A painted copy in Brighton Museum & Art Gallery of the Joshua scene from the Vatican Loggia's Bible (the tenth bay): the commander arresting the sun over the battle, one of the fifty-two small frescoes multiplied through the "Raphael Bible" print series and the painted copies made from them. Brighton's picture, from the grand-tour trade, carries the Loggia's narrative style at second hand; the Loggia entries (Q9561272, Q110897727, Q110887638) treat the original programme.

The Bowes Museum's copy after the Petite Sainte Famille type (Q538243) — first of the Bowes pair, the Teesdale museum's French-formed collection naturally holding the French royal Raphael designs in copy. Original's entry carries the type.

The second Bowes after-Raphael Holy Family — the pair showing, in one museum, how the late family designs travelled in variant copies whose exact originals blur: the class's normal condition, met throughout this section. Originals among the late Holy Families entries.

A "follower of Raphael" Madonna with a Goldfinch in the V&A — a variant after the Uffizi Cardellino (Q2344505) by a hand working in the manner rather than copying strictly; the "follower" label marks the difference, and the picture stands between this section's copies and the school pieces of the catalogue proper. Original's entry carries the design and its landslide.

A second V&A after-Raphael Madonna with the Baptist (1053-class) — the museum's reproduction-collection stratum again, a Florentine-type pyramid in South Kensington's teaching store. Originals among the Florentine Madonnas; with this entry the V&A's four copies in this catalogue (Seggiola, Cherubs, Giovanna, this) are complete, and the museum's double character — home of the real cartoons upstairs, of the canon's copies below — is the section's best single emblem.

A copy in the MFA Boston after one of the Florentine Madonna types — the Belle Jardinière / Goldfinch family — completing Boston's after-Raphael trio. The Florentine Madonnas' copies are the largest single population in the Raphael copy-world; Boston's specimen is recorded here, and the originals' entries (Q2343778, Q2344505) carry the designs that generated it.

A plate from the Premier cahier de principes de dessin (1780) in the Musea Brugge: an instructional print reproducing Raphael figures as drawing-school models, from the eighteenth-century pedagogy that made his outlines the alphabet of academic training. Wikidata credits the plate jointly to Raphael and its engravers (Cunego and others), which is the drawing-book's own fiction candidly recorded: the pupil copied "Raphael" through three intermediaries. The sheet documents the education chapter of the afterlife — every European art student, for two centuries, learned to draw partly by copying prints like this one.

A painted copy of the School of Athens (Q186953) in the Royal Academy of Arts, London — the Academy's teaching copy, of the class that every European academy owned: the fresco, uncollectable, was copied at scale for instruction, and the RA's version (with its Sistine Madonna and Galatea below) equipped Somerset House and Burlington House with the Vatican at one remove. Reynolds's Discourses sent students to exactly these canvases; the copies are the Discourses' furniture, and their survival in the Academy documents how the doctrine was physically taught.

A copy of the Farnesina Galatea (Q2344368) in the Royal Academy — the teaching-copy of the canonical nymph, pendant in function to the Academy's School of Athens above: the two frescoes that academic doctrine most required, the ideal assembly and the ideal nude, copied for London instruction. The RA's Galatea stood in for the loggia in Reynolds's and his successors' lectures; the original's entry carries the certa idea letter that the lectures built on.

A copy of the Galatea in the University of Greenwich's collection (95) — an institutional descendant of the teaching-copy tradition, the nymph serving a modern university as she served the academies. Recorded via Art UK; the original's entry (Q2344368) treats the fresco, and the two London Galateas — Academy's and Greenwich's — bracket the copy-class's career from doctrine to decoration.

A painted copy in the Holburne Museum, Bath, of a single head — Saint Peter's — from the Transfiguration (Q2344437): the detail-copy, a standard product of the Roman copying industry, which sold the great altarpiece piecemeal to travellers who could not afford, or hang, the whole. Heads from the Transfiguration's lower half were the most demanded, the auxiliary cartoons' fame directing buyers to the apostles; Bath's Peter is one such extraction, and its existence documents how the picture was consumed: not only as a whole, but as an anthology of heads.

The V&A's copy of the Madonna della Seggiola (Q966681) — first of the nine Seggiola copies this catalogue records, the largest single copy-population in it. The tondo was the most copied painting in Florence: the Pitti licensed copyists by queue, Morghen's engraving multiplied the design, and the British boarding-school, vicarage and gallery absorbed the output. The nine entries that follow are the census of that absorption as Art UK found it; each notes its holder, and all refer here and to the original's entry for the design. The V&A's, in the museum of reproduction, is the flagship of the class.

