All RAFFAELLO Sanzio 's Paintings
The Painting Names Are Sorted From A to Z

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Choice ID Image  Paintings (From A to Z)       Details 
55676 Academy  Academy   mk243 1508
55677 Academy  Academy   mk243
63804 Adam and Eve  Adam and Eve   1509-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican This portrayal of the Fall is generally attributed to Raphael. Standing in a distinct contrapposto pose, Eve recalls the figure of Leda in a study by Leonardo da Vinci - Raphael made a drawing of this while he was in Florence.Artist:RAFFAELLO Sanzio Title: Adam and Eve (ceiling panel) Painted in 1501-1550 , Italian - - painting : religious
86966 Aldobrandini Madonna  Aldobrandini Madonna   1510(1510) Medium Oil on wood cyf
8742 Aldobrandini Madonna (Garvagh Madonna)  Aldobrandini Madonna (Garvagh Madonna)   1510 Oil on wood, 38,7 x 32,7 cm National Gallery, London
8721 Allegory (The Knight's Dream)  Allegory (The Knight's Dream)   c. 1504 Oil on wood, 17 x 17 cm National Gallery, London
55636 Angel  Angel   mk243 1500-1501 31x27cm Oil on board
84038 Angel  Angel   Date between 1500(1500) and 1501(1501) Medium Oil on wood Dimensions Height: 57 cm (22.4 in). Width: 36 cm (14.2 in). cjr
86318 Angel  Angel   Date 1500-1501 Medium Oil on wood Dimensions 57 x 36 cm (22.4 x 14.2 in) cjr
87901 Angel  Angel   between 1500(1500) and 1501(1501) Medium Oil on wood cyf
88319 Angel  Angel   1500-1501 Medium Oil on wood Dimensions 57 x 36 cm (22.4 x 14.2 in) cyf
8706 Angel (fragment of the Baronci Altarpiece) dg  Angel (fragment of the Baronci Altarpiece) dg   1500-01 Oil on wood, 31 x 27 cm Pinacoteca Tosio Martinengo, Brescia
74345 Angel fragment of the Baronci Altarpiece  Angel fragment of the Baronci Altarpiece   Unknown date Medium Oil on panel Dimensions 31 X 27cm cyf
55661 Apaul and Musi  Apaul and Musi   mk243 1508 120x105cm
63802 Apollo and Marsyas  Apollo and Marsyas   1509-11 Fresco, 120 x 105 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The shepherd Marsyas had challenged the god Apollo to a musical contest. Marsyas lost and as a punishment for daring to challenge a god he was flayed alive. The scene is an allegory of divine harmony triumphing over earthly passion. With its unrhythmical composition and its elongated figures, this scene is probably by an unknown hand, and not by Raphael.Artist:RAFFAELLO Sanzio Title: Apollo and Marsyas (ceiling panel) Painted in 1501-1550 , Italian - - painting : mythological
55671 Argue  Argue   mk243
55672 Argue  Argue   mk243
55673 Argue  Argue   mk243 1508
55720 Argue  Argue   mk243 1509
55695 Atila  Atila   mk243 1514
55685 Augur  Augur   mk243 1511-1512 250x155cm
57239 Barr reaches Saar Kasi the Leo portrait  Barr reaches Saar Kasi the Leo portrait   mk255 for in the years 1514-1515 canvas 0.82 x 0.67 meters. Paris Louvre
55706 Bishop  Bishop   mk243 1518-1519 154x119cm Oil on board
55651 Blessing  Blessing   mk243 1506 30x25cm Oil on canvas
83527 Bridgewater Madonna  Bridgewater Madonna   Date ca. 1507(1507) Medium Oil on canvas transferred from panel Dimensions Height: 81 cm (31.9 in). Width: 56 cm (22 in). cjr
87386 Bridgewater Madonna  Bridgewater Madonna   1507(1507) Medium Oil on canvas transferred from panel cyf
63777 Cardinal Tommaso Inghirami  Cardinal Tommaso Inghirami   1515-16 Oil on wood, 91 x 61 cm Galleria Palatina (Palazzo Pitti), Florence This portrait shows the eminent man of letters and librarian of Pope Leo X with an absorbed expression, in the act of writing. It is assumed that Inghirami worked with Raphael on the program of the Stanza della Segnatura. The portrait is an exceptional work for its fullness of vision and vibrant colours, without being excessively grandiose or dramatic. There are two extant versions: one in Boston and the other in Palazzo Pitti. Each has been considered the original at one time or another, but the dispute is useless, since both are highly coherent and the differences between them are slight: the physical structure of the Cardinal is more massive in the Boston portrait and leaner in the Pitti one. It is accepted by some experts that both versions are the work of Raphael, the Boston version being the earlier from 1512-14. The red of the Cardinal's clothing dominates both. Inghirami's crossed eyes, a physical defect which the artist does not leave out, acquire a discreet tone which almost dissolves in the inspired pose of the figure. Without idealizing, but also without falling into unpleasant naturalism, Raphael maintains a harmonic equilibrium between realism and dignified celebration, a primary characteristic of portrait painting.Artist:RAFFAELLO Sanzio Title: Cardinal Tommaso Inghirami Painted in 1501-1550 , Italian - - painting : portrait
