Pre-Felton works after Raphael:
Cunego & others after Raphael: Engravings after Paintings in the Loggie {by 1861} SLV [PR]
* Desvachez after Raphael: La vierge au livre {1868?} Loc? [PR]
Edelinck after Raphael The Holy Family {1879} NGV [PR]
* Gruner after Raphael Conversion of Saul 1864 {by 1894} Loc? [PR]
* Gruner after Raphael The Deluge {1876} Loc? [PR]
* Gruner after Raphael Joseph sold into Egypt {1876} Loc? [PR]
* Gruner after Raphael Martyrdom of St Stephen 1867 {by 1894} Loc? [PR]
* Raphael [attrib.] Head of St John {1889} Loc? [PA]
Rousselet after Raphael St Michael defeating the Devil {1879} NGV [PR]
Thomassin after Raphael Transfiguration of Christ 1680 {1879} NGV [PR]
* Volpato after Raphael Deliverance of St Peter {by 1865} Loc? [PR] 
* Volpato after Raphael The School of Athens {by 1865} Loc? [PR] and * Volpato after Raphael The School of Athens (c.2) {1868?} Loc? [PR]

Widely regarded during the 16th-18th centuries as the greatest painter of all time, Raphael still commanded enormous admiration in the 19th century, despite the Pre-Raphaelite Brotherhood (founded in 1848) and the rise of interest in “Italian Primitivism” (from Giotto to Botticelli). Nevertheless, Raphael’s paintings still seemed the epitome of perfection to many in the pre-Felton era, including Prince Albert, who assembled a large collection of photographs after Raphael’s works, which he and Queen Victoria pored over during their leisure moments.

Besides the examples listed above, the pre-1905 NGV collection included several other works not included in the present catalogue: photographs after Raphael’s Tapestry cartoons (from the originals held in the Victoria & Albert Museum), autotype reproductions of a number of drawings, and a plaster bust of the artist.

More recently, the “perfection” of Raphael’s style has met with a more critical and considered response, although he is still understood as a key Renaissance artist. The later works produced by him and his workshop (including the Transfiguration) are now understood as pointing beyond High Renaissance classicism towards subsequent “Mannerist” and even Baroque developments.


There is a formidable bibliography on Raphael; for his later reputation, see e.g.Haskell, Rediscoveries in Art (1980), passim (refer Index), and also “Raphael and his cult,” Burlington Magazine vol.162, no.1406 (May 2020), p.371 (Editorial, discussing Queen Victoria and Prince Albert’s devotion to the painter, and their large collection of photographs of his works, still preserved in the Royal Library at Windsor)

For the other Melbourne works mentioned, see e.g. NGV 1894, pp.107-110 (V.Buvelot Gallery, 2nd bay, nos.25, 31, 43, 48, 55 and 60: photos of Raphael cartoons) and p.139 (VII.Cast Gallery, no.66: plaster bust). For the autotype reproductions – see NGV 1894, p.111 (V.Buvelot Gallery, 2nd bay, no.64)