MASTERPIECES
IN COLOUR
EDITED BY - -
T. LEMAN HARE
RAPHAEL
1483–1520
| Artist. | Author. |
|---|---|
| VELAZQUEZ. | S. L. Bensusan. |
| REYNOLDS. | S. L. Bensusan. |
| TURNER. | C. Lewis Hind. |
| ROMNEY. | C. Lewis Hind. |
| GREUZE. | Alys Eyre Macklin. |
| BOTTICELLI. | Henry B. Binns. |
| ROSSETTI. | Lucien Pissarro. |
| BELLINI. | George Hay. |
| FRA ANGELICO. | James Mason. |
| REMBRANDT. | Josef Israels. |
| LEIGHTON. | A. Lys Baldry. |
| RAPHAEL. | Paul G. Konody. |
| HOLMAN HUNT. | Mary E. Coleridge. |
| TITIAN. | S. L. Bensusan. |
| MILLAIS. | A. Lys Baldry. |
| CARLO DOLCI. | George Hay. |
| GAINSBOROUGH. | Max Rothschild. |
| TINTORETTO. | S. L. Bensusan. |
| LUINI. | James Mason. |
| FRANZ HALS. | Edgcumbe Staley. |
| VAN DYCK. | Percy M. Turner. |
| LEONARDO DA VINCI. | M. W. Brockwell. |
| RUBENS. | S. L. Bensusan. |
| WHISTLER. | T. Martin Wood. |
| HOLBEIN. | S. L. Bensusan. |
| BURNE-JONES. | A. Lys Baldry. |
| VIGÉE LE BRUN. | C. Haldane MacFall. |
| CHARDIN. | Paul G. Konody. |
| FRAGONARD. | C. Haldane MacFall. |
| MEMLINC. | W. H. J. & J. C. Weale. |
| CONSTABLE. | C. Lewis Hind. |
| RAEBURN. | James L. Caw. |
| JOHN S. SARGENT. | T. Martin Wood. |
| LAWRENCE. | S. L. Bensusan. |
| DÜRER. | H. E. A. Furst. |
| MILLET. | Percy M. Turner. |
| WATTEAU. | C. Lewis Hind. |
| HOGARTH. | C. Lewis Hind. |
| MURILLO. | S. L. Bensusan. |
| WATTS. | W. Loftus Hare. |
| INGRES. | A. J. Finberg. |
| COROT. | Sidney Allnutt. |
| DELACROIX. | Paul G. Konody. |
Others in Preparation.
PLATE I.—THE ANSIDEI MADONNA. Frontispiece
(In the National Gallery, London)
Better than any other picture by Raphael, this important altar-piece shows the precociousness of Raphael's genius, for it was painted at Perugia in 1506, when the master had scarcely passed into the twenty-third year of his life. He had then just returned from Florence, but, probably to humour his patrons, the Ansidei family, he reverted in this picture once again to the formal manner of his second master, Perugino. The "Ansidei Madonna" has the distinction of being the most costly picture at the National Gallery—it was purchased in 1885 from the Duke of Marlborough for £70,000.