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 The
Burlington Magazine
for Connoisseurs

Illustrated & Published Monthly

Volume XI—April to September 1907

LONDON
THE BURLINGTON MAGAZINE, LIMITED
17 BERNERS STREET, W.
NEW YORK : ROBERT GRIER COOKE, Inc., 307 FIFTH AVENUE
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 LONDON
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 CONTENTS OF VOL. XI
PAGE
Portrait of a Young Man by Hals ......... 3
The Case for Modern Painting. By a Modern Painter :—
Part I ............ 3
Part II—The R.I. and R.B.A. ....... 77
Part III—The Royal Water-Colour Society . . . . *156
Part IV—The Royal Academy and the New English Art Club . . 204
Part V—The Ideals of Modern Germany ...... 345
The Modern House and the Modern Picture : A Reply. By A. Clutton-Brock . 13
The Slip Decorated Dishes of Chirk Castle. By M. L. Solon . . . .16
The Florentine Temperament. By G. T. Clough ...... 23
The Fisherwomen : A Colour-Print by Hokusai . . . . . .28
A Note on Colour-Printing in China and Japan. By Laurence Binyon . • 31
The So-called ‘Janina ’ Embroideries. By Louisa F. Pesel. . . . 32
The Bodegones and Early Works of Velazquez. By Sir J. C. Robinson, C.B. :—’
Part II . . . . . . . . . . . -39
Part III—The Altar-piece of Loeches. . . . . . .318
Some Old Silver Plate in the Possession of Lord Mostyn. By E. Alfred Jones . 68
The Painters of Denmark . . . . . . . . . .81
Notes on an Early ‘ Persian ’ Bowl and 4 Rice-Grain ’ Wares. By R. L. Hobson . 82
London Leaded Spires—III. By Lawrence Weaver, F.S.A. . . . .89
Chardin ............. 96
A Copy of Van Dyck by Gainsborough ........ 96
A Portrait Bust of Agrippina. By Cecil H. Smith . . . . . *99
A Crucifixion, by Konrat Witz of Basel. By Claude Phillips . . . .100
Professor Joseph Strzygowski on the Throne of St. Maximian at Ravenna, and on
the Sidamara Sarcophagi. By Eugenie Strong . . . . . .109
An Early Valencian Master at South Kensington . . . . . .111
Theory, engraved by Blake after Reynolds. By Katharine A. McDowall . .112
The Representation of the British School in the Louvre. By Percy Moore Turner.
II—Gainsborough, Hoppner, Lawrence . . . . . . . 136
Past Excavations at Herculaneum. By Ethel Ross Barker. . . . • 144
The Water-colour Method of Mr. William Callow . . . . . .160
A Note on Water-colour Technique. By Roger E. Fry . . . . .161
The Gold Medals of Abukir. By Dr. A. Koester . . . . . .162
Dutch and Flemish Furniture. By R. S. Clouston . . . . . . 163
A ^Man with a HaVck, by Henry Wyatt . . . . . . . .170
The History of Tapestry. By C. H. Wylde . . . . . . • I7I
The Origin of the Early Stained Glass in Canterbury Cathedral. By Clement
Heaton . . . . . . . . . . . . .172
A New Book on the Pollaiuoli. By Dr. Wilhelm Bode . . . . .181
Some Mezzotints by MacArdell and Valentine Green. By Dr. Hans W. Singer . 182
The Marble and Ceramic Decorations of the Roman Campanili. By J. Tavcnor-
Perry ............. 209
Hans Wydyz the Elder. By Dr. Rudolf F. Burckhardt . . . . .212
iii
 CONTENTS OF VOL. XI—Continued
PAGE
Egypt and the Ceramic Art of the Nearer East. By A. J. Butler, D.Litt. . .221
A Picture by Corot ........... 226
The Cottage, by F. W. Watts . . . . . . . . . .226
A Portrait by Bartolommeo Veneto . . . . . . . . . 231
Notes on Pictures in the Royal Collections. By Lionel Cust, M.V.O., F.S.A.
X—Franco-Flemish School: The Divine Mother . . . . -231
Where did Michelangelo Learn to Paint ? By C. J. Holmes . . . .235
Nathaniel Bacon, Artist. By H.H. Prince Frederick Duleep Singh . . -236
The Jiuni-Tenno of Takuma Choga. By Professor R. Petrucci . . . 242
The Book Cyphers of Henri II. By Cyril Davenport ..... 243
James Daret. By W. H. J. Weale ........ 244
Claude. By Roger E. Fry .......... 267
Notes on the Drawings of Claude. By C. J. H. . . . . . . 275
Bruges and the Golden Fleece Celebrations. By Francis M. Kelly . . . 315
The New Van Dyck in the National Gallery. By Lionel Cust, M.V.O., F.S.A. . 325
Sixteenth Century Embroidery with Emblems. By M. Jourdain . . -326
The Spires of Rome. By J. Tavenor-Perry ....... 35c
The Life of a Dutch Artist. By Dr. W. Martin. VI—How the Painter Sold
his Work . . . . . . . . . . . .357
A Drawing by Rembrandt in the Collection of the Duke of Devonshire . -37°
Shelly O'Brien, by Sir Joshua Reynolds ........ 370
A Neglected Point in the Early History of Enamel. By Edward Dillon . . 373
A Madonna by Antonio da Solario and the Frescoes of SS. Severino e Sosio at
Naples. By Dr. Ettore Modigliani ........ 376
Some English Portraits by Carl Vogel von Vogelstein. By Dr. Hans W. Singer . 382
Editorial Articles :—
Regent Quadrant . . . . . . . . . -65
Our National Collections. The Whistler Memorial . . . -67
The Trend of the Art Market . . . . . . . . 135
The Progress of American Collecting ...... 203
Notes on Various Works of Art :—
A Sketch by Rubens ; The Picture at Chatsworth ascribed to John
Van Eyck (W. H. J. Weale) ; Recent Discoveries in Venice
(Aiethea Wiel) ; Charles Lotz (Dr. Kammerer) . . . -45
The Miniature by Gentile Bellini, found in Constantinople (F. R.
Martin) ; German Ironwork ; A Sketch by Rubens ; The Umbrian
Exhibition at Perugia (Milziade Magnini) ; The Bury St.
Edmunds Pageant ; Letter to the Editor (Dr. Wilhelm Schmidt) . 115
M Shepherd and Two Nymphs, by Palma Vecchio ; A Wax Model
attributed to Michelangelo. (C. J. H.) . . . . .188
Guardi and Tiepolo (George A. Simonson) ; A Man Making Wine,
by Chardin; The Rebuilding of the Campanile of S. Mark’s
(Aiethea Wiel); Master Hare, by T. Gainsborough . . *247
A Picture of the Tournai School (C. J. H.) ..... 328
iv
 CONTENTS OF VOL. XI—Continued
PAGE
Notes on Various Works of Art (continued) :—
The Proposed Turner Gallery. The British Museum Print Room 331
The Abbey of S. Bertin, by R. P. Bonington ; Head of the Horse whose
Rider has overthrown Heliodorus: a fragment of a cartoon by Raphael
(C. J. Holmes); The Revenge of Tomyris : a composition after the
master of Flemalle (George Sobotka); C. N. Cochin’s second
revision of Abraham Bosse’s ‘Traicte des manieres de graver’
(A. M. Hind). 384
Art in America :—
A Pastel by J. S. Copley ......... 58
Notes on the Widener Collection :—
I— Frans Hals : The Lady with a Tfosc . ... . I 29
II— A Portrait of Bianca Maria Sforza . 13°
Cassone Fronts in American Collections:—
Part IV. l3l
Part V. 339
Spring Exhibitions .... 199
A Liberalized Academy 341
Recent Additions to the Collection of Mr. rlenry C. Frick. Article I 397
Current Events .... . 403
Art in France. By R. E. D. ... 5 5’ 123, 193, 263, 335
Art in Germany. By H. W. S. 56> 124, 198, 260, 335, 404
Letters to the Editor :—
August F. Jaccaci .... 46
G. T. Clough; Frank Jewett Mather, jun 190
Sidney Colvin and Claude Phillips 2 49
E. J. van Wisselingh 331
A. Van de Put ; A. J. Butler ; Gerald Parker Smith 391
Art Books of the Month .... 48, 11 8, 191, 249, 3 3 1 > 392
Recent Art Publications 122, 258, 395
 LIST OF PLATES
PAGE PAGE
Frontispiece: Young Man with Mandoline; Plate III—2. Rose-water Dish, diameter 19J
by Frans Hals ...... 2 inches. 10. Eighteenth-century Candlesticks 75
The Case for Modern Painting :— The Case for Modern Painting :—
Plate I—Hermes and the Infant Bacchus ; by A Winter’s Dawn ; by Alfred East, P.R.B.A. . 79
C. H. Shannon ...••• 5 Notes on an Early ‘Persian’ Bowl and ‘Rice-
Plate II—The Paper Cap ; by William Nichol¬ grain ’ Wares:—
son. Fireside ; by J. J. Shannon, A.R.A. I. Persian Bowl; depth, 5-3 inches. 2. Side
(in the exhibition of the International view of (1) ; height, 3 inches. 3. Fragment
Society).. _ • 8 from Rhages. 4. Fragment from Fostat,
Plate III—Pencil Drawing: Head of a Girl; 5. Chinese Porcelain Bowl. 6. Gombroon
by A. E. John (in the exhibition of the Bowl ........ 85
International Society).n London Leaded Steeples:—
The Slip Decorated Dishes of Chirk Castle:— Plate I—1. Horham Hall, Thaxted. 2. Christ’s
Plate I.17 Hospital, Abingdon. 3. Barnard’s Inn Hall,
Plate II . . . . . . .20 London, now the Mercers’ School . . 88
Fisherwomen at Wada-No-Hara. From the Plate II—4. Turret Roof, Hampton Court.
colour-print by Hokusai (in the possession 5. S. Bene’t, Paul’s Wharf, with S. Paul’s
of the Hon. W. Ormsby Gore) . . . 29 Cathedral beyond.91
The So-called 1 Janina ’ Embroideries :— Plate III—6. S. Edmund, Lombard Street.
Plate I — 1. Curtain, probably Anatolian (in 7. S. Nicholas, Cole Abbey. 8. S. Philip,
the Victoria and Albert Museum). 2. Oriental Birmingham. 9. National Gallery, London 94
Stitch (in the Victoria and Albert Museum). A Copy of Van Dyck by Gainsborough :—
3. Tent Stitch Embroidery (in the Vic¬ Charles I, by Gainsborough, after Van Dyck
toria and Albert Museum). 4. Portion of (in the possession of Messrs. Shepherd Bros.) 97
Bokhara Curtain (in the Victoria and A Portrait Bust of Agrippina .... 101
Albert Museum) ...... 35 A Crucifixion, by Konrat Witz of Basel (in the
Plate II—5. Embroidery (in the collection of collection of the Rev. Lewis Gilbertson) . 105
Miss Louisa F. Pesel). 6. Three Scarf ends Professor Josef Strzygowski on the Throne of St.
(in the collection of Dr. Karo). 7. Two Maximian ,at Ravenna, and on the Sidamara
pieces of ‘Janina’ Embroidery (in the Sarcophagi:—
Victoria and Albert Museum). 8. Cushion Figure from the Sarcophagus in the collection
Cover from Skyros (in the possession of of Sir Frederick Cook, Bart. . . .108
the Old Orient, Athens). 9. Portion of a An Early Catalan Master :—
Valance (in the collection of Mr. G. The Adoration of the Magi, by Lo fil de
Dickins). 10. Double Darning on Linen (in Mestre Rodrigo (lent to the National Gallery
the possession of the Old Orient, Athens) . 38 by the Victoria and Albert Museum) . . 108
The Bodegonesand Early Works of Velazquez :— Notes on the Widener Collection :—
I. The Kitchen ; attributed to Velazquez (in Bianca Maria Sforza, by Ambrogio de Predis ;
the collection of Sir Frederick Cook. Bart.). Lady with a Rose, by Frans Hals. (In the
2. The Fight at the Fair; attributed to collection of Mr. P. A. B. Widener) . .125
Velazquez and Pacheco (in the collection of Cassone Fronts in American Collections :—
Sir Charles Robinson) . . . . .41 The Voyage of Aeneas, Florentine School.
A Sketch by Rubers :— Visit of the Queen of Sheba to Solomon,
The Reconciliation of Henry of Navarre and Florentine School. (Inthejarves collection,
Henry III (from the sketch in the posess- Yale University, U.S.A.) .... 128
sion of Mr. Frank Sabin) . . . .44 A Man with a Hawk ; by Henry Wyatt (in the
A Pastel Portrait by J. S. Copley : — collection of Mr. Eugene Glaenzer) . . 134
Pastel Portrait of Nancy Barrell . . .44 The British School in the Louvre :—
A Woman with a Frying Pan ; by Chardin. . 64 Plate I—Mr. and Mrs. Angerstein ; by Sir T.
Some Old Silver Plate in the possession of Lord Lawrence (in the Louvre) .... 139
Mostyn:— Plate II—1. Master Hare ; by T. Gains¬
Plate I—1. Welsh Harp ; height, inches. borough. 2. Mary Palmer, Countess of
3. Ewer for Rose-water Dish (fig. 2); height, Inchiquin ; by Sir T. Lawrence (in the
8| inches. 4. Silver-gilt Elizabethan Flagon Louvre).142
Tankards; London, 1601-2. 5. Jacobean Past Excavations at Herculaneum : —
Gilt Cups..69 Plate I—Bronze bust of Dionysus from Her¬
Plate II—6a. Tankard ; by Anthony Nelme, culaneum (in the Naples Museum) . . 145
1698-9. 6b. Tankard, 1683-4, 7- Monteith Plate II—Bronze bust of (?) Sappho from
Bowl ; probably by John Leach. 1697-8. Herculaneum (in the Naples Museum) . 148
8a. Fluted Toilet Mirror, 1698-9. 8b. Late Plate III—Bronze horse from Herculaneum
Seventeenth Century Toilet Mirror. 9. (in the Naples Museum) .... 151
Eighteenth Century Bowl, Sauceboats, Plate IV—Bronze bust of Heraclitus from
Cream-jug, Salvers and Castors . . . 72 Herculaneum (in the Naples Museum). 154

VI
 LIST OF PLATES —continued
PAGE FAGE

Plate V—Archaic Apollo ; bronze bust from Nathaniel Bacon, Artist :—

Herculaneum (in the Naples Museum). . 157 x. Sir Nathaniel Bacon ; by himself (in the
collection of the earl of Verulam). 2. Sir
The Gold Medals of Abukir :—
Medals of Alexander and Olympias (in the Nathaniel Bacon ; by himself (in the col¬
Kaiser Friedrich Museum, Berlin) . . 165 lection of Mr. Bacon of Raveningham) . 237
The Jiuni-Tenno of Takuma Choga:—
Dutch and Flemish Furniture :—
1. Futen; by Takuma Choga. 2. Rasatsuten ;
Seventeenth-century Chairs (in the Rijks-
by Takuma Choga. 3. Nitten ; by Takuma
museum, Amsterdam).165
Choga (in the collection of Professor R.
The Origin of the Ancient Stained Glass in Petrucci).240
Canterbury Cathedral:—
A Man Making Wine; by Chardin (in the posses¬
1. Ornament round the medallions in the sion of the university of Glasgow) . . 246
central window to the north-west of the
Art in Germany: Drinking Vessel ; by Elias
‘ Crown * (Becket window). Presumed
Geyer.261
earliest example of mosaic diaper ground.
2. Window at Sens. 3. East window, Landscape Study by Claude (in the University
Canterbury.177 Galleries, Oxford).266
A New Book on the Pollaiuoli :— Claude :—
Madonna and Child; by Piero Pollaiuolo (in Collotypes :—
the Strassburg Gallery) .... 180 View of a Town (from the drawing in the
Two Nymphs and a Shepherd; by Palma University Galleries, Oxford) . . . 269
Vecchio (in the collection of Mr. Claude Landscape Study (from the drawing in the
Phillips).186 University Galleries, Oxford) . . . 273
Sunset (from the drawing in the University
A Wax Model attributed to Michelangelo (in the Galleries, Oxford)...... 277
British Museum).186 Half-tones :—
Art in Germany :— Plate I—Study of Shipping (from the drawing
Plate I—1. Sixteenth-century cup of Nurem¬ in the British Museum) .... 281
berg workmanship (in the possession of the Plate II—Study of Trees and Hills (from the
City Council, Leipzig). 2. Sixteenth- drawing in the British Museum) . . . 284
century jewel (in the Museum of Applied Plate III—The Arch of Constantine (from the
Arts, Leipzig).168 drawing in the British Museum) . . . 285
Plate II—Silver-gilt salver by Elias Geyer, Plate IV—Study of Sunlit Trees (from the
1610 (in the Green Vault, Dresden) . . 195 drawing in the British Museum) . . . 288
Evening on the Lake ; from the painting by Plate V—A Garden at Sunset (from the draw¬
Corot.20 2 ing in the British Museum) .... 289
The Case for Modern Painting :— Plate VI—A Windy Evening (from the draw¬
Mother and Child ; by A. Ambrose McEvoy ing in the University Galleries, Oxford) . 289
(in the exhibition of the New English Art Plate VII—A Tree in the River at Tivoli (from
Club).207 the drawing in the British Museum) . . 292
Hans Wydyz the Elder :— Plate VIII—A Road between High Banks
Plate I—1. Adam and Eve; boxwood, about (from the drawing in the British Museum) . 292
6 in. high (in the Historisches Museum, Plate IX—Study of Rocks and Trees (from the
Basel). 2. Eve : side view ; about 6 in. high drawing in the British Museum) . . . 293
(in the Historisches Museum, Basel) . .213 Plate X—Landscape Study (from the drawing
Plate II—1. The Martyrdom of St. Sebastian ; in the University Galleries, Oxford) . . 296
boxwood, about 7} in. high (in the Kaiser Plate XI—A Tower on the Coast (from the
Friedrich Museum, Berlin). 2. The Adora¬ drawing in the British Museum) . . . 299
tion ; a.d. 1505 ; wood, half life-size (in the Plate XII—View of Tivoli (from the drawing
cathedral of Freiburg in Breisgau) . . 216 in the British Museum)..... 302
Plate III—1. Christ Crucified ; boxwood, Sin. Plate XIII—The Tiber above Rome (from the
high (in the Historisches Museum, Basel). drawing in the British Museum) . . . 303
2. Christ Blessing ; wood, half life-size (in Plate XIV—Nocturne (from the drawing in
the cathedral, Freiburg in Breisgau) . . 219 the British Museum).306
Portrait of an Unknown Man, by Bartolommeo Plate XV—Rapid Study of Trees (from the
drawing in the British Museum) . . , 307
Veneto (in the Borghese Gallery, Rome) . 227
Plate XVI — Landscape Composition (from the
The Cottage; by Frederick W. Watts ; hitherto
drawing in the collection of Mr. J. P.
attributed to Constable (from the painting
Heseltine, No. 30).3x0
in the Louvre).230
Plate XVII—Landscape composition (from the
Notes on Pictures in the Royal Collections :— drawing in the collection of Mr. J. P.
Virgin and Child; Franco-Flemish school (in Heseltine, No. 33). . . . .311
the collection of H.M. the King at Bucking¬ Plate XVIII—The Tower of B ib. 1 (from the
ham Palace).233 drawing in the British Museum) . . 314

Vll
 LIST OF PLATES-—continued
PAGE PAGE
The Early Works of Velazquez :— Plate V—6 and 7. Interiors of a bookseller’s
i. Altar-piece by Alonso Cano (in the collec¬ and art dealer’s shop; from drawings by
tion of Sir Frederick Cook, Bart.). 2. The Salomon de Bray, 1628 (in the Print R 00m,
Assumption of the Virgin, by Alonso Cano Amsterdam). 8. The Quack Doctor, with
(from a drawing in the British Museum) . 321 a picture shop in the background (in the
The New Van Dyck in the National Gallery :— Rijksmuseum, Amsterdam). 9. Prince
The Marchese Giovanni Battista Cattaneo ; by Eugene of Savoy visiting the picture dealer,
Van Dyck (photograph by permission of Jan Pietersz Zoomer, at Amsterdam; from a
Messrs. P. and D. Colnaghi and Co., and sketch by P. van den Berge (in the Print
Messrs. M. Ivnoedler and Co.) . . . 324 Room, Amsterdam).368
A Picture of the Tournai School :— A Drawing by Rembrandt in the Collection of the
The Virgin and St. John. Fragment of a Duke of Devonshire.371
Picture of the Tournai School (by permis¬ A Madonna by Antonio da Solario :—
sion of the Governing Body of Christ Church, Virgin and Child, by Antonio da Solario (in
Oxford).329 the Naples Gallery) ..... 377
Some English Portraits by Carl Vogel von
Sixteenth Century Embroidery with Emblems:—
Vogelstein :—
Black-work Jacket belonging to Lord Falkland
1. Queen Victoria. 2. John Gibson. From
(in the Victoria and Albert Museum) . . 329
drawings by Carl Vogel von Vogelstein (in
Cassone Fronts in American Collections :— the Print Room, Dresden) .... 380
1. The Garden of Love, Florentine School. The Abbey of S. Bertin, by R. P. Bonington (in
2. The Tournament in the Piazza St. Croce, the Nottingham Art Gallery). . . . 385
Florentine School (in the Jarves collection, Head of the Horse whose Rider has overthrown
Yale University, U.S.A.) .... 338 Heliodorus; a fragment of a cartoon by
Nelly O’Brien; by Sir Joshua Reynolds (in the Raphael (in the University Galleries, Oxford) 385
Wallace collection) ..... 344 The Revenge of Tomyris :—
The Life of a Dutch Artist:— 1. Fifteenth-century copy of a composition
Plate I—1. Painter and Connoisseur; by attributed to the master of Flemalle (in the
Frans van Mieris the elder (in the Dresden Royal Gallery, Berlin). 2. Late sixteenth-
Gallery).356 century copy of the same composition (in
Plate II—2. Interior of a picture gallery ; by the Academy of Fine Arts, Vienna) . . 388
David Teniers the younger .... 359 Recent Additions to the collection of Mr. Henry
Plate III—3. Selling pictures in the market ; C. Frick:—
detail from a picture by David Vinckboons Plate I—Fishing boats entering Calais Har¬
(in the Brunswick Gallery). 4. Picture shops bour ; by J. M. W. Turner (in the collection
in a public building ; detail from a picture of Mr. Henry C. Frick).399
by a Dutch master of circa 1610 (in the Plate II—Le Lac ; by Corot (in the collection of
Wurzburg Museum).362 Mr. Henry C. Frick).402
Plate IV—5. The Exchange at Amsterdam, Plate III—The Village of Becquigny ; by
with a picture shop ; by Berckheyde (in the Theodore Rousseau (in the collection of
Museum, Frankfort-on-Main) . . . 365 Mr. Henry C. Frick).405

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 PORTRAIT OF A YOUNG MAN BY HALS <-*>
HE brilliant portrait glass introduced a second series of
reproduced in photo¬ delightful contrasts, to which the effect of
gravure 1 is that which bright sunlight gave a new force.
created some stir in the Colour, as a rule, was sparingly used by
autumn of 1906 by- Hals in his portraits of single persons.
fetching the price of Sometimes, indeed, he seems to work with
three thousand eight hundred guineas in a a palette of black, white and yellow, as in
Dublin auction. After the sale it was sent Earl Spencer’s magnificent portrait lately
to London, and within an hour from the seen at Burlington House, employing red
time it was unpacked it had changed hands only when the sitter’s complexion abso¬
at a largely increased figure. Hardly a week lutely called for it. That he could use
had elapsed when its second purchaser was colour brilliantly when he chose, the great
induced to sell it in Paris by the offer of a T)oelen groups at Haarlem testify, the
still greater price, and since then it has earliest of the four having much of the
found a fourth owner. The work, as the suffused glow of Venetian painting, while
reproduction may indicate, is a brilliant the latest depends upon a more vivid and
example of the clever and popular Master striking harmony of pale blue, strong deep
of Haarlem, but its attractiveness cannot brown and brilliant yellow. Yet it is
be judged by any reproduction in black not upon his power as a colourist that
and white, since its special characteristic the master’s reputation depends, but upon
is the richness and force of its colour. the wonderful swiftness and decision of
The sitter’s cloak was of greyish violet, his hand and the accuracy of his eye,
his sleeve crimson, the curtain behind which could arrest the momentary glance
olive green, while the mandoline, the upon a sitter’s features, and so catch those
orange and the brilliant green of the effects of vivacious personality in which
he is unsurpassed even by Titian and Van
1 We are indebted for the loan of the photograph to the
courtesy of Messrs. Dowdeswell. Dyck.

THE CASE FOR MODERN PAINTING

^ BY A MODERN PAINTER
a recent article Mr. Whatever the shortcomings of the exhibi¬
-thur Symons wrote to tion gallery, the critics have tried hard to
e following effect : ‘The leave no excuse for confusion or uncertainty
aole of the world’s paint¬ in looking at the Old Masters. In the
er the works of to-day case of modern art, they have been of
d of all the centuries, is less service. Too ready to chat with
flung pell-mell at our feet : we have to Velazquez, they have been chary of having
plunge into it head foremost. ... A it out with the living painters.
picture gallery is always of the nature of Yet, surely, it would be worth their
a warehouse ; it is a conglomerate thing, while. To the student or amateur, modern
meant for use, not for delight ; and to art appears a hopeless tangle. He finds
learn anything in it through the eyes is as himself besieged by invitations to visit a
difficult as to learn anything vital in a hundred galleries, where a thousand artists
schoolroom.’ That is perfectly true, so are exhibiting pictures of infinite variety
far as the works of to-day arc concerned. both in subject and manner. Much of the
The Burlimoton Maoajiike. No. <9, Vol. XI—April, 1907. A 3
 The Qase for Modern Painting
work, he can see, is good ; not a little of living exhibitors, so that the visitor is
it appears to him, if he dared confess it, inspired with a sense of continuous de¬
rather better than a great deal that is velopment from the work of a preceding
sanctified by the names of the Old Masters ; generation, while the pictures themselves
much of it, on the other hand, he finds are so rigorously picked that the eye is
himself unable to appreciate and understand, rarely or never disturbed by the sense of
because there has been no one to map out crowding invariably felt in other ex¬
the country for him, so to speak, to mark hibitions.
out the boundaries of its distinct, if often The International Society has thus an
overlapping, districts, to explain to him its air of quietness and well-to-do leisure,
chief features, and in general to show him which seems to show either that pictures
the way about it. The complexity of do not sell so badly as people commonly
modern art endeavour—due to entire free¬ think, or that the members are mostly
dom in choice of subject and the existence men with private means. Was it not at
of a myriad styles and manners which as one of the International Society’s enter¬
often as not hamper and dissipate the tainments that a distinguished foreigner
modern artist’s energies—makes this task, remarked : ‘ I came expecting to meet
naturally, a great deal more difficult than an assembly of artists, and find myself in
that of discussing Old Masters. Never¬ an assembly of gentlemen ’ ?
theless, when all allowances have been made, Nor do the pictures themselves look as if
the best of modern painting, as I am con¬ they were painted by men who were depen¬
vinced, is as well worth study as that of dent upon their brushes for their bread
the past ; and it is time that the attempt and butter. At Burlington House almost
should be made. It is on the strength of every exhibitor, from the Academician
that conviction, and in the belief that some¬ with a title to the humblest student,
thing may be done already to unwind the seems bent upon playing down to the
tangle and separate what is likely to be public and using every advantage that a
permanent from what is doomed to early sentimental subject, a pretty title, showy
oblivion, that I have obtained the per¬ colour and advertisement in the popular
mission of the editor to attempt a survey of press can bestow, in order to attract the
the characteristic figures in modern painting. guileless patron.
Pending the opening of the Royal At the New Gallery c art for art’s
Academy, the exhibition of the Inter¬ sake’ is the rule. Few of the pictures
national Society occupies the most could, by any extension of the term, be
prominent place in the eyes of sight-seers. called pretty ; few are small enough to fit
Here the independent art of the day is conveniently into an ordinary house ;
shown under conditions that are in nearly all have the appearance either of
striking contrast to the queer little gallery momentary freaks of caprice, or of
in Dering Yard to which the other strong deliberate exercises on a scale suited only
body of outsiders, the New English Art to the decoration of a large building or to
Club, has recently migrated. All that a the lofty walls of a public gallery. In
good architectural setting and careful the somewhat mean, workshop-like sur¬
arrangement can do is done for the Inter¬ roundings of the New English Art Club,
national. Selected examples of deceased we might expect to discover desperate
masters are hung among the works of the earnestness of purpose battling with unkind

4
I If KM KS AND Till'; INI ANT BACCHUS
IIY C. II. SHANNON

Till CASK l-OK MODKKN I’AINTINi

I’LATli 1
THE PAPER CAP, BY WILLIAM NICHOLSON FIRESIDE, BY J. J. SHANNON, A.R.A.
 The Qase for Modern Painting
destiny. At the International, earnestness is just enough of portraiture in the two
has no need to struggle : it is famous and ladies on the left to make them suggestive
well-fed, and it meets its fashionable visitors of life, but the seated man and the girl in
with the well-bred air of an equal who front are empty abstractions. We jump
expects courteous recognition but would from one point of semi-interest to another,
disdain patronage. but find nothing to which we can hold
Here and there, of course, we note a with complete satisfaction.
half-hearted member, who wishes to be His namesake, Mr. C. H. Shannon,
independent but cannot quite get rid of also sends two pictures. One of them,
the idea that it would be very nice to sell the Portrait of Mrs. Stephen (150), is
a picture, and that ever so little a com¬ admirable in design, in colour, in painting,
promise with the popular idea of prettiness and in sympathy with the character of the
would not hurt his work, and might sitter. Compared with some other por¬
entice a purchaser. Mr. J. J. Shannon, traits in the gallery, it may appear to lack
for example, has not managed to rid vitality, but it has a taste and good¬
himself of the taint of Burlington House. breeding that the others have not, while
His oval picture of War (187) is an such fresh and vivid passages of still life
admirable piece of design, and the best as the flowers prove that the artist has
piece of colour, perhaps, he has ever stayed his hand from deliberate choice
planned. The youthful Millais might have and not from any lack of accomplish¬
painted the subject so, but he would never ment.
have stooped to smooth and ‘ prettify ’ His large picture of The Golden Age
the faces so lamentably. Mr. Shannon (109) attempts much more, but actually
has ruined thereby his chance of producing achieves less, unless the attempt itself is
a picture which would have outlived him. allowed to count as achievement. It is a
H is other picture, Fireside (126), represents commonplace of criticism to accuse Mr.
in some ways a more serious effort. In Shannon of imitating others—Watts,
one or two figures its true character and Titian, Van Dyck and Velazquez being the
vitality are sacrificed to prettiness, but favourite standards of the critics. I
there is once more a definite effort at suppose in this case they would add
design, and at design, perhaps, of a more Giorgione to the list, for if poesie of this
complex order than that obtained in the kind are painted at all, a reference to the
War. The subject is well arranged, the inventor of them is natural. Yet here
handling clever, the colour pleasant. there is an effort to do more than
Why, then, does the work fail to satisfy Giorgione tried to do : to harmonise a
permanently ? larger group, to obtain a more austere and
Is it not because in some curious way definite rhythm, to blend the deep, luscious
it is ‘ all-overish ’ ? Nothing in par¬ colour of Venice with the sunlight O
of
ticular seems to have interested Mr. impressionism. Critics have found fault
Shannon. The subject is well arranged, with the drawing of some of the figures,
but as a pattern it is distracted by too but against these few defects the excellence
many small glints of light on silky dresses of the painting might well be set off.
and glittering ornaments. The colour is Then, if in Giorgione’s Fetes-Champetres
everywhere clever and pleasant, but strikes the characters are doing little, in Mr.
no definite note, as does the War. There Shannon’s they are doing nothing. That

9
The £ase for Modern Painting
perhaps is the privilege of the Golden Life and vitality, however, are the fashion
Age, yet a picture is none the worse for a at present, and Mr. C. H. Shannon’s paint¬
significant motive. The rhythm of the lines, ing will have to wait probably several
again, is not quite successful; the cutting years for popular recognition. Mr.
of the branches to fit the outline of the Nicholson and Mr. John have arrived
cliff's has an awkward look. What tells at once. The large portrait of UMiss
most against the picture, however, is the Alexander (123) by the former is a bold
treatment of the sunlight. The sunspots experiment in spacing which might well
are realistic enough in tone and colour, have been carried out a quarter of its
but the shadowed spaces round them are present size. The Paper Cap (161) has a
not ; they are picture colour, not nature pleasant, whimsical humour, and is, so far
colour. The result is inharmonious to the as it goes, most excellently and directly
eye and unsatisfying to the intelligence. painted. Yet once more the unpleasant
Mr. Shannon’s powers were really better feeling strikes one that any man so clever
illustrated at the one-man show held just as Mr. Nicholson might do more with his
before the International Society opened its talent. The Paper Cap is a clever and
doors ; and in the Hermes with the Infant complete fragment of character study, but
Pacchus we see him* at his best. Here if it is the most important thing Mr.
there is no unlucky compromise with Nicholson had to exhibit, it is evident
realism. The whole subject is viewed as that his gifts of hand and eye, of design
a splendid decorative panel, but decorative and colour and brushwork, are retained at
effect is not gained by any sacrifice of the price of the strenuousness of such
vigour, life or movement. The piece is artists as Mr. Shannon. Whistler paid
academic in the best sense of the word ; heavily in the same coin for his refinement,
that is to say, it has the unity, order and so the speculation is admissible.
completeness that come of deliberate If Mr. John’s talent be taxed in a similar
science, but vitality and character have way it is at least a talent that can afford
not evaporated in the process of synthesis, to pay taxes. Other men seem to find
nor even humour, for the vinous deter¬ themselves—if they ever do—with pain and
mination on the face of the baby god is labour : Mr. John comes to his own at once
most felicitously rendered, and indicates —and a queer, wild domain it is. Like Mr.
that if Mr. Shannon chose to descend more Nicholson, he indulges in portrait sketches
frequently from his lofty pedestal, the in oil, and he seems to make them without
charge of emptiness with which his detrac¬ deliberation or plan, as other men make
tors answer his admirers’ eulogies might be hasty sketches on paper ; but when the
laughed out of court. No one denies that thing is done, there is the person, as dread¬
Mr. Shannon paints gorgeous, dignified fully alive and alert as Hogarth’s Shrimp
and harmonious pictures, and when, as in Girl. He has, too, a barbaric charm of
this instance, he admits the element of colour, as the Washing Up (101) shows,
racy, vigorous life, he produces what in but his drawings keep ahead of his
any other age would have been called a paintings.
masterpiece. I can imagine it, ever so Of the two drawings in the South
delicately toned by time, hanging in the big Room, No. 68, executed in red and black
Venetian room at Trafalgar Square, and quite chalk, is the more outwardly attractive, and
holding its own even in that exalted society. has that obvious skill in the rendering of
io
 The £ase for Modern Painting
the sheen of glossy hair and the subtler The editor’s conditions as to length for-
contours of the head and throat that we bid my touching upon several interesting
should expect from some accomplished features of the exhibition—perhaps I may
Frenchman. The pencil-drawing No. 67, be allowed to return to them later—but I
however, is the one which best stands the think the four artists I have chosen for
test of acquaintance ; indeed, there is study fairly represent four prominent
something almost uncanny in its humanity, groups of artists working in England at
its savageness, its swiftness, its intensity. present. Mr. J. J. Shannon is one of the
As a mere feat of rendering with the most accomplished members of a large
utmost economy of line the quality of a group who try to combine those antipa¬
woman’s hair, the modelling of a woman’s thetic elements—good art and popular
face, and the expression of a woman’s eyes success. Mr. C. H. Shannon belongs to
and mouth, it amounts almost to jugglery ; the few for whom art counts for more even
but the impression conveyed of personality, than life. Mr. Nicholson is, perhaps,
almost alarmingly close and real, is without the chief of the numerous body who have
a parallel in modern work. Another a talent for art and a keen eye for the life
exquisite pencil-drawing of the same kind of to-day ; being thus assured of the sup¬
was included in the exhibition of the port both of painters and the public, they
Society of Twelve. In type as well as in can take things easily, and so turn out
treatment it recalled Leonardo, but in the much that is clever and lively, but little
present case that influence has been com¬ or nothing that is great. Most people
pletely absorbed and made part of Mr. would class Mr. John with Mr. Nicholson:
John himself. Is there not a saying that it is possible, however, if his development
a dragon, to come to his full strength, must continues, that posterity will place him, as
swallow another dragon ? That is what all great draughtsmen have to be placed, in
Mr. John seems to have done. a class by himself.

THE MODERN HOUSE AND THE MODERN PICTURE—A REPLY

^ BY A. CLUTTON-BROCK ^
HE February number rooms now are so covered with patterns
of The Burlington that no picture could be properly seen in
Magazine contained an them ; and he goes on to point out that a
interesting article on this good picture is really a finer kind of deco¬
subject, signed ‘ S. E.,’ ration than any frieze or wall-paper, since
upon which I should ‘ it possesses Far greater intricacy, variety
like to say something, not so much in and subtlety of design than any mechani¬
disagreement as in comment. ‘S. E.’states cally repeated pattern can possess,’ to say
the obvious fact that people of moderate nothing of its appeal to the imagination,
means now buy fewer pictures than they its ‘association with the great things of
used to buy ; and he thinks the reason is heaven and earth, which, whatever the
that they prefer to spend their money on sophists may say, does distinguish the
other kinds of decoration and ornament, world’s great pictures from its clever ones.’
‘on metal, glass, wall-papers, textiles, Finally, he comes to the conclusion that
pottery,’ etc. He also says that many * the effort to substitute inferior forms of

*3
The TVIodern House and the ^Modern Picture
decoration for the highest form is likely picture has no decorative qualities. It is
to lead to a general lowering of the public true, of course, that the ordinary picture
taste, and to further difficulties for the fifty years ago had no decorative qualities
unfortunate painter/ either ; but then no one looked for deco¬
Now, this conclusion is the point which rative qualities in anything, in wall-papers
I wish to discuss ; but first of all I will say any more than in pictures ; no one then,
a word about the excessive use of patterns I suppose, when he bought a picture, ever
upon the walls of rooms. I agree that asked himself whether it would be an
many people do not buy pictures now agreeable object on his walls. But since
because they spend their money on other then the decorative sense has been slowly
kinds of ornament, and very likely some reviving, and it seems to grow stronger
of them prefer patterns of all kinds to every year. The revival has produced
pictures. But I do not think that those many follies and a great deal of ugliness
who use patterns excessively are prevented that seems to us now worse even than the
by good taste from hanging pictures against ugliness that it superseded. Decorative
their patterns ; in the first place, because art, like all other kinds of art, is subject to
their excessive use of pattern proves that the incessant dangers of commercialism.
their taste is not good enough to be Sound principles misunderstood and mis¬
governed by such considerations, and in applied to please mere whims of fashion
the second because the abuse of patterns produce results almost more infuriating
was just as bad, if not worse, fifty or sixty than what is manufactured on no principle
years ago, when people bought pictures whatever. We must expect in these days
freely. But, further, there is now a strong that if a good thing is liked, a thousand
reaction against patterns of all kinds, and bad imitations of it will appear at once.
many people prefer distempered walls and But the bad imitations prove that the
plain papers. The stencilled frieze begins goodness of the original is in some dim
to remind one of Fart nouveau; stained way recognized ; and even commercial
glass is discredited ; and cretonne draperies ‘ art ’ products are attempts to imitate
are no longer indiscriminately employed to sound principles of design and a right use
hide a multitude of sins. Yet even the of materials, although the imitation usually
people who prefer plain surfaces do not ends in parody.
buy paintings to decorate them ; they The decorative revival does mean
rather buy china or glass ornaments, and this : that people have begun to ask
if they have pictures at all, they choose themselves whether their ornaments, and
etchings or lithographs. even their objects of use, are beautiful
These facts seem to prove that paintings in themselves. They no longer look for
are little bought now, not because rooms illusive representation of facts in wall¬
are decorated so as to be unfit for their papers or carpets or china ; they only look
display—for nothing could have been more for colours or patterns that please them ;
unfit for the display of pictures than the and in that they are right, although they
ordinary middle - Victorian room—but may often be pleased with the wrong
because people have ceased to care for things. But this habit of looking disin¬
paintings as a form of decoration. And terestedly at colours and patterns has also
the reason for the change of taste is, I affected their judgment of pictures—in
believe, because the ordinary modern many cases, no doubt, quite unconsciously.

14
 The Modern House and the Modern Picture
They are not so fond of illusive represen¬ and has no energy left to make his picture
tations of reality, even in pictures, as their beautiful. The result is that most modern
fathers were, or of dramatic and sentimental pictures are painted entirely without joy
excitements. Even in pictures they look and without purpose. They are ‘done by
for pleasing patterns and colours ; and they hand,’ but they have all the dullness of
very seldom find them, for the ordinary machine-made articles ; and the conse¬
picture has been but little affected by the quence is that they cannot compete even
decorative revival, and very few painters with machine-made decoration in which
ever even ask themselves whether their the designer has expressed some sense of
pictures would be pleasant objects on the beauty and some pleasure in his work.
walls of any room. I am not speaking Therefore, for painters of ordinary powers
now of the best painters, most of whom— there seem to be only two alternatives.
in England, at any rate—are making a The first is that they should do what
determined effort not to subordinate beauty ‘ S. E.’ says many of them have done
of design and craftsmanship to the repre¬ already : give up painting and become
sentation of fact : I am speaking of the craftsmen ; and this surely would be a
great majority whose works one sees at the natural and sensible course. Many men
Academy and other ordinary exhibitions. who have become painters from a sincere
Th ese, if they have any aim beyond love of art are not gifted enough to excel
the imitation of reality, paint so that their in painting, but might do good work as
pictures may not suffer in the violent craftsmen. A man who can only paint
competition of exhibitions. They design a very stupid picture might make a
and colour a picture as if it were a poster; very intelligent piece of jewelry, for
and so it is no more fit to hang in a room crafts of this kind are much less difficult
than a posterwould be. Now, the ordinary than painting, and demand less intellectual
second-rate painter who was a Florentine power. In the great age of Italian art
contemporary of Botticelli, or a Venetian painting was a craft and the crafts were
contemporary of Titian, did his best to arts ; and only the most gifted craftsmen
supply pictures that should be agreeable usually became painters. Now the crafts
ornaments to a church or a room. He was are not regarded as arts and painting is
not very good, perhaps, at the representa¬ not regarded as a craft ; the consequence
tion of fact, but he knew how to make a of which is that many men who might be
pretty design and how to give his paint an good craftsmen are bad painters. A
agreeable texture. In fact, he supplied change from this state of things can only
articles which were what his public wanted be for the better.
and could use, and therefore he found a The other alternative is that the second-
ready market. The ordinary modern rate painter should aim at a less complete
second-rate painter supplies articles which illusion of reality, while trying to make his
no one wants and no one can use, and pictures more beautiful ; that is to say,
therefore he does not find a ready that he should regard painting more as a
market. craft. Now there arc, of course, many
This isnot altogether hisfault. Wecxact difficulties and dangers about this course.
from pictures now so complete an illusion There is the danger that his pictures may
of reality that a painter of ordinary powers become empty and evasive. There is
exhausts them all in producing the illusion, the difficulty ot learning painting as a

>5
 The Modern House and the Modern Picture
craft when there is no one to teach it as a People who do not know what they want
craft. to see in a picture demand to see every¬
Still these difficulties and dangers thing. But now that we begin to know
might be surmounted in time. What better what we want to see, we are growing
is needed is that the painter shall get less eager to see everything. Let the
a new and a clearer aim ; that he shall greatest artists show us all that they can ;
think of his pictures as ornaments, not let-their designs be enriched with the
only as representations of reality. ‘ S. E.’ fullest possible representation of reality.
says that a picture should be chosen or But let the lesser painters only give us what
designed with reference to the room in we may want to see in our rooms—and that
which it is to hang. It cannot always be is not a dull imitation of what we can see
designed for a particular room, though any day by looking out of window, but
that might be done far more often than it something that is at least a picture, with
is ; but it can be designed, like a good some beauty of design and colour and
piece of china, so that it will be a reason¬ texture.
able ornament to a reasonable room. And The fact is, not that people have given
if the painter had this ornamental purpose up buying pictures, but that they have
always in his mind, he would surely find begun to wish for pictures once again ;
it easier to hit upon a principle of selection and since most modern paintings are not
among the facts to be represented than he pictures at all, that is the reason why they
does at present. There can be no principle will not buy them. When painters begin
of selection without an object, and most to produce pictures, they will begin to
pictures at present are painted without an sell them ; and if the revival of decorative
object, and therefore upon no principle of art induces them to paint pictures, it
selection. This is the real reason why the will do much good even to the art of
standard of illusion has become so exacting. painting.

THE SLIP DECORATED DISHES OF CHIRK CASTLE

^ BY M. L. SOLON
HE bringing into light of a been preserved up to this day. About ten years
{P Vj remarkable set of huge dishes ago, on the recommendation of a visitor to the
qL'y of coarse pottery, exhumed castle who had chanced to have a peep at some
from the precincts of an old curious dishes scattered all over the place, I took a
Welsh castle wherein they special journey to Chirk for the purpose of making
] had been left undisturbed for a thorough examination of them all. They
J over two centuries, makes it numbered fifteen at the time—I hear that two of the
y/j opportune to review once most important ones have since been accidentally
more all that has come to our knowledge concern¬ destroyed. Some of them were standing on high
ing a still imperfectly studied period in the history shelves of the dark corridors of the castle ; but
of English ceramics. the majority had been fixed, with heavy iron
In 1595 Chirk Castle, a mediaeval stronghold, cramps, against the white-washed walls of a small
had become the property of Sir Thomas Myddel- dairy, elegantly equipped for the gratification of the
ton, the same who was later to be Lord Mayor of Arcadian tastes entertained by one of the ladies of
London. To record the fact that all through the the family. From the little value that seemed to
turmoil of the Revolution Sir Thomas had have always been attached to these dishes, I could
remained loyal to his king, will not be found infer that no record had been kept of any other
irrelevant to our subject. Two days before the pieces of the same kind which, now disappeared,
battle of Worcester, Charles II is said to have might originally have made part of this extra¬
been his guest ; the bed in which he slept has ordinary set. What remains of it has, with two
16
m m* DiaoiaTKD ihmii s i hum uiii.k casii.e
IN' rill I.OMAX COLLlA'TKi.N. I,l-M|. I
SLIP DECORATED dishes from chirk castle
IN THE LOMAX COLLECTION. PLATE II
 Slip T^ecorated TStishes
exceptions, lately passed—against very substantial the operator could form thin and neat lines, broad
consideration—into the hands of Mr. Charles J. patches or minute dots. This simple process,
Lomax, A.M.Inst.C.E., of Bolton (Lancs.). By his known as 1 slip decoration,’ may be said to repre¬
kind permission, I have been enabled to renew my sent the art of pottery painting in its most primi¬
acquaintance with these interesting specimens, and tive and rudimentary expression. It was practised
on the same occasion to inspect and admire many long before the painting brush came into use;
other choice specimens of the same period in the the coloured clays, employed in their natural state,
possession of this passionate collector of pre- constituted the sole available pigments. The
Wedgwood English pottery. prehistoric earthen vessels of Mycenae are boldly
A descriptive list of the Chirk dishes must take dashed over with ornamental strokes of red and
precedence over the collateral consideration I will brown clays. Improved by the Roman figulus,
venture to present in connection with their manu¬ the slip process was then turned to greater advan¬
facture and the enigma of their presence in the tage. To him is due the invention of the small
place. They comprise the following subjects :— hand-vessel, with a narrow quill fixed in the
King Charles II in the tree. The head appears spout, from the use of which the English potter
between the branches, and the trunk is flanked was, in after ages, to obtain such effective
by the Lion and the Unicorn. Signed Thomas results.
Toft (fig. i). Considered as isolated efforts, and chiefly in
Heraldic double-headed eagle. Dated 1705 and the light of their decorative aspect, the slip
signed James Toft (fig. 2). decorative pieces produced in England towards
Figure of a lady, holding a flower in each hand. the latter half of the seventeenth century are well
Signed Ralph Simpson (fig. 3). worthy to engross the attention of the ceramic
Figure of a king, accompanied with the initials collector. Let us forget that the drawing of the
G. R., the G standing probably for Gulielmus. figures could scarcely be more incorrect, and that
Signed Ralph Simpson (fig 4). the accompanying ornamentation is of a decidedly
Another figure of a king with the letters W. R., nondescript style ; if we bear in mind the unpro-
Wilhelmus rex. Also signed Ralph Simpson pitious conditions under which the work was
(fig 5)- . . , . . accomplished, we realise that it could scarcely
A lion of highly conventional design. Signed have been otherwise. Moreover, while imparting
Ralph Simpson (fig. 8). to the design the captivating character of all the
A grotesque face supported by an ornamentation works of primesault, these shortcomings take
of more than usually clumsy design, signed or nothing away from our undefinable enjoyment of
inscribed John Osland. The presence of the the subtle and yet powerful harmonies created by a
monogram T. T., placed in the centre of the dish, happy combination of colours. The rough gem
might suggest a possible attribution to Thomas stands before us as a treat to the eye ; in its
Toft. chromatic variegations rests its chief power of
Two heads, with ornaments in the usual Toft attraction. Obviously, the humble artizan who is
style, on a small dish ; uninscribed. responsible for these uncouth performances was
Finally : three dishes covered with elaborate entirely unacquainted with the advance that the fine
slip designs ; without names or dates (figs. 6 and 7). arts were then making in his own country. He knew
Two more dishes, one with the figure of a nothing of the carvings, pictures and engravings
Cavalier, signed Ralph Toft, and another with a already familiar to people of average education.
king holding a shield, inscribed William Taylor, His anomalous 'slip work' does not seem to
have remained at the castle. The above specimens, have arisen from anything made before, nor
including the two others said to have been acci¬ was it to open the way to further improvements
dentally destroyed, bring their number to fifteen. conducted in the same direction. Just as we see
All the foregoing examples differ only in the this particular style of slip decoration when it had
design from the pieces of the same order preserved assumed unprecedented pretensions in the earliest
in our museums. They are, likewise, formed of figured dishes, so do we find it at the moment
a coarse reddish earth, coated over on the inside when it came abruptly to an end. It is strange to
with white clay of a finer quality. To this white remark that, at that time, Van Dyck was painting
ground a rich yellow tint has been imparted, his superb and life-like portraits of Charles 1,
after the firing, by the galena or sulphide of lead and that engraved likenesses of kings and noble¬
with which it has been thickly glazed. Red ochre men were beginning to be freely circulated. Vet
and manganese ore, diluted with water, served to the poor drudge of the village pot-works could
trail on the surface quaint and often elaborate de¬ devise no better expression of royal majesty than
vices. Out of the small vessel of aspecially contrived these quaint effigies evolved from his torpid imagi¬
shape in which it was contained, the liquid, or slip, nation. Why should we not mercifully take the
as it is called, was let to escape through the narrow design for what it stands for, and sec in it the
aperture of a quill. In this way the deft hand of delineation of a graphic symbol, rather than an

H 2 I
Slip 'Decorated Dishes
impotent attempt at rendering a realistic present¬ Thomas Toft a tenant of Sir Thomas Myddelton
ment, which was never intended ? Howbeit, it is, I confess, somewhat perplexing. We have
is evident that the first typical dishes, covered with been, so far, accustomed to associate his name
such ambitious embellishments, excited, on their with the slip ware of Burslem and Hanley. Toft is a
appearance, sufficient admiration to suscitate to patronymic common enough in the Staffordshire
the maker a number of servile imitators. In the Potteries, where the family still counts many
works of Thomas, Ralph and James Toft, William representatives. But the occasional migration of
and George Taylor, Ralph Simpson and others, some bearer of the name into other localities has
we notice the repetition of the same trellis border, nothing to surprise us, when we remember the
strings of olive-shaped beads, and sprays of erratic proclivities of the old operative potter. It
unrecognizable flowers, while the faces of the is not at all improbable, for instance, that one of
clumsy figures are outlined in the same super- the Tofts may have been at work at York towards
conventional manner. In short, the technical the end of the seventeenth century. In the York
and ornamental treatment are so much alike in museum is a Staffordshire tyg, inscribed Thomas
every case that, were it not for the variety of Toft and Elisabeth Poot, a unique specimen.
names inscribed on the rim of the dishes, we On another occasion I have reproduced a fine
might take them all as being the work of the same dish with a figure of the duke of York, excep¬
hand. Thomas Toft—who has signed the greater tionally signed Thomas Toft, in cursive letters, in
number of examples—is, however, considered as the central part of the piece. A place in the city
the originator of this particular style. Successful is still called Toft Green.
as it had been, the practice of it does not seem to A few points militate in favour of a local origin
have lasted for more than a few years. On the being ascribed to the Chirk dishes. Only in this
introduction of more modern and refined processes, curious set does the name of one James Toft
slip decoration was no longer employed for the appear in association with those of his namesakes
production of exceptional pieces. It continued to Thomas and Ralph. This hoarding of the kins¬
be, and is still used, however, in the manufacture men’s works upon the spot suggests the probability
of common crockery. of their having once worked together in the
We must now resume our examination of the vicinity. By the subject of Charles in the tree,
Chirk Castle specimens. The presence of so many represented on one of the dishes, we are reminded
rough earthenware dishes among the select and of the long-tried loyalty of Sir Thomas Myddelton
costly appointments of the abode of a wealthy to his sovereign, and we are led to believe that this
gentleman is not easily accounted for. How did it subject had been selected and treated with special
come to pass that these essentially plebeian platters care by the potter in order that, on being pre¬
found their way into this aristocratic place ? Unable sented to his noble patron, the gift should be all the
to answer the question with the assistance of local more appreciated. A still more important fact
tradition or the production of documental evi¬ comes to support the hypothesis of a Welsh
dences, I will venture to present a few conjectures manufacturer. It is that all—or nearly all—the
which—if not worth anything better—will at any slip dishes with trellis borders have been found
rate afford scope for further discussion. in Wales. Perhaps the most remarkable among
It would be difficult to believe that one of the them is that preserved in the Chester Museum.
members of the Myddelton family had once been It bears the royal arms with the motto : Diev et
so fond of these incongruous ornaments as to have MON DROI ; is inscribed: Filep Heves 1671
purchased the dishes at a distant place, and formed Elesabath Heves, and signed : Thomas Toft.
a collection of them in his own castle. On the I have had occasion to inspect many heaps of
other hand, we may understand that the obscure fragments dug out from the site of old pot-works
craftsman of the neighbourhood who had sur¬ in the Potteries, and as far as I can recollect I
passed himself in this exceptional exhibition of his have never seen a single instance of the trellis
ability was more than fully alive to the value of border. The larger part of the slip ware was com¬
these would-be masterpieces. The notion that posed of fragments of dishes, either of dark brown
they were intended for presentation naturally ground decorated with traceries of yellow clay
offers itself to our mind. Assuming that some (or of reversed effect) or of buff colour, the
large pot-works—just as they are known to have ground of which was in many cases impressed
existed all over the principality of Wales—were with an incised scheme of ornamentation, par¬
situated on the Chirk estate, we might take these tially filled in with red and brown clays.
dishes as having been the lawful tribute offered A theory has been submitted to me by which
by the tenant to the landlord. In many ancient the Chirk dishes would have been brought over
lease deeds of a pot-works, a clause was inserted from the Potteries by the Biddulph branch of the
providing for the yearly presentation of some Myddelton family when these latter left Stafford¬
choice examples of the lessee’s handicraft in shire to take possession of Chirk Castle. I must
addition to the payment of the rent. To find say that the arguments I have unfolded above

22
 Slip ^Decorated Tdishes
stand strongly against my accepting the the birth of a son and heir. I remember to have
suggestion. heard, many years ago, from some aged craftsmen,
Huge earthenware dishes, remarkable for an of the painted dish upon which they made their first
inordinate display of ostentatious decoration, are appearance in public having been carefully carried
no longer made nor used ; the purposes they in it and deposited triumphantly upon the
served in olden times have vanished from table at the close of the christening banquet.
modern life. In all the ancient examples that The old chronicles of Germany record the
come under our notice we recognize a decided particular purpose served by uncommonly large
pretension on the part of the maker at producing dishes on the occasion of the wedding of the rich
a work out of the common, the superior article, so as well as of the poor. Placed on a stand at the
to speak, ‘ that money cannot buy.’ That they entrance of the festive hall, they offered an invit¬
were, in most cases, intended as presentation ing receptacle in which each guest was expected
pieces is clearly made manifest, even in the to drop such trinket, jewel, sum of money or
instances when an appropriate inscription does other gift as lie meant to bestow upon the newly
not exactly indicate the destination. Presented as married couple. I do not know whether such a
a votive offering to some influential patron, they custom has ever existed in England, but I feel
accompanied and supported a request for the inclined to believe that, in some village churches,
granting of a special favour. More frequently, an the earthen platter was often handed round as an
extra dish of unwonted workmanship was the alms dish.
annual compliment paid by the pot-maker to some A full list of the various applications these
of his best customers in the retail trade, on the essentially ornamental dishes may have been put
settlement of a profitable account. Exhibited in to, is not to be attempted. I trust I have said
the centre of his shop-window, the show-piece enough to warrant the opinion that they were not,
stood so strikingly out from the bulk of domestic as a rule, manufactured as regular articles of trade.
articles that it arrested the attention of the passer¬ The value that their possessors seem to have
by. The royal coat of arms, or the figure of the always attached to these odd pieces has greatly
king, was the favourite motive of decoration. A contributed to their being preserved to 11s, when
represention of Adam and Eve in the Garden of domestic vessels of the same period have almost
Eden was a suitable present to be offered to a completely disappeared.
fruiterer and pottery dealer, the subject figuring in The passing of the Chirk dishes into the hands
the arms of the company. This accounts, pre¬ of Mr. C. J. Lomax has only come to increase
sumably, for so many English Delft dishes being a collection already rich in choice examples of
found painted with ‘ The Temptation.’ A similar slip decorated ware. Among the dishes it con¬
custom prevailed in France, at the same period, tained already I may mention the following :—
between manufacturers and merchants ; of this, A mermaid, signed Ralph Toft (fig. 9).
inscribed pieces supply ample evidence. In the A pelican ‘in her piety,’ signed Ralph Simpson
Rouen museum is a red and yellow dish bearing (fig. 10). This latter has the usual trellis border.
the following inscription : Chez Nicolas Foff’s The same subject, unsigned ; with heads, alter¬
a Savignies. A Monsieur Sentier Marchant a nating with the letters W R, on the border.
Rouen, 1742. But for the French inscription, To these should be added a number of brown
one might take the piece as being English. dishes with yellow traceries of a later period. A
In the household of the old French faiencier, four-handled tyg, dated 1636, and two slip
oval dishes of exceptional dimensions were decorated and inscribed posset cups, are worthy
made to celebrate some memorable event of special notice in the small group formed by the
in the annals of the family, such as a marriage or pieces of form.

