English Contemporary Art (1898) · Translated by H. M. Poynter (????–????)
https://books.google.gr/books?id=WH5DAAAAYAAJ
https://archive.org/details/englishcontempor00lasi/page/n9/mode/2up
Ruskin And The Religion Of Beauty (1899) · Translated by—most likely—Arabella Stewart, Countess Of Galloway (1850–1903)
https://archive.org/details/cu31924013542760/page/n7/mode/2up
Ruskin At Venice: A Lecture Given During The Ruskin Commemoration At Venice, September 21, 1905 (1906)
https://archive.org/details/ruskinatvenicele00lasi/page/n1/mode/2up
The Early British School (1906)
https://archive.org/details/nationalgalleryl00natiuoft/page/n7/mode/2up
The Later British School (1907)
https://archive.org/details/nationalgalleryl00lasi/page/n7/mode/2up
Beatrice D'Este And Her Court (1926 · 2nd Revised Edition) · Translated by Captain N. Fleming (????–????)
https://archive.org/details/beatricedesteher0000robe/page/n7/mode/2up
Celebrities Of The Italian Renaissance In Florence And In The Louvre (1926)
On other occasions when confronted with some authentic and well-known portrait, of which both the artist and his model are known with historical certainty, do we not wish to know something more about it? A name is all very well, but after all, what is a name but a synonym for a career? Who was this man or woman? What meaning is there behind this costume, this symbol, this gesture ? And above all, what, in real life, was the tendency, the physiognomic or physiological trait which the artist has here indicated ? What is emphasized by this crease, this scar, this wrinkle?
For the majority, then, there are many celebrated faces about which nothing is known. What is celebrated is the mask: we are ignorant, as a tule, of the face—by which I mean the character, the rôle, the career. In some cases we do not know the name; in other cases, though we know the name, it conveys nothing to us. Nevertheless, it would seem that so striking a face must have had a characteristic story. We are a little irritated at not knowing that story, and when we leave the museum or the church our pleasure is tinged with regret—the after-taste of a curiosity which has not been satisfied.
Out of that curiosity this book was born." (Introduction)
https://archive.org/details/celebritiesofita0000robe/page/n7/mode/2up