Alexis R. Culotta, Ph.D. (2014), University of Washington, is a lecturer at the School of the Art Institute of Chicago. Other publications on Raphael’s circle include her recent chapter in Breaking with Convention in Italian Visual Culture (Cambridge Scholars Publishing, 2017).

• AcknowledgmentsList of IllustrationsIntroduction1 Reclaiming Raphael’s Workshop2 Mechanics of a Visual Language: Imitation/Emulation/Repetition/Recombination3 Recombination in Light of Competition and Collaboration4 Revisiting Recombination within the Workshop5 Continuing the Conversation1 Origins of a Visual Language1 The Prevalent Language of the Classical2 The Visual Language of the Papacy3 The Visual Language of Raphael4 The Language of Recombination in the Stanza della Segnatura2 Visual Language through the Lens of Competition at the Villa Farnesina1 Commissions from Agostino Chigi2 Raphael, Sebastiano, and Competition3 Collaborative Practice and Emerging Workshop Mentalities1 Partnering with Peruzzi2 Raphael’s Workshop Takes Form3 The Capstone of Chigi’s Villa4 Revisiting the “Raphael Rooms”5 The Stanza dell’Incendio6 The Vatican Loggie7 Sala di Costantino8 Beyond the Vatican4 Giovanni da Udine, Perino del Vaga, and Polidoro da Caravaggio, at the Palazzo Baldassini1 Melchiorre Baldassini (1470–1522)2 Sangallo’s Designs3 Giovanni da Udine and the Quotation of Antiquity4 Perino del Vaga, Polidoro da Caravaggio, and the Piano Nobile5 Giulio Romano, Gianfrancesco Penni, and Polidoro da Caravaggio at the Villa Lante al Gianicolo1 Baldassarre Turini (1486–1543)2 A Challenge of Attribution and Dating3 Giulio’s Designs4 The Lateral Sale5 The Grand Salone6 Polidoro da Caravaggio and Maturino da Firenze from the Frescoed Facade to the Fetti Chapel1 Fra Mariano Fetti (d. 1531)2 A Complicated History3 Peruzzi, Polidoro, and Painted Illusion4 Illusions of Landscape in the Fetti Chapel7 Santa Maria Della Pace and a Pastiche by Peruzzi1 Filippo Sergardi (1466–1541)2 A Pastiche of Figures3 A Pastiche of ArchitectureEpilogueBibliographyIndex

“Despite the vast literature on it, the operation and importance of Raphael’s workshop is still much debated and little understood. This study restores agency and interest in artists and works of art that have long been little considered or overshadowed by Raphael himself. The author demonstrates that Raphael (1483–1520) developed a style of “recombination”— infused with visual quotations from ancient and contemporaneous artists—that proved influential in the development of a shared visual language among members of his entourage. Case studies illustrate how this shared, collaborative style evolved during Raphael’s lifetime and was perpetuated by members of the workshop in the years immediately following the artist’s death.”W. E. Wallace, Washington University, in CHOICE Connect, a publication of the Association of College and Research Libraries, Volume 58, issue 10

Alexis R. Culotta, Ph.D. (2014), University of Washington, is a lecturer at the School of the Art Institute of Chicago. Other publications on Raphael’s circle include her recent chapter in Breaking with Convention in Italian Visual Culture (Cambridge Scholars Publishing, 2017).

• AcknowledgmentsList of IllustrationsIntroduction1 Reclaiming Raphael’s Workshop2 Mechanics of a Visual Language: Imitation/Emulation/Repetition/Recombination3 Recombination in Light of Competition and Collaboration4 Revisiting Recombination within the Workshop5 Continuing the Conversation1 Origins of a Visual Language1 The Prevalent Language of the Classical2 The Visual Language of the Papacy3 The Visual Language of Raphael4 The Language of Recombination in the Stanza della Segnatura2 Visual Language through the Lens of Competition at the Villa Farnesina1 Commissions from Agostino Chigi2 Raphael, Sebastiano, and Competition3 Collaborative Practice and Emerging Workshop Mentalities1 Partnering with Peruzzi2 Raphael’s Workshop Takes Form3 The Capstone of Chigi’s Villa4 Revisiting the “Raphael Rooms”5 The Stanza dell’Incendio6 The Vatican Loggie7 Sala di Costantino8 Beyond the Vatican4 Giovanni da Udine, Perino del Vaga, and Polidoro da Caravaggio, at the Palazzo Baldassini1 Melchiorre Baldassini (1470–1522)2 Sangallo’s Designs3 Giovanni da Udine and the Quotation of Antiquity4 Perino del Vaga, Polidoro da Caravaggio, and the Piano Nobile5 Giulio Romano, Gianfrancesco Penni, and Polidoro da Caravaggio at the Villa Lante al Gianicolo1 Baldassarre Turini (1486–1543)2 A Challenge of Attribution and Dating3 Giulio’s Designs4 The Lateral Sale5 The Grand Salone6 Polidoro da Caravaggio and Maturino da Firenze from the Frescoed Facade to the Fetti Chapel1 Fra Mariano Fetti (d. 1531)2 A Complicated History3 Peruzzi, Polidoro, and Painted Illusion4 Illusions of Landscape in the Fetti Chapel7 Santa Maria Della Pace and a Pastiche by Peruzzi1 Filippo Sergardi (1466–1541)2 A Pastiche of Figures3 A Pastiche of ArchitectureEpilogueBibliographyIndex