The UK Government Art Collection's copy after a Raphael sacra conversazione — the Ansidei or Colonna type — of the state-furnishing stratum: the diaspora's official residence posting, hung in ministries and embassies as British walls' Italian credential. Originals: Q2713620, Q27033728.

Lambeth Palace's Seggiola copy (113): the Roman Madonna in the Archbishop of Canterbury's house — the copy-class's most ecumenical posting, and a quiet document of how far above confessional lines the image travelled. See Q119454564; original Q966681.

A copy in the Glynn Vivian Art Gallery, Swansea, of the Uffizi Self-portrait (Q555821): the face of Raphael, multiplied for parlours and galleries through the same channels as his Madonnas — the young man in the black cap being, after the Sistine putti, the most reproduced head of the oeuvre. Swansea's copy, from Richard Glynn Vivian's grand-tour purchases, hung as the painter himself among the collection's copies of his works: the artist presiding, secondhand, over his secondhand oeuvre — the Victorian collection's Raphael room in miniature.

The Royal Academy's copy (04-2052) of the Dresden Sistine Madonna (Q328079), completing the Academy's teaching trio with its School of Athens and Galatea above: the three pictures academic doctrine could least do without — the assembly, the nude, and the vision — copied for Burlington House's students. The Dresden original's entry carries the picture and its cult; the London copy carried both into the curriculum, and with it this catalogue's copies section closes: sixty-odd echoes of one oeuvre, from Toledo to Elvington, each a record of somebody's need to have a Raphael — which is, compressed to a sentence, the history this whole catalogue has been telling.

The Laing Art Gallery's copy (Newcastle) of the Louvre Grande Sainte Famille (Q2467141), anticipated in the original's entry: the French state picture's copy-life reaching the Tyne. The original carries Le Brun's lecture; the copy carried the composition to a public that would never see Paris.

A copy of the Madonna of the Goldfinch (Q2344505) recorded in the collection of the Yorkshire Air Museum and Allied Air Forces Memorial — an Art UK-catalogued picture whose improbable custodian (an aviation museum at Elvington) is itself the point of interest: the diaspora of Raphael copies through British institutions reached every kind of building, and the national cataloguing that Art UK performed swept them all, chapels and airfields alike, into the record. The original's entry tells the picture; this entry tells the reach.

The Walker Art Gallery's copy (WAG 2844) of the Transfiguration — Liverpool's item in the altarpiece's vast copy-diaspora, hanging with the gallery's Goldfinch, Seggiola, Divino Amore and Venus copies as the civic Raphael survey described above (Q119840774). The original's entry carries everything; the copy carries it to Merseyside.

An Ashmolean after-Raphael Madonna with the Baptist — the Florentine pyramid types' Oxford specimen, of the Fox-Strangways stratum. Originals: the Belle Jardinière and Goldfinch entries.

A copy at Beningbrough Hall (National Trust, 1191526) of the Holy Family with the Palm (Q3212679): the Bridgewater tondo's design in the country-house stratum — the National Trust's houses hold the copy-diaspora's domestic core, and Beningbrough's palm-tree Holy Family furnished a Yorkshire saloon with Edinburgh's (then London's) original at second hand. Original's entry carries the tondo.

The Walker's after-Raphael Venus (WAG 2807), last of Liverpool's five-copy set: a nude after the school's Venus designs — the Farnesina-Marcantonio repertory — showing the diaspora's mythological wing beside its Madonnas. The Judgement of Paris and Psyche loggia entries carry the originals' world; the Walker's Venus is its Liverpool citizen.

The Box, Plymouth's after-Raphael Madonna — the diaspora's south-western marker, catalogued via Art UK from the city collection. Originals among the Florentine Madonnas; the entry records the holding and the reach.

A painted copy in the V&A (1043-1873) of the two putti from the Sistine Madonna (Q328079; the detail's own entry is Q21993480): the nineteenth century's most beloved detail, extracted and multiplied on every medium, here in the museum-copy form the South Kensington system collected deliberately — the V&A bought copies as design education. The two bored angels, severed from their Virgin, thus entered the British curriculum; the museum's acquisition date, 1873, marks the height of their cult.

Towneley Hall Art Gallery's Seggiola copy (BURGM-paoil168), Burnley — a tenth Seggiola, counted after the census above closed at nine; the class outruns its own cataloguers, which is the point proved twice. See Q119454564; original Q966681.

