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The Vatican projects took most of his time, although he painted several portraits, including those of his two main patrons, the popes [[Portrait of Pope Julius II (Raphael)|Julius II]] and his successor [[Portrait of Pope Leo X (Raphael)|Leo X]], the former considered one of his finest. Other portraits were of his own friends, like Castiglione, or the immediate Papal circle. Other rulers pressed for work, and [[François I of France]] was sent two paintings as diplomatic gifts from the Pope. For [[Agostino Chigi]] the hugely rich banker and Papal Treasurer, he painted the [[Galatea (Raphael)|Galatea]], and designed further decorative frescoes, for his [[Villa Farnesina]], and painted two chapels in the churches of [[Santa Maria della Pace]] and [[Santa Maria del Popolo]]. He also designed some of the decoration for the Villa Madama, the work in both villas being executed by his workshop.
 
One of his most important papal commissions was the [[Raphael Cartoons]] (now [[Victoria and Albert Museum]]), a series of 10 [[cartoon]]s (of which seven survive) for tapestries with scenes of the lives of [[Paul of Tarsus|Saint Paul]] and [[Saint Peter]] for the [[Sistine Chapel]]. The cartoons were sent to [[Brussels]] to be woven in the workshop of [[Pier van Aelst]]. It is possible that Raphael saw the finished series before his death—they were probably completed in [[1520]].<ref>Jones & Penny:133-147</ref> He also designed and painted the ''Loggia'' at the Vatican, a long thin gallery then open to a courtyard on one side, decorated with Roman-style [[grottesche]].<ref>Jones & Penny:192-197</ref> He produced a number of significant altarpieces, including [[The Ecstasy of St. Cecilia (Raphael)|''The Ecstasy of St. Cecilia'']] and the ''[[Sistine Madonna]]''. His last work, on which he was working up to his death, was a large ''[[Transfiguration (Raphael)|Transfiguration]]'', which together with [[Christ Falling on the Way to Calvary (Raphael)|Il Spasimo]] shows the direction his art was taking in his final years—more proto-[[Baroque]] than [[Mannerist]].<ref>Jones & Penny:235-246, though the relationship of Raphael to Mannerism, like the definition of Mannerism itself, is much debated. See Craig Hugh Smyth, ''Mannerism & Maniera'', 1992, IRSA Vienna, ISBN3900731330ISBN 3900731330</ref>
 
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== Main references ==
* [[Anthony Blunt|Blunt, Anthony]], ''Artistic Theory in Italy, 1450-1660'', 1940 (refs to 1985 edn), [[OUP]], ISBN0198810504ISBN 0198810504
* [[Cecil Gould|Gould, Cecil]], ''The Sixteenth Century Italian Schools'', National Gallery Catalogues, London 1975, ISBN 0-947645-22-5
* Roger Jones and [[Nicholas Penny]], ''Raphael'', Yale, 1983, ISBN 0-300-03061-4