Raphael: A Collection of Fifteen Pictures and a Portrait of the Painter with Introduction and Interpretation

By Estelle M. Hurll

DigiCat Publishing presents to you this special edition of "Raphael" (A Collection of Fifteen Pictures and a Portrait of the Painter with Introduction and Interpretation) by Estelle M. Hurll. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

• Language: English
• Publisher: DigiCat
• Release date: Aug 1, 2022
• ISBN: 8596547120643

Book preview

Estelle M. Hurll

Raphael

A Collection of Fifteen Pictures and a Portrait of the Painter with Introduction and Interpretation

EAN 8596547120643

DigiCat, 2022

Contact: [e-mail]

Table of Contents

1899

PREFACE

CONTENTS AND LIST OF PICTURES

INTRODUCTION

I. ON RAPHAEL'S CHARACTER AS AN ARTIST.

II. ON BOOKS OF REFERENCE.

III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS COLLECTION.

IV. COLLATERAL READINGS FROM LITERATURE.

V. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN RAPHAEL'S LIFE.

VI. SOME FAMOUS CONTEMPORARIES OF RAPHAEL.

IN ITALY.

IN PORTUGAL.

IN ENGLAND.

IN GERMANY.

IN FRANCE.

IN SPAIN.

I

THE MADONNA OF THE CHAIR

II

ABRAHAM AND THE THREE ANGELS

III

THE MIRACULOUS DRAUGHT OF FISHES

IV

THE SACRIFICE AT LYSTRA

V

HELIODORUS DRIVEN FROM THE TEMPLE

VI

THE LIBERATION OF PETER

VII

THE HOLY FAMILY OF FRANCIS I

VIII

ST. CATHERINE OF ALEXANDRIA

IX

ST. CECILIA

X

THE TRANSFIGURATION

XI

PARNASSUS

XII

SOCRATES AND ALCIBIADES

XIII

THE FLIGHT OF ÆNEAS

XIV

ST. MICHAEL SLAYING THE DRAGON

XV

THE SISTINE MADONNA

XVI

PORTRAIT OF RAPHAEL

PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS

EXPLANATION OF DIACRITICAL MARKS.

1899

Table of Contents

---

PREFACE

Table of Contents

The object of this collection of prints is to introduce the student to Raphael through the pictures which appeal directly to the imagination with some story interest. With this characteristic as the leading principle of choice, the variety of subjects is perhaps as wide as the conditions admit. No attempt is made to represent all the sides of the painter's art; his portraits are ignored and his Madonnas inadequately represented, in order to give place to pictures which awaken as many points of interest as possible. Within these narrow limits Raphael, as an illustrator and a composer, is even in these few pictures clearly represented.

Had choice been limited to pictures painted throughout by Raphael himself, the value of the collection would have been seriously affected, as some of the master's most interesting works were handed over to his pupils for execution. Our list, however, contains only such works as are at this date reckoned indisputably to be from Raphael's own designs.

The text has only the modest aim of making the pictures intelligible. Critical explanations are beyond its scope, and historical data are for the most part relegated to the accompanying tables. The Introduction is intended for teachers, and contains suggestions for a comparative study of the pictures which may be carried out at discretion.

All the reproductions in this book are from photographs made directly from the original paintings. In order to get the best results a careful comparison was made of the work of leading photographers. The photographer of each picture is mentioned in the Table of Contents.

ESTELLE M. HURLL.

New Bedford, Mass.

June, 1899.

---

CONTENTS AND LIST OF PICTURES

Table of Contents

---

INTRODUCTION

Table of Contents

I. ON RAPHAEL'S CHARACTER AS AN ARTIST.

Table of Contents

No one of the old Italian masters has taken such a firm hold upon the popular imagination as Raphael. Other artists wax and wane in public favor as they are praised by one generation of critics or disparaged by the next; but Raphael's name continues to stand in public estimation as that of the favorite painter in Christendom. The passing centuries do not dim his fame, though he is subjected to severe criticism; and he continues, as he began, the first love of the people.

The subjects of his pictures are nearly all of a cheerful nature. He exercised his skill for the most part on scenes which were agreeable to contemplate. Pain and ugliness were strangers to his art; he was preëminently the artist of joy. This is to be referred not only to his pleasure-loving nature, but to the great influence upon him of the rediscovery of Greek art in