Glastonbury Abbey's Seggiola copy (A268) — the tondo among the ruins of English monasticism, the copy-census's most romantic address, and the last of the nine. The population entire, from South Kensington to Glastonbury, is the Seggiola entry's afterlife section made physical; the reader who has met it here has seen how a single Roman panel of 1514 furnished an empire's walls.

Sheffield Museums' after-Raphael Madonna (VIS.1085), of the half-length types — the industrial city's specimen of the diaspora, catalogued via Art UK. The type's originals fill the Florentine section; the entry records the holding.

The William Morris Gallery's after-Raphael Madonna (O83) — a copy in the house-museum of the man whose movement defined itself against Raphael's authority: the Pre-Raphaelites' patron institution holding an after-Raphael is the collection irony of the whole census, and the entry preserves it with pleasure. Original types in the Florentine section.

Exeter Cathedral's copy of the Madonna del Granduca (Q2035209): the dark-ground Virgin in an English cathedral, where its Counter-Reformation stillness serves Anglican devotion without friction — the image's portability across confessions being, as with Lambeth's Seggiola, part of its history. Original's entry carries the picture.

A copy of the Goldfinch (Q2344505) in the Walker Art Gallery, Liverpool (WAG 2842) — one of the Walker's group of Raphael copies (with the Divino Amore, Seggiola, Transfiguration and Venus below), assembled largely through Liverpool's nineteenth-century bequests, when a civic gallery's Italian education was built of copies before originals could be had. The group functions now as it did then: a Raphael survey in one provincial building, secondhand but coherent, and this catalogue meets it entry by entry.

The Walker's copy (WAG 2843) of the Naples Divino Amore (Q3842605) — the seicento's most copied late Madonna in its Liverpool form, third of the Walker's five-copy set. Original's entry carries the attribution question the copies never worried about.

The Walker's Seggiola copy (WAG 2841), of Liverpool's civic set. See Q119454564 and the original, Q966681.

Armagh County Museum's Seggiola copy (ARMCM.38.2011) — the tondo in an Ulster county collection, the copy-diaspora's ecclesiastical-provincial reach. See Q119454564; original Q966681.

Glasgow Museums' Seggiola copy (3419), in the civic reserve at Nitshill — the copy-population's storage stratum, catalogued by Art UK's national sweep. See Q119454564; original Q966681.

Brighton Museum & Art Gallery's Seggiola copy (FA000196), pendant in its collection to the Loggia Joshua above. See Q119454564; original Q966681.

Dover Collections' Seggiola copy (Deavm 17) — the tondo at the Channel port, the diaspora's literal point of entry. See Q119454564; original Q966681.

The University of Exeter's Seggiola copy (FAC00438), of the academic stratum — with Exeter Cathedral's Granduca below, the city holds town-and-gown specimens of two different Madonna types. See Q119454564; original Q966681.

The Ulster Museum's copy (BELUM.U661) of the Prado Madonna della Rosa (Q2420918), foreseen in the original's entry: the Madrid design's British engraved fame made physical in Belfast. See the original for the design and the added rose.

A copy in the MFA Boston (84.561) of the Chantilly Three Graces (Q2360329): the little panel's copy-life, unusual for a picture so small, ran through the nineteenth century's engravings and the Dudley sale's fame; Boston's version entered in 1884, the year before the duc d'Aumale bought the original. The original's entry tells the picture; the copy's date tells the market's temperature at the moment Chantilly closed the original away forever.

A small panel of the Dead Christ in the Galleria Nazionale dell'Umbria at Perugia, which Wikidata credits to Raphael in its creator field while describing it as a "painting by Perugino"; the image file on Commons labels it, more cautiously and more plausibly, as the work of an anonymous Umbrian painter of the turn of the sixteenth century. Nothing connects it with Raphael except a database error. It is retained in this section so that every item the query returned is accounted for.

The query that built this catalogue returned, among Raphael's works, the Wikidata item for environmental ethics — the branch of philosophy — because the item carries an image of the Stanza della Segnatura's ceiling (the Philosophy roundel, used to illustrate "philosophy" generically) and, at some point, an erroneous creator statement naming Raphael. It is retained in this excluded section so that the catalogue accounts for every item the query returned, and as the collection's best specimen of how linked databases err: an illustration chosen for a concept, plus one wrong property, equals a thirty-six-language "canonical work" by Raphael that is in fact an academic discipline founded in the 1970s. The reader who has met, in these pages, duplicate angels, mislabelled predellas and optimistic Bavarian labels may enjoy meeting the limit case. Raphael painted Philosophy's portrait; he did not, despite the data, found environmental ethics — though the author of the letter to Leo X on the ruins of Rome, the first great plea for the protection of a built environment, might have been amused by the error's drift.