Raffael (pärisnimega Raffaello Sanzio ehk Raffaello Santi; 6. aprill 1483 Urbino – 6. aprill 1520 Rooma) oli Itaalia kõrgrenessansi maalikunstnik ja arhitekt.

Raffaeli loomingut austati selge vormi ja lihtsa kompositsiooni tõttu. Looming kajastab uusplatonismi ideaali inimese hiilgusest. Koos Michelangelo ja Leonardo da Vinciga peetakse teda traditsiooniliselt üheks kõrgrenessansi tippkunstnikest.

The Deposition, also known as the Pala Baglione, Borghese Entombment or The Entombment, is an oil painting by the Italian High Renaissance painter Raphael. Signed and dated "Raphael. Urbinas. MDVII", the painting is in the Galleria Borghese in Rome.^[1] It is the central panel of a larger altarpiece commissioned by Atalanta Baglioni of Perugia in honor of her slain son, Grifonetto Baglioni.^[2] Like many works, it shares elements of the common subjects of the Deposition of Christ, the Lamentation of Christ, and the Entombment of Christ. The painting is on wood panel and measures 184 x 176 cm.

Giorgio Vasari, the famous biographer of Italian artists, also understood Raphael's piece as a narrative painting. Having seen the altarpiece in its original setting, Vasari gives a detailed description:

In this most divine picture there is a Dead Christ being borne to the Sepulcher, executed with such freshness and such loving care, that it seems to the eye to have been only just painted. In the composition of this work, Raffaello imagined to himself the sorrow that the nearest and most affectionate relatives of the dead one feel in laying to rest the body of him who has been their best beloved, and on whom, in truth, the happiness, honor, and welfare of a whole family have depended. Our Lady is seen in a swoon; and the heads of all the figures are very gracious in their weeping, particularly that of St. John, who, with his hands clasped, bows his head in such a manner as to move the hardest heart in pity. And in truth, whoever considers the diligence, love, art and grace shown by this picture, has great reason to marvel, for it amazes all who behold it, what with the air of the figures, the beauty of the draperies, and in short, the supreme excellence that it reveals in every part.^[13]

Vasari takes a reverential tone in describing The Entombment, taking great care to discuss not only the important figures in the painting, but also their effect on the viewer. Looking at it formally, the scene depicted is actually neither the Deposition nor the Entombment, but located somewhere in-between. We can determine this through the background: on the right is Mount Calvary, the location of the Crucifixion and Deposition, and on the left is the cave where the Entombment will take place. And so two men, lacking halos, use a piece of linen to carry the dead Christ and it seems as if all the participants in the bearing of the body are in suspended animation.^[14] The two men and Christ form very strong diagonals in the shape of a V. The younger man on the right holding Christ is posited to be a representation of the slain youth, Grifonetto himself.^[1] Besides the two men carrying the body, we have St. John and Nicodemus behind and to the left and Mary Magdalene holding the hand of Christ. The legs of St. John and Nicodemus do present a distracting problem, especially in the case of Nicodemus because due to the obstruction of the view, it is not clear what he is exactly doing, or what he is exactly looking at.^[15]

On the far right, in the other figural group slightly behind the action, are the three Marys supporting the Virgin Mary, who has fainted (a controversial depiction known as the Swoon of the Virgin) most likely due to her overwhelming grief.^[12] The way in which one of the Marys is kneeling is excessively awkward, with extreme torsion and sharply cut drapery, also known as a figura serpentinata. Though seen in other famous works, her positioning seems to have been directly inspired by the example of Michelangelo's Doni Tondo, completed only a few years earlier. In terms of color, Raphael balances his use of strong reds, blues, yellows and greens and he creates subtle contrast in his flesh tones, best seen with the living Mary Magdalene's holding of the dead Christ's hand.^[16]

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