art collection in Europe. It could thus be studied and admired by many collectors, connoisseurs, artists and art historians. Including the mosaic in St Peter's in the Vatican, at least 68 copies were made between 1523 and 1913. Good copies after the painting were highly sought after during the Early Modern period and young artists could earn money for an Italian journey by selling copies of The Transfiguration. One of the best painted copies ever was made by Gregor Urquhart in 1827. At least 52 engravings and etchings were produced after the painting until the end of the 19th century, including illustrations for books like biographies and even for Christian songbooks. The Istituto nazionale per la grafica in Rome possesses twelve of these reproductions. At least 32 etchings and engravings can be traced that depict details of the painting, sometimes to use them as a part of a new composition. Among these depictions of details is one set of prints of heads, hands and feet engraved by G. Folo after Vincenzo Camuccini (1806), and another set of heads produced in stipple engraving by J. Godby after drawings by I. Goubaud (1818 and 1830). The first engraved reproduction of The Transfiguration is also called to be the first reproductive print of a painting ever. It was made by an anonymous engraver in 1538 and is sometimes identified with the manner of Agostino Veneziano. Iconography Raphael's painting depicts two consecutive, but distinct, biblical narratives from the Gospel of Matthew, also related in the Gospel of Mark. In the first, the Transfiguration of Christ itself, Moses and Elijah appear before the transfigured Christ with Peter, James and John looking on (Matthew 17:1–9; Mark 9:2–13). In the second, the Apostles fail to cure a boy from demons and await the return of Christ (Matthew 17:14–21; Mark 9:14). The upper register of the painting shows the Transfiguration itself (on Mount Tabor, according to tradition), with the transfigured Christ floating in front of illuminated clouds, between the prophets Moses, on the right, and Elijah, on the left, with whom he is conversing (Matthew 17:3). The two figures kneeling on the left are commonly identified as Justus and Pastor who shared August 6 as a feast day with the Feast of the Transfiguration. These saints were the patrons of Medici's archbishopric and the cathedral for which the painting was intended. It has also been proposed that the