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cradle his hand. Raphael's attention to detail is displayed in the lame man's face. The shadowing and tones used create the look of an aged, tired man. The wrinkles in his face and his eyes display the pain he is feeling. The lines used in the creation of his legs and feet define muscular legs and impaired feet. All of this artistic detail reinforces the fact that the lame man spent many years lying and crawling on the ground impaired by his handicap. In contrast, Peter stands clutching his hand while praying over him. The details in Peter's face and expression reinforce his concern. The rendering of the clothing is exceptional. It gives the appearance of creased material that can be felt. Furthermore, the detail of each individual's hair enables the viewer to detect exactly how their hair would appear in person.
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this, Ananias steals from the church by stealing some of the money. When questioned by Peter, Ananias denies any wrong doing. Ananias drops dead. He was punished for his sins of stealing and lying. Raphael once again applies the skill of chiaroscuro to illustrate this tapestry. His use of tones and shading help place lighting and shadows to specific areas of this artwork. The use of implied lines is demonstrated with the man standing over
Ananias pointing to another individual who is pointing up, as if he is pointing to God. This implies that God can help him. The group of men on the right appears concerned with Ananias and wants to help. On the other hand, the men to the left seem frightened.
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1973:
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1981:
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attention and welcoming them into the message. Raphael's detail on each individual's face easily reveals their thoughts and feelings regarding Paul. Paul's clothing and the council's clothing include brightly colored robes gracefully wrapped around them. The lines, colors and shading used on the ground give the appearance of a cold marble floor.
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to
Christianity is illustrated through this tapestry. Raphael utilizes tone and shading to convey different levels of light. He has created a different colored robe for each man. This helps them stand out from the crowd. The different amounts of coating, creates texture throughout the tapestry and images appear more lifelike.
320:. There were relatively few precedents for these subjects, so Raphael was less constrained by traditional iconographic expectations than he would have been with a series on the life of Christ or Mary. He no doubt received some advice or instructions in choosing the scenes to depict. The scenes from the
601:
messengers. The foremost character in this scene is a citizen ready to partake in the sacrifice. He wields an axe above his head ready to execute the ox. Raphael's focus on this man's face expresses his determination in the situation. Raphael's use of line, shading and toning reveal his muscular form.
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drawing. All
Raimondi and Veneziano's prints of Raphael's designs in Raphael's lifetime were based on drawings, according to both Landau and Pons. Raimondi himself engraved one of the set, which were presumably all produced around 1516, so that even many in the Roman art world may have seen prints of
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This tapestry illustrates the story written in Acts 17:16–34. It illustrates Paul preaching to Athens's judicial council. Paul explains
Christianity and the importance of knowing God. The viewer can feel Paul's excitement of sharing his message. His arms are stretched out to the crowd, grabbing their
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Acts 14:8 influenced this tapestry. It represents the story of how Paul and
Barnabas were mistaken for the Gods, Mercury and Jupiter, after Paul healed a lame man. The townspeople of Lystra wanted to offer sacrifices to them. Paul was dismayed and proceeded to convince the crowd that they were God's
573:
The incredible story of Peter healing the lame man, Acts 3:1–8 is a tapestry within
Raphael's Cartoon collection. This miracle illustrates the "spiritual healing of Jesus." Pictured is the lame man sitting and leaning against an intricately detailed column with his arm reaching overhead for Peter to
555:
This cartoon depicts Christ telling Peter and the
Apostles where to cast their net. This resulted in the "miraculous catch." Within the design, Peter is pictured bowing before Christ as if thanking him for the harvest full bounty that was caught. Raphael's exquisite attention to details are shown in
242:
have acquired tapestries and recreated sections to complete a full set, now usually displayed in a gallery, but sometimes moved to the
Sistine Chapel for special occasions. They were displayed in the chapel for a week in February 2020, to mark the 500th anniversary of Raphael's death. Their layout
142:
only two years before, and took great care perfecting his designs, which are among his largest and most complicated. Originally the set was intended to include 16 tapestries. Raphael was paid twice by Leo, in June 1515 and
December 1516, the last payment apparently being upon completion of the work.
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and his workshop. Raphael made many drawings solely as designs for prints, and the workshop made a large number of prints, apparently working always from drawings rather than the finished work, of
Raphael's paintings in the Vatican and elsewhere; the tapestry designs were no exception. These prints
802:
and others, as they would no longer be accessible to the public (Hampton Court had long been open to visitors). They had been greatly studied by artists and cognoscenti alike whilst at Hampton Court, and played a crucial role in forming English expectations of a monumental style of painting; one of
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in 1699, specially to contain them. By this date, the prestige of tapestries in general was beginning to wane, and those of the early sets that had survived were probably already rather faded and dirty. From this point on, the cartoons became regarded as the most authentic and attractive expression
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This tapestry depicts the story written in Acts 13:6–12. Elymas tries to keep Paul and Barnabas from converting others to Christianity. Elymas suffers temporary blindness for this action. Observing and experiencing this event, leads the proconsul to conversion. Paul's overall goal to convert others
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Raphael's tapestry expertly illustrates the story of Acts 5:1–10. This could also be named the miracles of Peter. This artwork explains the story of how Peter is capable of punishing and saving others. The Apostles requested that the Christian followers sell their items and tithe the money. During
187:
The cartoons are all slightly over 3 m (9 feet 10 inches) tall, and from 3 to 5 m (9 feet 10 inches to 16 feet 5 inches) wide, with the figures being over-lifesize. The cartoons are mirror-images of the finished tapestries, which were worked from behind. Raphael's workshop would have
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Raphael knew that the final product of his work would be produced by craftsmen rendering his design in another medium; his efforts are therefore entirely concentrated on strong compositions and broad effects, rather than felicitous handling or detail. It was partly this that made the designs so
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process would also reverse the direction of the composition, this almost certainly means it was deliberately reversed compared to the detailed preparatory drawing in the Royal Collection on which it was based (see above; the two agree in all details), probably by taking a counterprint from the
564:
Within this tapestry Raphael combines the two Bible stories of Matthew 16:18–19. Raphael portrays Christ commanding Peter to share the Gospel for him. Christ points at Peter while simultaneously pointing at the sheep. This creates a connection for Peter. He is chosen as the shepherd for the
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After the cartoons were reassembled at the end of the 17th century, by which time printmakers were well accustomed to copying direct from large paintings, they became the dominant source of new print copies. By the 18th century many different print versions were in circulation, of varying
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this tapestry in how there is a mirror image of the artwork reflected in the water. There is a great use of foreshortening. His use of perspective in the distant background is used effectively. Raphael demonstrates an excellent use of tones in the forefront of the image.
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illustrating the Bible, from around the end of the century, used some of the compositions, slightly increasing the height, and elaborating them. These were much used and copied in popular books, further widening the knowledge of the designs to a much larger audience.
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believers. Raphael utilizes foreshortening to help viewers focus on the main images and message of the cartoon. He effortlessly implements chiaroscuro. The use of colors to show different lighting illustrates where the sun is in relation to the characters.
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Cartoons were sometimes returned with tapestries to the commissioner, but this clearly did not happen here, perhaps because of the death of Leo. This allowed four other recorded sets to be made later in Brussels, all of nine tapestries, missing the small
188:
assisted in the completion of the cartoons which were finished with great care. The cartoons show a much greater range of colours and more subtle gradation than could be reproduced in a tapestry. Some small preparatory drawings also survive: one for
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The tapestries had very wide and elaborate borders, also designed by Raphael, which these cartoons omit; presumably they had their own cartoons. Some of the side borders are separate pieces. The borders included ornamentation in an imitation of
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In 1804 they were returned to Hampton Court, where in 1858 they were photographed for the first time by Charles Thompson Thurston, having been taken out into the courtyard and placed upside down on special scaffolding. In 1865 Queen
713:, paying £500 each, but was well aware of their artistic significance. They had been cut into long vertical strips a yard wide, as was required for use on low-warp tapestry looms, and were only permanently rejoined in the 1690s at
469:(both standing left) as gods, and want to make a sacrifice to them. Paul tears his garments in disgust, whilst Barnabas speaks to the crowd, persuading the young man at centre to restrain the man with the sacrificial axe.
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himself, and was probably too busy to want to learn the techniques, but he was the most successful of the Italians in spreading his fame through prints, through his much debated relationship with the engraver
308:. As was usual, the completed tapestries reverse are a mirror image of the cartoon designs. The programme emphasised a number of points relevant to contemporary controversies in the period just before the
254:, who borrowed heavily from them and "indeed exaggerated Raphael's style; or rather concentrated it, for he was working on a much smaller scale". Thereafter they remained the touchstone of one approach to
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300 for them, a price that suggests they were regarded as working designs rather than works of art in their own right. Charles had in fact intended to make further tapestries from them at the
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of Raphael's conceptions. European taste had also moved in their favour; their dignified classicism was very much in tune with a movement away from the more frenzied versions of the
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Tapestries retained their Late Gothic prestige during the Renaissance. Raphael was paid a total of 1,000 ducats. Most of the expense was in the manufacture, with the creation of the
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1047:, p. 108 believed they were entirely executed by Penni, one of Raphael's studio, but Jones and Penny and most writers now believe Raphael did much of the painting himself.
