46 Musée des Beaux-Arts e Brera, che ha concesso al museo francese la Cena in Emmaus di Caravag- gio da novembre 2015 a gennaio 2016. I DUE SPOSALIZI Quando Pietro Vannucci, detto il Perugino, di- pinge la sua versione dello Sposalizio della Vergine è a capo della bottega più prestigiosa d’Italia. La sua notorietà si fondava sul ruolo primario che aveva rivestito nell’affrescare circa vent’anni prima il registro mediano della cap- pella Sistina. La fama del maestro richiama quindi in bottega numerosi artisti tra cui – come riferisce Vasari – il giovane Raffaello Sanzio. Non stupisce dunque che il giovanissimo genio, già pittore affermato, prenda a modello proprio l’opera di Perugino nel realizzare il capolavoro che, a buon diritto, conclude straordinariamente la sua fase formativa, dopo la quale si trasferisce nella prestigiosa Firenze medicea. Napoleon’s confiscations was the result of an agreement between the Musée des Beaux-Arts in Caen and Brera, which lent Caravaggio’s Supper at Emmaus to the Caen museum from November 2015 to January 2016. THE TWO MARRIAGES. When Pietro Vanucci, known as Perugino, painted his versionoftheMarriageoftheVirgin,hewasrunningthe most prestigious artist’s workshop in Italy. His reputation rested primarily on the leading role that he had played in the decoration of the middle register in the Sistine Chapel some twenty years earlier and on his distinctively serene and softly monumental style. The master’s renown attracted numerous painters to his workshop, including young Raphael Sanzio (as Vasari tells us). So it is hardly surprising that the young genius, still in the first flush of youth yet already a successful painter in his own right, took his inspiration from Perugino’s work to devise his own personal take on the scene, an event which also marked the triumphant end of his apprenticeship and his move to Florence, the prestigious city of the Medici.