63809 Ceiling  Ceiling   1513-14 Fresco Stanza di Eliodoro, Palazzi Pontifici, Vatican The four great paintings on the ceiling show scenes from the Old Testament, the theme being God's intervention at a critical moment in Man's destiny: Moses and the Burning Bush is above the fresco The Expulsion of Heliodorus; Isaac's Sacrifice of his Son is above The Mass at Bolsena; Noah's Dream is above The Meeting between Leo the Great and Attila; and Jacob's Ladder is above The Liberation of St Peter.Artist:RAFFAELLO Sanzio Title: Ceiling Painted in 1501-1550 , Italian - - painting : religious
55681 Ceremony  Ceremony   mk243 1511 295x225cm
55699 Chimera  Chimera   mk243 1514 220x136cm Oil on board
55657 Christ  Christ   mk243 1507 Oil on board 184x176cm
55708 Christ  Christ   mk243 1518-1520 405x278cm Oil on board
55717 Christ Bury  Christ Bury   mk243
55718 Christ Bury  Christ Bury   mk243 1507
51241 Christ Falls on the Way to Calvary  Christ Falls on the Way to Calvary   1517 Oil on panel
55640 Christ on the cross  Christ on the cross   mk243 1503 279x166cm Oil on canvas
55635 Christ relive  Christ relive   mk243 1501
86961 Colonna Madonna  Colonna Madonna   1508(1508) Medium Oil on wood cyf
55723 Construction  Construction   mk243
84043 Crucifixion  Crucifixion   Date between 1502(1502) and 1503(1503) Medium Oil on wood Dimensions Height: 281 cm (110.6 in). Width: 165 cm (65 in). cjr
87903 Crucifixion  Crucifixion   between 1502(1502) and 1503(1503) Medium Oil on wood cyf
8707 Crucifixion (Citt di Castello Altarpiece) g  Crucifixion (Citt di Castello Altarpiece) g   1502-03 Oil on wood, 281 x 165 cm National Gallery, London
63787 Cupid and the Three Graces  Cupid and the Three Graces   1517 Fresco Villa Farnesina, Rome It was said that only in the presence of the Three Graces could a young man recognize the charms of his beloved. Cupid is looking at the Graces and pointing with his left hand, not at Psyche, but at the loggia itself, the Chigis own world. This is no doubt meant to refer to the lady of the house. Pope Leo X liked Giovanni da Udine's garlands so much that he commissioned the painter to decorate the first floor of the loggia in the Vatican with similar floral motifs.Artist:RAFFAELLO Sanzio Title: Cupid and the Three Graces Painted in 1501-1550 , Italian - - painting : mythological
51256 Decoration of the Loggetta  Decoration of the Loggetta   1516-17 Fresco Palazzi Pontifici
63812 Decoration of the Loggetta  Decoration of the Loggetta   1516-17 Fresco Palazzi Pontifici, Vatican Raphael decorated Bibbiena's loggetta in the style of newly-discovered ancient Roman ornamental forms - the walls and ceilings are adorned with grotesques, open areas and geometric ornaments. The artist has depicted mythological scenes in the lunettes, as well as allegories of the four seasons in the recesses. Raphael himself was probably responsible for the overall design and for some of the figure studies. That said, the final decorative work would have been undertaken by his studio associates, Francesco Penni, Giulio Romano and Giovanni da Udine.Artist:RAFFAELLO Sanzio Title: Decoration of the Loggetta Painted in 1501-1550 , Italian - - painting : interior
55658 Detail of Christ  Detail of Christ   mk243 1507
55670 Detail of Family  Detail of Family   mk243 1507
82579 Diotalevi Madonna  Diotalevi Madonna   Date ca. 1503(1503) Medium Oil on wood Dimensions Height: 69 cm (27.2 in). Width: 50 cm (19.7 in). cjr
51228 Disputation of the Holy Sacrament  Disputation of the Holy Sacrament   1510-11 Fresco, width at the base
79735 Donna Velata  Donna Velata   oil on canvas, 85 x 64 cm 1512/1513 cjr
83680 Donna Velata  Donna Velata   oil on canvas, 85 x 64 cm cyf
52204 Double Portrait  Double Portrait   1518 Oil on canvas, 90 x 83 cm
