A Marble Horse on the Quirinal Hill [recto]

The detailed drawing, A Marble Horse on the Quirinal Hill [recto] by Raphael, created around 1513, serves as an outstanding example of Italian Renaissance preparatory work. Executed primarily in red chalk and pen and brown ink on laid paper, the composition reveals the artist’s rigorous approach to classical study. Further technical analysis indicates the use of stylus underdrawing and traces of leadpoint, methods Raphael utilized to precisely map out form and volume before applying the final ink details. The combination of materials results in a subtle yet powerful depiction of the ancient monument.

This study captures one of the iconic colossal ancient Roman horse sculptures (part of the Dioscuri grouping, or Horse Tamers) found atop the Quirinal Hill in Rome. The subject matter demonstrates Raphael’s deep engagement with antiquity, which was foundational to his work during his highly productive Roman period. The interval from 1501 to 1550 marked the peak of the High Renaissance, where classical sculpture provided crucial inspiration for new forms of figural representation. Raphael's careful rendering of the marble texture emphasizes the monumentality and weight he sought to translate into his grand narrative compositions, particularly those undertaken for papal commissions in the Vatican.

The significance of this drawing lies not only in its technical brilliance but also as historical documentation of classical models that influenced generations of artists. Today, the original drawing is housed in the collection of the National Gallery of Art. Due to the age of this influential masterwork by Raphael, high-resolution images are often available for download, placing the work in the public domain and allowing researchers and enthusiasts worldwide access to study the preparatory lines and hatching. High-quality prints derived from the NGA’s records make this pivotal Italian drawing widely accessible for scholarship and appreciation.