio or Santi) Italian, Oil and traces of gold on wood (probably poplar)
On loan to The Met
The Procession to Calvary (Panel from the Predella of the Colonna Altarpiece)
Raphael (Raffaello Sanzio or Santi)
ca. 1504-5
Composition Study with Workshop Assistants Posing for the Virgin and Child with Raphael, Tobias, and Saint Jerome (The Madonna del Pesce), Raphael (Raffaello Sanzio or Santi) Italian, Slightly orangeish red chalk, over underdrawing sketched in leadpoint (?) or fine black chalk, on paper
On loan to The Met
Composition Study with Workshop Assistants Posing for the Virgin and Child with Raphael, Tobias, and Saint Jerome (The Madonna del Pesce)
Raphael (Raffaello Sanzio or Santi)
ca. 1512-14
The Ecstasy of Saint Cecilia with Saints Paul, John the Evangelist, Augustine, and Mary Magdalene, Raphael (Raffaello Sanzio or Santi) Italian, Oil on canvas, transferred from wood
On loan to The Met
The Ecstasy of Saint Cecilia with Saints Paul, John the Evangelist, Augustine, and Mary Magdalene
Raphael (Raffaello Sanzio or Santi)
ca. 1515-16
Figures in Composition (Studies for Saint Paul Preaching in Athens, from the Acts of the Apostles Tapestry Series), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk, over preliminary stylus underdrawing, on paper
On loan to The Met
Figures in Composition (Studies for Saint Paul Preaching in Athens, from the Acts of the Apostles Tapestry Series)
Raphael (Raffaello Sanzio or Santi)
ca. 1515-16
Prophets and Angels (Studies for the Chigi Chapel, Santa Maria della Pace), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk on paper
On loan to The Met
Prophets and Angels (Studies for the Chigi Chapel, Santa Maria della Pace)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-1513
The Virgin and Child in a Landscape within a Circle (Study for the Madonna del Gran Duca), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, some traces of pen and brown ink(?), over preliminary stylus underdrawing, with compass-incised outlines for the tondo, stylus-indented outlines for the figures, on buff paper (now darkened)
On loan to The Met
The Virgin and Child in a Landscape within a Circle (Study for the Madonna del Gran Duca)
Raphael (Raffaello Sanzio or Santi)
ca. 1505
The Virgin (Cartoon Fragment for Giulio Romano’s Deësis), Raphael (Raffaello Sanzio or Santi) Italian, Charcoal, black chalk, highlighted with white gouache, on three fragmentary sheets glued with overlapping seams (original paper support); the paper lightly washed pale gray-beige, outlines of the figure and draperies stylus-incised for transfer; original paper support silhouetted
On loan to The Met
The Virgin (Cartoon Fragment for Giulio Romano’s Deësis)
Raphael (Raffaello Sanzio or Santi)
ca. 1519-20
Modello Drawing for the Baglioni Altarpiece (The Entombment), Raphael (Raffaello Sanzio or Santi) Italian, Pen and two hues of brown ink over black-chalk and stylus underdrawing, squared in red chalk and stylus; outlines of the head of the male bearer at extreme left pricked for transfer of the design, on paper
On loan to The Met
Modello Drawing for the Baglioni Altarpiece (The Entombment)
Raphael (Raffaello Sanzio or Santi)
ca. 1507
Bacchus with Satyr, Perugino (Pietro di Cristoforo Vannucci) Italian, Black chalk, partly reworked in pen and dark brown ink, with some brush and brown wash, highlighted with white gouache, over preliminary stylus underdrawing, on paper very lightly washed pale gray-beige
On loan to The Met
Bacchus with Satyr
Perugino (Pietro di Cristoforo Vannucci)
ca. 1495-1500
Drapery Study for Christ in the Last Judgment, Fra Bartolomeo (Bartolomeo di Paolo del Fattorino) Italian, Black chalk, charcoal, highlighted with white gouache or chalk, on paper lightly washed pale gray-beige
On loan to The Met
Drapery Study for Christ in the Last Judgment
Fra Bartolomeo (Bartolomeo di Paolo del Fattorino)