62373 Double Portrait  Double Portrait   77 x 111 cm Galleria Doria Pamphilj, Rome This austere double portrait of great stylistic restraint, set against a green background, in which the two figures, perhaps intentionally conceived by the artist in the manner of Roman busts, seem not to communicate with one another, has never roused a great deal of enthusiasm on the part of critics. In fact, no one has ever seriously studied of this painting and, even though it is now almost universally agreed to be the work of Raphael, the identity of the two figures has remained highly debatable. Some have seen them as Luther and Calvin (Pamphilj inventory of circa 1684), or as Bartolo da Sassoferrato and Baldo degli Ubaldi, two fourteenth-century jurists (inventory of Olimpia Aldobrandini ante 1665), or as Andrea Doria and Christopher Columbus, an interesting idea, or finally, as Andrea Navagero and Agostino Beaziano, a highly plausible identification that has been accepted by the most recent literature. We know from a letter written by Pietro Bembo on April 3, 1516, to Cardinal Bibbiena, that Raphael, Castiglione, Navagero and Beaziano had planned to make a trip to Tivoli together the following day. It is likely that the artist intended to paint a dual portrait of the two men: Andrea Navagero (1453-1529; humanist and man of letters, since 1515 librarian of St Mark's, who left Rome at the end of April for Venice, so his portrait would have to have been finished before his departure) and Agostino Beaziano (born in Treviso around the last decade of the fifteenth century and died in 1549, he started on a career in diplomacy through the intercession of Bembo, who took him around so that he could establish links with the most famous personages on the Roman scene). It is also likely that the painting was intended for their common friend Bembo, and it is in fact recorded as belonging to him in 1538, when he gave it to the surviving member of the pair, Beaziano, begging him "to take care that [the two heads] do not get spoilt." These facts are confirmed by the contemporary Marcantonio Michiel, who adds that the double portrait was painted on panel. This has led some critics to reject the Doria Pamphilj picture, considering it to be a copy on canvas. Yet it is easy to eliminate this objection, given that the picture here, already listed in the collection of Cardinal Pietro Aldobrandini in 1603 (as "Two portraits both the work of Raffaelle Da Urbino," and thus without any reference to the identity of the figures), later passed into that of Olimpia Aldobrandini Pamphilj, where it was cited before 1665 as canvas applied to panel. The wooden support was later removed, leaving the work in its present state. It would seem therefore correct to identify this picture (of which there are two copies with separate portraits in the Prado) as the Portrait of Navagero and Beaziano, painted by Raphael in April 1516 as a mark of their friendship. However a degree of uncertainty must remain, especially with regard to the age of the figures, which appears to be greater than that of the two men at the time, about thirty-three and twenty-six, respectively. In addition, other portraits that are definitely of Andrea Navagero, such as the 1526 one by Titian's school in Berlin or the one in a Roman collection, raise further doubts about the identification. The difficulties in judging similarities of appearance are well known, especially where historical personages are concerned. So the problem of Raphael's Double Portrait in the Galleria Doria Pamphilj remains unsolved
55644 Dragon and Iimi  Dragon and Iimi   mk243 1504-1505 58x36cm
55656 Dumb  Dumb   mk243 1507 64x48cm Oil on board
84051 Elisabetta Gonzaga  Elisabetta Gonzaga   Date ca. 1503(1503) Medium Oil on wood Dimensions Height: 53 cm (20.9 in). Width: 37 cm (14.6 in). cjr
87908 Elisabetta Gonzaga  Elisabetta Gonzaga   1503(1503) Medium Oil on wood cyf
55721 Father and The virgin mary  Father and The virgin mary   mk243 1508 28.4x19.1cm
55696 Fire  Fire   mk243 1514
87275 Georg im Kampf mit dem Drachen  Georg im Kampf mit dem Drachen   1505(1505) Medium Oil on wood Dimensions Deutsch: 31 x 27 cm cyf
