The second of the two small Augustinian panels from the Linz collection now in the German federal art collection: Saint Ambrose, in episcopal vestments, baptises the kneeling Augustine in a font, before a group of witnesses, in an architectural setting — the scene of Augustine's conversion completed, as told in the Confessions and the Golden Legend. The panel is of the same size, handling and origin as its companion (Q111645125), and it carries the same "Raphael (school of Perugino)" label, which modern scholarship would reduce to "Umbrian, early sixteenth century." The two panels are a small reminder of how the name of Raphael was attached, in the trade of the 1930s, to anything Peruginesque and well preserved; and of how the Wikidata record, which inherits museum labels, sometimes preserves those attachments. Their interest for the student of Raphael is contextual — this is what the Umbrian workshops produced around 1505, while he was in Florence doing something else.

A small panel, 47 by 29 cm, showing Saint Augustine, in his bishop's robes, seated in a hall and speaking to a group of twelve men — a scene from the saint's life, perhaps his disputation with the Manichaeans or his instruction of his clergy — one of two panels (with Q111645124, the Baptism of Saint Augustine) that belonged to a predella or a small cycle of the saint's life painted in Umbria in the first decade of the sixteenth century, in the manner of Perugino's school. The panels were acquired for the Linz museum planned by Hitler — the so-called Führermuseum — under an attribution to "Raffaello Santi (Perugino-Schule)," passed at the end of the war to the Munich Central Collecting Point, and remain in the art collection of the Federal Republic of Germany. The attribution is a relic of the optimistic labels of the pre-war trade; the panels are competent Umbrian work of Raphael's generation, related to the Augustinian commissions of Perugia and Città di Castello (Raphael's own Baronci altarpiece was Augustinian), and they are listed here because Wikidata credits them to him. They belong to the world he came from, not to his hand.

A small panel, 26.6 by 21.6 cm, in the National Gallery, London (NG2510), showing a young man in half-length against a dark ground, which the Gallery catalogues as by an imitator of Raphael and which Wikidata lists under his name with a date range of 1500–1525. The picture entered the Gallery in the early twentieth century with an optimistic attribution and was downgraded on examination; it is a sixteenth-century portrait in the Raphaelesque manner, by a follower or imitator, of the kind that the Roman workshop's success generated in quantity, and it is listed here because the query returned it. The National Gallery shows it in reserve. Its interest for the student is as an example of the "Raphael" portrait type — the young man in cap and dark dress, the three-quarter turn, the dark ground — as it was repeated by lesser hands in the decades after his death; the real Raphaels of the type are the Budapest Bembo and the Young Man with an Apple.

A canvas, 110 by 70.5 cm, in the Statens Museum for Kunst, Copenhagen: a reduced replica of the Ecstasy of Saint Cecilia in Bologna (Q1103801), showing the saint with her organ among the four saints and the broken instruments, painted in the sixteenth century — the museum gives a range of 1509–1520 — by a hand in or after Raphael's workshop. The Danish royal collection, from which the SMK's old masters descend, acquired a number of such replicas in the seventeenth and eighteenth centuries, when copies after famous Italian altarpieces were a staple of princely galleries; this one records the Bologna picture's composition faithfully and at a scale suitable for a room. Wikidata's description, "painting replica by Raphael," follows an older catalogue; the SMK's current attribution is "after Raphael," and the picture is listed here in the copies section accordingly. The Bologna original, transferred and restored, has lost some of its brilliance; the Copenhagen replica, in better condition, gives a fair idea of the altarpiece's colour as it was, which is the chief use of such copies.

A large canvas in the Bavarian State Painting Collections (Alte Pinakothek depots), catalogued "Kopie nach Raffael": a copy of the Grand Saint Michel of 1518 (Q594470), at close to the original's scale. The Louvre picture's ceremonial role in France generated copies for churches and courts across Europe; Munich's, acquired with the Wittelsbach collections, is one of the grander survivors. Wikidata's 1483–1520 date range is the master's lifespan applied by default; the copy is later. The original's entry carries the composition's history.