ca. 1500
Study for Saint Peter's Basilica (recto and verso), Donato d'Agnolo Bramante Italian, Red chalk, compass work, stylus-ruling, incised squaring grids (recto and verso), on paper
On loan to The Met
Study for Saint Peter's Basilica (recto and verso)
Donato d'Agnolo Bramante
1505-6
Studies for the Plan of Saint Peter’s Basilica (recto and verso), Donato d'Agnolo Bramante Italian, Pen and brown ink, brush and brown wash, with ruling in black chalk, pen and brown ink, and direct stylus-incised ruling and compass work (recto); red chalk (verso), on paper
On loan to The Met
Studies for the Plan of Saint Peter’s Basilica (recto and verso)
Donato d'Agnolo Bramante
Giuliano da Sangallo
1505-1506
The Virgin and Child with Members of the Flagellant Confraternity of Santa Maria Novella (The Madonna della Consolazione), Perugino (Pietro di Cristoforo Vannucci) Italian, Oil and tempera grassa on wood
On loan to The Met
The Virgin and Child with Members of the Flagellant Confraternity of Santa Maria Novella (The Madonna della Consolazione)
Perugino (Pietro di Cristoforo Vannucci)
ca. 1496-99
The Seated Saint Augustine with Confraternity Brothers (Gonfalone di Sant’Agostino), Pinturicchio Italian, Tempera on silk
On loan to The Met
The Seated Saint Augustine with Confraternity Brothers (Gonfalone di Sant’Agostino)
Pinturicchio
ca. 1499-1500
Portrait of the Nude Fornarina (La Fornarina), Raphael (Raffaello Sanzio or Santi) Italian, Oil on wood
On loan to The Met
Portrait of the Nude Fornarina (La Fornarina)
Raphael (Raffaello Sanzio or Santi)
Giulio Romano
ca. 1520
Standing Putto Bearing a Garland on a Curved Plaster Surface, Raphael (Raffaello Sanzio or Santi) Italian, Detached fresco fragment with a layer of surface plaster, adhered to cork and anchored to a cadorite slab with aluminum brackets
On loan to The Met
Standing Putto Bearing a Garland on a Curved Plaster Surface
Raphael (Raffaello Sanzio or Santi)
ca. 1512
Death of Francesca Pitti Tornabuoni, Andrea del Verrocchio Italian, Marble
On loan to The Met
Death of Francesca Pitti Tornabuoni
Andrea del Verrocchio
Francesco di Simone Ferrucci
ca. 1480
Portrait Medal of Bramante in Bust Length (obverse); Allegory of Architecture (Seated Woman with a Compass and T-Square) with Bramante's Design for Saint Peter's in the Background (reverse), Caradosso (Cristoforo Caradosso Foppa), Cast bronze
On loan to The Met
Portrait Medal of Bramante in Bust Length (obverse); Allegory of Architecture (Seated Woman with a Compass and T-Square) with Bramante's Design for Saint Peter's in the Background (reverse)
Caradosso (Cristoforo Caradosso Foppa)
ca. 1505
The Virgin and Child (Early Idea for the Sistine Madonna, Inspired by Michelangelo’s Bruges Madonna), Raphael (Raffaello Sanzio or Santi) Italian, Grayish black chalk
On loan to The Met
The Virgin and Child (Early Idea for the Sistine Madonna, Inspired by Michelangelo’s Bruges Madonna)
Raphael (Raffaello Sanzio or Santi)
ca. 1512-14
Three Reclining Male Nudes (Studies for the Resurrection, Chigi Chapel, Santa Maria della Pace), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk on paper
On loan to The Met
Three Reclining Male Nudes (Studies for the Resurrection, Chigi Chapel, Santa Maria della Pace)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-14
Portrait of Pope Leo X de’ Medici (Cartoon Fragment for the Figure of Pope Clement I in the Sala di Costantino), Giulio Romano Italian, Black chalk, with stumping, highlighted extensively in white chalk, outlines stylus-incised for transfer of the design; the irregular shape of the original paper support partly conformed to the silhouetting necessary for a giornata in the fresco; glued onto secondary paper support making up the losses. Original drawing surface abraded, and partial redrawing of the design by early restorers on the secondary support.