63811 Gregory IX Approving the Decretals  Gregory IX Approving the Decretals   1511 Fresco, width at base 220 cm Stanza della Segnatura, Palazzi Pontifici, Vatican This scene is based on a dedication picture of the kind often found in manuscript illumination. What is unusual is that Pope Julius II allowed himself to be portrayed as Pope Gregory IX. His beard helps the dating of the fresco since it is known that after the autumn of 1511 he never shaved again. Cardinal Giovanni de' Medici, later to be Leo X, is standing on the pope's far left.Artist:RAFFAELLO Sanzio Title: Gregory IX Approving the Decretals Painted in 1501-1550 , Italian - - painting : religious
88335 Guidobaldo da Montefeltro  Guidobaldo da Montefeltro   1507(1507) Medium Oil on wood cyf
55701 Heal foot  Heal foot   mk243 1515 390x520cm
90527 Hl. Familie unter der Eiche, mit Johannes dem Taufer  Hl. Familie unter der Eiche, mit Johannes dem Taufer   1518(1518) Medium oil on panel Dimensions Deutsch: 144 x 110 cm cjr
87862 Hl. Familie unter einer Palme, Tondo  Hl. Familie unter einer Palme, Tondo   Date 1506(1506) Medium Oil on wood cjr
83142 Hl. Georg im Kampf mit dem Drachen  Hl. Georg im Kampf mit dem Drachen   Date 1505(1505) Medium Oil on wood Dimensions Deutsch: 31 x 27 cm cjr
51237 Holy Family below the Oak  Holy Family below the Oak   1518 Oil on wood, 144 x 110 cm
87607 Holy Family below the Oak  Holy Family below the Oak   Date 1518(1518) Medium Oil on wood Dimensions Height: 144 cm (56.7 in). Width: 110 cm (43.3 in). cjr
89751 Holy Family below the Oak  Holy Family below the Oak   1518(1518) Medium oil on panel cyf
55722 Insitute  Insitute   mk243 1520
51250 Isaac and Rebecca Spied upon by Abimelech  Isaac and Rebecca Spied upon by Abimelech   1518-19 Fresco Loggia on the second floor
55662 Judge  Judge   mk243 120x105cm 1508 oil on canvas
63797 Justice  Justice   1509-11 Fresco, diameter 180 cm Stanza della Segnatura, Palazzi Pontifici, Vatican The personification of Justice is holding, as her symbols, weighing scales and a sword. Her eyes are directed at the fresco below, The Virtues, in which Fortitude, Wisdom, and Temperance are portrayed in the form of three women. Taken together, all four personifications represent the Cardinal Virtues. Justice's prominent position is explained by the fact that Justice was said by Plato to play a decisive role among the virtues. Two putti are holding the inscription with the words of Emperor Justinian, "She gives Justice to all."Artist:RAFFAELLO Sanzio Title: Justice (ceiling tondo) Painted in 1501-1550 , Italian - - painting : religious
51254 Justinian Presenting the Pandects to Trebonianus  Justinian Presenting the Pandects to Trebonianus   1511 Fresco, width at the base 110 cm
63810 Justinian Presenting the Pandects to Trebonianus  Justinian Presenting the Pandects to Trebonianus   1511 Fresco Stanza della Segnatura, Palazzi Pontifici, VaticanArtist:RAFFAELLO Sanzio Title: Justinian Presenting the Pandects to Trebonianus (detail) Painted in 1501-1550 , Italian - - painting : historical
55674 Kadalina  Kadalina   mk243 1508 71x53cm
55712 Kadanali  Kadanali   mk243 1506-1507
55645 Kill dragon  Kill dragon   mk243 1505 29.5x25.5cm Oil on board
55646 Kill dragon  Kill dragon   mk243 1504-1506 28.5x21.5cm Oil on canvas
55716 Kill dragon and Georgian  Kill dragon and Georgian   nk243 1505
63813 La Disputa  La Disputa   1510-11 Fresco, width of detail: 225 cm Stanza della Segnatura, Palazzi Pontifici, VaticanArtist:RAFFAELLO Sanzio Title: La Disputa (detail) Painted in 1501-1550 , Italian - - painting : religious
63814 La Disputa  La Disputa   1510-11 Fresco, width of detail: 57 cm Stanza della Segnatura, Palazzi Pontifici, VaticanArtist:RAFFAELLO Sanzio Title: La Disputa (detail) Painted in 1501-1550 , Italian - - painting : religious
82493 La fornarina or Portrait of a young woman  La fornarina or Portrait of a young woman   Date between 1518(1518) and 1519(1519) Medium Oil on wood Dimensions Height: 85 cm (33.5 in). Width: 60 cm (23.6 in). cjr
8729 Lady with a Unicorn dfg  Lady with a Unicorn dfg   c. 1505 Oil on wood, 65 x 51 cm Galleria Borghese, Rome
55666 Law  Law   mk243 1508 180cm
55709 Lina  Lina   mk243 1518-1519 85x60cm Oil on canvas
52002 Loggia of Pope Leo X  Loggia of Pope Leo X   1518-19 Palazzi Pontifici
