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| Francesco Salviati Incredulity of St Thomas ca. 1547 drawing (study for painting) Musée du Louvre |
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| Francesco Salviati Drapery Studies for Kneeling Figure ca. 1547 drawing (study for painting) Musée du Louvre |
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| Francesco Salviati Figure Study before 1563 drawing Musée du Louvre |
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| Francesco Salviati Figure Study before 1563 drawing Musée du Louvre |
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| Francesco Salviati Figure Study ca. 1540 drawing Musée du Louvre |
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| Francesco Salviati Figure Study ca. 1545 drawing Musée du Louvre |
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| Francesco Salviati Standing Draped Female Figure ca. 1550-60 drawing Musée du Louvre |
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| Francesco Salviati Standing Draped Female Figure ca. 1552 drawing Musée du Louvre |
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| Francesco Salviati Standing Female Figure with Veil ca. 1548 drawing Musée du Louvre |
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| Francesco Salviati Seated Draped Female Figure before 1563 drawing Musée du Louvre |
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| Francesco Salviati Figure Study of Warrior before 1563 drawing Musée du Louvre |
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| Francesco Salviati after Michelangelo Figure Studies before 1563 drawing Musée du Louvre |
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| Francesco Salviati after Michelangelo Fleeing Soldier before 1563 drawing Musée du Louvre |
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| Francesco Salviati after Michelangelo Seated Female Figure with Two Children ca. 1548-51 drawing Musée du Louvre |
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| Francesco Salviati Study for Lunette with The Fall and The Expulsion before 1563 drawing (retouched by Peter Paul Rubens when he owned the drawing) Musée du Louvre |
"Francesco Salviati's move to Rome in the early 1530s instigated a regimen of intense study of nature and art. Not only would such activity have been appropriate for his age, but also it was typical of his new geographic location. Our principal informant about these activities is Vasari – who was in Rome for part of the same period and who, according to his own testimony, joined Salviati in the same pursuits. Drawing played a central role in all of their shared activities. In an often-quoted passage in Salviati's Vita, Vasari claimed that during one winter (1532) the two young artists drew every notable thing in the Vatican Palace, as well as everywhere else in Rome. In his own Vita, Vasari specifically mentioned drawings after the Roman paintings by Michelangelo, Raphael, Baldassare Peruzzi, and Polidoro da Caravaggio. So intent were Vasari and Salviati to absorb everything in Rome that they studied separately during the day and then copied each other's drawings during the evening."
– David McTavish, Nature and Art in the Early Drawings of Francesco Salviati, published in Master Drawings (Autumn, 2010)