A panel in the Royal Museum of Fine Arts, Antwerp (486), catalogued "Anonymous Master" with a Raphael association: a sixteenth-century Madonna after the Roman types, of the early copy generation that the Antwerp art market — Europe's busiest — produced and traded in quantity. Flanders copied Raphael before most of Italy's neighbours: the tapestry weavers held the cartoons, the print publishers the plates, and the panel painters followed; Antwerp's anonymous Madonna is that industry's ordinary product, and its honest anonymous label is the right end of the attributional spectrum this catalogue has travelled.

A panel in the Bavarian State Painting Collections, "Kopie nach Raffael": a copy of the Madonna di Loreto type (Q2427320) — the Virgin lifting the veil from the waking Child — of the early copy generation that made the design Europe's most reproduced Madonna and hid its original for two centuries. Munich's version, nearly square, entered with the Wittelsbach holdings; its interest is the type's, told under the Chantilly entry.

A small panel in the Bavarian State Painting Collections, "Kopie nach Raffael": a Virgin and Child after one of the half-length Madonna types — the Tempi family's embrace — copied at devotional scale. The Alte Pinakothek's own Tempi (Q2535486) makes Munich the right home for the comparison: original and copy under one administration, the master's pressure of cheek on cheek and the copyist's approximation of it, available to any student who asks for the depot appointment.

A sixteenth-century panel in the sacristy collections of Toledo Cathedral: a copy of the Madonna del Velo / Madonna di Loreto composition (Q2427320), one of the hundred-odd early versions through which the design saturated the Spanish world. Toledo's, hanging in the cathedral of Spain's primate among the El Grecos, is among the better placed of the family: a Roman devotional invention of 1509–11, copied within a generation, serving four centuries of Castilian devotion. The original's rediscovery at Chantilly is told under its entry; Toledo's copy is the type's Spanish life made visible.

A version of the Castiglione in the Gemäldegalerie, Berlin, catalogued "Schule Raffaels": an early copy or school replica of the Louvre portrait (Q546977), of higher standing than the ordinary copies — Berlin's picture has occasionally been proposed as a workshop replica, the portrait having possibly existed in more than one contemporary version. The prime is not in doubt; Berlin's panel documents the demand among the sitter's own circle, and its "school" label is the sober middle of the attributional range.

A painting in the Musée d'art et d'histoire de Narbonne catalogued under Raphael's name: a Saint Cecilia composition derived from the Bologna Ecstasy (Q1103801) and its engraved diffusion, of the sixteenth or seventeenth century. Narbonne's connection with Raphael is historical rather than material — the Transfiguration was commissioned for its cathedral and never arrived — and the city's museum holds, instead, this echo of the other great Cecilia: a fitting consolation, the copy standing in for the original that Cardinal Giulio kept in Rome. Recorded here on Wikidata's listing; the composition's fortunes are treated under the Bologna entry and the Copenhagen replica (Q20355399).

A painting in the SMK, Copenhagen (KMSsp3), catalogued under Raphael's name: an Adoration of the Magi composition after the school's designs — the Loggia's Adoration bay and the engraved Adorations circulated the type — from the Danish royal collection's old-master holdings. With the SMK's Saint Cecilia replica (Q20355399) and the Madonna below, Copenhagen's group shows the northern court collection's standard Raphael representation: replicas and school pieces, honourably kept and now honestly labelled.

The SMK's second after-Raphael Madonna (KMSst193): a Virgin and Child with the Baptist after the Florentine-Roman types, from the royal collection. Recorded on the Copenhagen group's footing above; the type's originals fill this catalogue's Florentine section.

A panel in the Bavarian State Painting Collections, "Kopie nach Raffael": a copy of the Prado's Holy Family under the Oak (Q3212684), whose composition circulated through engraving and through copies like this one — the Munich version being among the German gallery copies of the Spanish royal Raphaels made when the originals were inaccessible behind Habsburg walls. The original's entry tells the design's story; the copy tells the demand's.

A copy at Christ Church, Oxford (JBS 129), of the Louvre Castiglione (Q546977): the portrait's seventeenth-century fame — Rembrandt's sketch, the Amsterdam sale, Mazarin — bred copies for the collections that could not have it, and Christ Church's, from the Guise bequest of 1765, served generations of Oxford sitters and painters as the pattern of the gentleman's portrait. The original's entry carries its history; the copy carried its influence into England.