63820 Madonna and Child  Madonna and Child   1508 Oil on wood, 81 x 57 cm National Gallery of Art, Washington The dominance of the lyrical and graceful aspect of this painting (known also as The Niccolini-Cowper Madonna) over the religious content mark it as belonging to Raphael's Florentine period, 1505-08. In fact this panel, signed and dated 1508, was executed near the end of Raphael's stay in Florence. The date 1508 and the artist's monogram "RV" have been worked into the embroidery of the Virgin's robe. The title derives from the names of two former owners. The full, well-formed figures reveal an early influence of Michelangelo, while the soft modeling and the use of chiaroscuro reveal the influence of Leonardo. Fra Bartolomeo's influence is particularly clear. The composition is extremely simple and essential; the gesture of the Child, who stretches his hand toward the Virgin while turning his attention toward the spectator, and the gesture with which the Virgin holds the hand to her breast, provide the only signs of life. The sentiment of anxious motherhood which, enriched by greater awareness, will be fully expressed in the Tempi Madonna, now in the Alte Pinakothek of Munich, appears here for the first time.Artist:RAFFAELLO Sanzio Title: Madonna and Child (The Large Cowper Madonna) Painted in 1501-1550 , Italian - - painting : religious
82581 Madonna and Child  Madonna and Child   Date ca. 1505(1505) Medium Oil on wood Dimensions Height: 209.6 cm (82.5 in). Width: 148.6 cm (58.5 in). cjr
84027 Madonna and Child  Madonna and Child   Date ca. 1503(1503) Medium Oil on wood Dimensions Height: 55 cm (21.7 in). Width: 40 cm (15.7 in). cjr
86960 Madonna and Child  Madonna and Child   between 1504(1504) and 1505(1505) Medium Oil on wood cyf
86962 Madonna and Child  Madonna and Child   1508(1508) Medium Oil on wood cyf
63816 Madonna and Child Enthroned with Saints  Madonna and Child Enthroned with Saints   Madonna and Child Enthroned with Saints 1504-05 Tempera and gold on wood, 172,4 x 172,4 cm (main panel) Metropolitan Museum of Art, New York This is the main panel and lunette from a relatively early work by Raphael, also known as the Colonna Altarpiece, painted for the convent of Sant'Antonio da Padova at Perugia. He began the work when he was barely 20 years old, just before he left for Florence in 1504, and he completed it the following year after he returned to Perugia. The influence of his teacher Perugino can be seen in the conservative composition. Nevertheless, Raphael has infused into the stiffly posed group a breadth and dignity that reflects his knowledge of the work of Fra Bartolommeo in Florence. Particularly beautiful is the way the figures fill the curved shape of the lunette. Flanking the Madonna and Child with the infant Saint John the Baptist are Saints Peter, Catherine, Cecilia(?), and Paul.Artist:RAFFAELLO Sanzio Title: Madonna and Child Enthroned with Saints Painted in 1501-1550 , Italian - - painting : religious
63546 Madonna and Child with the Infant St John  Madonna and Child with the Infant St John   1508 Tempera and oil on wood Museum of Fine Arts, Budapest Raphael, perhaps the most popular and widely appreciated master of Renaissance Italy, was a man of many talents. He succeeded Bramante as architect of St Peter's and was surveyor of excavations of the antiquities of Ancient Rome, as well as producing monumental frescoes and outstanding religious compositions and portraits. It is as a painter of Madonnas, however, that he is most widely known, and his unrivalled popularity with succeeding generations has been mainly due to the harmony and beauty of these paintings. He depicted Mary as a heavenly being who was yet flesh and blood: in half-length or full-length pictures she is seen enthroned or floating through the heavens, against a landscape background or in some interior scene, alone with her Child or in the company of saints
89281 Madonna and Child with the Infant St John  Madonna and Child with the Infant St John   1508(1508) Medium tempera and oil on wood cyf
8735 Madonna del Cardellino ert  Madonna del Cardellino ert   1507 Oil on wood, 107 x 77 cm Galleria degli Uffizi, Florence
