Editing Raphael (section)

===Other painting projects===
[[File:Raphael - The Miraculous Draft of Fishes - Google Art Project.jpg|thumb|''The Miraculous Draught of Fishes'', 1515, one of the seven remaining ''[[Raphael Cartoons]]'' for tapestries for the [[Sistine Chapel]] ([[Victoria and Albert Museum]])]]
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|Julius II]] and his successor [[Portrait of 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 King [[Francis I of France]] was sent two paintings as [[diplomatic gift]]s from the Pope.<ref>One, a portrait of [[Joanna of Aragon, Queen consort of Naples]], for which Raphael sent an assistant to Naples to make a drawing, and probably left most of the painting to the workshop. Jones & Penny:163</ref> For Agostino Chigi, the hugely rich banker and papal treasurer, he painted the ''[[Galatea (Raphael)|Triumph of Galatea]]'' and designed further decorative frescoes for his [[Villa Farnesina]], a chapel in the church of [[Santa Maria della Pace]] and mosaics in the funerary chapel in [[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 in the [[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:133–47</ref> He also designed and painted the ''[[Vatican loggias|Loggie]]'' at the Vatican, a long thin gallery then open to a courtyard on one side, decorated with Roman-style [[grottesche]].<ref>Jones & Penny:192–97</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:235–46, 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, {{ISBN|3-900731-33-0}}</ref>

<gallery widths="200px" heights="200px" perrow="4">
File:Raphael's Triumph of Galatea 01.jpg|''[[Galatea (Raphael)|Triumph of Galatea]]'', 1512, his only major classical mythological subject, for Chigi's villa ([[Villa Farnesina]])
File:Raphael Spasimo.jpg|''[[Christ Falling on the Way to Calvary (Raphael)|Il Spasimo]]'', 1517, brings a new degree of expressiveness to his art ([[Museo del Prado]])
File:The Holy Family - Rafael.jpg|''[[The Holy Family of Francis I (Raphael)|The Holy Family]]'', 1518 ([[Louvre]])
File:Transfiguration Raphael.jpg|''[[Transfiguration (Raphael)|Transfiguration]]'', 1520, unfinished at his death ([[Pinacoteca Vaticana]])
</gallery>