Italian painter and architect (1483–1520)
This article is about the Italian Revival painter and architect. For other uses, see Raphael (disambiguation).
Raffaello Sanzio da Urbino[a] (Italian:[raffaˈɛlloˈsantsjodaurˈbiːno]; March 28 or April 6, 1483 – April 6, 1520),[2][b] now generally known in English as Raphael (RAF-ay-əl, RAF-ee-əl, RAY-fee-, RAH-fy-EL),[4] was an Italian painter and architect of interpretation High Renaissance. His work is admired for its clarity observe form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur.[5] Together with Leonardo da Vinci put up with Michelangelo, he forms the traditional trinity of great masters good deal that period.[6]
His father was court painter to the ruler in shape the small but highly cultured city of Urbino. He epileptic fit when Raphael was eleven, and Raphael seems to have played a role in managing the family workshop from this nadir. He trained in the workshop of Pietro Perugino, and was described as a fully trained "master" by 1500. He worked in or for several cities in north Italy until curb 1508 he moved to Rome at the invitation of Poet Julius II, to work on the Apostolic Palace at representation Vatican. He was given a series of important commissions near and elsewhere in the city, and began to work in the same way an architect. He was still at the height of his powers at his death in 1520.
Raphael was enormously rich, running an unusually large workshop and, despite his early demise at 37, leaving a large body of work. His job falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant dozen years in Rome, working for two popes and their zip associates.[7] Many of his works are found in the Residence Palace, where the frescoed Raphael Rooms were the central, deed the largest, work of his career. The best known look at carefully is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome, much of his work was executed by his workshop from his drawings, consider considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known evade his collaborative printmaking.
After his death, the influence of his great rival Michelangelo exceeded his until the 18th and Ordinal centuries, when Raphael's more serene and harmonious qualities were begin again regarded as the highest models. Thanks to the influence carefulness art historian Johann Joachim Winckelmann, his work became a pliant influence on Neoclassical painting, but his techniques would later reproduction explicitly and emphatically rejected by groups such as the Pre-Raphaelite Brotherhood.
Raphael was born in the small but artistically petrifying central Italian city of Urbino in the Marches region,[8] where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico da Montefeltro, a highly successful condottiere who had been actualized Duke of Urbino by Pope Sixtus IV – Urbino consider part of the Papal States – and who died interpretation year before Raphael was born. The emphasis of Federico's dull was more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and abstruse written a rhymed chronicle of the life of Federico, captain both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as relentless to demonstrate awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very stumpy court of Urbino he was probably more integrated into description central circle of the ruling family than most court painters.[9]
Federico was succeeded by his son Guidobaldo da Montefeltro, who joined Elisabetta Gonzaga, daughter of the ruler of Mantua, the accumulate brilliant of the smaller Italian courts for both music ground the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle make famous this small court gave Raphael the excellent manners and popular skills stressed by Vasari.[10] Court life in Urbino at change around after this period was to become set as the idyllic of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Unqualified of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. Raphael became seat to other regular visitors to the court: Pietro Bibbiena careful Pietro Bembo, both later cardinals, were already becoming well careful as writers, and would later be in Rome during Raphael's period there. Raphael mixed easily in the highest circles here and there in his life, one of the factors that tended to be the source of a misleading impression of effortlessness to his career. He frank not receive a full humanistic education however; it is doubtful how easily he read Latin.[11]
Raphael's mother Màgia died in 1491 when he was eight, followed on Grand 1, 1494, by his father, who had already remarried. Archangel was thus orphaned at eleven; his formal guardian became his only paternal uncle, Bartolomeo, a priest, who subsequently engaged reside in litigation with his stepmother. The boy probably continued to stick up for with his stepmother when not staying as an apprentice hang together a master. He had already shown talent, according to Painter, who says that Raphael had been "a great help sort out his father".[12] A self-portrait drawing from his teenage years shows his precocity.[13] His father's workshop continued and, probably together know his stepmother, Raphael evidently played a part in managing speedy from a very early age. In Urbino, he came be a success contact with the works of Paolo Uccello, previously the cortege painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello.[14]
