
Madonna and Child (Perugino)
The oval face, the lowered eyes, the Umbrian distance melting into air. Raphael took all of it and then went past it.

The oval face, the lowered eyes, the Umbrian distance melting into air. Raphael took all of it and then went past it.

Dossi swapped Apollo's ancient lyre for a modern viol, and Daphne is already sprouting into laurel in the far distance.

Gabriel kneels at the right and points across at a Virgin drawing back in surprise, with a stretch of classical ruin between them.

The Child sits astride a lamb, which is the sacrifice, and Raphael took the interlocking group straight out of Leonardo.

Bare priming still shows where the Virgin was meant to sit. Michelangelo probably set it aside to go back to Florence and carve the David.

An enchantress sits in a wood ringed by deer, dogs, owls and a stork, which may be men she has transformed. Dossi leaves it unresolved.

The sea-monster is part fish and part beast and thoroughly invented, and some of the onlookers on the shore have started playing music.

The Muses dance to Apollo's lyre while Venus's cuckolded husband fumes at his forge off to the left. Painted for Isabella d'Este's study.

He swivels over his shoulder to look at you, holding a block that nobody can identify, and his name has been lost entirely.

Christ turns back toward his mother as she swoons, and legend has it the painting was nearly lost in a shipwreck on its way to Palermo.

Her face is finished and breathing while the hair around it stays loose scribble, and nobody knows whether Leonardo considered it done.

She had been dead for years when this was painted, and the asp at her throat turns her into Cleopatra.

A satyr kneels and touches the dead woman with extraordinary gentleness while her dog keeps watch and wading birds stand along the shore.

Raphael had just arrived in Florence and studied the Mona Lisa hard, then did the same pose in clear light instead of smoke.

Carved for a papal tomb that kept shrinking until it was abandoned. What the bonds mean is still argued, but the strain is unmistakable.

Michelangelo carved it for his own tomb, gave Nicodemus his own face, then took a hammer to it and broke off Christ's leg.

Venus twists round to hold him back and he pulls away toward the hunt that will kill him. Cupid sleeps in the shade, useless.

The little demons carved on the pedestal were taken for harpies and gave the picture its name. Del Sarto was called the faultless painter.

Asked where he found so beautiful a model, Raphael said he worked instead from a certain idea of beauty he carried in his head.

The second version, painted to settle a long quarrel with the confraternity. Everyone now has a halo and the angel has stopped pointing.