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on the left. Including the three subjects with no surviving cartoons, the set contains (the full scriptural quotations and a commentary are on the V&A website):
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and are hung (on special occasions) below the frescoes of the Life of Christ and the Life of Moses commissioned by Pope Sextus. The cartoons belong to the British
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126:. Admiration of them reached its highest pitch in the 18th and 19th centuries; they were described as "the Parthenon sculptures of modern art".
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in the borders. Dussler describes these as "in better condition than the series in the Vatican". A set woven around 1550 that joined the
2007:
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970:, dated 1518. The da Carpi woodcut is often cited in studies of the complex question of early image copyright, as it bears (in its first
238:. As they were made with both gold and silver thread, some were burnt by soldiers during the attack to extract the precious metals. The
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204:. There would have been other drawings for all the subjects, which have been lost; it was from these that the first prints were made.
930:. This was probably made even before that tapestry was woven. The composition is in the same direction as the tapestry, but since the
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Several other sets were made in Mortlake; Cleyn had made copies of the designs, and these were used. Charles I's set was bought by
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in London, where they are still to be seen in a specially designed gallery. There are also copies at many locations, including
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216:, as well as scenes from the life of Leo. They were themselves very influential, and sometimes used for other tapestries.
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In the early 16th century many Italian artists learnt the lesson of the huge, and very rapid, international prestige that
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medium on many sheets of paper glued together (as can be seen in the full-size illustrations). They are now mounted on a
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are displayed in the Cartoon Gallery. The Royal Collection also has a set of the tapestries. A set of copies painted by
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around the chapel is a matter of discussion among scholars, as there is no record of what was originally intended.
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475:(no cartoon), much smaller than the others, tall and narrow. This is also missing from the later tapestry sets.
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showed subjects from the life of Leo, also designed to complement the other series. Each sequence begins at the
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Rather oddly, both Jones and Penny and Grove Art say, wrongly, that the V&A have eight of the ten cartoons.
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for anyone breaching the latter. Apart from other straightforward copies of the prints from the Raimondi set,
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1516:"Christ's Charge to Peter (Matthew 16: 18–19, John 21: 15–17) | Raphael | V&A Explore The Collections"
1397:
650:, eventually Henry's set ended up in Berlin, where it was destroyed by a fire at the end of World War II.
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Raphael's Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel
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481:(Acts 17:16–34), the figure standing at the left in a red cap is a portrait of Leo; next to him is
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that is, rubbing a piece of paper against the print, so that a faint reversed image is transferred
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The tapestries rivalled Michelangelo's ceiling as the most famous and influential designs of the
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the great preoccupations of English art in the 18th century. These were often mentioned in the
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effective when later reproduced in reduced print versions. The cartoons are painted in a glue
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1594:"The Conversion of the Proconsul (Acts 13: 6–12) | Raphael | V&A Explore The Collections"
1490:"The Miraculous Draught of Fishes (Luke 5: 1–11) | Raphael | V&A Explore The Collections"
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974:) a Latin inscription beneath the image claiming "copyright"-style privileges from both the
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themselves were very widely copied by other printmakers, and spread rapidly through Europe.
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1860:"Raffael – Macht der Bilder; Die Tapisserien und ihre Wirkung", Gemäldegalerie Alte Meister
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Dussler analysus each design, and its textual basis and relationship to earlier depictions.
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1781:"Thornhill Copies of Raphael's Tapestry Cartoons To Go on Display at Columbia University"
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backing and are in general in very good condition apart from some fading of the colours.
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452:", whom Paul miraculously causes to go temporarily blind, thus converting the proconsul.
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The Image Multiplied; Five centuries of printed reproductions of paintings and drawings
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1646:"Paul Preaching at Athens (Acts 17: 16–34) | Raphael | V&A Explore The Collections"
1542:"The Healing of the Lame Man (Acts 3: 1–8) | Raphael | V&A Explore The Collections"
1398:"The triumphant – but temporary – return of Raphael's tapestries to the Sistine Chapel"
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Agostino's engraving was rapidly copied in another well-known version, a four-colour
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1620:"The Sacrifice at Lystra (Act 14: 8–18) | Raphael | V&A Explore The Collections"
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Raphael, Dürer, and Marcantonio Raimondi, Copying and the Italian Renaissance Print
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did a typically individual print version of one design from the set in about 1530.
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and Hampton Court Palace, where the copies painted in the 1690s by an artist named
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485:, a Greek scholar in Rome. The kneeling couple at the right were probably added by
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1568:"The Death of Ananias (Acts 5: 1–5) | Raphael | V&A Explore The Collections"
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783:. The fame of the cartoons, as opposed to the designs in general, grew rapidly.
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2014:
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The earliest datable print after one of the designs is an engraving of 1516 by
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2004:
Raphael, A Critical Catalogue of his Pictures, Wall-Paintings & Tapestries
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227:. The first delivery was in 1517, and seven were displayed in the Chapel for
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733:. The fate of the other three cartoons from the set is unknown; that for the
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381:(Matthew 16:16–19) The key moment in the Gospels for the claims of the Papacy
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until at least the early 19th century – the Raphael whose influence the
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in 1519 (then as now, their display was reserved for special occasions).
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1885:, especially Chapters 1,3 and 4. There is also extensive discussion in
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near London, which he did, with new baroque borders by their designer
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Raphael was highly conscious that his work would be seen beneath the
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Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola
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1170:. "Introduction". New York: Metropolitan Museum of Art. (quoted in:
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461:(Acts 14:8). After Paul miraculously cures a cripple, the people of
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and others in the middle register of the Chapel; opposite them, the
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wanted to reject was perhaps above all the Raphael of the cartoons.
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1313:"Raphael (Urbino 1483-Rome 1520) – The Conversion of the Proconsul"
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Charles' original Mortlake set now belongs to the French Government
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220:
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The cartoons were probably completed in 1516 and were then sent to
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2115:. New York: The Metropolitan Museum of Art / H.N. Abrams. p.
1930:
646:. After being sold in 1649 in the dispersion of the collection of
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The Art of Italy in the Royal Collection; Renaissance and Baroque
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The Old Cheque-book, Or, Book of Remembrance, of the Chapel Royal
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Henry VIII and the Art of Majesty: Tapestries at the Tudor Court
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1806:"The Blinding of Elymas | Sir James Thornhill (1675/76 – 1734)"
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wedding of Princess Elizabeth and Frederick V of the Palatinate
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317:
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The Raphael Cartoons represent scenes from the lives of Saints
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Oppé, A. Paul (1944). "Right and Left in Raphael's Cartoons".
604:
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1942:
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1109:(September 1958). "Raphael's Tapestries and Their Cartoons".
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and others have sets. A set of six tapestries is now in the
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decided that the cartoons should be exhibited on loan at the
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432:(Acts 13:6–12). Paul had been invited to preach to the Roman
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223:, where the Vatican tapestries were woven by the workshop of
148:
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The Raphael Tapestry Cartoons: Narrative, Decoration, Design
1207:
118:, and were well known to all artists of the Renaissance and
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1974:"Peter and John Healing the Lame Man at the Beautiful Gate"
1197:
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717:. In Charles' day these were stored in wooden boxes in the
568:
2290:
909:, and set out to emulate him. Raphael had no knowledge of
2207:. London: Duckworth. sections 98–101 cover the cartoons.
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1388:, Metropolitan Museum blog, 27 May 2014, by Sarah Mallory
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the designs before they saw the tapestries themselves.
1290:(analysis of this aspect of the cartoons and tapestries)
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75:, surviving from a set of ten cartoons, designed by the
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Paintings in the Royal Collection of the United Kingdom
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Raphael: Cartoons and Tapestries for the Sistine Chapel
2183:. London: Scala Books / Victoria & Albert Museum.
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some time in the following decades now belongs to the
595:
2137:– via The Metropolitan Museum of Art Libraries.
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moved them to the newly bought Buckingham House (now
577:
409:(no cartoon) at which Paul (Saul) was present before
250:, but the great period of their influence began with
1864:
1747:. Cassell and Company – via Project Gutenberg.