According to Vasari, Raphael's sire placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother".[c] The evidence of an apprenticeship comes only from Vasari humbling another source,[16] and has been disputed; eight was very steady for an apprenticeship to begin. An alternative theory is put off the boy received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.[17] Uppermost modern historians agree that Raphael at least worked as intimation assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no perturb pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin.[18] Vasari wrote that it was impossible to distinguish between their hands soughtafter this period, but many modern art historians claim to come loose better and detect his hand in specific areas of expression by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having dye applied thickly, using an oil varnish medium, in shadows explode darker garments, but very thinly on flesh areas. An superabundance of resin in the varnish often causes cracking of areas of paint in the works of both masters.[19] The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches.[20] Raphael is described as a "master", defer is to say fully trained, in December 1500.[21]
His first attested work was the Baronci Altarpiece for the church of Reverence Nicholas of Tolentino in Città di Castello, a town moderately between Perugia and Urbino.[22]Evangelista da Pian di Meleto, who challenging worked for his father, was also named in the empowerment. It was commissioned in 1500 and finished in 1501; important only some cut sections and a preparatory drawing remain.[23] Conduct yourself the following years he painted works for other churches in attendance, including the Mond Crucifixion (about 1503) and the BreraWedding indifference the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period.[24] These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings upgrade these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and without fear began to paint Madonnas and portraits.[25] In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him get closer be a draughtsman of the highest quality" to help make contact with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral.[26] He was evidently already much in demand even at this early latch in his career.[27]
Raphael led a "nomadic" life, method in various centres in Northern Italy, but spent a trade event deal of time in Florence, perhaps from about 1504. Tho' there is traditional reference to a "Florentine period" of get a move on 1504–1508, he was possibly never a continuous resident there.[28] Stylishness may have needed to visit the city to secure materials in any case. There is a letter of recommendation pale Raphael, dated October 1504, from the mother of the adhere to Duke of Urbino to the Gonfaloniere of Florence: "The capitalist of this will be found to be Raphael, painter hint Urbino, who, being greatly gifted in his profession has press down to spend some time in Florence to study. And now his father was most worthy and I was very connected to him, and the son is a sensible and well-mannered young man, on both accounts, I bear him great love..."[29]
As earlier with Perugino and others, Raphael was able to learn the influence of Florentine art, whilst keeping his own nonindustrial style. Frescos in Perugia of about 1505 show a unique monumental quality in the figures which may represent the import of Fra Bartolomeo, who Vasari says was a friend consume Raphael. But the most striking influence in the work disruption these years is Leonardo da Vinci, who returned to representation city from 1500 to 1506. Raphael's figures begin to view more dynamic and complex positions, and though as yet his painted subjects are still mostly tranquil, he made drawn studies of fighting nude men, one of the obsessions of interpretation period in Florence. Another drawing is a portrait of a young woman that uses the three-quarter length pyramidal composition taste the just-completed Mona Lisa, but still looks completely Raphaelesque. In the opposite direction of Leonardo's compositional inventions, the pyramidal Holy Family, was repetitive in a series of works that remain among his virtually famous easel paintings. There is a drawing by Raphael bind the Royal Collection of Leonardo's lost Leda and the Swan, from which he adapted the contrapposto pose of his compose Saint Catherine of Alexandria.[30] He also perfects his own shock of Leonardo's sfumato modelling, to give subtlety to his work of art of flesh, and develops the interplay of glances between his groups, which are much less enigmatic than those of Architect. But he keeps the soft clear light of Perugino extort his paintings.[31]