On loan to The Met
Portrait of Pope Leo X de’ Medici (Cartoon Fragment for the Figure of Pope Clement I in the Sala di Costantino)
Giulio Romano
ca. 1520
Young Woman in Half-Length, Raphael (Raffaello Sanzio or Santi) Italian, Black chalk on paper
On loan to The Met
Young Woman in Half-Length
Raphael (Raffaello Sanzio or Santi)
ca. 1503-5
The Death of Lucretia, F. R. (painter), Tin-glazed earthenware (maiolica)
On loan to The Met
The Death of Lucretia
F. R. (painter)
ca. 1525-27
The Death of Lucretia before a Concourse of Roman Citizens, Guido de Merlino Italian, Tin-glazed earthenware (maiolica)
On loan to The Met
The Death of Lucretia before a Concourse of Roman Citizens
Workshop of Guido de Merlino
ca. 1540-45
Bust of a Bearded Man (Cartoon Fragment for Joseph of Arimathea in the Altarpiece of Santa Chiara), Perugino (Pietro di Cristoforo Vannucci) Italian, Black chalk, pricked for transfer, and squared, a second piece of paper (original) joined below, irregularly cut and roughly made up above
On loan to The Met
Bust of a Bearded Man (Cartoon Fragment for Joseph of Arimathea in the Altarpiece of Santa Chiara)
Perugino (Pietro di Cristoforo Vannucci)
ca. 1495
Portrait of a Young Boy (Presumed to be a Self-Portrait), Raphael (Raffaello Sanzio or Santi) Italian, Grayish black chalk, highlighted with white (now lost), on laid paper
On loan to The Met
Portrait of a Young Boy (Presumed to be a Self-Portrait)
Raphael (Raffaello Sanzio or Santi)
ca. 1500
The Virgin and Child with a book in a Landscape; a Landscape (Sketches for the Norton Simon Madonna) (recto); Seated Infant Holding a Book (Sketch for the Christ Child in the Norton Simon Madonna) (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, over preliminary stylus underdrawing (recto); pen and brown ink, over preliminary stylus underdrawing (verso), on paper
On loan to The Met
The Virgin and Child with a book in a Landscape; a Landscape (Sketches for the Norton Simon Madonna) (recto); Seated Infant Holding a Book (Sketch for the Christ Child in the Norton Simon Madonna) (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1502-3
The Virgin and Child with the Infant Saint John the Baptist (Studies for the Madonna of the Meadow) (recto), Raphael (Raffaello Sanzio or Santi) Italian, Brush and brown wash, highlighted with white gouache (partly oxidized), over preliminary stylus underdrawing, red chalk (sketch on upper left), possibly indented for transfer (selectively on the main group of the Virgin and Child) over a faint grid marked with compass or caliper points (recto), on paper
On loan to The Met
The Virgin and Child with the Infant Saint John the Baptist (Studies for the Madonna of the Meadow) (recto)
Raphael (Raffaello Sanzio or Santi)
ca. 1506
The Virgin and Child (Study for the Madonna del Cardellino) (recto); Architectural Studies (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, over preliminary stylus underdrawing, with some traces of lead or chalk, on paper
On loan to The Met
The Virgin and Child (Study for the Madonna del Cardellino) (recto); Architectural Studies (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1505
Sketches of a Standing Infant (Study for the Christ Child in the Belle Jardinière) (recto), Sketches Including a Skeleton (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over leadpoint, on laid paper (recto); pen and brown ink over leadpoint, with red chalk (verso)
On loan to The Met
Sketches of a Standing Infant (Study for the Christ Child in the Belle Jardinière) (recto), Sketches Including a Skeleton (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1507
Studies for Saint Catherine and Various Putti, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over preliminary stylus underdrawing, possibly leadpoint and another metallic medium, on laid paper
On loan to The Met
Studies for Saint Catherine and Various Putti
Raphael (Raffaello Sanzio or Santi)
ca. 1507
Study of Four Standing Men in a Lamentatio (recto), Study of the Body of Christ in a Lamentation (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over preliminary leadpoint and stylus underdrawing, outlines pricked for transfer of the design, two horizontal axis lines in leadpoint, the lower one partly pricked; recto); pen and brown ink (verso), on paper