THE FLORENTINE TEMPERAMENT

^ BY G. T. CLOUGH c±>
OR a private person to delegate of an exile, who desired when he married to
his choice of a wife to a friend or strengthen, by union with a fellow countrywoman,
relative, must appear to a mind the ties that bound him to his native country.
ruled by sentiment the height of Such was the position in which the future founder
absurdity; but in the opinion of of the Strozzi Palace, Philip, and his brother
a fifteenth-century Florentine it Lorenzo Strozzi, found themselves, while suffering
was a distinctly reasonable pro¬ in their youth at Naples from the animosity of the
ceeding. And this vicarious Medicean government, and depending upon their
suitorship, which commended itself as prudent to widowed mother for all their home news and the
a resident citizen, became compulsory in the case protection of their Florentine interests. With

~ 3
 The Florentine Temperament
what capacity and devotion Alexandra discharged do the best they could. The riskiness of the
these duties, and what zeal she threw into the family’s pecuniary venture presented itself afresh
prosecution, first of her daughters’, and then of two years later, when the young wife was expect¬
her sons’, marriage negotiations is related for us in ing, with some natural anxiety, the arrival of her
the seventy-two letters from her hand which we owe first baby, and we find Alexandra consulting her
to the care of Cesare Guasti. The preparation of a son as to the prudence of insuring his sister’s life
bride’s new home among the Florentine popolo for the probable period of her confinement, lest,
grasso was, as we shall find in the course of this as she puts it, ‘ we should lose both property and
narrative, the signal for a host of commissions to person at one blow.’ Mark, the husband, took a
her carvers and painters, of which the results have very sanguine view of his wife’s prospects, and
come down to us in bas-reliefs and cassone panels; thought it a pity to throw away such a large sum
but the spirit in which the preliminary overtures as the 12 florins insurance would cost them, but
to matrimony, here unfolded for us, were conducted, Alexandra is disposed ‘to make things quite
bears a still closer relation to the field of aesthetics. certain,’ and spend the money. Her view of the
In the prosaic strain that we here find governing best course to be taken prevailed, but happily the
the transactions of the Strozzi family at the most event justified the husband’s anticipations. To
romantic crisis of a man’s or woman's career, we the merits of that husband everything that we
discover the source of the scientific and natural¬ learn of his character bears witness. A greater
istic direction, so strongly insisted upon by Mr. match, as regards social position, than good Parenti
Berenson, which was taken by some of Florence’s could, Alexandra thinks, have been obtained if the
most characteristic painters. The sternly practi¬ family finances could have produced another 400 or
cal and business-like spirit which gave this nation 500 florins of dowry, but hardly one that promised
of shopkeepers its early commercial pre-eminence, greater happiness to her daughter. Certainly,
speeding its agents to the shores of the Levant, Mark was the most generous of bridegrooms.
and planting its depots in France and Spain, ‘ Only say what you want,’ he tells his intended,
in Bruges and London, had, when it devoted and if he objected to waiting three years for
itself to art, the defects inseparable from its 500 florins of the dowry, he spent more than 400
virtues. To the predominance of this prosaic upon her for the betrothal ceremony, in crimson
element in the Florentine character we may silk robes of the finest quality from his own looms,
ascribe Uccello’s perspective foreshortening and in a chaplet of pearls and feathers, and two ropes
Pollajuolo’s obtrusion of anatomy. Nor is it of pearls for a head-dress. In the fitting of her
perhaps extravagant, to trace to the same influence new home he was equally lavish, Domenico
the diversion of Ghirlandajo’s achievement, from Veneziano, Giuliano da Maiano, and a brother of
the field of epic distinction, to that of milder Masaccio’s, each having a share in the coffers and
anticipation of the great Dutch portrait painters. shrine that adorned it.
Alexandra’s first letter, addressed to her son The political cloud, that hung over the bride’s
Philip at his relatives’ bank in Naples, shows her family, made it advisable that the wedding cere¬
to us radiant with satisfaction at the engagement mony, judged by the Florentine standard, should
of her eldest daughter to Marco Parenti, a rich be a quiet one ; but the items of the wedding
silk merchant of Florence. Catharine’s dowry is breakfast, entered in Mark’s journal, amount to
to be 1,000 florins. The money had been lodged 466 lire, with an extra payment for trumpeters,
in two separate instalments during her childhood fifers, and performers on the harp and flageolet.
in the State Dowry Fund, a characteristically From the same authority we get particulars of the
Italian institution, combining chance with provi¬ bride’s dress, consisting of an upper and under
dence, by which a parent gained a considerable robe of crimson velvet, which took 42 bvaccia of
increase on his investment, if his child lived to the material, costing 170 florins. Both robes were
full term of a fixed period, but was mulcted, if she trimmed with gilt sequins, and were ‘ tailor made ’
died, of half his deposit. Unfortunately, the by Andrea di Giovanni, who received the relatively
second moiety of Catharine’s dowry would not small sum of 14 lire and 10 soldi as his share of
fall due for another three years, so Alexandra is the expenditure. Upon her head the bride wore a
obliged, on behalf of the family, to advance the chaplet of peacock’s eye feathers, which was
sum deficient, because, as she expresses it, ‘ the man further adorned with six ounces of pearls and
who wants a wife always wants money,’ and, pretty certain gilt ‘ tremolanti’—pendants that vibrated.
as Catharine is—the finest girl in Florence in the If by the side of this dazzling figure we place the
general opinion—she has been unable to find any bridegroom, wearing a costume hardly less bizarre in
candidate for her hand who would marry her at its character, and group with them a throng of gaily
once, and wait for the half of her dowry. There dressed friends and relations, we shall get a picture
was no time to be lost, for Catharine was sixteen, of Catharine’s wedding procession as the painters
an age which Italian mothers looked upon as the of cassoni would give it us. Thirty-four years
threshold of hopeless spinsterhood ; so they must later—years for the Parenti couple of the

24
 The Florentine Temperament
greatest domestic felicity—Mark had to con¬ so that, if he had the handling of money, there
front these festive entries in his journal, with the would be some danger of his proving a defaulter.
record of the death of his wife, and her burial in That Bonsi’s poverty, however serious, was not
the Florentine Duomo. ‘ May God receive her soul, desperate, is to be inferred from the fact that part
he adds, ‘ as I have every reason to believe he will, of his wife’s dowry had been left in the State
in view of a life so noble in its kindliness, and a bank, and that, the value of the shares having risen
course of conduct so upright and attractive.’ considerably, he at one time proposed to sell them,
Catharine’s younger sister, Lessandra, was the with a view, should the stock fall, to a re-purchase.
next of Alexandra’s children whose marriage This, his brother-in-law, Parenti, who in the ethics
pressed for settlement, and here again she gives of finance seems to have had Ruskinian proclivi¬
the money element the chief place in the discus¬ ties, objected to as an immoral transaction ; so
sion of an event so gravely affecting her daughter’s the question was referred to Philip at Naples for
happiness. Some delay occurred in the initiation decision. It does not appear to have occurred to
of proceedings, owing to the prevalence of the either of the parties that, on a financial point of
plague in 1450, which drove all the better class of this character, a banker could hardly be impartial.
householders from the city, so that Alexandra Having thus, for good or evil, settled her two
had been unable to get her daughter, as she says, daughters in homes of their own, Alexandra could
‘ out of her house,' and meet her son in Rome as devote all her energies to promoting the marriages of
soon as she expected ; but in December we learn her exiled sons. This, however, she was to find a
that the business has been entrusted to Giovanni much more difficult matter, not only from the
della Luna and Antonio Strozzi, and that Alex¬ unwillingness of such fathers of families, as could
andra is prepared to augment her daughter’s give good dowries, to send their daughters out of
dowry of 1,000 florins by 200 from her own the country ; but still more, owing to the reluc¬
pocket, if the merits of the candidate are such as tance of Philip and Lorenzo to sacrifice the free¬
to justify the expenditure. Alexandra’s agents dom of single life for the advantages of the most
were fairly prompt in the discharge of their duties, attractive companionship. Philip, to whose
for in April Philip is told that his sister had been conversion to compliance in the matter Alexandra
engaged during the previous month to Giovanni now chiefly directed her arguments, appears not to
Bonsi, a young man of good character and ability ; have been very happy in his experience of his
that the dowry is fixed at 1,000 florins; and that friends’ matrimonial relations, for he has to be
his mother is thoroughly satisfied with the told that the devil—i.e., the fair sex—is not so black
arrangement. It was not in Bonsi's favour that as he’s painted, and that the world would soon come
he had six brothers, the patriarchal conditions of to an end, if mankind generally regarded the
Italian domestic life making such a circumstance marriage tie with his trepidation. So a hunt over
rather a serious consideration for a young girl Florence for a wife for the exile by mother, sisiers
entering a household; so Alexandra is careful to and brothers-in-law was instituted, and in March,
explain that her daughter will be the head of a 1465, we hear that ‘a number of girls have been
separate home of her own. The Florentine examined, who possessed the requisite qualifica¬
income-tax returns, however—those pathetically tions, including the most desirable relationships.'
self-depreciative records, which furnish us with so The circumstances of none of these, however,
much useful information on the domestic life of proved sufficiently attractive to satisfy the family’s
the Renaissance—give 11s some particulars about requirements, only inferior specimens of Floren¬
the Bonsi family which may account for the tine maidenhood being prepared to go out to be
withdrawal of Alexandra’s addition to the amount the wife of an exile, and it is not till July that
of her daughter’s dowry. From these we learn Alexandra is able to report that a certain Francesco
that Bonsi’s age was thirty-seven—twenty years Tanagli had made promising overtures to Parenti
greater than that of his bride—and that he was and that an interview had taken place, the details
saddled with a half-witted, illegitimate son of of which she gives to her son with her usual
servile extraction. Certainly, from the point of shrewdness of observation. ‘ He’—i.c., Tanagli—
view of worldly prosperity, Lessandra’s marriage ‘ had Mark with him to his house, and called the
did not turn out a very successful one. When, girl down in her petticoat for him to see ; offering
fifteen years later, the Strozzi brothers formed a at the same time to show her to me, as well as to
project of opening a wool business in Florence, Catharine, any day that might be convenient.
of which Bonsi was to have the management, Mark says she's good looking, and, as far as he could
Alexandra is obliged to tell them that his debts judge, a lady-like girl ; and we’re told that she’s
arc more than the 200 florins lie confesses to sensible and capable, for she has a large household
owing; and that, with eight mouths to be filled, to manage, there being 12 children—(> boys and <>
the family resources are so low, and the wife’s girls ; and from what 1 hear, she has the whole
stock of clothing so scanty, that she is obliged to of the family on her shoulders, for the mother is
sit half-dressed while mending her under-garments; always in the family way, and not good for much
The Florentine Temperament
at any time.’ ‘Get your jewels ready/ she con¬ awake, not heavy and sluggish.’ When the
tinues, rather precipitately, ‘and see that they're owner of these personal advantages proves to be,
fine enough, for a wife is found for you. A woman not the Adimari girl whom Alexandra had come
who is beautiful, and wife to Filippo Strozzi, must to scrutinize, but her Tanagli rival, can we wonder
have handsome jewelry, if your reputation, which Alexandra is convinced that Heaven is helping
is so high in other respects, is not to suffer.’ Here them in the search for a partner for Philip, and
Alexandra is a little premature. A year and a half that in this cathedral beauty she has found her
were to pass, and much of Arno’s water to run ideal daughter-in-law ? Letter follows letter to
under the Ponte Vecchio to the sea, before her Naples during the weeks of August, extolling the
desires were to be realized, and she was to see her merits of the young lady, who, in addition to her
son married to a charming and excellent young personal advantages, is said to have a dowry of
lady, who was not ‘la bella Tanagli.' In the 1,000 florins, of which it is hoped the Council will
meantime, however, Alexandra’s description of her not deny the payment to an exile. Philip, however,
son-in-law's interview with the young lady was is determined not to be hurried at this crisis of his
supplemented by a long letter to Philip from fortunes. One of his Neapolitan relatives had,
Parenti himself, in which he tells him, that, having against the advice of all his friends, married a
‘examined all Florence,’ and considered his require¬ madcap Florentine lady, and so spoiled her, by
ments upon the two theories of his remaining abroad, excessive admiration, that she brought disgrace
and the termination of his banishment, they had, upon herself and her husband. Alexandra does
owing to the singular scarcity of marriageable her best to dissipate the effect of this unfortunate
maidens, been obliged to reduce the eligible candi¬ precedent. ‘ A man,’ she says, ‘ if he is a man,
dates to two: a daughter of Donato Adimari’s, pos¬ and does not let himself get blindly devoted to his
sessing a dowry of 1,500 florins, which they feared wife, can always make her do her duty as a
would make her parents look higher than an exile for woman.’ And she does not think this girl is a
a husband ; and the Tanagli maiden, about whom giddy girl, for she, Alexandra, has not only passed
their only fear was that the dowry might prove the house frequently herself, but also sent friends
less than Philip would be ready to accept. He on the same errand, and they do not see her head
then proceeds to describe the young lady’s height, fixed all day at the window, a clear proof of her
relatively to that of his own wife, Catharine ; to sobriety of character. So if Philip will buy
praise the shapeliness of her form and the fineness the jewelry, she will begin preparing the
of her skin; and to say that her facial attractions, bride’s outfit, whether it is to be made accord¬
while not equal to those of two Florentine ladies ing to the Florentine or the Neapolitan fashions
of their acquaintance, whom he names, would —only, of course, she thinks the former the
quite bear comparison with those of Madonna prettier. Also, when he has a wife, he will
Hyppolita, who had lately passed through want a slave girl to be her maid: either a
Florence, on her way to Naples, to become the Russian, a Circassian, or a native of Tartary.
bride of the duke of Calabria. Surely Philip The Russians are the prettiest, but there is more
would be content if his bride were the equal of work to be got out of a Tartar.
the wife of a king’s son in beauty. He concludes But at this point of her letter, in comes Parenti
with an appeal to Philip to give him the lowest with a blow to all their hopes. He has just seen
figure he will accept as dowry, promising that his Tanagli, who has spoken in a very frigid manner
doing so shall not impair the writer’s efforts to about the match, objecting that it was a serious
obtain the largest sum that can possibly be matter to send his daughter such a long distance
squeezed from the family. from Florence, and to a house that, in regard to
Parenti’s account of Tanagli’s daughter’s merits privacy, was ‘ no better than an inn.’ Either he is
had not, it appears, quite satisfied Alexandra, in disgusted with the Strozzi family’s procrastination,
spite of the confident tone of her letter, that the or he has some better offer under consideration.
best possible wife was being secured for her son, No need now, therefore, for either Alexandra or
for we find her going morning after morning to her son to think further about jewels or wedding
early mass at the Duomo, in the hope of seeing outfit. Mark must give him any further informa¬
the Adimari girl who was in the habit of attending tion he may desire ; for she, poor lady, is at her
it. There, one morning, she comes upon an last gasp of endurance, having worked so hard,
unknown maiden, whose personal attractions, as and all to no purpose. Mark’s only contribution
well as she could judge—for she admits that she towards Philip’s consolation is the fatalist one,
stared the poor girl quite out of countenance— that marriages are made in heaven. If Philip’s
created a highly favourable impression. ‘ Though ‘ marriage has not been made in heaven, it is
without any paint, and wearing low-heeled shoes, absurd for them to worry about it; if it has been
both face and stature were prepossessing. Her so made, it will be sure to be accomplished.'
features were delicate, her walk and general Alexandra’s despondency was not of long
appearance that of a girl who was wide duration; though she vows she will only believe

26
 The Florentine Temperament
in her son's marriage, when she actually sees it may have changed, and ‘ men's minds be at peace,’
celebrated. The Adimari girl is, she finds, known so that it will not be thought, as it now is, sheer
very favourably to her sister, and Tanagli p'ere is, waste of money to give a dowry to the wife of an
it seems, more eager about the business than exile.
Mark thought him; but, at this point, matters tend The course of public events justified Alexandra’s
to get complicated by the intrusion of Philip's anticipations. Less than two years had passed
only surviving brother, Lorenzo, as a candidate for from the date at which they were written, before
matrimony. Philip, too, must have written show¬ the ban was taken off Philip and his brother, and
ing greater resolution in the direction of compli¬ we find Philip writing to his mother from Siena,
ance with his mother’s wishes, for she writes to one snowy day in November, that he would be
both brothers, congratulating them upon the with her the evening of the following Sunday,
decision they have come to ; believing it to be and hoping she will give him something better
in accordance with God’s will, and hoping than sausages for supper. What course the mar¬
that Philip especially ‘will not make any more riage negotiations had taken in the meantime, and
difficulties, nor spend more ink over the why that excellent young woman, whom we
business.' Her idea is that Philip, who is 37, have known as Tanagli’s daughter, failed to
should have Tanagli’s daughter, who is over 18, attract either of the brothers, are points as to
and his brother the Adimari girl, who is 14. They which we lenrn nothing from Alexandra, for a
are, she adds, the prettiest girls they are likely to regrettable hiatus of threeyears occurs in the docu¬
meet with, and possessing the strongest recom¬ ments preserved for us; and, when they resume
mendations; but, having both of them been their story, the future founder of the Strozzi
negotiated with for Philip, ‘ I don’t know,’ she Palace had been married more than a twelvemonth
says, ‘ whether they will be ready to change, and to the beautiful Fiammetta Adimari, and a baby,
give the Adimari to you, Lorenzo.’ Five weeks named Alphonso, after his godfather the king of
later we find the cards shuffled, and the Tanagli Naples, was following his grandmother about the
lady warmly recommended to Lorenzo, as not house ‘ like a chicken after a hen.’
only beautiful herself, but likely to be the mother A letter of Fiammetta’s, written in the second
of beautiful children; while Adimari’s daughter, year of their union, to her husband at Naples,
whose interests are represented by a Canon testifies to the amiability of the young wife, and
Dieciaiuti, has been inspected and approved of to the autocracy exercised by Florentine mothers-
from the windows of the house opposite her own in-law. In it she tells Philip that she had been
for Philip. ‘allowed ’ by Alexandra to attend the second and
The slackness displayed by the Strozzi brothers fourth days' festivities of a friend's wedding, and
in their response to their mother’s solicitations must caught a chill in consequence, for which she has
be ascribed, not only to the reasons mentioned had to send for the doctor. If Philip ‘wants her
above, and to the hesitation any prudent man to recover, he must tell her, when she may expect
would feel about binding himself irrevocably to him to return, and see that it is not a fib, as has
companionship with a girl of whose personality been the case on some former occasions.'
he had only second-hand information, but to the How important an element, in the Florentine
hope ever present to their minds, under the political game, were the new relationships formed
fluctuating conditions of Florentine politics, that by marriage, we see from a letter of Parenti’s to
their banishment might any day come to an end, Philip, congratulating him on the birth of a
and they be able to prosecute their search for wives daughter, in which he tells him not to feel any
under more favourable conditions. Eager as their regret at the sex of the child, as a girl can be
mother was to see them happily settled—so eager married sooner than a boy, and thus enable him
that she tells them she had gravely compromised to form advantageous political connections.
her own and her relatives' future in purgatory by With the marriage in 1470 of her son Lorenzo
parsimony in masses, in order that she might have to Antonia Baroncelli, Alexandra’s matrimonial
more money to leave to them and their children— projects came to an end, and, as if these had been
she is prepared to give a certain amount of weight not less her support than her life's mission, in the
to this side of the question. There could be no following year came her death and burial in Sta
doubt, she says, that the discord then prevailing in Maria Novella. She was thus prevented seeing
Florence exercised a most prejudicial effect upon more than the earliest of the numerous additions
the marriage market. And, so far as Lorenzo is which, by his two wives, Philip made to the
concerned, she is disposed to think that the delay Strozzi family-tree, and, by a period of eighteen
of a year or two might not be unadvisable; not years, from being present at his foundation of the
only on account of the reigning extravagance in stately palace, which still stands as a monument
female attire, which permits a girl to carry all her of the wealth and pride of Florence’s merchant
fortune upon her back in silk and jewelry, but princes.
because by that time the political aspect of affairs Both in the story of the marriage negotiations

27
 The Florentine Temperament
here described for us, and in the frequent general commendation of the Renascentine
references to family affairs, not all to her painters as having ‘the tact to follow external
credit, with which Alexandra’s correspondence reality, not into every detail, but only so far as
is largely concerned, we see the results of that the higher poetic truth might not suffer from
that shrewdly business-like and practical turn of it ’; and the magnitude of her achievement viewed
character, which was a potent factor in Florence’s as awhole—second only to Greek sculpture in most
public and domestic transactions. The positif authorities’ estimation—justifies an examination,
temper, which animated her statesmen, raised a like that here attempted, of features in her social
small republic, which was not, like Venice, a sea and intellectual condition that may have led to her
power, and was markedly destitute of military partial failure. In making the attempt, I do not
capacity, to a position almost of equality with the of course claim that the Florentines had a mono¬
great powers of Europe ; but this attribute, which poly among the inhabitants of the peninsula,
was so stimulative in the market and the council either of the positif quality, or of the marriage
chamber, proved a drag on the wheels when the system to which it gave emphasis ; but, looking
realm of fancy was invaded. Its prosaic in¬ for the probable cause of their lapse from idealism,
fluence, upon an important body of her painters, I find it in a preponderance of this particular
makes Florence an exception to Burckhardt’s characteristic.

THE FISHERWOMEN
A COLOUR-PRINT BY HOKUSAI
LTHOUGH the subject of the invention has absolutely free scope, and his
print is one not uncommon in knowledge is at its culminating point. Soon after
Japanese art—women fishing their execution he was compelled to fly from Yedo
for awabi—it would be par¬ to Uraga, owing to the misdoings of a grandson,
donable if the eye unac¬ and on his return in 1836 he found the city suffer¬
customed to Japanese art gave ing from a terrible famine, which reduced him to
it a very different significance. a pitiable state, accentuated in the following year
_ _ aThere is something archaic in by a fire which destroyed his house and his
the long curved prow of the boat; there is a touch drawings. From these successive blows his art
of romance in the misty sea dotted with islands— never quite recovered, and, though he displays
of adventure in the suddenness with which the magnificent power even so late as 1850, he has lost
boat seems to shoot into the picture behind the the range, if not the grandeur, of his former out¬
jagged, weed-grown rocks—that leads the mind far look upon nature.
away from Japan and its fisher-folk to the Aegean It needs a moment’s thought before we recognize
and its first explorers, to Ulysses and the Sirens, or in this design of The Fisherwomen the same prin¬
‘ Where the echoing oars of Argo first ciples of construction as those seen in the Views
‘ Startled the unknown sea.’ of Fuji. The summit of our pyramidal mass is no
The print1 belongs to the series of the Hunched longer the snow-capped crest of the great volcano,
Poems, a series published a year or two later than but the head of the topmost fisherwoman in the
the Thirty-six Views of Fuji—that is to say, about group on the right. The sweep of the largest
the year 1831, when the artist was more than wave accentuates the solidity of the group ; the
seventy years of age. struggling figures in the water below give it further
Judging from internal evidence, we must place support; while the sense of motion is splendidly
the Hundred Poems among the latest of Hokusai’s enhanced by the sharp curve of the boat topping
landscape designs. In this series he seems to the wave, and carrying the eye on to the smaller
have tired of the grand simplicity which is the boat on the left and the group of islands stretching
prevailing note of the Thirty-six Views of Fuji, and away into the sea beyond, which, with its level,
to have wished to shake himself free of the material restful expanse, serves as contrast to and relief
limitations of subject matter which he had to face from the intersecting curves of the swelling waves,
in designing the Wat erf ails and the Bridges. In pitching craft and fantastic rocks in front. The
the Hundred Poems Hokusai could design just as materials and the pictorial symbols of oriental art
he pleased, unfettered by any question of topo¬ differ from ours, but its conceptions, even when
graphical correctness, and he did not fail to take they appear most fanciful and arbitrary, seem
advantage of his liberty. capable of reference to the same elementary
The designs of the Hundred Poems are thus principles of design as those which De Piles and
among the most puzzling, complicated and attrac¬ Burnet deduce from the great European masters.
tive in the whole of Hokusai’s work. In them his All that Hokusai, perhaps, can claim is that he
1 We are indebted to the owner, the Hon. W. Ormsby Gore, conceals his secret more adroitly.
for permission to reproduce it. C. J. H.
28
 j
St
■—~_ f h as
A| || MB. . .

FISHERWOMEN AT WADA NO-HARA. From the Colour Print Ity 11 Old'S Al

 A NOTE ON COLOUR-PRINTING IN CHINA AND JAPAN
<*> BY LAURENCE BINYON ^
VERY student of the arts of being delicately embossed. This has produced
'Japan knows the incalculable bad creases in the paper, which is a kind of rice-
debt which those arts owe to pulp paper used in China for printing books,
[ft lainJq \ ()/China and the Chinese; fresh greatly inferior to the beautiful soft paper used
IV iyj yy/ proofs of it are always occurring by the Japanese print-makers. Much of the beauty
\M /A« even where least suspected. of a Harunobu or Utamaro woodcut is due to the
In one department, that of sympathetic quality of the paper, into the sub¬
I colour-prints, it is generally stance of which the colours have sunk: but in
assumed, however, that the Japanese have been these Chinese prints the paper, which is very thin,
independent of the Continent. Writers on white and brittle, has not taken the colours kindly;
Japanese woodcuts allude to the existence of the and the untoned whiteness of it makes the beni,
art of colour-printing in China, but no study has especially, look harsh and quite different from
been given to the Chinese examples, and very few what it appears in Japanese examples. Apart
have been noticed or recorded. Those who have from the question of paper, we are bound to
made enquiries in China itself, find, I believe, at acknowledge that these woodcuts show a complete
the present day the greatest difficulty in procuring mastery of the resources of colour-printing, such
or hearing of specimens. One might infer there¬ as we do not find in Japan till after 1765. These
fore that the art was never pursued by the Chinese Chinese prints were brought home from the East
beyond the tentative and experimental stage. by Kaempfer in 1692-3, and passed from his collec¬
The examples of colour-woodcuts which are here tions to those of Sir Hans Sloane; they have been
described for the first time prove, however, that in in the museum since its foundation, and are as
the seventeenth century they had already developed fresh and clean as if printed yesterday.
the technical side of this art to its furthest point. The question now arises: Why, if the Chinese
Knowing that among the Sloane collections of had developed the art of colour-printing so far,
drawings of natural history, costume, etc., now in did the Japanese at a later date begin again at the
the British Museum, were some from Oriental beginning, only reaching the multi-colour-print with
sources, and following up likely clues in the class- Harunobu in 1765, through the various stages of
catalogues of the MSS. Department, I found hand-colouring, stencilling, etc. ? It seems
several volumes containing Chinese drawings incredible that this should have happened if the
and colour-prints. Among the latter the most Chinese prints had been known in Japan. And
important are a set of twenty-nine woodcuts, yet it was in Japan that the prints in question were,
measuring nfxiqfin. The subjects are either in all probability, bought by Kaempfer, since he
flowering sprays, boughs of fruit (mostly with sailed to that country from Batavia and returned
birds or insects) or arrangements of flowers and to the same port, not visiting China (so far as is
fruit in baskets or porcelain vases. A few are of known) at ail ; and in the same volume in which
vases with flowers, grouped with books, scrolls, the colour-prints were (they have now been trans¬
coral, etc. An examination of these prints shows ferred to the Print Room) was a set of Japanese
that besides black, which is used for the outline paintings from the same source. Moreover, we
block, and also to a slight extent in masses, no have tangible proof that Chinese colour-prints
less than twenty-two colours have been employed.1 were known in Japan during the first half of the
Twelve colours were produced by one printing, century. Anderson (‘Japanese Woodcuts,’ p. 8)
viz. : Gamboge, an earth yellow, a blue, a grey, mentions the fine Chinese album of birds and
three different greens, a greenish primrose colour, flowers, chiefly after Ming painters, dated 1701,
a brown, a brownish purple, red lead, and the red in the collection of Mr. W. C. Alexander. Now
produced from the safflower, familiar in Japanese copies from the subjects in this album were pub¬
prints as bcni ; while ten colours were produced lished by O-oka Shunboku in two volumes, dated
by superimposed printings, viz. : Orange (red 1746. Shunboku worked in Osaka, and published
lead over gamboge), orange {bcni over earth- albums as early as 1707, but I do not know what
yellow), crimson (brownish purple over bent), is his earliest work in colours ; the book in ques¬
deep red (betii over betii), green (blue over tion was published in his old age. Through the
gamboge), green (light green over blue), purple kindness of Mr. Alexander, and of Mr. Arthur
(blue over belli), and purple (brown over blue); Morrison, who owns the 1746 edition of
also green over black and purple over black. Shunboku’s book (Mr. Alexander also has a later
The colours are often gradated by skilful wiping edition in three volumes), I have been able to
of the block. In many of the prints elaborate compare these two specimens of colour-printing.
ganf/rage is used, the outlines of petals, etc., The Chinese book is superior in technique, but
the Japanese has suffered from changes in the
1 Not all on one print, of course. For help in identifying the pigments. The green tints were mostly produced
pigments, I am indebted to the special knowledge of Mr. S.
Littlejohn. by printing indigo over gamboge, and the indigo

C 3 1
Qolour- Printing in QJiina and Japan
has faded, so that the foliage, etc., is now of To return to China. Though so little appears
various hues from yellow to grey; and the same to have survived in the way of colour-prints, I
change probably accounts for the fading of purple believe the real explanation of this is not their
to a warm brown. None the less, the colour¬ scarcity but their commonness. Everybody knows
printing is both delicate and elaborate, and quite how rare are old English broadsides, which were
equal to that of the books of similar character by produced for the same sort of public as colour-
Kitao Masayoshi, who was not born till 1761. prints in the Far East. What masses of Japanese
Professor Fenollosa claims to have proved that prints would have perished but for the demand
the first Japanese experiment in colour-printing for them in Europe ! Now in an album in the
dates from 1743 or 1742 at earliest. But, as Sloane collection I found a single large Chinese
Mr. Morrison argues, the book of Shunboku's in colour-print of the size and shape of the Japanese
his possession makes it very hard to believe that kakemono-ye. Though fine and effective—it is a
such a full development of the art could have print of a fish among weeds in water—it is
taken place in two or three years, and moreover obviously a cheap production, and doubtless only
proves that in this case at any rate the Japanese a specimen of what was produced in great pro¬
craftsmen took the Chinese for a model. Among fusion. Not that I mean to maintain that China
readers of The Burlington Magazine may be is likely to have had anything at all comparable with
some collectors who will be able to bring forward the school of colour-print artists which flourished
further evidence : for instance, a book of so enormously in Japan. This art could never
Shunboku’s dated earlier than 1746 and printed in have had the same vitality in China, since there it
colours. It would be strange if this should be was regarded simply as a means of reproducing
the earliest specimen in colour of the many books paintings ; whereas the Ukiyo-ye artists designed
he published. Japanese traditions all point to the with the wood-block in view, and the co-operation
beginning of the eighteenth century, rather than the of designer, engraver and printer produced results
middle, as the date of the first experiments; and in of unsurpassable beauty. But I wish to point
spite of Mr. Fenollosa’s authority, this older view out that in this, as in so many other points,
seems to be the better attested, as well as China has been unduly neglected by students of
intrinsically the more probable. Japanese art.

THE SO-CALLED ‘ JANINA ’ EMBROIDERIES

BY LOUISA F. PESEL
HE task of classifying the strate clearly the diversity of type included under
JP embroideries found in the this name. Fig. 41 is an exception, as it is part
bazaars of Constantinople, of a Bokhara curtain, and is included here to show
—y-gs Cairo and Athens would be what much of the Central Asiatic work is like, as
a comparatively easy one, if it is highly probable that the work under discussion
it were possible to accept received suggestions as to colour, design and
I implicitly the word of the workmanship from Eastern sources, from
dealers as to the provenance Bokhara and from Persia. It will be noticed
of their specimens. This is, however, far from that the designs in all these examples have been
being the case, as they group together at least four drawn out upon the linen in the first instance,
or five different varieties under the general name as their outlines are not determined by the web
of Janina. If all the work that goes by this name of the material. They have not the rectangular
did indeed come from the capital of Epirus, then appearance of much of the work examined in the
its women must assuredly go down to posterity as previous article, nor have they that solid effect
the most diligent of their sex. The size of the produced by the use of very heavy silk. The
group, its infinite variety in colour, workmanship silk is of a much finer quality, and the material
and design, make it a peculiarly interesting one to upon which they are worked is also lighter in
study, but its complexity adds greatly to the texture, as a general rule. Detail pattern within
difficulty of sub-division. For the sake of clear¬ the larger pattern is to be seen in many cases.
ness, it will be best, therefore, to consider the This is obtained by what is known as ‘ voiding ’;
various details separately: to compare the points of see fig. i,2 where the small flowers, within the
resemblance, to trace the constructional lines on larger rounded ones and the markings on the
which the patterns are built and to take note of 1 No. 966—1889. Victoria and Albert Museum. Portion of
colours and stitches, before we attempt to proceed Bokhara curtain. Worked in crimson and dark blue-green,
some pale blues, pinks and yellows. Stitches, diagonal
to the discussion of their original locality.
couching and chain.
The photographs here reproduced are taken 2 No. 59—1891. Victoria and Albert Museum. Curtain in
from specimens of so-called Janina, and demon¬ blue and red, surface darning, probably Anatolian.

32
 The so-called c Janina ’ Embroideries
stem are the result of leaving plain or void in the second and third towel ends; in this
the linen ground. The spots in fig. 83 are the there is generally only one large flower or detail on
result of the same method. In some instances a curved stem, and small leaves or flowers are
the pattern, instead of being left void, is filled placed along the stem. The small leaves are often
in in another colour or colours—a treatment worked in two colours alternately, as in the centre
which, though apparently different, is in reality example of fig. 6. The predominant idea is still
only an elaboration of the same idea. The flower the contrast obtained by the use of large and small
centres in fig. 3‘would have been equally effective masses. When several sprays are repeated, it is a
had they been voided. common practice to transpose the colours used.
Figs. 6,5 7,6 8, 9,7 and io8 all show the same This gives the effect of a much bigger palette, for a
appreciation of the value of the outline of one blue flower being where a red one was, it is not
mass within another; whilst figs. 2,° 4, 7 and 8 immediately evident that the red was used for leaves
all emphasize the decorative use of the serrated in the previous spray, whereas now the leaves are
line, directly opposed to an unbroken one. A blue.
device which is frequently employed is to discon¬ A point that is noticeable in nearly all these
nect the different parts of the design. This makes embroideries is the high degree of convention¬
the pattern look as if it had been prepared as a alization which has been arrived at, probably
stencil, but instead of giving it a careless and through many centuries of work, added to a strong
unfinished appearance, it only renders the whole love of traditional methods. The forms are taken
effect less hard and rigid. (See figs. 1, 7, 8 and 10.) from flowers and leaves, which they remotely
A very favourite form of design is the spray, resemble ; but from what flower or leaf is not
which is repeated once or more, as may be immediately obvious, and often it is only after
required, either side by side along a line for a much consideration that one realizes what the
border (fig. y), or in all directions for an ‘all over’ original is likely to have been. The idea of growth
pattern (fig. 3), according to the projected purpose is generally suggested, and in that they are logical,
of the embroidery. This sprig or spray type is of but otherwise any leaf form is used with any
three forms. One is seen in fig. 3 : it is flower as long as it fulfils its decorative purpose.10
nearly symmetrical ; flowers fill the four corners The construction seen in the narrow borders in
and the centre, and leaves occupy the three figs. 1 and 2—flower and leaf alternately on a
intermediate spaces, whilst the main stem fills continuous waved stem—occurs in a number of
the fourth lower space. The corners might specimens, and the forms composing the borders
possibly be occupied by large leaves, and are to be found in oriental work. The long oval
flowers fill the alternate spaces, but in either leaf filled with detail is seen in the cone form
case this disposition of two contrasting masses prevalent in Indian and Persian work, whilst the
is always maintained. The second form of variety open at the point like a tulip is reminiscent
spray is shown in fig. 9 ; in it the large masses of Persian feeling and workmanship (figs. 7 and 8).
fill the centre and corners, and the idea of The centre portion of the curtain in fig. 1 is
contrast is retained, but the stem, instead of designed on lines which follow a more or less
being symmetrical and balanced, is curved and regular curve ; a single flower or spray grows from
often Very thin in proportion to the size of each side of the stem alternately, but the main
the flowers. The third variety is seen in fig. 6 stem being dropped each time, the flowers appear
to be arranged diagonally, to the great improve¬
* Belonging to ' Old Orient, Athens,’ from Skyros. l ong ment of the design as a whole.
cushion cover. Worked in double darning in crimson, yellow, Colour and stitch seem to some extent to be
pale blue and cinnamon.
4 No. 90 — 1897. Victoria and Albert Museum. Worked in linked together, perhaps because certain dyes were
very fine silk in close tent stitch in p ile blues, pinks and greens. procurable in the districts where certain stitches
* Three pieces belonging to Dr. Karo. Originally worked as were in common vogue. There are two or even
scarf ends, since employed as sleeves for the peasant women.
All in double-darning and alike on both sides. Fine tinsel and three distinct sets of colouring which prevail,
gold is introduced. besides endless variations upon them. A usual
* No. 790—1896. Victoria and Albert Museum. Surface one contains a very clear fresh blue and a clear
darning in red and blue, with some yellow and green, on a tine
open linen. Janina. red in about equal proportions, whilst pale green,
No. 506—1877. Surface darning in several colours, red and pale cinnamon and biscuit colour are added in
blue predominating. Possibly portion of a cushion. Janina. much smaller quantities. 1 His combination ol
7 Belonging to Mr. G. Dickins. Portion of a valance worked
in surface darning in reds and greens; outline in black. The colours is often adopted for large hangings, such
narrow edging in white and colours is both characteristic and
effective.
•‘Old Orient, Athens.' Crimson, yellow, pale blue, cinna¬ 10 In Salonika I examined a number of good specimens of
mon and pale green. Worked in double darning on linen, so-called Janina. Some of them were evidently late work and
originally as border for a bed cover. showed easily distinguishable peas, etc. I hey are the only
•No. 263—1896. Victoria and Albert Museum. Hand¬ instances l have teen where the flower* were frankly natural¬
worked in red and blue and green and yellow in oriental istic, and they certainly were not as effective as Hi' sc which
•titch ; outline in black. were rigidly conventional.

33
The so-called c Janina ’ Embroideries
as curtains, bed covers, etc. (fig. i) ; for bands, as diagonal row is worked by passing the silk in and
in the upper one in fig. 7 ; and constantly for the out from point to point of the zig-zag and back in
heavy regular sprays on the towel and sash ends. the alternate spaces. We have now formed a
The red and blue type of colouring is either series of triangles. Set corner to corner and alike
worked with a surface darning stitch (fig. 1 and on both sides, and by repeating these indefinitely
fig. 7), or with a stitch more solid in appearance, the whole surface is covered and a diagonal ribbed
double-darning, which is alike on both sides. effect is produced.
Fig. 2 shows an example of the strong-coloured There appear to be three ranges of colour in
class, for the colours are deeper in tone, and the common use: the red and blue, the crimson and
greens are more marked. It is worked in oriental yellow, and the many coloured pale-shaded
stitch, and a fine black silk has been used for the varieties; whilst there are three or four stitches
outline, which can be seen in some places. It is, generally employed with them, single surface
however, difficult to see, as it has worn away darning, double-darning alike on both sides, and
through age, for it was probably dyed with vitriol, one or two forms of fine canvas stitch. The
which, according to an old island dyer, rotted the sub-division of the work into small groups accord¬
silk. The design in fig. 2 fills an oblong shape, ing to design, stitches and colour is easy; but it is
which is reversed so that the leaf curves alternately difficult, even after four years’ serious study of the
to the right and to the left. This shape and its subject in Greece, to assign each group to its
reversal suggest that it might have been adapted particular locality. This is, perhaps, to be
from a tile design. A number of borders were accounted for by the fact that some new examples
constructed on these lines, and all are alike in that are usually produced to disarrange all previous
they show very little of the linen ground. They classification at the moment when most of the
are usually in strong colours, with much green difficulties appear solved. Both fig. 5 and fig. 8
introduced, but unlike fig. 2 are worked in long, were such perplexing examples. Fig. 8 is a
loose double-darning stitch (see stitch in fig. 5),11 specimen found on the island of Skyros, one of a
and they were, it is said, worked originally to collection of a dozen or more which is known to
decorate the ends of the women's aprons when have belonged to an island family for over 200
peasant costume was more universally worn. years (at least) and which was only now sold
Of the less vigorously coloured varieties perhaps because of a bad harvest. It is identical in
the most characteristic is that known as ‘ fad' colouring and workmanship with fig. 10, which is
Janina. Figs. 8 and 10 are both of this type and certainly of the type most usually considered as
are in the usual fine double-darning stitch. The Janina, Some of the other examples in the
red in these is much softer and darker, a wine- collection closely resemble the narrower strip in
coloured crimson, as compared with the real red fig. 7, and many of them are strongly reminiscent
of the first-named class ; with it a mustard yellow of Persian work. As some good Persian and
is used in about equal proportions, and in lesser Rhodian plates were sold at the same time by this
quantities pale blue, cinnamon and black. This family, it seems almost certain that the motives in
combination of colours is unusual and is easily the embroideries were suggested by pottery. One
recognized by the predominant yellow. The design specimen is clearly Rhodian needlework, and
is often a ‘powdering' made up of elaborately- detail has evidently been added at a later date by
patterned birds, like those in fig. 10, and of cone- the Skyros islander.
shaped ornaments like the flowers under the claws Fig. 5 is one of five specimens which opened
of the bird and those in fig. 8. up a variety of new problems. They were brought
Last, there are the endless, many-hued, pale- in to a dealer in Athens, with the assurance that
coloured varieties into which silver and gold are they were very old Janina, and yet they differ
often introduced (fig. 6). They are usually worked widely from the accepted type. This example was
in some fine close stitch, which is alike on the certainly worked under strong Turkish influence,
face and on the reverse side. Fig. 3 is worked in as the Cyprus trees show. The same narrow
tent stitch, and sometimes double cross-stitch is border occurs on two of the others, whilst their
used. Perhaps the most usual method of obtain¬ centres are totally different, one being like the
ing the close effect is the following, which, though closely worked dark bands embroidered for aprons
it appears complicated on paper, in actual practice referred to above, while the other has large
is exceedingly easy to manipulate. Small stitches serrated peonies, which are absolutely unusual.
are placed diagonally, as if they were the upright Fig. 5 also closely resembles two examples in the
lines of a flight of steps, the silk on the wrong South Kensington Museum, which are, on the
side passing at right angles ; on the return the other hand, like the work done in Turkish
intermediate uncovered spaces are filled in, that is, territory, or in the islands off the coast of Asia
the tread of the steps is completed ; the second Minor. It is probable that the example repre¬
sented in fig. 5 was worked by Europeans, possibly
11 Belonging to L. F. Pesel. Worked in many colours in loose
double-darning and outline stitches. Greeks, living in Turkish territory, and that fig. 2

34
T If ►
(7) TWO PIECES OF JANINA EMBROIDERY (io) DOUBLE DARNING ON LINEN
IN THE VICTORIA AND ALBERT MUSEUM IN THE POSSESSION OF THE OLD ORIENT, ATHENS
 The so-called 4 Janina ’ Embroideries
and similar pieces were worked by dwellers in might go by the name of Anatolian; that
some Balkan state, because the stitch is known examples such as fig. 3 were also worked in
in that district, as it occurs in Bulgarian em¬ Asia Minor, possibly as far south as Syria ; whilst
broidery, in which the same leaf form is also to smaller scarves, sashes and covers in the same
be found. style were copied also in the islands off the coast
Dr. Sarre in his Reise in Klein Asicn gives some (fig. 6) and in Turkey. The very fine pieces with
account of the embroidery he found in the Cyprus trees and houses are certainly Turkish,
interior, and the examples he shows are closely and were worked in all parts of the empire.
allied to what is found in Anatolia and in Turkey Specimens such as fig. 2 and fig. 5 come from
in Europe, the Balkans, and in parts of Greece. the northern portion of the empire, but were in
The work he saw was used for the same purposes : all likelihood not worked by Turks.
as curtains, bed covers, sash and towel ends. The What is left to call Janina proper ? It becomes
use of the same stitches prevails, and the colourings a very small amount compared with the original
are alike, as both the blue and red and the many group. There remain the smaller red and blue
hued pale varieties are found. The crimson and single-darned examples worked as borders (figs. 7
yellow ‘fad’ Janina and the very vigorous and 9) and table covers, the double-darned sash
colouring of some of the northern examples are and towel ends, and the ‘ fad ’ crimson and

»
thus the only missing types. yellow work in the very close double-darning
This leads to the following conclusions : That (figs. 8 and 10). Even this last may, on further
the big red and blue darned curtains, such as examination, have to be taken away and given to
fig. i, were probably made on the mainland, Skyros, which would render ‘true Janina' a very
where there would be the greatest wealth, and rare and precious article.

THE BODEGONES AND EARLY WORKS OF

VELAZQUEZ—II. BY SIR J. C. ROBINSON, C.B.
THE KITCHEN plainable and difficult to define in words. Perhaps
there is only one other painter who has succeeded
w O those who are not familiar in expressing this supreme quality of art in the
‘JP with ‘ Cosas de Espaiia ’— same degree, combined at the same time with
Spanish things and ways— perfect appreciation of the artificial rendering of
this composition may seem light and shade—need it be said that artist was
SjA to require an explanation of Rembrandt ? Concerning this analogy, it seems
Jill ^le aPParenfiy incongruous to the writer rather strange that hitherto no one
r>71 association of objects, animate appears to have thought of instituting a parallel
and inanimate, brought to¬ between these two great contemporary luminaries
gether in picturesque confusion. In reality the of the world of art.
picture is supposed to represent an outhouse or Born within a year of each other, in different
ante-room to the kitchen of a countryposada—open and widely separate countries, which moreover dur¬
winter and summer to the outer air, the temporary ing their entire lives were agitated by a continuous
place of deposit of water-jars, pitchers, metal warfare and religious discordance, it is not
cooking pots of all kinds, etc., the larder for the surprising that there is no evidence that the
time being, and a free warren for domestic fowls two painters ever knew anything of each other or
and sometimes the tame goat or the pet merino even saw any of each other’s productions. The
sheep. Here again the favourite artifice of the analogies in their works are surely, then, all the
painter is seen admirably illustrated by a vista of more surprising.
the kitchen beyond, with its cooking stove and This picture may be considered as the culminat¬
open window with a woman looking out of it. ing work of the bodegon period of Velazquez (the
Need it be said again that this recurrent motive, direct analogy, in all technical respects, with the
making its first appearance in the Martha and same characteristic features of the Beggar with the
Mary and repeated in the present work, forms a Wine Bottle, previously described, stamps it with
connecting link with the crowning works of the certainty as belonging to the same period)
immortal artist—I.as Hilandcras and Las Mannas / immediately antecedent to the removal of the
In all these compositions it is displayed as a painter to Madrid.
pictorial artifice, intended to illustrate the grada¬
tion of atmospheric effect—the clothing of every THE El (HIT AT THE FAIR
object depicted with a surrounding atmosphere, The strange chances of the sales by auction at
gradated with infinite subtlety and truth to Messrs. Christie’s could not be better exemplified
nature: it 1^ tin- aerial effect, el ambiente <>f the than by a recital of the circumstances of the sale
Spanish writers, felt and understood but unex¬ of the picture last described and that now in

39
Early Works of V?lazquez
question. Both pictures saw the light in the sale fact, breaking entirely new ground. Here, for the
of the collection of Mr. Reginald Cholmondeley, first time, in addition to the splendid profusion of
of Condover Hall, Shropshire, on March 6th, 1897 ; inanimate objects, introduced for purely decorative
but whereas the former work realised the respect¬ effect, we have, superaddedand skilfully interwoven
able price of .£1,407, the latter was ‘knocked with the fundamental scheme of the work, a
down’ for .£26 15s. 6d. only. The reason for definite story of life-like human action, charac¬
this strange discrepancy, however, is obvious. It terised by admirable dramatic effect and passionate
is that the first-named picture was truly described expression. The young Spanish painter had im¬
in the auction catalogue as ‘by Velazquez,' proved upon his models. Velazquez, in fact, was no
whereas the latter work was simply described imitator; if he condescended to borrow from
as of the ‘ Flemish school.' his contemporaries, the world at large was the
In default of any information as to their gainer.
previous history, an indication afforded by the It is reasonable to suppose that Velazquez, whose
present picture shows, however, that it could not artistic horizon previous to his first visit to
have left Spain earlier than towards the end of the Madrid had been very limited, found a vastly
18th or beginning of the 19th century, since the augmented field of view opened to him when he
carved and gilded frame in which it is placed is of saw the works of foreign masters, amongst whom
a characteristic Spanish type, evidently made for it were the Flemish bodegon painters, De Vos and
in the country at the period mentioned. There Snyders, fellow subjects with himself of the crown
can be little doubt that both pictures were brought of Spain.
to England during, or shortly after, the war, when On this supposition it is clearly to be inferred
they probably came at once into the possession of that the kitchen picture at Richmond and the
the Shropshire squire whose ancestral walls they present work were the result of his visit to Madrid,
for a time adorned. and were commenced in Seville immediately after
These two pictures are the largest known his return in 1622. They were probably the most
bodegon pictures of the painter, and that they elaborate and arduous undertakings which the
were painted nearly at the ’same time, perhaps painter had until then taken in hand.
contemporaneously, is obvious. There is, however, It has been said that the present work shows the
a qualification to be made ; in the present work co-operation of another and a weaker hand than
there is unmistakable evidence of the employment, that of the master himself. The feebly drawn,
in portions of the picture, of another and a characterless and thinly painted central figure of
weaker hand than that of the master himself. the peace-maker, and several of the heads in the
To this evidence reference will be made further background, are so entirely unlike and so inferior
on. in every respect to those in the rest of the compo¬
Meanwhile it should be noted that there is in sition, as to render it certain that, although the
these pictures an obvious analogy, denoting an master himself doubtless invented and drew them
unquestionable acquaintance on the part of the on the canvas, they must have been actually painted
artist with certain works of contemporary Flemish by another hand. May not that hand have been
painters, notably of the two well-known and that of Pacheco ?
eminent still life and animal painters, Snyders and On the supposition, then, that the composition,
de Vos—and the cause is not far to seek. Philip originating in rivalry with the Flemish still life
III, during whose period the earlier works of pictures which Velazquez had seen on his first visit
Velazquez were executed, had been an especial to Madrid in 1622, was taken in hand immediately
patron of the two Flemish painters, and the royal on his return to Seville, this great canvas may well
palaces had been adorned wit-h numerous pictures have been unfinished when he was suddenly called
from their hands. to Madrid in the following year.
Furthermore the taste for their works had It is needless to describe the picture—it tells its
become an established one amongst the wealthy own story. A quarrel at a market or a fair has
Spanish nobility—their canvases of large dimen¬ brought on one of those sudden tumults to which
sions, essentially decorative in their nature, were Spanish people are subject. Fortunately in this
an excellent and probably less costly substitute for rendering the ever-ready navajo makes no
the tapestry hangings which had hitherto clothed appearance, and there is nothing in it to detract
the vast saloons and galleries of the Spanish from the humorous nature of the subject.
nobility. Many such works, in fact, remain to As regards the admirable painting of the dead
this day where they were originally placed, in the game, fruit, etc., it should again be pointed out
royal palaces and great houses of Spain. that they were evidently painted by the same hand
Velazquez, however, although to some extent as the corresponding details in the kitchen picture,
prompted by the production of these works, was a and equally that the pots and pans in The Fight at
conscious and independent rival, notan imitator, of the Fair and those in the Steward picture are the
their painters. In the present picture we see him, in work of one and the same hand.

40
 THIS KITCHEN', ATTRIBUTED TO VELAZQUEZ,
IN THE COLLECTION OE SIR FREDERICK COOK, DART.

THE Moll r A T THE E AIK. \ rTKini 11 i» ro \ i i wit A I*A« III

IN TIIE COM.ECTIon *>E hIK I. C. MOUINSUN, c I).

THE RECONCILIATION OF HENRY OF NAVARRE AND HENRY III PASTEL PORTRAIT OF NANCY BARRELL, BY J. S. COPLEY
FROM THE SKETCH BY RUBENS IN THE POSSESSION OF MR. F. SABIN
 NOTES ON VARIOUS WORKS OF ART cK>
A SKETCH BY RUBENS Mark’s itself ; SS. Giovanni e Paolo ; the Frari,
A LITTLE sketch in oil on panel which, by the and San Francesco della Vigna are in the hands
courtesy of the owner, Mr. Frank Sabin, we are of architects and masons, and some years must
permitted to publish, should be of some interest elapse ere they will be finished and free of
scaffolding and other obstructions. The Ducal
to students of Rubens. It is obviously related to
Palace is also undergoing a very thorough over¬
the famous series of paintings in the Louvre,
executed to celebrate the marriage of Henri IV hauling, and in many a place interesting and
with Marie de' Medici, and may be regarded as a unexpected discoveries are being made. In one
sketch for one of those compositions which was direction a hidden window has revealed how the
never carried out. The incident recorded is the kitchen could be spied on, and any attempt to
reconciliation of Henry of Navarre with Henry 111 tamper with the Doge’s food or poison him could
after the assassination of Henry of Guise. The be controlled by those who were careful for the
king of Navarre went to this meeting in full safety of the head of the state. Another discovery,
armour, as the sketch records, and behind the two in the prisons, was that of a stone in the wall of
monarchs rage figures symbolizing the hostility of one of the cells with a quantity of small holes all
the League, which just two month later was to round and about it, which*had been drilled by the
result in the assassination of one of them, and luckless victim inside, who must have worked for
years to obtain release. Did he ever gain it, we
thereby open the way to the kingdom of France
wonder ? And was it an act of grace, or the
for the other.
friendly hand of death which freed him in the
THE PICTURE AT CHATSWORTH AS¬ end ? We shall probably never know, for all
CRIBED TO JOHN VAN EYCK research to discover who this prisoner was has so
far proved in vain. The most strange and inter¬
I have read Mr. Marks’s letter in your last num¬
esting discovery, however, is one made in a room
ber with much interest and think he has cleared
which is now part of the Museo Archeologico, but
up the mystery. The enthronement of Saint
served as the bedroom of the Doges till the reign of
Thomas and the inscription being on one panel, it
Andrea Gritti in 1523. This room has a high alcove
would appear that they were either painted by the
facing the windows, and under this alcove the bed
same person or that the inscription is painted over
always stood. Beyond the wall against which
something else. It is quite clear that it was
the bed was placed was a room set apart for the
copied from that on the portrait No. 222 in the
Doge’s attendant, and it is in this room that only
National Gallery and therefore when both paint¬
a few months ago two narrow staircases were
ings were either in Lord Arundel's possession or in
found between these two rooms. These staircases
that of the person from whom he acquired them.
led up to a narrow gallery whence, on removing
Lord Arundel had a mania for Anglicising pic¬
two panels in the alcove, the intruder could look
tures, e.g. the vera effigies of St. Thomas, and the
down on the Doge and ascertain for himself that
so-called Departure of St. Ursula. He had also
he was really in bed, and not either absent
a cup which is described as the Cup of Saint
‘ without leave' or engaged in transactions that
Thomas, I think now at Corby Castle. It would
might be considered nefarious. Tradition had
be interesting to have a proof of its genuineness.
long hinted at the existence of these staircases
But to return to the two Chatsworth paintings.
and the supervision said to have been exercised
Who can have painted them ? I can only think of
over Venice's ‘ Dux,’ but not till last October,
one person by whom they may possibly have been
when the staircases were found, did tradition
executed, Dirk Barentsz, alias Theodore Bcrnardi,
give place to certainty and the legend become an
of Amsterdam, who came to England in 1519 and
established fact. Standing in the Doge’s room, it
seems to have remained here. He worked for
is easy to see in the alcove which were the two
churches in Sussex and Hampshire. There is a
movable panels, but the staircases have been walled
series of panel pictures by him at Amberley Castle
up again and all trace of their existence, and of
and other works at Boxgrove priory church and in
the suspicious distrust which was practised on their
the palace and cathedral, these last the most ambi¬
prince by Venetians of old, has been entirely swept
tious. It is now more than forty years ago since
I saw them and therefore cannot give any opinion
away. ALETHEA VVlEL.
as to similarity of treatment, but it would certainly
be interesting to ascertain whether they point to CHARLES LOTZ
a common origin. W. H. J. WEALE.
Dr. Kammerer, of Budapest, asks 11s to insert
the following note :
RECENT DISCOVERIES IN VENICE The ‘Art Affairs in Germany/ in the February
Ever since the fall of the Campanile of S. Mark’s number of The Burlington Magazine, con¬
in Venice in 1902, the work of restoration both in tained a reference to the ‘ Museum of Fine Arts'
private and public buildings has gone on steadily at Budapest. This museum was founded as a
and quietly. Every one of the chief churches, S. millenary memorial of Hungary’s existence and, as

45
 fotes on Various Jfrorks of zArt
everything related with it refers to Hungary and English painters and graphical art. However,
Hungarian endeavours in Hungarian art culture, national sentiment demands honour for the
it strikes me as incorrect to see it mentioned in native art of its own country, and above all for
connection with the Austrian Emperor and the those who, by their own wish, remained with
German Empire. their art in the service of their country.
This national foundation does not, however, Such a giant among artists was Charles Lotz, one
exclude the recognition and appreciation of results of the greatest talents of his century. If he
and successes obtained abroad ; moreover, their remained with his work—which consisted mostly
observation is, in the interests of Hungarian art of immovable frescoes—in his own country and
culture, one of its aims. Thus in the modern made no effort for a more remunerative European
collection of the museum, foreign art, such as the estimation, that only entitles him to a higher degree
English, French, German, Austrian, Dutch, Italian of national appreciation, and worthy protection of
and Spanish paintings, are represented in greater his memory and art. Certain it is, however, that
number than in any other collection in Europe. the analogy of the later purchase of the work with
This is explained by the remote situation of that of the famous Adolf Menzel occured to no
Hungary and the endeavour to keep in touch one. Menzel with his historical direction was of
with the art progress of the rest of Europe. influence upon his nation, whilst Lotz, rambling
For example, especial pains, and indeed great and in the free groves of mythology and symbolism,
extraordinary means, have been employed during never desired to bring forth and nourish feelings
the last years to secure worthy representation of either chauvinistic or political.

^ LETTER TO THE EDITOR

MR. JOHNSON’S VAN EYCK note the sole to the left foot in the original, the
Johnson picture—a comparison of the feet of
To the Editor of The Burlington Magazine.
St. Francis is, for purely artistic reasons, as con¬
Sir,—In his brief answer to the letter of Mr. vincing evidence of the Turin example being a
Ricketts, published in the September issue of the copy, and not a very good one. In it the hands
Burlington, Mr. Mather pointed out an error of of the Saint have become puggy and entirely
Mr. Ricketts’s based upon your reproduction of lacking in the determinate, expressive drawing,
the Van Eyck, St. Francis Receiving the Stigmata, the unmistakable Van Eyck air of the hands in
in the Johnson collection. To one who knows the little picture, where the head of Francis,
the picture, and values Mr. Ricketts’s judgment, it beautiful in colour, is drawn and modelled in a
is evident that the original is unknown to him. masteily way. Sir Martin Conway and Mr.
Photographing so finely finished a miniature Weale, who know well both pictures, agree both
work (14 x 12 centimetres) is an extremely difficult with Mr. Fry and the writer that in the Johnson
task, and, the photograph sent you being not quite example this face is expressive and full of
successful, your reproduction could be little more character.1 It certainly has a grave, earnest in¬
than a diagram giving certain valuable facts, but dividuality which is entirely lacking in the enlarge¬
misleading as to others, and inadequate to convey ment, where the folds of the drapery, the rocks,
a sense of the quality of the work. From the which in the small picture are firmly ecrits, voidns,
Turin example, if only because of its larger size have lost their decision, their vitality and are mous
(28x33 centimetres), it was easier to get a good and inexpressive. But, as Mr. Hymans has
result, and Alinari’s photograph is a model of pointed out,2 it is the distance which is admirable
what a black-and-white translation of an original in the Johnson picture, and there most clearly
in colour can be ; therefore, in so far as photo¬ does the Alinari photograph show the inferiority
graphy can do so, it furnishes an excellent basis of the larger example. Who but Van Eyck could
of study. I doubt whether an examination of have realized in so beautiful and authoritative a
these two photographs would justify Mr. Ricketts’s manner the contrast of airy sunshine in the back¬
conclusions, but with the Alinari reproduction in ground with the warm gold brown tone of the
hand, and the Johnson panel under my eye, I foreground, where a scene of enormous ispiritual
venture to think that were Mr. Ricketts in my importance is taking place ? In one picture there
place he would give the very same reasons in is a subtle, perfect rendering of the conception ; in
favour of the Philadelphia example that he has
given in favour of the Turin picture. While 1 1 The Turin picture is most certainly an enlargement of
noting a most significant fact which has escaped Mr. Johnson’s panel. The Saint’s face has less individuality, his
him—that in the larger picture brother Leo has left hand and feet are weaker, etc.’—Weale.
‘The admirable face of St. Francis is a countenance visibly
two right feet, the careless copyist having failed to inspired.’—Sir Martin Conway.
observe that the friar’s legs are crossed, and to 2 1 Gazette des Beaux-Arts,’ 1888. Vol. xxxvn, p. 78, etc.

46
 Mr. John G. Johnson's Van Eyck
the other heaviness and gaucherie, the earmarks of exact meaning3 (was the reference to one or two
the copyist. In the way the planes are established, pictures ?), until, hearing for the first time of the
the sense of distance, the forms and outlines of little picture, he went to see it in 1886 at London
the mountains, in the town big as a thumbnail, and came to the conclusion that the Heytesbury
and which in spite of the minutest detail is a big and the Turin were the two pictures named in
thing holding together, in the ensemble as in the the will. But the Turin example was labelled
detail, the sense of exquisite quality which Flemish school until 1883, when the Adornes will
permeates the Johnson picture is absent from the brought attention to it. Knackfuss strongly
Turin example. To find an equivalent to such doubts its authenticity, and Mr. Weale, who had
delicacy of touch allied to such precision, to the seen and studied it before, but has examined it
luminosity, the grave beauty of this scene, one again and closely of late, wrote to the writer that
must go to the background of the Vicrgc an it surely is a copy painted after Jan’s death. The
Donateur in the Louvre, and to that of theMadonna question is further complicated by the fact that
with Saint Anne in the collection of Baron G. de the pictures could not have been painted for
Rothschild in Paris. Lastly there is no such Adornes, who was only fifteen years old when
spottiness in the original as Mr. Ricketts saw in the master died in 1440. Agreeing that the will
the reproduction, but all students are familiar with meant two pictures, the lack of quality of the
photographs of the central panel of the Adoration Turin enlargement and its evidence of ganclie
of the Lamb showing a spottiness which does not copying are after all decisive in precluding any
exist in the original. possibility of its being Jan Van Eyck’s handi¬
When in the possession of Lord Heytesbury the work. And but for the will, 1 doubt that the
small panel was seen by Waagen and by Crowe, Johnson example should have been given to Jan,
who both attributed it to Van Eyck.3 It was for it has a depth of feeling, a profound receuille-
exhibited at the British Institution in 1865 and in inent which have been associated with Hubert,
1886 at Burlington House, when Sir J. C. Robinson and Hubert alone. Sir Martin Conway concurs
and Mr. Weale among others wrote at length in that opinion. The fact that it was bought at
about it in the Times.4 But none of these Lisbon when Lord Heytesbury was ambassador
writers have seen it in its present restored con¬ to Portugal, and the presence of the palmetto
dition. The additions on the four sides having (chamaerops humilis), which is found below latitude
been removed, the panel, which was 24 x 16 43 and is common in Southern Spain and
centimetres, is now 14 x 12, and the composition Portugal, made Sir Charles Robinson and Mr.
within the frame is as the artist intended it. The Alfred Marks, among others, think it the work
unhappy repaints have been (because most care¬ of Jan because of his having gone to Lisbon in
fully perhaps not entirely) removed, but the 1428 in company with Messirede Roubaix to paint
original work of the upper part of Leo’s body and the portrait of La Belle Portugalaise—Isabel of
his head, which had been so coarsely repainted Portugal—the intended bride of his patron, Duke
that even the outlines were lost, and of the head Philippe le Bon of Burgundy. While the ordon-
and face of St. Francis, which had been balafres nances given by Philippe on Jan’s behalf tell,
with brutal repaints, was found in excellent con¬ besides this mission to Portugal, of Moingtains
dition when these additions were removed. voiaiges,’ of 1 pelerinages ’ and ‘ estrangeres
Is the Johnson example by Hubert or by Jan ? marches,’ we know of no documents proving
The Adornes will, so much cited, seems to me still that Hubert ever travelled. Yet the consensus
equivocal, at least in the French translation Mr. of expert opinion is that other pictures in which
Hymans gives of the old Flemish text : ‘ Je legue the palmetto appears, the Three Marys of the Sir
a chacune de mes filles, Marguerite et Louise, Francis Cook collection, the Fountain of the Living
toutes deux religieuses, l'une au couvent de Waters known to us by its copy in the Prado, the
Chartreuses pr6s de Bruges, l’autre a Saint Trond, panel in the Copenhagen Royal Gallery, are his work
un petit tableau representant Saint Francois and not that of Jan. Sir Martin Conway, who
du au pinceau de Jan Van Eyck. . . Mr. believes Hubert to have been a painter of minia¬
Hymans was puzzled and wondered about the tures who took to painting pictures on panel in
•Waagen ‘Treasures.’ London, J. Murray, 1854-7, Vol. iv, his newly invented or perfected method, thinks
p. 389. the Johnson picture an example of Hubert’s
Crowe in his revision of Kugler (London, J. Murray, 1874, p. 67)
says the picture ‘ is remarkable for its solid and delicate execution, miniature style applied to oil painting, and there¬
the depth and fullness of its warm tone.’ fore a very early work. In the town of the back¬
* The Atheturum of January 9th, 1886, calls it ‘a jewel which ground Mr. Hymans recognises Assisi, which is
has found place within two feet of the floor, although even the
place of honour would not be too good for its merits or its rarity.' represented in the same way as on a plate in
Sir J. C. Robinson's letter is too long to be quoted, but to show M. Plon’s book® and in a painting of St. Sebastian
how he valued the quality of the work it need only be said that
if it should be found that Van Eyck was not its author, it must, • Hy. Hymans in 1 Bulletin ties Commissions Royales d'Art
in his opinion, be given by general acclaim to Antunello da et d’Archtologic de Belgique,’ 1883.
Messina. • ‘St. Francisd'Assisi,’ Paris, 1885 p. 80.

D 47
Mr. John G. Johnson's Van Eyck
by Niccolo Alunno, belonging to the Abb6 Wolff, executed in Flanders before the end of the fifteenth
at Calcar. How did the artist get this view ? At century, when the Franciscans there were Grey-
any rate, the snowy Alps in the distance bear friars. It is regrettable that its being on this side
further proof that the work could not be that of a of the ocean makes it little likely that the best
man who had spent his life in the Low Countries. authorities will see it in its restored condition and
Mr. Weale has also pointed out that in the solve the many and interesting problems it brings
Johnson example the Saint and Leo are repre¬ up.8 August F. Jaccaci.
sented in the habits of the reformed Franciscans:
brown for the choir brother, black for the lay 8 It is worth noting that the will of Anselm Adornes, Lord of
brother,7 and that the reformed Franciscans were Corthing, which is dated February loth, T476, after mentioning
the legacy of the picture (or pictures) by Jan Van Eyck stated
not introduced into Flanders until the end of the that on the shutters with which the picture was (or were)
fifteenth century. In the Turin picture both provided there should be painted his portrait and that of his
habits are grey, which may suggest that the deceased wife, Marguerite Van der Bank. As Adornes was
starting on a pilgrimage to the Holy Land, it is therefore clear that
original was painted south and that the copy was the portraits could not be painted from life. Mr. Hymans thinks
7 This black habit of Leo was thought by Sir J. C. Robinson that they were painted by Memlinc. At any rate he has found
to be the Benedictine habit of aBlackfriar (The Times, February the drawings of these portraits in the collection of Count
i, 1886). Thierry de Leinburg-Stirum. (Gazette des Beaux-Arts cited above

ART BOOKS OF THE MONTH

THE ART OF THE NETHERLANDS the history of the Virgin, lent by Spain to the
Paris Exhibition of 1900, to find anything of
Tapisseries et Sculptures Bruxelloises. similar quality. Difficult problems are raised by
Par Joseph Destree. Bruxelles : G. Van Oest. the interesting piece in twenty-six panels, from
the cathedral of Aix, which dates from the year
Fr- 75-
1511, and was once part of the decorations of
This magnificent publication by the Keeper of the the cathedral of Canterbury but was sold in Paris
Royal Museum of Instructive and Decorative Art during the Commonwealth for the ridiculous price
is a memorial of the remarkable exhibition held at of twelve hundred crowns. Once more we find
Brussels in 1905. Such memorial exhibitions as ourselves in agreement with the editor, who doubts
this make it possible to collect together works of the theory that the designer was Quentin Matsys :
art which in no other circumstances could be seen the attribution to the school of Brabant seems
or studied in connection with each other, as the much more prudent.
example set by the Burlington Fine Arts Club in It is impossible to discuss in detail the
England has for many years conclusively shown. remainder of the tapestries illustrated, more than
As was natural in Brussels, tapestries were the thirty in number, though a word of praise must
most striking feature of the exhibition, their im¬ be given to the excellence of the plates, and
portance being increased by loans from private especially to those which are reproduced in
collectors, not only in France and Belgium, but colour. The colour and quality of the old tapes¬
in England and America—South Kensington tries are not easy things to match, but those who
Museum, Lord Iveagh and Mr. Pierpont Morgan fail to be pleased with the portion of the Bathsheba
being prominent contributors. belonging to the city of Brussels, which is
With a sense of method which is too often reproduced here, must indeed be hard to satisfy.
wanting in those who compose works of this kind, The elaborate carved altarpieces of the fifteenth
M. Destree has arranged the tapestries in chrono¬ and sixteenth centuries are less attractive from an
logical order, so that with the aid of his sumptuous artistic point of view, although from their close
publication we are enabled to follow the course of relation to the painting of the period, as well as
tapestry-weaving from the second half of the from the extraordinary skill displayed in their
fifteenth to the eighteenth century. As the editor execution, they have an uncommon interest for
points out, it is to the influence of Hugo van der students. In them we see the FlenFsh instinct
Goes rather than to that of Rogier van der for richness of ornament and wealth of detail
Weyden that we should look in connection with running riot, until the result, with all its spirited
the authorship of the two early tapestries lent by observation and dramatic character, ceases almost
the Gobelins Factory. Among the most remark¬ to be sculpture at all. As typical examples of this
able of the other early pieces are the famous transformation of sculpture into painting we may
Royaume des Cieux in Mr. Pierpont Morgan’s quote the panels representing the martyrdom of
collection and the Presentation of Jesus Christ in St. Adrien from the church of Boendael, Ixelles.
the possession of M. Martin Leroy,-both showing Infinitely preferable as sculpture are the three
an unusual delicacy of workmanship, as well as a noble figures which surmount the branches of the
certain refinement of type, which point to a French Pascal candlestick at Leau, which succeed in
designer. We have to go to the series illustrating being at once simple and passionate. The candle-

48
 fhe Art of the Netherlands
stick, which is of brass, was made in 1483 by very slight pretexts, of extraneous matter in both
Renier Van Thienen. text and illustrations : Diirer, Schongauer, Beham,
etc., the reproductions after whom could well
Le Genre Satirique dans la Peinture Fla- have been spared for larger-scale blocks of works
MANDE. Par L. Maeterlinck. Deuxieme really important to the argument. The fact that
edition, revue, corrigee et considerablement M. Maeterlinck’s page measures 10 x 7 inches did
augmentee. Bruxelles : G. Van Oest. Fr. 10. not prevent the use, for plates, of blocks x 2i
Whilst the title chosen for this pleasantly written (pi. x), 4i X 3 (p!. xliv) and 2% x 4 (pi. li), the
if diffuse account of the lighter side of south latter from a work in the Ghent Museum !
Netherlandish art was, doubtless, a convenient The author’s method is the safest under the
one, ‘ Les Genres Satiriques ’ would have better circumstances : descriptive and expository ; but
described the combination the author had in view, his references leave one a little in doubt as to the
and would have avoided needless ambiguity in a scope and nature of his own researches. A ‘ Liste
language so expressive of artistic and critical des Manuscrits consultes ’ refers to works in four¬
nuances as the French. Here we have pure satire teen libraries : seven in the Low Countries, five
or caricature, the grotesque, and a large—an un¬ French, the British Museum and the Vatican ;
duly large—admixture of ‘scenes de moeurs,’ their but the Ypres Ivuerbouc (p. 59) is omitted—and
ingredients comic in very varying proportions. can it be that a journey to Italy has only re¬
In spite of the similarity of the means employed, vealed to him two works worth citation in that
and their dependence for results upon the object of country ?
their application only, their combination for his¬ The patronizing tone occasionally adopted with
torical purposes seems to give an inflated presen¬ regard to savants of repute (‘ comme le dit fort
tation and a false perspective to each. In a treat¬ bien Sir E. Maunde Thompson ') is amusing in
ment of the subjects ranging from the Romans a work which one cannot help regarding as
to the nineteenth century, the objective seems ever largely a compilation. A. V. D. P.
changing, whilst the material studied, though
testifying that the mediaeval Netherlander had an L’Ecole Belge de Peinture. 1830-1905.
eye no less keen for the grotesque than his neigh¬ Par Camille Lemonnier. Bruxelles: G. Van
bours, does not very well prepare us for the Oest. Fr. 20.
extraordinary phenomena of Bosch and the The art of modern Belgium, at least in its most
Brueghels. One would be content to commence striking manifestations, has made its reputation
the tale but a little previous to them, or to make a in Paris, and is thus commonly confounded with
selection of the items that really lead up to their the art of France. That, at least, is the case with
appearance, and to cut the padding. And a Belgian painting. Belgian sculptors have been
tendency discernible it would have been well to more successful in retaining their nationality, not
guard against : the disposition to find the comic only where, as in the case of Lambeaux, we can
in what is not and never was intended to be trace something of the old full-blooded Flemish
comical or grotesque. In our view, there is spirit, but where, as with Constantine Meunier,
absolutely no trace of either in the well-known we meet with a gravity and austerity that have
miniature ‘ Le due de Berry a table ’ (‘ Tr'cs Riches nothing in common with the general tradition of
Hcurcs’), here illustrated, or in those chosen from the race. The triumphs of the earlier painters of
the calendar of the same MS. It is true that in the century, such as Wappers and Gallait, were
the former case M. Maeterlinck spies the ‘ note Belgian in character and were gained in Belgium,
comique ’ only in the toy dogs admitted by the while in the succeeding age, that of Leys and De
duke among the dishes on his board, but the case Braekcleer, the national character was even more
is poorly presented that requires such witnesses. strongly marked, so much so that these might
In connection with the Arnolfiniand their picture, fairly be called the representative Belgian masters
the author indeed avoids the pitfall of making the of the century. Alfred Stevens was in reality the
Luccan merchant and his lady employ John van child of his adopted city, Paris. M. Camille
Eyck to caricature them, though we are to infer Lemonnier’s study of the gradual development of
that the painter did so unconsciously—or of what Belgian painting is a careful piece of writing,
value is M. Maeterlinck’s remark that the pair supplemented by a number of good reproductions,
and their chattels form ‘une page charmante de among which two—an example of Leys and the
la vie familiale au moyen age, pleine d'observations frontispiece after Stevens’s La Visite—tell with
amusantes faisant certainement songer a nos particular force. It is perhaps rather too crowded
inimitables peintres satiriques flamands' ? On a with names and facts for the purpose of the
point of mere accuracy, also, can both the Arnol- general reader, especially since many of the
iini be described as ‘ venant d’ltalie ' ? painters dealt with have little historical interest,
To the occasional nakedness of the land must, and none at all from the artistic point of view ;
we suppose, be attributed the inclusion, upon but it has the merit of being thorough, and

49
The Art of the Netherlands
. \
thoroughness in books of such importance is more with whom he is frequently confused, or to deal
valuable than any generalizations, however facile. in any fullness with his etched work or his admir¬
able drawings. Nor would one or two illustrations
Fernand Khnopff. Par L. Dumont-Wilden. of this side of his talent have been amiss, if only
Brussels : G. Van Oest. to act as relief to the long series of paintings.
As the author points out, Khnopff is an isolated
phenomenon in the art of modern Belgium.
While his contemporaries immerse themselves in
COLLECTIONS OF PICTURES
the life of their age and country, he is a recluse; Tableaux Inedits ou Peu Connus. Tires de
while they revel in tangible and material subjects, Collections Franpaises. 56 Planches en
he muses in the world of allegory and suggestion. Phototypie avec Notices et Index. Par
The text of this book is really less instructive than
Salomon Reinach. Paris: L6vy.
the excellent illustrations, for while it explains the This is a book of no common interest. M. Salo¬
painter’s theory of himself, we have to trace the
mon Reinach has done good service to the cause
growth of his work almost entirely from the
of art in many ways, and, though the origin of
pictures. Khnopff is not a popular artist: even in
this handsome work must be traced to his great
his own country he inspires, perhaps, more scheme for making a record of all existing pictures,
curiosity than affection. We might even doubt
the result is far from being a mere scrapbook.
the sincerity of his work, did we not remember
With but few exceptions, the fifty-six plates illus¬
that, though he differs outwardly from his country¬
trate paintings upon which criticism has not yet
men, it is from his Belgian blood that he draws a
said the last word, the arguments for and against
certain preference for complete materialization,
the attribution of each picture are carefully
which, while it sets off his technical cleverness, is
summed up in the editor’s notes, while the plates
a drawback when he tries to paint the invisible.
are large enough and clear enough for those who
Without models, as his dry-points prove, he be¬
do not know the originals to obtain a fair idea of
comes amateurish and feebie ; when working from
them, and to form an opinion upon the points at
the model he is hard, precise and cold. His
issue.
recollections of Tissot, Gustave Moreau, and of
The volume might thus almost be termed an
English genre painting of the eighties have not
*■ introduction to modern expert criticism, and we
taught him what constitutes a really good picture,
have been particularly struck with the soundness
and he is satisfied with his work ; these seem to be
of judgment displayed by the editor in deciding
the causes of his failure to reach the complete
between the conflicting views of the authorities he
success which such a talent might attain under
quotes. There are but few cases in which we find
happier auspices. It is unfortunate that his excur¬
it possible to question his conclusions, and it is
sions into landscape have not been more frequent,
only here and there that we can supplement even
for it is in this field and in the portraiture of
in the smallest degree his amazing range of know¬
children that the various elements of his nature
ledge. In connection with the portrait of Bianca
combine most harmoniously.
Maria Sforza (36) it may be mentioned that there
is a much superior portrait of the same kind in
Van Dyck. By Lionel Gust, M.V.O. London: the collection of Mr. P. A. Widener, of America,
G. Bell. 5s. net. which is possibly identical with that which
This condensed version of Mr. Gust’s monumen¬ Dr. Bode studied eight years ago in the Lippmann
tal work on Van Dyck is one of the most Collection. There can be no shadow of doubt as
satisfactory volumes lof Messrs. Bell’s well-known to the authenticity of the Negro by Rembrandt at
series. It is hardly four years since Mr. Cust Hertford House, though it is far from being one
published another small book on Van Dyck, of his more attractive works, and it bears no
which is now, we believe, out of print; but the resemblance in handling to Plate 47, which we
fact need not be much regretted, for the present agree with M. Reinach in attributing to Dou.
work is a great improvement upon the earlier one. Perhaps the most difficult of all the problems set
In that the effort to compress great knowledge by M. Reinach is the authorship of M. Richten-
into a small compass was evident; in this the berger’s Portrait dun Musicien. The eyes are not
author works freely, as one who has his knowledge drawn by a Venetian, nor are the hands drawn by
well in hand, and can estimate exactly how much a Florentine, and the suggestion of Cavazzola is
the space allotted to him will contain without one which without seeing the original it is difficult
being too tightly packed. If any fault could be to accept. To sum up, those who wish to get an
found it would be that the book keeps almost too idea of the men whom modern critics are inves¬
closely to its two central themes, Van Dyck’s tigating, Jacob of Amsterdam, Jean Prevost,
personal history and his oil paintings, so that no Cornelis Engelbrechtsen, Hieronymus Bosch,
space is left to discuss the followers and pupils Bastiano Mainardi, Botticini, and the like, will find
 Collections of Pictures
M. Reinach’s book a storehouse of valuable admirable specimens of Dutch landscape are the
documents and guesses. most interesting things among later paintings.
Dr. Jordan has carried out his purpose excellently,
Gemalde Alter Meister, im Besitze seiner and the next section of his work will be awaited
Majestat des deutschen Kaisers. Parts with interest.
XIII-XVII1. Berlin: R. Bong. Mks. 5 per
part. Die Galerien Europas. Heften X—XIV.
This magnificent publication maintains the high Leipzig : Seeman. Mks. 4.
standard with which it set out. To the fifteenth We have already praised the previous parts of
and sixteenth parts Dr. Bode contributes an this attempt at publishing a popular series in
essay on the Dutch School as represented in the colour of the masterpieces in the great European
Imperial collection, and this is followed by a galleries at a moderate price. There is no doubt
discussion on the French School from the pen that the three-colour process has passed the point
of the editor, Dr. Paul Seidel. It is, of course, in at which its products were useless for purposes of
French pictures that these German collections study ; and, though in these reproductions the tone
are peculiarly strong, and the large photogravures is still too yellow sometimes, the series ought to
do justice to the masterpieces of Watteau and be most useful to students as a supplement to
his followers which they contain ; but the examples good photographs. The selection, too, is catholic,
of the Flemish School are also of surpassing almost too catholic, perhaps, for popular success
importance and interest to those who know how in England, where interest is concentrated on a
difficult it is to distinguish between the works few great names, and where masters of the second
of the group of powerful artists who worked rank are unduly neglected.
round Van Dyck and Rubens. A fine portrait by
Flinck, and a delightful Fountain-nymph by The Art of the Dresden Gallery. By
Cranach are among the other attractions of these Julia de Wolf Addison. London : G. Bell.
instalments, whose all-round excellence we 6s.
cannot praise too highly. Roman Picture Galleries. A Guide and Hand¬
book to all the Picture Galleries in the
Unveroffentlichte Gemalde Alter Meister Eternal City. By Alice Robertson. London:
aus dem Besitze des bayerischen Staates. G. Bell. 2s. net.
Herausgegeben von Dr. Ernst Bassermann- The perfect handbook to any great gallery will
Jordan. I. Band. Die Schlossgalerie zu not be written till the chief critics have agreed
Aschaffenburg. Frankfurt: H. Keller. upon some artistic Cowper-Temple compromise
Dr. Jordan’s purpose is to illustrate the pictures between their divergent doctrines. Pending
in Bavaria which deserve publishing but which that desirable consummation, a handbook must
hitherto have not been reproduced. The first either be the statement of an individual judgment
instalment of his labours deals with the collection or a compilation of second-hand verdicts by
at Aschaffenburg, and in accordance with the other authorities. The book on the Dresden
editor’s views it omits pictures, such as the Gallery, in common with the other volumes of
Rembrandt, which are already well known, but the series to which it belongs, follows the latter
devotes fifty plates to careful reproductions of plan, and exhibits its inherent weakness. The
specimens of minor masters of undoubted authen¬ Dresden Gallery covers so wide a field that even
ticity. Thus if we miss Rembrandt we find a thoroughly well-equipped writer would approach
specimens of his forerunners: Elsheimer, Last- with diffidence the task of compiling a catalogue
man and Pynas, and of his last pupil, Aart de raisonne in narrative form. Our author, however,
Gelder, whose ten pictures illustrating the Passion makes the attempt boldly, quoting with equal
are perhaps the most conspicuous feature of the seriousness Morelli and F. P. Stearns, Berenson
portfolio. Several of the compositions are striking, and G. B. Rose, and passing with obvious relief
but even the best of them show how wide in from stereotyped praises of Titian and Rembrandt
reality was the gulf that separated the master from to the expression of genuine liking for Munkacsy
the pupil. The specimen of Lastman is a very and Hoffman. The book is apparently of
good one and proves that he was by no means the American extraction, and displays all the width of
empty and incompetent performer that popular reading and racy profusion of language which its
biography makes him out to have been. Among origin suggests. Its popular character is em¬
the most interesting of the early works is the fine phasized by more than forty illustrations.
Stoning of St. Stephen of the school of Michael Miss Robertson’s catalogue of the ten chief
Pachers : a powerful and vigorous work which Roman picture galleries is .is concise as that on
should be studied in connection with the two Dresden is gossiping, while its handy si/e and
similar pictures at Augsburg. Examples of Albert methodical arrangement have a very practical
Cuyp, Jordaens, Cornelis dc Vos and some object.

