1512: Raphael takes up architecture. He plans, designs, and supervises the construction of a chapel for Agostino Chigi.

      1514: He finishes the decoration of another room in the Vatican, the Stanza dell’Eliodoro. The artist’s popularity is now such that he receives many commissions. Most are finished by his assistants, so much work does he have. His workload increases even more when he is asked to finish St Peter’s Basilica, following the death of his mentor and friend, the architect Bramante.

      1515: Raphael paints the Portrait of Baldassare Castiglione, probably with the help of his assistants.

      1516: Cardinal Giuliano de’ Medici commissions the altarpiece of the Transfiguration. He will work on it until his death and it will then be finished by one of his pupils.

      1517: Raphael is appointed superintendent of antiquities in Rome by Pope Leo X. He immediately begins an inventory of the ancient monuments in the city.

      Still working for the Pope, he completes a series of ten cartoons for tapestries for the Sistine Chapel. These are later woven by Pieter van Aelst in Brussels.

      1518–1519: He paints one of his masterpieces, the Portrait of Leo × with Cardinals Giulio de’ Medici and Luigi de’ Rossi. It is perhaps his only late work done entirely without the help of his assistants.

      The Fornarina is also painted during this period, inspired by the baker’s daughter with whom Raphael is supposed to have been hopelessly in love.

      1520: Raphael dies of a fever on the 6th of April, his thirty-seventh birthday. As he is by then wealthy and admired, his funeral is held in the Vatican and his body buried in Rome at the Pantheon.

      Birth of Raphael and his First Works

      On the 6th of April 1483, Raphael, who would carry to such heights of glory the name of Santi, was born in Urbino, Italy. His father, Giovanni Santi, gave him the name of an archangel, as though guessing the celestial splendour to which his son would rise. Giovanni was a modest and thrifty member of the middle class, ready to accept any commission, provided it was well remunerated.

      Angel Holding a Phylactery (fragment of the Baronci Altarpiece)

      1500–1501

      Oil on wood, 58 × 36 cm

      Musée du Louvre, Paris

      To judge him only by his ordinary occupations, one would be tempted to take him for an artisan rather than an artist, so diverse and varied were his activities. But this worker, so humble in appearance, had travelled extensively. He had studied the works of the most famous masters; he possessed the secrets of the trade and stopped at nothing in order to remain abreast of new methods. He had observed and read widely, and the names of the humanists were familiar to him.

      The Crucified Christ with the Virgin Mary, Saints and Angels (The Mond Crucifixion)

      c. 1502–1503

      Oil on poplar wood, 283.3 × 167.3 cm

      The National Gallery, London

      Given Giovanni Santi’s tastes, we may assume that, in addition to a very careful artistic education, his son received a good and solid literary one as well. Raphael lost his mother at the age of eight, and his father four years later. In spite of Giovanni Santi’s premature death, knowledgeable judges see several similarities of style between the works of the father and those of his son. It is quite probable that Raphael received some lessons from his father. How was the interval separating the death of Giovanni Santi and Raphael’s departure for Perugia filled?

      The Madonna and Child with a Book

      c. 1502–1503

      Oil on wood, 55.2 × 40 cm

      Norton Simon Museum of Art, Pasadena, California

      It is probable that in his native city the boy received lessons from his compatriot Timoteo Viti. This capable painter, whose value should, nonetheless, not be exaggerated, had returned to Urbino in 1495 after solid studies done in Bologna in the workshop of Francia. A tender friendship immediately united the two artists. In his period of grandeur, Raphael did not forget the companion of his youth; he called him to him in Rome, and asked for his help in the execution of the Sibyls and the Prophets in the church of the Pace.

      Head of a Boy with a Cap

      c. 1502–1503

      Black chalk, 21.2 × 18.6 cm

      Palais des Beaux-Arts, Lille

      His Departure for Perugia and his Collaboration with Perugino

      If Raphael’s new home, Perugia, was less developed culturally in 1495 than Urbino, it offered some compensation from the point of view of the beauty of the countryside, its variety and the vastness of the reactions it evoked. Here again the young artist was to breathe the brisk, vivifying air of the mountains, and be in contact with a countryside full of poetry.

      The Crowning of the Virgin (Oddi Altarpiece)

      1502–1504

      Oil and tempera on wood transferred onto canvas, 272 × 165 cm

      Musei Vaticani, Vatican City

      Pietro Vannucci, “Perugino”, his new master, concentrated only on painting, nothing else, whereas most of his contemporaries excelled at once in painting, goldsmith work, architecture or sculpture. But he had travelled greatly, he had seen close-up the most remarkable men of that great time. His conversation was therefore perfect for sparking the interest of his young listener. He could speak to him of the very energetic and unscrupulous Pope, Sixtus IV, whose unflagging activity had transformed Rome; of Innocent

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