On loan to The Met
Study of Four Standing Men in a Lamentatio (recto), Study of the Body of Christ in a Lamentation (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1507
Figures Carrying the Body of Christ (Study for the Baglioni Altarpiece of the Entombment; The Borghese Entombment), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over black chalk and stylus underdrawing, red chalk over stylus-incised compass and ruled construction, pricked horizontal and vertical axis lines,, stylus-incised construction, later framing lines in black ink, glued onto a secondary paper support
On loan to The Met
Figures Carrying the Body of Christ (Study for the Baglioni Altarpiece of the Entombment; The Borghese Entombment)
Raphael (Raffaello Sanzio or Santi)
ca. 1506-7
Mother and Child (Study for the Madonna della Seggiola), Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint, highlighted in white gouache, on paper prepared gray; outlines stylus-incised by a later hand
On loan to The Met
Mother and Child (Study for the Madonna della Seggiola)
Raphael (Raffaello Sanzio or Santi)
ca. 1512-16
Drapery Study of a Standing Figure for the Disputa, Stanza della Segnatura (recto); Figure Studies and a Draft of a Petrarchan Sonnet (verso), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, charcoal, highlighted with white (recto); Black chalk, pen and black ink (verso)
On loan to The Met
Drapery Study of a Standing Figure for the Disputa, Stanza della Segnatura (recto); Figure Studies and a Draft of a Petrarchan Sonnet (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
Figural Studies for Minerva and Other Niche Statues in the School of Athens, Stanza de la Segnatura, Raphael (Raffaello Sanzio or Santi) Italian, Metalpoint, highlightes with wuite gouache, pink paper prepared, laid down
On loan to The Met
Figural Studies for Minerva and Other Niche Statues in the School of Athens, Stanza de la Segnatura
Raphael (Raffaello Sanzio or Santi)
ca. 1508-10
Sketch for the Figure of Theology in the Vault of the Stanza della Segnatura (recto); Composition Sketches for the Assumption of the Virgin (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over leadpoint underdrawing; (recto); pen and brown ink (verso), on paper
On loan to The Met
Sketch for the Figure of Theology in the Vault of the Stanza della Segnatura (recto); Composition Sketches for the Assumption of the Virgin (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1510
The Head of a Horse (Cartoon Fragment for the Expulsion of Heliodorus from the Temple, Stanza di Eliodoro), Raphael (Raffaello Sanzio or Santi) Italian, Charcoal, black chalk, outlines pricked for transfer of the design, on light brown discolored paper (on six sheets glued with overlapping seams, original paper support); the cropping of the right border at top and bottom possibly conforms to the shape of a giornata; heavily restored, varnished, and numerous losses made up
On loan to The Met
The Head of a Horse (Cartoon Fragment for the Expulsion of Heliodorus from the Temple, Stanza di Eliodoro)
Raphael (Raffaello Sanzio or Santi)
ca. 1512
On loan to The Met

God the Father with Cherubs (Study for the Mosaic in the Dome in the Chigi Chapel, Santa Maria del Popolo) (recto and verso)

Raphael (Raffaello Sanzio or Santi)
ca. 1515-16
The Phrygian Sibyl (Early Idea for the Chigi Chapel Frescoes, Santa Maria della Pace), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk over preliminary stylus underdrawing, some black chalk, laid down
On loan to The Met
The Phrygian Sibyl (Early Idea for the Chigi Chapel Frescoes, Santa Maria della Pace)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-13
Male Nude Figures and an Angel (Composition sketches for the Resurrection oin the Chigi Chapel, Santa Maria della Pace) (recto); A Geometrical Study (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink,over traces of stylus underdrawing; faint circle bleeding through from the verso (recto); pen and brown ink over geometric indications in compass (verso) on laid paper
On loan to The Met