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The seven cartoons now in London were bought from a
638:, and on 14 February 1613 to decorate the chapel of
1954:
1705:"I cartoni di Raffaello e le altre serie di arazzi"
1650:
Victoria and Albert Museum: Explore the Collections
1624:
Victoria and Albert Museum: Explore the Collections
1598:
Victoria and Albert Museum: Explore the Collections
1572:
Victoria and Albert Museum: Explore the Collections
1546:
Victoria and Albert Museum: Explore the Collections
1520:
Victoria and Albert Museum: Explore the Collections
1494:
Victoria and Albert Museum: Explore the Collections
1174:"Tapestry in the Renaissance, Art and Magnificence"
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1145:
958:, before 1520. Copied from a preparatory drawing.
3293:Portrait of Andrea Navagero and Agostino Beazzano
2158:Tapestry in the Renaissance: Art and Magnificence
1168:Tapestry in the Renaissance: Art and Magnificence
897:, 1518 (state without the copyright inscription).
312:, but especially the entrusting of the Church to
5118:
2281:Raphael Cartoons Royal Collection Web Exhibition
613:
129:
2035:
1719:
1299:
1258:Journal of the Warburg and Courtauld Institutes
1148:Classic Art; An Introduction to the Renaissance
4177:The Fall and Expulsion from the Garden of Eden
2061:
1948:
1936:
1898:
1886:
587:The Conversion of the Proconsul (Acts 13:6–12)
551:The Miraculous Draught of Fishes (Luke 5:1–11)
4499:
3991:
3977:
2306:
2113:The Vatican: Spirit and Art of Christian Rome
2008:online section on the cartoons and tapestries
1255:
1778:
850:, and now belongs to the French government.
665:in the early 16th century, with the arms of
234:The tapestries were partly destroyed in the
5152:Paintings in the Victoria and Albert Museum
3798:(1507–1520) (continued by other architects)
3586:The Expulsion of Heliodorus from the Temple
2217:– via Australian National University.
1443:. Archived from the original on 15 May 2011
877:
657:had another of similar date, now lost. The
605:St Paul Preaching at Athens (Acts 17:16–34)
560:Christ's Charge to Peter (Matthew 16:16–19)
4604:Great Tapestry of Scotland: People's Panel
4506:
4492:
4355:Restoration of the Sistine Chapel frescoes
3984:
3970:
2313:
2299:
2194:
2106:
2012:
1475:
1414:
1213:
1201:
4154:The Creation of the Sun, Moon, and Plants
3510:Portrait of Pope Leo X with Two Cardinals
2141:Browne, Clare; Evans, Mark, eds. (2010).
661:has a set, made in Brussels for Cardinal
494:The subjects missing from the cartoon set
192:is also in the Royal Collection, and the
2160:. New York: Metropolitan Museum of Art.
2036:Whitaker, Lucy; Clayton, Martin (2007).
1740:
1143:
1044:
942:
881:
747:
721:. They were one of the few items in the
569:The Healing of the Lame Man (Acts 3:1–8)
545:
289:
279:
269:
166:
153:
52:
45:A rare display of the tapestries in the
40:
30:
20:
3602:The Meeting of Leo the Great and Attila
3021:Portrait of Cardinal Alessandro Farnese
2062:Landau, David; Parshall, Peter (1996).
1171:
246:The Raphael's cartoons were revered by
5119:
4646:Hunting of Birds with a Hawk and a Bow
1386:"Living on the Edge: Tapestry Borders"
171:The same scene in the Vatican tapestry
95:. The tapestries show scenes from the
4487:
4147:The Separation of Light from Darkness
3965:
2786:Portrait of Guidobaldo da Montefeltro
2612:Portrait of Emilia Pia da Montefeltro
2294:
1693:(London: Camden Society, 1872) p. 163
4658:The Justice of Trajan and Herkinbald
3270:Christ Falling on the Way to Calvary
1367:from a slightly later set of 1545–57
1172:Horsley, Carter B. (14 April 2002).
752:Engraving of the Cartoon Gallery at
359:on the right side of the Chapel and
122:through reproduction in the form of
4040:The Punishment of the Sons of Korah
2919:Portrait of a Young Woman (La Muta)
2756:Madonna with Beardless Saint Joseph
2256:"The story of the Raphael Cartoons"
2080:
1960:
1882:
1870:
1400:, by Susan Moor, 28 February 2020,
774:to design the "Cartoon Gallery" at
596:The Sacrifice at Lystra (Acts 14:8)
13:
4723:Scottish royal tapestry collection
3255:Portrait of Baldassare Castiglione
2100:
1643:
1617:
1591:
1565:
1539:
1513:
1487:
1043:V&A website on the colouring.
839:since 1959, and another is in the
745:in 1521, and of his heir in 1526.
737:was recorded in the collection of
630:in 1542. These tapestries were at
578:The Death of Ananias (Acts 5:1–10)
107:but since 1865 are on loan to the
18:Cartoons for tapestries by Raphael
14:
5203:
4573:Christ in Glory in the Tetramorph
3570:Disputation of the Holy Sacrament
2274:
2107:Barcellona, Maria Donati (1982).
2040:. Royal Collection Publications.
1779:Knubel, Fred (1 September 1996).
1338:"Saint Paul Rending His Garments"
83:in 1515–16, commissioned by Pope
4772:
4757:Walsall Silver Thread Tapestries
4466:
4454:
4160:The Separation of Land and Water
4056:
3578:Cardinal and Theological Virtues
1761:. London: Trefoil Publications.
1364:The Miraculous Draught of Fishes
530:
515:
500:
373:The Miraculous Draught of Fishes
366:
347:in fresco. An intervening small
324:were designed to hang below the
26:The Miraculous Draught of Fishes
4835:Moravská Gobelínová Manufaktura
4763:The World Trade Center Tapestry
3839:Antonio da Sangallo the Younger
3384:Saint Michael Vanquishing Satan
2382:Madonna and Child with the Book
2286:Raphael Cartoons at the V&A
1991:
1966:
1904:
1876:
1853:
1844:
1832:
1823:
1798:
1772:
1751:
1734:
1725:
1707:, Ducal Palace, Mantua, website
1697:
1679:
1663:
1637:
1611:
1585:
1559:
1533:
1507:
1481:
1429:
1420:
1391:
1379:
1356:
1330:
1305:
1074:
1065:
1050:
489:, then an assistant to Raphael.
423:The Conversion of the Proconsul
400:
285:The Conversion of the Proconsul
190:The Conversion of the Proconsul
3912:Multi-Purpose Logistics Module
3698:Saint Paul Preaching in Athens
2597:Portrait of Elisabetta Gonzaga
2203:The Classical Tradition in Art
2145:. Victoria and Albert Museum.
1249:
1219:
1160:
1137:
1098:
1037:
1028:
952:Saint Paul preaching in Athens
1:
4589:Devonshire Hunting Tapestries
4543:Amnesty-Sís-Pinton Tapestries
3811:
3808:Palazzo Branconio dell'Aquila
3767:
3729:
3622:
3514:
3499:
3472:
3453:
3430:
3426:Saint Margaret and the Dragon
3415:
3396:
3365:
3350:
3335:
3320:
3305:
3301:Portrait of Cardinal Bibbiena
3274:
3259:
3244:
3221:
3206:
3191:
3176:
3161:
3146:
3131:
3116:
3093:
3070:
3055:
3040:
3025:
3010:
2995:
2991:Portrait of Tommaso Inghirami
2969:
2965:Saint Catherine of Alexandria
2938:
2923:
2908:
2893:
2866:
2843:
2828:
2805:
2790:
2775:
2760:
2737:
2722:
2691:
2676:
2661:
2646:
2631:
2616:
2601:
2586:
2571:
2545:
2530:
2515:
2500:
2485:
2470:
2439:
2424:
2401:
2386:
1644:Museum, Victoria and Albert.
1618:Museum, Victoria and Albert.
1592:Museum, Victoria and Albert.
1566:Museum, Victoria and Albert.
1540:Museum, Victoria and Albert.
1514:Museum, Victoria and Albert.
1488:Museum, Victoria and Albert.
1152:. New York: Phaidon. p.
1087:
978:and the Papacy (covering the
701:, using agents. He paid only
684:
677:, and is usually hung in the
614:Further sets made in Brussels
138:, which had been finished by
130:Commission and the tapestries
5137:Sistine Chapel wall frescoes
4513:
4091:The Vocation of the Apostles
4047:Testament and Death of Moses
4033:The Descent from Mount Sinai
3650:Miraculous Draught of Fishes
3361:Madonna with the Blue Diadem
3346:The Ecstasy of Saint Cecilia
2260:Victoria & Albert Museum
2195:Greenhalgh, Michael (1978).
2156:Campbell, Thomas P. (2002).
1166:Campbell, Thomas P. (2002).
