Percy Shelley’s interest in the visual arts (painting and sculpture, but also monuments and landscapes) was much heightened by the years spent in Italy, where in letters and notebooks, he records a wide range of encounters and sharpened his powers of observation, perception, and description. This chapter presents several important contexts and instances, from accounts in his letters to Thomas Love Peacock of the paintings in Bologna that particularly moved him (such as Raphael’s St. Cecilia), to his ekphrastic verses on a painting of the head of Medusa, to his wide-ranging descriptive notes on sculptures in Rome and in the Uffizi Gallery in Florence. These are situated historically in terms of increased access to, and engagement with, the visual arts in the period, and as important sites for Shelley to work through the imaginative transmutation of the visual into the visionary in his own poetry and poetic theory.