51
Collections of Pictures
The brief criticisms on the pictures, in the author’s and sprigs. The cover is similarly ornamented and
words, ‘eschew the tyranny of great names,' surmounted by a rayed disc and turned finial, and
indeed, they are so independent as to make their the stem is balustered on a high foot. But for a
originality regrettable. Titian's Baptism in the somewhat similar uncovered cup in a church in
Capitol, for example, is not allowed a single Somersetshire this would be absolutely unique.
asterisk, and is described as ‘a quite insignificant Another elliptical cup on high baluster stem barely
work as a whole ’ : Correggio’s Danae and the falls within the reign of Elizabeth, 1601, but has
interesting portrait in the Borghese given to had a high steeple-crowned cover added ten years
Giorgione by Morelli fare no better, yet Pinturic- later. The Beddgelert chalice is the gift of the
chio can win two asterisks and Perugino three. maker, Sir John Williams, goldsmith to the king,
Nor are misprints lacking ; yet if the proofs of the and is inscribed ‘Donum Johannis Williams auri-
next edition were read by some competent scholar, ficis regis. .1610,’ and engraved with a coat of arms
the excellent idea underlying the book would have and figures of the three Marys. A number of secu¬
a fair chance of success. lar uncovered cups with bell-shaped bowls and
balustered stems of the reigns of James I and
PLATE AND GOLDSMITH’S WORK Charles I, occasionally with engraving, are in use
The Plate of the Diocese of Bangor. By E. in the diocese. The tendency to revert to pre-
Alfred Jones. London : Bemrose and Sons. Reformation forms, so often seen under Archbishop
Laud, is evidenced here by a chalice with gothic
1906. 10s. 6d. net.
Important publications like the present are re¬ foot but with rather deeper bowl than the tradi¬
tional.
minders of how much remains to be learnt con¬
cerning the art history of our own country. The The oldest flagons in the diocese are of the
researches of Mr. Alfred Jones have already con¬ Canette form, the best being at Bangor Cathedral,
tributed to the general knowledge, and the present presented by Sir William Roberts in 1637. With
work makes known a fine mazer bowl of the time of these is a valuable secular salver of 1683, engraved
Edward IV, the existence of which in a remote in the Chinese taste, and presented by Viscount
church in Wales was unsuspected, and a superb Bulkeley.
gothic chalice dating from about 1500, which has to It would be to the interest of village churches
be added to the forty or so now known. The only to dispose of very valuable secular plate for the
other chalice found in the principality is not only benefit of parish funds. It is too often kept in
one or the finest in existence, the date about 1230, an unlocked vestry, or in the parsonage—some¬
but it is inscribed with the artificer's name, times under the bed for safety—frequently still
Nicholas of Hereford, in the Irish fashion. Of without its custodians being aware of its value,
the far less interesting ‘ fair chalices ’ of Elizabeth’s and therefore far from adequately insured. Some
reign, but twenty-eight are in use in the diocese, security should at the same time be given that rare
but within recognized limits these present consider¬ specimens should not pass out of the country.
able variety. The silver for these was most There is probably a greater wealth of old silver
frequently obtained by melting gothic chalices, in England than in any other country, Germany
with a charge of a few shillings per oz. for alone excepted, but under present conditions a
refashion. Some are especially interesting as student would spend the greater part of his
bearing rare Chester marks. The earliest of these life in endeavouring to see it. J. S. G.
dates from 1561 and the most usual makers’
marks are the birds’ heads and the initials T. L. Urs Graf. Ein Beitrag zur Geschichte der Gold-
Of far more interest is the plate made originally schmiedekunst im XVI Jahrhundert. By
for secular use, but given to the church from time Emil Major. Strassburg : Heitz. 15s. net.
to time for sacred use. Thus Mr. Jones discovered Graf was a talented roisterer who led his wild
in the little church of Penmynrydd an example, life and played his pranks with a zest ; and the
dated 1570, of the rare gilt tazza-shaped drinking exuberance, audacity and sensuality of his nature
cups, which now fetch about £1,000 when brought are reflected in his drawings, which belong, with
to the hammer. A rarer and perhaps even more those of the more finely gifted Nicolaus Manuel,
valuable gilt cup and cover is owned by the church to the most characteristic productions of the
at Llanbadrig. This, with its cover, forms an Swiss school. Artists of his generation wielded
elongated oval, gadrooned or fluted in a primitive sword and dagger as readily as graver and pen,
way by the application at intervals of vertical and he has left us vivid sketches of the rough
and tapering half-round wires. These extend half camp life of the mercenaries on Italian campaigns.
way up the bowl, the ground between them being But the craft which he exercised first and foremost
roughened by the short hyphen-like dashes so at Solothurn and Basle was that of the goldsmith.
characteristic of early Elizabethan work, with an His work on metal has almost wholly perished
effect not unlike stretched knitting or drapery. and his ‘ monumentum aere perennius’ is on
Above is a band of the same with borders of trefoils paper, but Herr Major has found considerable

52
 Plate and Goldsmith's JVork
materials for reconstructing out of designs and The Burlington Magazine for November, 1905.
nielli the characteristics of Graf’s achievements The club proposes to print and publish as soon
as an engraver of daggers and scabbards, a maker as practicable all such inventories still existing;
of pendants and medallions, of reliquaries, mon¬ when complete the series will certainly be of
strances, chalices and drinking vessels, and as a considerable value not only to the ecclesiologist
cutter of dies for the coins of Basle, and of tools but to the historian as well. And the volumes will
for decorating bookbindings. All this material, not be without interest to the general reader, who
amply illustrated and analyzed, adds largely to will gather from them how great must have been
what has already been written about Urs Graf, the wealth of English churches in plate and
chiefly by His, as an engraver and designer of textiles, and how thorough was the effort made to
woodcuts. On this side of his activity also Herr destroy all that savoured of the old religion.
Major, incidentally, throws new light, though he E. B.
does not attempt a complete catalogue of his
work in black-and-white. The principal new
MISCELLANEOUS
contribution is a careful account of the initials Reproductions from Illuminated Manuscripts
designed by Graf for the Basle printers, a subject in the British Museum. Series I. British
neglected by His. The biography of the unruly Museum. 5s.
artist is as complete as documents can make it; we In the last three years Messrs. Berthaud, of Paris,
hear all about his love match with Sibylla von have issued under the direction of Mr. Omont, of
Brunn, his infidelities, his imprisonments for debt the Bibliotheque Nationale, a series of admirable
and brawling, and a love poem of his composition portfolios of collotypes of mediaeval MSS. which,
preserved in print. The monograph forms a valu¬ being sold at a very moderate price, have had an
able addition to our knowledge of art at Basle instant success, and have done much to familiarize
before the outbreak of iconoclasm. C. D. students with some of the masterpieces of ancient
French art existing in Paris. Such an example
The Edwardian Inventories for Huntingdon¬ was bound to be followed by the custodians of
shire. Edited by Mrs. S. C. Lomas from other great libraries, and as the public support has
transcripts by T. Craib. Pp. xxx., 58. proved it to be a commercially sound undertaking
Longmans. 1906. 10s. it is to be hoped that all the great national collec¬
As Henry VIII had destroyed the monasteries tions of Europe and others of less importance will
and despoiled the cathedrals, when his son was in by degrees be illustrated in this way. It is not too
need of money his council naturally turned first much to say that where illuminated manuscripts are
to the chantries and then to the parish churches. concerned a page of illustration is worth ten
The time of the latter having come, the privy pages of written description, and that a catalogue
council ordered ‘ that for as muche as the Kinge’s of such works aiming at completeness should
Majestie had neede presently of a masse of money, contain at least one reproduction of every book
therefore commissions shall be addressed into all described, if possible of the actual scale of the
the shires of England to take into the Kinge’s original.
handes suche churche plate as remaigneth to be Dr. G. F. Warner, to whom students are already
emploied unto his highnes use.’ An inventory was deeply indebted for the rearrangement, extension,
first to be made, together with a report of any and careful labelling of the illuminated manu¬
sales which had already been effected and of any scripts exhibited at the British Museum, making
thefts of plate which might come to the know¬ the series for the first time an educational one of
ledge of the commissioners. The commissioners the utmost importance and an invaluable guide to a
for Huntingdonshire made a good many reports knowledge which cannot be acquired from text¬
of sales : chalices, bells, and other things had books, has now followed the lead of his Parisian
been sold to provide money for various objects, confrere by issuing a similar portfolio illustrating
such as repairing the ‘dyke in the fen,’ repairing this well-chosen series. The visitor to the museum is
the highway, making a pulpit, ‘ whittying and thus enabled not only to examine the books in the
scripturing' the church, ‘glassing the windowes,' cases but to buy for the very moderate price of
repairing the steeple. Sometimes the sale was five shillings fifty reproductions of the pages that
made to find money for the poor, and twice he has been studying, which fifty will shortly be
it is recorded that the poor-box was broken into followed by another fifty at the same price, whereby
and the money taken. The commissioners noted his memory of what lie has seen will be kept
what was left, and early in 1553 the greater part fresh and his interest in the subject stimulated.
of it was sent to the Tower to be melted down, If lie be a serious student he will compare the
only bare necessaries being left to the churches. reproductions with other reproductions and with
This is the second volume of inventories published books in other collections. Nos. VII and XIII
by the Alcuin Club : the first, which contained will recall a Prudentius and a Book of Hours at
those relating to Bedfordshire, was noticed in Cambridge; No. XV is closely related to the

53
 Art Books of the SVIonth
famous Marco Polo in the Bodleian; No. XXII is book has hitherto been printed. The label on
allied to two books at Vienna; No. XXXI is the back of the volume is the single feature of
by the same hand as the Valerius Maximus of which we are dubious.
which reproductions have lately been issued Le Couvent de St. Jean a Munster dans les
under the auspices of Dr. Warner and Mr. Yates Grisons. Par Joseph Zemp, avec la collab¬
Thompson; No. XVIII closely resembles the oration de Robert Durrer. Geneva : Atar.
covenant of a later Doge of Venice that was This publication of the Societe Suisse des Monu¬
illustrated in the catalogue of the Sneyd sale. ments Historiques is of singular interest. The
As to the collotypes themselves they must be Convent of St. John is a foundation of the
pronounced a credit to all concerned, the only Carolingian epoch—legend, indeed, ascribes its
drawback being one which Dr. Warner admits in foundation to Charlemagne himself—situated on
his introductory note—i.e., the reduction of the eastern border of Switzerland, on the old
scale, which is in some cases considerable. The route over the Wormser Joch, which was once a
descriptions leave nothing to be desired,land the rival of the Brenner. From the architectural
only feature of the production which is open to standpoint alone the convent is of remarkable
criticism is the type selected for the letterpress. interest, but its importance as a specimen of
This type is ugly, and might with advantage be Carolingian construction is enormously enhanced
changed in the subsequent issues which Dr. by the discovery of a series of fresco paintings
Warner promises us, and which are certain of a contemporary with its foundation. These were
hearty welcome. S. C. C. seriously damaged by fire at the end of the 15th
century, and were hidden and in part effaced by
Leonardo da Vinci. Thoughts on Art and Life.
the rebuilding of the roof. The frescoes illustrate
Translated by Maurice Baring. Boston : The
the history of David and Absalom, and display a
Merrymount Press. $6'oo.
curious mixture of styles, for in them we see the
It is impossible not to compare this edition of ornaments and conventions of Ravenna carried
Leonardo’s writings with that recently produced out with the ruder and more forcible touch of a
by Mr. Edward McCurdy, although the aims of northern workman. As an addition to the exist¬
the two are quite distinct. Mr. McCurdy was ing documents bearing upon a most difficult yet
largely interested in Leonardo’s attitude towards cardinal period of Art history, the discovery
science. Mr. Baring’s book forms the first part cannot be over-estimated.
of a series, ‘ The Humanists’ Library,’ the aim of
Behind the Veil. Written by Ethel Rolt
which is to illustrate the culture of the Renais¬
Wheeler. Illustrated by Austin O. Spare.
sance. In Mr. McCurdy’s book Leonardo
David Nutt. 6s. net.
appeared as a pioneer in physiology and optics
The little sketches that compose the letterpress of
and geology; in the Humanists’ Library, he is
this book, most of them reprinted from the weekly
in the company of Durer and Erasmus, of Petrarch
and Philip Sidney. reviews, are interesting enough in themselves; but
The introduction by Mr. Lewis Einstein, the they require an abler hand than that of Mr. Austin
Spare to justify their appearance in the form of an
editor of the series, shows us Leonardo as an
illustrated book. It is possible that Mr. Spare may
embodiment of the Renaissance attitude towards
be capable of better things, and if so he would be
art and science, towards abstract speculation and
practical life, and recognizes fully how much the well advised to attempt them : but Beardsley’s robe
is far too baggy for him. R. D.
uncertain political conditions of Italy had to do
wfith narrowing or rendering abortive the results Drawings Illustrative of ‘ John Inglesant.’
of the vivid energies then at work. The trans¬ By Lady Jane Lindsay. London : Dickinsons.
lation is readable and appropriate in tone, but £2 12s. 6d. and £5 5s.
is rather less accurate and scholarly, where we To the ranks of distinguished women artists,
have tested it, than was Mr. McCurdy’s. The which include such names as the Empress Fred¬
selection of extracts, too, is less complete than his, eric, the marchioness of Lome, the duchess of
the text being based on a recently-published Italian Rutland, Countess Gleichen and, in a past genera¬
edition which covered the ground much less com¬ tion, the Hon. Mrs. James and the Lady Diana
pletely than did the English translation. Beauclerk, the name of Lady Jane Lindsay must
On the other hand, the book is admirably adapted now be added as one who has proved herself an
for those who desire no more than a general illustrator of no mean capacity and considerable
acquaintance with Leonardo, and would like to attainment. Women have usually been more
have their memorial of him in the most perfect fortunate in the purely derivative forms of art
possible form. No praise can be too high for than in work which demands an original or
the printing, the paper, and the type—the creative talent, and in the present instance it is as a
almost perfect fount designed by Mr. Herbert commentary on a famous novel that Lady Lindsay’s
Horne, in which, so far as we remember, only one drawings are to be judged most favourably. It

54
 Art Rooks of the Month
seems, indeed, unlikely that Shorthouse him¬ projected work will contain six of the plates for
self would have wished for a more enthusiastic the sum of fifty shillings, they cannot be called
or more sympathetic interpreter; and, especially expensive.
in her wash drawings, the artist has contrived just From the same publishers we have received a
that atmosphere of romantic unreality which is so specimen plate of a Greuze Album. The plate
pleasant a feature in her original. It only remains is pretty, and the process—photogravure printed
to say that the plates, twenty-four in number, are in colour—not only demands a high degree
all admirably produced. of skill from the operators, but also suits Greuze
better than it might suit a greater colourist.
NEW PRINTS
The latest of the Medici Prints is a reproduction CATALOGUES, REPORTS, ETC.
of the charming Portrait of a Lady in the Poldi Foremost among the Catalogues of the month
Pezzoli Museum, which after passing successively is that of Mediaeval and Later Manuscripts issued
under the name of Piero della Francesca and by Mr. Karl Hiersemann at the price of io marks.
Verrocchio is now, by the latest writer on the The contents range from works of the tenth
subject, given to Antonio Pollajuolo. As in the century to the manuscript of a sonata by Beeth¬
case of the previous plates, the reproduction is oven, and include a number of oriental specimens.
surprisingly good, a special word of praise being The catalogue is illustrated by twenty-six
deserved by the quality of the blue background. It plates. Three of the handsome sale catalogues
should prove the most popular of all the plates which of Messrs. F. Muller of Amsterdam illustrate the
Messrs. Chatto and Windus have issued so far. excellent modern pictures sold by their firm
The Caxton Publishing Company are issuing a during March, among them an exquisite Sunset by
large mezzotint by Mr.T. Hamilton Crawford of the Daubigny, apparently painted from Chateau
Rokeby Velazquez. It is a thoroughly sound and Gaillard. Messrs. Gilhofer and Ranschberg of
capable rendering of an exceedingly difficult sub¬ Vienna send their illustrated catalogue (3
ject—a very slight lack of crispness in the draperies, kronen) of the remaining works of Franz Gaul,
and of modelling in the lower part of the Cupid’s including a very large collection of works on
body and on the foot of the recumbent Venus costume. The sale lasted from March 18-23.
being the only points in which it falls short of Mr. M. Nijhoff’s new catalogue consists almost
completely rendering the original. In common entirely of works dealing with the fine arts.
with all other modern mezzotints, the plate has a A most careful list of corrections and addi¬
certain deadness of tone, which the great mezzo- tions to the list of Chodowiecki’s prints is
tinters of the eighteenth century avoided by their issued by Mr. Wilhelm Engelmann of Leipzig at
freedom and decision of handling. Possibly the the price of 5 marks, and from the Gesellschaft zur
introduction of photogravure is responsible for this Verbreitung klassischer Kunst of Berlin comes a
increase of caution, but we fancy that, if any most useful catalogue by Bruno Jacobi of photo¬
modern mezzotinter had the pluck to throw photo¬ graphic reproductions of works by Rembrandt.
graphic ideals to the winds and work as an The Board of Education have issued a well
independent interpreter, he would not lack support. illustrated report on the National Competition
Messrs. Hanfstaengl send a large photogravure for 1906 at the price of three shillings, while
of Las Meninas, a specimen of the eighty-four from America we have received the Report
plates which will be included in their forthcoming of the Librarian of Congress, and the interesting
publication on the Prado. The plate has most illustrated Bulletinsof the Boston and Pennsylvania
successfully avoided the heavy shadows to which Museums, the former containing reproductions of
the process is liable, and as each part of the three magnificent screens by Korin.

ART IN FRANCE cK,

OUNT POTOCKI has lent of works by Rembrandt which the Louvre
to the Louvre a portrait by possesses is now seen to much greater advantage
Rembrandt of the artist’s than was formerly the case. There is some hope
brother. I have not yet been that Count Potocki's picture may find a perma¬
able to see the picture, but I nent home in the great national collection.
understand that it is a very fine The annual report of the Society des amis da
example of the master’s later Louvre, which is now ten years old, shows that
period. It has been placed in the society is still doing admirable work. It
the new Salle Rembrandt at the end of the long gal¬ presented to the Louvre during last year, among
lery, where M. Leprieur has arranged ononeside the other works of art, five statues which were
paintings of Rembrandt himself and on the other formerly in the abbey of Maubuisson. Two of
line works by his pupils. The excellent collection these are very fine examples of the fourteenth
 Art in France
century—the monumental effigies of Charles IV cTete) fetched 1,400 francs at the Choquet sale in
and his queen Jeanne d’Evreux, by Jean de Liege. 1899, and that is about its reasonable value.
There is also a charming fourteenth-century angel, The prices paid for Renoir also seem to me ab¬
a Virgin of the fifteenth century (apparently one surdly exaggerated : La Tonnelle fetched no less
of the figures from a rood-loft), and a kneeling than 26,000 francs, and Ingenue 25,100. The
donor of the sixteenth century. The balance- latter was bought by Messrs. Bernheim, so no
sheet of the society shows that it was able to doubt the price was its market value.
secure these very beautiful sculptures for the Daumier is in another category, and nobody
amazingly low price of 10,000 francs. They was surprised that the Berlin Museum should have
were placed in the museum for the first time given 28,100 francs for Le Drame. But it was very
on February 25th, the day on which the Salle surprising that paintings.by Monet and pastels by
Rembrandt was opened. The society has now 2,347 Degas fetched less than the expert’s valuation.
members, a net increase of 2 28 over the previous year. The vagaries of the artistic public are always con¬
In addition to the gifts of the society as a body, spicuous in the auction-room, and certainly
the Louvre was enriched during 1906 by a large commercial and artistic value did not coincide
number of gifts from individual members. The when the Fruits of Cezanne fetched a higher price
most important of these is, of course, the splendid than the Danseuses an foyer of Degas or Les
collection which M. Moreau-Nelaton has pre¬ Glacons of Claude Monet.
sented to the nation, which has been placed for The group of thirty-two painters and sculptors
want of space in the Pavilion de Marson, where who formerly called themselves the Societe Nouvelle
the Musee des Arts decoratifs is housed. The held their annual exhibition in the Galerie
Moreau-Nelaton collection contains 190 pictures, Georges Petit during the last fortnight of March.
water-colours and drawings, and includes seven As usual the exhibition was interesting, and con¬
magnificent Corots and very fine examples of tained a large proportion of good work. Mr.
Delacroix, Decamps, Manet, Monet, Sisley, Sargent was represented by five pictures, and Mr.
Pissarro, Puvis de Chavannes, Carriere and Jacques Blanche by no less than ten, including a
Fantin-Latour. most interesting portrait of Mr. Thomas Hardy,
The sale of the first part of the Viau collection two brilliant portraits of Englishwomen and his
on March 4th showed that the painters of portrait of Aubrey Beardsley. M. Blanche is,
the impressionist school are more popular perhaps, too much influenced nowadays by the
than ever, or at least more fashionable. Some English School of the eighteenth century, which
of the prices were quite ridiculous, notably those contends with that of Whistler in his more recent
of 19,000 and 14,200 francs paid respectively by paintings. I am not sure that he has improved on
the Prince de Wagram and the Marquise de his earlier work. The quiet seascapes of Mr.
Ganay for two pictures by Cezanne. The Ulmann deserve notice ; their quality is excellent.
picture bought by the Marquise de Ganay (Paysage R. E. D.

ART IN GERMANY
At the beginning of this year a Uhde exhibition but it was by no means a mere repetition thereof,
was arranged in Munich by the Secession, which as it contained many works which had not been
rendered a fairly exhaustive account of the life- sent to Munich.
work of this master, who stands now upon the The show gave a fairly good survey of this
threshold of his sixtieth year. Uhde acquired remarkable artist’s labour, though half a dozen at
fame and his position in German art in Munich, least of his most important canvases were missing.
which capital he settled in after his student’s years. The development of Uhde’s art appears strange
He is a Saxon by birth, and there lies perhaps enough when we see it thus spread out before us.
more significance than one would at first suppose It was only in his twenty-ninth year that he took
in the fact that this reformer of Biblical painting to painting seriously at all, abandoning a military
happens to beason of the country in which thegreat career for it. One of the earliest paintings
religious reformation took place almost five centuries exhibited here, A Teuton Horseman (dated 1879),
ago. Strangely enough, Uhde’s art met with more displays a wonderfully passionate coloration and
opposition in the land of his birth than any¬ energetic style that almost recall Daumier. He
where else. It is only quite lately that the Saxons then became the scholar of Munkacsy, and, while
have begun to take pride in their countryman. under him, quite sunk any individuality of his
And now, although they have yielded precedence own in an imitation of his teacher’s qualities.
to the people of Munich, they have at least followed Then he revolted and fell in with the modern
suit with a notable Uhde exhibition of their own plein-air movement. There are some excellent
held at Dresden during the past month. It may Uhdes painted in the beginning of the eighties
have been not quite as fine as the one at Munich, which will hold their own beside Bastien Lepage.

56
 Art in Germany
He seems to have drifted with the stream, and potteries of the eighteenth and early nineteenth
gradually grew more flat, grey and uncom¬ centuries which had been totally forgotten. It
promisingly plein-air-y in his tone values. was a matter of surprise to students to see what
But a sudden break came as he turned to an amount of good and interesting porcelain had
religious art. The purely artistic issues of his style been produced in factories whose names they had
did not change at first, but they scarcely attracted not even heard of. The present exhibition is
any notice alongside the sensationally novel scarcely of less interest, showing, as it does, to
manner of conception which his rendering of what high grade of perfection the art of the silver¬
Gospel subjects betrayed. It was a wonderful smiths had been pushed at Leipzig, and supply¬
inspiration, and one of the feats of art during the ing us with a number of artists’ names, etc.,
past century, suddenly to strip religious art of all heretofore unknown. I hope to be able to give
archaeological trimmings and to present the soul a longer account of some of the most important
and spirit of the New Testament in such a manner features of the exhibition next month.
that every one could at once grasp their essence : To the director of the Buchgewerbe Museum at
that no one need first adjust his or her powers of Leipzig is due much thanks for securing the black-
perception to an appreciation of historical truths. and-white show of the Deutsche Kiinstlerbund,
Paintings like Kottint Herr Jesus (Berlin), The and for the great care with which he arranged an
Last Supper (the first version), Jesus and the effective and good display. During the nineties
Apostles at Emmaus, The Sermon on the Mount, Suffer of the last century an uncommonly large amount
the Little Children to Come unto Me (Leipzig), the of superior black-and-white work was produced
two splendid versions of On the Way to Bethlehem in Germany. A notable degree of freshness was
(Munich), and the wonderful triptych of The introduced through the circumstance of several
Nativity (Dresden), especially as it appeared in its important masters turning either to the etcher’s or
original form in 1888, with perhaps a few others, the lithographer’s art, which they had hitherto
are extraordinary achievements and will, judged neglected. After a while, however, their interest
from many different points of view, never fail to waned: they seem in many cases simply to have
keep the name of Uhde bright in the memory of wanted to try their hand at the thing, and as soon
all time. as they found out what could be achieved with
The inspiration, however, was not accompanied the needle, the knife and the lithographer's
by an unlimited energy, a boundless capacity' for crayon, their curiosity was satisfied, as it were.
subduing untractable themes. His attempts to Many of the important painters have all but given
‘modernize' the story of Tobit and the Angel, up black-and-white again, and the first years of the
of the Good Samaritan, of the Three Magi on new century have not brought us as much new
their way to Bethlehem, and many others which talent as we could have wished for. Taking
he approached during the nineties, do not appear everything into consideration, the present Leipzig
to me convincing or successful. Unless I am exhibition contained rather more good work by
mistaken, Uhde himself must have felt somewhat new men than was to be expected. I was particu¬
the same way on the subject, for he has com¬ larly struck by some excellent, delicate black¬
pletely abandoned religious painting. He turned line woodcuts by C. Weidemeyer of Worpswede,
first to portraits, then to open-air genre subjects and by the very powerful colour-etchings of Olat’
in which he aims at an altogether different tech¬ Lange, now living at Dachau, near Munich.
nique and coloration from what he used to Miss Emily Lengnick of Dresden sent a fine
employ. Whatever our opinion on these depar¬ drawing of a misty day in London, and Miss
tures may be, it is scarcely doubtful that they will Julie Wolfthorn of Berlin some exceedingly
not play the important role in the history of attractive drawings, a small portrait slightly remin¬
German painting which Uhde’s art during the iscent of Boutet de Monvel’s touch among them.
eighties of the last century’ did. Perhaps the best work among the younger artists
During March Leipzig harboured three impor¬ consists of the woodcuts in colour, all of which
tant exhibitions: the black-and-white show of are more or less dependent upon Japanese art
the Deutsche Kiinstlerbund, the Klinger exhibi¬ and upon Orlik. Siegfried Berndt of Dresden
tion at the Kiinstverein in the Museumbuilding, should be named in this connection.1 Ot course
and the exhibition of old Leipzig silversmith work there is a lot of good work by the older men
and German sixteenth-century tapestries at the such as Baum, P. Behrens, Cissarz, O. Fischer,
Museum of Applied Arts. The staff of this latter O. Greiner, C. Grethe, L. v. Hofman, H. Hiibner,
establishment has been very successful of late in Kalckreuth, Kollwitz, Leistikow, Meyer-Basel,
arranging exhibitions which throw a flood of Munch, Orlik, Pankok, Schlittgen, Schmoll von
light upon some branches of German art which Eisenwerth, A. Sohn-Rethel, Strcmel, H. Wolff,
have scarcely been looked into as yet. The por¬
1 I.. II. Jungnickcl, of Vienna, produces some extraordinary
celain exhibition which took place last year dis¬ drawings by means of a special technique of his,own elaboration,
closed the existence of a number of central German which combines stencilling with brush-splutter work.

57
Art in Germany
etc., whose reputation has been established the artist, as sculptor and draughtsman certainly,
before now. is still at the height of his powers.
The Klinger exhibition, arranged to celebrate The Royal Print Room at Berlin may probably
the artist’s fiftieth birthday, was held in rooms of lay claim to having the best collection of Goya’s
the museum, which possesses all the most impor¬ black-and-white work in the world now. I have
tant sculptures by his hand, a great stock of already reported some time ago important Goya
splendid drawings, a complete set of his etchings, acquisitions there, and recently a collection
and the most painter-like, at least, of his canvases, formed long ago has been secured, which con¬
the L’heurc-bleue. Of paintings there were, be¬ tained old sets of some of the series of which it
sides the Pieta belonging to the Dresden Gallery, was supposed no prints earlier than those pulled
all the decorations for the Villa Vogel now de¬ for the San Fernando Academy existed. Of the
stroyed, and a number of more or less important seventeen lithographs by Goya, most of them
sketches, with some of the small early works excessively rare, Berlin now possesses all but five,
(The Embassy, The Brick Wall, etc.). The large among them Lefort 265, 274, 276, 277, and
pictures : The Judgment of Paris, The Crucifixion, v. Loga 277. Some further great rarities are The
and Christ in Olympus, would have rounded the Flight into Egypt (Lefort 227), Man in a Swing
show off completely, but could not be secured. (Lefort 250), and the Blind Street-Singer (Lefort
The array of work thus displayed was imposing 255)-
enough ; all the more, when one reflects that H. W. S.

ART IN AMERICA a*
A PASTEL BY J. S. COPLEY at last, when, thinking that he had discovered the
The portrait reproduced in this number (p. 44) is medium of the Venetians, he painted much like
interesting as an example of Copley’s work in pastel the other successors of Reynolds. His best work
at the end of his American period, when he had was done soon after his arrival in England, when
attained as great a degree of technical skill as was he had assimilated the graces that he saw about
possible without a more ample knowledge of art him, and yet had not lost his earlier merits. The
than America could furnish. The pastel was made heads in his Family Picture or even in the Death
between the marriage of the sitter, Nancy Barrell, of Chatham have a thoroughness and exactness of
in 1764 and her death in 1771. (A family tradition drawing greater than any contemporary English
says in 1768, when the lady was twenty-four.) work, and comparable in a way with some of
Copley left America in 1774. Though simpler David’s portraits.
and less important than his elaborate full-length His drawings in coloured chalks, to use the
portraits in oil, the head shows how much the accurate and descriptive term employed in the
artist was able to learn in colonial Boston. He artist’s day, are much rarer than his oil paintings,
had known the works and may have received the not only because he employed the medium
advice of men like Blackburn and Smybert, but less frequently, but also from their perishable
he must have acquired more from his stepfather nature. The good condition of the present
Peter Pelham, who had been a fairly good mezzo¬ example may be attributed to its having remained
tint engraver in England and who continued to an honoured heirloom in the family for which
practise his art in Boston when occasion pre¬ it was originally painted. The portrait is on
sented. Copley himself produced a mezzotint plate paper pasted on canvas, and the treatment shows
when he was sixteen, and the engraver’s training a thorough knowledge of the medium. The
shows in his feeling for laborious, accurate draw¬ pastel is well rubbed into the ground, and the
ing as well as in his black shadows and somewhat finishing of the flesh is entirely with the stump.
raw colour. Blackburn often has more grace of The lights of the eyes, the string of pearls, the
colour and composition, but Copley laboured lace pattern, and the lights in the dress are put in
unremittingly to draw his sitters exactly as they minutely with the point. The hair is particularly
stood before him. well done, carefully and accurately drawn with no
He was thirty-seven when he finally went fluffiness or vagueness, and yet in spite of the
abroad, and the long years of labour had had complete rendering of detail forming a single
their reward. He painted portraits admirable effective mass of a pleasant dark brown. The
in a certain bare sincerity. His style was not shadows of the flesh, as in all the artist's
in the least like that of the English painters portraits of the time, are too dark and bricky,
he was afterwards to associate with. Even though this is less disagreeable in the softness of
after he had settled in England, his sincerity a pastel than in oil. A slight trace of brickiness
and thoroughness of drawing long per¬ may even be detected in the rest of the face, the
sisted, and are personal to him. They vanished carmines, if there ever were any to give it softness,
 Art in America
having long since faded ; but as a whole the flesh the claim by the United States to the possession
tones in the light are luminous and soft, and the of the whole North-west Territory.1
general colour scheme is delightful. The back¬ Samuel Isham.
ground is blue, the dress a delicate, warm grey The Pennsylvania Academy of the Fine Arts in
with a blue gauze scarf fastened to the right Philadelphia divides with the younger Carnegie
shoulder, a bit of orange drapery showing at the Institute in Pittsburg the honour of holding the
right, and a blush rose fastened in the corsage. most important annual exhibition in the country.
The blue is the same throughout, even the leaves That just closed, the one hundred and second in
of the rose being done with it—a rich, deep colour its annals, was more largely retrospective than
like indigo, with which the large masses of the usual, and was remarkable for the greater import¬
dark brown hair, the luminous flesh and the warm ance of the figure pieces as compared with the
grey dress form a simple but pleasing harmony. landscapes, which, however, were freer from
The drawing is like all Copley’s drawing of his cleverness, more varied and individually expressive.
American period : serious, sincere and laborious, A majority of them were the work of Pennsyl¬
though the more facile medium makes it less dry vanians, and in Philadelphia the query arose : Is
and hard than in his paintings. Many of his there a Philadelphia school of landscape painting ?
contemporaries in England or France could have As yet, the artistic ideals of the figure painter in
made a prettier picture from his sitter, but few this country seem incomplete—the questions of
would have so convinced us that his sitter was a technical rendering, accurate drawing, colour
charming person. The hair combed back shows which is true if not necessarily brilliant or beauti¬
a high, well-rounded forehead which promises ful, skilful handling, etc., are still the important
intelligence, while the low corsage gives a glimpse ones with him. He is not concerned with style,
of physical perfection also. The eyes look brightly unity, with that higher composition which makes
from a delicate, mobile face, and there is a slight a picture the rounded and complete expression of
pout which is not marked enough to detract from an artistic idea. The foreign critic might well
the air of breeding and stateliness which is partly consider nearly all these figure pieces as careful
of the time but partly also of the sitter. studies for parts of important compositions. The
It is pleasant to know by more than usually feeling for le style or for genre are equally lacking.
ample evidence that the lady corresponded to her The modern methods, in their evident want of
portrait. Anna Pierce Barrell (known to her every interest, excepting that of the eye, in the
contemporaries as Nancy Barrell) was by birth subject, in an apparent absence of the seriousness
and marriage connected with the best of the sturdy and studious care which mark the works of the old
little colonial society whose views and deeds have Dutch masters, tend to put the American paintings
influenced, in a way that they could not remotely in a class apart. It seems as if, having taken up
imagine, the future of a continent. Her father, art, and having learned mostly in France that it is
Joseph Pierce, a man of good family, was a noted absolutely necessary to paint well, the artists have
physician of Portsmouth, N.H., who accompanied taken to ‘ painting,’ to the exclusion of everything
the Louisberg Expedition as chief surgeon. Her else. Fortunately they have not confined them¬
husband, Joseph Barrell, was a man even more selves to one method ; though, at present, there
prominent and typical of his time. He fairly seems to be a general preference for those which
represents the culmination of the cultured, dignified are qualified as impressionistic, some of the high¬
colonial life made possible by increased wealth, but est honours are reserved for artists who, like Mr.
destined to be destroyed or materially changed by Dewing, are very far from following the painter of
the wave of democratic equality following our the Olympie. This catholicity is a hopeful sign.
independence and the French Revolution. He Rather curiously, the landscapists and the
was a wealthy merchant of the old, ample sort, sculptors proceed on different lines from the
more dignified even than his British prototype, figure painters. While the last strive to render
for he had no nobility or gentry above him. their temporary model in the accidental corner
Apart from his business his ideals were those of with the adventitious porcelain jar and the casual
the English country gentleman. A certain historic Turkey rug ait pied de la let Ire, the landscape men
importance attaches to him, since he with some are not in the least concerned with the hard facts
others fitted out the ship Columbia which was sent of botany and geology, nor so very much with
round the Horn up the west coast to Puget Sound, those of atmosphere and light as they pretend. It
where sealskins were bought and exchanged in is the story told by the screen of trees across the
China for tea. She was the first ship to carry the middle distance, with the broken meadow in the
American flag around the globe, and the first to 1 By virtue of the sterling qualities Mr, Isham Ins pointed
enter and navigate the Columbia River, to which out, the portrait has authority ; it also is humane and sympathetic
she gave her name. From the landing at the to a rare degree. But it seems to me that Mr. Islnm's judicious
arid authoritative appreciation leaves something to he said
mouth of the river in 1792 came the Lewis and perhaps of the very great artistic charm, the freshness and
Clarke expedition a dozen years later, and finally morbtdetza, of this va'uahle example.—A K. J.

59
Art in America
foreground and the grey sky beyond, the sugges¬ painters are Robert Henri and William J.
tion, the mood, the aspiration, the melancholy, Glackens, to whom the vivid and quite per¬
that concern them ; quite unlike the others—the suading presentation of the object voulu—not
materialists—they are pantheists, poets, dreamers. without good drawing and close study of values
Likewise the sculptors—some of the younger ones, and tones—is the main consideration. Most of
at least—have advanced so far that their civiliza¬ the Academy’s prizes were awarded in this group
tion, under the not altogether wholesome influence —the Beatrice of W. Sergeant Kendall, a strong
of Rodin and Meunier, has reached the pessimistic, piece of painting, was purchased from the Temple
the decadent, stage. Even the animal sculptors Fund; the Temple Gold Medal was awarded to
portray, with much skill, the tragedies, and even Willard L. Metcalf for his charming Golden Screen
the humour, of the situations in which their four- of trees ; the Jennie Lesnan Gold Medal for the
footed clients are supposed to find themselves. It best landscape in the exhibition, to Ernest Lawson,
might be said that our figure painters were the for his River in Winter, very strong and full of
least intellectual of our artists. This holds good air. Two of these awards went to young women
of the portrait painters—in whose case it is least —the Walter Lippincott Prize of $300 to Miss
excusable. The temptation to make an arrange¬ Marion Powers, for her young girl’s Tea Party,
ment of your sitter, to show the bravura of your and the Mary Smith Prize of $100 to Miss Mary
painting—as in the sleeve of the gown of the Rev. Smyth Perkins, for her Herd of Cows. Special
Endicott Peabody, by Sargent, in this exhibition— mention must be made of the landscapes of Joseph
or an ingenious affectation of an accessory—as in Davol, those of Edward W. Redfield, the two can¬
the tea-service of Miss Beaux's portrait of Mrs. vases of Jerome Myers, and the characteristic High
John F. Lewis—this temptation overcomes the Cliff,Coast of Maine, by the veteran Winslow Homer.
best of them. The fatal hold which a mannerism The great development of our architectural and
of any kind may take upon a good painter is well monumental sculpture dates from the World’s
known. But few of these portraitists have fol¬ Fair of 1893. There, in the most typical of
lowed Manet’s advice to paint a portrait as you American cities, in dirty, smoky Chicago, beehive
would a landscape—which means something else of feverish commercial activity, that had grown
than what he meant—subordinating everything to with extraordinary rapidity, was the ideal place
the rendering of the expression, the sentiment, the for such a show. Side by side with its huddle of
character of the central themes. There are ex¬ nakedly utilitarian buildings, with here and there
ceptions ; and one of them in Philadelphia that attempts (some of them very good) at aesthetic
was most welcome was Alden Weir’s extremely refinement, which added an advertising value to
simple but nobly serious and competent portrait business buildings and gave a distinctive note to
of his wife, standing in a white gown in a summer private dwellings, there rose ‘ The White City,’ the
evening landscape. That of Joseph Wharton, by most magnificent as well as the most needed
Julian Story, has sincerity of character, and so has of object-lessons to our people. Pioneers and
Charles Hopkinson’s honest group of two little descendants of pioneers, settled in that great West
girls sitting for their portraits and duly impressed and middle West which less than seventy, less
with the seriousness of the situation. than fifty, less than twenty years before had been
John La Farge—who is, naturally, quite exempt the wilderness, and whose lives had been filled
from the qualifications set forth above—exhibited with the immediate problems of pioneering and
his familiar Visit of Nicodemus to Christ; Mr. industry, came to it with fresh, eager minds, and
Dewing, also, a characteristic Lady xvitli a Lute ; with deep reserves of spiritual and imaginative
and Mr. Philip Hale, a younger man, a graceful force. They received this lesson from the old
nude figure, The Spirit of Antique Art, in which civilizations of the Mediterranean not merely in
something of his theme had really informed his the most enthusiastic spirit, but with a simple, an
brush. Kenyon Cox, who is of the moderns, but almost childlike reverence. The few who could
not with them, sent his portrait of Maxfield judge had only admiration for this realization of
Parrish, the artist, and a study of a wild goose. classical beauty created in less than two years ;
Miss Cassatt’s two canvases indicated something and, whatever its shortcomings, the people were
of her later methods, in which is a tendency to as wise as the wisest in not seeing them. The
greater suavity of expression and brushwork, compelling refinement, the harmony of ensemble
without the sacrifice of the virile qualities which and details, were to the American people a superb
distinguish her. Childe Hassam, also, apparently revelation, a dream made tangible. And the
aware that the extreme methods are not necessarily psychological mood helped the impression, so that
unavoidable, attains the peculiar distinction of his it was and has remained le coup de foudre, the
compositions, his rendering of light and vibratory event which opened to them a new world. It was
colour, with a minimum obtrusion of the pecu¬ an experience that had long been planned and
liarities of technique. In the unacademic group, looked forward to. They came prepared to
the two most prominent of the younger figure appreciate and enjoy because of their intense pride

6o
 Art in America
in the Fair as Americans, because of the sacrifices unexpected qualifications for smaller work :
the visit entailed for the majority; perhaps to figurines, busts, reliefs, etc. ; and the 134 pieces
many of them it was not unlike what the visit to by American sculptors shown there form an
the circus is to children. At any rate, from the interesting and promising exhibit.
prosaic milieu in which they were fighting the Among the many one-man exhibitions of the
battle of life, from the wooden houses of the last two months that of Alden Weir showed that
prairies, the ranches, the mines, the new settle¬ the artist was coming into his own, not merely in
ments, they came to their own big Chicago, and material matters like purchasers and medals, but
there they entered a fairyland where everything in a more serene, assured and no less personal
was orderly, distinguished, wonderful. First of expression. His work had at all times commanded
all, the charm of colour was indescribable; on the the respect of artists, but, a searcher always, he
beautiful sand, by the turquoise waters of the had oftentimes plunged into technical experiments
great lake and-under the blue sky, the buildings which to the public unjustly seemed due to a
rose in dazzling stateliness amidst the restful desire to be eccentric and to do something new at
greenery of grass and trees, the brilliant sunshine any cost. If these experiments were not satisfac¬
emphasizing the white of the walls with transparent tory they always contributed something of value
purple shadows. The gay notes of flowers and of to his equipment, and now to such excellent figure
the thousands of flags fluttering in the breeze pieces as the Black Hat, the Grey Gown and the
helped the festive ensemble. The large, spacious Green Bodice, with their pure and luminous colour
walks of ideal cleanliness were thronged with not too much sophisticated with tonal effects, are
people, who were in the same mood, with eyes, added the recent landscapes, expressing with a
ears, mind drinking in the joy of it all. sober simplicity the beauty and the mysterious
This great adventure (as Mr. James would say) grandeur of the aspects of nature that appeal to
of the American people has had an immense him above all, the characteristically green land¬
influence for good which was bound perforce to scape of our Eastern seaboard dozing in the
show weak points. After our fashion of practical heated atmosphere of summer days.
people, having taken to heart the great lesson, Two veterans, Dwight Tryon and T. W. Dewing,
we resolved to put our new knowledge to material whose pictures are never seen at the regular exhibi¬
account at once. One of the striking features of tions, showed a number of their works together at
the Chicago Exposition had been the many the Montrose Gallery. The little figure pieces of
examples of monumental statuary distributed Mr. Dewing prove him to be still faithful to his
over the buildings and grounds. The collection exquisite and sophisticated formula ; and the
was improvised for the occasion, built of charm of the slender, shadowy, always silent
perishable stuff, sufficient, even very good, for its sitters, the beauty of the general tonality, the dusky,
purpose, and it was invaluable in educating our not too transparent shadows and the unique air of
people to the fact that the art of sculpture aloofness and distinction continue to characterize
covered a larger field than that of statues of the work of one of our most distinguished
politicians and soldiers, to which it had been figure painters. Mr. Tryon’s landscapes would
almost exclusively restricted in America. After have been seen to better advantage alone. In the
the Exposition nothing has been easier for the small marines and landscapes exhibited, so subtle
architects than to get the necessary moneys is his charm of colour, of suggestion, that any
appropriated from cities, states and Federal neighbour is disturbing. It is difficult, and not in
governments for the lavish use in our public the least necessary, to decide whether the painter
buildings all over the country of architectural and has always bettered his previous work ; represen¬
monumental sculpture. That the demand for tation of the mood of nature is so clearly though
such imaginative and decorative works has been so softly expressed that we do not wish to consider
great may be inferred from the number of whether the wave in the middle distance is in
American sculptors foreign-born who have settled the middle distance, whether the dark purple of
here since 1893. We have used this sort of the sea beach in the foreground is beautiful per se,
sculpture in and out of place, and the result, etc. A small memorial exhibition of Twachtman's
as might have been anticipated and is now seen, works at the Lotus Club makes one realise, some
is largely unsatisfactory. We have made the sad years having passed since the artist’s death, that he,
gain of much permanent sculpture which is of the like his friend Th. Robinson, has an assured and
same character as the improvisations of the very high place in American art. It would have
Chicago World’s Fair. That these heroic, colossal, been most interesting to compare side by side
historical impersonations which have been so these Twachtmans with theTryons : the difference
much in demand require a rare temperament and between the individualities of these landscape poets,
a particular technical training this Pennsylvania the New England austerity and subdued sentiment
Academy exhibition proved conclusively. The of the one and the radiant charm of tender,
very men who failed in the big things show their tremulous colour of the other.
Art in America
So many circumstances combine to oppose the Rousseaus, Sunlight, for $21,600 ; and two of the
disengagement of the artistic perception from the seven Corots, The River and The Glade, for $20,600
daily environment, the accidents of time and place, and $24,000 respectively. Yet the best of the
that the development of the taste of a community Corots, Mantes: Premieres feuilles—a little smaller
is perforce of slow progress. It would seem, example than the others, it is true, but of the
however, as if the advance in the path of right rarest and most exquisite quality—sold for the
appreciation of art in America was made visible lowest price, $7,000. Senator Clark, after bidding
by such significant straws in the wind as the very up to $63,000 for one of the two Troyons, Le
general and lively interest in the exhibition at the Retour a la Ferine, allowed it to go for $65,000 to
Metropolitan Museum of such pictures as Manet’s a New York dealer representing a Philadelphia
Lc Guitariste, the three examples of Monet and financier, who thus made his sensational debut in
the one of Pissarro loaned by Mr. William Church our Christie’s, the American Art Association. This
Osborn, the Sibyl of Rembrandt loaned by Mr. extraordinary price is, I believe, the highest ever
Theodore M. Davis, and the two superb Frans paid for a picture in an American auction sale—
Hals portraits loaned by Mr. J. Pierpont Morgan. the price of $66,000 paid for Meissonier's
The same holds true of other large cities than New Friedland at the sale of the A. T. Stewart collec¬
York. And it is not that art is becoming the tion in 1887 included also a water-colour portrait
fashion, but that we have reached the stage of our of the painter by himself.
national development when art is beginning to be In contrast with the Henry sale was that of
a vital part of our intellectual and emotional life. the pictures and studies of the late Eastman
Formerly an exhibition of such pictures would Johnson in February. The highest prices obtained
have appealed to but the special and restricted were $810 each for the thoroughly good little
circle of collectors and art lovers ; at present the genre, Embers, for which the artist had received a
interest manifested is widely distributed, in fact it gold medal at the Buffalo Pan-American Exposi¬
is common to all people of cultivation. As testi¬ tion, and for the crayon portrait of a famous
fied by the intelligent work inaugurated in the national figure, Mrs. Dolly Madison, the widow
schools of Boston, New York, etc., our conception of our fourth President, drawn in 1846 at her
of civic duty is growing to embrace the import¬ Washington residence, and possessing a particular
ance of the elevating and refining influence of art. historical value. The Metropolitan Museum se¬
Our civic pride is awakened by the development cured one of the artist’s versions of his well-known
of our museums. As the Englishman is proud of Coni Husking. So excellent an example as the
the National Gallery, the Frenchman of the Louvre Play me a Tune, well drawn, soundly painted and
the German of the Kaiser-Friedrich Museum, the full of atmosphere—the rendering of the figure
New Yorker values the Metropolitan Museum, not of the Nantucket wrecker standing listening behind
only as an admirable, but as a most necessary, in¬ the painter's wife at the piano, and of the crockery
strument of our civilization. The Bostonian has cupboard against the wall, worthy of a seventeenth
the same feeling, and he has had it longer ; and in century Dutch little master—brought only $275 !
Chicago, whose name seems associated in Europe The career of Eastman Johnson is a long and
only with what is ugly and coarse, a gallant little honourable one. Born in Maine in 1824, he
band of unselfish citizens, working quietly sans tam¬ commenced the practice of his art by drawing
bours on trompettes, giving generously of their time crayon portraits. Later, his forceful artistic
as well as of their money, has succeeded in making temperament and sound technique manifested
of the Chicago Art Museum a powerful factor in themselves as well in his robust, virile por¬
the life of the population of our Middle States. traits as in the best of his story-telling genre.
Auction sales of pictures are full of human His portraits remain as worthy presentations of
interest and eminently fit subjects for philosophical our distinguished men in public affairs, literature,
reflections, but to draw conclusions from them as the arts and business for a period of nearly sixty
to general standards of taste and commercial years. Both as an artist and a man he was one
values is obviously not quite safe. What may of the important figures of our world. And yet
justly be said of the most important sale of the this good painter, with a distinctive American
winter thus far, that of the Henry collection of appeal in the choice of his genre subjects, with
Barbizon pictures in New York at the end of his long and honourable record as one of the
January, is that it strikingly showed the continued upholders of the American school of portraiture,
high consideration in which examples of this school makes but a pitiful appearance when put to the
are held among some of our collectors. The prices test of an American auction room. However, such
were very high, and, in some instances, record ones, extreme judgments are invariably reversed. That
the thirty canvases bringing a total of $352,800, the Friedland would bring infinitely less now than
which makes an average of nearly $12,000 each. it did in 1887 is certain, and there is no doubt that
Senator W. A. Clark secured one of the two the work of Eastman Johnson will eventually
Dupres—Twilight, for $13,300 ; one of the four secure proper appreciation in our auction rooms.
 '

■
 e*> EDITORIAL ARTICLES rA,
REGENT QUADRANT
HE complaint of the the disadvantage of the latter. In painting,
shop-keepers who are the artist, when left to himself, as the chief
opposing Mr. Norman artists of the nineteenth century were left,
Shaw’s most handsome tends to produce small easel pictures,
and artistic plan for the delightful in fancy and finish, but lacking
rebuilding of Regent in the monumental character of those
Quadrant opens up an old question of produced under conditions which at first
principle which ought to have been sight were less free and less favourable.
settled long ago. Of recent years the The same comparison would apply to
artist has proclaimed his own indepen¬ other forms of art in modern times.
dence so loudly, and the spread of commer¬ Indeed, as a contributor pointed out in
cialism has been in many instances so these columns last month, independence in
obviously disastrous to art, that the ver¬ painting has gone so far that even the
dict in favour of the advocates of art for painters of easel pictures no longer feel
art’s sake has been tacitly admitted. It is, bound to conform with the very modest
however, with some apprehension that we conditions which pictures intended to hang
venture to question the entire justice of in dwelling-houses ought to fulfil.
that verdict. Does not the much debated case or the
The experience of the past indicates architecture of the Quadrant stand upon
that the greatest works of art which the precisely the same footing ? Here we
world knows were not produced by artists seem to have an architectural design
working with untrammelled freedom to which, as architecture pure and simple, is
produce whatever their fancy dictated, beyond all praise, but in the quest for
but were rather the result of splendid aesthetic effect the lower storey has, by
adaptations of their art to conditions the common consent of those who will
imposed upon them from outside. It is probably have to use it, been made entirely
useless to speculate, for example, whether unsuited to its destined purpose. Now
the life work of Michelangelo would have we maintain that the leaseholders’ com¬
been greater than it is had he been free to plaint is not unreasonable. The best
do his work when he pleased and how he shop-front, after all, is the shop-front
pleased. We might indeed have inherited which exposes its wares to the best advan¬
a larger number of isolated pieces of tage, and the good architect will use his
sculpture, but we should certainly have genius not to the neglect of this condition,
lost the ceiling of the Sistine Chapel. The but by making it the backbone of his plans.
more we think of it, the more must we That the ordinary modern shop-front is
be struck by the fact that the world’s aesthetically detestable we readily admit.
greatest works of art have been produced Nevertheless, we are compelled to point
by artists who were compelled to conform out that there is one reason why the
to local needs and conditions, and often to authorities should seriously consider the
the caprices of inartistic patrons. application of the Regent Street firms.
If we compare the works so produced That reason is the existence of such build¬
with those produced under the influence ings as those of Messrs. Waring and of
of the modern idea, art for art’s sake, the Messrs.Debenham and Freebody. Here the
comparison cannot fail to be greatly to principle of open shop-fronts is combined,
Thu Burlington Magazine. No. jo, Vol, XI—May, 1907 F 65
 T^egent Quadrant
and combined wonderfully well, with once as a contrast and a screen to the lower
handsome and imposing architecture, and part of any structure seen behind it. It is
there seems no reason whatever why the for this reason that the entirely dreadful
compromise which has been so successfully shop-fronts of plate glass with concealed
effected in one case should not be effected supports, which are beloved by bad archi¬
in another. tects, do not annoy us more than they do
The principal disadvantage of Mr. Norman when seen under normal conditions. It is
Shaw’s grand scheme is stated to be the not until we happen to pass when a street is
restriction of window space and light by the nearly empty that they appear wholly in¬
slightly recessed windows, by the arching of adequate to sustain the ponderous erections
their tops, and by the large area devoted to above them, and convey that feeling of
their numerous and massive rusticated piers. instability which it is almost the first
Now in Messrs. Waring’s two of these function of true architecture to remove.
defects are avoided, and the third is reduced Now the Quadrant actually adjoins the
to a minimum, by adopting the girder great focus of west-end traffic, so that there
principle of construction, which it is mere is no fear of its lower storeys being seen in
pedantry to vituperate. Messrs. Waring’s isolation. Again, the rectilinear lines ot
architect has done away with the arches, and the ground floor lose much of their stiffness
has gained the whole height of the ground if suitably decorated, and if their rigidity be
floor for his shop windows. connected and contrasted with a more fluent
Secondly, he has given his windows a style in the upper part of the building.
very moderate degree of recession, so that The circular windows, the arches and the
their contents are brought into full light, luxuriant decoration of the upper part of
and an uninterrupted view of them is the Waring building form a most effective
possible from a short distance. Thirdly, he contrast to the firmer lines below, and yet
has not lost the appearance of stability by blend with them well owing to the skill
doing away altogether with the massive with which the lines of the rusticated piers
piers ; but by reducing their number, as the are carried up into the superstructure.
girder principle enabled him to do, by We are driven to these conclusions with
increasing their size and by bringing them some regret. Mr. Norman Shaw’s is per¬
into more definite relation with the main haps the best attempt that has yet been
lines of the structure above, he has succeeded made to design a great English street in
in retaining an effect of stability combined a worthy manner. No praise can be
with an effect of lightness. excessive for the design in itself, yet it
To this arrangement only one objection evidently does not fulfil the practical needs
from an aesthetic point of view seems of the Quadrant. If it be forced upon
possible, and that is that rigid horizontal and the leaseholders, art may score a tem¬
vertical lines on the ground floor are sub¬ porary triumph, but it will be at the cost
stituted for the delightful effect of an arcaded of a reaction against good architecture
front. In considering this objection, how¬ on the part of business men which will
ever, two considerations must be borne in make the task of beautifying London even
mind. First, that a building in the street is more difficult than it is already. We trust
rarely or never seen in isolation, but has that the Commissioners for Woods and
always in front of it the varied and shifting Forests will not overlook this aspect of the
foreground of street traffic, which serves at matter.

66
 ^ OUR NATIONAL COLLECTIONS
HE Government is to be in these cases none of the material objections
congratulated upon the can be urged which might have been
statement made in Parlia¬ urged against the reservation of land for
ment by Mr. Harcourt public galleries, we have no doubt the
on April 8th that the Government will show an equally wise
spaces available for the sympathy towards them. That the
extension of the National Gallery and of Trustees of the National Gallery should be
the Tate Gallery would not be occupied compelled to accept pictures which they
by other buildings. As The Burlington consider unworthy of our great collection
Magazine has frequently pointed out, any is an administrative anomaly that ought
other decision would have been disastrous not to exist.
to the cause of art in England, because the We note with pleasure that the Director
mistake once made would have been irre¬ of the National Gallery is taking steps to
parable. Our congratulations are the more emphasize the unique quality of our ex¬
sincere because the temptation to subor¬ amples of the work of Rubens by devoting
dinate the apparently unsubstantial interests a room almost entirely to them, and that
of art to the obviously substantial the nation has been fortunate enough to re¬
interests of utilitarianism must always be ceive, among other recent gifts, a specimen
strong. Anyone, however, who seriously of the work of Mr. Holman Hunt which
considers the question cannot fail to see will be, in the future, a far more worthy
that the material profit derived from national and characteristic record of him than the
patronage of the arts is rapidly increas¬ much discussed Lady of Shalott.
ing with the increase of civilization. In As the Treasury grants for the purchase
coming to this decision, Mr. Harcourt of works of art have grown more
has therefore not only done signal service to and more inadequate, the generosity
the intellectual needs of the country, but has of private subscribers and of private donors
done a very good stroke of business. has steadily increased, and these separate
The very pertinent questions asked in efforts are being more and more unified
the House on April 18th by Mr. Middle- by the National Art Collections Fund.
more and Mr. L. Jones as to giving the At present the strength of the Fund has
Trustees of the National Gallery the power been somewhat lessened by the splendid
to reconsider unsuitable pictures purchased activity which culminated in the purchase
out of the Chantrey Fund, and as to of the Rokeby Velazquez, but we hope
carrying out the recommendations of the the public will come forward at the Fund’s
Lords Committee of 1904, tend even more annual meeting on April 25th and repair
directly to the public advantage. Since this honouraDle exhaustion.