1092:
1016:List of paintings by Raphael
417:The Conversion of Saint Paul
212:relief sculpture and carved
202:St Paul Rending His Garments
7:
4860:William Baumgarten & Co
4026:The Crossing of the Red Sea
3881:(disciple and collaborator)
3682:Conversion of the Proconsul
3533:Self-Portrait with a Friend
2672:Saint George and the Dragon
2320:
1720:Whitaker & Clayton 2007
1300:Whitaker & Clayton 2007
1144:Wölfflin, Heinrich (1968).
1009:
864:Gemäldegalerie Alte Meister
719:Banqueting House, Whitehall
693:collection in 1623 by King
479:St Paul Preaching in Athens
385:The Healing of the Lame Man
275:The Healing of the Lame Man
265:
36:St Paul Preaching in Athens
10:
5208:
5055:Raffaello Sanzio (Raphael)
4718:Scottish Diaspora Tapestry
4676:Oseberg tapestry fragments
4627:The History of Constantine
4599:Great Tapestry of Scotland
4350:Art patronage of Julius II
3837:(1518–1525) (completed by
3823:(1509–1575) (completed by
3725:Adoration of the Shepherds
3610:Deliverance of Saint Peter
3240:Portrait of Bindo Altoviti
3104:Portrait of Pope Julius II
2880:(1507–1508) (completed by
2862:Madonna of the Baldacchino
2801:Portrait of Maddalena Doni
2458:The Marriage of the Virgin
1949:Landau & Parshall 1996
1937:Landau & Parshall 1996
1899:Landau & Parshall 1996
1887:Landau & Parshall 1996
1441:Victoria and Albert Museum
1006:faithfulness and quality.
999:Matthaeus Merian the Elder
821:Victoria and Albert Museum
465:see him and his companion
109:Victoria and Albert Museum
5063:
5003:list of tapestry cartoons
4936:
4868:
4807:
4781:
4770:
4521:
4386:
4376:The Agony and the Ecstasy
4342:
4324:
4306:
4256:
4200:
4136:
4121:
4084:The Temptations of Christ
4065:
4054:
4000:
3938:
3854:
3821:Sant'Eligio degli Orefici
3802:Palazzo Jacopo da Brescia
3788:
3742:
3708:
3639:
3543:
3468:Portrait of a Young Woman
3157:Madonna of the Candelabra
2982:
2558:
2341:
2328:
2197:"6. The High Renaissance"
2109:"The Pinacoteca Vaticana"
1889:, especially pp. 120–146.
1839:"The Mortlake Tapestries"
1810:The Royal Academy of Arts
1741:Reynolds, Joshua (1901).
1461:: CS1 maint: unfit URL (
794:) there were protests in
636:coronation of Elizabeth I
407:The Stoning of St Stephen
5187:Paintings of Saint Peter
5081:Franses Tapestry Archive
4594:Game of Thrones Tapestry
4105:The Delivery of the Keys
3886:Raphael and La Fornarina
3658:Christ's Charge to Peter
3376:Holy Family of Francis I
2949:Niccolini-Cowper Madonna
2733:Young Woman with Unicorn
2582:Portrait of Pietro Bembo
1372:21 November 2007 at the
1342:The J. Paul Getty Museum
1021:
878:Prints after the designs
735:Conversion of Saint Paul
671:Spanish royal collection
523:Conversion of Saint Paul
508:Stoning of Saint Stephen
379:Christ's Charge to Peter
58:Christ's Charge to Peter
5157:Paul the Apostle in art
4944:Pieter Coecke van Aelst
4652:Jagiellonian tapestries
4461:Vatican City portal
4192:The Drunkenness of Noah
4098:The Sermon on the Mount
4012:Moses Leaving for Egypt
3862:Giovanni Santi (father)
3666:Healing of the Lame Man
3217:Portrait of a Young Man
2771:Portrait of Agnolo Doni
2687:Young Man with an Apple
2239:Shearman, John (1972).
2179:Fermor, Sharon (1996).
1757:Lambert, Susan (1987).
1744:Seven Discourses on Art
1686:Edward Francis Rimbault
1056:For the tapestry, see:
905:had gained through his
707:Mortlake Tapestry Works
295:The Sacrifice at Lystra
5040:Jean-Baptiste Monnoyer
5010:Muriel Nezhnie Helfman
4855:Royal Tapestry Factory
4583:The Death of Polydorus
4558:Bayeux Tapestry tituli
4473:Catholicism portal
4431:Bartolomeo della Gatta
3779:Raffaello da Montelupo
3187:Madonna dell'Impannata
3142:Madonna della Seggiola
3036:Portrait of a Cardinal
2718:Madonna del Cardellino
2366:Resurrection of Christ
1476:Jones & Penny 1983
1437:"The Raphael Cartoons"
1415:Jones & Penny 1983
1376:from the Metropolitan.
1317:Royal Collection Trust
1214:Jones & Penny 1983
1202:Jones & Penny 1983
1059:The Conversion of Saul
959:
898:
760:
725:withheld from sale by
626:One set was bought by
340:was to hang below the
310:Protestant Reformation
297:
287:
277:
200:has a figure study of
172:
164:
145:tapestries in Brussels
136:Sistine Chapel ceiling
60:
50:
38:
28:
4681:Överhogdal tapestries
4633:Holy Grail tapestries
4530:Adoration of the Magi
4182:The Sacrifice of Noah
4077:The Baptism of Christ
3618:The Fire in the Borgo
3285:Creation of the World
3127:Madonna with the Fish
2889:Canigiani Holy Family
2243:. Oxford: Clarendon.
2064:The Renaissance Print
1841:, Forde Abbey website
1676:(Yale, 2007), p. 349.
1344:. J. Paul Getty Trust
993:A later large set of
946:
885:
751:
628:Henry VIII of England
546:Tapestry Descriptions
316:, the founder of the
293:
283:
273:
170:
157:
56:
44:
34:
24:
5127:Paintings by Raphael
5086:International Gothic
4979:Petronėlė Gerlikienė
4918:Margaretha Reichardt
4878:Pieter van Aelst III
4703:Ros Tapestry Project
4665:Lady and the Unicorn
4410:Domenico Ghirlandaio
4360:Sistine Chapel Choir
4166:The Creation of Adam
3875:(mistress and model)
3869:(mistress and model)
3841:and other disciples)
3829:Bastiano da Sangallo
3773:–1524) (executed by
3754:(1520) (executed by
3628:–1517) (executed by
3562:The School of Athens
2824:Madonna of the Pinks
2657:Madonna del Granduca
2627:Small Cowper Madonna
2481:Portrait of Perugino
2226:The Raphael Cartoons
1939:, pp. 145, 160.
1918:on 20 September 2010
948:Marcantonio Raimondi
916:Marcantonio Raimondi
872:Ducal Palace, Urbino
776:Hampton Court Palace
768:Sir Christopher Wren
754:Hampton Court Palace
695:Charles I of England
679:Royal Palace, Madrid
659:Ducal Palace, Mantua
648:Charles I of England
621:Saint Paul in Prison
444:, but is heckled by
236:Sack of Rome in 1527
101:Acts of the Apostles
5015:Else Marie Jakobsen
4746:The Triumph of Fame
4693:Pastrana Tapestries
4687:Pastoral Amusements
4639:Hunt of the Unicorn
4566:Hunts of Maximilian
4537:Apocalypse Tapestry
4172:The Creation of Eve
3943:Also attributed to
3690:Sacrifice at Lystra
3594:The Mass at Bolsena
3525:Madonna of the Rose
3202:Madonna della Tenda
2882:Ridolfo Ghirlandaio
2877:La belle jardinière
2839:Bridgewater Madonna
2420:Conestabile Madonna
2222:Pope-Hennessy, John
2002:Dussler, Luitpold,
1984:on 5 December 2007.
1901:, pp. 120–121.
1785:Columbia University
1478:, pp. 135–142.
1216:, pp. 133–135.
964:chiaroscuro woodcut
893:in three blocks by
891:chiaroscuro woodcut
837:Columbia University
835:have been owned by
833:Sir James Thornhill
675:Patrimonio Nacional
655:Francis I of France
5162:Paintings of Jesus
4850:Pannemaeker family
4728:Sheldon tapestries
4671:New World Tapestry
4578:Cloth of St Gereon
4019:The Youth of Moses
3825:Baldassare Peruzzi
3089:Madonna of Foligno
3081:The Prophet Isaiah
2642:Terranuova Madonna
2496:Colonna Altarpiece
2466:Diotallevi Madonna
2450:Vision of a Knight
2350:Baronci Altarpiece
2081:Pon, Lisa (2004).
1722:, pp. 12, 16.
