5, 22, 32, 40, 50, 73 ): parts of figures were studied (nos. 17, 18, 58 ), or a landscape was fitted
around the bare outline of a Madonna (nos. 7, 8 ). Memory sketches intermingled with those
from nature. Nudes (no. 54 ), draperies (nos. 34, 62, 63 ), heads (no. 45 ) were drawn from the
living model. That is made clear by studies of figures in contemporary dress which in the pic-
ture were to appear in ideal draperies (no. 84 ). At the same time Raphael must have continued to
test the general scheme of his composition: in the harmony of movements, which he studied in
nude sketches (nos. 23, 24 ), in light and shadow effect (nos. 33, 66 ), in the draperies or the
nude parts (no. 51 ). He took single groups separately and made careful drawings of them (no. 68 ).
Thus the composition was gradually perfected until it could be cast into the final form (nos.
27, 82 ). However, before it was enlarged to full size, many parts had to be studied from nature
again, this time in complete detail: for instance, nudes (nos. 61, 81 ), heads and hands (no. 12 ),
draperies (nos. 56, 60) or even whole figures (no 35 ). It is not always easy to distinguish between
these final studies and the preceding ones. Sometimes an earlier sketch may have been used
again at this stage because it was satisfactory in some part (no. 37 ). But few studies betray that
they could have been drawn only after the composition was already firmly established (no. 57 ).
The result of all this work was the cartoon in the same size as the picture, which allowed a
simple, mechanical transfer of the drawing to the panel or to the wall. And yet, that was not
the end. As a last check, Raphael sometimes drew a new set of careful studies, particularly of
heads which were to replace the corresponding parts of the cartoons as final guides in painting
(nos. 13, 55, 87 ).

No mediaeval craftsman could have been more scrupulous in his work. And yet none of
Raphael's pictures have become pedestrian through the lengthy effort spent on them. To the
last Raphael kept alive the fire of his first inspiration. He fed it with hard toil. Therefore his
drawings are as much a part of his accomplishment as his pictures, and, "he who does not ad-
mire Rafael's Execution does not Even see Rafael."

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