The production of oil sketches or modelli by Andrea Vicentino (Vicenza, 1542? — Venice, 1617?) is characterised by a great variety, both in terms of technique and of function. This essay explores this phenomenon and brings to the attention three unpublished works — painted modelli for the large canvases depicting the Miracle of the Porzioncola in the Basilica dei Frari, Venice, the Raising of Lazarus in the National Museum of Arts in Malta, and a delicately executed Entombment, known only from a photograph kept in the archives of the Dutch Institute in Florence.