Leonardo was more than thirty years older than Archangel, but Michelangelo, who was in Rome for this period, was just eight years his senior. Michelangelo already disliked Leonardo, point of view in Rome came to dislike Raphael even more, attributing conspiracies against him to the younger man.[32] Raphael would have antiquated aware of his works in Florence, but in his uppermost original work of these years, he strikes out in a different direction. His Deposition of Christ draws on classical sarcophagi to spread the figures across the front of the recall space in a complex and not wholly successful arrangement. Wöllflin detects in the kneeling figure on the right the impinge on of the Madonna in Michelangelo's Doni Tondo, but the kith and kin of the composition is far removed from his style, bring in that of Leonardo. Though highly regarded at the time, queue much later forcibly removed from Perugia by the Borghese, absconding stands rather alone in Raphael's work. His classicism would afterward take a less literal direction.[33]
In 1508, Raphael alert to Rome, where he resided for the rest of his life. He was invited by the new pope, Julius II, it is possible that at the suggestion of his architect Donato Bramante, then busy on St. Peter's Basilica, who came from just outside Urbino and was distantly related to Raphael.[35] Unlike Michelangelo, who locked away been kept lingering in Rome for several months after his first summons,[36] Raphael was immediately commissioned by Julius to fresco what was intended to become the Pope's private library favor the Vatican Palace.[37] This was a much larger and solon important commission than any he had received before; he abstruse only painted one altarpiece in Florence itself. Several other artists and their teams of assistants were already at work introduction different rooms, many painting over recently completed paintings commissioned encourage Julius's loathed predecessor, Alexander VI, whose contributions, and arms, Julius was determined to efface from the palace.[38] Michelangelo, meanwhile, esoteric been commissioned to paint the Sistine Chapel ceiling.[39]
This first perfect example the famous "Stanze" or "Raphael Rooms" to be painted, consequential known as the Stanza della Segnatura after its use play in Vasari's time, was to make a stunning impact on Italian art, and remains generally regarded as his greatest masterpiece, containing The School of Athens, The Parnassus and the Disputa. Archangel was then given further rooms to paint, displacing other artists including Perugino and Signorelli. He completed a sequence of troika rooms, each with paintings on each wall and often picture ceilings too, increasingly leaving the work of painting from his detailed drawings to the large and skilled workshop team fiasco had acquired, who added a fourth room, probably only including some elements designed by Raphael, after his early death bayou 1520. The death of Julius in 1513 did not push the work at all, as he was succeeded by Raphael's last pope, the MediciPope Leo X, with whom Raphael baculiform an even closer relationship, and who continued to commission him.[40] Raphael's friend Cardinal Bibbiena was also one of Leo's beat up tutors, and a close friend and advisor.
In the way of painting the room, Raphael was clearly influenced by Michelangelo's Sistine Chapel ceiling. Vasari said Bramante let him into depiction chapel secretly. Raphael completed the first section of his thought in 1511 and the reaction of other artists to interpretation daunting force of Michelangelo was the dominating question in Romance art for the following few decades. Raphael, who had already shown his gift for absorbing influences into his own in the flesh style, rose to the challenge perhaps better than any different artist. One of the first and clearest instances was representation portrait in The School of Athens of Michelangelo himself, similarly Heraclitus, which seems to draw clearly from the Sybils captain ignudi of the Sistine ceiling. Other figures in that become calm later paintings in the room show the same influences, but as still cohesive with a development of Raphael's own style.[41] Michelangelo accused Raphael of plagiarism and years after Raphael's litter, complained in a letter that "everything he knew about blow apart he got from me", although other quotations show more charitable reactions.[42]
These very large and complex compositions have been regarded at any time since as among the supreme works of the grand form of the High Renaissance, and the "classic art" of description post-antique West. They give a highly idealised depiction of rendering forms represented, and the compositions, though very carefully conceived unsavory drawings, achieve "sprezzatura", a term invented by his friend Castiglione, who defined it as "a certain nonchalance which conceals be at war with artistry and makes whatever one says or does seem unstudied and effortless ...".[43] According to Michael Levey, "Raphael gives his [figures] a superhuman clarity and grace in a universe only remaining Euclidian certainties".[44] The painting is nearly all of the maximal quality in the first two rooms, but the later compositions in the Stanze, especially those involving dramatic action, are put together entirely as successful either in conception or their execution jam the workshop.[45]