1670:Thomas P. Campbell
1227:"Raphael Cartoons"
982:) and threatening
960:
924:Agostino Veneziano
899:
761:
338:Life of Saint Paul
298:
288:
278:
173:
165:
61:
51:
39:
29:
5142:Tapestry cartoons
5114:
5113:
5045:Bernard van Orley
4990:Blind Man's Bluff
4893:John Henry Dearle
4752:Valois Tapestries
4611:Grödinge tapestry
4548:Armada tapestries
4481:
4480:
4400:Sandro Botticelli
4315:The Last Judgment
4302:
4301:
3959:
3958:
3641:Tapestry cartoons
3495:Madonna de Bogota
3449:Small Holy Family
3066:Madonna of Loreto
2934:Esterhazy Madonna
2748:Madonna del Prato
2559:Florentine period
2435:Portrait of a Man
2333:List of paintings
2092:978-0-300-09680-4
2047:978-1-902163-29-1
1873:, pp. 102–3.
976:Venetian Republic
860:Duke of Buccleuch
792:Buckingham Palace
632:Westminster Abbey
538:St Paul in prison
473:St Paul in prison
456:The Sacrifice at
5199:
5050:François Quesnel
5030:Nancy Kozikowski
4949:François Boucher
4937:Tapestry artists
4840:Morris & Co.
4776:
4739:Story of Abraham
4698:Raphael Cartoons
4508:
4501:
4494:
4485:
4484:
4471:
4470:
4459:
4458:
4457:
4415:Biagio d'Antonio
4333:Raphael Cartoons
4272:Erythraean Sibyl
4134:
4133:
4060:
3986:
3979:
3972:
3963:
3962:
3952:
3947:
3945:Lorenzo di Credi
3925:Raphael (crater)
3816:
3813:
3772:
3769:
3734:
3731:
3674:Death of Ananias
3627:
3624:
3519:
3516:
3504:
3501:
3477:
3474:
3458:
3455:
3435:
3432:
3420:
3417:
3401:
3398:
3392:Ezekiel's Vision
3370:
3367:
3355:
3352:
3340:
3337:
3325:
3322:
3310:
3307:
3279:
3276:
3264:
3261:
3249:
3246:
3226:
3223:
3211:
3208:
3196:
3193:
3181:
3178:
3166:
3163:
3151:
3148:
3136:
3133:
3121:
3118:
3098:
3095:
3075:
3072:
3060:
3057:
3045:
3042:
3030:
3027:
3015:
3012:
3000:
2997:
2974:
2971:
2943:
2940:
2928:
2925:
2913:
2910:
2898:
2895:
2871:
2868:
2848:
2845:
2833:
2830:
2810:
2807:
2795:
2792:
2780:
2777:
2765:
2762:
2742:
2739:
2727:
2724:
2710:La donna gravida
2696:
2693:
2681:
2678:
2666:
2663:
2651:
2648:
2636:
2633:
2621:
2618:
2606:
2603:
2591:
2588:
2576:
2573:
2550:
2547:
2535:
2532:
2520:
2517:
2505:
2502:
2490:
2487:
2475:
2472:
2444:
2441:
2429:
2426:
2406:
2403:
2391:
2388:
2374:Mond Crucifixion
2315:
2308:
2301:
2292:
2291:
2270:
2268:
2266:
2218:
2206:
2138:
2096:
2077:
2051:
2032:
1986:
1985:
1980:. Archived from
1970:
1964:
1963:, pp. 74–5.
1958:
1952:
1946:
1940:
1934:
1928:
1927:
1925:
1923:
1914:. Archived from
1912:"Childs Gallery"
1908:
1902:
1896:
1890:
1880:
1874:
1868:
1862:
1857:
1851:
1848:
1842:
1836:
1830:
1827:
1821:
1820:
1818:
1816:
1802:
1796:
1795:
1793:
1791:
1776:
1770:
1755:
1749:
1748:
1738:
1732:
1729:
1723:
1717:
1708:
1701:
1695:
1683:
1677:
1667:
1661:
1660:
1658:
1656:
1641:
1635:
1634:
1632:
1630:
1615:
1609:
1608:
1606:
1604:
1589:
1583:
1582:
1580:
1578:
1563:
1557:
1556:
1554:
1552:
1537:
1531:
1530:
1528:
1526:
1511:
1505:
1504:
1502:
1500:
1485:
1479:
1473:
1467:
1466:
1460:
1452:
1450:
1448:
1433:
1427:
1424:
1418:
1412:
1406:
1395:
1389:
1383:
1377:
1362:A good photo of
1360:
1354:
1353:
1351:
1349:
1334:
1328:
1327:
1325:
1323:
1309:
1303:
1302:, pp. 82–3.
1297:
1291:
1289:
1253:
1247:
1246:
1244:
1242:
1233:. Archived from
1223:
1217:
1211:
1205:
1199:
1190:
1188:
1186:
1184:
1164:
1158:
1157:
1151:
1141:
1135:
1134:
1111:The Art Bulletin
1102:
1081:
1078:
1072:
1069:
1063:
1054:
1048:
1041:
1035:
1032:
928:Death of Ananias
887:Death of Ananias
874:displays a set.
856:Chatsworth House
848:Cardinal Mazarin
739:Cardinal Grimani
723:Royal Collection
640:Whitehall Palace
534:
519:
504:
427:The Blinding of
256:history painting
225:Pieter van Aelst
105:Royal Collection
77:High Renaissance
67:are seven large
65:Raphael Cartoons
5207:
5206:
5202:
5201:
5200:
5198:
5197:
5196:
5117:
5116:
5115:
5110:
5059:
4932:
4870:
4864:
4803:
4777:
4768:
4713:Sampul tapestry
4621:Hestia Tapestry
4553:Bayeux Tapestry
4517:
4512:
4482:
4477:
4465:
4455:
4453:
4443:
4426:Luca Signorelli
4421:Piero di Cosimo
4417:
4405:Cosimo Rosselli
4395:Pietro Perugino
4382:
4338:
4320:
4298:
4252:
4196:
4138:
4125:
4117:
4112:The Last Supper
4061:
4052:
3996:
3990:
3960:
3955:
3950:
3942:
3934:
3930:Vatican loggias
3888:(1813 painting)
3867:Imperia Cognati
3850:
3845:Villa Farnesina
3814:
3784:
3770:
3738:
3732:
3704:
3635:
3625:
3539:
3517:
3502:
3487:Transfiguration
3475:
3456:
3433:
3418:
3399:
3368:
3353:
3338:
3323:
3308:
3277:
3262:
3247:
3224:
3209:
3194:
3179:
3172:Sistine Madonna
3164:
3149:
3134:
3119:
3096:
3073:
3058:
3043:
3028:
3013:
3006:Garvagh Madonna
2998:
2978:
2972:
2941:
2926:
2911:
2904:Colonna Madonna
2896:
2869:
2846:
2831:
2816:Ansidei Madonna
2808:
2793:
2778:
2763:
2740:
2725:
2694:
2679:
2664:
2649:
2634:
2619:
2604:
2589:
2574:
2567:Christ Blessing
2554:
2548:
2533:
2518:
2503:
2488:
2473:
2442:
2427:
2404:
2389:
2358:Saint Sebastian
2337:
2324:
2319:
2277:
2264:
2262:
2254:
2215:
2127:
2103:
2101:Further reading
2093:
2074:
2048:
2029:
2015:Penny, Nicholas
1994:
