I have proposed in the previous post "Raphael's portrait of Leonardo", that Raphael depicted in his fresco, the School of Athens, the philosopher Plato with the features of Leonardo. We can ask ourselves where and when Raphael met Leonardo. Probably in Florence around 1504, because in this place and years, both artists where working there, according to the book, RAPHAEL, by HENRY STRACHEY, LONDON, G. BELL & SONS, LTD., 1911
"Lo Sposalizio" in the Brera at Milan, may be said to mark a further stage in Raphael's emancipation. It bears, on the temple in the background of the picture, the inscription, "Raphael Urbinas, M.D. IIII."
Vasari's allusion to this picture seems to indicate that he considered this work to show that the young painter was throwing off the trammels of Perugino. He says:" In this work the process of excellence may be distinctly traced in the manner of Raphael, which is here much refined, and greatly surpasses that of Pietro." ... Somewhere about this time Raphael most likely went to Siena, for Vasari says that Pintoricchio, who was about to paint in the Piccolomini Library, sent for Raphael to help him. There seems nothing unlikely in this story, and it would account for the drawing made from the antique group of the three graces, which was then at Siena, and which drawing Raphael used for the little picture of the " Graces," of the Dudley collection. ... According to Vasari, Raphael left Siena on hearing of the great artistic stir then taking place in Florence, caused by the exhibition of Leonardo's and Michelangelo's cartoons for the decoration of a hall in the Palazzo Vecchio. It seems that Leonardo began to make preparations to paint in February 1505. This would accord with Vasari's story, and with the letter which the Duchess of Urbino wrote to the Gonfaloniere Soderini, recommending " The painter Raphael of Urbino." She says "The talent which he possesses has decided him to come to Florence for a time, to perfect himself in his art. His father was dear to me for his many excellent qualities, and I had not less affection for his son, who is a modest and agreeable
young man, and one who will, I hope, make all possible progress." The letter is dated October 1, 1504. One cannot help being amused at the worthy Duchess's hope that the agreeable young man will make progress, when he was no other than the painter of " Lo Sposalizio."
It is quite possible that Raphael may have been to Florence before this, as it seems clear that Perugino
was in the habit of going backwards and forwards between the Tuscan capital and Perugia; and he may have taken Raphael with him. However, it is not until the visit which seems to have been made at the end of the year 1504 that we can trace a stage in the development of the painter attributable to the influence of Florentine art. Raphael stayed in Florence from 1504 to 1508, paying occasional visits to both Perugia and Urbino. At the former place he carried out two important works, the "Madonna di Sant Antonio" once in the South Kensington Museum, and the "Madonna Ansidei" in the National Gallery. While in Florence he painted that wonderful series of Madonnas, beginning with the "Gran Duca" and " Terranuova" the full list of which will be found in the chronological table given at the end of this volume.