THE WHISTLER MEMORIAL

T is fitting that the monu¬ for it than Cheyne Walk, Chelsea, where
ment to Whistler should be Whistler lived, worked and died. M.
executed by the greatest of Rodin’s sketch is already prepared, and
living sculptors, who suc¬ indicates that the monument will take the
ceeded him as president of form, not of a portrait, but of a large
the International Society ; symbolic figure, with a relief or bust of the
nor could a more suitable place be found artist upon the base.
67
The JVhistler Memorial
Now that controversies are over, and the America, as well as to that of England,
achievements of the nineteenth century can there should be no difficulty in obtaining
be viewed in true perspective, we see how the modest sum that remains to be sub¬
great in reality was the service which scribed. The idea of erecting replicas of
Whistler rendered to the art of the world the monument in America and Paris should
and how sound was the philosophy under¬ the subscriptions admit of it, cannot be
lying his wit. too highly commended in the case of one
The cost of the Memorial is estimated in whose fame three great nations may
at £2,000, of which some two-thirds has rightly claim a share.1
already been promised ; and since the plan 1 It may be added for the benefit of any who have not yet sent
their subscriptions that the Hon. Secretaries of the Fund are
makes an appeal to the national pride of Mr. William Heinemann and Mr. Joseph Pennell,

SOME OLD PLATE IN THE POSSESSION OF LORD MOSTYN

BY E. ALFRED JONES du
MONG the artistic and Wales suggesting it as the probable source
historic treasures preserved of origin. It bears neither marks nor
at the ancient seat of the inscription. The back of the harp, from
Mostyn family at Mostyn the reeded band to the bottom, is of sub¬
Hall, North Wales, not sequent date and of different workmanship
the least interesting and to the other parts, and would seem to
valuable is the collection of old English have been added in the eighteenth century.
plate, which, though small, includes several Lord Mostyn is fortunate in the
choice specimens. possession of a remarkably fine parcel-gilt
Of the highest historic value, especially rose-water dish and ewer of large size
to Welsh archaeologists and historians, is (figs. 2 and 3). The circular dish,
the miniature silver harp with nine strings, 19-f inches in diameter, has a raised plat¬
inches high (fig. i), which is defi¬ form in the centre, upon which the ewer
nitely known to have been in the possession stands, decorated with two shaped,
of Lord Mostyn’s predecessors since the scrolled panels with grotesque masks and
reign of Elizabeth. This relic of the rosettes in relief, separated by two em¬
national Eisteddfod of Wales had been bossed pomegranates in circular strap-work
offered as a challenge prize at Caerwys in frames, the spaces between being occupied
i 568, and the original charter of Elizabeth by festoons of embossed fruit on a matted
granting permission to hold this peculiarly surface. The Mostyn-Gloddaeth arms,
Welsh festival at that little Flintshire finely enamelled, in a fluted frame, occupy
town is still in possession of Lord Mostyn, the centre of the platform. The depression
the Mostyn family having enjoyed the of the dish is engraved at intervals with
right for centuries of retaining custody of eight plain strap-work ornaments, trefoil
the bardic chair and other relics and regalia in form, filled with conventional ara¬
of the national Eisteddfod. The harp besques, similar arabesques appearing on
has every appearance of provincial, rather the outer edges of these trefoil ornaments.
than of London, workmanship, and it The rim is embellished with four shaped
may be that a Chester craftsman wrought panels with grotesque masks and rosettes
it, the close proximity of that city to like those in the centre of the dish, with

68
 SOME OLD SILVER PLATE IN THE

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 Lord Mostyn*s Silver
the addition, however, of short, indented marks remain so far unidentified. It
lines on the panels. Wide doable strap- is with some hesitation that the theory is
work bands, filled with the arabesques advanced by the writer that this fine dish
common to Elizabethan plate, occupy and ewer were wrought in England by a
the spaces between the panels. The edge foreign, perhaps a Flemish, silversmith,
of the rim is decorated with a narrow about 1530 to 1550. The ewer closely
band of delicate foliage in slight relief. resembles in form the well-known English
The companion ewer has a plain tapering specimen of 1545-6 given by Archbishop
body engraved around the centre with a Parker to Corpus Christi College, Cam¬
double intersecting strap-work band, filled bridge. The short foot of both these ewers
with arabesques, a small spray being gives way to a higher and more ornate stem
engraved above and below each intersec¬ and foot in the succeeding type of Eliza¬
tion. The plain four-sided spout, which bethan ewer, as may be seen in the one of
is engraved with plain strap-work, con¬ 1562-3 at Winchester College,1 and in that
tinued from the body, but without the of 1574-5 belonging to Lord Newton.
arabesques, has a covered heart-shape Two fine examples of silver-gilt Eliza¬
aperture at the top. The depressed bethan flagon-tankards (fig. 4) are
domed cover is decorated with embossed included here. The tapering cylindrical
masks in panels, pomegranates and fruit, bodies are entirely covered with engraved
as on the dish. It has, however, lost the scroll foliage, rosettes and various flowers,
print from the centre—doubtless enamelled and grotesque animals issuing from flowers.
with the arms. The borders of the cover, Though apparently exactly alike, the
lip, and of the low plain foot are decorated decoration is slightly different in arrange¬
with delicate foliage in slight relief, ex¬ ment and size, and in the form of the
actly like that on the edge of the dish. animals. The curved spreading bases,
The back of the handle is divided into below the plain moulding, are engraved
two concave sections by raised ribbing. with plain strap-work ovals, separated from
The thumbpiece is composed of two plain the edges by a narrow band of ovals in
balls on intertwining stems. Its dimen¬ relief, as on the lips, the edges being deco¬
sions are : Total height, in. ; height of rated with conventional ovoio work. A
body, 6f in. ; diameter of mouth, 5 in. ; shield bearing the Mostyn-Gloddaeth
diameter of foot, 4f in. arms is engraved in the front of each
Both the dish and the ewer are stamped flagon. The slightly domed covers,
with three marks, a reversed impression of which are surmounted by reel-shape
which is reproduced here, a lion’s head pedestals, ornamented with ovoio work,
crowned, turned to the left ; a small and crowned with plain knobs on cut-rayed
^ black-letter q in a plain square shield, tables, are engraved with similar designs
and a confused mark. The tradition to that on the bodies, and the edges have
handed down with these two pieces plain ovals in relief, as on the bases and
is that they were given to a member lips. The hollow scrolled handles are
of the Mostyn family by Henry VII, when engraved with arabesques, and the thumb-
earl of Richmond, after his escape from pieces are formed of winged terminal
Mostyn Hall. The general decoration, figures. Total height, 131 in. ; height of
however, precludes the possibility of
1 Illustrated and described in The Burlington Magazine,
assigning so early a date to them. The Vol. II, pp. 151 and 156.

73
Lord Mostyrfs Sifoer
bodies, 101 in.; diameter of mouths, 4 in. ; stem, slightly engraved with vertical and
diameter of bases, 6 in. Both bear the wavy lines, is supported by three animal
London date-letter for 1601-2, and the scroll brackets, and is joined to the cup
maker’s mark, IA, in a plain shield. and the base by ovolo collars between
These flagons are followed in point of irregular knotted discs. The high foot is
date by two Jacobean gilt cups with encircled by an engraved laurel band, the
‘ steeple ’ covers. The body of the earliest upper part being engraved with acanthus
(fig. 5<?) is engraved with strap-work and foliage and the lower with alternate flutings
tulips on a granulated surface, leaving the and scales on a matted surface, ovolo
lip plain. The same scheme of decoration mouldings finishing the edges of the foot.
is repeated on the domed cover, which is The domed cover has three similar dolphin
surmounted by a plain circular platform panels, each divided by an escallop, and it
with ovolo mouldings, supporting a is surmounted by a low circular platform
pierced three-sided pyramid, with three with ovolo mouldings, upon which rests a
scrolled dragon brackets, crowned by a three-sided pyramid pierced with fleurs-
figure of a warrior holding a plain shield, de-lis, supported on three scrolled termi¬
which is engraved with a crest—a lion nal figure brackets, and with three
rampant. The plain vase-shape stem is small scrolled brackets at the top.
supported by three brackets, like those on Total height, 19^ in. ; height of cup,
the pyramid, and is joined to the cup and 12^ in.; diameter of mouth, 5 in.; dia¬
the base by ovolo collars between flat- meter of base, 4| in.
rayed discs. The high foot, with ovolo An interval of fifty-six years separates
mouldings at the edge, is engraved with this Jacobean cup from a piece of plate
acanthus leaves on a granulated surface. of Charles II period—namely, a large,
A large shield bearing the Mostyn- plain, massive rose-water dish, with a wide
Gloddaeth arms is engraved in front. rim, dated 1669-70, 23 inches in diameter.
It is inscribed on the lip 4 Poculum ex dono Lord Mostyn owns three good tankards:
Robti Jones London Mercat Sci/sor one of the year 1698-9 (fig. 6a),
illustrissimai domui de Mostyn et heredibs made by Anthony Nelme, has a plain
ipius mipptum, Anno 1610.’ Total moulding around the lower part of the
height, 20g-in. ; height of cup, I2iin. ; body, and a graduated beading applied to
diameter of mouth, 5 in. ; diameter of the shoulder of the handle, and another
base, 4A in. London date-letter for beading to the flat cover from the double¬
1610-11. Maker’s mark, TI, with a star volute thumbpiecc ; while the other (fig.
below in a plain shield. 6b), dating from 1683-4, has a plain
The other cup (fig. 5^) differs in the cylindrical body and a flat cover. The
style of the decoration ; the bowl is em¬ third tankard, which is of the same form
bellished with three oval strap-work panels as the latter, but considerably smaller, is
containing an embossed dolphin in each, two chiefly interesting from the fact that it
of the panels being separated by an embossed was made in 1690-2 by Nathaniel Bullen
escallop shell with scrolls on a matted of Chester. This is engraved with the
surface, and the other by a plain escutcheon. arms of Savage of Cheshire.
An embossed laurel band divides the panels The magnificent ebony clock with
from the fluted and scaled work along the parcel-gilt mounts made at a cost of
lower part of the cup. The vase-shape £1,500 for William III by Thomas

74
 (2) ROSE-WATER DISH, DIAMETER 19J INCHES

(10) EIGHTEENTH CENTURY CANDLESTICKS

SOME OLD SILVER PLATE IN THE

POSSESSION OF LORD MOSTYN. PLATE III
 Lord Mostyn*s Silver
Tompion, inherited by the present owner and was made by Pierre Harache ; and the
from the earl of Romney through the other toilet mirror with concave silver
earls of Leicester, was exhibited by Lord frame, scrolled at the top, and surmounted
Mostyn in London a few years ago, and is by an oval panel, ioi in. high (fig. 8^),
illustrated and fully described.2 though not marked, dates no doubt from
The fine Monteith bowl (fig. 7) the end of the seventeenth century. A
has two bold lion mask handles and a large and massive two-handled cup and
removable rim. The body, which rests on cover, with strap-work decoration, made
a low gadrooned foot, is decorated with by the well-known David Willaume in
large plain panels formed of hollow scrolls, 1711-12, though not illustrated, is worthy
finished at the tops with chased acanthus of inclusion here. Among the later plate at
leaves, the surface between being granu¬ Mostyn Hall, space will only permit of
lated ; garlands of tulips in slight relief a brief mention. It includes a small
suspend at intervals from the edge. The plain bowl with two handles and a cover
scalloped rim is embellished with with three scrolled feet, 1715-16; a
cherubs’ heads. A rare feature of this pair of plain sauceboats with two handles
bowl is the presence of a small plain and spouts, 1733-4; a helmet-shape
circular cup with scrolled handle, and cream-jug engraved with strap-work and
fitted with a hook for attaching to the foliage, circa 1730; a pair of small plain
rim, doubtless for use as a ladle. The salvers, 6| inches square, 1739-40; and
bowl is engraved with the arms, crest and a set of three castors, embossed with foli¬
motto of the Vaughans of Corsygedol, ated scrolls and twisted acanthus foliage,
Merionethshire. The diameter is 1 31 in., 1742-3—all illustrated in fig. 9.
and the height 9 in. It bears the Lon¬ To these may be added a number of
don date-leter for 1697-8, and the maker’s candlesticks (fig. 10), including a pair,
mark Le, in a shaped cartouche, probably plain and octagonal in form, of French
for John Leach. The maker’s mark only origin, early eighteenth century (no. 1); a
appears on the little cup. set of four, richly decorated with foliage,
The fluted silver toilet mirror, sur¬ scrolls and scales, the stem being embel¬
mounted by a scrolled and foliated panel lished with four medallions of Roman
I2|ins. high (fig. 8a), dates from 1698-9^ emperors and empresses, 1749-50 (no. 5) ;
21 Old Silver Work,' plate xcii, ed. by J. Starkie Gardner, 1903. and others of 1745-6, 1767-8, etc.

THE CASE FOR MODERN PAINTING

BY A MODERN PAINTER
II—THE R.I. AND THE R.B.A.
HE two old-established usually looked for. Neither has in these
societies which are now days quite the reputation it once possessed.
holding their spring ex¬ Yet the two are constituted on such an
hibitions — the Royal entirely different basis that the causes of
Institute of Painters in their decline cannot be quite the same.
Water Colours and the Experience shov/s that all art movements
British Artists—are not which have any success at all succeed most
bodies in which new and striking-genius is completely when they are young and

77
The £ase for Modern Painting
enthusiastic, though their success is rarely- than they. Here and there among the
recognized at the time by the public. Later, landscapes a clever touch or a fortunate
when the public has discovered the move¬ subject gives an idea of freshness. The
ment and begun to patronize it, its pioneers landscapes of Mr. Claude Hayes, for
are old, and their followers have never quite example, may b e only pleasant echoes of
the same strength and enthusiasm. The the work of stronger men, but taste in
movement may have become popular, but colour, simplicity of plan and cleanness ot
it has contracted a mortal disease, and the touch give them an air of distinction, slight
length of its life is a matter of constitution though they be. Mr. Arthur Severn and Mr.
and of accident. Ernest E. Briggs have chosen admirable
Let me make my meaning clear by one mountain subjects (Nos. 194 and 41 5),each
or two illustrations. The powerful tradition with a certain natural grandeur,which, if not
of Reynolds and Gainsborough had already emphasized by the method of rendering, is
lost its first vigour when it was popularized at least not effaced by it. These works,
by the talented group of men who worked with Mr. Bernard Evans’s Cannock Chase
round Lawrence ; yet so strong was its (40), are among the best things in the gallery.
constitution that it lived a degraded and The younger members of the Institute,
fashionable life till it was killed by the as is natural, are trained in a different and
Preraphaelites. more modern school, in which the ideals
The Preraphaelites themselves painted of the Impressionists are not unknown.
their best pictures in the first flush of their Yet, like their elders, they are not pioneers.
youth, when their name was anathema to They have got their knowledge second-hand,
the rest of the art world. By the time and their work has a similar lack of
they had conquered prejudice their own emphasis. Mr. W. W. Collins in a view of
work was on the down grade. The talent Lincoln (301) and Mr. R. B. Nisbet in a
of Burne-Jones and Morris, great as it was, pretty little sketch (366) come nearer to suc¬
could not restore the lost excellence, while cess than does Mr. Charles Dixon in his
those who followed in the next generation ambitious Tower Bridge (356). Though
hardly count at all. the photographic cleverness of this last is
At the Royal Institute the main tradition wonderful, Mr. Dixon has not learned to
purports to be that of the old-fashioned omit unessential details and so has not made
English water-colour school. Yet it is a picture. Last, one or two illustrators and
now more than a century since Girtin and poster designers introduce a spirited note.
the youthful Turner built up the main Mr. Hassall’s large scene from the ‘ Pilgrim’s
structure of the school on the foundation Progress’ (403) is the most striking of these
laid by Cozens ; and though the tradition exhibits, and fails only from an excess of
was enriched later by the example of men literalness. Plad the accessories, the benches
like Cox, De Wint and Cotman, it has and costumes, been treated more slightly,
had its day. Those who continue to follow the heads would have told even better
it can never be more than a faint echo of than they do, and the drawing might have
their predecessors. kept the crispness proper to a drawing.
The figure painters suffer most because Mr. Tom Browne understands his medium
their predecessors were not of quite the better. I may add that Mr. Caparne’s
same rank as the landscape painters, and so landscape (442), chaotic as it is from lack
stand the process of dilution even worse of definite structure, strikes the eye quite

78
A WINTER’S DAWN, 13Y ALFRED EAST, P.R.B.A.

THE CASE FOR MODERN PAINTING

 The Qase for Modern Painting
pleasantly among so much that is careful, upper sky ; whether the actual paint is not
conscientious and tame. thicker and less translucent than it need
If the painters at the Institute mav be have been. But these are details. The
broadly divided into two groups, those at fact remains that the picture is a notable
the R.B.A. must be divided into a dozen. effort at serious landscape painting made in
The R.B.A. has always been catholic : at a time when such efforts are almost
any rate, a society that has had Whistler, unknown.
Wyke Bayliss and Mr. Alfred East as its Another winter scene (195), by Mr.
presidents cannot be accused of fanaticism Elmer Schofield also shows considerable
or narrowness. Indeed, we might ask force and good planning; there is evidence of
why a society which does, in its way, try real feeling in the work of Mr. D. Murray
to keep abreast of the times does not enjoy Smith, though it would be infinitely better
a very much greater reputation. if he could omit yellow for a time from his
I fancy the answer must be that suc¬ palette. Mr. Elphinstone’s Night (241) is
cess in art comes to those who are ahead well seen and spaced, if somewhat clumsily
of their time, not to those abreast of it. painted ; Mr. Wynford Dewhurst’s colour
As we have seen, it is always the first men in No. 226 is of unusual charm, and there
in a new movement who count the most is a large landscape by Mr. Tom Robertson
with posterity ; and perhaps the R.B.A. (246) which on a twelfth of its present
has sought new inspiration a little too late, scale would be pleasant company. Among
except in the historic case of Whistler. the other pictures those of Mr. Lewis G.
In choosing Mr. Alfred East it has at least Fry are the most interesting in their attempt
chosen a president who can paint a better to combine realism with bigness of design.
picture than any of the members, which Some convention such as sketching on a
is no small subject for congratulation ; but grey ground in the manner of Hogarth,
to achieve complete salvation a society where the ground is freely left to do duty
needs more than even that. It needs the for all minor gradations of tone, might
preacher of a new gospel. enable the artist to master a few of the diffi¬
Yet if Mr. East had painted many culties he at present tries to contend with.
pictures like his Winter s Dawn (p. 79) Mr. Foottet’s peculiar woolly mannerism
he might almost be deemed such an prevents a gift of original colour from telling
evangelist. In that picture we have a as it might do on a smaller scale and with
solemn effect of nature knit into a coherent a happier technique. Even now he arrests
and impressive design, and rendered with the eye longer than do the rank and file of
the straightforward handling, and with the exhibitors, who seem to have nothing
more than the usual harmony of colour, of their own to say, and to say rather feebly
that we expect from Mr. East. Faults, the little they have borrowed.
indeed, there may be. It is questionable That, indeed, is the general fault of the
whether the gleam of light on the snow Institute also. Both societies need over¬
is necessary to the design ; whether the hauling ; but the more elastic constitution
tree and figure in the foreground answer of the R.B.A. seems to give it the better
quite happily to the sweeping curve of the chance of effecting the purge.

(To be continued.)
 THE PAINTERS OF DENMARK
HE previous exhibitions at Gallery IV is devoted to the older masters, and
the Guildhall have usually contains a number of hard and dry paintings, not
carried us back to the past. a few positively bad ones, many that are interest¬
The exhibition of Danish ing, and a few that are good. Pilo’s portrait of
painting not only concen¬ Frederick V is a thing to laugh at. Jens Juel is
trates our attention on the rather more capable, and sometimes, as in Nos. 210
present, but does so in a and 219, has a singular resemblance to Romney’s
curiously striking manner, earlier style. Jensen’s portrait of his mother
moment we enter the first room (216) is another sound and accomplished picture
we are conscious of being in • a strange yet in a rather dry manner. The same might be said
familiar atmosphere, of being confronted with of the Interior (235), by the short-lived Bendz,
an art which differs from that of all the other which, with all its minuteness, is not devoid of
artistic nations of Europe, with one partial excep¬ space and air. An excellent study of the Theatre
tion, in that the impress of France is not indelibly of Marcellus by Ernst Meyer (187), the hard,
stamped upon it. We see of course here and honest works of the pioneer Eckersberg, and the
there, especially in the room devoted to the earlier landscape by Lundbye (169), which might pass
Danish masters, works which are based on French for an early Constable, are also worth notice.
models, but these are few in number and of It is, however, in Gallery III that the pictures
secondary importance. The bulk of the painting are hung which have attracted the greatest general
has a distinctive character which is like nothing interest. If we may continue our comparison
but the Royal Academy of the eighties and with British work, the atmosphere in this gallery
nineties, or its antithesis, the New English Art is that of the New English Art Club, or, rather, of
Club of to-day. We can in fact at the Guildhall a certain section of it. The little group which
see ourselves, or part of ourselves, as in a mirror, includes Mr. Rothenstein, Mr. Orpen, Mr. and
flecked perhaps by some differences in racial char¬ Mrs. MacEvoy, and Mr. Shepherd has found
acter and local conditions, but still giving a inspiration in De Hooch and Vermeer of Delft.
reflection that is faithful enough to be startling. The group of Danish artists of which Paulsen,
At the beginning of our list it is true we hesitate Holsoe and Hammershoi are the leaders has done
for a moment before a most able work in the exactly the same thing, and began doing it earlier.
manner of Henner, and across the end of the Of the three, Holsoe perhaps has the least
room stretches one of those vast scenic pieces that individuality, yet such a thing as his Interior (118)
were once produced on demand by every country would compare not unfavourably with the very
in Europe ; yet, let us but imagine for a moment best modern English work of the kind.
that the first gallery contains the work of exhibitors Hammershoi is an artist of larger ambitions,
at the Royal Academy, and behold, we can put an with whom the passion for spacing amounts
English name to nearly every picture there. No. almost to a mania. A considerable portion of
2 becomes an excellent Cope ; No. 5 is a Logs- his exhibits, including his landscapes, should be
dail ; No. 7 a Briton Riviere based on the relief termed studies or exercises in spacing rather than
at the British Museum ; No. 9 a Herkomer ; No. pictures, yet they are not always quite successful
10 is rather too good for a Calderon (is it also a even as studies. Quiet and reticence are rare and
Riviere?); No. 15 seems too good for any other delightful qualities in art, but, like everything else,
Academician but Orchardson, yet the style is not they pall when they are too openly advertised, and
quite his ; No. 16 is a Joseph Clark; No. 18 by Hammershoi advertises them consistently. One
an outsider ; No. 19 is a Gotch ; No. 20 a Kemp feels in the presence of such a work as the
Welch ; No. 27 is a good early Dyce ; No. 29 an Sunbeam in Christiansand that simplicity is
unusual and artistic Stanhope Forbes; No. 30 is become theatrical; besides, the girl’s head might
a Stacey Marks, at the transition from his Pre- have been better painted. Even the charming
raphaelite days; No. 32 is F. R. Lee’s master¬ Open Doors seems only an exceedingly clever and
piece; No. 33 is rather a poor Hook; No. 35 is original ‘ symphony in white ’ after such an intro¬
a Vicat Cole ; No. 36 a Hacker ; No. 37 a Philip; duction, and lacks the significance it might possess
No. 38 a Farquharson ; and so on ad infinitum. were it an isolated experiment by some artist who
Kroyer’s excellent and artistic portrait (26) and was not always content to work so. Hammershoi’s
the works of Paulsen are the real things which technical powers are considerable, and though
stand out from the rest as having something they just fall short of the complete accomplish¬
besides conscientiousness to recommend them. ment we expect from a great painter of genre, they
In the next gallery, however, Kroyer (whose large are yet enough to place him definitely among those
portrait group is admirable of it kind) turns into whose names are remembered, while his ostenta¬
Mr. Stanhope Forbes, and Prof. Tuxen into Mr. tious modesty may make him as popular here as he
Bacon, while Baron Arild Rosenkranz, after is in Denmark.
toying with French religious art, is transformed in The two bedroom scenes by Paulsen (Nos. 115
Gallery III into Miss Eleanor Fortescue Brickdale. and 117) display a greater, if less striking, talent.

82
 The Painters of T)enmark
Indeed, in the whole exhibition there are, perhaps, The Danish Exhibition is thus a thing of no
no pictures so complete and satisfying. The little interest and importance, but to English
design in each is more subtle and complex than visitors the interest will be intensified by the
that of Hammershoi, the lighting not inferior, the curious parallelism with English art to which we
technique infinitely more certain, learned and have referred. In the latter period we
skilful. Such admirable qualities of substance, have to admit that the Danes outstripped us,
handling and sensitive colour would be hard to at least in point of priority. In the former we
match in modern art, yet they are employed so un¬ may have surpassed them ; but the victory has
obtrusively that they have been generally overlooked. proved a barren one.

NOTES ON AN EARLY ‘ PERSIAN’ BOWL AND < RICE-GRAIN ’

WARES
BY R. L. HOBSON
N view of the coming exhibition Shah Abbas (1587-1628), from which it differs in
of Persian pottery at the Bur¬ everything except translucency. To what period,
lington Fine Arts Club, particular then, should we assign it ? The shape recalls the
interest attaches to the little bowl fragmentary bowls from Rhages and Fostat ; the
acquired last year by the British technique is that of the enamelled blue bowl, its
Museum and now on view in neighbour in the museum, which is certainly not
^£^2^ table-case A in the Ceramic later than the fourteenth century. The paste and
0=2 Gallery. It appeals to our atten¬ the colours tell the same tale. The brown outlines
tion not merely by the refinement of its creamy and blue washes are a feature of the pottery found
white and semi-translucent ware, the unwonted at Rakka, a city on the upper reaches of the
restraint of the painted design and the airy grace Euphrates, which was destroyed by Khulagu Khan
of the ‘ rice-grain ’ ornament, but still more be¬ and his Mongol hordes on their march from
cause it opens up a number of half-solved problems Bagdad to Aleppo in 1259, the fate of Persian
and throws a slender but welcome ray into the Rhages forty years before. The drawing of the
twilight that obscures the early history of the hare recalls the animals painted in lustre on the
pottery of the Near East. Its form and decora¬ thirteenth-century tiles from Veramin in Persia.
tion are given in figs, i and 2 ; but a more On the other hand, the slight nature of the decora¬
intimate examination shows that it has the soft tion is unusual on the wares of this time, and we
white friable body common to all the early Near- miss the close floral patterns and crowded scrolls
Eastern wares, and in no way differing from the that usually surround the central subject. Their
potsherds found in the ruins of Rhages, in Persia, absence is, however, not surprising on such a
and Rakka, in Syria, and in the rubbish mounds piece as this, where the beauty of the translucent
of Fostat or Old Cairo. The alcaline glaze is creamy ware would be lost beneath a weight of
clear and colourless, but age has subdued its ornament. If a parallel is wanted, it can be found
glittering surface, giving it the texture of sugar¬ in the isolated birds and animals that relieve and
icing rather than glass : it has run to a considerable at the same time enhance the fine ivory surface of
depth in the hollow of the bowl within, but seems the thirteenth-century Saracenic caskets in the
to have shrunk away from the foot outside in con¬ Victoria and Albert Museum.
gealed wrinkles. The walls are thin and slightly Rakka, Rhages, Veramin—these names sum up
translucent, and end in a conical projection w’hich almost all our knowledge of early Persian and
is hidden by the foot-rim. The central decoration Syrian wares, a slender total still, in spite of the
is outlined in brown and washed in with pure rich undoubted progress made in recent years. Thirty
blue, both under the glaze, and the rim is edged years ago all was vague and obscure beyond the
with brown and dabs of blue ; while on the sides sixteenth century. Since then excavation on the
is a band of cable pattern outlined with the grav¬ sites of these ancient cities has opened up fresh
ing tool and pierced with round holes which were springs of information, carrying us back at least
afterwards filled in with transparent glaze. three centuries. Dated specimens, unfortunately,
This last feature, added to the translucency of have seldom appeared, and none are earlier than
the body, tempts one at first sight to class the bowl a.d. 1217. They display, however, an art already
with a comparatively modern pottery known in mature, and one which cannot reasonably be
England as Gombroon ware, to which we shall supposed to be either a mushroom growth or a
return later; but the form, the brushwork and momentary outburst of splendour. Logic demands
the colours used stamp it at once as a product that many of the finely potted, painted and lustred
of remoter times. Nor can it be ranked with fragments fi-om the ruins of Rhages, destroyed in
the so-called Persian ‘ porcelain ’ of the reign of 1220, belong to vessels made and used in the

83
Notes on an Early c Persian ’ Bowl
previous century. But even conjecture halts at this, our bowl and the translucent ware of Old Cairo
as far as concerns Persia, at any rate, where the scarcely admits of doubt, but how distant and
arts, reviving after the destructive wave of Arab how direct is the descent are questions which
conquest, had scarcely gained sufficient strength cannot yet be satisfactorily answered. In the
before the twelfth century to admit of any notable first place no trustworthy account of its discovery
advance in the potter’s craft. In Egypt, however, survives, and its reputed Persian origin rests only
it was otherwise, and we must look to Egypt for on the vague assertion of an oriental dealer.
the germs of that ceramic skill which afterwards There is nothing in the paste, glaze, colours or
throve so conspicuously in Persian and Syrian style of decoration incompatible with either
soil. In the bazaars of Old Cairo, as early as Persian, Syrian or Egyptian provenance. The
a.d. 1042, Nasir i Khusrau saw ‘pottery of every ‘ rice-grain ’ band is equally inconclusive, as will
kind, so fine and so translucent that one saw be seen immediately, so that we must be content
through the walls of a vessel the hand applied to to regard it for the time being as an early example
the exterior. They made bowls, cups, dishes and of what Polonius might have called Perso-Syro-
other objects. They decorated them with colours Egyptian pottery, and an important link with
recalling those of a stuff named bougalemoun, the those wonderful bowls which arrested the Persian
tints of which varied according to the position in traveller’s attention in the eleventh century.
which a vessel was held.’1 Clearly a translucent But the interest of the bowl does not stop here.
ware painted in lustre. The testimony of Nasir i Unique as an almost perfect specimen of ‘ rice-
Khusrau cannot reasonably be questioned. His¬ grain ’ ware at this early date, it bids fair to decide
torian, traveller and geographer, he is now regarded the origin of this exquisite decoration. The
by competent authorities as identical with one of expression ‘ rice-grain,’ inadequate as it is in many
Persia’s greatest poets ; and when such a man cases, is practically the only term we have to
states positively in plain prose what he saw at describe the ornament on the sides of the bowl.
Cairo, we have no right to doubt his accuracy. It may be defined as a transparent pattern in an
As well disbelieve Lord Byron when he describes opaque or semi-opaque body formed by cutting
in his letters some striking object in Greece or out small sections of the paste while it is still soft
Italy. We may then rest assured that the Old and plastic, and allowing the clear glaze to fill up
Cairene potters were able to make in the eleventh the holes. The simplest and the most usual
century a fine ware, translucent and lustred, and application of this process is in a kind of con¬
no doubt not less remarkable than the bowl now tinuous star pattern, the rays formed of pointed
under discussion. Conversely it is improbable oval excisions which were likened by the French
that Nasir i Khusrau had seen anything similar to grains of rice, whence their name ci grains-cle-
during his previous journeys through Persia and riz and our borrowed ‘ rice-grain.’ In figs. 1 and 3,
Syria ; otherwise he could hardly have failed to however, the excisions are circular, and in fig. 4
mention it. Twenty-six years after the Persian they conform to the arabesque design. As a rule, a
traveller's visit, Fostat and Old Cairo were given colourless glaze is employed, but from the earliest
over to the flames by the victorious Giaour ; times the effect was varied by the admixture of
partially rebuilt, they were pillaged in 1250 by a some colouring oxide, as in fig. 4, where the glaze
Mameluke Sultan ; and since then the greater part is stained with blue. On Chinese porcelain the
of the site has been used as a dumping ground for ‘ rice-grain ’ process is used in various ways, on
the rubbish of the New Cairo. The successive pure white ware, or in the midst of enamelled
strata of debris have been patiently searched by decoration where it may serve to light up the
Dr. Fouquet, Henry Wallis and others ; and foliage, blossoms or fruit of a tree, or more happily
Dr. Fouquet, who has published an invaluable still to glaze the windows of a house. The so-
study of the pottery unearthed in his excavations, called Gombroon wares rely on it entirely for their
claims to have discovered one piece which could fairy-like lightness. Like the Chinese, this latter class
compare with Nasir i Klnisrau’s description. dates from the eighteenth century; but it is only
Two others of the same class seem to have recently that the Japanese have succeeded in sub¬
reached him from ‘ a certain place ’ in Syria. duing their stubborn materials to this subtle process
More may yet be discovered, but even one which they now employ under the picturesque name
fragment is a valuable witness to the truth of of Hotaru-de or ‘ fire-fly style.’ On European
Nasir i Khusrau’s words, and adds strength to the porcelain its charming possibilities were proved
assumption that the art of making fine pottery in by a French potter at the last Paris Exhibition;
the middle ages, including translucent, lustred and, but the inevitable cost of an art that demands so
of course, painted wares, developed in Egypt and much skill and taste prevents its being lightly
spread thence into Syria and Persia. adopted by our manufacturers. That the idea
That there exists a certain relationship between originated in the Near East and not in China is
1 Voyage de Nasir i Khusrau, translated from the Arabic by
demonstrated by our bowl, though recent writers
Ch. Schefer, p. 151. on oriental porcelain have been content to leave

84
(l) PERSIAN BOWL, DEPTH 5 3 INCHES; (2) SIDE
VIEW OF (I), HEIGHT 3 INCHES ; (3) FRAGMENT
FROM RHAGES ; (4) FRAGMENT FROM FOSTAT ; (5) NOTES ON AN EARLY ‘ PERSIAN ' BOWL
CHINESE PORCELAIN BOWL ; (6) GOMBROON BOWL AND ‘ RICE-GRAIN ’ WARES
0) HORHAM HALL, THANTED (2) CHRIST'S HOSPITAL, ABINGDON (3) BARNARD’S INN HALL, LONDON

NOW THE MERCERS' SCHOOL

 Notes on an Early c Eersian ’ Row/
the question undecided, following the inconclusive pottery to which the epithet Gombroon has
statement that appeared in the Franks Catalogue been consecrated by general usage in England is a
of 1876. At that time indeed there was no creamy white and highly translucent substance,
evidence to warrant a decision; for although no described by Mr. Burton in his recent book on
Chinese example could be traced with any porcelain as a kind of ‘ artificial porcelain appar¬
probability further back than the eighteenth ently made of pipeclay and glass.’ It is undoubtedly
century, it was equally impossible to assign an a kindred material to fig. 1, though its body is of
earlier date to Gombroon ware, the only Near- closer grain and considerably harder. The decora¬
Eastern representative of the ‘ rice-grain ’ class tion is invariably of the ‘ rice-grain ’ order, some¬
then known. All doubts, however, might have times relieved by slight ornament in black over the
been dissipated a few years later had we realized glaze or underglaze blue. The few dated pieces
the importance of such fragments as figs. 3 and 4, known belong to the eighteenth century, and the
which were discovered at Rhages and Fostat. manufacture seems to have lasted into the nine¬
These two precious remnants of once lovely vessels teenth. No serious evidence has been adduced to
have awaited for nearly twenty years in the British show that it was made at the town of Gombroon,
Museum the coming of their more fortunate and the name, as in the case of Nanking china and
contemporary, who now proudly affirms what Imari porcelain, is borrowed, no doubt, from the
they in their fragmentary state could barely hint. place of export. Gombroon is a port opposite
Meanwhile our increased knowledge of Chinese Ormuz, in the Persian Gulf, where the English
porcelain, so far from claiming a greater antiquity East India Company established a station about
for the ‘ rice-grain ’ wares of the Far East, tends to the year 1600, and wares of many kinds, including
place their introduction in the reign of Ch'ien- Chinese porcelain and Persian pottery, were
lung (1736-1795) or at the earliest in that of shipped at this entrepot for our home markets.
Yung-cheng (1723-1735). Marked examples Writing in 1698, Martin Lister compares the
usually bear the date of the former emperor or porcelain of St. Cloud with ‘ the Gombroon ware,
that of his successor Chia-ch‘ing (1796-1820). which is, indeed, little else than a total vitrification,'
A typical specimen is shown in fig. 5, which has and Horace Walpole some sixty years later cata¬
the unusually full inscription underneath—Chia- logues among his china at Strawberry Hill
ch'ing san nien ssu ytieh chi jih Wang Sheng-kao ‘ two basins of the most ancient Gombroon
chih (made by Wang Sheng-kao at the end of the china, a present from Lord Vere, out of the
fourth month of the third year of Chia-chfing). collection of Lady Elizabeth Germaine.' The
It illustrates the process as applied to true por¬ context of both these references implies something
celain, showing the same effect of airy lightness as distinct from Chinese porcelain, and yet of a
on the softer Persian material, with the addition of translucent and porcellaneous nature—conditions
cleaner cutting and greater precision: a doubtful that would be perfectly satisfied by the so-called
advantage from the aesthetic standpoint, and one Persian porcelain of the Shah Abbas period, to
which only serves to emphasize the artistic superi¬ which 1 have already alluded. It is, indeed,
ority of the deliciously soft and creamy, but no unlikely that either writer refers to what is now
doubt less practical Persian ware. called Gombroon ware, and which we can only
For purpose of comparison an example of Gom¬ define as a charming product of some unascer¬
broon ware is given in fig. 6, and it is time that tained part of Persia, a remote but worthy
some explanation was made of this term, which descendant of the ‘ rice-grain ’ pottery of Rhages
has been so freely used throughout. The particular and Old Cairo.

LONDON LEADED STEEPLES.—Ill

BY LAWRENCE WEAVER, F.S.A. ^
HE leaded domes and siasm the ungeometrical and flowing line when
lanterns of Wren’s London it arrived by way of the ogee, in the first half of
churches are not only of the fourteenth century. Fora time it was supreme,
great intrinsic interest, but and rioted freely and sometimes absurdly, but
have an important place in mostly in such decorative positions as were
the development of the roof afforded by niches and tombs. Hopelessly
idea as applied to towers. bad structurally, the ogee arch was rarely
The dome of simple curve is powerful enough in its attractiveness to take
a frankly foreign element in English architecture, other than a decorative place. In English
and became acclimatized only by slow stages. mediaeval architecture at least, it never affected
With the cupola of ogee curve it was different. The external roof lines until Perpendicular times, and
genius of native building accepted with enthu¬ then only in rather trivial ways. At King’s

89
London Leaded Steeples
College Chapel, Cambridge, which was building break the ogee outline, and are doubtless examples
from 1446 to 1540, the corner turrets finish with of many like decorative gaieties which have gone
ogee finials, and these, and others like them, were from other roofs with the passage of time and
the forerunners of the numerous ogee-roofed thoughtless repair. Abingdon is rich in lanterns,
turrets of the early Renaissance, such as those at for the exquisite market house built by Christopher
Hampton Court and at Abbott’s Hospital, Kempster, who worked under Wren at S. Paul’s,
Guildford. Even in the case of the example at has a lantern of great delicacy of detail.
King’s College, however, there is obviously no The leaded lantern of Barnard’s Inn Hall, now
intention seriously to employ curves in roof work. the Mercers’ School (fig. 3), is probably as perfect
Such finials are decorative trivialities, employed an example as can anywhere be found of the right
to finish rather unimportant elements, such as adjustment of the elements of light-opening and
corner turrets. We have still no evidence of a roof. The point where the tip of the ogee joins
desire to introduce curves into the crown of a the finial has been very clumsily repaired, but
tower. Where a tower was to be topped with a even with this blemish the composition is
notable feature, a spire composed of straight altogether delightful. It is complete plumber’s
lines in one combination or another was the work. There is no shirking of the technical
only treatment (I except such towers as S. Giles, difficulties involved in sheeting with lead the
Edinburgh, and the Cathedral, Newcastle, where mullions of the lights (as at Abingdon, where the
curved flying buttresses uphold a spirelet, but these wood is left unprotected), and the proportion
from their rarity can scarcely be regarded as between the cusped openings and the sturdy
traditional). mullions could not be bettered.
The development of Perpendicular tower build¬ This lantern, however, is purely an architectural
ing tended greatly to the elimination of the spire, as feature. It does not light the hall, and may be
in the Somersetshire churches, where the wealth of regarded, therefore, as of the type of roof fleche,
pierced parapet and pinnacle took the spire’s place. a beautiful example of which was illustrated in
Had the provision of a stage above the tower The Burlington of August 1906. The ceiling
proper remained an organic essential of the treat¬ of the hall is comparatively modern, and it may
ment of church towers, perhaps something in the be that there was in the original ceiling an
nature of a great domed lantern would have been opening below the lantern, which would in that
evolved in late Perpendicular times on the lines of case have served to ventilate. The ‘ lantern ’ idea
the lead cupolas on the turrets of Hampton Court. is altogether absent from the exquisite lead turret
As it is, we have to wait for the full tide of the roofs of Hampton Court (fig. 4). The richness of
Renaissance before the dome comes into its own, treatment there, the wealth of crocket and
and to look to Sir Christopher Wren in particular pinnacle and the great applied roses, make the
for its noblest expression. roofs worthy successors of the most decorative of
The description 1 lantern ’ applied to such English lead spires, that of East Harling, Norfolk.
steeples as St. Bene't, Paul’s Wharf, deserves The composition is simple and natural. The
attention. The original purpose of a lantern is lower octagonal stage takes up the lines of the
obviously to give light, and the notable lead lan¬ brick turret, and is surmounted by an ogee cupola.
tern of Horham Hall, near Thaxted, Essex (fig. 1), As in Barnard’s Inn lantern, the feeling is wholly
is the best possible example of this use. It is, in gothic, though the rather nondescript shape of the
fact, a beautiful architectural expression of the eight little finials gives an uncertain touch and
same need as is served by the range of vertical roof indicates the arrival of new motives. The marked
lights in a modern billiard-room. At Horham neglect by Wren of the decorative possibilities of
Hall the provision of light is the first consideration, ornamental leadwork cannot be more acutely
and the craft of the plumber is spent on emphasizing recognized than by comparing the wealth of detail
the window openings by vigorous vertical and in the Hampton Court turrets with the sobriety of,
cross lines rather than on beautifying the roof. say, the lantern of S. Bene’t, Paul’s Wharf.
Horham Hall was built at the beginning of the Fine detail there is at S. Bene’t’s, but it is in the
sixteenth century, and there is nothing in the wooden cornice mouldings. The leadwork is
design of the lantern to contradict so early a date. subsidiary and protective. In Wren’s most orna¬
At Christ’s Hospital, Abingdon, Berks (fig. 2), mented steeple, S. Edmund’s, Lombard Street, the
the lights of the lantern were untouched by the decorative urns are apart from the structure. At
plumber, who spent his energies on the ogee roof, Hampton Court the ornament is organic and has
with no little help from the smith on the vane. relation to the lines of the roof.
The hospital was founded in 1553, so the lan¬ Turning now to Wren’s use of the dome in
tern, dated 1707, marks a period of renewed ac¬ connection with the lanterns surmounting church
tivity. A pleasant feature of this Abingdon lantern towers, possibly his finest work is at S. Bene’t,
is the placing of lead ornaments on the roof itself. Paul’s Wharf.
About half way up, gilded crowns stand out and There is a peculiar interest attaching to this

90
LONDON LEADED STEEPLES
PLATE II
(6) S. EDMUND, LOMBARD STREET (7) S. NICHOLAS, COLE ABBEY

(8) S. PHILIP, BIRMINGHAM (9) NATIONAL GALLERY

LONDON

LONDON LEADED STEEPLES

PLATE III
 London Leaded Steeples
church, as Wren's great predecessor, Inigo Jones, and demolished in 1844. It stood on the south
was buried in the pre-Fire church in 1651. Un¬ side of Threadneedle Street, where the late
happily, his monument was destroyed when the Mr. Peabody now sits in bronze. The cupola
church fell to the flames. The church was with lantern was a fine feature of one of Wren’s
re-built by Wren in 1685, and, apart from the most ingeniously planned churches. The site
exquisite lead lantern, the whole building is a forbade a rectangular plan, so Wren turned it into
miracle of sane and simple art. The photograph a decagon and attached the tower to its western
(tig. 5) is of happy effect in showing the little lan¬ face. It will be noted that this lantern, though
tern of S. Bene’t against the bulk of S. Paul’s. similar in design to that of S. Bene’t, Paul’s
It is impossible, within the compass of this article, Wharf, is smaller in proportion to the cupola, and
to do more than touch on this, the greatest of all the cupola lights are less important. The illustra¬
English leaded domes. It is not, moreover, in the tion (fig. 10) shows what London has lost in losing
same category as the lanterns of the City churches, S. Bene’t Fink.
with which I now deal in completing my slight By way of comparison with Wren’s treat¬
survey of Wren’s leaded steeples. They all meet ment of leaded domes and lanterns, I illustrate
the same architectural need, of furnishing a suit¬ Archer’s tower of S. Philip, Birmingham (fig. 8).
able crown to a square tower. At S. Paul’s the
plan below the dome is circular, and is altogether +
sui generis.
I have in earlier articles insisted on the texture
value in lead roofing of the rolls, which make the
junction between adjoining sheets of lead. At
S. Paul’s, Wren has emphasized this surface
treatment by having the lead dressed over great
moulded ribs. It is a purely constructed decora¬
tion, but of interest as suggesting the value which
Wren attached to texture.
When writing of domes, one cannot forbear
reference to the greatest of all leaded domes,
those of the Church of The Holy Wisdom at
Constantinople, or avoid some comparison of the
characters of Byzantine and Renaissance domes.
Perhaps the outstanding features of Wren’s
more conscious art are the elaborate lanterns
surmounting the domes proper, and the fact that
where the dome is seen also from the inside, as at
S. Paul’s, the inner and outer lines do not agree,
the inner line being, of course, to a much flatter
curve. In the case of lanterned domes sur¬
mounting towers, as at S. Bene’t’s, this discrepancy
does not arise, as the inside of the dome is not
visible. It goes, however, to show that Wren's
chief idea in S. Paul’s dome was to create an
architectural feature dominating London, and to
establish a relationship between the cathedral and
the steeples of the parish churches, rather than to
provide a roof to the crossing.
The dome and lantern of the destroyed church
of S, Bene't Fink bore a marked general
likeness to those of S. Bene’t, Paul’s Wharf, but
with one notable difference.
At S. Bene’t Fink the cupola was square on plan,
wheras at Paul’s Wharf we have a true dome,
circular on plan. Wren here goes about his work
in a straightforward way. There is no attempt to
mask the change from square to round by corner
vases or any like device which might have
tempted a lesser man, and the steeple is by so
much the gainer in breadth and simplicity.
S. Bene’t Fink was rebuilt by Wren in 1673 FIG. IO. SAINT BENE’T FINK

95
London Leaded Steeples
The tower proper is certainly the finest part of a railed balcony at S. Martin, Ludgate, was a
this spendid composition, but the dome is a very bold stroke which is justified in the result.
notable achievement. It may be felt that the Hardly so much can be said for the like feature
columns supporting the small cupola are a little at S. Nicholas, Cole Abbey, and above it Wren
attenuated and the balcony railing rather trivial seems to have lost himself in a kind of architec¬
in detail, but, taken altogether, the dome bears tural marine store. At S. Edmund, Lombard
comparison with all but Wren’s best work. The Street (fig. 6), the lantern is coherent, if a little
detail of Archer’s leadwork is full and careful. fretted by the number of flaming urns. It is
The columns supporting the cupola are cased in moreover of admirable proportion, the lantern
lead, which is heavily seamed at the joints. The with its louvred lights forming a satisfactory stage
capitals have elaborate acanthus leaves in gilt cast between the tower and the concave spire sur¬
lead, and the bases are cast in rings and fitted mounting it. The word ‘spire’ in connection
round the columns. S. Philip’s is altogether a with S. Edmund sounds almost ridiculous.
notable church in a city not too notable for Perhaps in none of his steeples did Wren break
architectural beauty. away more violently from traditional treatment.
The leaded dome of the National Gallery (fig. 9) It is unfortunate that S. Edmund is so little
is very different, but very interesting. Built as visible. It is only from St. Clement’s Lane that it
late as 1839 by Wilkins, the dry classic detail of can be seen at all satisfactorily. From Lombard
the leadwork is almost as far removed from Street the steeple is hardly within sight, so narrow
Wren’s straightforward, rather thoughtless manner is the street and so lofty the tower.
as from the luxuriant crocketting of the best In closing this third article on London’s leaded
mediaeval work. It shows an appreciation of the steeples, I may perhaps be allowed to be grateful
value of pattern on bold curved surfaces, even if to the Editor for giving me so much space for a
it fails altogether of an understanding of the right too little studied branch of Wren’s work. The
treatment of lead roofs. stone steeples, such as S. Mary-le-bow and
Finally, I return to the two Wren lanterns which S. Bride, have been illustrated and described a
defy classification perhaps more vigorously than thousand times, but of the leaded steeples there
any other of his church steeples. has been some neglect. I can only regret that
The lanterns of S. Nicholas, Cole Abbey, and it has not fallen to an abler and more experienced
S. Edmund, Lombard Street, may be grouped hand than mine to attempt to fill the gap, and to
together by their likeness in curious outline. The establish some kind of relationship between the
former was re-built in 1677 and the latter in 1690. lead steeples of the Renaissance and those of
Both are very characteristic work, examples of gothic times.1
Wren’s wealth of invention. The lantern of 1 My thanks lor permission to reproduce illustrations are due
to Mr. W. Niven, F.S.4. (fig. 10), and to Mr. J. C. Brand (fig. 8)
S. Nicholas (fig. 7) has been a good deal abused Figs. 1 to 4 are from my collection of leadwork photographs
and not altogether without reason. Wren’s use of taken by Mr. Galsworthy Davie.

CHARDIN
If the word sensation may be used in connection when he has said it ; his outlook upon nature is
with any exhibition of the quality of that recently at once broad and searching ; his sense of tone
held at Whitechapel, then the revelation of the and atmosphere is infallible ; his taste in colour
three paintings by Chardin, in the possession of impeccable—and he blends all these gifts so
the university of Glasgow, may be described by happily that the Dutch masters seem petty in
that term. The Woman with a Frying Pan, which comparison, and the modern genre painters poor
we reproduce in photogravure, was perhaps the in quality or clumsy in touch. There is a curious
most generally attractive of the three, but all resemblance to Millet in the subject chosen for
possessed those qualities which make Chardin’s illustration, both in the actual things represented
name count for more and more as our know¬ and the spirit with which they are rendered, yet
ledge of painting grows. Chardin’s simplicity differs from that of Millet in
We are gradually recognizing that Chardin is that it is more equable. He looks on the world
one of the world’s most perfect oil-painters. He with a calm gaze, Millet with an eye that is im¬
uses the medium with an appreciation of its passioned,perhaps even indignant. Millet may thus
peculiar qualities as sensitive as that of Velazquez ; clutch us more vigorously, but it is the quiet firm¬
lie knows exactly how much to say and stops ness of Chardin that will hold our attention longest.

A COPY OF VAN DYCK BY GAINSBOROUGH

The interesting version of Van Dyck’s equestrian hibition, is given by general but not quite uni¬
portrait of Charles I, which is one of the most versal consensus of authority to Gainsborough.
striking features of Messrs. Shepherd’s Spring Ex¬ That it is not by Van Dyck himself is tolerably

96
CHARLES I, BY GAINSBOROUGH, AFTER VAN DYCK
IN THE POSSESSION OF MESSRS; SHEPHERD BROS.
 zA C°py °f Van TAyck by Gainsborough
clear from a comparison with the famous picture of Gallery), which was submitted to 11s in 1905, also
the subject in the National Gallery, and the less appeared to be from Gainsborough’s hand. The
known preliminary version at Buckingham Palace. copies of Rubens and Teniers mentioned by Rey¬
The treatment of the head is sufficient evidence nolds are no longer known, and Messrs. Shepherd’s
againsttheauthorship of Van Dyck, apart from such picture seems to be the single extant work which
details as the treatment of the foliage of the large may be a copy after Van Dyck.
tree on the right, or the smaller one in the middle Distinctive marks of Gainsborough's style may
distance to the left, and the excessive thinness of be noted in the transparent handling of the ex¬
the pigment, which has not the peculiar richness tremities of the large trees, a handling which
of Van Dyck. resembles water-colour in its fluidity, whereas the
Yet if we reject Van Dyck we have no real foliage of Van Dyck is laid in with firm flaky touches
alternative but Gainsborough. None of Van that recall the manner of Titian. The thistle in
Dyck’s immediate followers had the lightness of the right foreground has its exact analogy in the
hand this picture displays ; no subsequent artist portrait of General Honeywood recently seen at
except Gainsborough inherited so much of his Burlington House; indeed the whole of the
style and sentiment. His admiration for Van picture to the extreme right is absolutely in Gains¬
Dyck is shown by his famous saying on his death¬ borough’s manner, for here, owing to the altered
bed ; Reynolds in his Fourteenth Discourse shape of the canvas, he had to rely upon his own
expressly states that Gainsborough made copies powers of invention to fill the added space.
after Van Dyck which bore a striking resemblance Countless other details might be adduced which
to the originals ; and his position at court as one point to the same conclusion, but to a painter the
of the favourite painters of George III would give harmonies of turquoise and silver grey in the sky
him constant access to at least one of the two ver¬ and the superb audacity of the lustrous bronze of
sions of this famous picture by Van Dyck. At the horse will be evidence enough that we have
Hampton Court there is a very fine copy by Gains¬ here the work of a supremely gifted and accom¬
borough of a Rembrandt portrait ; a second turned plished colourist. The field of conjecture being
up, if we are not mistaken, in a London sale-room thus limited, the style would point definitely
some half-dozen years ago, and was evidently to Gainsborough, and to Gainsborough alone,
regarded as an original. A photograph of a copy even if no collateral evidence were forthcom¬
of a third Rembrandt (No. 775 in the National ing.

A PORTRAIT BUST OF AGRIPPINA.

BY CECIL H. SMITH
HEN one thinks of por¬ plialera with its disc background is only an exag¬
traiture as practised by gerated cameo. And so we find that in the Aug¬
Greek and Roman artists, ustan age, when the art of engraving portraits in
one’s mind naturally turns cameo was at its zenith, small busts in precious
to the life-size busts 01- stone are of not uncommon occurrence.
statues in marble or A bust of this description has just been acquired
bronze which occupy a for the British Museum, thanks to the generosity
large space in most col- of a donor who wishes to remain anonymous;
in the great galleries at it is figured in two views on page ior.1
Rome. The habit of "making representations of It is a portrait bust of a Roman lady of the
notable people on a small scale and in other first century A.D., carved in plasma (root of
materials was probably already in vogue to a cer¬ emerald of a rich cool transparent green). The nose
tain extent among the successors of Alexander, and both ears are slightlv damaged, but except for
as an outcome partly of the growing taste for genre these minor abrasions, the entire surface is probably
in all its phases ; but it was left to the artists of as fresh now as it was on the day it was finished.
the early Roman Empire to develop it more fully. The neck is broken away at the shoulders, so that
The most familiar form is that of the small por¬ it cannot now be determined whether the head
trait busts in onyx or chalcedony, usually from two formed part of a full-length statuette. Probably it
to four inches high, which are sometimes attached was carved as a bust, and may have been intended
to a circular disc of the same material, and which to stand in a setting of some other material, metal
are usually considered to be phctlerae—that is, de¬ or ivory, in which the drapery and shoulders were
corations for horse trappings or furniture, or similar suggested : this probability is increased by the fact
purposes. Possibly the idea may have grown out of that the underside of the neck has been drilled to
the art of cameo-cutting. From the cameo in high 'The renderings of the full face and profile are photographed
relief to the plialera is but a step, and indeed the from a cast in which the nose is experimentally restored.

H 99
A Portrait Bust of Agrippina
receive a dowel. The lobes of the ears have been Caesars were no longer above suspicion, the wife
pierced, probably for the attachment of gold of Germanicus figures as a shining example of
earrings. those virtues which had marked the Roman matron
Among all the sculptures of antiquity which of a sterner age. Of her earlier life we know little,
challenge a comparison with it, this bust stands save that she was born about B.C. 14, the daughter
pre-eminent, not only for the consummate art of M. Agrippa and Julia, and thus claimed
which characterizes it, but in the exquisite beauty Augustus as her grandfather. After her marriage
of its material. The use of plasma for gem¬ she accompanied her husband on his campaigns
engraving was hardly known to the Greeks, and and seems to have been the devoted sharer of his
seems to have come into vogue under the first Roman fortunes in more than name : for there seems no
emperors ; but the gems which have come down reason to discredit the story that in his absence,
to us in plasma are mostly small intaglios : I after a disaster to the Roman arms, she restored
know of only one other example of a larger order among the panic-stricken and mutinous
sculpture in this material, and that is a fragment legions, and saved the command by sheer force of
in the collection of the late Mr. Wyndham Cook : will. The rest of her story reads like a Greek
this gives the forehead and eyes with part of the tragedy: the hand of fate, or rather of Tiberius,
hair of a woman’s head on an almost identical was heavy against her ; the loss of her husband
scale, which seems to be from a portrait of the (done to death as she thought at the instance of
same personage, but which is of very inferior Julia) was followed by the death of her two sons ;
workmanship. and then, the miserable existence at Rome, poisoned
The British Museum head was published in ‘ Le by the atmosphere of cruelty, suspicion and intrigue
Musee,’ 1905, p. 192, as a representation of Livia. A which hung around the court of Tiberius ; and,
comparison, however, with the coin types shows last act of all, the imperial indictment for high
that neither the features nor the style of head-dress treason, her banishment, and death by self-imposed
agrees with this interpretation, but that it must starvation (a.D. 33).
certainly be attributed to Agrippina, the wife of Tacitus says in the ‘Annals' (v. 4) that when
Germanicus. I have given the full-face and profile the charge was brought against her before the
views of the head with nose restored, side by side Senate, a popular demonstration was made before
with the portrait of Agrippina as she appears in a the Curia in her favour, and that the people carried
bronze coin in the British Museum struck by effigies of Agrippina and of her eldest son. The
Caligula in her memory ; it can hardly, I think, episode is significant on the one hand of the
be doubted that the two are identical, and that the popularity which was probably one of the causes
similarity of the style points to the coin and bust of her downfall; but it also shows that portraits
being contemporary. of her made at this date may be looked for, in
The head may thus be claimed as belonging to the spite of the imperial disfavour. After Tiberius’s
greatest age of portraiture, and is a portrait of the death, when her son Caligula had assumed the
chief lady of her time. That it was in antiquity purple, he brought her ashes from the island of
an object greatly prized is probable from the her exile to Rome, and struck the coin here shown,
selection of the material and from the enrichment which is inscribed on the reverse : MEMORIAE
with earrings ; but most of all, from the nobility AGRIPPINAE. This again might have been
of the art. I know of no portrait of any age, of (and probably was) an appropriate occasion for
any material or size, which is more impressive for the execution of portraits of her; it does not
a certain quiet dignity and largeness of style : greatly matter to which of the two dates we assign
idealized it is, no doubt; but the breathing human our bust, for the difference in time is very small,
form is there, and the living sentient force of and the features of Agrippina were probably well
character, with the emotions that moulded it, are known. Indeed, it is strange to find among the
in a subtle way suggested : pathos, loyalty, a marble busts which have come down to us how
modicum of ambition, perhaps, the habit of com¬ very few can be definitely assigned to her. The
mand, and above all a distinction which is only well-known bust in the Capitol is the only one
enhanced by the exquisite material in which the which gives a really satisfactory resemblance to
bust is carved. It is the work of a master-hand. the coins ; and as a characteristic portrait it is not
These are the qualities which we should a priori the equal of the plasma.
have predicated for a portrait of Agrippina. Among ‘ Ingens animi, et quae virilibus curis feminarum
all the historical personages of the early Roman vitia exuerat' : such is the half-grudging praise
Empire, she stands pre-eminent as the most pic¬ which the historian bestows on Agrippina. In
turesque and attractive personality of her sex : at looking at the newly acquired masterpiece, we
a period when moral laxity in high places had may well believe this was true, and yet be tempted
become the mode, and the wives and daughters of to add a panegyric of a more positive kind.

I 00
 A CRUCIFIXION, BY KONRAT WITZ OF BASEL
<*> BY CLAUDE PHILLIPS
MUST in the first place make this very year that I would place the Crucifixion
the confession that until the very here reproduced. In his ‘ Studien zur Geschichte
interesting and unusual little der Altoberrheinischen Malerei ’ (‘Jahrbuch der
panel here reproduced was Koniglich Preuszischen Sammlungen,’ 27ter Band,
shown to me by its owner, the s. 179), Dr. Burckhardt, in introducing two hitherto
Rev. Lewis Gilbertson, I had not unrecognized fragments of the Basel retable—an
i devoted any especial attention to Angel of the Annunciation and an Ecclesia—gives
111n few extant works of Konrat new information of high importance with re¬
Witz, one of the most individual German painters gard to the life and career of Konrat Witz, and
among those who worked in the first half of the also as to his father, Hans Witz, whom he
fifteenth century, and as such to be ranked in identifies with that ‘ Hance de Constance, paiutre,’
merit and importance, though not by reason of who in his early days had resided in France
any closer artistic bond, with the somewhat earlier (at Nantes), and in 1424-25 had been in the
Lukas Moser of Rottweil, with the contemporary service of the splendour-loving Philippe le Bon,
Meister Francke of Hamburg, and as one of the duke of Burgundy, by whom in those years he
immediate precursors of Stephan Lochner, the had been sent on missions to Paris and Bruges.
master of the unique Dombild of Cologne, several The essential dates of the two painters’ lives are
figures of male saints in which strongly suggest the thus, for the first time, more or less precisely fixed,
influence of Konrat Witz. I knew, indeed, the ex¬ and the course of their development is, from extant
tensive series of panels by him in the Basel Museum, works, at least indicated, though obviously many
all of them belonging to a great retable now dis¬ gaps remain to be filled up. Another contribution
membered ; I knew the curious St. Mary Magdalene to the subject is the article ‘Zu Konrat Witz,’
and St. Katharine in the gallery at Strassburg, and written by Herr Robert Stiassny in the same
had re-made acquaintance with this work, so much ‘Jahrbuch’ (27ter Band, s. 285). This introduces
more accomplished in technique than it looks at yet another important fragment of the Basel
first sight, in the recent Diisseldorf Exhibition of retable, a Queen of Sheba before King Solomon,
Primitive German Art. I knew also, but had not which is to be found in the rich collection of
for some years seen, the little Holy Family in a Count Hans Wilczek, at Schloss Kreuzenstein in
Church of the Naples gallery. In hazarding the Lower Austria. There may be other literature of
ascription of this little panel to Konrat Witz, importance on a subject with which German art
I rely chiefly, however, on the admirable series of and German connoisseurship is just now so much
articles devoted to the subject by Dr. Daniel concerned, but, if so, I am not acquainted with it.
Burckhardt of Basel. The most important of The dimensions of the little Crucifixion now
these is contained in a sumptuous and unfor¬ introduced by me are: height 13^ in. by length
tunately very scarce work, the ‘Festschrift zur 10^ in. (sight measure), or in decimal notation,
Erinnerung an Basel’s Eintritt in den Bund der height o-34 by length o-26. It is painted on
Eidgenossen.’ The full account and description panel in what is known astheold Flemish technique,
that it gives of all works by Konrat Witz then (in that is in oils, on a tempera foundation painted upon
1901) known to exist is completed by a series of a ground of white chalk or gesso. In a good many
excellent reproductions, which are luckily on a places, alas! the surface is defaced and this gesso
relatively large scale. The point of departure, the ground is clearly visible. But the little panel has
foundation, indeed, of Dr. Burckhardt’s demonstra¬ suffered no material restoration, and in theuninjured
tion, is the one work by Konrat Witz—putting aside parts, which are fortunately many, the painting
certain recently discovered fragments of the Basel has an enamel-like consistency, an unimpaired
retable—that I have not yet seen, and unfortunately freshness and brilliancy. It is the astonishingly
the one which is of the most crucial importance in vivid and realistic treatment of the landscape
connection with my present attribution. This is the background, the in the first half of the fifteenth
altarpiece executed for the Chapel Notre-Dame des century hardly to be paralleled feeling for
Macchab6es, of Geneva, by the master, in 1444, atmosphere and aerial perspective, which first led
as a commission from Francois de Mies, nephew me to the idea that the Crucifixion might be by
of Cardinal jean de Brogny, two large and impor¬ Konrat Witz. Had he not in the Miraculous
tant wings belonging to which have survived, not Draught of Fishes of the Geneva altarpiece—as can
unharmed by Calvinistic vandalism, and are now be seen even in a photographic reproduction—
in the little-visited Musee d’Archeologie attached shown himself a landscapist not more than equalled
to the university of Geneva. in truth and finesse of observation, though surpassed
One of these panels bears the inscription : ‘hoc in beauty and variety, by the brothers Van Eyck
opus pinxit magister conradus sapientis (sic) de themselves? In hardly any other painting of this
basilea MCCCCXLim’—‘this work was painted by early date would it be possible to point to such
Master Konrat Witz of Basel in 1444.’ It is in graded colour and true perspective of cloud in a

103
A ** Crucifixion J by Konrat JVitz
sunset sky, to such observation of light in its play John in Hubert’s picture may well have suggested
upon the surfaces of water, to such accurate those, in feeling, and even in aspect, very similar
notation of rock-form, of tree and shrub, to so figures in our Crucifixion. Still nearer is the
spirited a rendering of the infinitesimal figures crucified Christ, however, to the corresponding
grouped on the sward and under the trees, and of the figure in the representation of the subject by the
boats which dot the lake both in the nearer and Master of Flemallewhich isnowin the Kaiser-Fried-
the farther distance. The touch in the trees in our rich Museum, at Berlin. And this master’s name
picture is identical with that to be noted in the has often been mentioned of late in connection
Geneva piece ; the rendering of rock-formation is with that of Konrat Witz—especially in con¬
identical with that in the less subtle and less well- nection with his St. Mary Magdalene and St. Kath¬
preserved St. Christopher, which forms part of the arine at Strassburg, which has many technical
Basel retable; the same curious treatment of peculiarities in common with the work of the
loose stones, pebbles and shrubs distinguishes both strong, austere Fleming, who stands midway be¬
landscapes. These scarcely visible yet thoroughly tween the Van Eycks—but nearer to Hubert
understood and niouvemente groups of figures to than to Jan—and Van der Weyden. The resem¬
which 1 have just referred are a feature of both— blance of Witz’s Holy Family in a Church, at
and are to be found nowhere else, so far as I am Naples, to the productions of Jan Van Eyck, and
aware. Some difficulty may be felt at first in recon¬ particularly to the ‘ Madonna of I nee-Hall,’ has
ciling the types, the facial peculiarities, the draperies been pointed out both by Dr. Burckhardt and
of the various figures with those in the accepted Herr Stiassny. The painter of this Crucifixion is
paintings of Konrat Witz ; but a nearer examination sometimes a master of facial expression, as in the
will, I think, aid the careful investigator to get exquisitely pathetic Christ, and the Holy Women
over these. And then the accepted works of who mourn with a quietude so touching; but
the Basel master are not so easy at first sight to sometimes, as in the figure of the donor (so Eyck-
reconcile with each other. like in pose and in the treatment of the splendid
The strange, mask-like faces, the curious hieratic crimson robe), he falls back upon the mask-like
gestures and attitudes of the figures which fill the treatment of face and features that so repels us at
panels of the Basel retable belong to an earlier first in the Basel retable. The flesh-tints are in
period of Konrat Witz’s practice, and only with every case but one those very pallid ones, slightly
some effort, with some good will, can be made to heightened with a delicate carmine, to which Dr.
fit in with the conception of the painter formed Burckhardt has called attention, the face of the
from the Geneva panels. And again, the little Holy dead Christ being absolutely pallid and the head
Family in a Church of the Naples gallery shows an inclined sideways and forward, like a broken lily.
elongated type of head in the Holy Women which The one element of the little picture which has
accords better with the types in this Crucifixion no direct analogue in the German, or indeed in
than with those in the Basel and Geneva pictures. the specifically Flemish, art of the time is this
The kneeling figure in that panel of the Basel group of the Holy Women, who stand finely
retable which, perpetuating an ancient legend, draped and rhythmic in attitude at the foot of the
represents the centurion Antipater before Julius Cross. The Virgin herself is robed all in lucent
Caesar, bears a really startling resemblance, not¬ azure, the figure to the left in citron yellow with
withstanding an entire divergence of motive, to white head-gear, that on the right in brilliant
the kneeling figure of the donor in our panel. uncompromising scarlet, similarly relieved. This
Though the artistic idiosyncracy of the painter of scarlet is indeed the one false chromatic note in
the Crucifixion—whoever he may be—is of the what would otherwise be a beautiful harmony.
strongest, and too definite to be wholly dominated It is not a Flemish or a German colour—nor are
by that of any predecessor or contemporary, he the draperies, indeed, Flemish or Teutonic in
betrays unmistakable marks of certain influences— fold : the whole conception of this particular
and of just those that the Konrat Witz evolved for group has something alien about it. If we re¬
us by Dr. Burckhardt might be expected to member, however, that Hans Witz, the father of
undergo. The misc-en-scene, and, indeed, the Konrat, was that ‘ Hance de Constance’ who, while
whole conception, will at once remind the student in the service of the duke of Burgundy, must have
of the Van Eycks, and more perhaps of Hubert become acquainted with the Italo-French or Italo-
than of Jan. Unless I am greatly mistaken, there Burgundian art of such men—Netherlander in
is here to be traced a strong reminiscence—to put origin, though not in training—as Melchior Broe-
the case as moderately as possible—of the little derlam and Jean Malouel (or Malwel), and may
Crucifixion by Hubert Van Eyck (but not entirely have known, moreover, that of the great Pol
from his hand) which is in the collection of Baron de Limbourg and his brothers ; if we bear in
Franchetti, at Venice, and is reproduced in the mind that this ‘Hance’ was thus necessarily
‘ Jahrbuch der Koniglich Preuszischen Samm- steeped in the traditions of the art practised
lungen ’ (?.6'er Band, s. 113). The Virgin and St. in France and Burgundy in the first years Of

104
THE CRUCIFIXION, BY ICON RAT WITZ OF BASEL
IN THE COLLECTION OF THE REV. LEWIS GILBERTSON
FIGURE FROM THE SARCOPHAGUS IN THE THE ADORATION OF THE MAGI, BY LO FIL DE MESTRE RODRIGO
COLLECTION OF SIR FREDERICK COOK, BART. LENT TO THE NATIONAL GALLERY BY THE VICTORIA AND ALBERT MUSEUM
 A LQrucifixionby Konrat JVitz
the fifteenth century, we shall, I think, under¬ Lake of Geneva. It is on this ground, but also on
stand. Konrat Witz, too strong an individu¬ that of the relative maturity of the technique
ality to be a conscious eclectic, in the later generally, that I have put forward the year 1444—
sense of the word, is nevertheless—even as we the year of Konrat Witz’s residence at Geneva,
thus have him, perhaps imperfectly, before us— and that of the great altarpiece of Notre-Dame des
perceived to be an ultra-sensitive, whom, on the one Macchab^es—as the date of our picture.
hand the art of the Van Eycks, and perhaps of their But according to Dr. Burckhardt, he resided
kinsman, the Master of Flemalle, but on the other between the years 1412 and 1427 at Constance.
the Italo-French modes as practised by the Nether- Should it be proved that this lake-view gives the
landers acclimatized in France, have affected. But painter’s immediate impression not of the Genfersee
for all that, he consults nature at first hand, and most but the Bodensee, we should be compelled to put the
lovingly—coming nearer to her in some respects date of the Crucifixion back some seventeen years at
than any man of his time, and surprising in his least, and it would then stand forth a still more
naive and necessarily tentative way some of her remarkable product of primitive German art.
most secret beauties. To find a parallel for this Taking into consideration the points of technical
treatment of landscape in German painting, it is and other resemblance between the landscape of
necessary to pass on until one comes, some sixty the Crucifixion and that most remarkable one of
years later, to Albrecht Diirer—nay, to pass on the Miraculous Draught of Fishes at Geneva, I
beyond this mighty, unflinching realist to Altdorfer, cannot believe that any such period of years
whose landscape art has just this lyrical Stimmung divides them, or that the former panel belongs to
that the greatest of German masters does not, in his the earlier phase of Konrat Witz’s style. For all
treatment of nature, command. All along I have its primitive freshness and its delightful savour of
been assuming, although I cannot at present go the art that seeks itself as it advances, I cannot but
beyond assumption, that we have in the beautiful believe that this is one of the last of the Basel
lake scene which constitutes the background of master’s works, painted at his zenith, as it is
the Crucifixion a study from some inlet of the shown in the Geneva panels.

