Did Raphael systematically direct the applications of his pictorial inventions for use in printed works? Or did experienced copperplate engravers like Marcantonio Raimondi take over the transfer of his ideas without the explicit wish of the artist? The answer to these questions has been a desideratum in the scholarly research on Raphael until now, as some of the prints deviate strongly from his paintings and frescoes. By means of recently discovered underdrawings as well as preliminary drawings for his paintings that have come down to us, the author has been able to prove Raphael’s active participation in the distribution of his inventions within the medium of copperplate engraving.