A "school of Raphael" Jupiter and Juno at Christ Church (JBS 131) — a mythological piece in the Farnesina manner from the Guise bequest, its school label placing it nearer the workshop's orbit than the copies around it. The Psyche loggia's entries (Q3836436, Q110831269) carry the type; the college's picture is its English echo.

A small painting in the Holburne Museum, Bath (A94), "after Raphael": a Madonna and Child derived from the half-length types, of the kind the grand-tour trade supplied to English collectors by the hundred. Sir William Holburne's collection, formed in the early nineteenth century, held its Italian pictures under the era's generous labels; the museum's modern cataloguing gives the honest "after." The entry stands for the class: the English country collection's "Raphael," bought in good faith, kept with affection, and truthfully relabelled by later scholarship without being loved less.

A reduced copy at Christ Church, Oxford (JBS 130), of the Transfiguration (Q2344437), from the Guise bequest: the most famous painting in the world in its portable form — the Roman copyists' staple export, scaled for a gallery wall. Christ Church's set of Raphael copies (the Castiglione above, the Virgin and Child pairs below) is the seventeenth-century canon in miniature; its Transfiguration, the set's crown, served Oxford as the original served Rome — the summit picture, for reference.

Christ Church's Virgin and Child copy (JBS 127), first of the Guise bequest's Madonna pair — seventeenth-century copies of the half-length types, Oxford's oldest stratum of the diaspora. Originals in the Florentine and Roman Madonna entries.

The second Guise Madonna copy at Christ Church (JBS 128), companion of the above; the pair, with the college's Castiglione, Transfiguration and school pieces, made the Guise bequest of 1765 the earliest systematic Raphael copy-collection in England, and Christ Church's gallery still hangs it as the eighteenth century arranged such things — which gives the modern visitor, amid the entries of this section, one place where the copy-culture can be seen in its own period frame.

A copy in the Ashmolean (WA1845.59) of the Washington Bindo Altoviti (Q2528106), made while the original hung in Munich as "Raphael's self-portrait" — the copy thus transmitted the wrong identity with the right composition, and its English life under the self-portrait label is part of the original entry's story. The Ashmolean's Fox-Strangways gift of 1845, from which it and its fellows below come, equipped Oxford with a painted index of the Raphael canon as the 1840s understood it.

A copy in the Ashmolean (WA1845.57) of the tapestry cartoon Christ's Charge to Peter (Q3687196): the cartoons, in England from 1623, bred a national copy-industry — students at Hampton Court and later the V&A copied them as the curriculum's core — and the Ashmolean's Fox-Strangways set (five cartoon copies, below) is a bound volume of that practice. Each is treated briefly here; the cartoons' entries carry the originals.

A copy in the Ashmolean (WA1845.55) after the Blinding of Elymas cartoon (Q3925594) — or a detail of its groping sorcerer, the figure the copyists extracted most. From the Fox-Strangways cartoon set; the original's entry tells the design.

A copy in the V&A (P.30-1987) of the Louvre's Portrait of Doña Isabel de Requesens (Q3399388) under its historic name "Jeanne d'Aragon": the French royal picture's fame generated copies across Europe, and the V&A's — acquired in the era when the sitter was still the beautiful Giovanna — preserves the composition and the misidentification together. The original's entry tells both stories; the copy is their English witness.

A painted copy in the Ashmolean Museum, Oxford (WA1859.1), of the Jupiter and Cupid pendentive of the Farnesina's Psyche loggia (Q3836436): the god kissing the pleading boy-god, one of the cycle's most copied scenes. Fresco cycles travelled only as copies and prints, and the Ashmolean's canvas is a specimen of the loggia's export form — the Roman ceiling reduced to an English cabinet picture. The university's collections, rich in such teaching copies, used them exactly as the Farnesina's visitors used the originals: to learn the fable and the figures.

All Souls College, Oxford's Pharaoh's Dream (ASC-165) — a copy after the Vatican Loggia's Joseph-cycle scene (the Bible's fourth-bay dreams), with its companion below the college's pair from "Raphael's Bible." The Loggia entries carry the programme; the copies carried its Old Testament to an Oxford common room, which is the Loggia's Protestant-print afterlife (see Q9561272) in painted form.