PROFESSOR JOSEF STRZYGOWSKI ON THE THRONE OF

ST. MAXIMIAN AT RAVENNA, AND ON THE
SIDAMARA SARCOPHAGI
BY EUGENIE STRONG
EW mediaeval works of art are mediaeval art, had already in his work on
more justly admired than the Mschatta1 claimed the throne as the product of a
ivory throne of St. Maximian, Graeco-Syrian art centre like Seleukia, or more
preserved in the treasury of the probably Antioch. But this was on the ground
cathedral at Ravenna. The that the forms and the style of ornament presented
panels of the exterior are marked analogies to Graeco-Syrian art. He now
adorned with scenes from the goes a long way towards definitely establishing his
Old and New Testaments, and theory by pointing out that the five saints arranged
afford a striking example of narrative art. On the in three larger and two intermediate narrower
front of the throne the four evangelists are grouped niches are clearly connected with the five figures—
in pairs to either side of John the Baptist, each similarly spaced and, moreover, disposed within
figure being placed in a niche formed by two similar shell niches—which form a constant feature
columns surmounted by an arch in shell form. in the decoration of the long side of certain
Though the throne cannot be earlier than the Graeco-Asiatic sarcophagi known as the ‘Sidamara
sixth century A.D., the classic poses and the ' group ’ from the provenance of the largest
drapery of all five saints are evident reminiscences example.2 These monuments range in date from
of a period when the human figure was the main the Antonine period (e.g., the ‘marriage sarco¬
problem that occupied sculptors. It is on these phagus ’ in the Palazzo Riccardi) to the third and
front figures, then, that Strzygowski has been fourth centuries. They are all remarkable for
shedding fresh light in a paper read on his behalf their heavy architectural forms and luxuriant
by the compiler of this note at a recent meeting decoration. When Strzygowski first drew attention
of the Hellenic Society, and published in the April to their importance in his book, ‘ Orient oder Rom ,
number of the ‘Journal of Hellenic Studies’ (pp. 99-
122). 1 In ‘ Jahrbuch der Kcniglich Preussischea Kunstsammlungen’
for 1904.
Strzygowski, the distinguished champion of * Cf. ‘ Monuments Piot’ IX. Plates xvii-xix (with text by Th.
Graeco-oriental influence in late antique and in Reinach).
Professor Josef Strzygowski
(1901), he was mainly concerned in proving the of decoration have their origin neither in Greece
oriental character of the ornament, where effect is nor in Rome, nor even in Ephesus or any other
no longer dependent on modelling and consequent district of Western Asia Minor, but in the Graeco-
diffused light and shadow, but where the borer Asiatic angle which lay nearest to Mesopotamia,
has supplanted the chisel, so that modelling and had Antioch as its art centre, from whence
becomes of secondary importance, while the flat the closely cognate Ravenna throne must also
surfaces stand out in sharp contrasting colour derive.
against the deep black hollows. This ‘ light and Strzygowski also succeeds in explaining the
dark’ style Strzygowski believes originated in remarkable arrangement of the figures within
Mesopotamia, whence he also derives another three niches and two narrower connecting inter¬
characteristic feature of both sarcophagi and spaces, that obtains on both throne and sarcophagi.
throne—namely, the shell-niche. This niche, so The clue to the arrangement he finds in the
typical at a later date of the art of Islam, occurs beautiful fragment of an ivory diptych, with the
neither in Greek nor Egyptian architecture, archangel Michael standing at the top of a flight
whereas ‘the ancient soil of Mesopotamia is the of steps (British Museum). From the nature of
original home of the brick wall divided on the its technique and ornament, it is easy to surmise
outside by flat, on the inside by rounded, niches’ that this ivory also has a Syrian origin ; in the
—a style of wall construction which, ‘ translated treatment of the drapery it evinces points of
into stone, first makes its appearance in the great contact with the throne of Maximian, while, like
temple buildings and Nymphaea of Syria and Asia both throne and sarcophagi, it shows the typical
Minor.’ Presumably, therefore, it is to an art arrangement of a single figure within a niche.
centre influenced by this region that we should But it also presents a new and unique feature in
refer the group of sarcophagi which developed the the six steps which lead up to the height of the
niche motive as its type, and monuments which, bases of the columns. Now, as Strzygowski
like the Ravenna throne, retain this motive as late shows, the figure, if kept in the plane of the top
as the sixth century. step, would have been thrown back into
So far Strzygowski had said little concerning shadow, and thus lost its significance ; or if pro¬
the figures, which, though at times sufficiently jecting forward, as actually happens, the lower
powerful and vivid, were yet, on the majority of part of the body would naturally recede
sarcophagi, executed in a summary and even towards the background. To obviate this diffi¬
coarse manner. Some two years ago, however, I culty, the sculptor has placed his figure with
chanced, in the collection of Sir Frederick Cook the feet covering three steps at a time, in a posture
at Richmond, upon certain fragments of singular which is frankly impossible. Whence comes this
beauty which had evidently belonged to a unsuitable motive ? The solution of the problem
Sidamara sarcophagus, though they surpassed all Strzygowski finds in those Pompeian wall-paint¬
known examples both in style and technique. ings of the fourth style, which derive from the
I at once communicated to Strzygowski the architecture of the Greek theatre, and in which
existence of these fragments, and by their help he the figures, placed within a doorway on a flight
now set himself to examine the statuary motives of steps, are imitated from actors on the stage.
on this class of sarcophagi, and showed that, in An analogy to this interpretation is afforded by
opposition to the oriental character of the orna¬ that of Karl Holl,3 who detected in the sculp¬
ment, the figures betrayed a purely classic tradition tured screen, or ikonostasis of the orthodox church,
deriving directly from Praxitelean and even a survival of the proskenion or scacnae frons of the
Pheidian models. The sarcophagi may be as late ancient theatre, and suggested, accordingly, that
as the third or fourth century, yet, strangely characteristic features of the Greek liturgy such as
enough, the prototypes of the figures are found the ("0-0801 are none other than the acts of the
neither in the Hellenistic art of the first century Hellenic drama. With the help of the Pompeian
A.D., nor in the baroque of Rhodes or of Pergamon, paintings, moreover, the architectural setting on
but mainly in the art of the fourth century B.C. sarcophagi and throne becomes clear. The three
Among the Richmond fragments are examples of larger niches represent the actual doors of the
the nude which come near to the Hermes of stage wall, and the narrower niches the interspaces
Praxiteles, and draped figures which are closely between the doors.
akin to the Muses on the basis from Mantinea, It is naturally only in a great city that the
to the ‘mourning women’ on the famous sarco¬ motives of stage architecture could influence
phagus found at Sidon, in Syria (Les Pleureases), painting and sculpture, and in this fact Strzy¬
and to the lovely veiled figure at Dresden known gowski finds a further proof of the Antiochene
as the Matron of Herculaneum. From these origin of his sarcophagi, of the throne, and also
observations Strzygowski concludes that the of the British Museum ivory, ‘ in which the
sarcophagi which thus exhibit a purely classic motive of the theatre steps has been so strikingly
tradition alongside of a distinctly oriental system 31 Archiv fur Religionswissenschaft,’ ix, p. 365 f.

I IO
 Professor Josef Strzygowski
preserved.' For at Antioch we find united the Wickhoff, has formed so low an estimate of the
various characteristics that manifestly influenced creative power of the late antique that his brilliant
this whole series of monuments ; it was a brilliant theory of an old tradition of classic figure sculpture,
and luxurious city where the drama would flourish surviving in the cultivated cities of Syria, seems
and the theatres would be magnificent; it was a inadequate to explain such phenomena as the
Greek art centre and yet was in close contact Richmond figures, which, as he himself admits,
with the further orient. are ‘ creations ’ in the true sense of the word.
Such are the main points in Strzygowski’s thesis Nay, even the persistence of a tradition of figure
of an Antiochene school, represented by the sculpture is incomprehensible if we are to accept
Sidamara sarcophagi and by certain Christian Strzygowski’s assertion, repeated in many books
ivories. One question, however, forced itself upon and articles, that Hellas and Hellenism succumb
me as I translated or read his paper, and must to the influence of the orient, whose progress is
have occurred, I think, to many who were present marked, according to him, by the disappearance
at the meeting. How, namely, does Strzygowski of the figure in favour of mere ornament. Yet the
explain the existence, as late as the third or fourth Sidamara sarcophagi, the Ravenna throne, the
century A.D., of a school of sculptors who could ivory diptych with the archangel, are all examples
so refashion ancient classical types that Strzy¬ —ranging from the second to the sixth century
gowski himself, in the presence of the Richmond A.D.—that show figure and ornament in dis¬
fragments, feels reminded, in one case, of a statue tinguished and even triumphant alliance. If the
of Our Lady in the Annunciation of some gothic beautiful Richmond fragments induce Professor
cathedral; in another, of a figure on Or San Strzygowski to think more highly of the creative
Michele, or on Giotto’s Campanile ; in yet a third, ability of the period which he is himself daily
of a prophet conceived by some master of like re-discovering, it must be counted as not the least
power and originality to Donatello ? Strzygowski of their merits.
searches for the prototypes of these figures in a Two side issues that arose in connection with
remote past, because, he says, such creations ‘are the paper may be mentioned here. The existence
incredible in the Roman period.’ At the same of the beautiful but unknown fragments at Rich¬
time, so profound an art critic as Strzygowski mond show once more the unexplored and unsus¬
need scarcely be reminded that, in any work of pected wealth of our English private collections,
art, the type reproduced accounts only very a point to which I ventured to draw attention in
partially for the total effect. He himself shows, my introductory remarks. On the other hand,
in the present paper, that a classic model of Miss Gertrude Bell, the distinguished Syrian
supreme excellence like the original of the Matron traveller, in commenting on Strzygowski’s theories,
of Herculaneum can in the hands of artists less took occasion to point out that, in view of the
inspired than those of the Richmond sarcophagus, growing recognition of Syria as one of the most
degenerate into mere caricature.* Copying at its influential art centres of antiquity, England should
best is only academic : its highest quality is now attempt to create an adequate Graeco-Syrian
accuracy; but the most skilful copyist’s work even collection. At Berlin, for instance, in the Kaiser
of Augustan or Hadrianic times certainly carries Friedrich Museum, the admirable facade of
no suggestion of the spontaneous vitality of either Mschatta can be studied practically in its entirety,
a Giotto or a Donatello. and Strzygowski’s recent contributions alone show
Now Strzygowski, in opposition to Riegl or to what an impulse this great typical monument has
4 ‘ Journal of Hellenic Studies,’ 1907, p. 106. given to Graeco-oriental research in Germany.

ut? AN EARLY VALENCIAN MASTER ^

•HE absence of early Spanish Rodrigo,’ and is at present loaned to the National
paintings from our national Gallery. Both works typify currents in the artistic
collection is in some measure production of the Mediterranean side of Spain in the
compensated for by the exis¬ fifteenth century : the altarpiece, in what may be
tence of two examples of the called the gothic style, reflects, as do also many paint¬
Valencian school among the ings from the adjacent Catalonia, South German in¬
treasures of the Victoria and fluence, but in scenes of unparalleled and terrible
Albert Museum. intensity ; the Adoration, now reproduced for the
The great altarpiece pur¬ first time,1 is a complex presentment by a native
chased in 1864, depicting the Life and Martyrdom temperament of non-Spanish elements—of a
of St. George as patron of Aragon, is well known, 1 Plate, page 108. In Riano’s ‘ Catalogue of the Art Objects
doubtless, to most visitors to the museum. The of Spanish Production in the S. Kensington Museum,’ 1872, the
approximate size of this work is given as 5 ft. 8 in. in height,
other painting, acquired in the following year, is an 4 ft. iojin. in width. It is in oil upon panel, not upon canvas
Adoration of the Magi, signed ‘ Lo Fil de Mestre as is there stated.

I i I
 An Early Valencian IMaster
passably Netherlandish Madonna, of Italian Re¬ classical architectural forms and antique reliefs
naissance ornament and edifices of divers styles side by side with Italian arabesque panels of the
and nationalities. developed Renaissance, and with the pointed roofs,
The Holy Family is depicted before and to the gables and the half-timbered structure seen through
left of a ruined building intended to be of classical the loggia. Better evidence of the artist’s acquaint¬
architecture. The Blessed Virgin, who bears the ance with the work of foreigners is his knowledge
Infant Christ upon her right knee, is clad in a red of the technique of oil-painting. In its arrangement
dress and a voluminous pale green mantle ; the composition recalls a panel of the once splen¬
beyond them Joseph leans upon his staff within did altarpiece of the Constable Pedro of Portugal
a doorway. The kneeling king wears a red tunic (in the Museum of Antiquities at Barcelona), which
worked with various devices in gold, over a robe of dates from i464-66.s From a comparison of the
dark green brocade, with black sleeves, and the ends two works it appears probable that the ‘ Son of
of his long ' false ’ sleeves of linen are tied Master Roderick ' grouped his eight figures after
together at the back. His companions stand those of the Barcelona picture. There the
upon the right of the picture; the second Madonna is upon the left, the kings face her on
king is in a dark golden robe trimmed with ermine, the right, and two small figures watch the scene
a long red mantle and a hat of the same colour, from a door and a window high in the background.
within the brim of which a crown is fixed, and The only substantial alterations in the grouping are
upon which there hangs a medal ; the third wears that St. Joseph stands behind the Madonna and
a kind of dalmatic of striped red and gold, worked that the ox, the ass and a horse are introduced into
with gold and sewn with pearls, and a fanciful what is a somewhat narrower composition.
turban-helmet, in which is set a cameo. The Striking details of the work are the strongly
scene is watched from a staircase leading to the marked types that do duty for the three kings. As,
upper storey of the ruin by two youthful figures. doubtless, they are portraits, one may be pardoned
At the back, a semi-circular loggia with fluted for suggesting an identification of perhaps the most
cupola looks out upon an estuary with shipping, individual of the three. The lineaments of the
upon the further side of which, at the foot of a second king—he is seen three-quarter face—bear
mountain, stands a walled city. Among the trees a strong resemblance to those of James II of
upon the near bank is a ruined tower, and nearer Aragon (1458-79) in a portrait reproduced in
still is a troop of horsemen, one of whom carries a Carderera y Solano’s ‘ Iconografia Espanola.’1 As,
banner of St. George. At the extreme right of the however, the date of this Adoration would appear
picture a five-storied circular structure stands to be circa 1500, the portrait, if of this monarch,
upon some high ground ; on the left, in a hilly would be a posthumous one.
landscape, a stag is being hunted and a horseman The history of the panel cannot be carried back
crosses a bridge. earlier than 1853. It is doubtless the work described
The colour-scheme, though rich, isasubduedone; by Passavant,5 the property of an Italian ecclesiastic
the artist’s realism is shown, not only in his choice at Valencia ; he supposed the painter to have been
of types, but in the rendering of shadows and son of the Master Rodrigo who in 1494-5 executed
effects of light and shade. In general effect the the lower range of choir-stalls, with carved panels
work is powerful and accomplished, though the clepictingthe conquest of Granada, in the cathedral
drawing, of the hands more especially, leaves much of Toledo. Carderera also appears to have been
to be desired. acquainted with a work or works of the artist and
Extremely valuable when it is remembered how his father.6
divided as to a Spanish attribution might be the
3 Reproduced iu Sanpere y Miguel’s 1 Los Cuatrocentistas
verdict of connoisseurship, is the signature on the
Catalanes,’ ii, 58.
stone upon which the Madonna rests her feet. Of 4Vol. ii, pi. 46. This work is in the possession of the ducal
the painter that signed himself in Valencian dialect2 house of Villahermosa at Madrid.
6‘ Die Christliche Kunst in Spanien,’ p. 85.
‘ Lo Fil de Mestre Rodrigo,’ absolutely nothing is
0 ‘Discursos praticables del nobilisnno Arte de la Pintura.. .
known. His artistic genesis can only be surmised por Jusepe Martinez,’ pp. 5-6. ii'66. The passage in question
from the internal evidence of the work itself, in of Lo Fils de Mestre Rodrig a and of his fa her there exists a
valuable painting in which firmer draughtmanship and greater
the light of what is known of the Italian and
strength of colour are apparent, ’) is hopelessly garbled in Baron
Northern influences at work at Valencia in the de Alcahali y de Mosquera’s ‘ Diccionario biografico de
late fifteenth century. It were rash, however, to Artistas Valencianas, ’ pp. 283-4, 1897. Carderera is there
quoted to the effect that several previously mentioned anonymous
insist upon such points as the introduction of works are by Mestre Rodrigo. The truth would appear to be
2 In the use of the Castilian form ‘Rodrigo ’ may lie the key that the latter, if a painter, has no artistic existence apart from
to the artist’s extraction. that impl ed by his son’s appellation.

I I2
 THEORY.i OR THE GRAPHIC MUSE
ENGRAVED BY BLAKE AFTER REYNOLDS
BY KATHARINE A. McDOWALL
HE engraving here repro¬ him, is hailed as the greatest European painter of
duced forms the frontispiece his day ; Gainsborough is only ‘ placed above the
of Prince Hoare’s ‘ Inquiry common level of industrious talent ’; but perhaps
into the Requisite Cultivation the most interesting remark in the book is the
and Present State of the Arts statement that ‘the French are become collectors
of Design in England’ (1806), of English prints,’ and, a little further on, that the
a rare volume not in the ‘annual sum, amounting from fifty to a hundred
British Museum, interesting thousand pounds,’ formerly paid by English
interesting as containing this collectors for French engravings, has now been
unrecorded work of Blake after a design by his diverted to the works of English engravers.
Antichrist of Art, Sir Joshua Reynolds. How Turning to the problematical connection of the
Blake came to make this—his only and at first names of Blake and Reynolds, we find that from
sight unaccountable—reproduction of a Reynolds, 1804-1809, as may be inferred from the almost
and to take his share in a volume which exalts complete cessation of engraved work, the former
Strange and Woollett, Reynolds and the portrait was busied with the designs for Blair’s ‘ Grave,’
painters—the very engravers and artists whose style and with most of those pictures which, in the
he abhorred—is an inquiry the answer to which latter year, formed the famous exhibition for
throws some light on an obscure period of his which the Descriptive Catalogue was written.
life and the little-regarded friendships of those Between 1805 and 1817 no original engraving
years. by him is known, and of hackwork in the shape
of engravings after others’ designs none is recorded
by Mr. W. M. Rossetti between 1804 and 1809.
The frontispiece, therefore, forms a link between
the years in which he was believed to have laid
aside the graver and that in which he again took
it up. Why then, once more, should he have
resumed it amid the pressure of other work in
order to reproduce a picture by that artist whom,
artistically speaking, he most hated ? The key to
the problem lies in some sentences of Blake’s
letters to Hayley, which reveal the interesting fact
that in 1804 Blake was in constant correspondence
with the author of the book, Prince Hoare. The
occasion of this intimacy is unknown, for none of
their earlier letters have been preserved; perhaps
they met at the Academy, where, as late as 1817,
Blake was to be found drawing from the antique.
Be this as it may, on February 23rd, 1804, we find
him writing to Hayley: ‘I inclose likewise the
“ Academical Correspondence " of Mr. Hoare the
painter, whose note to me I also inclose. For I
did but express to him my desire of sending you a
copy of his work, and the day after I received it,
But first, considering the rarity of the book, a with the note expressing his pleasure in your wish
word as to its contents may not be out of place. to see it. You would be as much delighted with
It consists of three sections. Part I, ‘ Of the the man as I assure myself you will be with his
Advantages arising from the Cultivation of the work.’ The book referred to is Hoare’s ‘ Extracts
Arts, and of the Methods most conducive to their from a Correspondence with the Academies of
Advancement/ deals with the ‘influence of the Vienna and St. Petersburg on the Cultivation of
Arts on the morals of a people’; Part II deals with Painting, Sculpture and Architecture,’ published
the ‘ Establishment, Design, and Progress of the by him as Foreign Secretary to the Royal
Royal Academy of Arts, and its Annual Exhibi¬ Academy in 1802 (his predecessor in that office,
tionsPart III, ‘Of the Powers of English by the way, was no less a person than James
Genius, conducive to Excellence in the Arts,’ with Boswell). A month or two later (April 7th and
the history of Art in England and its chief 27th) Blake, again writing to Hayley, gives some
exponents in painting, sculpture, architecture and details of a proposed scheme, ‘as yet an entire
engraving. REYNOLDS, as Hoare usually prints secret between Mr. P. (Sir Richard Phillips the
'Theory, or the Graphic SVIuse
publisher1), Mr. H. and myself, for a new Review, ing in her right hand a scroll bearing the inscrip¬
which may be call’d a Defence of Literature tion ‘ Theory is the Knowledge of what is truly
against those pests of the press, and a bulwark for Natvre,'2 while her left supports her upturned
genius, which shall, with your good assistance, head. When the Academy migrated first to the pre¬
disperse those rebellious spirits of Envy and sent National Gallery, afterwards to Burlington
Malignity.’ The review never took shape, but House, the picture, released from its oval frame,
when Hoare’s new book was ready for the press went with them, and down to the year
the publisher was Richard Phillips, the engraver 1906, hung in the Diploma Gallery between Marco
William Blake. d’Oggiono’s copy of the Last Supper and Poole’s
But no amount of friendly intercourse would Wounded Fugitives, with Maclise’s cartoon for the
have induced Blake to engrave a work of Reynolds' Battle of Waterloo and G. F. Watts’s Death of Cain
for a book on art had he not thoroughly approved for near and most inappropriate neighbours. It
of the work in question. He must have recognized has now been removed to the Council Room.
that the voice of the Foreign Secretary of the Three smaller versions of the Theory are known,
Royal Academy could be heard in the land when the whereabouts of which cannot now be traced,
that of William Blake, Pictor Ignotus, was though it is much to be hoped that they may some
inaudible, and so have been ready to do his part day emerge from obscurity; to these we shall return
when Hoare declared before the world that art later. So far the history is plain enough, but with
was not a toy in the hands of the great, but a the engraving issued by J. Grozer in 1785, six
living power, conferring honour on those who years after the original was painted, difficulties
worked with and for her, instead of being arise.3 Grozer represents it as it then was, let into
honoured by their patronage. In his attitude on an oval on the ceiling of Somerset House, but on
this point indeed, Hoare deserves to be called the the right arm of the figure appears a bracelet,
Ruskin of the Georgian era. His criticisms of and from her head a pair of compasses protrude
contemporary art may be inadequate, his enthu¬ like horns, while her scroll reads ‘Theory of
siasm for the Carracci raise a smile, but his claim painting.’
to rank among those who in an age of blindness What was the authority for these changes ?
have eyes to see is expressed in the concluding Two explanations are possible : (a) that with the
sentences of the ‘ Inquiry,’ a call to Englishmen to sanction of Sir Joshua the bracelet and compasses
awake from their apathy and to be ‘ the first in the were introduced by the engraver for decorative
solemn restoration of the ARTS of DESIGN to the reasons, while the inscription was shortened from
illustrious purposes they have, once in the world, motives of convenience ; (b) that he was working
achieved; by the public authorized direction of from one of the other replicas, which, as Mr. Graves
their powers to utility and social civilization ; by has pointed out to me, were in Reynolds’s studio
the dedication of them to national virtue and at the time. On the whole it seems probable that
glory.’ Grozer was engraving from the actual ceiling, as
Turning to the frontispiece, 'sketched from the the bracelet is absent in his first proof, and must
picture by Sir Joshua Reynolds on the ceiling of therefore have been a deliberate addition, probably
the Library of the Royal Academy,’ we find to break the long line of the right arm ; the com¬
before us a somewhat difficult problem. The passes, however, are present in the first as well as
original picture, painted by Reynolds for the the final state, and to account for them is far from
ceiling of the new Somerset House in 1779, was easy. They may, however, have appeared in one
set in an oval frame, and considered the principal of the replicas, and have been incorporated with
ornament of the rooms assigned to the Academy. the more important version.
An anonymous critic cited by Mr Graves One more puzzle remains, namely, the three con¬
(‘Catalogue of the Works of Sir Joshua flicting titles of the picture, one of which was used
Reynolds,' Vol. iv, p. 1480 zz) describing the during the artist’s lifetime, the two last shortly
apartments in Somerset House, wrote of it: after his death. The evidence for the three is as
‘The piece possesses a most beautiful light¬ follows :—
ness, and the figure seems rather to hover on the (i) Theory.
air than to have any settled seat.’ Theory, as the (a) 1780, the anonymous writer of the
figure is here called, sits poised on airy clouds, ‘ Description of the Apartments at
clad in loose draperies of bluish white, and hold- Somerset House,' already cited.
1 Of this man, schoolmaster, publisher, and sheriff of London, (b) 1785. Grozer’s engraving.
an interesting sketch is given by Gilchrist. He was, like Blake, a
strong republican, and was imprisoned in 1793 for selling Paine’s 2 Blake in his engraving has omitted all but the first word,
‘ Rights of Man.’ Imprisonment had no effect on his principles, obviously to do away with the unsatisfactory effect of a crowded
and his venture, the Monthly Magazine, to which many dis¬ inscription in an outline drawing on a small scale.
tinguished writers contributed, was a bulwark of the Radical 3 The engraving by S. W. Reynolds (1820) is a mere repro¬
party in politics and literature. His subsequent acceptance of duction of Grozer, and is therefore no independent authority for
a knighthood and shrievalty are difficult to reconcile with his ‘he bracelet and compasses, although, curiously, enough, the
previous career. title is altered to Design.
 (c) 1796, when a replica was sold at Green¬
,
Theory or the Graphic Muse
niggled, and poco-pen’d and all the beauties paled
wood’s as Theory of the Arts. (The same out, blurred and blotted ’ in the style of Blake’s
replica was sold at Christie's in 1868 as artistic enemies, Strange and Woollett, ‘ but drawn
Theory of Painting.) with a firm and decided hand like Michael Angelo,
(d) 1845. Catalogue of The British Shakespeare, and Milton.' Blake’s Graphic Muse
Institution, No. 163. suggests a nobler than Reynolds, and is sister to
(e) The apparently continuous tradition of the Sibyls of the Sistine rather than a frigid
the Royal Academy. eighteenth century allegory.
(ii) Design. Hoare’s ‘Inquiry,’ then, is a rare volume con¬
{a) A second replica sold at Greenwood’s taining criticism sometimes worth reading, sug¬
in 1796. gestions even now worth considering; but its
(b) The engraving by S. W. Reynolds, a chief interest lies in its frontispiece, in the problem
small reproduction of the Grozer en¬ of the name and attributes of the oiiginal picture
graving under an altered title. This —above all, in the connection of the names of
name has been adopted by most modern Blake and Reynolds. In 1804 we find Blake
writers on Reynolds. snatching a few moments from ‘ engraver’s hurry,
(iii) The Graphic Muse. which is the worst and most unprofitable of all
1806, in the present volume. Prince hurries,’ to tell Hayley of his plans for a literary
Hoare was then Foreign Secretary of review to be conducted by Hoare and himself
the Royal Academy and an enthusiastic (with occasional help from Hayley, if the poet will
admirer of Reynolds. be so good) in collaboration with the proposed
Each of the engravings, it will be seen, gives the publisher, Phillips. Two years later, when Blake
picture a different name; and the frontispiece, the had apparently laid aside the graver, and the
only one whose title is unsupported by other autho¬ project for a review has come to nothing, we find
rities, is likewise the only one true to the original in him engraving the frontispiece for a book written
omitting the bracelet and compasses. Although a by Hoare and published by Phillips, which
mere outline sketch, its greater dignity is due, first to claimed for art with the voice of authority what
that quality of line which was Blake’s special gift, Blake demanded in an unknown tongue, a higher
secondly to the absence of the oval in which the place than she had yet attained in England. And
picture was then set, and in which it was otherwise if Reynolds’s Theory, graceful as she is, seems to
engraved. In his attempt at restoring the shape, us an unworthy embodiment of Hoare’s appeal,
Blake proves that he had never seen the original we may recognize in the engraving an instance of
apart from the oval frame, by making the picture Blake’s readiness to give up personal prejudices in
look squarer than is really the case; the en¬ the cause of art, as well as an illustration of that
graving therefore does not represent the actual creed which, in theory at least, Reynolds shared
shape, only that which would be inferred from the with him, a belief in the artistic supremacy of
misleading form of the oval. Another conse¬ Michelangelo.
quence is that Blake, not having seen the clouds
Note.—Through the kindness of Mr. Algernon Graves, F.S A„
hidden under the frame, has filled in the corners I have recently seen a new piece of evidence fthe earliest exist¬
with cloud-forms of his own, with breaks that ing reproduction of the Theory) that the bracelet and compasses,
whether due to the taste of J. W. Grozer, or adapted from one
suggest such depths beyond as appear in the pages of the smaller replicas, were never present in the original. In
of the America rather than the vague melting the sketchbook of the painter Edward Francis Burney (cousin
lines of the original. of the author of • Evelina’) once the property of the late Arch¬
deacon Burney, is a drawing of the Theory as it appeared on
Technically, the lines of the engraving, broad in the ceiling of Somerset House ; against the drawing is written
the shadows, finer in the lights, with a slight use ‘Library, 3780.’ As in the case of the engravings, the figure
of stippling for inner markings, recall a phrase has a squat and ungraceful look, too broad for its height, due
to its position on the ceiling of the Library and to the oval
applied by Burne-Jones to the works of Michel¬ frame (not indicated by Burney) which cut off much of the
angelo, ‘ he uses a pen as if it were a chisel,’ and cloud-setting of the original ; but the sketch, powerful, vigor¬
illustrate Blake's own description of his style in ous and accurate even to the indication of the whole long
inscription on the scroll, conveys a truer idea of the original
the Public Address prefixed to the engraving of than any of the engravings, while its date gives it considerable
the Canterbury Pilgrims, ‘ not smooth’d up, and historical value.

^ NOTES ON VARIOUS WORKS OF ART

THE MINIATURE BY GENTILE BELLINI Gentile Bellini, which I had found in Constan¬
FOUND IN CONSTANTINOPLE tinople. It had a Turkish inscription: ‘Work of
Last year1 I communicated to this paper a short I bn Muezzin who is a celebrated master among
notice regarding a remarkably fine miniature by the Franks.’ I left it to the linguists to decipher
these cryptic words, but I felt convinced that
1 See The Burlington Magazine, Vol. IX, page 148 sooner or later the correct reading would be
H^otes on 'Various JVirks of zArt
discovered and that it would confirm my opinion Bellini or Ibn Bellin became the mysterious Ibn
that it stood for Gentile Bellini. Muezzin, i.e., the son of the prayer-caller.
Dr. Sarre of Berlin, who published an interesting Thanks to the brilliant interpretation of the
article about the miniature in the K. PreussiscJier inscription made by Heinrich Brockhaus we have
Kunstsammlung in Berlin, was at that time of a therefore now full proof of the former hypothesis.
similar opinion. He has now published a short We possess in the charming miniature portrait of
supplementary article in the last number of the the young Turkish calligrapher an undoubted
same journal, the following extract from which original of Gentile Bellini dating from the time of
is most interesting, as it actually proves that I bn his visit to the court of the Sultan in the year
Muezzin stands for and means Bellini. He writes 1479-80.’ F. R. Martin.
as follows :—
‘A short time after the publication of my GERMAN IRONWORK
article, Professor Heinrich Brockhaus in Florence The Fine Art Societymay be congratulated on an
wrote to me saying that according to his opinion unusual and attractive exhibition. The explanatory
I bn Muezzin was no other than Gentile Bellini; note contributed by Mr. A. Wallace Rimington to
the proof was in the following transcriptions :— the catalogue draws attention to a recent great
awakening in Germany to the beauty of the
Bellini=ibn bellin
bellin=/«re/\A.iv national ironwork. It may fairly be said that no
inre\\iv=[Aove&v (muezzin) such awakening is needful in this country. Our
museums, and notably South Kensington, have
bellini=ibn muezzin
long been active in acquiring rich examples, but
The Persian translation of Bellini (son of Beilin) the bulk of the best of them are foreign. The
into Ibn Beilin needs no comment. Regarding exhibition is catholic and spread over a long
the second transcription, Professor Gardthausen period. The later Renaissance work is not very
of Leipzig (one of the greatest authorities on interesting or representative, but the mediaeval and
Greek epigraphy), to whom I communicated the early Renaissance locks, handles, hinges, etc., are
suggestion of Dr. Brockhaus, has been kind a liberal education in the best work of the smith.
enough to give me the following explanation : The outstanding features of the work are the
‘ The Greek at that time pronounced, just as now¬ amount of tooling and engraving on the flat surfaces
adays, the /?=v. I cannot say for certain how and the general absence of punched ornament
ancient this transcription is ; in any case it may when compared with contemporary English work.
be supposed to date from the fifteenth or sixteenth There is also in the locks a greater application of
century, and that is what is of importance for our pierced and repousse work to the face of the
present purpose.’ The word ‘Bellin’ could therefore frames. The general impression one takes is that
not be written in Greek otherwise than as fnreWiv. the German craftsman got a bigger effect for his
But the Greek letter v was at that time written in labour than his English brother.
a form very much like the Greek v or the Latin w, The bulk of the collection consists of the smaller
and could easily have been misread as ov. The objects, but the larger things have peculiar beauty,
letters A and £ show also in our day a certain notably some gratings. In one round-headed
similarity which was still greater in the fifteenth example a delightful effect is won by the inter¬
century. Hence it was possible that the word lacing of round rods curled and twisted in a sober,
IJureWcv could be read as /xoue^iv without any delicate fashion. There are also a few grilles made
difficulty. by piercing simple patterns in sheet iron, and the
I imagine the whole thing happened as follows: effect is helped by some engraving on the strap-
on the miniature there was an inscription in work that remains. One that has been gilt and
Greek letters, either on the back or somewhere on outlined in brown has a delightful appearance
the margin, that it was a work of the celebrated now that time has dimmed it.
Frankish master Bellini, or rather Ibn Bellin. There is a great number of key escutcheons of
This inscription threatened to disappear or to be all periods, and we are struck by the great size of
cut away when, at the end of the sixteenth century, some of them, in fact by their undue proportion
the owner cut down the edges and pasted it into to the actual keyhole.
an album. Another marked difference from English work
This man had no idea of the personality of is the absence of handle roses such as we have at the
Gentile Bellini or of his short stay in the Turkish Beauchamp Chapel, Warwick, where tracery workis
capital once, a hundred years before. Deceived by cut in strong relief out of the thickness of the plate.
the prefix ‘ Ibn' which suggested an oriental name, Altogether the exhibition is a most valuable one
he read instead of /wrcAAiv the word out of his for all interested in the metal-working crafts.
own language and familiar to him, /xou^tv, and We suppose it is too much to hope that it will
thus on the small label which he put on instead of be acquired by the South Kensington Museum.
the old inscription, the famous Frankish master Probably it will fall to an American millionaire.

116
 J^otes on Various Works of Art
Having once got it into England we shall regret Spoleto and other towns, constituting the collection
if it goes out again. of Umbrian numismatics, which will hardly be
brought together again.
A SKETCH BY RUBENS Interesting, too, is the show of gold and silver
With reference to the sketch by Rubens in the smiths’ work, of bronzes and the splendid chalices
possession of Mr. Frank Sabin, which was repro¬ of the twelfth century, the monstrances, and
duced in the April number of The Burlington especially the silver crosses with chiselled and
Magazine, Mr. Claude Phillips points out that it enamelled ornaments of the masterly design and
is not connected with the famous series of paint¬ delicate execution of the celebrated Giulio Danti
ings in the Louvre, but with a projected series and Roscietto, who are not at present as well
represented the life of Henri IV which was never known as their merit deserves. Intaglios, coffers
carried out, but for which similar sketches of and sarcophagi of the fifth and sixth centuries
other subjects exist at Hertford House. form another section, and not less worthy of
THE UMBRIAN EXHIBITION AT admiration are the illuminated books contributed
PERUGIA by libraries, convents and Benedictine monasteries,
The works of art created by the Umbrian genius once so numerous in Umbria.
are now collected and exhibited in the Historic The exhibition has also a section devoted to
Palazzo de’ Priori, where they find an asylum well modern artists, in which reproductions of antiques
adapted to their origin and their traditions. The of value and artistic interest are shown in appro¬
response to this admirable idea of certain eminent priate surroundings, and the majolica factory which
art lovers was universal, while the Pope, the has existed in Deruta for the last five hundred
Governor, and private collectors, both Italian and years will decorate one of the finest rooms with a
foreign, have sent and are continuing to send pavement. Milziade Magnini.
objects of artistic interest. From Assisi come
tapestries, by special permission of the Pope, and FORTHCOMING EXHIBITIONS
the silver plate from San Francesco, which hitherto The British Committee of the ‘Golden Fleece’
was difficult to see, since it was shut up in the Exhibition at Bruges, which is to open on
cupboards of the sacristy, and has never before June 15th, invite those who possess important
appeared in an exhibition. From Foligno come objects or relics immediately connected with the
pictures by Alunno ; from Spello, together with Order or its members, and would be willing to
other paintings, the marvellous Virgin which lend them, to communicate with the hon. secretary
Pinturicchio painted in his youth ; from Monte- at 47 Victoria Street. Portraits, especially when
falco pictures by its painter Melanzio ; from displaying the collar and badge of the Order, are
Gualdo, by its painter Matteo ; from the republic desirable, except in the case of Charles V and
of San Marino several pictures of the Umbrian Philip II, of whom adequate representations have
school; from Paris some precious pictures by already been secured.
Fiorenzo di Lorenzo and by Perugino ; from An exhibition of unusual interest will be held on
Gubbio paintings and a tazza by Maestro Giorgio ; June 5, 6, 7 and 8 in the gardens of Aubrey House,
from Deruta other paintings by Alunno and a Campden Hill, by permission of Mr. William
pavement of the year 1524, found some months C. Alexander. The exhibits will comprise
ago, which from its originality and the skill spent antique lace, embroidery, miniatures and other
on it is unique of its kind and constitutes the objects of artistic or historic value, and among
greatest attraction in the section of ceramics. the contributors and moving spirits will be Mrs.
From every other country town in Umbria, such Herringham, Mr. George Salting, Lady Layard
as Rieti, Corciano, Spoleto, Terni, Narni, where and Mr. Fitzhenry. The beautiful gardens of
the Reiaissance artist wandered, leaving traces of Aubrey House will be open to visitors, and there
his skill, come pictures by Bernardino di Mariotto, will be performances of maypole and morris
by Tiberio d’Assisi, by Piero della Francesca and dances during the exhibition. The hon. secretary
by others so that the whole of Umbrian art, from is Miss R. F. Alexander, and there is a strong
its beginning to its highest development, is amply committee, including Mr. W. G. Rawlinson and
represented. other well-known art lovers.
Superb copes, damasks and brocades come from It seems probable that the folk-play to be acted
the churches, convents and monasteries, with in the Abbey Grounds, Bury St. Edmunds, during
specimens of lace and Perugian fabrics with figures the week from Monday, July 8th, to Saturday, July
of animals, griffins and other symbols, which have 13th, will be the best that Mr. Louis N. Parker
been found in private collections and ought to has yet produced. As at Sherborne and Warwick,
restore to the Umbrian weavers a reputation the work of preparation—the making of costumes
unrecognized by many and by others under¬ and properties, the designing of the scenes and all
estimated. I have not space to speak of the arms, the other branches of the enormous activity
the medals, the seals and the coins of Todi, Gubbio, necessary to produce a spectacle of this kind—has

ll7
H^btes on Various JVorks of Art
been carried out by the people of Bury St. Edmunds LETTER TO THE EDITOR
itself, so that the pageant will be a genuine result
of the working of the corporate spirit of the town. To the Editor of The Burlington Magazine.
The scene of the play will be the ground of the Dear Sir,— In The Burlington Magazine
ruined abbey where St. Edmund was buried. It Jan. 1907, p. 243b, Mr. Claude Phillips attributes
is needless to say, perhaps, that one of the most with sagacious arguments the little Piping Faun at
important episodes will be the martyrdom of St. Munich and the Tempesta di Mare at Venice to
Edmund by the Danes, and the discovery of his Palma Vecchio. Please to remark that I, in the
head in the forest miraculously guarded by a wolf. ‘ Repertorium fiir Kunstwissenschaft,’ 1900, p.
A later episode shows the translation of his body 394b, and (with illustrations) in the ‘ Monatsber-
from London back to the abbey and its burial ichte fiir Kunstwissenschaft,” Miinchen, 1902, p.
with great pomp in the shrine. Episode IV will 426, have already expressed the same opinion. For
interest readers of Thomas Carlyle, as it deals with the rest, it is perhaps not without interest to remark
the Abbot Samson who is the central figure of his that Mi'mdler ascribed the Faun not with all
‘ Past and Present’; while later episodes carry the precision to Palma Vecchio ; his words are only :
story to the dissolution of the abbey. Bury St. (he is) worthy of the youth of Tizian or Palma
Edmunds being so close to London and possess¬ Vecchio, ‘ der Jugend des Tizian oder Palma
ing so many relics of its historic past, besides the vecchio wiirdig.’ Cf. ‘ Recensionen und Mittei-
attractions offered by the pageant, the attendance lungen liber bildende Kunst,’ Wien, 1865, p. 365.
promises to be even greater than that at Sherborne I have the honour to remain, Dear Sir,
or at Warwick ; and it may perhaps be pointed Yours truly, Dr. Wilhelm Schmidt.
out that any artistic effort which enlists in this
manner the service of all classes, and is a direct [Mr. Claude Phillips wishes us to say that he was
expression of local patriotism, is worthy of the unacquainted with the two articles in question, but
attention of all who believe that art was not is glad to find that he is in agreement with Dr.
intended only for the few. Schmidt.]

ART BOOKS OF THE MONTH a*

DRAWING AND PAINTING his craft, and in a memoir so splendidly produced
as this, the story of his latter years might well have
Alfred Stevens et Son CEuvre. Par Camille been told as clearly as is that of his youth and
Lemonnier. Suivi des Impressions sur la early manhood. The fine series of large reproduc¬
Peinture par Alfred Stevens. Brussels : G. tions omits his later and weaker paintings with
Van Oest. 80 francs. much better reason ; for we are thereby enabled
It must be nearly thirty years since M. Camille to trace the painter’s course from the beginning
Lemonnier first wrote of Alfred Stevens. Then to the culminating point of his career, and are
Stevens seemed to be at the height of his fame ; made possessors of the cream of his work.
now he is dead, and for the artists of to-day, though The ‘ Impressions sur la Peinture,’ a collection
not for collectors, is hardly more than magni of scattered thoughts on art put together about the
nominis umbra. Stevens indeed might almost be year 1886, is a document which resembles in many
said to have died with the Second Empire, although respects the utterances of Whistler. We find in
his success outlasted it for more than ten years both artists the same high concern for the
and his life for more than thirty. It is with the independence and the technical perfection of their
toilettes of the court of the Empress Eugenie that craft, the same disdain both for untrained
his name will be everlastingly associated, it was in naturalism and uninspired classicism. ‘ II faut
her circle that his talent shone most genially, and formuler esthetiquement et non imiter servilement.’
it is for that reason perhaps that M. Lemonnier’s ‘ Bien que le soleil donne la vie a la couleur, il est
magnificently illustrated book is a memorial rather brutal en plein midi et devient anticoloriste.’
than a biography. ‘ En regardant la palette d’un peintre on sait a qui
On the painter’s early life and on those brilliant 1’on a affaire.’ * II faut apprendre a voir comme
years before Sedan our author writes with his en musique on apprend a entendre.’ ‘ J’aimerais
accustomed ease and sympathy, but when the mieux avoir peint quatre vessies et line palette
period of trouble and disappointment sets in the comme Chardin que l’Entree d’Alexandre a Baby-
record grows more uncertain, like the reputation lone de Lebrun.’ And lastly we may quote a
of Stevens himself. Perhaps the story was not an sentence which sounds like a premonition of the
easy one to tell in words, yet none the less we are writer’s own fate : ‘ Si Ton pleure la mort pr£ma-
sorry that the opportunity for telling it was not turee d’un peintre, il faut aussi quelquefois pleurer
taken. Whatever our ideals of painting, we have celui qui, pour son art, vit trop agC’
to admit that Stevens was a consummate master of C. J. H.

118
 Drawing and Painting
Original Drawings of the Dutch and published the final edition of his work on the
Flemish School in the Print Room of subject in 1861 that the fact of its being out of
the State Room at Amsterdam. Parts print is the only justification for the volume under
9-10. London : Williams and Norgate. notice.
£1 15s. per part. It is an open secret that one of our best-known
These two parts complete Dr. Moes’s sumptuous
authorities has long been engaged upon a new
publication, which should be invaluable as a work edition of Haines, but until it sees the light, as we
of reference to all collections containing Dutch hope it soon will, students must be content with
and Flemish drawings. These last instalments such a book as Mr. Macklin’s.
are among the most interesting of all, for they This is not Mr. Macklin’s first essay in the field,
contain specimen drawings by some of the most since he published an elementary manual of
famous of the artists of the Netherlands—Gerard monumental brasses seventeen years ago which is
Terborch, Jan Steen, Paul Potter, Ferdinand Bol, still in print. But the volume before us takes a
Adriaen van Ostade, Snyders, and the elder wider view, and is based upon a different plan,
Breughel—while the landscape painters are repre¬ by which the brasses are dealt with under particu¬
sented by examples of Wynants and Hobbema. lar epochs styled Edwardian, Plantagenet,
As in a previous part, Lely appears as no unworthy Lancastrian, Yorkist, Tudor and Elizabethan. It is
successor to Van Dyck, his study of the robes of doubtful what advantage is gained by such an
the Chancellor of the Garter having a largeness of arrangement, since neither the style of the
style which many of the others lack. Among the memorial nor the changes of costume and armour
portraitists Crispin de Passe, Jacob de Gheyn, correspond with such epochs.
J. Wiericz and B. W. Vaillant figure promi¬ Apart from this the book is fairly well done,
nently, so that there is no lack of variety in the though somewhat unequal in places, and the
selection. What gives it peculiar value, however, ecclesiastical sections, as usual, are rather amateur¬
is the extraordinary skill with which the facsimiles ish. Mr. Macklin is also hardly careful enough
have been executed. For all practical purposes in his versions of the inscriptions, and the attempt
they are equal to the originals, whether the method to print them in a contracted form has produced
imitated be chalk or pen-and-ink or water-colour, a large crop of blunders. There is further no
and we have still so much to learn in the critical need in a book like this to wrestle with ‘genouil-
study of the Dutch school that these reproductions lieres,’‘ coifs de mailles,’ ‘ infulx ' and other like
of authentic specimens have a value quite apart terms when simple English equivalents can be sub¬
from their intrinsic excellence. stituted with advantage.
We wish someone would undertake the same The illustrations on the whole are excellent and
patriotic task on behalf of our English draughts¬ well chosen, But we should have liked more done
men. after the style of the Buslingthorpe and Trotton
brasses, which show the slab as well. Sir John
PERUGINO: By Edward Hutton. London: Duck¬ Dabernoun the elder deserves a better figure, while
worth. 2s. net. those on p. 59 from King’s Sun borne are far too
large.
Mr. Hutton makes no claim to completeness for
his little essay on Perugino, but the subject is one Practical Wood Carving. By Eleanor Rowe.
to which his temper is naturally sympathetic, and London : B. T. Batsford. 7s. 6d. net.
the result, though it contains little that is novel,
gives a fair picture of the artist both in his strength The author’s experience as manager of the School
and his weakness. Mr. Hutton’s style is well of Art Wood Carving at South Kensington, has
adapted to convey that sense of vast height and been of good service to her in the compilation of
recession, of airy tranquil space, to which Perugino this admirable manual. The stress she lays on
owes most of his charm; yet with all this the constructive element in woodwork is com¬
sympathy, he is no blind admirer ; indeed, he mendable, while the selection of examples leaves
perhaps slightly underrates Perugino’s marked nothing to be desired in either variety or aesthetic
skill as a painter. Ruskin’s liking for the cheerful interest. Indeed if art could be taught at all by
burly Michael in the National Gallery was no the means of books, it could be taught by such a
sentimental caprice. book as this, in which experience and common
sense are inspired by good taste. It is natural,
perhaps, in a work of this kind that special atten¬
MISCELLANEOUS tion should be paid to the richer forms of ornament,
The Brasses of England. By Herbert W. rather than to those periods in which the carver
Macklin, M.A. London : Methuen and Co. restricted himself to designs based upon the per¬
1907. 7s. 6d. net. fect spacing of simple lines and geometrical forms
So little that is new about monumental brasses in which the purely ornamental is reduced to a
has come to light since the Rev. H. Haines minimum. This apparently simple work opens
Art Books of the Month
up problems more complex than those with which so much ground which is comparatively speaking
the average student is capable of dealing, and the little known, we may pardon many omissions in
author has doubtless done right in limiting herself fields which have already been traversed again and
to the side of the art of wood-carving from which again by others.
it may be most pleasantly and readily approached.
It is a book everyone interested in the subject The Thames from Chelsea to the Nore.
ought to possess, and deserves a more extended Drawn in lithography by T. R. Way, with
notice than we have space to give. descriptive text by W. G. Bell. John Lane.
42s.
Studien aus Kunst und Geschichte. Fried¬
It was laid down by one of Whistler’s critics that
rich Schneider: zum siebzigsten Geburtstage
the Thames is beautiful from Maidenhead to Kew,
gewidmet von seinen Freunden und Verehr-
but not from Battersea to Sheerness ; and though
ern. Freiburg im Breisgau : Iderdersche
much water has flowed under the bridges since
Verlagshandlung. 50 m.
Whistler began to study the river, they still suffer
The name of Friedrich Schneider is not so well
from a tendency of the modern artist, which, in the
known in England as in Germany. Few scholars
fluvial sense at any rate, is upward. Mr. Way’s
and critics have had so much influence, both devotion to the Master has carried him far, and
inspiriting and guiding, as the priest of Mainz, successfully, in the other direction, and he has
in honour of whose seventieth birthday this stout published a series of thirty lithographs of the lower
and handsome quarto has been compiled by more Thames, which is as admirable as it is refreshing.
than fifty of of his friends and admirers. His A dinner at Greenwich, a week-end in the powder
writings have not achieved European notoriety, magazine at Purfleet and several sunny afternoons
because, as Dr. Joseph Sauer points out in his at Gravesend and Rotherhithe are the sum of my
introduction, Schneider’s ideal is not the volume, own experiences down stream, but I doubt if there
but the newspaper article and the monograph; are many Londoners who are so widely travelled
and his influence has been exerted by these means, even as this, or the charms of the lower river would
by his written ‘opinions’ and conversation, be much more talked about than they are. As it
and his personal force. Architecture, hturgiology, is, Mr. Way’s pictures must come almost as a sur¬
ecclesiology, archaeology and many other prise—for even those views of the London that
branches of learning have been his province, everybodv knows have something in them that is
and the bibliography compiled by Erwin Hensler not likely to be seen by every passer-by, though
reveals a great variety of subjects handled in they are explicit enough not to bewilder. In his
a very large number of articles. The status treatment of buildings and boats, indeed, and in
and organization of modern art, moreover, have scenes crowded with detail, Mr. Way seems a
received his attention, and general topics have little too anxious, as it were, to get everything in.
been handled by him with breadth and wisdom. His view is too objective : and for this reason the
The contents of this volume of tributes are earlier plates are not quite so happy as when he
too varied to be even commented on in the gets nearer the sea ; but this distinction is perhaps
space at our disposal. It must suffice to say that more obvious than real, and certainly does not
they deal with a great number of the studies detract from the value and charm of such a series
fostered by the recipient of the volume, and are as, amid the vast multitude of the three-colour
mostly written by the leading scholars and con¬ plates of pastoral prettiness, is more than welcome.
noisseurs of Germany. The Tower Bridge, it must be confessed, does
Manuale d’Arte Decorativa. Antica e Mod- not lend itself readily to artistic treatment, and
erna. Alfredo Melani. Milano : Hoepli. iron steamboats are formidable objects at close
12 lire. quarters; but even with these Mr. Way copes very
This excellent and profusely illustrated little speci¬ successfully, and by the time we have got into such
men of Hoepli’s Art Manuals has much to delectably smooth waters as are the foreground in
commend it to students of Italian art, for it sums The Estuary and The Light at the Nore, we feel
up in a convenient form the history of decorative that our journey has been all the more pleasant
art so far as it is concerned with Italy from the for not having missed any of it out. Of Chelsea,
pre-classical period right up to the present day. it is true, Mr. Way has given us nothing—perhaps
More than that it can hardly be said to do. in deference to Whistler, or because since Whistler’s
The art of the East of all periods, the art of the time so much has been swept away and replaced by
Aegean on non-Italian shores and islands, and the modern improvements. In this connexion the
art of Western and Northern Europe are touched drawing by Whistler exhibited by the International
upon but lightly, or not at all. On the other hand Society is worth noticing, as it is a note of the
the Etruscans, the Romans of the Empire, the Albert Bridge at Chelsea, in course of construction
Lombards, and the mixed civilization of Sicily in 1871, seen from beneath the famous old Batter¬
receive proper attention ; and since the book covers sea Bridge. R- D.

I 20
 Art Books of the Month
Costume : Fanciful, Historical and Thea¬ accompany the present edition might therefore
trical. Compiled by Mrs. Aria. Illustrated by appear to better advantage in some other con¬
Percy Anderson. Macmillan, ios. 6d. net. nection.
‘Lacking the pen of the historian and the science
of the psychologist, I have chosen the easier and Manchester Sketches. Frank L. Lambert
more humble role of the gossip.’ Though the Manchester Guardian. 2s. 6d.
reader will not find this touch of modesty till she Mr. Lambert is, on the whole, happy in the
reaches the last page but one of this book, she choice of picturesque spots in Manchester which
will have guessed the substance of the remark he has made for reproduction in this book of
long before. Mrs. Aria’s book is fanciful and thea¬ sketches. They certainly lose nothing at the
trical ; it is not historical or scientific. It adds hands of the artist, for these excellent drawings
nothing to the stock of knowledge on the subject suggest an air of distinction and cleanliness
of costume, and aims only at distributing in a which it could not truthfully be said is apparent
chatty, sprightly, even an arch fashion, some scraps in all these picturesque corners. The reproduc¬
of that knowledge over a wider field. We can tions are well done and on a good scale. L. D.
recommend it heartily to those who have fancy
dress balls to go to and are not satisfied with the
suggestions given about Christmas time in the CATALOGUES, REPORTS, ETC.
fashion papers. Since the book aims at neither
history nor science, there is no call to examine its Continental art sales during the past month
accuracy. The fact that it is prettily printed in have been of unusual importance if we may judge
brown ink and illustrated with pretty drawings in by the handsome illustrated catalogues we have
wash or water-colour by Mr. Percy Anderson will received. The earliest in date is the Huybrechts
outweigh with the readers for whom it is in¬ collection, which was sold at the Salle Forst at
tended any possible misstatements in the text or Antwerp on the 8th and 9th of the month. The
lack of references to authorities for the illustra¬ principal masters of the Belgian school were
tions. all represented, a fine example of Alfred Stevens
being, perhaps, the most attractive work. There
The Sign of the Cross in Western Litur¬ were also a number of specimens by Old Masters
gies, by the Rev. Ernest Beresford-Cooke. of the Dutch and Flemish schools. Messrs.
Alcuin Club Tracts VII. London: Longmans. Frederik Muller of Amsterdam have held three
1907. Pp. iv, 32. is. 6d. net. important sales, the first dealing with the objects
of art in the Monchen collection, which included
This is a quasi-theological treatise on the liturgi¬
fine porcelain and several exquisite examples of
cal use of the sign of the cross, notably in the
sculpture. The second sale was of a similar
Roman canon of the Mass. A detailed examina¬
character, but dealt with works from many
tion of it would be unsuitable for these colurns, and
different private sources, splendid pieces of orien¬
we must confine ourselves to saying that there is no tal porcelain being a prominent feature. The
apparent connection between the subject-matter
third sale, lasting from April 30th to May 2nd,
of the pamphlet and the object for which the club
will be the most important of all, as it deals with
exists, ‘ the promotion of the study of the history
the Old Masters in the Monchen, Bonneval and
and use of the Book of the Common Prayer.’
Hoogendijk collections. Specimens of L. Blondeel
But it should prove interesting reading to the
and other early masters, together with a number of
bishops, who, as a consequence of the letters
fine pictures of the Dutch school deserve special
of business issued to convocation by the Crown,
notice, but the examples are so numerous that we
are preparing rubrics for the regulation of An¬
cannot particularize without being unfair. Messrs.
glican ceremonial. E. B.
William Morris send us a most attractive hand¬
book illustrating their fabrics, tapestries and
Rubaiyat of Omar Khayyam. Translated by furniture, together with interesting illustrations of
Edward FitzGerald. Introduction by Joseph houses and public buildings which they have de¬
Jacobs. Designs by Frank Brangwyn, A.R.A. corated, includingStanmore Hall,South Kensington
Gibbings and Co. 6s. Museum, Lord Carlisle’s house in Palace Green,
Mr. Brangwyn’s well-known sympathy with the and St. James’s Palace. The thirty-first annual
orient might lead us to hope that in him we should report of the Museum of Fine Arts, Boston, tells
find at last the ideal illustrator of Omar. But the the same tale of progress as its predecessors, and
volume before us shows that his vision is, after all, those who have taken the trouble to study the
only one-sided. Like Kipling, he deals with the recently published handbook of the museum,
dazzle of the east, rather than with the static, per¬ which we noticed a few months ago, will recog¬
fumed beauty that broods over the great Persian nize how important the collection has now
epic. The vigorously-coloured sketches which become.

K I 2 I
 <*> RECENT ART PUBLICATIONS*
ART HISTORY Bredius (A.) and Schmidt-Degener (F.) Die grossherzogliche
Spiegelberg (W,). Geschichte der Aegyptischen Kunst. Gemalde-Galerie im Augusteum zu Oldenburg. (21 x 16)
(gx6) Leipzig (Hinrich), 3 m. 88 pp., illustrated. Oldenburg (Oncken), 150 m. 41 plates.
Munoz (A.). L’Art Byzantin a l’Exposition de Grottaferrata. Venturi (L.). Le origini della pittura veneziana, 1300-1500.
(12x8) Rome (Danesi), 16 1. 196pp., illustrated. (10x7) Venice (Istituto veneto d’Arti grafiche), 1. 30.
Hannover (E.). Danische Kunst des neunzehnten Jahrhunderts. Illustrated.
(11x8) Leipzig (Seemann), 4m. 168 pp., illustrated. MuiJoz (A.). II Codice Purpureo di Rossano e il frammento
Stephan(E.). Sudseekunst. Beitriige zur Kunst des Bismarck- sinopense. (19X15) Rome (Danesi), 1001. 21 plates, 16
Archipels und zur Urgeschichte der Kunst iiberhaupt. in colour.
(11x7) Berlin (Reimer), 6 m. Illustrated. Ricci (C.). La Pinaeoteca di Brera. (12x9) Bergamo
(Istituto d’Arti grafiche), 50 fr. 263 illustrations.
TOPOGRAPHICAL WORKS Robertson (A.). Roman Picture Galleries : a guide and hand¬
Kalinka (E.). Antike Denkmaler in Bulgarien. (12X9) Vienna book to all the picture galleries in the Eternal City.
(Holder). Published by the ‘ Balkankommission ’ of the (7X4) London (Bell).
Imperial Academy of Sciences, Illustrated. Furcy-Raynaud (M.). Proces-verbaux des Assemblies du
Blanchet (A.). Les enceintes romaines de la Gaule, etude sur Jury elu par les artistes exposants au Salon de 1791 pour la
l’origine d’un grand nombre de villes frangaises. (10 X 6) distribution des prix d'encouragement. Publie d’apres le
Paris (Leroux), 15 fr. Illustrated. manuscrit original. (9x16) Paris (Schemit), 5 fr.
Mauceri (E.). Taormina. (11x8) Bergamo (Istituto d’Arti Descriptive catalogue of the portraits of naval commanders,
grafiche), 1. 5. Illustrated. representations of naval actions, etc., exhibited in the
Lepszy (L.). Krakau. (10x7) Leipzig (Seemann), 3 m. Painted Hall, and at the Royal Naval Museum, Greenwich.
‘Beriihmte Kunststatten,’ 120 illustrations. 100 pp., 3d.
Dehio (G.). Handbuch der deutschen Kunstdenkmaler. II:
Nordostdeutschland. (7X5) Berlin (Wasmuth), 4.50 m. SCULPTURE
Legrain (G.). Catalogue general des Antiquites cgyptiennes du
BIOGRAPHICAL WORKS AND MONOGRAPHS Musee du Caire : Statues et Statuettes de Rois et de par-
Ragg (L. M.). The Women Artists of Bologna. (9x6) London ticuliers. Vol. I. (14X10) Leipzig (Hiersemann); London
(Methuen), 7s. 6d. net. Contains : Caterina dei Vigri, (Quaritch), 70 fr.
Properzia de’ Rossi, Lavinia Fontana, Elisabetta Sirani. Billard (M.). Les Tombeaux des Rois sous la Terreur.
Illustrated. (8x5). Paris (Perrin), 3.50 fr. Illustrated.
Geisberg (M.). Die Miinsterischen Wiedertaufer und Alde- Catalogue raisonne de la Collection Martin Le Roy. Fascicule
grever, eine ikonographische und numismatische Studie. III : Bronzes et objets divers, par G. Migeon ; Mobilier,
(10x6) Strasburg (Heitz), 12 m. 18 plates. par L. Metman. (17x12) Paris (printed for the owner).
Meii.i (J.). Die Werke des Medailleurs Hans Frei in Basel: 33 plates.
1894-1906. (11 X 7) Zurich (Frey). 6 plates. Birch (W. de G.). The History of Scottish Seals. Vol. II.
Major (E.). Urs Graf, ein Beitrag zur Geschichte der Gold- Ecclesiastical and Monastic Seals. (10x8) Stirling
schmiedekunst im 16 Jahrhundert. (10x7) Strasburg (Maclcay), 12s. 6d. net. Illustrated.
(Heitz). 25 plates. Head (B.V.). Catalogue of the Greek Coins of Phrygia. (9x6)
Kuhn (P.). Max Klinger. (10x8) Leipzig (Breitkopf & Hartel),
London (British Museum). 53 plates.
18 m. Illustrated. Domanig (K.). Die deutsche Medaille in Kunst und kulturhis-
Burger (F.). Francesco Laurana, eine Studie zur italienischen torischer Hinsicht. (15x10) Vienna (Schroll), 63 m.
Quattrocentoskulptur. (12x8) Strasburg (Heitz), 20m. 871 phototype reproductions.
37 plates,
Ebenstein (E.). Der Hofmaler Frans Luycx, ein Beitrag zur ENGRAVING
Geschichte der Malerei am oesterreichischen Hofe. Bouchot (H.). Bibliotheque Nationale. Departement des
(16x11) Vienna (Tempsky) ; Leipzig (Freytag). Apartof Estampes. Pieces cboisies de l’ecole frangaise. (18x13)
the Austrian Imperial ‘ Jahrbuch’ ; 68 illustrations. Paris (Foulard). 100 photogravures.
Jacobsen (R.). Carel Van Mander (1548-1606), dichter en Delteil(L.). Le Peintre Graveur iliustre. Vol. II. Charles
prozaschrijver. (10x6) Rotterdam (Brusse), 3.50 fl. Meryon. (13x10) Paris (the Author, 22 Rue des Bons-
Burger. (F.) Studien zu Michelangelo. (12x8) Strasburg Enfants), 14 fr. Illustrated.
(Heitz), 3 m. 6 plates. Etchings of William Strang, A.R.A. Introduction by F. New-
Calvert (A. F.). Murillo. A biography and appreciation. bolt. (12x9) London (Newnes’s ‘Great Etchers’), 7s. 6d.
(8x5) London (Lane), 3s. 6d. net. Illustrated. net. 48 plates.
Knapp (F.). Perugino. (10x7) Leipzig (Knackfuss), 4 m. CERAMICS
110 illustrations. Stern (E. von). Das Museum der Kaiserlich Odessaer Gesell-
ARCHITECTURE schaft fur Geschichte und Altertumskunde. Part III.
Sturgis (R.). A History of Architecture : Having special Theodosia und seine Keramik. (14x11) Frankfurt a.M.
regard to the natural artistic results of construction and (Baer). Text in German and Russian. 10 plates.
those methods of design which are the result of abstract Stieda (W.). Die keramische Industrie in Bayern wahrend
thinking and of the pure sense of form. Vol. I, Antiquity. des XVII. Jahrhunderts. (12 x8) Leipzig (Teubner), 8 m.
(10x7) New York (Baker & Taylor Company); London
(Batsford), 25s. net. Phototypes and process illustrations. MISCELLANEOUS
Errard (C.) and Gayet (A.). L’Art Byzantin. Vol. III. Dillon (E.). Glass. (10X7) London (Methuen’s ‘Connoisseur's
Ravenne et Pompose : San Vital et l’abbaye des Ben6- Library’), 25s. net. Illustrated.
dictins. (18x12) Paris (Gaillard), iqofr. Singleton (E.). Dutch and Flemish Furniture. (12x8)
Gerola (G.). Monumenti veneti nell’ Isola di Creta. Vol. I. London (Hodder & Stoughton), 42s. net. Illustrated.
(14x10) Venice (Kosen), 60 1. In 2 parts. 670 pp. Illus¬ Burlington Bine Arts Club. Exhibition of English Embroidery
trated. executed prior to the middle of the sixteenth century.
Bogner (fL). Die Grundriss-Disposition der zweischiffigen Illustrated Catalogue. (16x12) London (printed for the
Zentralbauten bis zur Mitte des IX Jahrhunderts. Die Club). 30 plates, 10 in colour.
Grundriss-Disposition der Aachener Pfalzkapelle und ihre Jones (E. A.). The Old Church Plate of the Isle of Man. (11x8)
Vorganger. (10x7) Strasburg (Heitz), each 3 m. Illus¬ London (Bemrose), 10s. 6d. net. Plates.
trated. Braun (J.). Die liturgische Gewandung im Occident und
Muller(S-). De dom van Utrecht. (18x13) Utrecht (Breijer), Orient nach Ursprung und Entwicklung, Verwendung und
25 fl. 30 plates,including the sculptured details, monuments, Symbolik. (n X 7) Freiburg im Breisgau (Herder), 30 m.
old views of the cathedral, etc., with text. Illustrated.
PAINTING Macklin (Rev. H. W.). The Brasses of England. (9X5)
Muther (R.). The History of Painting, from the fourth to the London (Methuen’s ‘Antiquary’s Books’), 7s. 6d. net.
early nineteenth century. Translated from the German Illustrated.
and edited, with annotations, by G. Kriehn. 2 vols. Raymond (G. L.). The Essentials of ^Esthetics in Music,
(9X6) London (Putnam), 21s. net. Illustrated. Poetry, Painting, Sculpture and Architecture. (8x6)
’Sizes (heightX width) in inches. London (Murray), ios. 6d. net.