Male Nude Figures and an Angel (Composition sketches for the Resurrection oin the Chigi Chapel, Santa Maria della Pace) (recto); A Geometrical Study (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-14
Seated Male Nudes (Studies for a Roman Soldier in the Resurrection, Chigi Chapel, Santa Maria della Pace) (recto), Composition Sketches for the Lower Portion of the Resurrection (verso), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, some stylus marks (recto); pen and brown ink, (verso), on off-white paper
On loan to The Met
Seated Male Nudes (Studies for a Roman Soldier in the Resurrection, Chigi Chapel, Santa Maria della Pace) (recto), Composition Sketches for the Lower Portion of the Resurrection (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-14
Reclining Male Nude with Shield and Sword (Study for a Soldier for the Resurrection, Chigi Chapel, Santa Maria della Pace), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, laid down
On loan to The Met
Reclining Male Nude with Shield and Sword (Study for a Soldier for the Resurrection, Chigi Chapel, Santa Maria della Pace)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-1514
Heads and Hands of Two Apostles (“Auxiliary Cartoon” for the Transfiguration), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk drawn freehand over pounce marks (spolvero underdrawing), traces of white gouache highlights, on laid paper
On loan to The Met
Heads and Hands of Two Apostles (“Auxiliary Cartoon” for the Transfiguration)
Raphael (Raffaello Sanzio or Santi)
ca. 1519-20
Two Male Nudes Drawn from the Same Model (Study the Battle of the Milvian Bridge, Sala di Costantino) (recto), Two Studies of an Elderly Man (verso; not by Raphael), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, highlighted with white gouache, over preliminary stylus underdrawing, with slight retouching of contours (recto); black chalk, some contours reinforced in pen and brown ink (verso)
On loan to The Met
Two Male Nudes Drawn from the Same Model (Study the Battle of the Milvian Bridge, Sala di Costantino) (recto), Two Studies of an Elderly Man (verso; not by Raphael)
Raphael (Raffaello Sanzio or Santi)
ca. 1519-20
Study for the Leaning Male Figure on the Right Foreground in the Disputa, Stanza della Segnatura; Draft of a Petrarchan Sonnet; an Interlaced Monogram with “M” (recto); Two Further Studies for the Same Figure (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over preliminary stylus underdrawing on cream colored paper, some stylus-ruled lines, monogram in black chalk (recto); pen and brown ink over preliminary stylus underdrawing, some stylus-ruled lines (verso)
On loan to The Met
Study for the Leaning Male Figure on the Right Foreground in the Disputa, Stanza della Segnatura; Draft of a Petrarchan Sonnet; an Interlaced Monogram with “M” (recto); Two Further Studies for the Same Figure (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1509-11
The Virgin and Child (Cartoon for the Tempi Madonna), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, charcoal, highlighted with white gouache, with preliminary stylus underdrawing by the artist and some outlines of the design pricked for transfer of the design; originally on six fragmentary glued sheets of off-white paper; retouched by early modern restorers; matted onto cardboard, glued onto canvas, glued onto further cardboard.
On loan to The Met
The Virgin and Child (Cartoon for the Tempi Madonna)
Raphael (Raffaello Sanzio or Santi)
ca. 1507
Saint Paul in Prison, Pieter van Aelst Flemish, Warp: wool, 72-74 per dm; weft: wool, 20-22 per cm; silk, 21-23 per cm; gilt-metal-wrapped thread, 20-22 per cm
On loan to The Met
Saint Paul in Prison
Workshop of, or for Pieter van Aelst
ca. 1517-21
The Annunciation; The Adoration of the Magi; The Circumcision (Predella Panel of the Oddi Altarpiece), Raphael (Raffaello Sanzio or Santi) Italian, Tempera grassa on poplar wood
On loan to The Met
The Annunciation; The Adoration of the Magi; The Circumcision (Predella Panel of the Oddi Altarpiece)
Raphael (Raffaello Sanzio or Santi)
ca. 1503-4
Saint Augustine with Members of an Augustinian Confraternity, Perugino (Pietro di Cristoforo Vannucci) Italian, Oil on wood
On loan to The Met