“Despite the vast literature on it, the operation and importance of Raphael’s workshop is still much debated and little understood. This study restores agency and interest in artists and works of art that have long been little considered or overshadowed by Raphael himself. The author demonstrates that Raphael (1483–1520) developed a style of “recombination”— infused with visual quotations from ancient and contemporaneous artists—that proved influential in the development of a shared visual language among members of his entourage. Case studies illustrate how this shared, collaborative style evolved during Raphael’s lifetime and was perpetuated by members of the workshop in the years immediately following the artist’s death.”W. E. Wallace, Washington University, in CHOICE Connect, a publication of the Association of College and Research Libraries, Volume 58, issue 10

Alexis R. Culotta, Ph.D. (2014), University of Washington, is a lecturer at the School of the Art Institute of Chicago. Other publications on Raphael’s circle include her recent chapter in Breaking with Convention in Italian Visual Culture (Cambridge Scholars Publishing, 2017).

• AcknowledgmentsList of IllustrationsIntroduction1 Reclaiming Raphael’s Workshop2 Mechanics of a Visual Language: Imitation/Emulation/Repetition/Recombination3 Recombination in Light of Competition and Collaboration4 Revisiting Recombination within the Workshop5 Continuing the Conversation1 Origins of a Visual Language1 The Prevalent Language of the Classical2 The Visual Language of the Papacy3 The Visual Language of Raphael4 The Language of Recombination in the Stanza della Segnatura2 Visual Language through the Lens of Competition at the Villa Farnesina1 Commissions from Agostino Chigi2 Raphael, Sebastiano, and Competition3 Collaborative Practice and Emerging Workshop Mentalities1 Partnering with Peruzzi2 Raphael’s Workshop Takes Form3 The Capstone of Chigi’s Villa4 Revisiting the “Raphael Rooms”5 The Stanza dell’Incendio6 The Vatican Loggie7 Sala di Costantino8 Beyond the Vatican4 Giovanni da Udine, Perino del Vaga, and Polidoro da Caravaggio, at the Palazzo Baldassini1 Melchiorre Baldassini (1470–1522)2 Sangallo’s Designs3 Giovanni da Udine and the Quotation of Antiquity4 Perino del Vaga, Polidoro da Caravaggio, and the Piano Nobile5 Giulio Romano, Gianfrancesco Penni, and Polidoro da Caravaggio at the Villa Lante al Gianicolo1 Baldassarre Turini (1486–1543)2 A Challenge of Attribution and Dating3 Giulio’s Designs4 The Lateral Sale5 The Grand Salone6 Polidoro da Caravaggio and Maturino da Firenze from the Frescoed Facade to the Fetti Chapel1 Fra Mariano Fetti (d. 1531)2 A Complicated History3 Peruzzi, Polidoro, and Painted Illusion4 Illusions of Landscape in the Fetti Chapel7 Santa Maria Della Pace and a Pastiche by Peruzzi1 Filippo Sergardi (1466–1541)2 A Pastiche of Figures3 A Pastiche of ArchitectureEpilogueBibliographyIndex

“Despite the vast literature on it, the operation and importance of Raphael’s workshop is still much debated and little understood. This study restores agency and interest in artists and works of art that have long been little considered or overshadowed by Raphael himself. The author demonstrates that Raphael (1483–1520) developed a style of “recombination”— infused with visual quotations from ancient and contemporaneous artists—that proved influential in the development of a shared visual language among members of his entourage. Case studies illustrate how this shared, collaborative style evolved during Raphael’s lifetime and was perpetuated by members of the workshop in the years immediately following the artist’s death.”W. E. Wallace, Washington University, in CHOICE Connect, a publication of the Association of College and Research Libraries, Volume 58, issue 10