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Updated: May 5, 2025
A chromo lithograph of the best sort gives all the style and manner and effect of Turner or Stanfield, or any of the best of modern artists, though you buy it for five or ten dollars, and though the original would command a thousand guineas. The lithographs from Raphael's immortal picture give you the results of a whole age of artistic culture, in a form within the compass of very humble means.
Raphael's mother died when he was only eight years of age, and his father died when he was no more than eleven years, before the plans for his education were put into action. But no stroke of outward calamity, or loss however severe, could annul Raphael's birthright of universal favour.
Il Francia addressed an enthusiastic sonnet to Raphael, and there is extant a letter of Raphael's to Il Francia, excusing himself for not sending his friend Raphael's portrait, and making an exchange of sketches, that of his 'Nativity' for the drawing of Il Francia's 'Judith; while it was to Il Francia's care that Raphael committed his picture of St Cecilia, when it was first sent to Bologna.
The icy tone and terrible glance that went with the words made the real aggressor shudder; he know that he was in the wrong, and felt in secret ashamed of his behavior. There was something strange in Raphael's bearing, tone, and gesture; the Marquis stopped, and every one else was likewise silent. The uneasy and constrained feeling grew to a height.
The galleries are representative of Raphael's work, which predominates to such an extent that the paintings of almost all other artists are of secondary importance, precisely as Michelangelo filled the Sixtine Chapel with himself.
The works are various, but the names the same heaps of Rembrandts frowning from the darkened walls, Rubens' glad gorgeous groups, Titians more rich and rare, Claudes always exquisite, sometimes beyond compare, Guido's endless cloying sweetness, the learning of Poussin and the Caracci, and Raphael's princely magnificence crowning all.
They may be common to the race and age: as, for instance, the conception of sovereign deity expressed in the Olympian Zeus of Pheidias, or the conception of divine maternity expressed in Raphael's 'Madonna di San Sisto. Still the personality of the artist, his own intellectual and moral nature, his peculiar way of thinking and feeling, his individual attitude towards the material given to him in ideas of human consciousness, will modify his choice of subject and of form, and will determine his specific type of beauty.
You will find it well worth a little trouble to look long and closely at one of Raphael's well-known Madonnas till you clearly see how the composition of all the parts of it is formed by the play of long and graceful curves.
Such an "ad." would forever damn even the Nashville Banner, or show in the feculent columns of the Kansas City Star like a splotch of soot on the marble face of Raphael's Madonna. The Police Gazette and Sunday Sun are debarred from the mails, yet neither ever contained aught one-half so horrible.
In crossing the gallery parallel to the large glass gallery, he perceived De Winter, who was waiting until the queen had finished her negotiation. At this sight the young man stopped short, not in admiration of Raphael's picture, but as if fascinated at the sight of some terrible object. His eyes dilated and a shudder ran through his body.
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