Saint Augustine with Members of an Augustinian Confraternity
Perugino (Pietro di Cristoforo Vannucci)
ca. 1500
The Adoration of the Magi (Full-Scale Composition Study for the Central Scene in the Predella of the Oddi Altarpiece), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink over extensive preliminary stylus and leadpoint underdrawing, pen and brown ink (recto); partly blackened with charcoal or black chalk (verso)
On loan to The Met
The Adoration of the Magi (Full-Scale Composition Study for the Central Scene in the Predella of the Oddi Altarpiece)
Raphael (Raffaello Sanzio or Santi)
ca. 1503-4
The Annunciation (recto); Coronation of the Virgin Adored by Angels (verso), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, pen and brown ink, over preliminary stylus underdrawing (recto); pen and brown ink (verso), on cream-colored, laid paper
On loan to The Met
The Annunciation (recto); Coronation of the Virgin Adored by Angels (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1506-10
The Virgin and Child in a Landscape (The Northbrook Madonna), Timoteo Viti Italian, Oil on wood
On loan to The Met
The Virgin and Child in a Landscape (The Northbrook Madonna)
Timoteo Viti
Raphael (Raffaello Sanzio or Santi)
ca. 1504-5
The Holy Family with Young Saint John the Baptist and Figure in a Landscape, Raphael (Raffaello Sanzio or Santi) Italian, Two hues of metalpoint (one being leadpoint), some pen and brown ink, highlighted with white gouache, on paper prepared pinkish buff
On loan to The Met
The Holy Family with Young Saint John the Baptist and Figure in a Landscape
Raphael (Raffaello Sanzio or Santi)
ca. 1510
The Head of the Muse Polyhymnia (“Auxiliary Cartoon” for the Parnassus, Stanza della Segnatura), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk drawn freehand over pounce marks (spolvero underdrawing), traces of stylus underdrawing, and partly unrelated design in pounce marks (spolvero)
On loan to The Met
The Head of the Muse Polyhymnia (“Auxiliary Cartoon” for the Parnassus, Stanza della Segnatura)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-12
The Head of an Apostle (“Auxiliary Cartoon” for the Transfiguration), Raphael (Raffaello Sanzio or Santi) Italian, Black chalk, drawn freehand over pounce marks (spolvero underdrawing)
On loan to The Met
The Head of an Apostle (“Auxiliary Cartoon” for the Transfiguration)
Raphael (Raffaello Sanzio or Santi)
ca. 1519-20
Two Soldiers on Horseback and A Soldier on Foot (Study for the Conversion of Saul from the Acts of the Apostles Tapestry Series), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk over preliminary stylus underdrawing on paper; corner losses of original paper support integrated
On loan to The Met
Two Soldiers on Horseback and A Soldier on Foot (Study for the Conversion of Saul from the Acts of the Apostles Tapestry Series)
Raphael (Raffaello Sanzio or Santi)
ca. 1515-16
Head of a Child (Study for the Christ Child in the Ansidei Altarpiece) (recto); Design for an Oil Lamp or Incense Burner (verso), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk, over preliminary stylus underdrawing
On loan to The Met
Head of a Child (Study for the Christ Child in the Ansidei Altarpiece) (recto); Design for an Oil Lamp or Incense Burner (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1505
La vita e le gesta di Federico di Montefeltro, Duca di Urbino, Giovanni Santi Italian, Parchment bining, unfinished manuscript of 346 folios in 36 quires (or gatherings); Pen and brown ink, over leadpoint ruling
On loan to The Met
La vita e le gesta di Federico di Montefeltro, Duca di Urbino
Giovanni Santi
ca. 1482-1494
The Central Episode of the Bathers in The Battle of Cascina, after Michelangelo’s Cartoon, Aristotile da Sangallo Italian, Oil (grisaille) on poplar wood
On loan to The Met
The Central Episode of the Bathers in The Battle of Cascina, after Michelangelo’s Cartoon
Aristotile da Sangallo
ca. 1542
Portrait of Valerio Belli, Raphael (Raffaello Sanzio or Santi) Italian, Oil on wood
On loan to The Met
Portrait of Valerio Belli
Raphael (Raffaello Sanzio or Santi)
1517