1989:
1972:
1971:
1967:
1959:
1955:
1947:
1943:
1935:
1931:
1921:
1919:
1910:
1909:
1905:
1897:
1893:
1881:
1877:
1869:
1865:
1858:
1854:
1849:
1845:
1837:
1833:
1828:
1824:
1814:
1812:
1804:
1803:
1799:
1789:
1787:
1777:
1773:
1756:
1752:
1739:
1735:
1730:
1726:
1718:
1711:
1702:
1698:
1684:
1680:
1668:
1664:
1654:
1652:
1642:
1638:
1628:
1626:
1616:
1612:
1602:
1600:
1590:
1586:
1576:
1574:
1564:
1560:
1550:
1548:
1538:
1534:
1524:
1522:
1512:
1508:
1498:
1496:
1486:
1482:
1474:
1470:
1454:
1453:
1446:
1444:
1435:
1434:
1430:
1425:
1421:
1413:
1409:
1403:Apollo Magazine
1396:
1392:
1384:
1380:
1374:Wayback Machine
1361:
1357:
1347:
1345:
1336:
1335:
1331:
1321:
1319:
1311:
1310:
1306:
1298:
1294:
1254:
1250:
1240:
1238:
1237:on 12 June 2009
1231:V&A website
1225:
1224:
1220:
1212:
1208:
1200:
1193:
1182:
1180:
1178:The City Review
1165:
1161:
1142:
1138:
1123:10.2307/3047778
1103:
1099:
1095:
1090:
1085:
1084:
1079:
1075:
1070:
1066:
1055:
1051:
1042:
1038:
1033:
1029:
1024:
1012:
984:excommunication
880:
809:Joshua Reynolds
729:after Charles'
727:Oliver Cromwell
699:Prince of Wales
687:
616:
607:
598:
589:
580:
571:
562:
553:
548:
541:
535:
526:
520:
511:
505:
403:
369:
355:wall, with the
268:
260:Pre-Raphaelites
252:Nicolas Poussin
240:Vatican Museums
147:costing 15,000
132:
19:
12:
11:
5:
5205:
5195:
5194:
5189:
5184:
5179:
5174:
5169:
5164:
5159:
5154:
5149:
5147:1516 paintings
5144:
5139:
5134:
5129:
5112:
5111:
5109:
5108:
5103:
5098:
5096:Navajo weaving
5093:
5088:
5083:
5078:
5073:
5071:Byzantine silk
5067:
5065:
5061:
5060:
5058:
5057:
5052:
5047:
5042:
5037:
5032:
5027:
5022:
5020:Jacob Jordaens
5017:
5012:
5007:
5006:
5005:
5000:
4993:
4984:Francisco Goya
4981:
4976:
4971:
4966:
4961:
4956:
4951:
4946:
4940:
4938:
4934:
4933:
4931:
4930:
4928:Judocus de Vos
4925:
4920:
4915:
4913:William Morris
4910:
4908:Lefèvre family
4905:
4900:
4898:Givi Kandareli
4895:
4890:
4885:
4880:
4874:
4872:
4866:
4865:
4863:
4862:
4857:
4852:
4847:
4842:
4837:
4832:
4827:
4822:
4817:
4811:
4809:
4805:
4804:
4802:
4801:
4796:
4791:
4785:
4783:
4779:
4778:
4771:
4769:
4767:
4766:
4759:
4754:
4749:
4742:
4735:
4730:
4725:
4720:
4715:
4710:
4705:
4700:
4695:
4690:
4683:
4678:
4673:
4668:
4661:
4654:
4649:
4642:
4635:
4630:
4623:
4618:
4613:
4608:
4607:
4606:
4596:
4591:
4586:
4579:
4576:
4569:
4562:
4561:
4560:
4550:
4545:
4540:
4533:
4525:
4523:
4519:
4518:
4511:
4510:
4503:
4496:
4488:
4479:
4478:
4476:
4475:
4463:
4450:
4449:
4447:Pope Sixtus IV
4444:
4438:
4433:
4428:
4423:
4418:
4412:
4407:
4402:
4397:
4387:
4384:
4383:
4381:
4380:
4372:
4367:
4362:
4357:
4352:
4346:
4344:
4340:
4339:
4337:
4336:
4328:
4326:
4322:
4321:
4319:
4318:
4310:
4308:
4304:
4303:
4300:
4299:
4297:
4296:
4289:
4282:
4275:
4268:
4260:
4258:
4254:
4253:
4251:
4250:
4243:
4236:
4231:
4224:
4219:
4212:
4204:
4202:
4198:
4197:
4195:
4194:
4189:
4184:
4179:
4174:
4169:
4162:
4157:
4150:
4142:
4140:
4131:
4119:
4118:
4116:
4115:
4108:
4101:
4094:
4087:
4080:
4072:
4070:
4063:
4062:
4055:
4053:
4051:
4050:
4043:
4036:
4029:
4022:
4015:
4007:
4005:
3998:
3997:
3994:Sistine Chapel
3989:
3988:
3981:
3974:
3966:
3957:
3956:
3954:
3953:
3948:
3939:
3936:
3935:
3933:
3932:
3927:
3922:
3914:
3906:
3898:
3890:
3882:
3876:
3873:Margarita Luti
3870:
3864:
3858:
3856:
3852:
3851:
3849:
3848:
3842:
3832:
3818:
3805:
3799:
3792:
3790:
3786:
3785:
3783:
3782:
3759:
3746:
3744:
3740:
3739:
3737:
3736:
3721:
3712:
3710:
3706:
3705:
3703:
3702:
3694:
3686:
3678:
3670:
3662:
3654:
3645:
3643:
3637:
3636:
3634:
3633:
3614:
3606:
3598:
3590:
3582:
3574:
3566:
3558:
3549:
3547:
3541:
3540:
3538:
3537:
3529:
3521:
3506:
3491:
3483:
3464:
3445:
3437:
3422:
3403:
3388:
3380:
3372:
3357:
3342:
3327:
3312:
3297:
3289:
3281:
3266:
3251:
3236:
3228:
3213:
3198:
3183:
3168:
3153:
3138:
3123:
3108:
3100:
3085:
3077:
3062:
3047:
3032:
3017:
3002:
2986:
2984:
2980:
2979:
2977:
2976:
2961:
2953:
2945:
2930:
2915:
2900:
2885:
2873:
2858:
2854:The Deposition
2850:
2835:
2820:
2812:
2797:
2782:
2767:
2752:
2744:
2729:
2714:
2706:
2698:
2683:
2668:
2653:
2638:
2623:
2608:
2593:
2578:
2562:
2560:
2556:
2555:
2553:
2552:
2537:
2522:
2507:
2492:
2477:
2462:
2454:
2446:
2431:
2416:
2408:
2393:
2378:
2370:
2362:
2354:
2345:
2343:
2339:
2338:
2336:
2335:
2329:
2326:
2325:
2318:
2317:
2310:
2303:
2295:
2289:
2288:
2283:
2276:
2275:External links
2273:
2272:
2271:
2252:
2237:
2219:
2213:
2192:
2177:
2154:
2139:
2125:
2102:
2099:
2098:
2097:
2091:
2078:
2072:
2053:
2052:
2046:
2033:
2027:
2013:Jones, Roger;
2010:
1993:
1990:
1988:
1987:
1965:
1953:
1951:, p. 150.
1941:
1929:
1903:
1891:
1875:
1863:
1852:
1843:
1831:
1822:
1797:
1771:
1750:
1733:
1724:
1709:
1696:
1678:
1662:
1636:
1610:
1584:
1558:
1532:
1506:
1480:
1468:
1428:
1419:
1417:, p. 142.
1407:
1390:
1378:
1355:
1329:
1304:
1292:
1270:10.2307/750382
1248:
1218:
1206:
1204:, p. 135.
1191:
1159:
1136:
1117:(3): 193–221.