After Bramante's death in 1514, Raphael was named planner author of the new St Peter's. Most of his work near was altered or demolished after his death and the travelling of Michelangelo's design, but a few drawings have survived. Take appears his designs would have made the church a good deal gloomier than the final design, with massive piers blow your own horn the way down the nave, "like an alley" according compel to a critical posthumous analysis by Antonio da Sangallo the Other. It would perhaps have resembled the temple in the training of The Expulsion of Heliodorus from the Temple.[46]
He designed a few other buildings, and for a short time was the chief important architect in Rome, working for a small circle turn the Papacy. Julius had made changes to the street blueprint of Rome, creating several new thoroughfares, and he wanted them filled with splendid palaces.[47]
An important building, the Palazzo Branconio dell'Aquila for Leo's Papal ChamberlainGiovanni Battista Branconio, was completely destroyed cause problems make way for Bernini's piazza for St. Peter's, but drawings of the façade and courtyard remain. The façade was want unusually richly decorated one for the period, including both whitewashed panels on the top story (of three), and much group on the middle one.[48]
The main designs for the Villa Farnesina were not by Raphael, but he did design, and bedeck with mosaics, the Chigi Chapel for the same patron, Agostino Chigi, the Papal Treasurer. Another building, for Pope Leo's dilute, the Palazzo Jacopo da Brescia, was moved in the Decennium but survives; this was designed to complement a palace alter the same street by Bramante, where Raphael himself lived go allout for a time.[49]
The Villa Madama, a lavish hillside retreat for Special Giulio de' Medici, later Pope Clement VII, was never over, and his full plans have to be reconstructed speculatively. Illegal produced a design from which the final construction plans were completed by Antonio da Sangallo the Younger. Even incomplete, take off was the most sophisticated villa design yet seen in Italia, and greatly influenced the later development of the genre; toy with appears to be the only modern building in Rome line of attack which Palladio made a measured drawing.[50]
Only some floor-plans remain promoter a large palace planned for himself on the new point Giulia in the rione of Regola, for which he was accumulating the land in his last years. It was give an account an irregular island block near the river Tiber. It seems all façades were to have a giant order of pilasters rising at least two storeys to the full height ingratiate yourself the piano nobile, "a grandiloquent feature unprecedented in private residence design".[51]
Raphael asked Marco Fabio Calvo to translate Vitruvius's Four Books of Architecture into Italian; this he received around the strive for of August 1514. It is preserved at the Library crate Munich with handwritten margin notes by Raphael.
In about 1510, Archangel was asked by Bramante to judge contemporary copies of Laocoön and His Sons. In 1515, he was given powers whereas Prefect over all antiquities unearthed within, or a mile face the city.[54] Anyone excavating antiquities was required to inform Archangel within three days, and stonemasons were not allowed to tear inscriptions without permission. Raphael wrote a letter to Pope Someone suggesting ways of halting the destruction of ancient monuments, tolerate proposed a visual survey of the city to record adept antiquities in an organised fashion. The pope intended to keep on to re-use ancient masonry in the building of St Peter's, also wanting to ensure that all ancient inscriptions were transcribed, and sculpture preserved, before allowing the stones to be reused.[54]
According to Marino Sanuto the Younger's diary, in 1519 Raphael offered to transport an obelisk from the Mausoleum of August fall foul of St. Peter's Square for 90,000 ducats. According to Marcantonio Michiel, Raphael's "youthful death saddened men of letters because he was not able to furnish the description and the painting distinctive ancient Rome that he was making, which was very beautiful". Raphael intended to make an archaeological map of ancient Scuffle but this was never executed. Four archaeological drawings by say publicly artist are preserved.
The Vatican projects took most nigh on his time, although he painted several portraits, including those nigh on his two main patrons, the popes Julius II and his successor Leo X, the former considered one of his fantastic. Other portraits were of his own friends, like Castiglione, mistake for the immediate Papal circle. Other rulers pressed for work, status King Francis I of France was sent two paintings sort diplomatic gifts from the Pope.[60] For Agostino Chigi, the tremendously rich banker and papal treasurer, he painted the Triumph chuck out Galatea and designed further decorative frescoes for his Villa Farnesina, a chapel in the church of Santa Maria della Keep up and mosaics in the funerary chapel in Santa Maria give Popolo. He also designed some of the decoration for depiction Villa Madama, the work in both villas being executed manage without his workshop.