122
 Art Books of the Month
Ferrari (F.). L’Oreficeria in Aquila. (10x6) Guardiagrele Saint George, Champion of Christendom and Patron Saint
(Palmerio). 16 pp. of England. E. O. Gordon. London: Swan Sonnen-
Henning (R.). Der Helm von Baldenheim und die verwandten schein & Co., Ltd. 21s. net.
Helme des friihen Mittelalters. (11x8) Strasburg (Triib- Reproductions from Illuminated Manuscripts in the
ner),6m. Illustrated. British Museum. Series n. 50 plates. British Museum.
Official Catalogue of the Museum of Artillery in the Rotunda, 5s.
Woolwich. 292 pp. is. 6d.
Miinchener-Jahrbuch der bildenden Kunst. Herausgegeben MAGAZINES RECEIVED
von L. von Buerkel. Vol. I, 1906. (12X9) Munich La Chronique des Arts et de la Curiosite (Paris). Onze Kunst,
(Callwey). Illustrated. March and April (Amsterdam). La Rassegna Nazionale,
March and April (Florence). L’Arte, March and April
BOOKS RECEIVED (Rome). Die Kunst, March and April (Munich). Monals-
Roman Picture Galleries. Alice Robertson. G. Be'l & berichte uber Kunstwissenschaft und Kunsthandel (Munich).
Sons. 2S. net. Gazette des Beaux-Arts, March and April (Paris). Bolletino
The Brasses of England. Herbert W. Macklin. Methuen d’Arte. March and April (Rome). Bulletin du Norddeutscher
& Co. 7s. 6d. net. Lloyd (Paris). The Fortnightly Review, March and April.
Sir Edward Burne-Jones (second series). George Newnes, The Albany Review. The Independent Review. The
Ltd. 3s. 6d. net. Nineteenth Century and After, March and April. The
Practical Wood Carving. Eleanor Rowe. B. T. Batsford. Contemporary Review, March and April. The Monthly
7s. 6d. net. Review, March and April. The Craftsman, March and
A History of Tapestry. W. G. Thompson. Hodder & April (New York). Fine Art Trade Journal, March and
Stoughton. £2 2S. net. April. Review of Reviews, March and April. The Kokka
Die Galerien Europas. Lieferungs, 10, n, 12, 13 and 14. (Tokyo). Bulletin of the Pennsylvania Museum (Phila¬
E. A. Seemann. Leipzig. M.4 each. delphia). The Studio. The Badminton Magazine. The
Pictures and their Value. Turner & Robinson, Eltham. Commonwealth. Museum of Fine Arts Bulletin. Revue
6s. net. de l’Art Chretien (Paris), Blatter fiir Gemaldekunde,
Glass. Edward Dillon, M.A. Methuen & Co. 25s. net. February and March. Repertorium fiir Kunstwissenschaft
The Old Church Plate of the Isle of Man. E. Alfred (Berlin). Augusta Perusia, January-February (Perugia).
Jones. Bemrose & Sons, Ltd. 10s. 6d. net.
Dutch and Flemish Furniture. Esther Singleton.
Hodder CATALOGUES
& Stoughton. £2 2s. net. Nachlass Franz Gaul. Gilhofer & Ranschburg, Vienna.
Venice. Beryl de Selincourt and May Sturge Henderson.
Nachtrage und Berichtigungen zu Daniel Chodowieckis.
Illustrated by Reginald Barratt, A.R.W.S. London : Chatto
& Windus. ios. 6d. and £1 is. net. Samtliche Kupferstiche. Wilhelm Engelmann, Leipzig.
Manuale d’Arte Decorativa Antica e Moderna. Alfredo Aquarelles, Collection T. Frederik Muller & Cie, Amsterdam.
Melani. Milano: Ulrico Hoepli. 12 lire. Manuscripte des Mittelalters und spaterer Zeit.
The History of Painting from the Fourth to the Early Katalog 330.Karl W. Hiersemann, Leipzig.
Nineteenth Century. Two vols. Richard Muther, Morris and Co. London and Merton Abbey, Surrey.
Ph.D. Translated from the German by George Kriehn, Collection d’Antiquites formee par M. [oseph Monchen
Ph.D. London: G. P. Putnam's Sons. 2 vols. 21s.net. X La Haye. Frederik Muller & Cie, Amsterdam.
A Guide to the Paintings in the Florentine Galleries. Antiquit£s et Objets d’Art dependant de plusirurs
Maud Cruttwell. London : J. M. Dent & Co. 3s. 6d net. PROVENANCES ET SUCCESSIONS A GHRONINGUE, La HaYE,
Gemalde Alter Meister. 19, 20 and 21 Lieferungs. Berlin: Amsterdam, Harlem, etc. Frederick Miiller & Cie,
Rich. Bong. 5 m. each. Amsterdam.

ART IN FRANCE Ov
BRILLIANTLY fine after¬ Charpentier, the well-known publisher, on April nth
noon attracted a larger crowd showed the same advance in the prices of the
than ever to the vernissage of Impressionist school and of Renoir in particular
the ‘ New Salon ’ on April 13th; that was shown at the Viau sale last month.
it was difficult to see the pic¬ Indeed it made a ‘record’ for Renoir, whose
tures, but those who had been picture La Famille Charpentier was, after a long
round before knew that the loss conflict, assigned to M. Durand-Ruel for 84,000
was not very serious. Mediocrity francs. As ten per cent, has to be added to the
is the note of this year’s show at the Beaux-Arts. prices at which the lots are knocked down, the
I do not say that there is nothing striking: that actual price paid was ^3,656. It is necessary to
epithet is the appropriate one for the enormous remember that the picture for which this princely
canvas representing a wooden lady driving tandem sum was given is, by common consent, the finest
two wooden horses painted purple in an impossible that Renoir ever painted. There are rumours,
street with wooden trees of impossible colours, to alas ! that it will pass into a famous American
which the jury has for some unaccountable reason collection. Another picture by the same artist,
devoted several square metres of wall-space. also one of his best, though smaller and less
There are, too, many other examples of the ecole important, fetched the quite moderate price of
folle escaped from the Salon d’Automne, and alas ! 14,050 francs.
they too often rub shoulders with banality. It is That old masters, particularly of the eighteenth
to be hoped that the Societe des Artistes Franpais, century, have not suffered by the Impressionist
which will open its doors to the public on the first competition is shown by a sale on April 16th of
of May, will (as was the case last year) make a two private collections containing nothing of the
better show than its rival. first rank and much very far below it, which
The sale of the collection of the late M. realized (including the ten per cent, addition) more

123
Art in France
than .£12,000. But we shall have a better oppor¬ will begin the sale of the modern pictures and
tunity of judging how the eighteenth century drawings. M. Sedelmeyer has, it is well known,
stands on May 13th, 14th and 15th, when the a considerable number of pictures attributed to
well-known collection of the late M. Mulbacher Constable, one of which he presented to the
will come under the hammer. The great sale of Louvre. The attribution of this picture, The
the year, however, will be that of the collection Windmill, was discussed in the March number of
and stock of M. Charles Sedelmeyer, who is The Burlington Magazine (Vol. X, page 342).
retiring from business and intends, it is said, to One of the most interesting exhibitions now
sell everything without reserve. This sale will open in Paris is that of French portraits anterior
take place in four instalments, each occupying to the eighteenth century at the Biblioth6que
three days. The sale of the pictures of the French Nationale. It is an inverted sequel to the excellent
and English schools will begin on May 16th ; that exhibition of eighteenth-century portraits held last
of the Dutch school of the seventeenth century on year. There are paintings, drawings and minia¬
May 25th ; the Primitives will be dispersed on tures ; and some portraits of French personages by
|une 3rd and following days; and on June 12th foreign artists are included.

ca? ART IN GERMANY r*»

DAY or two after I had other is a charming landscape by Schnorr von
despatched my last month’s Carolsfeld, painted at an early age in Vienna : the
note on the new Goya prints foreground is supposed to show the artist himself
in Berlin, there appeared an in company with several friends, Ludwig von
admirable catalogue raisonne Beethoven among them. The brush-work is hard
of the etched and lithographed and uninteresting, as was usual in those years, but
work of Goya, written by Dr. the coloration and tonality of the picture are fascin¬
J. Hofmann of Vienna. Collec¬ ating, as well as the straightforward, honest way
tors of Goya are well aware of the difficulties of looking at nature, embodied here.
connected with the pursuit of their hobby. Not The time of the great German print auctions is
only is there a mass of exceedingly rare work to coming upon us. This year there will be four,
be considered : there are also a lot of forgeries, as Mr. Helbing, of Munich, has likewise managed
copies, and, above all, reprints. Many of Goya’s to secure a collection of more than ordinary
prints scarcely exist in any shape but that of interest for disposal. Everywhere there is an un¬
reprints, which were pulled long after the artist’s usual number of uncommon prints put up for sale,
death. These differ greatly in value, and Dr. and this, rather than the presence of especially fine
Hofmann’s book for the first time describes lucidly impressions, seems to characterize this year's
and carefully not only all the ‘ states ’ (some of auctions. At Helbing's there are some good
them never before recorded), but also the charac¬ Diirers and Rembrandts, a couple of excellent
teristic marks of all the different impressions or Claude Gell6es in first state, and quite a number
reprints of the 1 sets,’ down to those which the San of rather rare Little Masters. Some of these are
Fernando Academy issues in our own day. There present in excellent impressions, but the value of
are also eighteen collotype facsimiles of unique others is considerably impaired by their having
and excessively rare proofs. been re-margined and restored, which, even when
The Dresden Gallery has added two interesting it has been done with such stupendous cleverness
canvases by v. Uhde to its collection. The one is as in several cases is to be seen here, depreciates
an early picture, painted during Uhde’s first plein- the value of a print in the eyes of many collectors.
air period, and represents soldiers practising Messrs. Amslerand Ruthardt’s (Berlin) catalogue
drumming. The other was painted only a few offers a splendid selection for the general collector.
years ago and represents the painter’s daughters Among the 'delicacies’ I note two G. A. da Brescia
playing with a dog in an arbour. At the same (B. 21 and 68), Diirer’s third ex-libris for J. Stabius,
time three further paintings were purchased : one three first states and a trial proof of Claude Gellee,
a landscape by Bantzer, painted eight or ten years Filippo Lippi's Crucifixion (B. 15), no less than
ago, when he was president of the ‘ Secession ’ fourteen Israhel van Meckenem, Moretto’s
here, which has long ago died ; and two works by Calumny, Montagna's Virgin (B. 7), The ‘little’
painters of the first half of the nineteenth century Executioner by Prince Rupert, five Schongauers,
who are receiving considerable attention now in a Burgkmair chiaroscuro (B. 40), an unusual lot
consequence of the Berlin Centenary Exhibition. of Van Dyck’s ‘ iconography ’ prints of works by
One is a half-length of a female with a vase of the masters of French portrait engraving, and
flowers before her, and these are painted with an of colour-prints by Ploos van Amstel.
amount of love and studiousness not generally Mr. Boerner’s (Leipzig) collection does not quite
directed to still-life subjects in those times. The rival the one he sold last year, but it is fairly select

124
BIANCA MARIA SFORZA, BY AMBROGIO DE PREDIS LADY WITH A ROSE, BY FRANS HALS
IN THE COLLECTION OF MR. P. A. II. WIDENER IN THE COLLECTION OF MR. P, A. LS. WIDEN EE
CASSONE FRONTS IN AMERICAN COLLECTIONS
 Art in Germany
and embraces such excellent things as J. Amman’s van Meckenem, two Schongauer, the Wenzel von
Coligny (A. 2), the Andrea-Mantegna Triumphal Olmiitz copy after Diirer (B. 50), etc. There is,
Procession with the title and the columns, a fine besides, a second part, embracing modern work
Knight, Death and the Devil and an excellent set and books, in which there occur many rare proofs
of the Life of Mary by Diirer, besides an unde¬ by Klinger and Stauffer Bern.
scribed woodcut, St. Jerome in his Cell, attributed to A new museum building is being built at Munster
him, an undescribed Elsheimer, one of the rare (Westphalia) : the architect was Hermann Schadt-
Hirschvogel landscapes (B. 74), eleven Israhel van ler of Hanover. The east front is decorated with
Meckenem, two very scarce Master S. and a scarce a statue of St. George on horseback by Lederer,
Master of St. Erasmus (possibly a copy !), some the author of the fine Bismarck monument in
magnificent nielli (four by Peregrino da Cesena), Hamburg. One hall is furnished with stained
four uncommonly good portraits by Rota, four glass windows by Melchior Lechter, a native of
Schongauer, an excellently preserved Nativity in Munster, and Bruno Paul has decorated one of
the manure criblee and a scarce Abel Stimmer the rooms.
portrait. The Museum of Applied Arts at Leipzig has
It is some time since so many fine nielli have received as a gift from Dr. Schulz his collection of
been put up for sale within a fortnight as now, Persian and Asiatic antiquities : the Persian minia¬
for Mr. H. G. Gutekunst's (Stuttgart) catalogue also tures are said to be especially noteworthy;
contains nine superior specimens. Gutekunst’s further, from Dr. Mobius a number of Japanese
sale perhaps still leads them all in the matter of bronzes; and from Dr. Hans Demiani the com¬
interest and in the high quality of the prints plete decorations and furniture of a Directoire
offered. This applies more particularly to the room (1795), which had been preserved pretty
amount of German (and French ?) fifteenth-cen¬ intact up till now in one of the houses on the
tury work represented in his catalogue. I note Briihl, in Leipzig, the street in which Richard
further, the rare Sebald Beham (B. 76 and 151), Wagner was born.
J. Bink’s Lansquenet (B. 78), Burgkmair’s Celtes The late Max Oppenheim, of Mayence, be¬
(Pass. 118), the exceedingly scarce chiaroscuro St. queathed his picture gallery, estimated at £7,500
Thomas in four sheets after Correggio, Diirer’s value, to this town, and a further £5,000 for the
Triumphal Arch and Chariot and some further purchase of old Netherlandish pictures.
rare Diirer woodcuts, the Hirschvogel landscape The ‘ Secession ' Gallery in Munich, mentioned
(B. 63) and an undescribed Lautensack landscape, some time back in these columns, has within the
the rare Lucas van Leidens, B. 145, and woodcut short period of its existence already acquired
B. 12, Mantegna’s Bacchanal (B. 19), ten Israhel fifty-four paintings. H. W. S.

^ ART IN AMERICA
NOTES ON THE WIDENER COLLECTION justly observed, has ways of ' catching up.'
I—FRANS HALS: THE LADY WITH A Occasionally she will present even a realist with a
ROSE composition ready made, challenging not his
temperament, which on principle he holds in
At first glance the portrait of a woman with a abeyance, but merely the skill of his recording
rose, reproduced on page 125, might be taken for hand. In some such manner, perhaps, we should
a Terburg of small dimensions ; more deliberate explain this picture, which would otherwise seem
observation would show that it could only be a a kind of miracle of elegance amid the masterly
Hals of exceptional elegance and beauty, and on transcripts and caricatures of the great technician.
the scale of life. It would be hard, I think, in Hals’s chronology is still so imperfectly under¬
the entire oeuvre of the Haarlem master to find an stood, and the dated Doelen pictures afford
example of equal suavity and distinction. A criteria so little applicable to smaller and private
flavour of the pothouse and kitchen hangs about work, that to fix a year for a portrait is a hazardous
most of the portraits by Hals. He chose to see undertaking. In the present instance we may
the patrician life about him rather in its robustness safely say that our picture belongs neither to his
and broad geniality than in the refinement we youth nor to his extreme old age. It evidently
divine from such painters as Vermeer, De Hooch must have followed the Corporation picture of
or Terburg. At best he gives us a vision of a 1633, for before that time he was simply incapable
burgher world dressed obviously in its Sunday of such swift synthetic handling of the stuffs and
clothes, or travestied in the half-knightly livery of laces In fact, all this work is so broad and sure
a guild. In the present case he seems to have that I am inclined to set the portrait at the time
been fascinated by the charm of a thing seen, when his bravura wasjully developed—as late, say,
without, perhaps, realizing how foreign the subject as the fifties. The sobriety of the modelling is
was to his average mood. Nature, as Whistler that of conscious restraint, not of plodding

I29
Art in America
deliberation. All the details are painted with a family motto, ‘ Merito et tempore,’ on the massive
simplicity and maestria quite of his best. With pendant that hangs from the fillet. Whoever is
practically no pigment but black and white, the interested in this matter of the jewels, or indeed
artist achieves not only a general effect of colour, in the strange pre-nuptial and post-nuptial fate of
but also an extraordinary denotation of textures Bianca, should consult PYlice Calvi’s excellent
and suggestion of local colour. In a certain monograph ‘ Bianca Maria Sforza Visconti . . . e
restrained brilliancy it recalls the portrait of a gli Ambasciadori di Lodovico il Moro,’ Milan, 1888.
Captain at the Hermitage, which I know only from There is an inventory of the young bride’s jewels,
a photograph, and the superb pair of portraits, including many strings of pearls, some of which
said to be that of the painter and his wife, in the we may see in this picture. Since none of the
Metropolitan Museum, New York. Without costlier pieces noted as wedding gifts appear in the
attempting a closer dating for a picture the picture, one may infer that it was painted before
criticism of which is yet to be made, any time not the wedding in November, 1493. It was on this
much earlier or later than 1650 seems probable. occasion, it will be recalled, that the full-sized
My own guess, based on such an extraordinary model of Leonardo da Vinci’s equestrian statue of
morceau as the foreshortened left cuff, would be Francesco Sforza was set up under a triumphal
the later decade. The picture was bought about arch. Lomazzo’s description of the bride seems a
a year ago by Mr. Widener from Durand-Ruel. little flattering, but is borne out by the sentiment
As to its provenance, nothing has been divulged. of this girlish profile. He writes ‘ Fu dolcissima
F. I. M. di ciera, di statua di corpo lunga, di viso ben
formato e bella, negli altri lineamenti del corpo
II—A PORTRAIT OF BIANCA MARIA graziossima e ben proporzionata, ma gracili.’
SFORZA Through the kindness of Mr. Bernhard Beren-
When a princess sat to an early Milanese portrait son I learn of another portrait of the young
painter she might safely put aside the fear of empress, in the collection of the Countess Arco-
flattery. Indeed, it would be hard to imagine a nati-Visconti at Paris.1 It is in many respects a
more impersonal inventory of Bianca Maria pendant to the Widener picture, and is persuasively
Sforza’s features and favourite jewels than that attributed by Mr. Berenson to Bernadino dei
which Ambrogio de Predis placed on this panel Conti. The ascription will, I think, hardly be
about the time of her marriage with the Emperor challenged. In fact, one rarely finds a portrait
Maxamilian in 1493. But the portrait is not that proclaims its paternity so unequivocally. All
without a kind of hieratic charm. It looks forward profiles of this class have a strong technical re¬
curiously to the triumphs that Velazquez was to semblance to one another, but this head displays
wring from the impossible accoutrements of later a certain brusqueness in the chiaroscuro which
princesses of the Austrian connection. If one we shall find again, I think, quite unmistakably
had to choose a single profile to represent the early in the kneeling figures of Lodovico Sforza and his
Milanese school, one would not go far wrong in wife, in the Brera altarpiece. The picture was
taking this, so competent is it in characterization, surely painted some years after Bianca’s marriage,
so minute and faithful in detail, so perfect in point for the forms have all become larger and more
of preservation. It is my sense of its exceptional matronly than in the girlish presentment by
interest that leads me to reproduce it here, although Ambrogio de Predis, and the whole effect is of
it is already known to professional students of maturity. ‘Gracili’ no one can call her any
Italian art through Dr. Bode’s article ‘ Ein Bildniss longer. To surmise at what time before her
der zweiten Gemahlin Kaiser Maxamilians, Bianca death in 1510 this portrait was painted would be
Maria Sforza, von Ambrogio da Predis’ (Jahrb. d. the merest guesswork. One may perhaps safely
Preuss. Kunstsammlungen, vol. x, p. 71). This infer that at least five or six years must have
article was accompanied by an excellent photo¬ elapsed since the wedding. It may not be amiss
gravure. Dr. Bode there established the identity to recall that Bianca kept a painter in ordinary.
of the subject on the basis of a later drawing of In December, 1493, she writes about him to
Bianca by Ambrogio, in the Academy at Venice. Lodovico II Moro, but unhappily calls him
The picture was at that time in Berlin, probably merely ‘el nostro Pinctore' (Calvi, p. 49). If we
in the Lippman collection, where it certainly was had his name, however, we might be no nearer
at a later elate. It is now one of the most valued the painter of this profile, for Bianca's unpopular
possessions of Mr. P. A. B. Widener, Elkins Park, Italian following at Innsbruck was notoriously
Pa. This sort of painting bears process reproduc¬ subject to change. I have not seen this picture,
tion so well that no comment seems to be necessary and so can only suggest that the pendant attached
except perhaps to note the eminently Milanese to the fillet seems to correspond to a ‘ gioello '
character of all the jewellery—similar ‘table’ 1 This portrait has recently been reproduced in ‘ Tableaux
inedits ou peu connus : tires des collections Fran?aises,’ by
stones in half barbaric setting appear in all the Salomon Reinach, Paris: Levy, 1907. See The Burlington
female portraits of the Sforza circle—and the Magazine, April, 1907, p. 50,

13°
 Art in America
in the bridal inventory—‘ facto cum la divisa del subordinate followers. A wedding or a joust
faciolo ; cum uno balasso grande tavola, cum uno is enough to set the fancy free. No academic
diamante grosso a facete di sopra, et una perla intellectual or consciously humanistic problems
grossa pendente.’ One may note also the impresa disturb these idyllic improvisatori. They have an
of three laurel leaves in the upper right hand eye to the main ornamental chance, the mise en
corner, the significance and date of which may scene, : and they even surpass the classic and
possibly be known to some antiquarian reader of monumental masters in a panoramic and descrip¬
this magazine. F. J. M. tive way, because their aim is lower. It is a
narrow art but often extraordinarily beautiful.
CASSONE FRONTS IN AMERICAN COL¬ The more important painters of the time, in
LECTIONS—IV fact, do not help us much to classify or explain
these unknown decorators. Even Uccello, whose
The Voyage of Aeneas and the Building of
naive naturalism and kaleidoscopic formulas
Carthage : The Visit of the Queen of Sheba
obviously count for a good deal with his contem¬
to Solomon—Jarves Collection, Yale Uni¬
poraries, does not explain overmuch. One can¬
versity.
not be sure of anything as belonging to his actual
Besides the Diana and Actacon by Jacopo del atelier, although his influence is frequent enough.
Sellaio which we have already reproduced, the There are other foci of stylistic initiative which are
Jarves1 collection at New Haven includes five as yet obscure. I should say that three or four
important cassone pictures of the Florentine school. rather important masters in this field, of whom
Two of these are companion pieces—the scenes one is the painter of the Adimari-Ricasoli Nozze
from Virgil's Aeneid—and of the others, one, the at Florence, while another has some relation to
Garden of Love, attributed to Gentile da Fabriano, Neri di Bicci, and still another may be conjecturally
but obviously Florentine and from the atelier of inferred in Domenico Veneziano’s technical region,
some close follower of Massacio, is, while of rare remain to be discovered ; and the apprentices are
iconographical and archaeological interest, not quite legion. Pesellino is too sheer and classic a
of first-rate artistic quality in its class. There remain searcher after perfection to help us much in our
the very fine and important Tournament in the classifications, and most of this work seems entirely
Piazza S. Croce, the consideration of which we independent of Lippi’s influence.
are compelled to postpone, although it should It is evident that the pair of chest-paintings at
properly be of especial value to European students, New Haven ascribed to Uccello and representing
and the Visit of the Queen of Sheba to Solomon, scenes from Virgil’s Aeneid (43-44) are by the
a more conventional example of less vivid histori¬ artist who executed the chief embellishments of a
cal significance. We reproduce this work and one pair of cassoni lent by the earl of Crawford to
of the two Aeneid panels (page 128), and may say the Exhibition of Early Italian Art, held at London
here that the Tournament (No. 45) belongs to the in the winter of 1893-94.
same school as the Aeneid pictures, and is, indeed, Various mannerisms—the style is distinctly a
perhaps even an earlier example by the same hand, fixed and repetitive one—bring such works as
so that a description of the latter will serve to give Lord Crawford’s Apollo and Daphne panels and
an idea of the former.2 the Virgilian pieces at Yale together. The dainty
The connoisseurship of the field and period to celestial personifications—apt translations of an
which our New Haven ignoti belong is not easy. Augustan attitude toward mythology—the types of
While essentially native, the industrial painting of old men, which seem clues to stylistic derivation,
the early and middle quattrocento in Florence but which baffle my connoisseurship, the long
seems to have some technical affiliation with tre¬ swinging stride of the figures, more in Domenico
cento traditions of decoration. The little birth- Veneziano’s than in Uccello’s vein, perhaps, and
plate with a date, 1428, in the Bryan (De Montor) the treatment of the extremities, may be compared.
collection, at the New York Historical Society, is European students, no doubt, know much more
a sort of Spinellesque transitional work, and an work by this master, and even who he is. One
occasional motive from Verona or from miniature recalls the pair of cassoni in the Correr Museum
painting may creep into the minor examples at at- Venice, which are of rather Uccellesque
times. But the best examples are fundamentally character, but my notes are quite inadequate
of contemporary local inspiration and are frankly except to point out that this art seems related in
concrete, objective and representative in intention. a derivative way to a presumably earlier, more
Masaccio's Uranian ray becomes prismatic in colouristic and distinctly finer group of pictures,
passing through the parti-coloured minds of his
3 New Gallery, 104, 124. Other hands seem to have been
1 In the description of the cassone panels by Jacopo del engaged on some of the panels. The marriage scene of 104,
Sellaio, in The Burlington Magazine for December, 1906, the for instance, is near to Jacopo del Sellaio in style. The charm¬
Jarves collection is misprinted as the ‘ James’ collection. ing but rather amorphous nude figures on the same chest are
& Photographs of the Jarves pictures may be obtained from backed by the spangled skies of Neri di Bicci and other transi¬
Mr. H. F. Randall, photographer, Hartford, Connecticut, U.S A. tional masters.
Art in America
the exact focus of inspiration for which is to me to say.1 The juncture of the architecture and
as obscure as it is certainly independent of any of landscape in this picture, although not so splendid
the classical masters. I have unfortunately not as in the example at Hanover, is masterly.
seen the superb Founding of Carthage of the What decorators these men are !
Kestner Museum at Hanover, which seems a The execution of these pictures is not that of a
prototype of our version of this subject in the creative pioneer in form ; it is mnemonic and
Jarves collection. We shall hope for an identifica¬ derivative, but it is still professional, vivid and very
tion of some of the actual pictorial records in this refined. The colour, after all sorts of rough usage,
style of painting—perhaps of that Tournament in retains the velvety, ‘ crumbly ’ blush of the
which Lorenzo bore a lance and for which tempera. The general effect is a low-toned, dim
Verrocchio designed the standards — before and pearly cobweb-like subtlety of surface with
venturing upon further stylistic classifications. dark bluish-greenish greys of sky and sea, with
The Voyage of Aeneas at New Haven is a finely gleams of gold and the decorative repetitions and
composed panorama of sea and landscape in which dappling of bright vermilion, a dash on every lip,
the Storm and the Landing in Africa are the chief and of pinks, and of assertive reds on the roofs.
incidents. The spirit of the piece is, of course, These taches and the yellow lights and ver¬
idyllic rather than truly epical, but the dullest eye milion shadows in the draperies are characteristic
must respond to the gorgeous spectacle of the of a large number of cassoni of the style and
shattered fleet. This bright visual staccato passage period which are not reminiscent of Domenico
is admirably harmonized in the general scheme, Veneziano's more vibrant tonality but belong
and the background of the landing, with its more to Uccello’s technical milieu I should say.
mediaevally horrid cliffs, its ‘ long retreat' of island One recalls the Adimari-Ricasoli Nozze at Florence ;
cove, its definite rainbow and low sun behind the but our master has not the attack or the large
cypresses, will help to disprove the popular notion handling of such an artist.
that the Florentine painters cared little for land¬ The Visit of the Queen of Sheba to Solomon (69)
scape. belongs to the same stylistic region as our Aeneid
The secondary motives follow Virgil closely, panels. I had once thought it by the same hand
except of course for the decorative licence of as those, and it is not far away and is of the same
changing the sequence and the emphasis a little. class, but of a less felicitous and infectious species.
The story begins with Juno’s celestial spying of A detailed description is not necessary, as the
the fleet and her descent to Aeolus, who sits like a composition is quite conventional. The general
hermit of the Thebaid in his riven cave—a tone of the picture is a quiet grey, recalling the
mordant bit of stencilling. The winds, conven¬ Domenico Veneziano type of colour-scheme, but
tional Uccellesque grisailles, and the rather having no immediate connection with Domenico,
Biccesque Neptune rebuking Eurus and Zeph- or of course any of his draughtsmanship. Greenish
irus, a dens ex machina, do not detain us from the blacks make up the darks with greenish sky and
more moving accidents. In the exquisite ending plenty of gold in the draperies, the wings of the
appears Venus, below as huntress and above as cupids and the garlands. Pinks and vermilions
veritable little lady goddess. Our artist contrives warm a lovely harmony; but this piece does not
to suggest his characters and much of the atmo¬ carry or intrigue as do the Aeneid pictures, nor
sphere of the hexameters. It is fine illustration has it any of the splendour of the Tournament.
if not literal. I have a note on the Juggler Performing, in the
The central theme of the companion picture is University Galleries at Oxford, as perhaps to be
the plea of Ilioneus before Queen Dido in the connected with this New Haven work. But the
Temple of Juno, with Aeneas and his faithful Oxford fragment is a far finer thing.
friend in the background, musing on the pictured I may add for American students the note that
tale of Troy. The building of Carthage is treated the Metropolitan Museum has now adequate
as an accessory to this fine ceremonial piece. The photographs of typical European cassoni of the
hunting episode of the previous day introduces fascinating time—the golden industrial age—to
the panorama, and a foreground passage, smaller which our Jarves examples belong. I am indebted
in scale than the rest, seems to represent the com¬ to the curator of the Yale University Gallery for
ing of Cupid in the disguise of Ascanius, who some technical suggestions, and may refer here to
enters the temple at the left. The story ends with Mary Logan’s valuable article on ‘ Compagno di
two minor motives, one the prefigured altae Pesellino ’4 for an apergu of certain decorative
moenia Romae ever present in the pictorial mind examples of the class which we have considered.
of Renaissance as of mediaeval Italy ; the other a W. R.
banquet scene in the open, which the classical 1Surely the scene represented is that in which lulus fulfils the
scholar will recognize, but which escapes my prophecy by his jesting remark 1 En ! etiam mensas consumi-
lnus ! ’ ; and the'animals in the background are the famous
mythological memory. Are there swine or wolves white sow with her farrow of nine ?—Ed. Burlington.
in the background ? One must know the story 4 ‘Gazette des Beaux-Arts,’ T. 26. July-Dee., 1901.

132
 =. /( ' M a n- ten // a

'jfirem f~/ze-ftic/zore (ru t/fr-H ry, /Inyoc. //

• Shi //tr /■',//, r///rn hyuZ&WAe, /■

<Srn&T/:lJJcilk^r' &A..Sc
 EDITORIAL ARTICLE
THE TREND OF THE ART MARKET
HE art season has, by- private collector might hope to compete
common consent, been with them in the sale-room, and snatch
rather a dull one so far. a victory by superior knowledge. Now
The prevalent apathy the position is fast being reversed, and the
may be ascribed to motor¬ dealer has learnt his business so well that
cars or to bridge, to lack the private collector’s chance of a bargain
of Tariff Reform or to the South African has immensely diminished.
war, as our tastes or politics suggest ; but This is not wholly a disadvantage. It
the fact remains. Yet in such buying and may make collecting less of a sport, but
selling as has taken place one or two it certainly makes it more stable as a
symptoms have shown themselves that are pursuit. In London, if not apparently in
of good augury for the future. Paris, the days of the ‘ speculative pic¬
In the sale-rooms, for example, there is ture ’ are numbered, and no honest man
more and more a tendency for prices to can regret the fact. Half the trouble
be ruled by the quality of a work of art that has been caused by the sale of
rather than by the name it bears. A bad dubious works of art has been caused
work by a famous artist fetches little, an by imperfect knowledge on the part of
attractive one by an unknown man may the seller. He bought as a speculation,
be the subject of keen competition ; and and salved his uncertain conscience with
the underlying principle is now applied that convenient phrase when he passed on
even to the work of living masters. It the speculation to some one else, at a profit.
may seem unkind to beat an artist with Recently, knowledge has become so
the stick of his most felicitous productions. general that no one with a reputation to
Yet that is what Time will do inexorably, lose will touch the speculative picture at
when it sifts a man’s best work from the any price. Yet the collector can still
mass ; and if our taste anticipates Time, it indulge his sporting instincts, for the
is not altogether a bad thing for the artist. amicable contest which was once fought on
If artists could only be sure that the the ground of authenticity is rapidly coming
public taste would discriminate at once to be decided on the ground of taste. If
between good work and bad, we should the dealer underrates the charm or rarity
no longer see clever men trying to sell the of a work of art, the collector will still be
fruits of indolence on the strength of a able to get it cheaply. If the dealer over¬
reputation gained by early efforts, while rates them, he will find it left on his hands,
the really incompetent might be dis¬ or will have to sell it at a loss.
couraged into private life, where they The one serious feature of the situation
could not jostle and hamper their betters. is the extravagant prices which the finest
At present the acumen in these matters things command. The man of moderate
seems to lie principally with the dealers. means has thus been frightened away from
There is no doubt that the competition Old Masters, and nothing short of an utter
of the last few years, coupled with an collapse in prices will tempt him to return.
improved apparatus of reference and in¬ His patronage, in fact, is being diverted.
creased facilities of travel, has made the The enormous increase in the number,
chief dealers far better judges than they equipment and prosperity of furniture and
were in the past. Even ten years ago the bric-a-brac shops indicates one of the

The Burlington Magazine. No. 51, Vol. XI—June, 1907 L 135

The Trend of the Art ^Market
channels into which business has been only for casual patronage. Two exhibi¬
steadily flowing. The events of the past tions are often seen side by side in the
two years indicate that a second channel same gallery ; that of the picked man is
is fast widening—namely, that of modern thickly dotted with red stars, while the
art. next room may not record a single sale.
This may seem fantastic to those who In fact, the same process of selection is
visit our large exhibitions, where not one at work among the moderns as among the
picture in twenty finds a purchaser ; but Old Masters, only its outward manifesta¬
large exhibitions tend more and more to tions are less obtrusive. Human vanity will
make popular reputations for artists rather continue to provide the portrait painter
than bread and butter. The sales we with a living, but the prospects of the
refer to are chiefly of small things—metal rank and file of non-portraitists are not
work, jewellery, pottery, etchings, draw¬ encouraging. The principle which selects
ings, small bronzes, small pictures. They the completely fit rejects utterly even the
are effected at small exhibitions and one- tolerably fit, and will do so even more
man shows ; they benefit only a limited ruthlessly when dealers and collectors
number of picked men, picked by the learn to judge modern work as accurately
judgment of a dealer or by the obvious as they now judge Old Masters. After all,
preference of the public, more usually by it is only the fittest that really count ;
both working in combination. On these the rest deserve our sympathy, but not
few picked men a number of modest our assistance, except in finding a trade
collectors are beginning to specialize, and that suits them better than that of the
the artists outside their ranks can hope working artist.

THE REPRESENTATION OF THE BRITISH SCHOOL IN

THE LOUVRE
BY PERCY MOORE TURNER <■*,
II—GAINSBOROUGH, HOPPNER, LAWRENCE
ER HAPS on the whole the certainly be urged to-day as a reason for
most popular of our Eng¬ the authorities not adding a master so
lish painters in France is desirable ; but it is to be hoped that one
Gainsborough. Llis bril¬ of the numerous collectors of the English
liancy and facility have school in France will one day repair the
always appealed strongly deficiency. A fine male portrait would
the French. As far as worthily represent him, and this could be
technique is concerned he most nearly secured for a comparatively moderate sum.
approached their own artists of the same The only two pictures which bear his
period, and yet retained throughout his name in the catalogue are the landscapes
career a characteristically English tempera¬ in the La Gaze collection. They each
ment. It is astonishing, then, that no carry a label, however, only attributing
portrait by him is to be found in the them to Gainsborough. That they are
Louvre. Lack of funds and the high not by his hand can hardly be doubted by
price now set upon a worthy example can any one having even a superficial acquaint-

136
 The "British School in the JLouvre
ance with the master. In the first place, the ling strongly resembles that of Zuccharelli.
compositions are not his; they are ill- They have many of his peculiarities of com¬
balanced and academic, and are evidently position, too, and these two facts lead one
the work of one who had not studied nature strongly to suspect him as their author.
at first hand. The name of Gainsborough’s great
Whatever may be the faults of Gains¬ contemporary, Reynolds, has until quite
borough as a landscape painter, a lack of recently been absent from the Louvre, but
acquaintance with nature cannot be urged two pictures are now hung with his name
against him. We know how from his attached. The Master Hare, which Baron
youth his chief delight was to go out into Alphonse de Rothschild left to the French
the fields sketching every object which nation in 1905, is quite satisfactory in
attracted his attention. The mannerisms many respects. It is one of those charming
which he acquired, and which are par¬ studies of child life in which the first
ticularly evinced in the pictures of the President reigned supreme. The painting
Ipswich and Bath periods, were due in no of the head and hand leaves little to be
small measure to his study of Wynants. desired, and if one could have wished for
His trees are nobler than the Dutchman’s the dress to be more accurately drawn,
and are built with a knowledge far surpass¬ there are many passages which amply
ing his, but they are just as much founded compensate us for this deficiency.
on him as are the skies which float above With regard to the other picture ascribed
them. There is always the impression to Reynolds (Portrait oj a Lady) one can
in his works, however, that here was a hardly speak so appreciatively. That this
man who was striving to see nature with ill-drawn and vulgar picture has nothing to
his own eyes and would one day accom¬ do with Reynolds can be seen at a glance.
plish great things. It is, moreover, covered with re-paints, and
In these two pictures in the Louvre there are modern additions made here and
the trees are handled with a conventional there to the composition. I am inclined
formality of which he was incapable. to look upon it as an early nineteenth-
Then, again, Gainsborough was never century or perhaps a late eighteenth-cen¬
guilty of such lack of truth as the intrusion tury portrait which has been worked
of the hill in the background of one of upon in comparatively recent years. I
the pictures. This fact alone would be arrive at this conclusion because the can¬
convincing evidence that the picture had vas is undoubtedly of the period I have
not been painted from or even founded on mentioned, and there are certain traces of
nature. It represents an essentially pastoral old paint which could well be of the same
country, and one in which it would be date as the canvas. The trees of the
quite impossible for such a sharp hill to background are without any semblance of
arise so suddenly. The sky is theatrical form, and arediandled in the most amateurish
to a high degree, and bears no relation fashion. The painting of both the arms
to the landscape. With such light and and the face betrays the hand of a man who
regularly disposed clouds, the dramatic not only had no knowledge of Reynolds’s
effects of light and shadow we find here methods, but was incompetent as an artist
would be impossible. The two pictures himself.
are hung too high to venture a decided It is quite a pleasure to turn from this
opinion as to their author, but the hand¬ picture to the portrait of Sir John Stanley.

1 37
The British School in the Louvre
Here we have a characteristic example two pictures is the Countess of Oxford.
of a good period of Romney. There is This in many ways demonstrates the
that sense of ease about the pose which characteristic strength and weaknesses of
the master knew well how to give. The a master who is to-day somewhat over¬
figure is splendidly drawn, the foreshorten¬ rated. The sweet, even sugary, treatment
ing is accurate, and the head is painted of the face shows us once again how much
with energy and vigour. As an instance happier Hoppner was in painting a woman
of Romney’s care in treating accessories— than a man. But what a difference we
witness the chair and the book lying on observe betwixt his superficial sentiment¬
the ground—this portrait will be hard to ality and the masculine vigour of Reynolds
beat. and Gainsborough! He has the trick of
It is unfortunate that Raeburn is not placing a passably good-looking woman
worthily represented in the Louvre. The in the most advantageous position for
so-called Portrait of an Old Sailor, whilst displaying her good points and hiding the
remarkably clever and certainly of English bad, and he further knows how to suit
origin, is not, in my opinion, from his the surroundings to the portrait. The
hand. The peculiarly forcible but com¬ Countess of Oxford is an example of this :
plicated treatment of the mouth and chin she is placed in a slightly leaning position,
are in a manner quite foreign to Raeburn. with a landscape background which throws
I am at a loss to suggest a name for the the colour of her cheeks and hair into
picture. There are many points which pleasing prominence.
resemble the work of Gilbert Stuart very The other group of a lady and a child
closely, but I fail to recognize his hand in in a landscape has been doubted ; but I am
the hair and eyes. The other group, Mrs. still inclined to think that it is from the
Maconochie and Child, is probably the work hand of the master. When one remembers
of Raeburn, although many have not the array of mediocre portraits which are
hesitated to doubt it. But it lacks all to be found still in the possession of
those qualities which have caused the English families boasting a perfect and
reputation of Raeburn to rise so steadily undisturbed pedigree from Hoppner, one
among our British painters. It is very learns not to judge all of his achievements
difficult to say what has happened to this by the highest standard ; nevertheless the
picture ; parts of the background and the picture is of such poor quality and in
shadows are so dark that they cause the such indifferent condition that it seems a
broadly treated faces and hands to stand pity it has crept into the Louvre.
out in a glaring manner from the canvas. We can now turn to a master with
I cannot call to recollection any other whose representation we can be better
picture by him in which a similar effect satisfied. The French have always liked
can be observed, and it is probable there¬ Lawrence. His dashing and brilliant hand¬
fore that it has suffered some injury. But ling has had for them an immense fascination.
quite apart from this, the bad drawing He was, indeed, a great artist, and carried
nearly everywhere displayed in it gives certain parts of technique further than any
quite an erroneous impression of Raeburn’s of our English portrait painters. In fact,
powers. he impresses one as a man whose atten¬
Nor can Hoppner be said to fare much tion was riveted upon pyrotechnics and
better. Certainly the better of the who lost sight of the fact that brush-

138
MR. AND MRS. ANGERSTEIN, BY SIR T. LAWRENCE
IN THE LOUVRE

THE BRITISH SCHOOL IN THE LOUVRE

PLATE 1
THE BRITISH SCHOOL IN THE LOUVRE
 The British School in the Louvre
work is only the means to an end. Hence Of the other English portraits, the so-
his portraits lack soul, and throughout his called Brother and Sister is a pretty example
career he displays a diabolical and artificial of Sir William Beechey, whilst the portrait
cleverness bordering on the vicious. of Frincess Charlotte, in spite of apparent
It is unfortunate for the reputation of re-painting of the head, is a fair specimen
our school that Lawrence should have of the art of Allan Ramsay.
obtained such a hold upon the esteem of The woman in white which the Louvre
French collectors. I think that by yield¬ gives to Opie is a good picture, but I fail
ing to his fascination they have missed the to trace the vigorous, even dramatic, hand¬
very essence of those qualities for which ling of the master.
our painters are pre-eminent. But of I had not space in my last month’s article
Lawrence at his best we could not have to finish the review of the landscapes. A
a better example than the wonderful por¬ composition representing the valley of a
trait of dMr. John Julius Mnger stein and river with rocky banks and mountains in
his Wife. In brilliance it recalls in no small the distance is given to Richard Wilson.
measure that most amazing of all Law¬ It is certainly founded upon him ; but in
rence’s pictures, reprehensible as it is in the first place, the trees in the foreground
many points of technique, the full-length are painted with a minuteness foreign to
portrait of Miss Farren. There is a strong Wilson, and the same may be said of the
analogy of treatment in the hair of Mrs. timid handling to be observed in the middle
Angerstein and that of Miss Farren, distance. Moreover, there is no intervening
whilst the similarity of the painting of atmosphere betwixt the bank upon which
the dress is most marked. The head of we stand and the cliff in the middle distance.
Mr. Angerstein is a noble piece of painting, This is placed against the sky with crude¬
and contrasts strongly with the more ness, and the untransparent water with its
delicate painting of that of his wife. falsities of reflexion and of colour, together
Of the two latest arrivals of Lawrence, with a certain lack of knowledge in the
the portrait of Mary Faimer is unquestion¬ drawing of the hills, are, in my opinion,
ably the better, and has many passages conclusive proofs that this picture, though
which are quite delicious. In hand¬ contemporary with him, cannot be from
ling and posture it bears a strong re¬ his hand. The Morland has, I am glad to
semblance to the portrait of Mrs. Siddons say, now had the label removed from it,
in the National Gallery. There is the though it retains its place in the catalogue ;
same liquidity of the eyes and vigorous it is nothing more than a bad copy.
painting of the cheeks and nose. We It is a matter deeply to be regretted, not
cannot therefore regret its entrance into only by those French amateurs who know
the Louvre, as it well represents Lawrence the English school so well, but by ourselves,
at a time when he was not so artificial who would like our Englishmen to hold
and mannered. The other portrait of a their place worthily in the Louvre, that
man is undoubtedly by him, but is not such examples should have crept in. We
a picture of high quality. The Lord feel sure that future opportunities will not
Whitworth in the long gallery has fallen be neglected, and that finally we shall
into very bad state. It is, however, occupy cur just place in the great French
quite an ordinary example of Lawrence.
 PAST EXCAVATIONS AT HERCULANEUM
zAn BY ETHEL ROSS BARKER <-*?

URING the last six far surpass, in quality and quantity, any¬
months projects have been thing found at Pompeii. The majority of
discussed in the Italian the works are in the National Museum at
papers for further exca¬ Naples. The number of bronze statues
vations at Herculaneum, found is stated to be 128, of marble statues
nearly the whole of which 24. There are in addition nearly a hundred
city still lies buried beneath the adjacent busts, and a large number of statuettes,
towns of Portici and Resina. vases, tripods and candelabra of graceful
It may be interesting at this moment form, with the designs that were the
to give a brief account of previous excava¬ inspiration of the Renaissance.
tions, and of the unequalled treasures of Excavations were carried on by means of
art which they reveal. low narrow tunnels, on each side of which
At the eruption of a.d. 79, Hercu¬ small areas were dug out, to prevent the rock
laneum was overwhelmed by a torrent of collapsing. Under these circumstances any
liquid mud. Subsequent eruptions, of accurate knowledge of the plan of the build¬
which the distinct strata are visible, have ings is difficult to obtain. Further, excava¬
buried the city to a depth varying from tions at first were carried on solely with a
60 to 100 feet beneath a solidified mass view to extricating works of art. Walls
which frequently is as compact as marble. of buildings were ruthlessly pierced and
Excavations, which have been carried stripped of marbles and frescoes; statues
on intermittently from 1709 to 1876, have were removed, and all knowledge of their
brought to light a theatre, a basilica and two locality was lost : they were then freely
curiae, two temples, a large country villa, an ‘ restored.’ Even at a period when the
area of 300 by 150 perches at Resina with engineers in charge made notes and plans of
houses and streets ; and, probably marking the discoveries, these were carelessly kept,
the limits of the city, two sepulchres. and many have been lost. Moreover, the
The confusion in the records renders it only part of Herculaneum which has not
probable that other temples and a forum been reburied is a portion of the theatre,
mentioned are only rediscoveries of a and the houses at Resina.
portion of buildings which had been re¬ In 1709 and 1713 the prince d’Elbceuf,
buried after excavation. We are led to general of the Austrian army, after sinking
conclude that Herculaneum was a long a shaft at Portici, came upon the back of a
narrow city of medium size, built with building, afterwards identified as the theatre
its major axis parallel to the sea, and with of Herculaneum. Of the statues and
its streets at right angles to each other. precious marbles extracted, several went
On its history, as a Greek colony, and out of the country.
then as a Roman colony, we cannot dwell Excavations were resumed in the
here. theatre in October 1738 and carried on
Since we are able to explore about three- till 1776, with intermissions, by engineers
fourths of the ancient city of Pompeii, appointed by Charles III of Spain. First
Herculaneum has not contributed much a portion of the outer wall was dis¬
that is new to our knowledge of the covered, then a staircase and portions of
architecture of the period. The works the cavea, consisting of twenty-one tiers
of art, however, which have been found, of seats, the upper three being divided by

H4
 ■wm

BRONZE BUST OF DIONYSUS FROM HERCULANEUM

IN THE NAPLES MUSEUM

PAST EXCAVATIONS AT HERCULANEUJt

PLATE I
BRONZE BUST OF (?) SAPPHO FROM HERCULANEUM
IN THE NAPLES MUSEUM

PAST EXCAVATIONS AT HERCULANEUM

PLATE II
 Fast Excavations at Herculaneum
a corridor from the lower eighteen. Round * After a descent of a hundred steps, and
the top of the seats ran a corridor with much groping along low-vaulted, damp,
marble-covered pedestals for columns, cold corridors by the glare of the torch¬
suggesting that this corridor was a covered light, we can see all that has been
way. In 1742 to 1751 a small portion excavated. Only a few fragments of
of the orchestra was discovered, paved with white marble, a delicately sculptured piece
thick slabs of giallo antico, and the front of of frieze, the acanthus leaves of some
the pulpitum. From 1762 to 1765 the pilaster, stained green with the damp, still
scena, portions of the ca'^ea, and the outer cling to the naked walls ; and the section
wall were explored. of the tiers of seats, the portion of the
The theatre was built of brick and tufa scena, the orchestra entrance, all give the
stuccoed, and encrusted, within and without, impression of being hewn out of the rock.
with precious marbles. The outside was About 600 feet S. W. of the theatre is the
adorned with arches borne on pilasters : basilica, which measures 228 by 132 feet.
a marble cornice ran round it, and traces It was discovered in 1762. It is surrounded
of colour were found. The seats and by a wall with forty-two engaged columns
stairs were of lava. We have two printed in all, and inside, and parallel, another row of
plans left us out of some twenty made at columns, the two supporting the roof of a
the time. In general plan the building covered portico. The floor of the basilica
is not unlike other theatres known to us, is two feet lower than this raised walk.
and in the proportions of the orchestra and Along the shorter end are five entrances,
proscenium it is rather of the Roman than adorned with pilasters, on the arch of
the Greek style. The theatre was of which stood five equestrian statues, of
medium size, the total diameter measuring which two only remain to us, the statues
177 feet, the diameter of the orchestra of M. Nonius Balbus, father and son.
29 feet.1 At the opposite end is a recess, where
It was richly adorned with statues in stood three marble statues : one of Ves¬
marble and bronze, which not only stood pasian in the middle, and two headless
in niches outside and inside, but also figures, seated in curule chairs on each
crowned the outer wall, and stood on the side ; both are of great beauty. The
wall surmounting the cahea, and adorned two niches at each side of the recess
the columned portico at the back of the were adorned with frescoes, Hercules with
theatre, and the various entrances. The Telephus suckled by the Hind and Theseus
force of the mud torrent overthrew and Victor oJ>er the dMinotaur, and contained
shattered the majority. We have remain¬ two beautiful bronze statues, nine feet
ing to us three marble statues wearing high, of Nero and Germanicus.
the toga, some half-dozen bronze statues At each side of the portico entrance
of emperors and citizens, and some beauti¬ stood great pedestals for statues, and on
ful female figures, draped, many of them the half-columns, between each of the
being portraits of the ladies of the house¬ engaged columns of the wall, stood alter¬
hold of M. Nonius Balbus/ We have nately a bronze and a marble statue.
fragments of a superb gilt bronze chariot These have mostly perished. Many in¬
and horses, and half a dozen inscriptions. scriptions were also found here. The
1 The theatre at Ephesus has a diameter of 495 feet ; the outside was covered in marble. The
large theatre at Pompeii, 202 feet.
2 Three of these statues are in Dresden Museum. columns were of brick, covered with

H9
Past Excavations at Herculaneum
stucco. The interior was painted in rolls of papyri from which the villa takes
fresco ; most of this is now in Naples its name. The greatest number were found
Museum. in the room known as the library. This
Quite near the basilica were two small room was floored with marble, contained
buildings identified as curiae" or as temples. four inscribed busts, of Epicurus, Her-
Let into the marble-lined inner walls of marchus, Zeno and Demosthenes, and many
these curiae were bronze inscriptions with cases in inlaid wood for papyri. The rolls
the names of magistrates of the city. resembled lumps of charcoal, and many
In June 1750 excavations were begun were thrown away as such. When some
in the west end of the garden of the characters were observed on one of them,
‘ House of the Papyri,’ and were carried on these carbonized rolls were discovered to
to the year 1762. The ‘House of the be papyri. A monk, Father Piaggio,
Papyri ’ is a magnificent country villa of invented a machine for unrolling them, and
the late Republican period. The main for some 120 years scholars were busy in the
axis lies parallel to the sea. The general work of deciphering and editing. Some
plan is similar to houses of the same original rolls, opened and unopened, exist
period in Pompeii, though on a larger in the Bodleian and in the British Museum.
scale, and with certain additions. We The results of so much labour are a little
have the atrium, alae, peristyle and tab- disappointing. Three-fourths of the library
linum. There is a second peristyle to the consist of the works of the third-rate
right of the atrium, and rooms beyond Epicurean philosopher, Philodemus of
this. There is an unusually large garden, Gadara. His pupil, and later his patron
measuring 310 feet by 104 feet, extending for thirty years, was Lucius Calpurnius
to the left of the villa, with a circular Piso, whose daughter married Julius Caesar.
exhedra at the end, which had a beautiful It is mainly on the evidence of the rela¬
marble floor. In the garden was a great tions between these men4 that Piso has
pond, measuring 219 feet by 231 feet. been identified as the owner of the villa,
Many of the floors in the villa were of and the house has frequently been called
coloured marbles or of mosaic. The fluted ‘ the Villa of the Pisos.’ The evidence,
columns of the peristyle were of stuccoed however, does not seem quite conclusive.
brick. The water supply, judging by the In 1750 a building resembling a colum¬
many lead pipes and innumerable foun¬ barium, such as we see in Rome, was found
tains, must have been abundant. toward the S.E. It was a vaulted room,
H ouse and garden were adorned with entered by a staircase containing eight
statues and busts. There were thirty niches with the cinerary vases in their
bronze busts, sixteen bronze statues, fifteen place. It belonged to the Nonia family,
marble busts and seven marble statues. and was six feet long.
Among these are some of the loveliest In 1757, towards the S.W. of the
bronzes in Europe, including the Mer¬ basilica, a temple was discovered with a
cury in depose, The Discoboli, The Drunken marble inscription, stating that it was
Faun, and five fine Doric figures generally restored by Vespasian to the Mother of
known as The Dancers. Of the busts, the Gods. The vault was painted with
some are lovely ideal heads, some realistic stars on a white ground. The cella
portraits. Here also were discovered the measured over fifty-one feet in length. In
3 Jorio, ‘ Notzie sugli scavi di Ercolano ’ (Naples, 1827). 4 Cicero, ‘ In Pisonem ' and elsewhere.
I5R0NZE HORSE FROM HERCULANEUM
IN THE NAPLES MUSEUM

PAST EXCAVATIONS AT HERCULANEt’M

PLATE III
BRONZE BUST OF HERACLITUS FROM HERCULANEUM
IN THE NAPLES MUSEUM

PAST EXCAVATIONS AT HERCULANEUM

PLATE IV
 Past Excavations at Herculaneum
1759 a second temple was discovered straight, stiff folds, yet reveal the curves
quite near. Some beautiful bronze tri¬ and lines of the form beneath : the variety
pods, censers and candelabra were found and realism in the treatment of the
here. hair is admirable, and if the enamel eyes
The houses and streets which were ex¬ that have been inserted scarcely add to the
cavated at Resina (1828-1837) were only beauty they certainly enhance the life-like
thirty-six feet beneath the surface. All the effect of the fine, stately figures. For sheer
streets are narrow, except one, which beauty, the so-called Head of Dionysus or
measures sixteen feet across, and is paved Head oj Plato (p. 145) is unsurpassed.
with blocks of lava. Of the houses little The expressive head might well be that of
remains but naked walls. The general the greatest of the pre-Christian mystics,
plan resembles those at Pompeii. The or of Dionysus, pondering over the
floors were of coarse mosaic. The mysteries known to the initiate, and
walls were nearly all painted in fresco, revealed under the fierce symbolism of the
consisting usually of tiny medallions and Bacchic revels. The treatment of the
friezes of cupids, beasts, birds, and beard and the abundant hair that seems to
flowers painted on a large monochrome resist the gentle pressure of the broad
panel, which was generally of the well- fillet that binds it, the modelling of the
known ‘ Pompeian ’ red, or a beautiful cheek and brow and the delicate curves
glazed black. of the lips are a revelation in the art of
In the well-known ‘ House of Argus ’ bronze working.
were found busts of Diana and Apollo and Passing over many life-like portrait-
some frescoes. Out of some 400 frescoes busts, we come to a series of ‘ ideal heads,’
in Herculaneum, now in Naples Museum, and under this category might well come
only a dozen are life-size pictures, and several busts to which names have been
these come from public buildings. applied without any foundation. They are
The importance of the Herculaneum all Greek in type ; they are all of ideal
discoveries lies in the character and con¬ beauty ; they are all different in technique
dition of the antique bronzes. Compared —in the treatment of the hair, in the
with some of these, the Marcus Aurelius proportions of the face. They are all
of the Capitol is modern, the Boxer in the different in type—including the effeminate,
Baths of Diocletian a piece of brutal oriental beauty of the so-called Ptolemy
realism of a late period of Greek art, the Soter, the inexpressive loveliness of the
exquisite bronzes of the Etruscan Museum slightly heavy-jawed, low-browed, wide-
in Florence mere fragments. We have eyed youth, the Dorypborus, and the
nothing really comparable with them except Archaic Apollo (p. 157), whose significance
the bronze horses of St. Mark’s at Venice. almost makes us forget its beauty. The
Perhaps the most striking of these head, with its brooding eyes, with its
bronzes, in some respects, are the five extraordinary vitality expressed even in
Mctresses or Da?icers which were found in the wild locks that cluster about the neck,
the southern portico of the garden of seems the one perfect expression of the
the House of the Papyri. They are sun god, of the god of swift death, of
certainly Greek, and possibly originals. the god who inspired the raving priestess
The pose and balance of the figures on her tripod. This head was found in
are graceful; the Doric robes fall in the garden of the House of the Papyri,

M r55
Past Excavations at Herculaneum
which possibly belonged, as we have seen, that immediate excavations may be under¬
to Lucius Calpurnius Piso. On the coins taken in Italy, and that Herculaneum is
of the Calpurnian family appears a de¬ to be the spot selected. What treasures
vitalized and conventionalized version of might not a second ‘villa’ yield? In
this head. her buried ruins Italy holds the history of
The marbles discovered in Herculaneum the ancient world : she was the inspiration
do not possess the unique interest of the of the middle ages : she was the foster-
bronzes. The two equestrian statues of mother of the Renaissance; and in this
Balbus, father and son, are interesting twentieth century all Europe is ready to
because, with the exception of the sympathize with her in her arduous enter¬
Marcus Aurelius, such statues are almost prise, which may reveal fresh visions of
unknown till we come to the days of beauty—may add, as it were, a few
Donatello’s great statue in Padua. more letters to those unwritten words
Such discoveries in the past awaken that shall spell for us some more of
keen anticipation as to the results of future the secrets of history and archaeology.
excavations. The zeal and enterprise or Such discoveries belong to no nation, and
the Italian government renders it possible no time.

THE CASE FOR MODERN PAINTING

^BY A MODERN PAINTER c$*>
III—THE ROYAL WATER-COLOUR SOCIETY
S we saw last month, the ending with such ultra-moderns as Mr.
Royal Institute has fallen Rackham, Mr. Cameron and Mr. Sargent.
upon evil times. The For this reason alone the exhibitions of
Royal Society of Painters the R.W.S. are worth visiting, because in
in Water-Colours has been them the student of water-colour can trace
more fortunate. Among the whole development of the art from its
all London societies it is, perhaps, the most classical period to the present day. How
successful from the money point of view ; evenly public patronage is shared by the
and its success, in many respects, is well various schools is indicated by the fact that
merited. By avoiding the temptation to Mr. Rackham and Mr. Callow seem able
become a large society, and to admit the to sell their drawings with equal facility.
work of ‘ outsiders,’ the R.W.S, has suc¬ If decline is anywhere noticeable, it is in
ceeded, year after year, in making its shows the case of the painters of the seventies and
more select than any big exhibition could eighties.
be, and has never become so narrow-minded This decline is not altogether undeserved,
as to exclude the talented innovator. The for the class of drawing which it affects is
consequence is that the society represents in reality much the same as that which is
the best water-colour art of several distinct shown at the Institute, and is open to the
periods, beginning with the delightful same objections. It is, indeed, nothing more
washed drawings of the veteran, Mr, than a faint echo of what has been done
William Callow, passing to the stippled much better in a previous age, with a
work of the seventies and eighties, and little sentimentality thrown in. The

U6
■
 The £ase for Modern Tainting
living tradition of the art of the water¬ Mr. D. Y. Cameron’s activities cover
colour is thus represented by Mr. Callow a much wider range of material, but are
on the one side and by the moderns on really narrower in scope. He is, perhaps,
the other. With Mr. Callow’s work I the first of our living etchers of landscape ;
need not deal at length, for there cannot at least his prints command the widest
be two opinions as to the charm of the market. His oil paintings are always
fresh and simple workmanship. It is our among the best things of their kind
one link with the age of Cotman, Cox and at the exhibitions ot the International
De Wint, of which Mr. Callow is the last Society, and his water - colours for
survivor. Thus it possesses some qualities some years have been very prominent
of which we have lost the secret, and it features in Pall Mall East. In the present
would seem as if its rediscovery would exhibition of the R.W.S. he is not seen
have to be left to another age. quite at his best ; nevertheless his drawing
Nor is Mr. Sargent an easy master to is of such a scholarly breadth and boldness
follow. His certainty of eye and hand of plan as to separate it at once from the
are personal gifts which could only be used work of men who have never tried to
by some one who was equally brilliant ; ‘bring off’ a grand and simple design.
and not the least depressing features of The colour experiments of Mr. Louis
modern exhibitions are the attempts made Davis and the excellent interior by Mr.
to work in Mr. Sargent’s manner by H. S. Hopwood (205) were also
painters who have not a tithe of his talent. interesting.
Mr. Cameron and Mr. Rackham would Mr. Callow, Mr. Sargent and Mr.
be easier models to imitate, though few Rackham are, therefore, the three
could claim the scientific breadth of the outstanding personalities, yet even
one or the elvish detail of the other. without their help the R.W.S. would
Mr. Rackham’s work in particular still be a strong body as societies go
seems to possess every quality that makes nowadays.
for permanence. The addition of a lively It possesses the almost unique merit of
pen-line and a delicate brown tone to concentration, and is apparently free from
an arbitrary scheme of coloration makes the jealousies which mar the work of larger
his method practically a new one, while art groups. Hence it can be at once con¬
his sense of colour contrast and colour servative and liberal-minded ; indeed, less
harmony is not less acute than his eye for successful bodies would do well to consider
human grace and oddity alike. Few the common-sense principles which under¬
men living are so consistently delightful, lie its constitution. There is more
hardly any are so truly prolific—that is to in such principles than most people
say, possess Mr. Rackham’s capability for imagine.
turning out composition after composition, The constitution of the Royal Academy
each crammed with invention, and each presents a much more difficult problem, and
quite different from the last. No living 1 must defer my notes upon its present
artist better deserves success, exhibition till next month.
(To be continued.)

