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| Correggio (Antonio Allegri) St Matthew and St Jerome ca. 1526-28 drawing (study for cupola fresco, Parma Cathedral) Musée du Louvre |
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| Correggio (Antonio Allegri) St Mark and St Gregory ca. 1526-28 drawing (study for cupola fresco, Parma Cathedral) Musée du Louvre |
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| Jean-Baptiste-Henri Deshays Two Female Martyrs seated in Clouds before 1765 drawing Musée du Louvre |
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| attributed to Gabriel-François Doyen St Louis, King of France, carried aloft by Angels ca. 1779 drawing (study for painting) Musée du Louvre |
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| Paolo Farinati Virgin and Child with St Anne in Clouds before 1606 drawing Musée du Louvre |
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| Paolo Farinati Elijah carried to Heaven ca. 1565 drawing (study for fresco) Musée du Louvre |
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| School of Fontainebleau Figure with Martyr's Palm seated in Clouds 16th century drawing Musée du Louvre |
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| Anne-Louis Girodet Righteous Souls in Clouds ca. 1790-95 drawing Musée du Louvre |
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| Giovanni Alberti Virgin in Glory ca. 1590-1600 drawing Musée du Louvre |
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| Ludovico Carracci Ecstasy of St Francis of Assisi ca. 1580-1600 drawing (study for print) Musée du Louvre |
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| Giovanni Lanfranco Christ appearing to St Margaret of Cortona before 1647 drawing (study for painting) Musée du Louvre |
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| Lelio Orsi Conversion of St Paul ca. 1554-55 drawing Musée du Louvre |
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| Giandomenico Tiepolo The Creation ca. 1780 drawing Musée du Louvre |
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| Giandomenico Tiepolo Christ carried to the Peak by Satan before 1804 drawing Musée du Louvre |
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| Carle Vanloo Assumption of the Virgin before 1765 drawing Musée du Louvre |
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| François Verdier Assumption of the Virgin ca. 1688 drawing (study for altarpiece) Musée du Louvre |
"All the Academicians and most of the Students being met in the King's Cabinet of Paintings, the St Michael of Raphael was set before them in a favourable Light. This Picture is eight Feet long and five broad. In the middle of a great Landskip, which represents a Desart, St Michael descends from Heaven to Earth, having under him the Devil thrown to the Ground. This Angel is supported in the Air by two great Wings; he is cloathed with a Coat of Armour, made of Scales of Gold, which is tied with a Kind of Stuff of Gold after the Roman Manner, and reaches to his Knee; under that he has another Vestment of blue Stuff embroidered, opening a little, on which is written in Capital Letters, RAPHAEL URBINAS PINGEBAT, 1517. Above the Armour there is alike two Scarfs of a changing Colour floating in the Air, one of the Ends of them are carried away with great Violence between the two Wings of the Angel, the other is buoyed up by its natural Lightness . . . "
"Mr. Le Brun, who was commanded to make Remarks on this Picture, observed first the Disposition of the Figure of the Angel, which is so much the more worthy to be considered, that it represents a Body supporting itself in the Air, and in a manner very difficult to be painted."
– from Seven Conferences held in the King of France's Cabinet of Paintings (1740), an anonymous translation of Conférences de l'Académie Royale de Peinture et de Sculpture pendant l'année 1667