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Updated: May 5, 2025


With Wendell Phillips, it was not only that every phase of thought and feeling was portrayed at once in his face, attitude, and gestures, but this was done with such grace and purity as only belongs to the very highest art. It was as if a figure in Raphael's "School at Athens" had suddenly stepped out from the picture and explained the thought of the master to us in words.

The two friends spread out the table-napkin and laid the Magic Skin upon it. As Emile's hand appeared to be steadier than Raphael's, he drew a line with pen and ink round the talisman, while his friend said: "I wished for an income of two hundred thousand livres, didn't I? Well, when that comes, you will observe a mighty diminution of my chagrin." "Yes now go to sleep.

There is as absurd a story of Velasquez's perfection in painting as that of Raphael's, whose portrait of the pope, left upon the terrace to dry, imposed upon passers by.

It makes us sharers in the art riches of Raphael's own time, to see a new embodiment of his thought appearing as a part of the nineteenth century's accomplishments and possessions. After this achievement we naturally began to look for appropriate use for the small tapestries, but here came our stumbling block.

And after supper you shall tell me what brings you hither. And the good bishop, calling his servant, set to work to show his guest such hospitality as the invaders had left in his power. Raphael's usual insight had not deserted him when, in his utter perplexity, he went, almost instinctively, straight to Synesius.

The composition, lacking in its unusual momentariness the repose and dignity of Raphael's Leo X. with Cardinals Giulio de' Medici and de' Rossi at the Pitti, is not wholly happy.

Still I could not help laughing at a fellow-countryman when he told me that he had not yet seen Raphael's "Transfiguration," because he wished to prepare his mind for understanding the original by first looking at all the copies he could find.

I will merely say, that her perfectly Grecian head, wreathed with wavy bandeaux of bright hair, undulating with golden light, vividly brought to my mind Raphael's halo-tinted portraitures of the Virgin with this difference, that in place of the holy calm and resignation of the painting, there was in Agnes Townley a sparkling youth and life, that even amidst the heat and glare of a crowded ball-room or of a theatre, irresistibly suggested and recalled the freshness and perfume of the morning of a cloudless, rosy morning of May.

A girl ought to guard purity, modesty, patience, hope, trust, because she has had these things given her in large measure. What can there be more beautiful than womanliness! The next time you see the Sistine Madonna, look behind all the mother in the lovely face for the woman in it. Then see if you do not remark the same in Raphael's St.

Esther smiled faintly, not at Strelitski, but at Raphael's calling another man an idealist. She had never yet done justice to the strain of common-sense that saved him from being a great man; he and the new Strelitski were of one breed to her. "He will make Jews no happier and Christians no wiser," she said sceptically.

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