Venus, possibly Raphael’s beginnings

Existing documentation on the decoration of the hall is parsimonious on details concerning the team who assisted Perugino. Nonetheless, it’s unthinkable that the artist should not have been supported by a substantial line up of collaborators. And therein lies the problem concerning Raphael’s role, given he is presumed by some to have been an active follower of Perugino from 1495-1496.

Opinions are divided, some critics deny the artist from Urbino counted Raphael as a follower others allow he may have been, though for a short duration. Ottavio Lancellotti was the first to mention his possible participation in the decoration off the hall, spotting his hand in sections of the vault and the head of Christ in la Trasfigurazione.

In 1913 Adolfo Venturi recognised Raphael’s hand in the figure of la Fortezza and, later on, in the lunette with I Profeti e le Sibille. The question is still open to debate, especially in regard to sections of the vault (as mentioned with reference to certain details of the Venus), although it seems plausible that Giovanni Battista Cavalcaselle’s infallible eye had already detected the hand of Raphael at his beginnings.