Study for a Kneeling Woman in the Foreground of the Transfiguration;Unrelated Design of a Cornice in Profile, Raphael (Raffaello Sanzio or Santi) Italian, Soft black chalk, charcoal, highlighted in brush and white gouache, some reworking of dark shadows in brush and diluted black chalk and stylus incisions to correct contours, over partial pounce marks, on off-white paper washed light grayish brown (figures); pen and grayish brown ink with ruling; verso is blank and severely abraded (cornice)
On loan to The Met
Study for a Kneeling Woman in the Foreground of the Transfiguration;Unrelated Design of a Cornice in Profile
Raphael (Raffaello Sanzio or Santi)
ca. 1519-20
Pope Sylvester I in a Sedia Gestatoria and Saint Helen (Modello Drawing for the Donation of Constantine, Sala di Costantino), Giulio Romano Italian, Pen and two hues of brown ink, brush and brown wash, highlighted with white gouache, over leadpoint and grayish blaack-chalk underdrawing; pinpricks for measurements, ruling in pen and ink, and stylus construction; some pounce marks (spolvero underdrawing) in some architectural motifs; on two sheets of paper glued with overlapping seams (original paper support)
On loan to The Met
Pope Sylvester I in a Sedia Gestatoria and Saint Helen (Modello Drawing for the Donation of Constantine, Sala di Costantino)
Giulio Romano
ca. 1520-24
Fasciculus medicinae, Johannes de Ketham German, Book with woodcut and hand-colored illustrations in watercolor and gouache; dark brown calf's-leather binding
On loan to The Met
Fasciculus medicinae
Johannes de Ketham
1491
The Ideal City (Città Ideale), Central Italian artist for an Urbino patron Italian, Oil and tempera on panel
On loan to The Met
The Ideal City (Città Ideale)
Central Italian artist for an Urbino patron
ca. 1475-90
The Virgin and Child with Angels (The Madonna of the Candelabra), Raphael (Raffaello Sanzio or Santi) Italian, Oil on poplar wood (two members; thickness reduced, panel cradled, size cut down)
On loan to The Met
The Virgin and Child with Angels (The Madonna of the Candelabra)
Raphael (Raffaello Sanzio or Santi)
Giulio Romano
ca. 1514-16
The Entablature of the Pantheon (recto); Architectural Details of the Window Zone of the Pantheon (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, traces of black chalk (recto); pen and brown ink, red chalk (verso)
On loan to The Met
The Entablature of the Pantheon (recto); Architectural Details of the Window Zone of the Pantheon (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1512-15
View of the Palazzo Caprini from a Corner; Detail of the Opening of One Bay, Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink, over leadpoint or black chalk, some ruling and compass work
On loan to The Met
View of the Palazzo Caprini from a Corner; Detail of the Opening of One Bay
Collaborator of Raphael (Raffaello Sanzio or Santi)
ca. 1510-50
Study for a Standing Figure of a Poet (Horace?) in the Parnassus, Stanza della Segnatura (recto); Studies of Hands and Drapery (verso), Raphael (Raffaello Sanzio or Santi) Italian, Pen and brown ink
On loan to The Met
Study for a Standing Figure of a Poet (Horace?) in the Parnassus, Stanza della Segnatura (recto); Studies of Hands and Drapery (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-12
A Green Parrot and Small Sketches of Parrots and Mantids (recto); Studies of Parrots and Other Birds (verso), Giovanni da Udine (Giovanni dei Ricamatori) Italian, Brush and color gouache over red-chalk underdrawing (parrots), oen and dark brown ink over black-chalk underdrawing (small sketches) (recto and verso)
On loan to The Met
A Green Parrot and Small Sketches of Parrots and Mantids (recto); Studies of Parrots and Other Birds (verso)
Giovanni da Udine (Giovanni dei Ricamatori)
ca. 1515-18
Saint Paul and Saint Barnabas at Lystra (from the Second Edition of the Acts of the Apostles Tapestry Series), Jan van Tieghem Flemish, Wap: wool, 7-8 per cm; weft: wool and silk, lined on the reverse, 34-38 per cm
On loan to The Met
Saint Paul and Saint Barnabas at Lystra (from the Second Edition of the Acts of the Apostles Tapestry Series)
Jan van Tieghem
Frans Gheteels
after Raphael (Raffaello Sanzio or Santi)
Late 1540s or early 1550s
Sagrestia, Libro delle Cere, Libro di Entrate e Uscite, Parchment binding. Manuscript on paper, fols.
