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Updated: May 5, 2025
Her form was graceful in every line; her face perfect in its contour, open, finely-moulded, and with a marvellous complexion a calm, sweet countenance that reminded one of Raphael's "Madonna" in Florence, indeed almost its counterpart. Her beauty had been remarked everywhere.
Her glances went from one box to another, as she diverted herself with the awkward way in which a Russian princess wore her bonnet, or over the utter failure of a bonnet with which a banker's daughter had disfigured herself. All at once she met Raphael's steady gaze and turned pale, aghast at the intolerable contempt in her rejected lover's eyes.
But what is this?" he said, eyeing closely a large engraving, richly framed. "A proof, as I live! from the only plate worth looking at of Raphael's Madonna of St. Sixtus. I'll give fifty dollars for that, myself." The pictures named were all entered up by the appraiser, and then the group continued their examination.
She had encumbered the tables with useless articles of pottery; she had fastened a green plate between the better of the two Hogarths and an Arundel chromo-lithograph, and connected it with both the pictures by a drooping scarf of faint pink silk; she had adorned the engraving of Raphael's Transfiguration with a bit of Broussa embroidery, because it looked so very Oriental; and she had bedizened Mary Carvel's water-color view of Carisbrooke Castle with peacock's feathers, because they looked so very English.
It was the beautiful engraving from Raphael's picture of Saint Margaret in meekness treading Upon the dragon 'neath her spreading. And Walter, rejoicing that their choice was likely to fall on anything which a young lady might be so glad to possess, conducted them into the shop, and gave all the desired assistance in effecting the purchase.
Some one has said that he seemed to hold Giotto by one hand, and reach forward to Raphael with the other; and considering the pictures which were painted before his time, his works are as wonderful as Raphael's are beautiful. He died in 1429. ANDREA VERROCCHIO, LORENZO DI CREDI, and ANTONIO POLLAJUOLO were all good painters of the Florentine school of the last half of the fifteenth century.
It is impossible to trace in these pictures the progress of Raphael's manner, and to mark the development of his style; but even in these one may see something of the change from the simplicity and feeling of his early works, produced under the influence of religious sentiment, and the still clinging stiffness of traditional restraints, to the freedom and coldness of his later works, painted under the influence of success at a dissolute court, of flattery, of jealousy, and of indifference to the motives of religion.
Raphael having exhausted his interest in the half-paper, fell to striding about the little shop, when who should come in but Pinchas, smoking a cigar of the Schlesinger brand. "Ah, my Prince of Rédacteurs," said Pinchas, darting at Raphael's hand and kissing it. "Did I not say you vould produce the finest paper in the kingdom? But vy have I not my copy by post?
I also saw at Bologna the Englishman Aston with Madame Slopitz, sister of the Charming Cailimena. Madame Slopitz was much handsomer than her sister. She had presented Aston with two babes as beautiful as Raphael's cherubs. I spoke of her sister to her, and from the way in which I sang her praises she guessed that I had loved her.
Among the other great Italian painters of this century are Fra Angelico, Perugino, Raphael's master, Pinturicchio, Signorelli, the pupil of his uncle, Vasari, almost as distinguished, Botticelli, Titian, and very many others, who would have been famous leaders in art in any other but this supremely great period.
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