Letter to unknown
p101“Four hundred and seventy designs of Raffalle in my possession for a week.”
Fuller, Margaret. The Letters of Margaret Fuller. Edited by Robert N. Hudspeth. Vol. II. Ithaca: Cornell University Press, 1984.
Author
Raffaello Sanzio (Raphael) is documented in Fuller’s letters, books, published essays, and manuscripts (1839–1846). 3 distinct works are named, most often in Letter to unknown, and the most intensive engagement recorded is “analyzed”.
Reprints, Memoirs passages, and repeat notes within a single manuscript are shown but never counted twice. Evidence for this author is selective, not exhaustive. Methodology →
“It is little to the purpose that such is actually one of the most familiar of the Rabbinical (and Patristic) acceptations of the phrase; because I confess that letting authority alone, I supposed the bare words in such juxtaposition would sufficiently convey the desired meaning. 'Faith and good works' is another fancy for instance, and perhaps no easier to arrive at; yet Giotto placed a pomegranate fruit in the hand of Dante, and Raftaelle crowned his Theology with blossoms of the same.”
This page brings together documented engagements currently identified within the Fuller Reading Worlds catalog.
Selected passages from Fuller’s own writings, in chronological order.
“Four hundred and seventy designs of Raffalle in my possession for a week.”
Fuller, Margaret. The Letters of Margaret Fuller. Edited by Robert N. Hudspeth. Vol. II. Ithaca: Cornell University Press, 1984.
“She makes dirt-pies, kills flies, and oversets the tea-pot.”
Fuller, Margaret. "America and the American People . . ." New-York Daily Tribune, 4 December 1845. · 4 December 1845
“The perfect medium between coldness and vulgar freedom may be seen in great works of art. Look at a picture by Raphael!”
Fuller, Margaret. "The Indicator; by Leigh Hunt . . ." New-York Daily Tribune, 11 July 1845. · 11 July 1845
“Raphael has intuitively adopted this miracle and that of the luminous atmosphere of Peter of Alcantara in that greatest of his works which embodies the idea of the Transfiguration of Jesus.”
Fuller, Margaret. "Clairvoyance." New-York Daily Tribune, 23 July 1845. · 23 July 1845
“a smile that Raphael would have delighted to transfer to the canvas, a Mozart to his strains of angelic sweetness.”
Fuller, Margaret. "The Poor Man—An Ideal Sketch." New-York Daily Tribune, 25 March 1846. · 25 March 1846
“It is little to the purpose that such is actually one of the most familiar of the Rabbinical (and Patristic) acceptations of the phrase; because I confess that letting authority alone, I supposed the bare words in such juxtaposition would sufficiently convey the desired meaning.”
Fuller, Margaret. Papers on Literature and Art. New York: Wiley and Putnam, 1846. · p220
Also printed in Art, Literature, and the Drama (1869), p220; page given is to the 1869 reprint.
“He is well aware, that it is not by imitating nature to such a degree as to produce deception, that the arts give pleasure; he makes a distinction between those accurate daubs, called eye-traps, and the St.”
Fuller, Margaret. Papers on Literature and Art. New York: Wiley and Putnam, 1846. · p234
Also printed in Art, Literature, and the Drama (1869), p234; page given is to the 1869 reprint.
Undated
Pieces with no legible date. They are part of the record but cannot be placed on the lifeline.
“In these books of Ralphael's designs I at last feel at home.”
Fuller, Margaret. "Moonlight." Houghton Library, Harvard University.