63781 Madonna dell'Impannata  Madonna dell'Impannata   1513-14 Oil on wood, 158 x 125 cm Galleria Palatina (Palazzo Pitti), Florence In the mid-1510s Raphael had passed from the highly synthetic and expressive compositions of the first years of the decade to representations which were more and more complex and even more dispersive. Most of these were also finished by his pupils, for this was the busiest moment in Raphael's career. The Madonna dell'Impannata in the Pitti Gallery in Florence was also painted with the help of assistants. According to some critics, the assistants executed the entire painting. But others see the master's hand at least in the major figures (some say in the Christ Child, some in St Elizabeth, some in both figures). The composition is innovative in respect to the usual iconography of the holy family. It shows St Catherine, St Elizabeth, Christ, the Virgin and St John gathered together in a group. A large tent is visible in the background and a window covered by linen (the impannata, or cloth covering of a window, which gives the painting its name) can be seen at the extreme right. Like many other works by Raphael, this painting was carried off by the French in 1799 and was not returned until after the Congress of Vienna, in 1815.Artist:RAFFAELLO Sanzio Title: Madonna dell'Impannata Painted in 1501-1550 , Italian - - painting : religious
63789 Madonna della Seggiola  Madonna della Seggiola   1514 Oil on wood, diameter 71 cm Galleria Palatina (Palazzo Pitti), Florence Raphael painted the picture in Rome, probably during the period immediately after the completion of the Stanza di Eliodoro. It soon passed into the Medicean collections. It was already there by 1589 and has been in the Pitti since the 18th century. It was carried off to Paris by the Napoleonic troops in 1799 and brought back to Florence in 1815. A celebrated picture in which Raphael is under the influence of the antique and of the Venetian school, of Titian and of Sebastiano del Piombo. The form of a "tondo" is in itself a reminder of Florence and carries us back to the taste of the Quattrocento. Of the form of the tondo the artist preserves and emphasizes the curve with his genial adaptation of the figures to the outline of the painting. And yet the composition is in no way forced, but on the other hand the figures in following the curve become more closely entwined together. This grouping, this closing around the fulcrum of the tondo coincides with the centre of affection - the little Christ, the spiritual centre of the picture. The colour, in spite of its vividness, has a fusion and a warmth which Raphael attains with genial and personal mastery.Artist:RAFFAELLO Sanzio Title: Madonna della Seggiola (Sedia) Painted in 1501-1550 , Italian - - painting : religious
86225 Madonna della Seggiola  Madonna della Seggiola   1514(1514) Medium Oil on wood cyf
52196 Madonna della Tenda  Madonna della Tenda   1514 Oil on wood, 65,8 x 51,2 cm
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RAFFAELLO Sanzio
Italian High Renaissance Painter, 1483-1520 Italian painter and architect. As a member of Perugino's workshop, he established his mastery by 17 and began receiving important commissions. In 1504 he moved to Florence, where he executed many of his famous Madonnas; his unity of composition and suppression of inessentials is evident in The Madonna of the Goldfinch (c. 1506). Though influenced by Leonardo da Vinci's chiaroscuro and sfumato, his figure types were his own creation, with round, gentle faces that reveal human sentiments raised to a sublime serenity. In 1508 he was summoned to Rome to decorate a suite of papal chambers in the Vatican. The frescoes in the Stanza della Segnatura are probably his greatest work; the most famous, The School of Athens (1510 C 11), is a complex and magnificently ordered allegory of secular knowledge showing Greek philosophers in an architectural setting. The Madonnas he painted in Rome show him turning away from his earlier work's serenity to emphasize movement and grandeur, partly under Michelangelo's High Renaissance influence. The Sistine Madonna (1513) shows the richness of colour and new boldness of compositional invention typical of his Roman period. He became the most important portraitist in Rome, designed 10 large tapestries to hang in the Sistine Chapel, designed a church and a chapel, assumed the direction of work on St. Peter's Basilica at the death of Donato Bramante,

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