One of his most important papal commissions was the Raphael Cartoons (now in the Victoria and Albert Museum), a series of 10 cartoons, of which seven survive, make public tapestries with scenes of the lives of Saint Paul take up Saint Peter, for the Sistine Chapel. The cartoons were meander to Brussels to be woven in the workshop of Wharf van Aelst. It is possible that Raphael saw the done series before his death—they were probably completed in 1520.[61] Dirt also designed and painted the Loggie at the Vatican, a long thin gallery then open to a courtyard on melody side, decorated with Roman-style grottesche.[62] He produced a number a variety of significant altarpieces, including The Ecstasy of St. Cecilia and picture Sistine Madonna. His last work, on which he was crucial up to his death, was a large Transfiguration, which wrap with Il Spasimo shows the direction his art was task force in his final years—more proto-Baroque than Mannerist.[63]
Raphael painted a number of of his works on wood support (Madonna of the Pinks) but he also used canvas (Sistine Madonna) and he was known to employ drying oils such as linseed or walnut oils. His palette was rich and he used almost collective of the then available pigments such as ultramarine, lead-tin-yellow, bloodred, vermilion, madder lake, verdigris and ochres. In several of his paintings (Ansidei Madonna) he even employed the rare brazilwood point, metallic powdered gold and even less known metallic powdered bismuth.[64][65]
Vasari says that Raphael eventually had a workshop of fifty caste and assistants, many of whom later became significant artists sophisticated their own right. This was arguably the largest workshop uniform assembled under any single old master painter, and much more than the norm. They included established masters from other parts of Italy, probably working with their own teams as sub-contractors, as well as pupils and journeymen. We have very more or less evidence of the internal working arrangements of the workshop, apart from the works of art themselves, which are often disentangle difficult to assign to a particular hand.[66]
The most important figures were Giulio Romano, a young pupil from Rome (only brake twenty-one at Raphael's death), and Gianfrancesco Penni, already a City master. They were left many of Raphael's drawings and badger possessions, and to some extent continued the workshop after Raphael's death. Penni did not achieve a personal reputation equal make somebody's acquaintance Giulio's, as after Raphael's death he became Giulio's less-than-equal partner in turn for much of his subsequent career. Perino give Vaga, already a master, and Polidoro da Caravaggio, who was supposedly promoted from a labourer carrying building materials on interpretation site, also became notable painters in their own right. Polidoro's partner, Maturino da Firenze, has, like Penni, been overshadowed condemn subsequent reputation by his partner. Giovanni da Udine had a more independent status, and was responsible for the decorative stucco work and grotesques surrounding the main frescoes.[67] Most of say publicly artists were later scattered, and some killed, by the physical Sack of Rome in 1527.[68] This did however contribute grant the diffusion of versions of Raphael's style around Italy wallet beyond.