159
 THE WATER COLOUR METHOD OF
cA? MR. WILLIAM CALLOW a*
O much interest is now Indigo, French Blue, and Cobalt.
taken in technical pro¬ Lake, Light Red, and Vermilion.
cesses that no apology is King’s Yellow, Gamboge, and
needed for giving some Yellow Ochre.
account of the practice of Burnt Sienna, Madder Brown, and
the water colour artist Vandyke Brown.
who was born in the year 1811, who Sepia, Raw Umber, and Raw
worked through the period when that art Sienna.
reached its culminating point, and still Have you discarded any colours as lack¬
continues to exhibit. ing in permanence ?
In the annual shows of the ‘ Old ’ Water No, I have strictly kept to those
Colour Society the drawings of Mr. mentioned.
William Callow have been a remarkable Do you use cake, moist, or tube colours?
feature for very many years. In the face Moist colours in pans.
of body colour and every device that the Do you prefer the colours of any par¬
ingenuity of modern water colour artists ticular maker ?
has discovered to obtain greater power I have always used Winsor and
and force, these modest wash drawings Newton’s, and for teaching purposes a box
have more than held their own, and even was named after me containing the colours
the brilliant mastery of men as great as I used in teaching.
Mr. Sargent cannot extinguish their more Do the modern colours differ from those
retiring dignity. of the same name used in your early
Owing to Mr. Callow’s great age (he career ?
will celebrate his ninety-sixth birthday Yes, the modern colours are moist,
this month) his account of his method while formerly they were hard and had to
was put into the form of answers to be rubbed previous to using ; it was a
questions, which are reprinted literally. long process, but I think the colours were
Do you use ordinary Whatman, or some purer from the process of rubbing.
other paper ? Do you build up your drawings upon a
I have always used Whatman’s paper monochrome foundation ?
for drawings, but Harding’s for sketches, I have no knowledge of monochrome.
and absorbent paper for experiments only ; Do you leave each wash to dry before
of late years Whatman’s paper has not adding the next, or do you work into the
been so good. colour while wet ?
Do you prefer paper to be non-absor¬ After applying the first tint, my work
bent or semi-absorbent ? is left to dry before applying the next.
I prefer hard paper, non-absorbent. Do you wash your drawing with pure
Do you tone the paper either by stain¬ water between the application of each layer
ing or washing with some colour ? of colour, removing the moisture with
Neither. No preparatory work what¬ blotting paper, or do you apply the second
ever ; I commence with the tint required. and subsequent washes when the paper is
What palette do you work with ? perfectly dry ?
My palette consists of Blues, Reds, My drawing is washed with pure
Yellows, and Browns—viz., water between each tint, and allowed to
 The JVater folour Method of Mr. IVilliam Qallow
dry before the second and subsequent tints obtain solidity and texture were rubbing
are put on ; no blotting paper ever being with a damp cloth, and the use of a scraper
used. to obtain the high lights ; a sponge was also
If you work dry, how do you avoid used for the same purpose. Most of the
hard edges ? high lights in the foreground were wiped
By softening with brush and water. out with a wet brush and handkerchief to
A flat brush is best for use in washing. obtain what was required for richer colour
Do you use any medium except plain of foreground, such as leaves, trees, etc.
water—such as gum ? Indiarubber was used for the same purpose.
No, nothing but clear water. Much was done by this process to obtain
Has your practice changed in recent effects.
years ? The modern style of water-colour
No, I have always throughout my painting, and the change that has taken
career worked on the same principle. place in style and method, I attribute to the
Did it differ materially in any point introduction of opaque or body colours.
from that of Cox and De Wint ? This was formerly against the rules of the
I have no knowledge of the methods R.W.C. Society, and I think Harding was
used by Cox and De Wint, but feel sure the first to break through this rule.
the general principle was the same with I am unable to give an unbiassed opinion
most painters of that period—viz., washing of present-day methods, as owing to my
and repetition of tints, by which method great age and rapidly failing sight I have
the solidity required was obtained. Other not visited London exhibitions for some
methods resorted to by early painters to years.

A NOTE ON WATER COLOUR TECHNIQUE

BY ROGER E. FRY rA,
ASH drawings — for, of this kind is of course somewhat absorbent. It
whether rightly or no, 1 will not allow of wiping out or indeed any altera¬
have no interest in water tion, but it should not be spongy and soft; it should
colour 1 painting ’ — the have a firm texture, and it should not be so absorbent
attempt io reproduce in that the tone of the wash alters materially in
the medium of water drying. It is true that some absorbent papers
colour something of the which do dry lighter, or rather become suddenly
solid relief and actuality dark when wetted, produce the most beautiful
which are natural io oil painting—wash-drawing quality, but the artist’s difficulties are thereby so
depends, I believe, more upon the quality of much increased that few will be willing to risk
the paper than anything. And herein lies the the danger of frequent failure.
supreme difficulty for the modern draughtsman, The paper that Girtin used seems to me to have
that he cannot easily obtain a really suitable been as near to perfection for wash-drawing as
paper, the modern water colour paper having anything that has been made. Soon after his
been gradually ‘ improved ’ so as to enable the time came the disastrous improvement ’ of the
‘

artist to obtain all manner of effects except the ' woven ’ instead of the ‘ laid ’ paper ; and artists
essential one of the beauty of the pure transparent like Turner, who were obsessed with a desire to
wash. Upon different papers the same colour will exceed the limits of the wash drawing, to become
produce totally dissimilar effects of colour and painters in water-colour, pressed it into their
tone. With a good paper it will lie with perfect service until the modern water-colour paper
evenness (no granulation), with perfect precision became universal. In conjunction with other
but without the least hardness of edge, and should artists I have endeavoured to get Girtin’s paper
therefore require no subsequent washing, which copied by an experienced paper-maker. Our
in my opinion is fatal to perfect quality. A paper success has not been complete, but I believe the
161
A Note on JJrater colour Technique
paper which is sold by Mr. Percy Young is more But I believe that the very limitations of such
amenable to beautiful wash-drawing than any a method as I suggest make really in the direction
other modern paper I have met with. But in of a more purely artistic vision, of one in which
the meanwhile, until the real thing is again any crass naturalism is impossible, in which the
manufactured, the artist who is fastidious about selection of the significant and central facts is
such things as the combination of atmospheric more deliberate and sure.
quality and precision in his washes must have Water-colour drawing is, I think, destined to
recourse to such old paper as he can lay hands play an increasing part in modern art, as wealth
on. In using this he will have to face many risks and the taste for art become more disseminated
which the regular practitioner will dislike. One among the middle classes, since the heaviness and
sheet may differ from another in quality, so that a material quality of our oil paintings fit with
treatment which succeeds perfectly with one will difficulty into the lighter and more delicate
fail entirely with another ; a sheet may develop schemes of decoration possible to the semi¬
under the wash hidden defects, sudden spots of detached householder, who will never own large
greater or less absorbency, foxing and other oak-panelled halls. Such a man, if he become a
unpleasant surprises; but whenever he gets a patron of painting at all, will soon find how
perfect sheet the artist will have his reward. difficult it is to decorate his house with oil paint¬
It will of course be apparent that the kind of ings, in which pale colours and high keys are
wash drawing I have in view imposes upon the rarely successful, and will inevitably turn to water¬
artist very rigid limitations in the so-called colour. And if this happens, we may in time rid
‘ rendering of nature.’ With the paper that gives European art of a certain redundancy of material
the finest quality of wash, all alteration is out of which has for long obsessed it, and may get to
the question: no wiped-out lights, not even a tint learn from the art of China and Japan that there
washed lighter, can be expected. The artist’s is more expression in fine calligraphy than
formula must therefore be very simple, very in elaborate realization of natural texture
precise, and his treatment spontaneous and direct. and completeness of effect. We might even
He may find it necessary to treat his theme in learn once again, what Europe has forgotten
three distinct parts : to render it first as contour for five centuries, that a method of composition
either in pen or pencil; then as chiaroscuro by which is freed from the tyranny of perspective,
working his shadows in neutral tints; and finally as and which obeys only the desire for complete
colour. For anything like an impressionist treat¬ expressiveness of the idea, is at once more free
ment of the whole effect in one operation, the and more logical than that which we so inevitably
problem will become too difficult. practise.

THE GOLD MEDALS OF ABUKIR

BY DR. A, KOESTER
MONGST the many objects exhibited the objects, but most of all through some
which have recently been found peculiarities in the technique as well as in the
in Egypt, the gold coins and design of the gold medals, the art-dealers became
medals found near Abukir are suspicious ; the medals were thought to be clever
especially worth notice. The imitations, and nobody was anxious to buy them.
full particulars of the finding After a short time the medals were back in Egypt,
of this treasure have unfor¬ with the exception of four, which had been offered
tunately never come to light, for sale to the museum of Berlin. Dr. Dressel,
for it was discovered by chance and secretly dug who has recently discussed these gold medals a-t
up by native field labourers. Some time after length in the ' Abhandlungen der Akademie der
there had been talk about a great number of Wissenschaften,’ recognized that they were un¬
Roman gold coins, ingots of gold and Greek gold doubtedly genuine, and he succeeded in acquiring
medals having been found, these objects suddenly them for the collection of coins in Berlin.
appeared in the art-trade in Paris. Syrian and The designs on these medals are connected with
American dealers and a woman from the East Alexander the Great and his house. On the obverse
went singly to the art-dealers and the museums, of two of them Alexander’s head is presented: on
and offered for sale eighteen exceptionally large one with the royal diadem, on the other in his
gold medals (diameter 2 to 2\ inches), which were coat of mail and helmet, after the style of the
in a splendid state of preservation. They asked fabu¬ coins of Lysimachus. On the reverse sides a
lous sums, and seemed to be in a great hurry. goddess of victory is represented. She stands in
Through the mysterious behaviour of these orientals a four-horse chariot, and holds in her left hand
and the excitement and haste with which they the branch of a palm-tree, in her right the reins.
 The Gold Medals of Abukir
The goddess of victory on the second medal The design on the fourth gold medal follows
stands with her foot on a helmet, and is gazing at the likenesses of Alexander in a natural way. It
a shield richly ornamented with figures. Opposite is a charming female bust portrait of Olympias,
to her is a trophy under which two prisoners are the mother of the great king (fig. 2). On the
sitting : to the left a man with a beard, clothed reverse we see a Nereid borne through the waves
after the manner of barbarians, with his hands in by a sea-bull. This design is intimately connected
fetters ; to the right a woman, evidently in deep with the likeness of Olympias on the obverse, for
sorrow, wrapped in her cloak. the mother of Alexander was descended from the
These interesting and rich designs are obviously Aeacides, who traced their descent back to the sea-
to be interpreted as a glorification of the conquest goddess Thetis, and the Nereids belong to the
of Asia by Alexander the Great, hinted at by the suite of this goddess.
figure characterized as a barbarian. A double-axe, The reverse of the next medal is also very
the characteristic weapon of the Amazons, which interesting. The youthful Alexander, adorned
is included in the trophy, indicates the victory with the royal diadem, sits on a bench. In a
over the war-like viragos who, according to the sleeveless chiton, the arms covered with bracelets,
legend, still dwelt in Asia in the days of the goddess of victory sent by Minerva stands before
Alexander. him, handing weapons to him, as to the future
The third gold medal (fig. i) shows us quite a conqueror of the world. She presents to the
new and very remarkable likeness of Alexander. young hero the helmet, the mark of distinction of
It is a half-length, full-face picture of the king, the commander, and beside her stands the big
with long hair, standing up in the well-known way round shield, on which Achilles is represented,
and falling upon his shoulders like a mane. In dragging Penthesilea behind him : Achilles with
the treatise above referred to, Dr. Dressel says Penthesilea evidently hints at Alexander’s task of
of this head of Alexander : ‘ There is no human subduing Asia by Hellenic culture.
likeness on the thousands of antique coins and The designs on the other gold medals are also
engraved stones preserved to us which could be connected with Alexander and his house, so that
compared with this as regards the interpretation we have before us a continuous series. By
and the description of personality. There may be comparison with other coins it has been ascertained
some artistically more perfect likenesses and some that these medals were originally prizes of victory,
which distinguish themselves by their more keenly distributed at the Olympian games in Macedonia
felt and more harmoniously executed characteriza¬ (a.D. 274) in remembrance of Alexander the Great.
tion, but not one that could move us more deeply In all probability these prizes were gained by an
and make us realize more vividly the greatness Egyptian athlete, who took them back with him
and the importance of the personage represented.’ to his native land. Great numbers of these prize
It has been inferred from the shield and the medals were distributed in ancient times, and that so
spear that it may be Alexander fighting, yet this few have come down to us is mainly owing to the
face, though expressing energy and noble bearing, fact that they were of gold and were melted down
hardly expresses the agitation of a fight, and we later. Besides the medals of Abukir only four
have in this portrait not Alexander fighting but other prize medals are known to us, three from a
Alexander the hero. gold-find in Tarsus, and a smaller one, which is at
On the reverse of this medal is represented present in Cambridge. All of these medals are of
again the goddess of victory with the trophy. eminent scientific as well as artistic importance.

DUTCH AND FLEMISH FURNITURE

BY R. S. CLOUSTON ^
S SINGLETON is to be have traded on her reputation, and given us
)st warmly congratulated something which, though distinctly good, would
her latest book.1 Her fall below her own standard. There is, however,
reful treatment is so well no such backsliding, but rather the reverse. After
own that before we open reading and re-reading the book I am impressed
; pages of ‘ Dutch and with the distinct advance made in style, interest
smish Furniture ' we and scientific treatment. No one with the faintest
ve the comfortable assur¬ love for the subject can fail to be interested, and
ance that we shall not find a heterogeneous jumble nobody of average intelligence can read the letter-
of facts and fiction collected at random from the press, comparing it with the illustrations, and fail
most untrustworthy sources. The only possible fear to arrive at a knowledge of the different periods
is that Miss Singleton, like so many others, should and the growth of styles. This comparison might
1<Dutch and Flemish Furniture.’ Hodder and Stoughton, certainly have been made somewhat more easy.
42s. net. There are two classes of illustrations, plates and

163
 ‘'Dutch and Flemish Furniture
figures, and the latter are difficult to find. The statement that ‘America was shortly to be discovered,
figures sometimes occur in pages by themselves, and before long exotic woods were to end the
while at others they surround the object re¬ exclusive sway of walnut and oak.’ For any one, like
produced in the plate. As both plates and figures the present writer, who has a bad memory for dates,
seldom face their descriptions and, indeed, are it is useful to connect the discovery of America
often widely removed from them, it would greatly with the early days of the Renaissance; but the
facilitate the study of the book if the pages one had as little to do with the other as the
opposite which they may be found were given in man in whose birthday it happens to occur affects
the text. It would also be well, for purposes of an earthquake. Miss Singleton knows just as well
reference, if the page or pages in which the as I can tell her that mahogany was not used,
illustration is mentioned were given either in the except in a scattered and experimental way, for
index or on the plate. Plate XXVII, for instance, over two centuries, nor satinwood, the next most
which faces page 148, is merely mentioned in page common, for nearly three. I must also take excep¬
152, but is fully discussed on page 252. The tion to the statement that Grinling Gibbons was a
index also omits the figures, except such of them Dutchman. He was born in London in 1648, and
as occur in the plates. The matter is so admirable though he seems to have had some connection
that, in the future editions which I feel confident with Holland either by blood or early residence
will be required, I shall hope to see my suggestion (his biographers vary on the point), his style was
used. formed in England and is as purely English as it
In this book there is a vast amount of the is possible for art to be.
original research we have come to expect from To imply, even by suggestion, that these careless
Miss Singleton. 1 In my attempt,’ she tells us in statements are representative would be, to use
her preface, ‘ to reconstruct Dutch and Flemish Charles Reade’s phrase, to employ the ‘ sham sample
interiors of past days, I have consulted not only swindle.’ They are merely instances of the very
histories, memoirs, and books of travel, but wills occasional lapses from cultured criticism to special
and inventories as well.’ This is no empty boast. pleading.
There are pages and pages filled with such The general treatment and scheme of this book
notes, and others teeming with the names and could scarcely be better or more lucid. It com¬
dates of the old workers. Yet no one need be pletely justifies its title in that it is a history, not
afraid of dryness. Miss Singleton has the faculty merely a collection of fine examples with descriptive
of treating hersubjectscientilically and exhaustively notes. The illustrations are not only good in
and yet making her book interesting reading. The themselves but evince great selective care. So
long lists which occur every here and there are typical are they that a very creditable knowledge
necessities for the expert; but there is no compul¬ of the subject could be attained by merely studying
sion on the ordinary reader to wade through them the plates without reading one word of the letter-
unless he feels so disposed. The historical portions, press. In plates III and IV we have the two chief
on the other hand, are not only integral parts of phases of fifteenth-century decoration. The first
the subject, but are so brightly written that they is a Flemish dressoir which is covered from top to
can scarcely be passed over by any one. bottom with figures and scroll work carved in
What seems to me the chief fault of the book is, relief. It is a very magnificent piece of furniture,
after all, only a virtue exaggerated. It is impossible but somewhat unrestful to the eye. The credence
to succeed in any art work without enthusiasm. on plate IV from the Cluny Museum is, on the
Miss Singleton has scored a success where another other hand, a very admirable specimen of the
writer of equal knowledge might have failed more reserved work of the times. Plate VIII is a
through her possession of this quality. She is, sixteenth-century cabinet of the time when
however, occasionally inclined to be carried away Flemish workmen adopted the Renaissance and
by her subject and to forget that the effect of followed its feeling with fidelity. This phase
appreciation is heightened by sympathetic criticism. could scarcely be permanent. The style is too
I cannot, for instance, understand how Miss cold and too unlike a home to suit northern
Singleton, whose taste is indisputable, should say nations, who are compelled to spend much of their
of a very childish design that it has ‘ directness time indoors, and the Flemish workmen very
and simplicity worthy of a Botticelli.’ Nor can soon adapted the new ideas to the require¬
one quite follow her when she writes : ‘ Many an ments of their customers, of which the
obscure monk put all that is beautiful and fanciful annoire from the Rijksmuseum (plate XV) is a
in his nature into the production of carvings in fine example. In it we can see the foundation
stone and wood that have never been surpassed.’ of our English Tudor, which many good judges
She is also inclined, somewhat naturally perhaps, consider our best period. This is a fair sample
to ‘ drag in ’ America. In what is otherwise one of of what the tyro can learn by a few minutes of
the best (if not the best) accounts of the causes intelligent study.
which led to the Renaissance she interpolates the I would not be understood to depreciate the
 THE GOLD MEDALS OF ABUKIR. MEDALS OF ALEXANDER AND OLYMPIAS
IN THE KAISER FRIEDRICH MUSEUM, BERLIN

DUTCH AND FLEMISH FURNITURE. SEVENTEENTH CENTURY CHAIRS

IN THE RIJKSMUSEUM, AMSTERDAM
 SIXTEENTH CENTURY JEWEL
IN THE MUSEUM OF APPLIED ARTS, LEIPZIG

SIXTEENTH CENTURY DOUBLE CUP ART IN GERMANY

OF NUREMBERG WORKMANSHIP
PLATE 1
IN THE POSSESSION OF THE CITY COUNCIL, LEIPZIG
 (F>utch and Flemish Furniture
letterpress. For the sake of brevity I have, critically at a style, but it is a special gift to be
regarding these examples and their lesson, given able to classify one’s knowledge. Miss Singleton’s
my own views in my own words. I was certainly ability in this particular adds enormously to the
not compelled to do so by any weakness in the value of her book, and saves it from becoming a
text. All of it is lucid, most of it is bright, and mere catalogue of facts, which, but for such
here and there it rises to the poetic. At other passages, it might easily have been.
times a still more difficult thing is achieved in the In treating of the seventeenth century Miss
combination of interest with condensation. Singleton’s professed purpose is to reconstruct the
‘ The plain box, or chest, was the origin of all Dutch home, and in this she most certainly suc¬
the developments of mediaeval furniture. It had ceeds. There is nothing with which real fault can
many uses ; it contained the treasures and valu¬ be found as regards the 1 scientific ’ treatment of
ables of the lord ; it was used as a packing-case or this portion, but it does not seem to me to
trunk for travelling; with supports at the four be of quite the same high order in this par¬
corners and back, and arms added above, it served ticular as the former parts. She is a little
as a chair or settle with a seat that could be lifted afraid, not of her subject or her knowledge of it,
on hinges; raised also on legs and supplied with a but of saying what has been said before, even
dais, it became a drcssoir, credence, or sideboard ; though it might be novel to the majority of her
chest-upon-chest, superimposed, developed into readers. She makes it very clear that the style of
the annoire ; and, finally, supplied with a head the Decadence, brought by Rubens from Rome
and front rail and made comfortable with mattress (and thereafter known by his name), affected Flem¬
or pillows, it served as a bed.’ ish painting, architecture and ornament, but she
The chapter on the Burgundian period is par¬ leaves the effect on furniture unconsidered. If
ticularly interesting, the picture drawn of the anyone knows what this was it is Miss Singleton ;
magnificence of the courts of Philip the Good and I confess that I should have been glad of
and Charles the Bold—most of it from con¬ more definite information on the subject.
temporary sources—being most impressive, while In her reconstruction of the Dutch home Miss
the effect of the art workers of Burgundy on other Singleton, very rightly, makes considerable use of
countries, especially on Spain, is well and clearly the pictures of the period. I have had occasion to
established. mention in the pages of The Burlington Magazine
Considerable space is devoted to tapestries, with the untrustworthiness of our English artists as re¬
which the Low Countries supplied all Europe, gards current furniture design. The Dutch ‘Little
even Italy. Italian patrons, however, did not Masters,’ on the contrary, were almost painfully
appreciate the strongly realistic designs of the realistic in matters of fact. Moreover, the whole
northern weavers, and usually supplied cartoons nation was (to use a northern phrase) ‘ house¬
by Raphael or Romano, which, naturally, had a proud,’ and the combination of the two proclivities
‘ great influence upon the Flemish tapestries.’ renders the paintings of the period actual and
I have seen it stated, though where I cannot at dependable evidence, while the reproductions
the moment remember, that the art of burning add in no small degree to the artistic value of the
paintings into glass was first discovered and book.
practised in Italy. The following quotation Though I do not consider these chapters, from
which Miss Singleton gives from Guicciardini one point of view, to be quite up to Miss Single¬
(1567) would seem to settle the point:— 'They ton’s own highest standard, I can, as a student
(the Flemings) invented the mode of burning them of English furniture, vouch for the fact that they
into glass, so as to be safe from the corrosion of are even more interesting, for in the seventeenth
water, wind, and even time . . . and the century our workmen copied Dutch models more
Flemings also invented the manner of making closely than they did those of Flanders in the
leaden casements.’ Considerations of space prevent Tudor period. By kind permission of the
me from following Miss Singleton through her publishers, Messrs. Hodder and Stoughton, I
chapter on the Renaissance ; but 1 cannot reproduce plate XXXIII (page 165), which shows
forbear quoting another paragraph :— three chairs from the Rijksmuseum in Amsterdam,
‘ In the second period of the Renaissance, the of which I give Miss Singleton’s description. Of
general effect is more severe and geometrical; the that on the left she says : ‘ Chairs of this fashion
projections are more restrained, and the general were extremely popular in the Low Countries
form of furniture more rectangular. The vertical and in England during the second half of the
lines are more conspicuous than the horizontal seventeenth century. In all probability, they
lines; and columns with elongated shafts and originated in the Netherlands, and became familiar
delicate flutings or grooves replace human figures and favourites with the exiled Cavaliers between
that in the first period of the Renaissance act as 1640 and 1660 : and at the Restoration the style
uprights and supports.' was imported into England.’ The middle chair
Anyone with taste and knowledge can look ‘ belongs to the end of the seventeenth century . . .

N 169
‘Dutch and Flemish Furniture
the proportions of the seat, which is stuffed and influences on Dutch designs as the Italian
covered with velvet, fastened with small brass nails, and the French, and one fails to understand
is quite modern.’ That to the right is ‘ a Dutch how, with her knowledge of English eighteenth-
arm chair ’ of the same general form as a design century design, its effect on the Dutch should
given from the designs of Crispin de Passe about be omitted.
the middle of the century. Towards the middle of the eighteenth century,
Of English furniture at the end of the seven¬ and for some time after, English furniture art
teenth century Miss Singleton justly says : ‘At came well to the front. Nowhere was it more
this period English and Dutch tastes were identi¬ studied than in Holland. Ince and Mayhew,
cal.’ She is, by the way, the first, so far as my and also the brothers Adam, published their letter-
reading goes, to do more than merely mention press in French as well as English, and there was
Daniel Marot, a French refugee brought over from a large continental sale for their books as well as
Holland by William, whose style affected certain those of Hepplewhite and Sheraton. Of Sheraton's
phases of English furniture, particularly mirrors, ‘ Drawing Book ’ there was actually a reprint,
for some time. while a French publication of 1810 is evidently
Miss Singleton adds a chapter on the eighteenth based on his later designs.
and nineteenth centuries in Holland, which, There are, unfortunately for the collector, ship¬
though interesting, has little historical value. loads of Dutch furniture on Hepplewhite and
The author has been careful throughout to mention Sheraton lines. They are seldom, if ever, of the
every influence of Dutch and Flemish furniture same excellence as their models ; but at least they
art on English workmen up to the time of Queen are better than the Dutch cabinetmakers were, at
Anne. She frankly acknowledges such foreign the period, capable of originating.

A MASf^ WITH A HAWK

BY HENRY WYATT
HE admirable work which work of Lawrence, nay, for one of his masterpieces.
Pjj we reproduce as frontispiece In the absence of any other identification it is per¬
x/f to the present number is a missible to suggest that this picture may be the same
—✓a striking instance of the diffi- as that exhibited in the Academy of 1835 under
culty which surrounds any the title of Vigilance, though the style is that of a
critical study of the English somewhat earlier date.
school of painting. Here we Wyatt worked in the studio of Sir Thomas
have a picture which in spirit Lawrence as assistant, and the importance of the
and accomplishment is of the highest degree of assistance he rendered may be estimated by the
excellence, and only falls short of the work of the fact that Sir Thomas paid him a salary of ^300 a
supreme masters of portraiture from lack of the year. This sum, and the skill displayed in this
gravity with which they invest their sitters. Yet this picture, warrant the assumption, not only that
Man with a Hawk is the work of a painter whose Wyatt had far more to do with Lawrence’s por¬
name will be unknown to ninety-nine out of a hun¬ traits than is commonly suspected, but also
dred of our readers, and who even in his own day that there must have been numberless works from
had but little reputation. Those who care to turn to his hand which now pass under his master’s
Mr. Algernon Graves’s monumental work will find name. Ever since the days of Lely, the English
a list of Henry Wyatt’s exhibits at the Royal school has been full of this anomaly of pupils
Academy between the years 1817 and 1838, and who have done work which was in no way
Bryan’s Dictionary contains a short summary of distinguishable from that of their masters, or was
the few facts of his life which are recorded,1 and actually superior to it; and when some critic
mentions pictures by him at Chester, Glasgow and is born who will distinguish for us between the
Manchester. In no other cases, however, with work of Lely and his various assistants, and decide
which we are acquainted, does Wyatt touch the who was the architect of the Houses of Parliament,
level which he reaches in the Man with a Hawk; he may, perhaps, hope also to distinguish the
indeed, but for the inscription on the back of the work of Sir Thomas Lawrence from that of Henry
canvas, the painting might well have passed for the Wyatt. Till then Wyatt must remain what he
was in his lifetime—ntagni nominis umbra.2
1 Henry Wyatt was born at Thickbroom, near Lichfield, in
1794. He studied in the Academy schools and became assistant
to Lawrence. In the year 1817 he left London and practised as 2 Since the above was written, the excellent Portrait of Miss
a portrait painter in Birmingham, Liverpool and Manchester Greatorex has fetched 3,850 francs in the Sedelmeyer sale, so
successively. B'rom 1825 to 1834, he was again in London, perhaps Wyatt may soon be rescued from the oblivion which
leaving it for Leamingtoni n 1835. He died at Prestwich in 1840. has shrouded him so long.

I70
M THE HISTORY OF TAPESTRY
BY C. H. WYLDE
R. THOMSON has pro-
duced a work1 which will
probably for many years
hold the position of being
the standard work in the
English language on one of
and instructive chapter on the progress of the art
in Western Europe through the early ages up to
the fourteenth century, in which is shown the
great share taken by the Church in the fostering and
protection of the liberal arts during a period largely
given over to war and rapine. When we consider
the oldest and most impor- the wealth and power attained by the ecclesiastical
bodies during the eleventh and twelfth centuries,
practised by civilized man from the earliest it is not to be wondered at that the best work was
ages. As the author states in his preface, carried on under the shelter of the monasteries ;
‘ notwithstanding the keen and growing interest and it was not until the crusades had brought the
in tapestries and the fact that they constitute most nobility into familiar intercourse with the mag¬
precious acquisitions to the art collector, there has nificence of the East, and inoculated the sovereigns
been hitherto no text-book of exclusively English and wealthy classes with a keen desire for an
production to explain them.’ While Mr. Thomson ostentatious display of costly hangings, that the
has removed this reproach from his countrymen, craftsmen were provided with patronage sufficient
he has at the same time brought together with to make them independent of the parent Church.
immense pains and untiring research all the This movement was largely responsible for the
knowledge on the subject available in the change of style from Romanesque to Gothic, and
numerous foreign works on tapestry, weaving from the representation of sacred subjects to
them together with many new facts gleaned from mythological.
a thorough scrutiny of the documents in our From early times tapestry hangings were in
national archives and in private possession. common use in England, and the hall, which
The author commences his book with the always formed the principal room of the Anglo-
assumption that the reader knows nothing at all Saxon house, was hung with tapestry called in the
about the subject, and, tracing the evolution of Anglo-Saxon tongue ‘Wah hroegel’ or 'Wall
tapestry from the savage art of wattle-plaiting rift,’ that is ' wall clothing.’ These are described
and basket weaving, initiates us into the simple in the seventh century as being of purple and
technicalities of the tapestry craft, carefully other colours, and frequently enriched with figures
explaining the mysteries of warp and woof with and scenes from the histories of heroes.
the help of two excellent diagrams. Having As might be expected, the productions of the
arrived at a clear understanding as to the nature looms of the Flemish town of Arras during the
and characteristics of his subject, he starts from thirteenth, fourteenth and fifteenth centuries
the very infancy of the art, that is to say as far occupy a considerable amount of space in
back as any evidence exists to show that it was a the book before us. Although Arras was
recognized and regularly practised handicraft. thoroughly established as one of the principal
Dating from the period of the lake dwellings in seats of the industry in the thirteenth century,
Switzerland, a fragment of coarse flaxen material it was not till the beginning of the fifteenth
has been found proving the existence of the art century, when Philip the Bold, duke of Burgundy,
of weaving at this early time in man's history, took the cause of the tapestry weavers of the
while complete dresses of the bronze age have town under his own patronage, and by grants of
been found at Troenhoi, in Jutland. Weaving, money and liberal commissions encouraged the
in fact, appears to have been an art quite as craft, that the tapestries of Arras became world
general in its distribution among the early races famous. Philip not only furnished his magnificent
of mankind as pottery-making, for we find it castle and princely town residences with costly
practised among people so widely separated hangings, but had no scruple in submitting
as the ancient Egyptians, Peruvians, natives of specimens as worthy of the acceptance of the
Borneo, Greeks and Chinese—thus proving that, mightiest of potentates. The inventory taken in
in the same way as pottery, it was a naturally 1420, in the reign of John the Fearless, duke of
evolved craft wherever man had emerged from Burgundy, and published by the Count de Laborde
the primitive state. and by M. Alexandre Pinchart, is also included
Passing over the interesting sketch given by our by Mr. Thomson, and affords us a very good idea
author of the art of tapestry weaving during of the extent and importance of the Arras factory
ancient times in Egypt, Greece, Rome, and the at that period ; there is also a list taken from the
Near East, including the luxurious and magnificent register of the town, 1423-1467, of the names of
period of the Saracens, we come to an interesting the craftsmen employed. The death of Charles
the Bold, duke of Burgundy, in 1476, and the
1 A History of Tapestry from the earliest times until the
present day. W. G. Thomson. Hodder and Stoughton. capture by Louis XI of Arras in 1477, brought
£2 2s. net. about the ruin of that town, and although Charles
The History of Tapestry
VIII of France, in 1484, attempted to revive the the royal collection of tapestries, 1649-1653, an
industry by restoring to the town all the ancient instructive list occupying forty-four pages.
rights and privileges, the destruction had been too The most important event on the continent
thoroughly carried out for the attempt to have any during the same century was the establishment of
appreciable result. With the fall of Arras is the Gobelins factory in Paris, about 1662, by Louis
marked the end of the first period in the history XIV. This establishment appears to have taken a
of European tapestry. Passing over to this position in the art world as important as that
country, we find that England in the early part attained by the Sevres porcelain factory in the
of the fifteenth century, although by no means eighteenth century. It employed, under the
a great manufacturer of tapestries, was, owing direction of Charles le Brun, all the elite of artistic
to the enormous amount of booty seized during France, and, like Sevres, had its first period of
the French wars, probably better furnished with brilliancy, succeeded by a time of quiet and
tapestries than any Continental power, probably uneventful prosperity, alternating with periods of
the finest collection in the country being that of depression.
the king, Henry V, of which the inventory, A very valuable chapter in Mr. Thomson’s book
taken after his death in 1422, is given by Mr. is the last, which is devoted to a record of all the
Thomson in full and forms an interesting and marks known to have been used by the tapestry
instructive document. We cannot pass over this makers of Europe since the regulation brought
period without a reference to the splendid tapestries into force by the corporation of tapissiers in
in Hardwicke Hall belonging to the duke of Devon¬ Brussels in 1528, making it obligatory that every
shire, the finest examples of the fifteenth-century piece of more than six ells made in the town
productions preserved in England. They are four should be marked. This chapter alone makes the
in number, and all deal with hunting subjects. book indispensable to every collector and student
We believe their restoration is due to the initiative of tapestries.
of the late Mr. Arthur Strong ; two of this series are In concluding our remarks on this work we must
very effectively reproduced in colour in the express the opinion that Mr. Thomson has laid
volume before us. Comparing them with others a deep debt of obligation upon the artistic and
of known Flemish origin, Mr. Thomson is literary world for the laborious and careful work
probably correct in attributing them to Arras or which he has produced. If any improvement were
Tournai manufacture of about the middle of the possible, we would suggest that a very useful addi¬
fifteenth century. tion would have been a bibliography with the
The sixteenth century is important in the history names of the books and authorities quoted in the
of tapestry as marking the great change in the footnotes; a useful chapter might also have been
style of the Brussels work introduced by Raphael’s added on the technical distinctions and character¬
cartoons, the compositions becoming much more istics of the productions of the various periods
dramatic and pictorial where they had hitherto and factories. The author, however, has thoroughly
been crowded and formal, partaking in fact far fulfilled his task, namely, to give a complete and
more of the nature of pictures or frescoes than clear history of tapestry manufacture. He has been
of hangings. Mr. Thomson marks his account very ably seconded by the publishers, Messrs.
of the history of tapestry manufacture during Hodder and Stoughton, who have spared no
the seventeenth century with a very exhaustive expense in producing a sumptuous volume, which
treatise on the Mortlake factory, besides a general both by the clearness of the letterpress and the
description of other factories in England, in copious illustrations greatly enhances the value of
addition to a copy of the inventory of the sale of the work.

THE ORIGIN OF THE EARLY STAINED GLASS IN

CANTERBURY CATHEDRAL
BY CLEMENT HEATON
ROM the resemblance existing reconstruction of the choir was begun by William
between the windows at Canter¬ of Sens. It is, further, suggested that the whole
bury, Sens and Chartres, it has work was done at Chartres or Sens, and sent to
been concluded they are by the England, so that these windows are French thir¬
same hand. (Westlake,' History teenth century work placed merely at Canterbury.
of Design’, vol. i. pp. 57,108,110.) This is regarded as more probable than that a
According to this theory, the French artist came to England.
windows in the choir at Canter¬ That the glass at Canterbury, Sens and Chartres
bury areof the date of about 1220. This would place is by the same hand there is scarcely room for
them about forty-five years after the date when the doubt. The analogies are too numerous. The

172
 Stained (jlass in Canterbury Cathedral
choice of subject, the setting out of the general certainly somewhat inferior—and the earliest thir¬
design, the painting and drawing, the composi¬ teenth century work, there is every reason to believe,
tion of the ornament—all point to this conclusion.
But were they made out of England and sent
here ? and, if so, when were they made ? was

Sketch of the Stiff Angular Drapery of the Earlier Work at Canterbury Second Window in the Western Part of Choir,
North Side.

there a central school at Sens or at Chartres would be only a few years after the building of
whence large quantities were sent out and fixed at the nave after the fire in 1206. The glass in the
a distance ? Various points seem to preclude nave, then, is of the earliest part of the thirteenth
acquiescence, and though in these matters of century and some half-century later than the win¬
craftsmanship of early times it is almost impossible dows in the west end. Hence there is a complete
to see clearly, it may be useful and interesting to break in time ; and in style it is equally distinct.
put the matter again in the scales in view of fresh It is another thing, while we find there, after this, a
light which has been brought from later studies. continuous progression for some time.
The contrary view suggested is this : that the The question then arises : How "can it be
series began at Canterbury, was continued at Sens supposed that whereas we have no evidence that
and concluded at Chartres ; the same artist and
school working first at Canterbury, and then at
the other places. Hence it follows that the glass
is Anglo-French in origin—being executed in
England, and beginning in date soon after the
fire, 1175. It would thus not only be English
made, but be twelfth century work, and we shall
see that it would fill a gap in the history of the
art, and be a link supposed to be irreparably lost.
Let us look at what remains at Chartres Cathedral.
We have in the west front three immense win¬
dows of admittedly twelfth century work, of
the same origin as that of S. Denis, and on
the south side a panel of the same date in a sur¬
rounding of thirteenth century work (the whole
known as 1 La belle Verriere This is all there Early Type of Head at
Canterbury. Second Win¬ Type of Head in
is of that date, and a slight comparison with any dow in the Western Part of East Window,
of this and all the other windows, which are thir¬ the Choir, North Side. Canterbury.
teenth century, reveals a complete difference of style
both in design and technique. The work in the they were working at glass from 1145 to 1200 at
choir is probably later than that of the nave—it is Chartres, there was so important a workshop there

l73
Stained Cjlass in (Canterbury (Cathedral
that they would bring windows large in size and the S. Denis work, and as the marble pavement
very numerous so far over land and over sea seems to point to a connexion with S. Reim of
to Canterbury ? Further, it is quite impossible that Reims, it may be that the glass also came from
there could have been a sudden jump from the there. For it is at Reims that we find one of
twelfth century work to that of the thirteenth the few earliest records of stained glass (the
century as we see it at Chartres : clearly, then, windows for the cathedral, built from 969 to
there must have been some transitional work 988). As Suger brought strangers to do his work
going on elsewhere. But it was not at Sens, so at S. Denis, from the same part may have come
far as evidence existing can enable us to judge ; workers to Canterbury.
for there the early windows are all of one kind. None of these windows, however, remain, and all
But while we find no existing transitional work at those extant are posterior to the fire in 1175, which
Chartres and Sens, we shall see that the work at was thirteen years after the commencement of
Canterbury is transitional in every way. the building of Notre-Dame at Paris. Already in
If we look at the earliest windows in the 1180 a hoarding of planks was put across the
abbey of S. Denis, near Paris, of which some choir at Canterbury and in it were glass windows.
now in situ are known to have been made in Would it not be reasonable to suppose that glass
1145, we find the glass to be of the same workers were brought from Paris to Canterbury—
character as that at the west end at Chartres, as they had been to S. Denis and to York ? This is
as has long been recognized. This was in accordance with all that Theophilus would lead
executed at S. Denis, as Abbot Suger tells us. us to suppose was the usual practice, and he
Therefore, there may have been other works wrote, it is argued, at this very time. In 1179
Trinity Chapel was commenced, and Becket’s
crown was completed in 1184—fourteen years
after his death, when Canterbury had already
become a renowned centre of pilgrimage.
Here came crowds from all parts, bringing
money they did not take back. The shrine was
rich in gold and precious stones, many of
enormous value. Louis VII of France and
Richard Coeur de Lion were among other poten¬
tates who came there, and many must have
presented gifts, as did Louis, king of France.
Can it be supposed that for years and years, from
Type of Drapery peculiar to 1184 till 1220, nothing was put in the windows,
the Later Work of Canter¬ when four years after commencing to build they
bury. Lowest Medallion of
already had placed some in a temporary hoarding ?
East Window.
That the shrine with its gold and jewels was to be
afterwards made in this locality which would seen by candlelight behind hoardings for over thirty
afford the necessary transition. S. Denis is years, waiting till a school had been established at
only a few miles from Paris, and there in 1162 Chartres ? It is impossible ; and the more so as
was commenced Notre-Dame, whose windows we have no evidence that an important series of
(now destroyed) must have been a con¬
tinuance of those at S. Denis, so that
glass painting was in execution at Paris
when the great fire at Canterbury
destroyed the choir in 1175.
The original Norman building of
Lanfranc, the first Norman archbishop
of Canterbury, was built 1070-1077.
Pulled down by Anselm in 1099, it was
rebuilt by the priors, Ernulf and Conrad,
and was decorated with great mag¬
nificence, and consecrated in 1130.
Eadmer says ‘he erected it so mag¬
nificently that nothing like it could
be seen in England, either for the
brilliancy of its stained glass windows, the beauty windows was ever made so far away, and a great
of its marble pavement or the many coloured deal to establish the contrary practice.
pictures.’ The windows were, then, anterior to We are led, then, to conclude that the windows

174
 Stained Qlass in (Canterbury Qathedral
were made at Canterbury, and we may suppose A great objection against the idea of the work
that an artist came from Paris to make them, having been postponed at Canterbury is found in
though he may have come from Reims or some the fact that in 1204 the monks were chased away
other centre, for we know nothing.
Nothing is known of glass-working at Sens
until after the fire in 1185, which, as at
Canterbury, destroyed the choir. Then we
find the fine series now existing, which is
certainly the same in origin as the work
at Canterbury. May it not be supposed
that the master at Canterbury left there
for Sens, and that he started afresh there Ornamental Ornamental (Third window from the
Foliage, Canterbury. Foliage, Sens. ‘ Crown,’ North Side).
after the fire ? Facts and dates are
such as to make us think this was the
case ; and there is nothing to render it even im¬ from Canterbury ; the bishops had fled, and the
probable. In which case, these windows are by country was under interdict for five years. Can
him, executed soon after 1185. Now, fifteen years we imagine that after having been content with a
after this date, in 1206, another manifestation of makeshift ever since 1184, they would at or after
the same fire-fiend wrought havoc at Chartres, this such a time of upset, begin filling the windows at
time in the nave. But in fifteen years an able Canterbury ? This would be a new miracle to
worker and assistants could have executed all we record. But it was just at this time that the
find at Sens ; so he may very well have left there power of Philippe Auguste was rising; while all
to go to Chartres, as he had left Canterbury some was upset at Canterbury, at Chartres all was peace
years before. If he had first left France when and prosperity, and the unknown 'master of Can¬
twenty-three years of age he would have been terbury ’ would have been able to work there in
about forty-five or fifty by this time and have quiet, and with abundant means and encourage¬
reached a mature point in a long evolution of his ment.
work. Hence he would have been able at once It may be suggested that such backward and
on arriving at Chartres to execute works indi¬ forward intercourse between England and the
cating the ripe experience we actually find there. continent would be unlikely : and so at any other
He would before sixty have been able to produce time it might. But at the end of the twelfth century
the glorious masterpieces in the nave and north there was very little distinction between Island and
transept there, but not to do more. The choir Continent, owing to the wide supremacy of the
windows would be by pupils, and this corre¬ kings of England in western Europe and the
sponds with a certain falling off observable. continual intercourse of ecclesiastical persons, who
He would naturally go on with the exploits of St. were equally at home on both sides of the water.
Thomas both at Sens and at Chartres, if coming Englishmen occupied prominent positions abroad,
thence from Canterbury ; but can we imagine him and Normans ruled in many a monastery through¬
out England. The very stone of Canterbury
Cathedral was drawn from Caen.
There is, then, no real objection from this
source ; and lastly, we find in the technical exami¬
nation of the glass itself many reasons to establish
the view we have been led to take.
At this period, architecture and the allied arts
were in a fluid condition. The ‘Gothic’architecture
was evolving out of the earlier Romanesque; or
rather, in reality, local styles of work were slowly
emerging out of ideas and traditions brought from
an Eastern district. Nothing was more certain to
happen than that stained glass, which may be said
to be a luminous wall and so part of the architec¬
ture itself, should be profoundly modified also.
We have pointed out elsewhere that glass painting
Border from Canterbury arose out of enamelled work, and that its practice
of the same type as that was dependent on the thick iron bars which gave
of Sens.
it support, on which, as the point of departure, was
beginning at Chartres the history of a Canterbury based the whole scheme of design. At S. Denis
saint and going on with it afterwards at Canterbury these bars are crossed upwards and horizontally in
itself ? straight line^, and circles and squares alternately

*75
Stained Qlass in Canterbury Cathedral
fill in the spaces so formed, with little pieces of has disappeared. For the rinceaux have given place
ornament in the corners ; while a broad border to mosaic grounds, the pearl borders to a line
surrounds the whole. Now this is exactly what is border. So what we have at Canterbury is half¬
found in the westernmost window in the choir, way between S. Denis and La Sainte Chapelle.
i.e. in the position which would be the probable The mosaic ground, which is so characteristic
commencement of the series. It is, then, attached of the middle of the thirteenth century, is just found
very closely to the S. Denis work by its scheme of in one of the later windows at Canterbury, very
general arrangement, but it is nevertheless differ¬ modestly introduced. It is found again at Sens ;
entiated therefrom by several of its elements. It but at Chartres the grounds of half the windows
is different as to its ornament, which is no longer are in rinceaux and half are in mosaic. There is,
Romanesque, but decidedly on the way to becoming then, no doubt about the evolution here. And
naturalesque, albeit worked in the same strict early it arose from the material itself: this form is
technique pertaining to this epoch. The design distinctly a glass design easier to execute than the
of the little pieces of ornament filling in the flowing lines of the rinceaux. And as the designers
spaces between the squares and circles is special gained experience, this legitimate means of acceler¬
to the three works we are considering—being ating work would naturally be adopted.
bunches of foliage although not naturally drawn The last point we must mention is one of con¬
leaves. It is different as to the figures, which siderable importance. It will be noticed that
are partly like and partly unlike those of the all through the windows at Canterbury there are
S. Denis work. The timid archaic drawing many inscriptions. These inscriptions are scratched
and painting of the heads has disappeared along out of black pigment on white or yellow, and in
with the angular zig-zag drapery. But the features Lombardic letters. They run round the panels
are yet highly distinctive, and the drapery is yet stiff; as well as across them, although in some cases
both, like the ornament, are only on their way to ornamental bands similarly scratched out take their
becoming naturalesque. There is, then, a decided place round the panels. Now in the glass of S.
advance on the earlier work found in France, Denis and Chalons-sur-Marne this feature is very
and one may see also the change going on even at noticeable. It is equally characteristic of the
Canterbury. For if we compare the two western¬ Rhenish works in enamel executed where learning
most windows with those in the crown, we are was cultivated. It is clear, then, that we have here a
struck by two things : we feel that though they strong point of attachment to the earliest type of glass,
are the same work at bottom—no fresh commence¬ andthat these windowsare essentially twelfth century
ment—yet they are not at the same stage. The in spirit. For at Sens there is very much less of the
work in the crown is drawn and painted differently inscription—while a peculiar crown-like design used
and the heads are not so distinctive—fuller but freer to replace it is found pretty often, which design
—and the drapery has become looser and flowing, is found, so far as we are aware, nowhere else
filling the spaces on the blue ground with greater except at Canterbury and Salisbury. At Chartres
ease. This difference in the details accompanies there is still less writing : it had ceased to be the
a difference of scheming ; for the iron bars are fashion. At La Sainte Chapelle there is none.
now bent, and the alternate squares and circles Such are the facts, which we may thus sum up.
within straight bars are giving way to a more com¬ The glass at Canterbury is work executed in
plex arrangement, while the ornamental design situ by an artist coming from France, who
becomes more elaborate and flowing, though yet started working soon after 1175, beginning at the
of the same type of detail. west part of the choir. He continued for some
It is, in fact, apparently as if, during a certain years, leaving for Sens soon after 1185, where he
time, a few artists had gone on evolving their worked on the spot till he left for Chartres in 1206
style in quiet labour—just as they would, indeed, or soon after, at which place he died, leaving pupils
were our view correct. It is possible that the to complete the numerous works done up to 1260.
original artist who started the scheme left the The ‘style’ so created is the French ‘variety’
later windows to be completed by the others he created out of the earlier Romanesque work com¬
had trained, an idea suggested by certain weak¬ ing from an eastern direction to S. Denis, which
nesses in the drawing of the east window, weak¬ variety afterwards spread to Rouen, Bourges,
nesses which seem improbable from the hand of La Saint Chapelle and innumerable other places.
the designer of the western windows, or those at ‘ The unknown master of Canterbury’ is one of
Sens, which are superb in every way. But the the greatest artists of the middle ages. It remains
Sens windows and those at Chartres are schemed for further study to determine what was the origin
on the bent bar system, and the bent bars are more of the Romanesque style in glass, out of which this
elaborate even than at Canterbury. If we compare subsequent development grew, from which also
these windows with those, say, of La Sainte Chapelle sprang another growth to the South of Chartres—
at Paris (1160) we shall feel at once the force of to be arrested however, by the favour shown to
this movement. Here all the bars are bent elabo¬ the Canterbury departure, which in the thirteenth
rately, and all the Romanesque element of design century became the dominant French style.

176
THE ORIGIN OF THE EARLY STAINED
GLASS IN CANTERBURY CATHEDRAL
.
MADONNA AND CHILD, BY PIERO POLLAIUOLO
IN THE STRASSBURG GALLERY

A NEW BOOK ON THE POLLAIUOLI

 A NEW BOOK ON THE POLLAIUOLI
^ BY DR. WILHELM BODE ^
ISS CRUTTWELL'S book which probably are sketches for pictures not
on Antonio Pollaiuolo/ completed, or carried out by Piero.
which would be more It is hardly permissible for Miss Cruttwell to
justly entitled ‘Antonio attribute whichever of the paintings pleases her
and Piero Pollaiuolo,’ as best to Antonio and the rest to Piero. Even if the
the younger brother is design and supervision of the workmanship of
treated nearly as fully as the two principal altarpieces in the Uffizi and the
the elder, was preceded National Gallery are undoubtedly Antonio’s,
by her book on Verrocchio. The mistaken view his brother Piero is the author of pictures
under which that book was written at once such as the Ascension of St. Mary of Egypt in
precludes a sound and independent judgment of Staggia, the great Madonna in the Strassburg
the Pollaiuoli, who as artists are so closely akin Gallery (a painting hitherto unnoticed in art
to Verrocchio that they are often confounded literature and of which we give a reproduction,
with him. The existence of this new book is p. 180) and the St. Sebastian in the Pitti Palace
explained by one sentence in the preface—i.c., attributed to Barbari since the time of Morelli,
1 But to one critic—Mr. Bernhard Berenson—I who ascribed to this third-rate artist qualities of
owe much.’ far greater and most diverse painters.
All that can be attained through diligence and Even a painting like the much injured landscape
care in this new book Miss Cruttwell has attained. of The Rape of Deianira in Yale University, U.S.A.
Records and chronicles, etc., have been quoted (formerly Jarves collection in Florence), seems to
with the utmost accuracy and thoroughness. me, to judge by the shaky delineation of the figures
Though it might have been more concise and is and the sketchy landscape, only to be drawn by
entirely lacking in individual criticism, the whole Antonio and carried out by Piero. Another pic¬
conception is simple and clear. Miss Cruttwell ture in American possession which is attributed
follows her master blindly except in a few minor by the authoress to Antonio—viz., the great fresco
points. It is only a modest attempt at inde¬ of St. Christopher in the Metropolitan Museum—is
pendence to assert, for instance, that a coat-sleeve not of Florentine origin at all but of the Siennese-
in some particular picture, and similar details, Umbrian school, as is shown by the landscape.
suggest the workmanship of Antonio. Concerning the portraits known as Pollaiuolo’s,
The circulation of such books, which are Miss Cruttwell shows a deplorably deficient
regarded by the public as the results of the latest critical sense and a defective eye ; for though she is
scientific research, only impedes the progress of rightly able to assign to Piero the portraits in the
art history, since all their theories are enounced Uffizi and the Hainauer collection, which conform
with an air of absolute infallibility. both in drawing and colouring to his authenticated
To begin with, the certainty with which the paintings, she is also able to attribute to a Pol¬
authoress divides the paintings between Antonio laiuolo (though Antonio) the portrait of the young
and his brother is not justifiable. We certainly wife of Giovanni de’Bardi in the Poldi-Pezzoli
know, from Antonio’s own testimony, that Museum, and another, the portrait of a lady in
Piero collaborated in two of the most important quite similar style in the Berlin Gallery, to Piero
works, The Labours of Hercules for Lorenzo de ’ della Francesca. Morelli’s pupils take too little
Medici and the tombs of the Popes—that is, at the count of colour, like their master. Instead of
beginning and at the end of his artistic career. the oily pigments, the dull carnations and the deep
We also know that Piero had his own workshop, colouring of the Pollaiuoli, we see here a bright¬
and received commissions for paintings, and even ness of carnation, light shadows, a freedom of
for sculpture, on his own account. style and a splendour of colour such as only
Thesignedand authenticated pictures were either Venice could transmit to Florence. Beyond
painted by Piero or in collaboration with him, doubt, Domenico Veneziano, the master of Piero
and we must therefore rather ascribe the paintings della Francesca, is the painter of these delightful
known by tradition as Pollaiuolo to Piero, and portraits, which, to judge by the costumes, must
attribute to Antonio only those pictures that differ have been painted about 1450.
from Piero’s authentic works, such as the altar- Miss Gruttwell’s criticism of the plastic art of
piece at San Gimignano and the Virtues in the the Pollaiuoli is particularly unfortunate. Here
Uffizi. However, of these there are only the small she had no master whom she could implicitly
picture of Apollo and Daphne in London, the follow, for the Morelli school ignored plastic art.
still smaller Labours of Hercules in the Uffizi, Thus Miss Cruttwell, as already shown in her book
and perhaps also the little David in Berlin, on Luca della Robbia, tries to effect a compromise
between the most conflicting opinions ; she decries
Antonio Pollaiuolo. By Maud Cruttwell. London:
Duckworth and Co. ; Ne*v York : Charles Scribner’s Sons. first one author and then his adversary, always
7s. 6d. net. with an air of infallible assurance and great

o 181
A New Book on the Bollaiuoli
scientific pretension. So it is here, where lack of Jealousy to be the work of Antonio Pollaiuolo !
authority leaves authenticity a matter for dispute. Similar objections may be raised against the
The small bronzes now attributed by all connois¬ attribution of the drawings to Antonio and Piero,
seurs to Antonio Pollaiuolo have, in MissCruttwell’s in spite of their having been classified by the
opinion, little or no connexion with him: the grand master of the authoress for all time.
Hercules figure of the Beit collection shows the Without wishing to offend, I should like to be
style of Bandinelli, and the David in Naples is permitted to ask in the interest of our science,
influenced by Michelangelo ! The terracotta whether these numerous books and pamphlets,
Bust of Charles VIII of France in the Bargello, a written by dilettanti of both sexes who wish to
weak, possibly North Italian, ‘fake,’ is described as demonstrate their love of art, were not better left
decidedly Florentine, and eventually pronounced unwritten. It is true that in Germany also such
to be a forgery by Bastianini. In the Bust of a books are not wanting; above all, we have that
Youth, now usually named Piero di Lorenzo de' popular literature bearing the name of Richard
Medici, and one of the finest Florentine portrait Mother which is well known and still esteemed
busts of the last quarter of the fifteenth century, most by the English public—books in which people are
closely allied to Benedetto da Majano, the autho¬ amused by stories of the so-called perverted ways
ress discovers great incapacity and want of of artists, while art itself is treated with incredible
anatomical structure, and ascribes it to Piero superficiality and frivolity. Therefore it is not for
Pollaiuolo. And what can one say to her me to complain of the literature on art produced
proclaiming Leonardo’s grand composition in England.

SOME MEZZOTINTS BY MacARDELL AND VALENTINE

GREEN
BY DR. HANS W. SINGER
PON cataloguing the works of order once established ever being deranged by
these masters in the possession additions or interpolations. If ever a case proved
of the two Dresden collections clearly the inadvisability of setting up lists on a
with the two standard books by chronological basis, it is the present case of my
Mr. Goodwin and Mr. Whitman additional notes to Mr. Whitman’s catalogue of
in hand, I soon collected a Valentine Green. I furnish a dozen or so of dates
goodly lot of supplementary with which he was unacquainted, and which totally
notes, which these gentlemen upset his catalogue. For example, The Roman
were not in a position to furnish, and which I Charity he ranges now as No. 280, ‘Engraved by
believe will prove of interest to amateurs, print- 1793,’ whereas it was published June 20th, 1785,
rooms and collectors. It is impossible to publish and in a second edition of his book would have to
an absolutely complete and final catalogue of any receive the number 244. This is one instance out
man’s work, and if The Burlington Magazine of a great number, and my additions alone will
accepts as one of its many praiseworthy aims compel him totally to rearrange his catalogue
the publication from time to time of such notes, against a second edition. But it is a matter of
preparatory or supplementary to the critical great inconvenience to collectors, if they are
catalogues, it will doubtless make itself still more suddenly compelled to quote a print, which they
indispensable to the art-loving public than it have become used to speak of as No. 280, under
already is. an altogether different number. Print-rooms
I should like to prefix just a few lines bearing would have to rearrange their sets after each new
upon the subject of catalogues in a general way. discovery.
Both the above lists are arranged in chronolo¬ Now it is plain that a subject list cannot be
gical order. Now, although the only fascinating deranged this way. I describe a Visitation by
way to become acquainted with an artist is to study Van der Werff with which Mr. Whitman does not
his work chronologically, and although print- seem to have been acquainted. In a second
rooms arrange their collections in accordance with edition of a catalogue on the subject-plan, he
the lists or critical catalogues, still these latter would simply insert it after the Visitation by
should not be elaborated on the chronological basis. Rubens, which he catalogues, giving the Van der
For critical catalogues are finding lists, and there Werff print the number 263a, if the Rubens
must be one hard and fast system that will apply to picture had the number 263.
all cases (such as the system that Heineken and Anyway, chronological lists are possible only in
Bartsch set up, but unfortunately did not always comparatively few cases. Most prints are undated,
adhere to) which precludes the possibility of the and who is going to write the chronological

182
 Mezzotints by MacA rdell and Valentine Green
catalogue of the work of such men as Differ and No. 42—III state : Address altered to 1 Sold by F. Vivares, at
the Golden Head Newport Street Leicester Fields.’
Rembrandt, each of whom has produced dozens No. 136—Ia state (intervening between Goodwin’s I and II
of prints as to the date of which scarcely two men state) : ‘Tho. Hudson Pinxt, Jas. McArdell Fecit.’
agree ? It would be of supreme interest if chrono¬ in engraved italics (Coll. Fr. Aug. II).
II (or III ?) state : After the inscription ‘ Pr. is. 6d.
logical catalogues of such geniuses were possible, in scratched lettering,
but is there any interest attached to the chronology No. 151—III state : One must take exception to Mr. Goodwin’s
of reproductive engravers like MacArdell or Green, description of this state; ‘ plate re-worked ' is no
better information than none at all, only more
whose work looks pretty much alike at the aggravating.
beginning and at the end of their career? No. 164—aI state : Before price in scratched letters ; possibly
If there is really not the least reason for coun¬ after the scratched lettering was effaced or worn
off, then it would be Ia state. This can only be
teracting the usefulness of a catalogue by
decided after comparing a first state with the
arranging it chronologically in the case of mere Dresden copy.
reproductive engravers, there is—nowadays at No. 1S6—On Coll. Fr. Aug. II copy the word reads1 Pientre ’ ;
if Mr. Goodwin’s description of 11 state is accurate,
least—no longer any reason even in the case of
this would accordingly be I a state, before correction
creative artists of prime importance. The complete of this word into ‘ Peintre.’
work of such masters as Rembrandt and Durer No. 204—The painting is, of course, not by Antonio Allegri, but
by Furini, which should have been mentioned.
exists nowadays in the shape of perfect facsimile
III state: In engraved lettering 1 Coregio pinxit
reproductions. This circumstance allows us to J. McArdell fecit. Ghismonda. Boccaccio Giornata
cater, for both tastes, and there are print-rooms quarta, Novella 1. Done from the Original in the
Collection of Lady Schaub. Sold by Edwd.
which to-day arrange their Rembrandt (etc.)
Fisher in Leicester Fields, & by Ryland & Bryer
originals according to the correct subject system, in Cornhill.' There is possibly still another state
while a second set (facsimile reproductions) is before Ryland and Bryer’s address.
arranged according to a chronological system— No. 212—Either Mr. Goodwin has overlooked the 1 Js. Mc.Ardell
Fecit. ’ or there are three states : I before any inscrip¬
yes, even two sets according to two different tion, II with inscription before engraver’s name,
authorities. I repeat: there are few artists of such and III with inscription and engraver’s name.
No. 214—III state: In engraved lettering, ‘Rembrandt pinxt.
importance that it would interest us at all to follow
J. Mc.Ardell fecit. Tobias with the Angel. From
their development by the aid of a chronological the Original in the Collection of Mr. Reynolds.’
arrangement. The whole business of cataloguing, No. 215—I state: Inscription space not yet cleaned ; in scratched
however, must be suited to the great majority of letters, 1 Rembrandt pinxit J. M. Ardell fecit.’
No. 217—II state: Address changed into ‘Sold by E. Fisher,
cases and not to the few exceptions. Engraver, at the Golden head in Leicester Square,
There is, at the present moment, a special reason and by Ryland & Bryer, at the King’s Arms in
Cornhill, London.’
to urge the point. For it appears that a critical
No. 218—II state: In engraved lettering, 1 Skalken Pinxt. Js.
catalogue of Differs woodcuts is preparing—a Mc.Ardel fecit Cupid and Psyche Done from an
thing we are most painfully in need of. It would Original in the Possession of Mr. Sangar.’
No. 223—The title is 1 Health ’ (and not 1 Lady with a Fan ’); the
be extremely unfortunate if the excellent authority
plate has its distinct title just as No. 219 has.
who is at work upon it should render his catalogue No. 230—II state: Inscription engraved in lower border reads,
practically useless to those principally interested 11 Molenaar Pinxt. Js : McArdell Fecit. Sold at the
Golden Head in Covent Garden (Pr. R. and Coll. Fr.
in it (the print-rooms and collectors) by adopting
Aug.).’ There is not the slightest reason for doubting
a chronological arrangement. Let him lay down the authenticity of this print.
his views on this part of the subject at the end of Not catalogued by Goodwin—Romeo and Juliet, after Wilson—
Juliet kneels over Romeo’s body in front of the
the book, by appending a list of the numbers simply
tomb, and turns back to Friar, who lights up her face
arranged in accordance with his chronology. with a lantern. To the left the moon appears half-
In the following notes Pr. R. signifies Royal hid behind clouds, and below it the dead body of
Paris. On the right-hand side one sees a page with
Print Room, Dresden ; Coll. Fr. Aug. II signifies a torch, and trees. Engraved lettering, ‘Jas.
Collection formed by H.M. King Frederick Mc.Ardell Fecit. Romeo and Juliet, Act V. Scene IV.
August II of Saxony. Sold by Js. McArdell at the Golden Head in Covent
Garden. Price 5s.’ Plate 14^ by 17I (subject
by 17I). This is the first state of a plate which
I—Annotations to Mr. Goodwin’s Catalogue R. Houston re-worked, and which J. Ch. Smith
describes rather inaccurately under No. 153 in his
of MacArdell
catalogue of Houston’s mezzotints. On comparing
No. 9—I state : With date ‘ 1749 ’ after ‘ fecit ’ (Pr. R.). a photograph of the Dresden proof with a copy of
II state : Date effaced. the Houston print for me, my friend Mr. Dodgson
No. 11—In the Pr. R. copy the word reads1 Constaple ’: traces discovered that among Houston’s changes there is
of the price ‘2s.’ in scratched letters are visible ; the addition of a lamp under the arch in the centre.
possibly this is an aI state ? (Pr. R.)
No. 14—II state ; The engraver’s name is partly erased. The
name of the town reads 1 Maldon.’ The bit of
waistcoat visible up at neck shows five buttons at 1. II—Annotations to Mr. Whitman’s Catalogue
and six buttonholes at r. sides. of Green
III state: Engraver’s name reads ‘Ja McArdell
fecit’; name changed back (?) into ‘ Malden ’ ; four The Pr. R. possesses 56 of Green’s mezzotints ;
buttons to I. and five buttonholes to r.
the Coll. Fr. Aug. II a superb collection of 117, em¬
No. 37—On the Coll. Fr. Aug. II copy 11. Mc.Ardell’ appears
in engraved lettering. bracing two that Mr. Whitman does not catalogue,

>83
Mezzotints by MacArdell and Valentine Green
and twenty-six first states, among these a magnifi¬ No. 179—I state : Before separate inscription plate. (Coll. Fr.
Aug. II)
cent proof of the Lady Betty Delme.
No. 184—II (III ?) state: Engraved inscription, title in capitals
No. 35— I state : Inscription space not yet cleared ; in scratched filled in ‘Angelica Kauffmann pinxit. V. Green,
letters, ‘ Cath. Read pinxit. Publish’d by I. Engraver in Metzotinto to his Majesty fecit.
Boydell Cheapside Feby. 17. 1772 Val, Green Madonna And Child. From an Original Picture
fecit.' (Pr. R.) painted by Mrs. Angelica Kauffman. London:
No. 67—Ia state : The title is engraved in open letters, and arms Printed for Robt. Sayer & J. Bennett, Printsellers,
engraved ; all the rest is scratched, but the date is No. 53 in Fleet Street; as the Act directs, 20th
already altered to ‘ March 25th.’ (Coll. Fr. Aug.) Deer. 1774.’ (Pr. R. and Coll. Fr. Aug. II.)
No. 87—Al state: Before inscription on pedestal. (Coll. Fr. Aug.) No. 189—I state : Inscription space not cleared ; scratched
No. 89—Description : Half-length directed to r., facing slightly lettering ‘ Edwd Penny pinxit Professor of Painting
more to front; high hair, rich fur-trimmed dress ; to the Royal Academy V. Green Engraver in
double string of pearls from 1. shoulder under r. arm. Metzotinto to his Majesty fecit Publised by
She carries a vase in 1. hand, and places her r. upon R. Sayer and I. Bennett Fleet Street March the
it. 15! by 11J. In scratched letters, space not quite 22nd 1775 ’ (Coll. Fr. Aug. II.)
cleared, ‘ E. F. Calze pinxit Publish’d Dec. 27th, No. 194—I state : Inscription in scratched and open letters,
1770 by J. Boydell Cheapside. Val Green fecit.’ same as in II, except read ‘V. Green’ for ‘Val:
Probably a first state. (Pr. R. and Coll. Fr. Aug.) Green,’ 1 stung ’ for ‘ Stung,’ commas after ‘ Majesty,’
No. 104—On the Pr. R. copy the inscription at the end reads ‘ Boydell ’ and no comma after ‘ Picture.’ (Coll. Fr,
‘ F.A.S.’ If Mr. Whitman transcribes correctly, Aug. II.)
there would be accordingly a Ia state before alteration No, 197—I state: Inscription in scratched and open letters on
of F.A.S. into F.S.A. uncleared space : ‘ B. West, Historical Painter to his
No. 105—On I state, Fr. Aug. II copy, the inscription is in Majesty Pinxit Published by J : Boydell, Engraver
scratched not etched letters: possibly this is only a in Cheapside, May 27th. 1776. V. Green, Engraver
lapsus calami on p. 90,1. 17. to his Majesty, and to the Elector Palatine, fecit ’
No. 131—The Coll. Fr. Aug. II has possibly an intermediate then ‘ Erastratus . . . Grosvenor’ as in II state, but
state. 1 L. F. Abbott Pinxit,’ ‘ Seipsum Sculpsit ’ and publication line not repeated. (Coll. Fr. Aug. II.)
the address are in italics, 1 Valentine Green ’ in No. 198—I state: Inscription space not cleared; in scratched
capitals, filled in ; the date is written 1 Octr. ]6th ;' letters, ‘ Painted by G. Carter Publish’d by R.
No. 165—I state : Before Title. Artists’ names etc. and line of Sayer & J. Bennet, No. 53, Fleet Street, June 6th.
publication in scratched letters along lower border 1776. Engrav’d by V. Green, Engr. to his Majesty,
of subject. (Coll. Fr. Aug. and Pr. R.) & to the Elr. Palatine.’ (Coll. Fr. Aug. II.)
No. 166—1 state: Inscription engraved,‘B. West pinxt. Valentine No. 202—Ia state: With inscription lightly engraved. ‘ Painted
Green fecit Elisha restores to life the Shunamites by B. West. Historical Painter to his Majesty Pub¬
Son. Done from the Original Picture by Mr. West, in lish’d by J. Boydell. Engraver. Cheapside May 19th,
the possession of the Right Honourable Lord Gros- 1777 Engraved by V. Green. Engraver to his
venor. Sold by Ryland, Bryer, & Co. at the Kings Majesty, & the Elector Palatine.’ (and title engraved
Arms, Cornhill. size of the picture 3ft. 4m. by in open caps.). ‘ Daniel Interpreting To Belshazzar
4ft. 2in.’ (Coll.Fr.Aug.il.) The Writing On The Wall.’ (Pr. R. and Coll. Fr.
II state: Plate retouched. Drypoint work in hair of Aug. II.)
woman and child. The stars on the cover of the No. 204—I state: Inscription space only partly cleared ; in
lounge, notably those near the child’s knees, had a scratched and open letters, ‘ Sir P. Lely pinxit
white spot in the centre in I state, but are now dark¬ Engraved by V. Green, Engraver to his Majesty
ened and covered up. Names etc. in fine lettering and to the Elector Palatine Pamela and Phyloclea.
(like Whitman I). See Sidney’s Arcadia Published Novr. 17th. 1777-
III state : Full engraved inscription with capita's of by W. Shropshire, No. 158, New Bond Street.’
title ‘ filled in.’ ‘ Painted by B. West, Historical painter II state: Plate badly retouched; space cleared and
to his Majesty. Engraved by V. Green Engraver to inscription engraved, ‘ Sir P. Lely pinxt.
his Majesty and the Elector Palatine. Elisha Restores ( Engrav’d by V. Green, Engraver to his
To Life the Shunamite’s Son From the Original | Majesty, to the Elector Palatine.
Picture in the Collection of the Right Honourable Pamela and Phyloclea. Here nor Treason . . . |
Lord Grosvenor. Published Jany. 1st. 1778 by John harbour here. Sydney’s Arcadia,’ and same publi¬
Boydell Engraver in Cheapside London.’ (Pr. R ) cation line as in I state, except that it is engraved.
No. 171—I state : Inscription space not yet cleared ; (Coll. Fr. Aug. II.)
in scratched letters ‘B. West, pinxit. Publish'd by No. 207—III state: Lettering engraved, ‘Painted by B. West
J. Boydell, Cheapside Jany. 1st. 1772 Val. Green Historical Painter to his Majesty Engraved by
fecit’ (Coll. Fr. Aug.)—Alexander is sitting, as well V. Green Engraver to his Majesty & the Elector
as directed, towards r. Palatine. Fidelia and Spiranza. Published Novr.
No, 174—Ia state : Inscription space not yet cleared ; in 9th. 1778. by John Boydell, Engraver, in Cheapside.’
scratched letters, ‘Jos. Wright pinxit Publish'd (Pr. R.) Possibly this is a IV state, and there is a
Decemr. 18th. 1772, by J. Boydell, Cheapside V. III with ‘ Fidelia and Spiranza ’ in open letters.
Green fecit ’ (Coll. Fr. Aug. II.) No. 209—The Pr. R. possesses an impression of the second
No. 176—I state : There appears to have been a state with plate. There are nine men in the boat. Full en¬
scraped lettering, traces of which are visible under graved inscription, ‘ Painted by John Singleton
the scratched lettering in II. Copley, R.A.Elect. Engrav’d by V. Green, Mezzo-
II state: With scratched lettering (Whitman I) and tinto Engraver to his Majesty, & to the Elector
the title HANNIBAL scraped in the centre below. Palatine '
(Pr. R.) A Youth Rescued From A (repeated in French)
III state : whole plate carefully retouched. On the Shark
left foot of the priest with the curved staff there are This Representation . . i) n »
at each joint of the toes with the foot two or three .its Pursuit
slight horizontal drypoint lines. The inscription Engraved from the Original .... obedient Servt:,
has become slightly indistinct, and the title V. Green.
HANNIBAL entirely obliterated by rerocking. Publish’d May 31st,, 1779, by V. Green, No. 29,
(Coll. Fr. Aug. II.) Newman Street, Oxford Street. Se vend a Londres ,
No. 177—The words ‘ Metzotinto . : . Majesty ’ are enclosed ches les Freres Torre, Marchands d’Estamps.’
in brackets (Coll. Fr. Aug II.) No. 213 —I state: Inscription space not cleared ; in scratched
No. 178—' B. West pinxit’ is scraped, the rest of inscription letters, ‘ S. Gilpin pinxit Val. Green fecit.’ (Pr. R.)
scratched. (Coll, Fr. Aug. II.) II state : Full engraved inscription, ‘S. Gilpin pinxt.

