The midsummer of Italian art . nt. The portrait in the Barberini palace which passesby the name of Raphaels Fornarina has great solid-ity and evidently belongs to the Roman school. Iteven possesses certain characteristics, such as thelength of the nose, smallness of the mouth, and thecontour of the shoulders, which suggest a relation-ship to the Sistine Madonna. It may be a portraitof the Fornarina of Italian artistic tradition; butthis can never be proven, and the best argument forit is that she was evidently an uneducated personwhose portrait had only been painted for some veryexceptional re
The midsummer of Italian art . nt. The portrait in the Barberini palace which passesby the name of Raphaels Fornarina has great solid-ity and evidently belongs to the Roman school. Iteven possesses certain characteristics, such as thelength of the nose, smallness of the mouth, and thecontour of the shoulders, which suggest a relation-ship to the Sistine Madonna. It may be a portraitof the Fornarina of Italian artistic tradition; butthis can never be proven, and the best argument forit is that she was evidently an uneducated personwhose portrait had only been painted for some veryexceptional reason. Her pose is similar to that ofthe Venus dei Medici, and was perhaps imitatedfrom it. It is in bad taste, and we hesitate to assignsuch a design to Raphael. Morelli thinks that itwas probably the work of Giulio Romano, and itreminds me of his painting of The Lovers in theBerlin Museum ; and yet connoisseurs do not find init the distinctive marks of Giulios handling; and thisshows what uncertainty prevails in such THE TRANSFIGURATION,- bv RAPHAELVatican, Rome Raphaels Dramatic Pictures. 271 RAPHAELS HOURS. Engravings called by this name have circulatedfreely during the present century, and much curios-ity has been excited to know about the paintings ordrawings from which they were taken. Americantravellers explored Rome, however, without suc-ceeding in finding any trace of the originals. Theywere said to be in the Vatican, and a gentleman ofmy acquaintance, who is not often baffled by diffi-culties, searched the Vatican most thoroughly with-out being able to see or hear anything of them. Areport was circulated that the Hours were not byRaphael at all, but engraved from some ancientmural paintings in Pompeii. At length an Ameri-can lady. Miss Mary Williams of Salem, traced outthe history of the engravings and the place where,as she supposed, the original paintings were;—forshe was not permitted access to the rooms. She found in the royal stamperia at Rome an olde
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Keywords: ., bookauthorstearnsf, bookcentury1900, bookdecade1910, bookyear1911
