Raphaelesque

Indeed, by the mid-17th century, Caravaggism was already out of favour in Rome and had been superseded by a Raphaelesque classicism, practised most gracefully by Annibale Carracci.

The drawing of the face, and the model used, were recognisably Raphaelesque, he observed, pointing out that the same profile appeared in other Raphael Madonnas.

The truly high and beautiful art of Angelico is continually refreshed and strengthened by his frank portraiture of the most ordinary features of his brother monks, and of the recorded peculiarities of ungainly sanctity; but the modern German and Raphaelesque schools lose all honor and nobleness34 in barber-like admiration of handsome faces, and have, in fact, no real faith except in straight noses and curled hair.

On a certain class of minds, however, these Raphaelesque and other sacred paintings of high order, have had, of late years, another kind of influence, much resembling that which they had at first on the most pious Romanists.

He worked in the classicist manner of Ingres until, after winning the Prix de Rome, he went to Italy in 1856, and abandoned the ideal of Raphaelesque perfection for the sincerity and severity of the quattrocentists.