Raphael and a young woman known as La fornarina sitting on a balcony, with Rome in the background. Engraving by L. Stocks, 1842, after A.W. Callcott.

"There are yet two other figure-subjects by this painter which remain to be noticed; the most important, in point of size at least, he ever attempted. 'Raffaelle and the Fornarina', exhibited at the Academy in 1837, became very widely known from the engraving of it, by Mr. Lumb Stocks, R.A., presented to the subscribers of the Art-Union of London in 1843. Raffaelle and the lady are seated on a terrace overlooking Rome: he has a sketch-book in his hand, and has probably been making a study of the Fornarina, on whom he gazes intently, while she is peering into the petals of a flower, seemingly unconscious of the silent worship paid to her. The figures are life-size; had they been reduced one-half, or even less, the picture would have gained by the diminution: so far as regards the costumes, the sculptured work, the flowers, and other accessories, the composition is abundantly enriched, and yet its large dimensions give to it an aspect of poverty, irrespective of a kind of nothingness in itself. The picture is finished throughout in the most careful manner; a little more dash and vigour thrown into it would have done much to redeem it from its faultless yet insipid propriety. It is in the possession of Sir G. R. Philips, Bart., according to Messrs. Redgrave. "Raffaelle and the Fornarina" undoubtedly met with considerable popularity, and attracted much attention, while its selection for engraving by the Council of the Art-Union of London was an additional proof, or was thought to be, of its merits."--Dafforne, loc. cit.