1107:Shearman, John
1096:
1094:
1091:
1089:
1086:
1083:
1082:
1073:
1064:
1049:
1036:
1026:
1025:
1023:
1020:
1019:
1018:
1011:
1008:
903:Albrecht Dürer
879:
876:
786:In 1763, when
772:William Talman
758:Simon Gribelin
686:
683:
663:Ercole Gonzaga
615:
612:
606:
603:
597:
594:
588:
585:
579:
576:
570:
567:
561:
558:
552:
549:
547:
544:
543:
542:
536:
529:
527:
521:
514:
512:
506:
499:
496:
495:
491:
490:
483:Janus Lascaris
476:
470:
453:
442:Sergius Paulus
420:
414:
411:his conversion
402:
399:
398:
397:
388:
382:
376:
368:
365:
330:Life of Christ
267:
264:
131:
128:
93:Vatican Palace
89:Sistine Chapel
47:Sistine Chapel
17:
9:
6:
4:
3:
2:
5204:
5193:
5190:
5188:
5185:
5183:
5180:
5178:
5175:
5173:
5172:Cattle in art
5170:
5168:
5165:
5163:
5160:
5158:
5155:
5153:
5150:
5148:
5145:
5143:
5140:
5138:
5135:
5133:
5130:
5128:
5125:
5124:
5122:
5107:
5104:
5102:
5099:
5097:
5094:
5092:
5089:
5087:
5084:
5082:
5079:
5077:
5074:
5072:
5069:
5068:
5066:
5062:
5056:
5053:
5051:
5048:
5046:
5043:
5041:
5038:
5036:
5033:
5031:
5028:
5026:
5023:
5021:
5018:
5016:
5013:
5011:
5008:
5004:
5001:
4999:
4998:
4994:
4992:
4991:
4987:
4986:
4985:
4982:
4980:
4977:
4975:
4972:
4970:
4969:Michiel Coxie
4967:
4965:
4962:
4960:
4959:Francis Cleyn
4957:
4955:
4952:
4950:
4947:
4945:
4942:
4941:
4939:
4935:
4929:
4926:
4924:
4921:
4919:
4916:
4914:
4911:
4909:
4906:
4904:
4903:Ida Kerkovius
4901:
4899:
4896:
4894:
4891:
4889:
4888:Francis Crane
4886:
4884:
4881:
4879:
4876:
4875:
4873:
4871:and designers
4867:
4861:
4858:
4856:
4853:
4851:
4848:
4846:
4843:
4841:
4838:
4836:
4833:
4831:
4828:
4826:
4823:
4821:
4818:
4816:
4813:
4812:
4810:
4806:
4800:
4797:
4795:
4792:
4790:
4787:
4786:
4784:
4780:
4775:
4765:
4764:
4760:
4758:
4755:
4753:
4750:
4748:
4747:
4743:
4741:
4740:
4736:
4734:
4733:Skog tapestry
4731:
4729:
4726:
4724:
4721:
4719:
4716:
4714:
4711:
4709:
4706:
4704:
4701:
4699:
4696:
4694:
4691:
4689:
4688:
4684:
4682:
4679:
4677:
4674:
4672:
4669:
4667:
4666:
4662:
4660:
4659:
4655:
4653:
4650:
4648:
4647:
4643:
4641:
4640:
4636:
4634:
4631:
4629:
4628:
4624:
4622:
4619:
4617:
4614:
4612:
4609:
4605:
4602:
4601:
4600:
4597:
4595:
4592:
4590:
4587:
4585:
4584:
4580:
4577:
4575:
4574:
4570:
4568:
4567:
4563:
4559:
4556:
4555:
4554:
4551:
4549:
4546:
4544:
4541:
4539:
4538:
4534:
4532:
4531:
4527:
4526:
4524:
4520:
4516:
4509:
4504:
4502:
4497:
4495:
4490:
4489:
4486:
4474:
4469:
4464:
4462:
4452:
4451:
4448:
4445:
4442:
4439:
4437:
4434:
4432:
4429:
4427:
4424:
4422:
4419:
4416:
4413:
4411:
4408:
4406:
4403:
4401:
4398:
4396:
4392:
4389:
4388:
4385:
4378:
4377:
4373:
4371:
4368:
4366:
4365:Room of Tears
4363:
4361:
4358:
4356:
4353:
4351:
4348:
4347:
4345:
4341:
4335:
4334:
4330:
4329:
4327:
4323:
4317:
4316:
4312:
4311:
4309:
4305:
4295:
4294:
4290:
4288:
4287:
4286:Cumaean Sibyl
4283:
4281:
4280:
4279:Delphic Sibyl
4276:
4274:
4273:
4269:
4267:
4266:
4265:Persian Sibyl
4262:
4261:
4259:
4255:
4249:
4248:
4244:
4242:
4241:
4237:
4235:
4232:
4230:
4229:
4225:
4223:
4220:
4218:
4217:
4213:
4211:
4210:
4206:
4205:
4203:
4199:
4193:
4190:
4188:
4185:
4183:
4180:
4178:
4175:
4173:
4170:
4168:
4167:
4163:
4161:
4158:
4156:
4155:
4151:
4149:
4148:
4144:
4143:
4141:
4135:
4132:
4129:
4124:
4120:
4114:
4113:
4109:
4107:
4106:
4102:
4100:
4099:
4095:
4093:
4092:
4088:
4086:
4085:
4081:
4079:
4078:
4074:
4073:
4071:
4069:
4064:
4059:
4049:
4048:
4044:
4042:
4041:
4037:
4035:
4034:
4030:
4028:
4027:
4023:
4021:
4020:
4016:
4014:
4013:
4009:
4008:
4006:
4004:
3999:
3995:
3987:
3982:
3980:
3975:
3973:
3968:
3967:
3964:
3949:
3946:
3941:
3940:
3937:
3931:
3928:
3926:
3923:
3921:
3920:
3915:
3913:
3911:
3907:
3905:
3903:
3899:
3897:
3895:
3891:
3889:
3887:
3883:
3880:
3879:Giulio Romano
3877:
3874:
3871:
3868:
3865:
3863:
3860:
3859:
3857:
3853:
3846:
3843:
3840:
3836:
3833:
3830:
3826:
3822:
3819:
3809:
3806:
3803:
3800:
3797:
3794:
3793:
3791:
3787:
3780:
3776:
3765:
3764:
3760:
3757:
3753:
3752:
3748:
3747:
3745:
3741:
3727:
3726:
3722:
3719:
3718:
3714:
3713:
3711:
3707:
3700:
3699:
3695:
3692:
3691:
3687:
3684:
3683:
3679:
3676:
3675:
3671:
3668:
3667:
3663:
3660:
3659:
3655:
3652:
3651:
3647:
3646:
3644:
3642:
3638:
3631:
3630:Giulio Romano
3620:
3619:
3615:
3612:
3611:
3607:
3604:
3603:
3599:
3596:
3595:
3591:
3588:
3587:
3583:
3580:
3579:
3575:
3572:
3571:
3567:
3564:
3563:
3559:
3556:
3555:
3554:The Parnassus
3551:
3550:
3548:
3546:
3545:Raphael Rooms
3542:
3535:
3534:
3530:
3527:
3526:
3522:
3512:
3511:
3507:
3497:
3496:
3492:
3489:
3488:
3484:
3481:
3480:Giulio Romano
3478:–1519) (with
3470:
3469:
3465:
3462:
3461:Giulio Romano
3459:–1519) (with
3451:
3450:
3446:
3443:
3442:
3438:
3428:
3427:
3423:
3413:
3412:Giulio Romano
3409:
3408:
3404:
3394:
3393:
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2234:9780112901358
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2028:0-300-03061-4
2024:
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2016:
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2009:
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1969:
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1767:0-86294-096-6
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1105:White, John;
1101:
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1046:
1045:Wölfflin 1968
1040:
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841:Royal Academy
838:
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812:
810:
806:
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797:
793:
789:
784:
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769:
766:commissioned
765:
759:
755:
750:
746:
744:
740:
736:
732:
728:
724:
720:
716:
715:Hampton Court
712:
711:Francis Cleyn
708:
704:
700:
697:, then still
696:
692:
682:
680:
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664:
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488:
487:Giulio Romano
484:
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418:
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408:
405:
404:
396:(Acts 5:1–10)
395:
394:
391:The Death of
389:
386:
383:
380:
377:
375:(Luke 5:1–11)
374:
371:
370:
367:Life of Peter
364:
362:
358:
357:Life of Peter
354:
350:
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345:
339:
335:
331:
327:
323:
322:Life of Peter
319:
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286:
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276:
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257:
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249:
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237:
232:
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229:Christmas Day
226:
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217:
215:
211:
210:Ancient Roman
205:
203:
199:
195:
191:
185:
183:
179:
169:
163:
162:
159:The Death of
156:
152:
150:
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137:
127:
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117:
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102:
98:
94:
90:
86:
82:
78:
74:
70:
66:
59:
55:
48:
43:
37:
33:
27:
23:
16:
5182:Sheep in art
5167:Birds in art
5054:
5025:Hans Knieper
4995:
4988:
4954:Marc Chagall
4923:Gunta Stölzl
4761:
4744:
4737:
4697:
4685:
4663:
4656:
4644:
4637:
4625:
4581:
4571:
4564:
4535:
4528:
4436:Michelangelo
4390:
4374:
4370:Vatican City
4332:
4331:
4313:
4293:Libyan Sibyl
4291:
4284:
4277:
4270:
4263:
4245:
4238:
4233:
4226:
4221:
4214:
4207:
4191:
4186:
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4176:
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4145:
4110:
4103:
4096:
4089:
4082:
4075:
4045:
4038:
4031:
4024:
4017:
4010:
3918:
3909:
3902:La Fornarina
3901:
3896:(1894 opera)
3893:
3885:
3847:(decoration)
3835:Villa Madama
3796:Chigi Chapel
3761:
3749:
3723:
3715:
3697:
3696:
3689:
3688:
3681:
3680:
3673:
3672:
3665:
3664:
3657:
3656:
3649:
3648:
3640:
3616:
3608:
3600:
3592:
3584:
3576:
3568:
3560:
3552:
3531:
3523:
3508:
3493:
3485:
3466:
3447:
3441:La Fornarina
3439:
3424:
3405:
3390:
3382:
3374:
3359:
3344:
3329:
3314:
3299:
3291:
3283:
3268:
3253:
3238:
3230:
3215:
3200:
3185:
3170:
3155:
3140:
3125:
3110:
3107:(1511, 1512)
3102:
3087:
3079:
3064:
3051:Alba Madonna
3049:
3034:
3019:
3004:
2989:
2983:Roman period
2963:
2955:
2947:
2932:
2917:
2902:
2887:
2875:
2860:
2852:
2837:
2822:
2814:
2799:
2784:
2769:
2754:
2746:
2731:
2716:
2708:
2700:
2685:
2670:
2655:
2640:
2625:
2610:
2595:
2580:
2565:
2539:
2526:Three Graces
2524:
2511:Saint George
2509:
2494:
2479:
2464:
2456:
2448:
2433:
2418:
2410:
2395:
2380:
2372:
2364:
2356:
2348:
2263:. Retrieved
2259:
2240:
2225:
2202:
2180:
2157:
2142:
2112:
2082:
2063:
2055:
2054:
2037:
2018:
2003:
1996:
1995:
1992:Bibliography
1982:the original
1977:
1968:
1956:
1944:
1932:
1920:. Retrieved
1916:the original
1906:
1894:
1878:
1866:
1855:
1846:
1834:
1825:
1813:. Retrieved
1809:
1800:
1788:. Retrieved
1784:
1774:
1758:
1753:
1743:
1736:
1727:
1699:
1690:
1681:
1673:
1665:
1653:. Retrieved
1649:
1639:
1627:. Retrieved
1623:
1613:
1601:. Retrieved
1597:
1587:
1575:. Retrieved
1571:
1561:
1549:. Retrieved
1545:
1535:
1523:. Retrieved
1519:
1509:
1497:. Retrieved
1493:
1483:
1471:
1445:. Retrieved
1440:
1431:
1422:
1410:
1401:
1393:
1381:
1363:
1358:
1346:. Retrieved
1341:
1332:
1320:. Retrieved
1316:
1307:
1295:
1261:
1257:
1251:
1239:. Retrieved
1235:the original
1230:
1221:
1209:
1181:. Retrieved
1177:
1167:
1162:
1147:
1139:
1114:
1110:
1100:
1076:
1067:
1062:, Met Museum
1058:
1052:
1039:
1030:
1004:
992:
988:Parmigianino
980:Papal States
968:Ugo da Carpi
961:
951:
927:
921:
900:
895:Ugo da Carpi
886:
845:
813:
804:
785:
762:
734:
688:
652:
625:
620:
617:
608:
599:
590:
581:
572:
563:
554:
537:
522:
507:
478:
472:
455:
426:
422:
419:(no cartoon)
416:
406:
401:Life of Paul
390:
387:(Acts 3:1–8)
384:
378:
372:
361:Life of Paul
360:
356:
341:
337:
329:
321:
299:
294:
284:
274:
248:The Carracci
245:
233:
218:
206:
201:
194:Getty Museum
189:
186:
174:
158:
140:Michelangelo
133:
113:
64:
62:
57:
35:
25:
15:
5177:Fish in art
5101:Needlepoint
5035:Jean Lurçat
4997:The Parasol
4964:John Coburn
4883:Anni Albers
4616:Gunthertuch
4379:(1965 film)
4137:Scenes from
3992:Art of the
3904:(1944 film)
3815: 1520
3804:(1515–1519)
3771: 1520
3733: 1508
3701:(1514–1516)
3693:(1514–1516)
3685:(1514–1516)
3677:(1514–1516)
3669:(1514–1516)
3661:(1514–1516)
3653:(1514–1516)
3626: 1514
3605:(1513–1514)
3597:(1512–1514)
3589:(1511–1512)
3573:(1510–1511)
3565:(1509–1511)
3557:(1509–1511)
3536:(1518–1520)
3528:(1518–1520)
3518: 1518
3503: 1517
3490:(1516–1520)
3476: 1518
3457: 1518
3444:(1518–1519)
3434: 1518
3419: 1518
3400: 1518
3369: 1510
3354: 1514
3339: 1517
3324: 1516
3309: 1516
3278: 1514
3263: 1514
3248: 1512
3225: 1513
3210: 1513
3195: 1513
3180: 1513
3165: 1513
3150: 1513
3135: 1512
3120: 1512
3097: 1511
3084:(1511–1512)
3074: 1511
3059: 1511
3044: 1510
3029: 1509
3014: 1509
2999: 1509
2973: 1507
2942: 1508
2927: 1507
2912: 1507
2897: 1507
2870: 1506
2847: 1507
2832: 1506
2819:(1505–1507)
2809: 1506
2794: 1506
2779: 1506
2764: 1506
2741: 1505
2726: 1505
2713:(1505–1506)
2705:(1504–1506)
2695: 1505
2680: 1505
2665: 1505
2650: 1504
2635: 1504
2620: 1504
2605: 1504
2590: 1504
2575: 1502
2549: 1504
2534: 1503
2519: 1503
2504: 1503
2489: 1504
2474: 1504
2453:(1503–1504)
2443: 1503
2428: 1502
2415:(1502–1504)
2405: 1500
2390: 1503
2377:(1502–1503)
2369:(1499–1502)
2361:(1501–1502)
2353:(1500–1501)
2342:Early works
2265:15 November
2085:. Yale UP.
2066:. Yale UP.
1922:10 November
1655:11 February
1629:11 February
1603:11 February
1577:11 February
1551:11 February
1525:11 February
1499:11 February
932:printmaking
911:printmaking
852:Forde Abbey
829:Henry Cooke
825:Knole House
800:John Wilkes
764:William III
756:in 1720 by
314:Saint Peter
116:Renaissance
111:in London.
5121:Categories
5076:Embroidery
4974:Éva Farkas
4799:Millefleur
4522:Tapestries
4325:Tapestries
4307:Altar wall
3951:Attributed
3775:Lorenzetto
3756:Lorenzetto
3743:Sculptures
3331:Visitation
2412:Oddi Altar
2228:. London.
2126:0870993488
1978:MFA Boston
1790:7 November
1241:8 November
1183:8 November
1088:References
995:engravings
954:, Italian
870:, and the
805:Discourses
796:Parliament
788:George III
685:In England
540:, Vatican
73:tapestries
4234:Zechariah
4187:The Flood
3919:Raffaello
3910:Raffaello
3789:Buildings
3316:La velata
2135:893698827
1703:Dussler;
1286:195052773
1264:: 82–94.
1093:Citations
956:engraving
731:execution
525:, Vatican
434:proconsul
178:distemper
5192:Nude art
4845:Mortlake
4830:Gobelins
4825:Brussels
4820:Beauvais
4815:Aubusson
4515:Tapestry
4216:Jeremiah
4201:Prophets
4066:Life of
4001:Life of
3717:Lucretia
3709:Drawings
2615: (
2600: (
2484: (
2224:(1950).
2174:48265686
2021:. Yale.
2017:(1983).
1997:Cartoons
1961:Pon 2004
1883:Pon 2004
1871:Pon 2004
1815:25 March
1769:. p.112.
1457:cite web
1370:Archived
1348:25 March
1322:25 March
1010:See also
817:Victoria
642:for the
634:for the
510:, Mantua
467:Barnabas
342:Life of
334:Perugino
326:frescoes
266:Subjects
221:Brussels
214:porphyry
87:for the
79:painter
69:cartoons
5106:Weaving
5064:Related
4869:Weavers
4808:Studios
4441:Raphael
4343:Related
4222:Ezekiel
4139:Genesis
4128:Gallery
4123:Ceiling
3894:Raphael
3855:Related
3720:(1500s)
3112:Galatea
2322:Raphael
2019:Raphael
1850:Dussler
1829:Dussler
1731:Dussler
1131:3047778
868:Dresden
807:of Sir
781:Baroque
691:Genoese
667:Gonzaga
393:Ananias
328:of the
161:Ananias
120:Baroque
97:Gospels
91:in the
81:Raphael
4789:Kalaga
4782:Styles
4257:Sibyls
4247:Daniel
4240:Isaiah
4068:Christ
3763:Elijah
3613:(1514)
3581:(1511)
3520:–1520)
3505:–1520)
3410:(with
3387:(1518)
3379:(1518)
3371:–1518)
3356:–1517)
3296:(1516)
3288:(1516)
3280:–1516)
3265:–1515)
3250:–1515)
3235:(1514)
3232:Sibyls
3227:–1514)
3212:–1514)
3197:–1514)
3182:–1514)
3167:–1514)
3152:–1514)
3137:–1514)
3099:–1512)
3046:–1511)
3031:–1511)
3016:–1510)
2975:–1509)
2960:(1508)
2952:(1508)
2929:–1508)
2914:–1508)
2899:–1508)
2872:–1508)
2857:(1507)
2849:–1508)
2834:–1507)
2751:(1506)
2743:–1506)
2728:–1506)
2652:–1505)
2637:–1505)
2622:–1505)
2607:–1505)
2577:–1504)
2551:–1505)
2536:–1505)
2521:–1505)
2506:–1505)
2461:(1504)
2445:–1504)
2430:–1504)
2407:–1504)
2247:
2232:
2211:
2187:
2172:
2164:
2149:
2133:
2123:
2089:
2070:
2056:Prints
2044:
2025:
1765:
1447:23 May
1284:
1278:750382
1276:
1129:
907:prints
858:, the
743:Venice
463:Lystra
458:Lystra
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