On loan to The Met
Sagrestia, Libro delle Cere, Libro di Entrate e Uscite
1485-97 (fols. 1r-58r); 1520-21 (fols. 59r-76r)
Study of Two Nude Seated Male Figures for the Transfiguration (St. Andrew and Another Apostle), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk over preliminary stylus underdrawing
On loan to The Met
Study of Two Nude Seated Male Figures for the Transfiguration (St. Andrew and Another Apostle)
Raphael (Raffaello Sanzio or Santi)
ca. 1518-1519
The Miraculous Draft of the Fishes (from the Second Edition of the Acts of the Apostles Tapestry Series), Jan van Tieghem Flemish, Warp: wool, 7-8 per cm; weft: wool and silk, lined on the reverse, 34-38 per cm
On loan to The Met
The Miraculous Draft of the Fishes (from the Second Edition of the Acts of the Apostles Tapestry Series)
Jan van Tieghem
Frans Gheteels
after Raphael (Raffaello Sanzio or Santi)
Late 1540s or early 1550s
Christ’s Charge to Peter (from the Second Edition of the Acts of the Apostles Tapetry Series), Jan van Tieghem Flemish, Wap: wool, 7-8 per cm; weft: wool and silk, lined on the reverse, 34-38 per cm
On loan to The Met
Christ’s Charge to Peter (from the Second Edition of the Acts of the Apostles Tapetry Series)
Jan van Tieghem
Frans Gheteels
after Raphael (Raffaello Sanzio or Santi)
Late 1540s or early 1550s
Head of a Soldier (Cartoon Fragment for the Resurrection, Scuola Nuova Tapestry Series), Giulio Romano Italian, Brush and color gouache on paper, mounted on canvas
On loan to The Met
Head of a Soldier (Cartoon Fragment for the Resurrection, Scuola Nuova Tapestry Series)
Giulio Romano
ca. 1521-23
On loan to The Met
Processional Banner of the Confraternity of the Santissima Trinità, Città di Castello: The Holy Trinity with Saints Sebastian and Roch (obverse); The Creation of Eve (reverse)
Raphael (Raffaello Sanzio or Santi)
ca. 1497-99
Study for Seated Apostle in the Transfiguration (recto); Sketches for the Plan of Saint Peter's (verso), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk, over preliminary stylus underdrawing and squaring in stylus (recto); red chalk, pen and brown ink (verso)
On loan to The Met
Study for Seated Apostle in the Transfiguration (recto); Sketches for the Plan of Saint Peter's (verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1518-19
Flying Angel (Study for the Chigi Chapel, Santa Maria della Pace), Raphael (Raffaello Sanzio or Santi) Italian, Red chalk over preliminary stylus underdrawing
On loan to The Met
Flying Angel (Study for the Chigi Chapel, Santa Maria della Pace)
Raphael (Raffaello Sanzio or Santi)
ca. 1511-13
On loan to The Met
Studies for a Landscape (Sketches for the Norton Simon Madonna) (recto and verso)
Raphael (Raffaello Sanzio or Santi)
ca. 1502-3
A Giant Crushed beneath A Rock (Study for the Fall of the Giants in the Sala dei Giganti, Palazzo Te, Mantua), Giulio Romano Italian, Black chalk, pen and brown ink, brown wash, heightened with white gouache, original support made up toward the left of the design
On loan to The Met
A Giant Crushed beneath A Rock (Study for the Fall of the Giants in the Sala dei Giganti, Palazzo Te, Mantua)
Giulio Romano
ca. 1532–34
Commemorative Medal with the Portrait of Pope Julius II (obverse); Bramante's Project for Saint Peter's Basilica(reverse), Caradosso (Cristoforo Caradosso Foppa), Copper alloy (cast)
On loan to The Met
Commemorative Medal with the Portrait of Pope Julius II (obverse); Bramante's Project for Saint Peter's Basilica(reverse)
Caradosso (Cristoforo Caradosso Foppa)
1506
Copy after Leonardo’s Standing Leda and the Swan, Sixteenth-century Lombard Artists near Cesare da Sesto, Oil and tempera grassa on poplar wood
On loan to The Met
Copy after Leonardo’s Standing Leda and the Swan
Sixteenth-century Lombard Artists near Cesare da Sesto
ca. 1515-1530