first of all." The real Raphael must be sought for in his own thought, his studies, the
works which he executed himself. Even in those done by pupils the spiritual significance
of the master's conception often pierces the envelope, and we see him at once powerful
and serene; in the long line of his Madonnas there is no repetition, and no sense of fatigue,
and in his frescos he laid down the lines of monumental composition. The same stu-
dent who has compared Raphael's technique with that oi the modern French master
in ajj f) a cl 27
mav say, for instance, even while admitting their style and character, that the silhou-
ettes of the women in the medallions of the Camera della Signatura are coarse in out-
line, that the construction of their faces will not bear analysis. But when that modern
painter has a medallion to fill and has tried one arrangement after another, he inevitably
realizes that it is Raphael who has found the best ordering that could be found; and the
modern painter builds upon his lines, laid down so distinctly that the greater the prac-
tice of the artist the more complete becomes his realization of Raphael's comprehension
of essentials in composition.
SIR JOSHUA REYNOLDS .