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)
66 pages long. Divided into 5 sections.https://archive.org/details/ruskinatvenicele00lasi/page/n1/mode/2up
The Early British School (1906)
17 pages long—the rest comprising illustrations.https://archive.org/details/nationalgalleryl00natiuoft/page/n7/mode/2up
The Later British School (1907)
15 pages long—the rest comprising illustrations.https://archive.org/details/nationalgalleryl00lasi/page/n7/mode/2up
Beatrice D'Este And Her Court (1926 · 2nd Revised Edition) · Translated by Captain N. Fleming (????–????)
"THIS A GROUP OF PORTRAITS of the Italian Renaissance, which I have endeavoured to illustrate with the assistance of documents of the period and relics of the places where the models of the portraits lived." (Introduction)https://archive.org/details/beatricedesteher0000robe/page/n7/mode/2up
Celebrities Of The Italian Renaissance In Florence And In The Louvre (1926)
"WHEN LOOKING at the pictures in a museum or at the frescoes in an old church, we sometimes notice, amongst the impersonal heads of saints, angels, gods, nymphs, satyrs, spectators and executioners, some particular face which makes us say: “That’s a portrait!” Why? We cannot say, but we feel no doubt about it. It is as though we recognized, in the face, characteristics so individual, so particular and therefore so alive that we feel that the painter could not possibly have drawn them from imagination, but must have taken them “from the life,” to use an old phrase. And we are right. This face, which catches our eye among all the others, which stands out from them as though telling us “I exist. I have existed. I am not an academic formula as my neighbours are. I have lived!. . .” is in fact a portrait. But of whom? At that point our powers of intuition stop short, and unless we have the leisure to solve the problem the question remains unanswered.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