Jakob Schlesinger, after Raphael, 'The Sistine Madonna', probably 1822
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This portrait of the careworn Pope Julius II (1443–1513) is usually dated to the one-and-a-half-year period during which he wore a beard. He grew it in 1510 as a token of mortification while recovering from a serious illness brought on by the loss of Bologna to the French, and vowed not to shave...
Catherine of Alexandria, a fourth-century princess, was converted to Christianity and in a vision underwent a mystic marriage with Christ. When she would not give up her faith, Emperor Maxentius ordered that she be bound to a spiked wheel and tortured to death. However, a thunderbolt destroyed th...
Not on display
This painting is the only surviving scene from the predella (base) of Raphael’s altarpiece for the Ansidei chapel in S. Fiorenzo, Perugia. The main panel of the altarpiece, ‘The Ansidei Madonna’, is also in the National Gallery’s collection. This predella panel would have been placed beneath the...
Not on display
This is the main panel of the altarpiece Raphael painted for the Ansidei family chapel in the Servite Church of S. Fiorenzo in Perugia in 1505.The Virgin sits in majesty on a carved wooden throne with the Christ Child on her lap. She draws his attention to a passage in the book on her knee. A str...
While resting in the shade of a bay tree, the young soldier Scipio has a vision of Virtue and her adversary Pleasure. Virtue promises Scipio honour, fame and glory through victory in war. Pleasure, with fragrant flowing hair, promises a life of ease and serenity.Raphael interpreted the theme not...
Not on display
In this little picture Raphael depicts the moment when the Christ Child takes a carnation, traditionally symbolic of divine love and the Passion (Christ’s torture and crucifixion), from his cousin John the Baptist’s hand. The space between the children’s hands is the centre of the careful geometr...
On display elsewhere
The infant Christ throws his arms affectionately around his mother’s neck and smiles at us. But the Virgin Mary’s eyes are downcast, as though her thoughts are already on his future sacrifice.The painting probably dates from the early years of Raphael’s time in Rome. It is called the ‘Mackintosh...
Not on display
In this painting, Raphael transforms the familiar subject of the Virgin and Child into something entirely new. The figures are no longer posed stiffly and formally as in paintings by earlier artists, but display all the tender emotions one might expect between a young mother and her child. The pa...
Not on display
One of Raphael’s earliest works, this altarpiece was commissioned by the wool merchant and banker Domenico Gavari for his burial chapel dedicated to Saint Jerome in the church of S. Domenico in Città di Castello, Umbria.Christ’s body hangs from the Cross. Two angels balance on delicate slivers of...
This is one of three scenes from the predella of Raphael’s Colonna Altarpiece painted for the convent of S. Antonio da Padua in Perugia. The Procession to Calvary was the central scene of the predella, positioned below the main panel of the altarpiece.Christ looks to us as he carries the Cross, h...
Not on display
Italian, Ferrarese or Bolognese follower of Raphael
This painting may be an idealised portrait of a woman in the guise of a saint, as she has a thin gold halo above her head. She looks directly at us and presses her right hand against her breast. Her oval face, strong regular features and plaited bound hairstyle give her the appearance of a woman...
Not on display
Imitator of Raphael
In the past this painting was believed to be a portrait of Raphael as the sitter slightly resembles his self portrait in The School of Athens of 1509–11 (Vatican). It is not, however, by Raphael and is probably not a portrait of him either. It was previously described as Umbrian and possibly Bolo...
Not on display
After Raphael
This is a copy of Raphael’s Virgin and Child known as ‘The Bridgewater Madonna’. The original is on loan to the Scottish National Gallery in Edinburgh from the Duke of Sutherland’s collection.The copy is similar in size and in most colours and follows Raphael’s style closely, making it difficult...
Not on display
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