A photograph of a pen and bistre washed drawing depicting satyrs and a nymph now in the Royal Library, Windsor Castle (RCIN 990333). This is a copy after a drawing by Baldassare Peruzzi now at Chatsworth (inv. no. 89), representing Pan walking with an androgynous youth, while three other naked satyrs remain, one making advances to a naked putto. The drawing – as already recognised by Ruland (1876) –  is a modello for one of the four oval frescoes with mythological scenes in the right vault of the Loggia of Villa Madama, an unfinished architectural project started c.1518 by Raphael and decorated after Raphael's death by his workshop.

Scholarly opinion traditionally agreed that, although Pope Leo X took a strong personal interest in the project of Villa Madama, his cousin Cardinal Giulio de' Medici (later Pope Clement VII) was ultimately responsible for this project. In a book about the Villa, Lefevre published an archival document attesting that the vineyard of the Villa – built on the slopes of Monte Mario, not far from the Vatican – was owned by the Vatican Chapter and therefore by Pope Leo X, rather than the Medici family. According to Lefevre, Giulio de' Medici owned the Villa only after the death of Leo X, who, whilst alive, entrust ed the project to his cousin.

The magnificent original plan was never put in place: the construction of the Villa seems to have stopped after the death of Raphael and only the decoration continued from 1520 to 1523 (see Bibliographic References). Giorgio Vasari in the lives of Giulio Romano and Raphael gives inconsistent information about the architect of the project and Lefevre believes that the authorship of Villa Madama should be assigned to Raphael, whose designs were used by Antonio da Sangallo and his workshop, while Giulio Romano, being Raphael's most experienced pupil, was in charge of the practical execution of the project (see Bibliographic References).

According to Jones and Penny (see Bibliographic References), the Cardinal wanted Giovanni da Udine to execute the stuccoes and Giulio Romano the paintings (or at least to design them), therefore showing that the decorative plans had not been decided upon before Raphael's death. Although Vasari does not mention Baldassarre Peruzzi in relation to this project, recent literature has confirmed his involvement and Lefevre suggests that Giovanni Penni may also have been involved (see Bibliographic References).