A copy at Pollok House, Glasgow (PL.101), after a Raphael portrait type — the Stirling Maxwell collection's "after Raphael," hanging among its famous Spanish pictures. Sir William Stirling Maxwell collected the Spanish masters at a time when their Raphael copies came too, the Spanish royal originals having bred a national copy-stock; Pollok's panel is likely of that descent, and its presence in Glasgow beside El Greco is a small map of how the Raphael image travelled inside other schools' collections.

All Souls' second Loggia copy (ASC-164): Joseph and Potiphar's Wife, from the same Bible bay's narrative — the Loggia's one scene of attempted seduction, understandably popular with copyists. The pair's entry above carries the context.

A copy in the Ashmolean (WA1845.53) of the Paul at Athens cartoon (Q3910088), the set's most copied design — the preaching apostle serving Oxford's divinity as the college School of Athens served its philosophy. Fox-Strangways set; original's entry carries the composition.

A copy in the Ashmolean (WA1845.54 group) of the Sacrifice at Lystra cartoon (Q3944654), from the Fox-Strangways set: the antique sacrifice scene in its English teaching form. The original's entry treats the design's archaeology.

A copy in the Ashmolean of the Healing of the Lame Man cartoon (Q3778388), completing the Fox-Strangways cartoon set: the twisted columns and the healing, reduced for Oxford. The set of five, hung together, gave the university the Sistine tapestries' England — the cartoons' curriculum in one room, where this catalogue's reader may still consult it.

A copy in the National Gallery of Ireland (P1805) of the Elymas cartoon (Q3925594) — one of Dublin's pair of cartoon copies (the Healing, P1804, is below). The Irish gallery's set descends from the same educational tradition as Oxford's; the tapestry cartoons were the islands' shared Raphael, and their copies mark every place the curriculum reached.

A copy in the Ashmolean (WA1845.58) of the Ananias cartoon (Q3863236) — the set's dramatic centrepiece in its teaching-copy form. With this the Ashmolean's cartoon series in this catalogue is complete; the originals are a train ride away at the V&A, and the two sets together — copies in Oxford, cartoons in London — are the English Raphael curriculum's whole apparatus, still in place.

The second Dublin cartoon copy (P1804), after the Healing of the Lame Man (Q3778388): the twisted columns in their Irish teaching form. The original's entry carries the design and its Bernini afterlife.

St John's College, Oxford's after-Raphael Holy Family (204) — the college stratum again, a late Holy Family type in a senior common room's keeping. Originals in the late Holy Families entries (Q538243, Q427390, Q3212684).

A copy in the National Gallery of Ireland after one of the late Holy Family types — the Petite Sainte Famille family (Q538243) — completing Dublin's small after-Raphael group. The late Holy Families, engraved early and often, seeded copies wherever prints reached; Ireland's is of that broad descent, and the originals' entries carry the designs.

A reduced copy of the School of Athens in the Ashmolean (WA1845.45), from the Fox-Strangways gift: the fresco in cabinet format, as the dealers supplied it to travellers — the whole assembly of philosophers at a size for an English library wall, where it served as the image of learning itself. Oxford's two School of Athens copies (Corpus Christi's is below) show the market's range; both descend, via intermediary copies and Volpato's engraving, from the wall treated in this catalogue's Segnatura entries.

The second Oxford copy of the School of Athens (Q186953), at Corpus Christi College: a college-hall version of the philosophers' assembly, hung where its subject was the daily business — the fresco about the community of learning, copied for a community of learners. Of all the copies in this catalogue, the college School of Athens has the aptest address; the entry salutes it and refers the reader to the original's.

A copy in the MFA Boston (00.510-class) of the Transfiguration, from the era when American collections, like provincial European ones, began with copies: Boston's after-Raphael group (the Three Graces and a Madonna, below) entered in the nineteenth century as the Athenaeum culture's Italian education. The originals' entries treat the designs; the Boston copies mark the Atlantic's crossing — the Raphael canon arriving in America as image before the Small Cowper and the Alba arrived as paint.

A copy in the Ashmolean (WA1845.x) of the Draught of Fishes cartoon (Q3900659), the set's opening design in its Oxford form. The original's entry describes the composition; the copy's presence rounds the Fox-Strangways series to six of the seven surviving cartoons — a completeness that shows the 1840s collector buying the set as a set, which is how the cartoons have always been understood.