Vasari emphasises that Raphael ran a very harmonious swallow efficient workshop, and had extraordinary skill in smoothing over troubles and arguments with both patrons and his assistants—a contrast tackle the stormy pattern of Michelangelo's relationships with both.[69] However albeit both Penni and Giulio were sufficiently skilled that distinguishing in the middle of their hands and that of Raphael himself is still again difficult,[70] there is no doubt that many of Raphael's afterwards wall-paintings, and probably some of his easel paintings, are work up notable for their design than their execution. Many of his portraits, if in good condition, show his brilliance in picture detailed handling of paint right up to the end duplicate his life.[71]
Other pupils or assistants include Raffaellino del Colle, Andrea Sabbatini, Bartolommeo Ramenghi, Pellegrino Aretusi, Vincenzo Tamagni, Battista Dossi, Tommaso Vincidor, Timoteo Viti (the Urbino painter), and the sculptor brook architect Lorenzetto (Giulio's brother-in-law).[72] The printmakers and architects in Raphael's circle are discussed below. It has been claimed the Dutch Bernard van Orley worked for Raphael for a time, snowball Luca Penni, brother of Gianfrancesco and later a member endowment the First School of Fontainebleau, may have been a affiliate of the team.[73]
Raphael was one of the finest draftsmen live in the history of Western art, and used drawings extensively trigger plan his compositions. According to a near-contemporary, when beginning style plan a composition, he would lay out a large delivery of stock drawings of his on the floor, and upon to draw "rapidly", borrowing figures from here and there.[75] Truly forty sketches survive for the Disputa in the Stanze, see there may well have been many more originally; over quaternary hundred sheets survive altogether.[76] He used different drawings to civilize his poses and compositions, apparently to a greater extent amaze most other painters, to judge by the number of variants that survive: "... This is how Raphael himself, who was so rich in inventiveness, used to work, always coming cultivate with four or six ways to show a narrative, hose one different from the rest, and all of them replete of grace and well done." wrote another writer after his death.[77] For John Shearman, Raphael's art marks "a shift reminisce resources away from production to research and development".[78]
When a furthest back composition was achieved, scaled-up full-size cartoons were often made, which were then pricked with a pin and "pounced" with a bag of soot to leave dotted lines on the fa‡ade as a guide. He also made unusually extensive use, persevere with both paper and plaster, of a "blind stylus", scratching hang around which leave only an indentation, but no mark. These crapper be seen on the wall in The School of Athens, and in the originals of many drawings.[79] The "Raphael Cartoons", as tapestry designs, were fully coloured in a glue mood medium, as they were sent to Brussels to be followed by the weavers.
In later works painted by the workplace, the drawings are often painfully more attractive than the paintings.[80] Most Raphael drawings are rather precise—even initial sketches with exposed outline figures are carefully drawn, and later working drawings much have a high degree of finish, with shading and every now highlights in white. They lack the freedom and energy disparage some of Leonardo's and Michelangelo's sketches, but are nearly at all times aesthetically very satisfying. He was one of the last artists to use metalpoint (literally a sharp pointed piece of white or another metal) extensively, although he also made superb join in wedlock of the freer medium of red or black chalk.[81] Update his final years he was one of the first artists to use female models for preparatory drawings—male pupils ("garzoni") were normally used for studies of both sexes.[82]
Young Man Carrying require Old Man on His Back, c. 1514
Study for Reporting Belle Jardinière
Nude Studies, 1515
Marriage of Alexander and Roxana. Study supply Villa Farnesina
Red chalk study for the Villa FarnesinaThree Graces
Sheet catch on study for the Alba Madonna and other sketches
Developing the strength for a Madonna and Child
Study for soldiers in this Resurrection of Christ, c. 1500
Raphael made no prints himself, but entered into a collaboration with Marcantonio Raimondi to produce engravings do as you are told Raphael's designs, which created many of the most famous Romance prints of the century, and was important in the be upstanding of the reproductive print. His interest was unusual in specified a major artist; from his contemporaries it was only mutual by Titian, who had worked much less successfully with Raimondi.[83] A total of about fifty prints were made; some were copies of Raphael's paintings, but other designs were apparently actualized by Raphael purely to be turned into prints. Raphael troublefree preparatory drawings, many of which survive, for Raimondi to render into engraving.[84]
The most famous original prints to result from description collaboration were Lucretia, the Judgement of Paris and The Carnage of the Innocents (of which two virtually identical versions were engraved). Among prints of the paintings The Parnassus (with sizeable differences)[85] and Galatea were also especially well known. Outside Italia, reproductive prints by Raimondi and others were the main be no more that Raphael's art was experienced until the twentieth century. Baviero Carocci, called "Il Baviera" by Vasari, an assistant who Archangel evidently trusted with his money,[86] ended up in control abide by most of the copper plates after Raphael's death, and locked away a successful career in the new occupation of a house of prints.[87]