184
A SHEPHERD AND TWO NYMPHS, BY PALMA VECCHIO
IN THE COLLECTION OF MR. CLAUDE PHILLIPS

WAX MODEL ATTRIBUTED TO MICHELANGELO

IN THE BRITISH MUSEUM
 Mezzotints by MacArdell and Valentine Green
Pubd. by I. Wesson, in Litchfield Street Soho. V. spear’s Twelfth Night. Publish’d June 4th. 1783 by
Green fecit Gulliver addressing the Houyhnhnms, V. Green, No. 29, Newman Street, Oxford Street, &
supposing them to be Conjurors. See Gullivers Sold by J. Brydon, No. 7, opposite Northumberland
Voys. p, 220. from the Original Picture, in the House Charing Cross London.’ (Coll. Fr. Aug. II.)
Possession of John Wesson ’ In both states Gulli¬ No. 230—II (or III ?) state : With engraved lettering, the capitals
ver’s name appears in scraped letters on his box. of title being filled in. Below subject there is in
No. 214—Size of subject, 17^ by 14. Helen, seated and directed centre the monogram T,C, under Crown, etc.
towards 1., looks down at naked Cupid to r., who is The publication line reads ‘ . . . Brydon, Print-
pointing a dart at her left breast, and extends her seller, No. 7, Charing Cross, opposite Northumber¬
hand towards Paris at 1. In background to r. a land house, London.’ (Coll. Fr, Aug. II.)
female attendant rests her hands on a vase. No. 231—A little girl, seated and directed to 1., looking front,
I state: In scratched letters, ‘Angelica Kauffmann pinxit dressed in white, leans her r, arm on a sarcophagus (?)
V. Green Engraver in Metzotinto to his Majesty to 1., and rests her head with sad expression upon
fecit. London, Publish’d by R. Sayer and J. Bennett it. Her 1. hand on r. wrist; white ribbon in hair.
No. 53 fleet Street, as the Act directs, 1st. October, 12J by 9f. In engraved letters ‘ Painted by R, M,
1774.’ (Coll. Fr. Aug. II.) Paye Engrav’d by V. Green, Mezzotinto Engraver
II state: Full engraved inscription, ‘Angelica Kauff¬ to his Majesty & to the Elector Palatine. Child
mann pinxit. V. Green, Metzotinto Engraver to his of Sorrow, Publish’d August 12th. 1783, by V.
Majesty, fecit. Paris and Helen Directing Cupid to Green No. 29, Newman Street & Sold by J. Brydon
inflame each others Heart with Love. Done from Printseller, No. 7, Charing Cross, London.’ (Coll,
an Original Picture Painted by Mrs. Angela. Kauff¬ Fr. Aug. II.)
mann. London : Printed for R. Sayer & J. Bennett, No. 234—The description reverses the order: St. John is the
No. 53, Fleet Street, as the Act directs, 1st Octor., younger man running ahead of the other.
1774.’ (Pr. R.) II state: With full inscription engraved in italics, the
No. 221—Peter is directed towards 1. ; between h'm and Christ title in open capitals, and ‘ V. Green & Son ’ in
there is a woman pointing at P, and looking at publication line. (Coll. Fr, Aug. II.)
Christ. A soldier’s head is visible at extreme r. hand No. 237—This is a companion piece to No. 234. The originals
side, beside Christ. Subject, 19I by 20. Full en¬ of both were ‘ Painted for the Great East Window
graved inscription, ‘ Painted by B : West, Historical of St. George’s Chapel, Windsor.’ Title in open
Painter to his Majesty Engrav’d by V : Green, capitals ‘ The Three Mary’s Going To The
Mezzotinto Engraver to his Majesty, & to the Elector Sepulchre.’ 17^ by 9J, Published ‘ June 4th, 1784.’
Palatine Peter having denied Christ. St, Luke, Public tion line, etc., same as No. 234, II state:
Chap : 22, v : 61. From the Original Picture, in his Therefore the copy before me (Coll. Fr, Aug. II)
Majesty’s Possession. Publish’d May 1st. 1780, by is probably also all state.
V. Green, No. 29, Newman Street, Oxford Street.’ No. 239—There are probably three states. I : Inscription in
The plate accordingly should not be entered before scratched letters and incomplete. II : Full engraved
1780. inscription, the title in open capitals. Ill: Capitals
No. 222—Eli, semi-baldand white-haired, seated and directed to filled in. This is the state both Dresden collections
1., turns his head down to r., where Samuel, as a have. The plate looks worn and retouched. The
child, addresses him with uplifted r. hand. Censers, publication line reads ‘ Publish’d Jany. 31st,, 1784, by
vases, etc., on altar to 1. : the bases of 2 pillars V. Green, No. 29, . , & Sold by J.
appear to r. Monogram C T under crown below Brydon . . . (etc.) . . .’
subject; 25I by 19J in. Full engraved inscription, No. 241—instate: Add under address ‘ Se vend chez les Freres
‘Painted by J: Singleton Copley, R:A. Elect. En¬ Torre Marchands d’Estampes ’ (unless Mr. Whitman
grav’d ,by V,, Green, Mezzotinto Engraver to his has overlooked this in his description of II state).
Majesty, & to the Elector Palatine. Samuel No. 243—Venus holds Cupid in her lap. I state : Full inscrip¬
declareth to Eli the Judgements of God upon his tion in scratched and open letters, including ‘From the
House.’ Follows reference to 1st Book Samuel, and Original Picture in the Possession of Sir Abraham
dedication to the Elector Charles Theodore. ‘ Pub¬ Hume, Bait.,’ and closing with ‘ Se vend chez les
lish’d Septr. 21st, 1780, by V: Green, No. 29, Newman Freres Torre, Marchands d’Estampes, a Londre.’
Street, Oxford Street.’ (Pr. R.) There seems to (Coll. Fr. Aug. II.)
have been a later state, with the following inscription No. 246—II state: Full inscription engraved ‘Painted by J.
added to 1. below : ‘ Engraved From The Original Opie Engrav’d by . . . (etc.) ... A Winter’s
Picture, In The Possession Of Nicholas Ashton, Tale.’ The address is the same as in I state, but
Esqr.’ is engraved in italics. (Coll. Fr. Aug. II.)
No. 223—I state : The inscription in scratched letters, the title No. 247—II state : The same inscription as in I state, but
in open capitals. Below it the Dedication to the engraved, and read ‘ and to ’ instead of ‘ & to ’ and
King in two lines. Below this, also scratched, ‘Torre’ instead of ‘Torre.’ The capitals are here
‘Painted by B. West, Historical Painter to his filled in, and if there are impressions with open
Majesty, 1780 Publish’d May 1st. 1781, by V. capitals, as is likely, this would be a III state.
Green, No. 29 Newman Street, Oxford Street (Ibid.)
Engrav’d by V. Green, Mezzotinto Engraver to his No. 258—I (?) state ; The title in French and English is
Majesty, and to the Elector.Palatine. 1781 ’. Further, engraved in open capitals. (Coll. Fr. Aug. II.)
in scratched letters, three lines, in lower r. hd. No. 262—Inscription reads towards end, ‘ . . . . to His Majesty
corner, ' Engraved from the Original Picture the & the Elector Palatine.’
Altar Piece of the Cathedral of Winchester.’ II (?) state ; with engraved publication line, below,
(Pr. R.) ‘ Published January 1st ; 1790, by V. & R. Green No.
II state : Plate retouched, and is now heavy and dark. 29 Newman Street, Oxford Street, London.'
The inscription in r. hd. corner all but obliterated. I cannot understand why ‘ The Visitation ' and the
In publication line ‘ Green, No. 29,’ altered to ‘ Presentation in the Temple ’ are put off in a note
‘Green & Son’; ‘London’ added after ‘Oxford and not described, and assigned their distinct num¬
Street.’ (Coll. Fr Aug. II.) ber. Each of these subjects measures 35! by 11J.
No. 228—I state: The dedication, names of aitists, date of pub¬ The engraved title of the former runs ‘ Painted by P.
lication and address in two long lines of scratched P. Rubens Engraved by V. Green Metzotinto En¬
capitals extending across whole length of plate. graver to his Majesty & to the Elector Palatine ’
II state: Above these two lines in scratched and ‘ The Visitation’ : of the latter the same, except title,
scraped capitals, ‘ Christ Blesses Little Children.’ which is ‘The Presentation In The Temple.’ On
(ColL Fr. Aug. II.) each plate, reference to original as on centre piece,
No. 229—II state: With engraved inscription, ‘Painted . . . and publication line as given above (II state) for
Elector Palatine—“ like Patience . . Grief,” Shake- centre piece. (Coll. Fr. Aug. II.)

.87
Mezzotints by MacA rdell and Valentine Green
No. 265—The original painting is now No. 1166 in the Old No. 280—Cimon, chained in a prison cell, is seated directed to r.,
Pinakothek at Munich. and takes Pero’s breast. She is half kneeling
II state: Full, engraved inscription, with title in towards 1., and stands in the middle of the picture.
English and French in open capitals. Dale altered Her infant lies with finger in mouth behind her. In
to ‘ Published July 1st: 1797. by V. & R. Green, the background a circular window through which
No : 14, Percy-Street. London ' (Ibid.) two soldiers look in upon the scene. 23I by 18
No. 274—Published Nov. 1st, 1792. Full engraved inscription, Full engraved inscription, title in open letters
‘ Painted by Luca Giordano. Engraved by V. ‘ Painted by Chevr. A. Vanderwerff Engrav’d by
Green Mezzotinto Engraver to His Majesty & to the V. Green Mezzotinto Engraver to his Majesty &
Elector Palatine. Christ Tempted In The Desert, to the Elector Palatine. ’ Roman Charity. From
Jesus-Christ Tente Dans Le D6sert. In Monsr.: the original Picture in the Possession of Edmund
Pigage’s Catalogue of the Dusseldorf Gallery, this Antrobus, Esqr. Publish’d June 20th, 1785, by V.
Subject is No : 153 Published Novr : 1st: 1792 by Green & Son No. 29, Newman Street, Oxford Street,
V. & R. Green Newman Street, London.’ Titles London. Se vend chez les Freres Torre, Marchands
in open letters: Monogram CT under crown, in the des Estampes.’ (In both coll.)
centre of inscription space. (In both Dresden coll.) No. 287 and 288—The inscriptions run, 1W. Marlow Pinxit.
No. 275—Was not published before 1796. The Original is now Published Febry. 20th. 1777, by J. Boydell, Cheap-
No. 8x3 in the Old Pinakothek at Munich. Full side. Engraved by V. Green and F. Jukes ’ (whom
engraved inscription, with the CT monogram in the Whitman does not mention here). ‘ View Near
middle and the titles in open letters : ' Painted by Black Friers Bridge ’ (and 1 View Near Westminster
Jordaens. Engraved by V. Green Mezzotinto Bridge ’). ' From a Picture in the Possession of
Engraver to his Majesty & to the Elector Palatine. David Garrick, Esqr:’ (Both Dresden coll.)
The Satyr And The Traveller, Le Satyre Et Le No. 317—There is a cart with two horses near it at left-hand
Voyageur.’ Dedication to Charles Theodore in two side of plate ; a woman and a boy are near the
lines, signed ‘ Rupert Green ’; further ‘ In Monsr: principal fabric (ruin) to r. Engraved inscription
Pigage’s Catalogue of the Dusseldorf Gallery this runs, ‘ Drawn by B: Mayor. Engrav’d by V. Green,
Subject is No : 208. Published Jany : 1st: 1796 by & F. Jukes. Wenlock-Abbey, Shropshire. An¬
Rupert Green No. 13, Berners Street, London. tiquities, No: 6. Publish’d Octr: 16th: 1779, by
(Coll. Fr. Aug. II.) V. Green . . . Oxford Street.’ (Pr. R.)
No 277—The original painting is now No. 727 in the Old No. 318—There is a man to be seen on a small wooden bridge ;
Pinakothek at Munich. Full engraved inscription three cows are being driven past the gate. Engraved
with title in open letters, and Monogram CT under inscription, ‘Painted by M„ A. Rooker, A: Engrav’d
crown in centre: ‘ Painted by P. P. Rubens, by V. Green, & F. Jukes. St: Augustine’s Gate,
Engraved by V. Green, Mezzotinto Engraver to his Canterbury. Antiquities, No: 5,’ and publication
Majesty, & the Elector Palatine Castor And Pollux line as in No. 317. (Pr. R.)
Carrying Off The Daughters Of Leucippus. Castor Not catalogued by Whitman—‘The Visitation’ after A. Van der
Et Pollux Enlevant Les Filles De Leucippe. In Werff (now No. 454 in the Old Pinakothek at Munich).
Monsr. Piagage’s (sic!) Catalogue of the Dusseldorf To the left and behind, Zacharias and Elizabeth ; to
Gallery, this subject is No. 244. Published June 3rd ; the right and in front, Mary and Joseph. Mary wears
1791, by V. & R. Green, Newman Street, London. a hat of plumes, shaped somewhat like a sunflower.
2T§ by 20.’ (Coll. Fr. Aug. II.) 23! by i6f. Full engraved inscription, English and
No. 278—The original painting, now ascribed to a pupil of French title in open capitals, with monogram C T
Van Dyck, is No. 864 in the Old Pinakothek at under crown, just like No. 277, etc., the Pigage
Munich. Full engraved inscription, title in open catalogue No. having been 222. At end, ‘ Published
letters, with monogram CT under crown in centre : March 1st: 1794 by V. & R. Green, No: 13, Berners
1 Painted by Anthony Vandyke Engraved by Street London.’ (Coll. Fr. Aug. II.)
V. Green Mezzotinto Engraver to his Majesty & to Not catalogued by Whitman—‘The Ascension,’ after A. Van der
the Elector Palatine Antiope, Sleeping, Surprized Werff (now No. 457 in the Old Pinakothek at Munich).
By Jupiter In The Form Of A Satyr. Jupiter Sous Christ, above, almost undraped, mounts to heaven
La Forme D’un Satyre, Surprenant Antiope towards r. Below there are the Apostles, three of
Endormie.’ Follows a long dedication to Charles them standing to 1., the remainder, of whom the
Theodore signed by both Greens, and the note (as in majority kneel, to r. Companion piece to the last, with
No. 277) referring to Pigage’s Catalogue, No. 22. inscription corresponding in every detail to the
Further • Published Jany : 2nd : 1792 : by V. & R. inscription on the ‘ Visitation,’the Pigage catalogue
Green Newman Street, London.’ No. having been 234. (Ibid.)

^ NOTES ON VARIOUS WORKS OF ART

A SHEPHERD AND TWO NYMPHS, BY picture is smaller, the whole panel measuring 265
PALMA VECCHIO inches by 47 inches, while the figures in the
By a remarkable coincidence the Keeper of the Dowdeswell picture are life size or nearly so.
Wallace Collection has just discovered a Venetian The handling, too, is more summary in the newly
picture which bears the closest possible relation discovered work, so summary indeed that it has
to the fine example of Jacopo Palma the Elder, the appearance of a rapidly executed decorative
in the possession of Messrs. Dowdeswell, which he panel, done almost an premier coup to fill up a
describedin the February number of The Burling¬ space in some scheme of decoration by one intent
ton Magazine. A comparison of the reproduction upon richness of general effect rather than upon
of Mr. Claude Phillips’s recent find with the photo¬ finish or accuracy of detail. In the Dowdeswell
gravure of the Dowdeswell picture will at once picture Palma is careful to the verge of softness;
indicate their connexion. Yet in some material in that now reproduced he is careless and free
points there is a pronounced difference. almost to excess. Not only are the landscape and
In the first place the scale of Mr. Phillips’s the sky swept in with broad succulent layers of

188 »
 Notes on Various IVorks of Art
rich colour, but the figures are treated with the A WAX MODEL ATTRIBUTED TO
same laxity of finish, so that we find passage after MICHELANGELO
passage that will not stand close examination. The Keeper of the Department of Mediaeval
On the other hand, the decorative force of Mr. Antiquities at the British Museum has recently
Phillips’s panel is wonderful. The tones through¬ brought to light two small models of considerable
out have Palma’s customary blend of coolness interest. Both appear to be Elorentine works of
with glowing heat, and the painting being alia the sixteenth century; indeed the larger of the
prima, they tell with the greatest possible force. two, an upright male torso, is so characteristic
This shows with singular effect in the landscape, of the manner of Baccio Bandinelli that it may
which is lit up by a blaze of evening sunlight. fairly be ascribed to him. The smaller model
The upright trunks when closely examined of wax, which we illustrate on approximately
are no more than a glaze of transparent brown the scale of the original (p. 186), raises a more diffi¬
over the white ground. Seen at a little distance cult and important question. It recalls so clearly
they assume just the fiery glow with which tree the great recumbent figures of the Medici tombs that
stems redden at sunset, a glow which is heightened we are compelled to ask whether it is derived from
by the golden green of the foliage behind them. them, or whether it can be one of the preliminary
The flash of light on the river bank is also studies for them from Michelangelo’s own hand.
delightfully rendered. The second hypothesis is the more daring, but
The introduction of these sudden and unex¬ there is something to be said in its favour. The
pected passages of naturalism recalls Giorgione, model has obvious peculiarities, such as the imper¬
just as it is in Giorgione’s latest works, the fection of the lower limbs and the vagueness of
Giovanelli Tempest and the Louvre Fete Chanipetre, the upper portion of the trunk. For these
that we find the origin of the female figures. peculiarities, however, we find almost exact parallels
On the exact relation of the groups in this work in the model for a Hercules and Cacus in the
to those well-known compositions it is needless to Victoria and Albert Museum, and the resemblance
dwell. The reproduction sufficiently illustrates then- is so close that both models may well be the work
close relationship. The figure of the shepherd, of the same hand.
too, is purely Giorgionesque both in conception The model at the Museum differs] very consider¬
and colour. Yet the broad flat treatment of ably from the brooding figure of Twilight with which
the planes, the quality of the flesh tints, and, it may be connected.1 The marble giant is built
more than all, the pale golden hair of the nymphs, on a more heroic and massive scale, the muscular
exactly resembling that of The Three Sisters at development being everywhere emphasized in the
Dresden, point to Palma almost conclusively. most forcible way, while the little wax figure has
Cariani, the only other possible name that could an almost Hellenic restraint and naturalness. Its
be suggested, paints more thickly, his touch is more very peculiarities and imperfections suggest
blunt, his sense of colour less personal. inevitably that it is a study made directly from the
As Mr. Phillips pointed out in his previous living model, while in the Twilight this personal
article, the date of Giorgione’s death compels us human element is buried under the contours
to regard the Dowdeswell picture as one painted appropriate to a generic superhuman type.
after the year 1510. Mr. Phillips’s work must also In asking ourselves how the difference may be
therefore be later than 1510, yet it is earlier explained, we are compelled to recognize that
in date than Messrs. Dowdesweil’s example. Michelangelo’s studies from the life, whether in
A comparison of the two pairs of nymphs wax or on paper, are almost always naturalistic in
will show that in every way the conception the extreme. It is not until he comes to carry
in the latter work is more fully thought out, the out the finished work that he gives free play to
reminiscence of Giorgione is less direct, the pose of his imagination by emphasizing and accentuating
the figures is more studied, the draperies are more those portions and planes of the figure which are
skilfully disposed to soften and relieve the flesh essential for the expression of the particular ideal
tones. Mr. Phillips’s picture, in short, is not only he has in mind. The process is one which M.
the more hasty in execution, but the earlier in Rodin has explained through the most eloquent
date. of his biographers, and will, therefore, be familiar
The defects and the beauty of this interesting to all students of sculpture.
panel are alike explained if we assume that it was Contemporary admirers of Michelangelo, how¬
executed in haste, as part of a decorative scheme, ever, did not understand his secret. They built
by the elder Palma shortly after the year 1510, up their idea of human form upon the master’s
when the memory of the last works of the dead finished work, instead of going back to the natural
Giorgione was still green, and that afterwards he
revised and enlarged the two figures of the 1 A certain resemblance to one of the magnificent unfinished
figures of slaves intended for the tomb of Julius II, but which for
nymphs into Messrs. Dowdeswell’s picture. many yea-s adorned the grotto in the Boboli Gardens, will also
C. J. H. be noticed.
A JJ^ax Model attributed to Michelangelo
forms on which he founded that work. Taking against the theory of forgery. It must not be
the emphasis and accent, which lie used for pur¬ forgotten also that the naturalism underlying
poses of specific expression, as general conditions Michelangelo’s art is a discovery of the last two
of the grand style, they employed them indis¬ decades, and that a forger or imitator, previous to
criminately in the place of nature. The result the nineties, would certainly have imitated the more
was the inflated mannerism in which the great obvious and emphatic side of the master’s style.
period of Italian sculpture came to an end, and it Even the supposition that it is a copy of some
is vain to seek among these later artists for any other model by Michelangelo is hardly admissible,
sincere naturalism such as this study exhibits. for certain passages, such as the tense muscles of
The model at the Museum can thus hardly be a the abdomen, are handled with the power and
contemporary version of Michelangelo’s statue. certainty of which only a great sculptor is capable.
Had it been so, it could not have failed to retain Of these qualities, and of the massive, rhythmic
some hint of that statue's heroic development. sweep of the figure, the reproduction gives no
Nor, considering its style, can it be attributed to adequate idea, and those who are interested in
an earlier date than Michelangelo’s. The fact the matter will do well to examine the original.
that it has been in the British Museum for many Whether the whole group of models with which
years2 in company with a model that is obviously this piece may be associated is from Michel¬
from the hand of Bandinelli tells equally strongly angelo’s hand must be left for those to decide who
2 The models were purchased in 1859 from the Buonarroti have made a more intimate study of the master.
collection. That reproduced here will be found in table case F On this subject, as on that of the tempera panels
in the Mediaeval Room. That in terra cotta by Bandinelli
will be found in wall case 45 on the same side of the room, in the National Gallery, criticism has not yet
bearing Michelangelo’s name. spoken finally. C. J. H.

^ LETTERS TO THE EDITOR ^

THE FLORENTINE TEMPERAMENT A PORTRAIT OF BIANCA MARIA SFORZA
To the Editor of The Burlington Magazine.
To the Editor of The Burlington Magazine. Dear Sir,
In my notes on two Milanese portraits of
Dear Sir, Bianca Maria Sforza, in the May number, I made
Permit me to make two slight additions to no attempt to cite the considerable literature on
my sketch of the Strozzi marriages in your April the subject. The catalogue of the Milanese
number. A reference to the Prussian Jalirbuch exhibition at the Burlington Fine Arts Club in
for 1902, courteously suggested by Dr. Warburg, 1898 should certainly have been mentioned in
contributor of an article on the relations of connexion with the Widener portrait, as well as
Flemish and Florentine art, points to the identifi¬ Dr. Seidlitz’s article on Ambrogio de Predis in
cation of my Tanagli heroine with a Catarina the Austrian Jalirbuch last year. A correspondent
Tanagli, who in 1466 married Angelo Tani, a informs me that the Arconati-Visconti portrait was
partner with Tommaso Portinari in the Bruges reproduced in the Rassegna d’Arte of 1902, in Les
branch of the Medicean banking-house. The Arts in 1903, and discussed by Mr. Herbert Cook
proximity and priority of date of this marriage to in The Burlington for 1904, p. 200.
that of Philip and Fiammetta Adimari helps to This note gives me an opportunity to return to
explain his failure to win a bride so warmly the portrait of Carlo di Alessandro Pitti, in the
praised by his mother. Further, I should like to Johnson collection, Philadelphia, which was
strengthen my presentment of the unromantic published in this magazine last August. Mr.
nature of the Strozzi marriage negotiations by an Herbert P. Horne promptly attacked the date on
incident drawn from a privately printed life of the picture (1540), and I could only vouch for a
Filippo Strozzi, in which his son tells us that, correct reading of the inscription. Mr. Horne
when no longer suffering from the restrictions of brought cogent biographical reasons for rejecting
exile, he engaged himself to his second wife, a this date (which was added later, possibly to make
Florentine lady living in Milan, ‘without ever the picture pass for a Bronzino) in favour of one
seeing her, or having any other information about of 1580. A single visit to the portrait rooms of the
her' than the commendation of the Florentine Uffizi has converted me to Mr. Horne’s view, for
ambassador. the picture is palpably the work of Federigo
G. T. Clough. Zuccheri. Frank Jewett Mather, jun.
 ART BOOKS OF THE MONTH a*
Correggio. Des Meisters Gemalde im 196 the first one, they should be secure of steady
Abbildungen. Herausgegeben von Georg success.
Gronau. Stuttgart and Leipzig: Deutsche The author of the book before us is well
Verlags-Anstalt. 6 marks. equipped in point of scholarship, the size is
handy, the printing is good, the little illustrations
In his modest preface Dr. Gronau refers to the are just what are wanted to keep the memory
difficulties which surround the study of Correggio. fresh, the book covers three of the most interest¬
In this volume of that invaluable series ‘ Klassiker ing galleries in the world, and the price is
der Kunst ’ he may claim that he has done his moderate. Even in matters of detail we have few
utmost to remove them. A set of nearly two faults to find. Miss Cruttwell is somewhat hard
hundred plates arranged in chronological order upon Vasari, for the tendency of recent scholar¬
by such a scholar is in itself something consider¬ ship has been to prove him more frequently right
able, while in his brief notes and in an excellent than earlier critics supposed. It would have been
introduction Dr. Gronau places before the student more correct, for instance, to describe his story
of Correggio just the facts about the master's life about Leonardo painting the Angel in Verrocchio’s
and work that he ought to know. The notes, Baptism as ‘ open to question ’ rather than as
indeed, are so much up to date that they refer to ‘ erroneous/ and we have noticed several other
an article published in The Burlington Magazine positive statements of the same kind, which in the
during the current year. present state of criticism cannot be regarded as
Perhaps the most interesting question in con¬ certain.
nection with Correggio’s life is that which touches
Vasari’s statement that Correggio never visited The Edinburgh Parthenon and the Scottish
Rome. The more we study his work in compari¬ National Gallery. An Appeal to the Scottish
son with that of Raphael and Michelangelo the People. By William Mitchell, S.S.C. Edition
more does the conviction grow upon us that the de luxe. A. and C. Black, and Bernard
gulf between his so-called Albinca Madonna Quaritch.
(c. 1518,) and the frescoes of S. Giovanni Evangel¬
ista is inexplicable except on the theory that he had This is a reissue in a handsome quarto of the
seen the work of the great Roman decorators at letters written by Mr. Mitchell to the Edinburgh
more than second-hand. The dome of the Chigi Evening News in August 1906 and issued in book
chapel in S. Maria del Popolo is in this connexion form in December last, when it was distributed far
hardly less vivid evidence than the Sistine ceiling, and wide by means of a pecuniary vote by the
and there is a gap in the Correggio documents Corporation of Edinburgh. The question with
between March 1518 and January 1519 which which it deals was shelved for all practical purposes
would allow time for the visit at which Dr. for the moment by the passing of the National
Gronau hints. The Camera di S. Paolo would Galleries (Scotland) Act of December 1906, which,
then become the first essay by Correggio in the as our readers will remember, took away the con¬
new manner after his return, a preparation for the trol of the Scottish National Gallery from the old
grander effort made in the dark dome of S. Gio¬ Board of Manufactures, to give it to a body of
vanni Evangelista, and its date would be 1519 and seven trustees appointed by the Secretary of State
not 1518. for Scotland, settling also incidentally the question
The collection of early works attributed to of the housing of the pictures in the possession
Correggio is of particular interest, though on of the Scottish nation. The proposal, therefore,
grounds of style we do not always agree with Dr. made by Mr. Mitchell, and ardently backed by
Gronau as to their order. The Uffizi picture is Mr. Sydney Humphries, was not destined to be
placed first of all, yet it is much more mature both adopted, in spite of their strenuous efforts ; but it
in handling and feeling than several of the works is well that the volume before us should be issued,
placed after it, such as Nos. 2 and 7. Nos. 24 and partly because it is in itself a thing of beauty,
26 also seem to be out of their true places. partly as a reminder that a large and influential
party of the Scottish people consider with some
C. J. H. justice that they have been unfairly treated in the
matter by Parliament and the executive. Both the
Florentine Galleries. By Maud Cruttwell. financial history of the ‘ Equivalent’ and the sad
London : J. M. Dent and Co. 3s. 6d. net. tale of the National Monument as it stands—un¬
A SHORT time ago we noticed two recent hand¬ finished and forlorn—are outside our scope; the
books of great foreign galleries. We have now a reader of Mr. Mitchell's pamphlet will find them
third attempt to cater for this long-felt want, and clearly stated there. The important and interesting
may say at once that the latest book marks a point is: What do Mr. Mitchell, Mr. Humphries,
distinct advance upon its predecessors. If the and their supporters propose to do with this record
remaining volumes of Messrs. Dent’s series ‘ The of embittered international feeling and surrendered
Art Collections of Europe ’ reach the standard of endeavourof thedaysof the Regency? Briefly, they
Art Books of the Month
propose to remove its stigma and devote it to a which may be studied with advantage not only by
better cause by making it the National Gallery of those about to visit Venice but also by those to
Scotland. The complete plans drawn out by Mr. whom Venice and her history are not unknown.
Henry F. Kerr, A.R.I.B.A., and published in their The pictures are quite pretty, and more atmo¬
original and amended forms in the book before us, spheric than most things of the kind. E. B.
prove that the practical side of the question has
been fully considered. Completed and fitted out, Poems by Wordsworth. Selected, with an
the National Monument will look like the Parthenon Introduction, by Stopford A. Brooke. Illus¬
in its prime, and will contain 2656 feet of lineal trated by Edmund H. New. Methuen.
hanging space, well lighted from top and sides, and
One aspect at least of Wordsworth's genius has
having room also for side-lighted galleries for
found an illustrator exactly adapted to it. The
sculpture. The addition, at the south-east corner
sober sincerity of such drawings as that of Mr.
of the Parthenon, of the Hall of Music for which
New might perhaps be expected to do justice to
the late Mr. Usher left a sum of ^50,000, and of
such subjects as Rydal Mount and the unpretentious
a small gallery at the north-east corner, are in¬
architecture of Grasmere and Hawkshead, the
cluded in the measurements given above ; and Mr.
garden subjects, too, might well come within the
Kerr’s plans leave no doubt that the whole scheme
scope of his talent; but the mountain scenery of
would provide a prospect worthy of the unique site
the Lake District would seem to call for the art of
offered by the Calton Hill.
the painter, for evanescent tones and impalpable
transitions. Mr. New, however, has faced these
VENICE. By Beryl de Selincourt and May Sturge difficulties, and has emerged from the struggle
Henderson. Illustrated by Reginald Barratt, triumphant. The two views looking up the
A.R.W.S. Pp. viii, 185. Chatto and Windus, Easdale Valley, and that of Stone Arthur from
1907. 10s. 6d. net. Grasmere, have just that blend of pastoral quiet
with mountain grandeur which is characteristic
This is not a guidebook, though in the two of Wordsworth’s country, while the stormy
chapters headed ‘ Venetian Waterways ’ the panorama from Tarn Hows looking towards the
authors suggest an itinerary by which the visitor Langdale Pikes comes near to achieving still
to Venice may see the more notable sights in the more. The volume is well printed, and makes
most commodious way. Another chapter is altogether a most pleasing edition.
devoted to the minor islands of the lagoon, and
a fourth to the artists of the Venetian Renaissance English Furniture Designers of the
—men ‘ endowed with a profound understanding Eighteenth Century. By Constance
and divination of human character.' These are Simon. London : Batsford. 15s. net.
the chapters more especially devoted to the
Two years ago (May, 1905) we spoke at some
tourist : in the remaining ones the authors
length of the original research on which this
endeavour to lay bare the soul of Venice, and the
book was founded. We need not therefore repeat
attempt is crowned with a not inconsiderable
our commendation when the volume is reissued
measure of success. It is perfectly true that the
by another publisher, but may add that, besides
great Venetians were giants, and that the history
being handsome and accurate, it is now distinctly
of Venetian greatness is the history of men who
cheap.
strenuously devoted themselves to the mastery of
life’s laws. No less is it true that ' the greatness of
Venice was coincident with the greatness of her BOOKS RECEIVED
trade.' This perhaps is what makes the history of Kunstgeschichtliche Monographien VI. Andreas Aubert.
Venice so fascinating to Englishmen. It has Leipzig: Karl W. Hiersemann. M. 36.
been said that the English are a nation of shop¬ French Furniture. Andiai Saglio. George Newnes, Ltd.
keepers : again and again the Venetian chroniclers 7s. 6d. net.
reminded their compatriots that the foundation of The Landscapes of G. F. Watts. George Newnes. Ltd.
3s. 6d. net.
the glories of Venice was her commerce, and that
The Edinburgh Parthenon and the Scottish National
they too were 1 a nation of shopkeepers.’ Like Gallery. William Mitchell, S.S.C. A. & C. Black, and
England again, Venice was accused of egoism, of Bernard Quaritch.
being selfish and calculating. Not that her The History of Modern Painting. Four vols. Richard
methods, any more than those of England, were Muther, Ph.D. J. M. Dent & Co. £3 3s. net.
tinged more deeply with selfishness than those of Correggio. Georg Gronau. Verlags-Anstalt. Stuttgart and
Leipzig. M. 6.
her neighbours : her singularity lay in the skill
Poems by William Wordsworth. Selected, with an intro¬
with which she wielded weapons everywhere in duction, by Stopford A. Brooke. Illustrated by Edmund
use. These points are elaborated by Mrs. de H. New. Methuen & Co. 7s. 6d. net.
Selincourt and Mrs. Henderson, and there is Sir William Beechey, R.A. W. Roberts. Duckworth & Co.
much to be learnt from their thoughtful work, 7s. 6d. net.

I92
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Michelangelo. Des Meisters Werke in 166 Abbildungen. Fritz
Knapp. Verlags-Anstalt. Stuttgart and Leipzig. M. 6. CATALOGUES
Titian. Des Meisters Gemiilde in 260 Abbildungen. Oskar Tableaux Anciens defendant des Collections Jos. Monchen
Fischel. Verlags-Anstalt. Stuttgart and Leipzig. M. 6. a La Haye. E'rederik Muller & Cie, Amsterdam..
Durer. Des Meisters Gemiilde Kupferstiche und Holzschnitte. Musik : Kirchengesang, Weltliche Musik, Alte Seltene
Valentin Scherer. Verlags-Anstalt, Stuttgart and Leipzig. Musik Werke, Autografhen Wagner, Mozart. Katalog
M. 10. 121. Ludwig Rosenthal, Mimchen,
Die Bildende Kunst der Gegenwart. Joseph Strzygowski. Livres rares et curieux. Catalogue 79. Loeschcr & Co.,
Quelle & Mener, Leipzig. M. 4. Rome.

ART IN FRANCE a*
THE ENGLISH PICTURES IN THE collection also fetched high prices, but these were
SEDELMEYER SALE more reasonable.
The pleasure that all Englishmen must feel at the There were, of course, some good things among
increased appreciation in France of the British the 168 pictures ; perhaps the finest of all was the
school is mingled with regret that so many of the portrait of Mrs. Pattison by Raeburn (124), an
English pictures in French collections are quite elderly lady in a white dress seated in a landscape.
unworthy of the great names attached to them. The handling of this stately picture is remarkably
This was the case with many of the English pic¬ strong; and, although one knows Raeburns of even
tures in the collection of M. Charles Sedelmeyer, finer quality, it is sufficiently characteristic to be
which were sold in Paris on the 16th and 17th of well worth the 123,200 frs. paid for it (the price in
May and realized, with the additional ten per cent., all cases is given with the additional ten per cent).
^73,460, an average of £437 for the 168 lots. The Portrait of Mrs. James Monteith, a young and
This must be considered a high average in view of attractive woman, was rather dear at 143,000 frs.,
the quality of the collection as a whole. It is but is, nevertheless, a good example of Raeburn’s
worthy of note that, although the principal London art. Of the six other pictures to which Raeburn’s
dealers were represented at the sale, only about name was attached, one is certainly by him, the
half a dozen lots were knocked down to English Portrait of an Old Man (122), which fetched only
buyers. It is also reported in Paris that a certain 2,145 frs< On the other hand, for the unattractive
number of pictures were bought in. Colonel Ramsay and his Wife (123), exhibited at
It was the general opinion of the English Burlington House in 1895, someone paid no less
dealers and collectors present at the Sedelmeyer than 117,700 frs., or at least it was knocked down
sale that the English pictures fetched on an at that price.
average at least double the amount that they By far the best of the twelve pictures assigned
would have fetched at Christie’s ; and they showed to Romney was the portrait of Miss Tighe (145) ;
the courage of their convictions by abstaining outside the wonderful portraits of Lady Hamilton,
from purchasing. A considerable number of the this is perhaps as good a Romney as could be
pictures went to Germany, but the highest price at found ; it was sold for 176,000 frs. Cupid and
the sale was paid by a French dealer who bought Psyche (156), a fair example of Romney as a
the portrait of Miss Tighe by Romney for -£7,000 ; painter of classical subjects, fetched the very
it is a good picture, but it would hardly have low price of 5,170 frs., and Lady Hamilton as
fetched more than -£5,000 at Christie’s. A Belgian Ariadne (146), which must be accepted as authentic,
private collector paid the equally excessive price 40,700 frs., a high price considering its bad
of £5,720 for the portrait of Mrs. James Monteith condition. The portrait of Miss Fagnani (after¬
by Raeburn. These were two of the best pictures wards Lady Hertford) as a child (150) is also an
in the collection ; the prices paid for some of the authentic work of the master ; it sold for 35,200
others, though actually less, were relatively far frs. Another picture which can safely be
higher, and some of them positively ludicrous. given to Romney , the Portrait of John Dawes
There have been few sales at which the average (151), fetched only 2,200 frs., but it is unpleas¬
prices so far exceeded the reasonable value of the ing and in bad condition. Of the seven others,
pictures. Several of the French pictures in the the so-called Portrait of the Artist’s Brother (155),

193
Art in France
sold for 1,265 would seem to be a work of The sixteen pictures which bore the name of
Wright of Derby ; the Portrait of Miss Gore (147), Reynolds were nearly all in bad condition, but
which fetched 57,200 francs, cannot have been there were three of undoubted authenticity : the
painted less than twenty years after Romney’s portrait of Lord Midgrave as a child (130), 16,830
death ; and Daplmis and Cldoe (153) is an even frs. ; the Portrait of a Man (133), 7,040 frs.; and
later picture, but it fetched only 1,650 frs. the portrait of General Stringer Lawrence (141),
Of the six portraits assigned to Gainsborough the best of this group, which fetched only 3,080
only two, the Portrait of Miss Boone (70) and the frs.—an extremely low price, although the picture
Portrait of a Man (68), can be said to be at all is by no means first-rate. Two other pictures
representative, but both were very much over¬ went cheaply, namely, the Portrait of the Marquis
cleaned ; the former fetched 48,100 frs., and the of Granby (140), 5,610 frs., and the Young Woman
latter 1,025 frs. On the other hand the so- with a Muff (137), 4,180 frs. ; the latter, however,
called Portrait of a Princess Royal (69) was sold or was quite ruined by restoration. It is difficult to
bought in at 47,300 frs., although it was the understand how the name of Reynolds became
most striking example of the way in which great attached to the portrait of Mrs. Schindlerin (129),
names are taken in vain. It may be a youthful an excellent copy, apparently by the Rev. William
work of Gainsborough Dupont, and is certainly Peters, of the picture painted for the duke of
worth less than the Portrait of Miss Edgar (72), Dorset and engraved by ]. R. Smith, which is, or
catalogued only as ‘ attributed ’ and sold for 825 was until lately, in the collection of Lord Sack-
frs., but quite possibly a work of the master’s ville at Knole. The Sedelmeyer copy is certainly
Ipswich period, though in bad condition. The not worth 66,000 frs., the price paid for it, and
two landscapes catalogued under Gainsborough’s should not have been described in the catalogue
name (74 and 75) fetched only 1,760 frs. and as the picture engraved by Smith. The sketch for
3,025 frs. respectively, and were certainly not the Youth of Hercules in the Hermitage (143) is,
worth more. The former was the older and the according to the catalogue, accepted by Sir Walter
better of the two, the latter appeared to be a good Armstrong, but it is at least doubtful, and is not, in
example of Barker. our opinion, worth more than the 2,090 frs. paid for
There were eight portraits catalogued under it. The remaining nine pictures were liberally paid
Hoppner’s name, of which the best by a long way for at prices ranging from 792 to 19,800 frs., the
was that of Miss Raine (86), certainly an authentic latter price being given for a portrait of a child,
work and a fairly good one ; it fetched 112,200 Lady Mary Somerset (139), which is so completely
frs. No. 88, which fetched 12,760 frs., may repainted that it is impossible to say what it may
be the work of Hoppner, but is not a portrait of once have been.
Mrs. Jordan. The portrait of Mrs. Home, for¬ Of the pictures by minor artists a genuine study
merly in Lord Grimthorpe’s collection, was dear at by Etty (64) fetched only 220 frs., while two
85,800 frs.; it may be the work of Hoppner, others, certainly not from his brush (65 and 66),
but, if so, it is a poor example. Of the others the fetched 550 and 891 frs. respectively. Two pas¬
less said the better ; they fetched prices varying tels erroneously attributed to Russell (157 and 158)
from 2,750 to 11,000 frs. brought 5,500 and 7,590 frs., and were very dear at
Among the ten pictures given to Lawrence in those prices. A good example of Wyatt, Por¬
the catalogue was one of the best portraits in the trait of Miss Greatorex (168), was knocked down at
collection, the large group representing Charles 3,850 frs.
Binuy and his two Daughters (97), which, although The works by landscape painters ought
it is over-cleaned in parts, gives a very fair idea to have been the most important part of
of Lawrence's powers, though not at his best. It the collection, since they included no less than
was sold for 121,000 frs. One other may be fourteen pictures catalogued under the name of
an authentic work by Lawrence, the portrait of Bonington and thirty-one catalogued under that
Miss Brummel (98), which fetched 7,810 frs., a of Constable. It is, therefore, with regret that we
low price. The astonishing price of 29,810 frs. are obliged to to say that not a single one of these
was paid for a picture called The Countess of can be said with certainty to be the work of
Darnley (101), the attribution of which to Lawrence Bonington, and only one can be certainly given to
was at any rate courageous. The portraits of Constable—No. 24, one of the numerous sketches
Caroline Fry and Miss Crocker (99 and 100) were for the Glebe Farm in the National Gallery, which
dear even at 5,940 and 8,800 frs., since they are fetched (if it was sold) 7,810 frs. The ugly
copies of well-known originals and should not incompetent Child with a Goat (36) might possibly
have been described in the catalogue as a ‘sketch’ be a very early production of the artist. It is
and a ‘replica.’ Nor can it be said that the five impossible to conjecture the reasons which led to
other pictures in this group, which were sold at the attribution to Constable of such productions
prices ranging from 1,595 t° 6,930 frs., were at all as The Boatbuilder’s Yard (32), the Vale of Dedham
cheap. (34) or the Farm (38), which bear no resemblance

!94
IN THE GREEN VAULT, DRESDEN
 Art in France
to his work and are not even imitations of it. obviously a copy of a picture by Philips de Koninck,
Yet No. 34, a quite worthless picture, was bought but there are certain points in the technique very
by a purchaser with a Scottish name for 13,750 like Crome, and we incline to the opinion that it
frs. The other three mentioned fetched much is one of the numerous copies that he made of
lower prices, only 2,420 frs. being given for No. the Dutch masters. The canvas ascribed to ' the ’
32 in spite of the doubtless accurate statement in younger Crome (59) and sold for 506 frs. can
the catalogue that it was formerly in the collection hardly be by one of Crome’s sons ; it is apparently
of Mr. Eustace Constable, grandson of the the work of an amateur, probably a pupil of the
painter, who inherited it from his aunt. What elder Crome.
can one say of the superficial and (in spite of its The collection contained two excellent and
studied freedom) laboured picture, The Valley of the luminous little landscapes by Morland : a view of
Stour (23), or the Banks of the Stour (22), which Freshwater Bay (116), sold for the very low price
were knocked down at the astonishing prices of 880 frs., and The Skaters (109J, which fetched
respectively of 32,450 and 35,200 frs. ? The other 4,950 frs. One other of the nine works ascribed
pictures of this group all fetched prices which to Morland is certainly genuine, the Dog and
would have been ridiculously small had their Pheasant (117), which was fairly cheap at 1,771 frs.
attribution to Constable been at all plausible, but The tVoodcuttcr’s Repose (112), which fetched
which were in fact in many cases excessive. 1,870 frs., is a characteristic work of J. R. Bigg.
Of the pictures ascribed to Bonington the best To sum up, the Sedelmeyer sale has been an
was a view of Caen (11), one of that large group example of the truth of M. Thiebault-Sisson’s
of clever English landscapes which it is difficult recent remark in the Temps that much remains to
to attribute to any particular artist ; it conies as be learned about that English school in France.
near to the work of William Havell as any other. And with all due respect to the eminent critic, his
It fetched 3,135 frs. The Chateau de Falaise own article on the Sedelmeyer collection was no
(13), sold for 2,750 frs., is interesting since it less striking an example.
shows us F. W. Watts, who usually imitated English and French pictures of the eighteenth
Constable, working in the manner of Bonington. century fetched high prices in the Muhlbacher
H is characteristic handling of trees is to be seen sale. The Muhlbacher collection contained seven
both in those above the bridge and in the group examplesof Fragonard,some of which wereof very
on the left of the composition ; the figure in red fine quality. A charming little picture, La resistance
hanging over the bridge is also typical. The inutile, only 10 inches by 13 inches, fetched no
Return of the Fishing-boat (12) may be by T. M. less than 62,100 frs., which, with the additional ten
Richardson, but is certainly not by Bonington, per cent., comes to about £2,750. Another picture,
and the signature is not genuine; it fetched slightly larger, Bites done, sit vous plait, was sold
5,280 frs. The interiors (6-10) are by artists for about -£1,070 ; and a portrait of a young
working at the time and under the influence of man, 18 inches by 14 inches, for £4,770. A little
such men as Newton, Egg and C. R. Leslie : one Watteau, 12 inches by 8 inches, changed hands
might be by Newton himself. These five fetched at £4,336, and many of the pictures by Boilly,
quite low prices, from 1,012 to 2,970 frs., and they Mme. Guiard and Mme. Vigee-I ebrun fetched
are not worth more. A picture catalogued as by high prices.
Turner, The Lake of Thun (161), does not need The second part of the Sedelmeyer sale, held
discussion ; it was dear at 7,480 frs. on May 25th, 27th and 28th, included 219 pictures
M. Sedelmeyer has the distinction of being one by Dutch masters of the seventeenth century.
of the very few French collectors owning pictures A very beautiful and important landscape by
of the Norwich school, of which he has one or Daubigny, La Moisson, has just been placed in the
two interesting examples. The Stark (160), which Louvre in the large gallery devoted to modern
was sold at the low price of 3,410 frs., is a good French art. It cannot strictly be called a new
example of the transition between that artist’s acquisition, as it has been the property of the State
Norwich and Windsor periods, and the picture by for more than half a century. The picture was
Joseph Stannard (159) is interesting as the work painted in 1851 and exhibited in the Salon of the
of a master little known even in England ; it following year, whence it was acquired by the
fetched only 1,155 frs* On the other hand, State. Probably because Daubigny was not con¬
the picture catalogued under the name of George sidered at that time an artist of sufficient importance
Vincent (162) and sold for 1,925 frs. has nothing to be represented in a national museum, the
to do with him ; and No. 57, ascribed to John Sell picture was hung in a room of the Ministry of
Cotman (called 'James ' in the catalogue), is cer¬ Justice in the Place Vendome, where it remained
tainly not by him and is probably from the brush until the other day in an extremely neglected
of Joy of Yarmouth—it was, however, not dear condition. Its rescue is due to the initiative of
at 330 frs. The large landscape ascribed to John M. Clemenceau, who, since he became Prime
Crome (58), which fetched only 3,135 frs., is Minister, has made it his business to rout out

197
Art in France
works of art from the corners of Government though as usual it is beautifully arranged, fails to
offices and transfer them to more suitable homes. rise above mediocrity, and there is nothing which
He has also succeeded in placing in the Musee stands out as of striking merit. Perhaps the best
des Arts Decoratifs some remarkably fine pieces picture in the exhibition is the portrait by M.
of eighteenth century furniture from the same Alexis Vollon of a typical Parisian woman, which
Ministry, including the famous table of Choiseul. is a brilliant piece of work in a somewhat different
La Moisson, which was in a very dirty condition, style from that which M. Vollon usually gives us.
has been carefully cleaned, and now makes a There are several enormous canvases of a more
superb pendant to Daubigny’s beautiful Priutemps, or less blood-curdling description ; one of these,
painted a few years later. Lc Piedcstal, has considerable artistic merit and is
It cannot be said that the salon of the Societe certainly a good piece of painting, but it is hard
des Artistes Franpais reaches a higher level than to conjecture the purpose for which it is destined,
that of the Societe Nationale. Even the sculpture, R. E. D.

ART IN GERMANY ^
T would really seem at times As almost all of our paintings are no longer house¬
Tff? y (S ^Tjjthat art is the only interest alive bound—that is to say, painted for special sur¬
\v^ jtS-o'/yin the world to-day. At any rate roundings, as they were in the days of the
manner in which continually Renaissance—there could not even be any
tc“\ devices are planned for aesthetical objections raised.
yLJ® ^ f ©b-JpPreading art and making it One of the new fine hotels near the Branden-
yv^lAeach the home of multitudes, if burger Thor at Berlin has commissioned some
feLZTir V" —"^not of every man, is surprising. artists of first standing to do certain etchings,
One of the best plans is the sending out of loan engravings and lithographs for the place. These
exhibitions by the big museums. The Dresden are to be used instead of the ordinary chromo or
Gallery was one of the first in Germany to engage photographic horror, for the decoration of the
in this, and its loans were not limited to a few rooms ; and, what is more, the plates, etc., become
provincial museums throughout Saxony. Old the exclusive property of the hotel company,
paintings of a decorative character have been sent which will pull only the number of proofs they
to schools, town halls and other public buildings, need for their own establishment, no more. When
where they can be seen by thousands who else hotel companies begin to patronize art in such a
would probably stand a slight chance of becoming high-handed fashion, the millennium has come
acquainted with old art. In my private opinion, indeed.
even though nearly 250 pictures have thus been The student-corporations at the universities
sent out of the gallery, still more might be done constitute a decided feature in the social life of
in this direction. Some of the Dutch painters of Germany. Many of them are very large and wealthy,
the seventeenth century are represented at Dresden and possess grand club-houses at Heidelberg,
by fifty and sixty works, half of which could well Bonn, etc. It seems that they are not to be spared
be spared for a year at a time, and might help to either : art is coming upon them, too. A body of
give pleasure and spread culture with more effect artists and art-historians, former university men, has
than they do now. The gallery at Stuttgart has concluded that there is a great field for the art
just begun to adopt the system of loan exhibits of worker here, as the student is in daily need of
this kind in Wiirtlemberg. numerous specialities, which are ugly and tawdry
A gentleman by the name of Robert Erdmann now, but which might be gotten up with taste and
recently proposed a plan by which an astonishing a view to art culture. So the student-corpora¬
dissemination of art could be attained. Starting tions will be aestheticized next. Men of such
from the sound consideration that one needs reputation as Pazaurek, the director of the
leisure and quiet to enjoy art, he says we rarely Stuttgart Arts and Crafts Museum, Lichtwark of
have these in museums or exhibition rooms ; we Hamburg, and artists like Carlos Grethe, Emil
have them really nowhere but in our own homes. Orlik, B. Pankok, Riemerschmid, etc., are on the
We get pianos and typewriters on hire—why not committee.
paintings on hire ? Many a man who cannot The bestowal of the rank of professor upon
afford to be a patron on account of the smallness Walter Leistikow in Berlin is another sign,
of his income, could in this way manage to indicating that the emperor’s opinions on modern
beautify his home; he could make his selections art are gradually changing to more favourable
at the exhibitions, the dealers’ galleries or even ones. Leistikow has for many years been almost
the artists’ studios. A lot of work which now lies more typically a representative of the Berlin
about unsold without bringing its originator any Secessionist movement than Liebermann himself.
profit would at least give him a return of interest. .1
He has painted a number of wonderfu landscapes,

198
 Art in Germany
choosing his subjects from the surroundings of and the silversmith Elias Geyer, who up till now
the capital, and fin ding beauty and poetry, where are hardly mentioned in handbooks. We are
heretofore no one seemed inclined even to search able to reproduce (pp. 168 and 195) some of
for anything of the sort. Originally his handling the work of Geyer, who became master silver¬
was boldly decorative, and even now that his smith at Leipzig in 1589. As many as 120 of
style has mellowed considerably, his work retains his chefs d'ceuvre were collected, many of which,
its distinctively personal note. We rejoice at the beside their aesthetical value, were interesting
distinction as having been bestowed upon an from the workmanship point of view. The
artist so worthy of it, and as a proof of the better magnificent gilt salver here reproduced, for
feeling which the Prussian government now example, is richly chased, with the horses, masks
entertains towards the younger school. and parts of the animals soldered on. An all but
At Bremen an open-air museum is planned, complete set of the medals and coins of Hans
such as have been alreadj’ opened in various Reinhart was also on view. Other silversmiths,
Scandinavian towns. An epitome of the local whose work has been identified by the help of this
culture and art from the earliest down to the present exhibition are : F. Finsinger, P. G. and H. H.
days is to be offered in a park dotted with old peasant Haussmann, A. Kauxdorf, j. and Sebald Krump-
houses, etc. The Austrian government has pur¬ holz, B. and M. Lauch, E. Osterholtt, J. Pauly,
chased for the ‘ Modern Art Gallery’ at Vienna : J. Peissler, etc. The large and important tapestries
Cottet, Mass in Brittany; Evenepoel, Returning by Seger Bombeck, who lived at Leipzig from
from Work ; and M. Liebermann, House at Edam. about 1540 to 1560, were a revelation, inasmuch
Two new acquisitions of the museum at Stuttgart as little else but the work of Flemish and French
are : L. v. Hofmanns, At the Seashore, and an establishments of this date has come to light so far.
Interior by Robert Breyer. Another Leipzig tapestry worker of the sixteenth
The exhibition at the Museum of Applied Arts century appeared in the person of Egidius
in Leipzig,mentioned in these columns two months Wagner ; and many further specimens from East
ago, has made famous the names of at least two and South German workshops were likewise
craftsmen, the tapestry-weaver Seger Bombeck exhibited. H. W. S.

ART IN AMERICA <*>

Of the two important annual spring exhibitions technical methods of the European schools,
held in New York that of the Ten Painters at the particularly the French ; and the familiar imitations
Montross Gallery, much the smaller of the two, was of Mr. Sargent were not lacking. The personal
the more interesting. Its smallness (twenty-nine note, when found, was rarely forceful, nor was it
canvases) was one of its great advantages ; but often expressed in adequate terms. There was
that this was not a conclusive advantage is shown more attention than achievement ; the a pen pres,
by the fact that a representative canvas, the Old the merely clever, the sometimes accidental and
Church at Lyme, by Childe Hassam, one of the Ten, superficially happy results, were generally accepted
appeared among the most important of the Spring as quite satisfactory. On the other hand, there
Academy exhibition, and was there strikingly also was a total absence of the vulgar, ugly and
impressive in its soft brilliancy of colour. It is degenerate eccentricities which abound in many
doubtless true that, while a Corot or a Cazin would modern continental exhibitions. The landscapes
still maintain its superiority amongst the array of were better than the figure pieces—more attractive,
pictures of a Salon, the difficulties attending the more personal, and in conception and in ex¬
just appreciation of such a picture in such pression they had a distinctly American character.
surroundings, the sufficient separation of it from The elegiac mood pervaded many of the low-toned
such a milieu, the real seeing of it there, would be grey and brown harmonies—thin, yet agreeable to
greatly increased. There were pictures, difficult the eye. But there was much serious work, by
to take cognizance of, on the crowded walls of the men of power who are seeking to express their
Academy exhibition which would have compelled individual preferences in a manner of their own.
and retained the attention if placed in choice Such dignified canvases as Ben Foster’s Interior
company in a room of moderate size, against a of a Pine Grove, painted soberly, of great richness
quiet delicate background and with sufficient space of tone and colour, and with a grave, dramatic and
around them. The question therefore is not at all poetical quality ; as Childe Hassam’s old Church,
of the wisdom of the merger of the Society of already referred to; and as Ballard Williams’s The
American Artists with the Academy so much as of Gorge, were among the best of these. The newer
the wisdom of the Salon kind as against the men: Mr. Redfield, Mr. Lawson, Mr. Rosen—
individual, or very small, exhibition of paintings. showing in their work more force than charm—
Generally speaking, the figure work at the challenged the spectator’s eye with their mosaic of
Academy was reminiscent of the tendencies and positive brush strokes, demanding of him if this

199
Art in America
be not as truthful and inspiring a rendering as that We are precluded from giving even a catalogue
of the literal painters who try to match closely of exhibitions outside of New York, as it would
every tone, colour and form in the subject before well nigh fill the pages of the magazine. Of these
them. the most important was perhaps that of water¬
Mr. Metcalf’s work of late years displays both colours in Philadelphia, with some five hundred
ardour and versatility. His views of the quasi- widely different works of our representative men
Greek portico of his boarding-house in an old and of such foreigners as Rene Menard, Lucien
village of M assachusetts, seen in the soft splendours Simon, Gaston Latouche and Alexander Robinson.
of a ‘ May night,' was one of the noteworthy Mr. Wilton Lockwood had some twenty of his
canvases of the Exhibition of the Ten, and has portraits shown in an exhibition of his own at
been purchased by the Corcoran Gallery of Wash¬ Providence, R.l. By conscientiously subordinating
ington. It had a charm quite other but no less per¬ all his brilliancies of colour, like a distracting
suasive than that of its neighbours from the brush bravura of rendering, Mr. Lockwood with his ex¬
of Childe Hassam, and it was as happily conceived cellent technical ability succeeds in presenting the
and executed. With charm, the landscapes of type and character of his sitter in the quietest, most
Alden Weir had a deeper thoughtfulness, and made persuasive of manners. He seems—ce qui nest
a more serious, moving and lasting impression. gas commnn nowadays—to be concerned with the
Edmund Tarbell’s unfinished New England Interior personality of his sitter rather than indulging in
is a genre of rare simplicity, with that thoroughly some fads for his own personal amusement and
good painter's fine feeling for the ‘ envelope,’ the benefit—at the expense of his sitter. ^ F J
atmosphere, the distribution of light, which makes
one think of Vermeer of Delft. And in this collec¬ The new exhibition arranged by the Print
tion of moderns, of younger men seeking to better Department of the New York Public Library in
the methods taught in the old schools, it was appa¬ the Lower Hall of the Lenox Library building is
rently the mission of Joseph De Camp to demon¬ composed of book-plates and other engravings by
strate that there is no reason why new wine Edwin Davis French. Mr. French, who died last
should not be put in old bottles. Notwithstanding summer, was originally an engraver on silver. In
the advantage of being seen in the small exhibition, 1894 he turned his attention to the engraving of
Mr. Reid’s contribution told of little else than book-plates, and thereafter practically devoted him¬
facile superficiality. Those of the new member self to it. In the dozen years left him he
of the Ten, Mr. Chase, striking his usual eclectic executed 284 book-plates, as well as a number of
note, stopping short of being, and seemingly of other engravings, including a series of views for
wanting to be, real things, jarred with their the Society of Iconophiles, title-pages for ‘Andre’s
entourage. Journal’ and ‘Lamb’s Letters,' issued by the
At the Academy, the sculpture was confined to Bibliophile Society (Boston), and illustrations for
small pieces—much of the work being that of books. The Library possesses most of his works,
young women, who even capture prizes from the the collection having been begun by the late S. P.
men at important competitions (the official one Avery, continued by Mr. French, and still further
recently held for the bronze doors of the chapel added to by others. This collection well illus¬
of the Naval Academy at Annapolis was won by trates the fine qualities of Mr. French’s art, and
Miss Evelyn B. Longman). In the bronze the calm beauty of decorative line that charac¬
statuettes one found not unfrequently displayed terizes his designs. Paul Lemperly’s catalogue of
the minor qualities—delicacy of imagination, his book-plates, issued as early as 1899, was
grace, careful modelling, and that thoroughness of continued in manuscript for the Library by Mr.
knowledge which is not dependent upon finish French himself. This volume has also been
and detail for fullness of expression. placed on exhibition, with some portraits which
Of the many smaller exhibitions, that of the throw light on the personal side of this able
portraits of Miss Ellen Emmet, should be noted. artist.
In them the young artist displayed a sureness of The exhibition of American work in the print
vision and vigour of rendering, most marked galleries on the floor above has already resulted
perhaps—in the men’s portraits—in those of Mr. in (’some additions to the Library’s collection.
St. Gaudens, Colonel Dupont and Admiral Cowles. Etchings by S. F. W. Mielatz (including that of
Her gifts, particularly her grasp of character, are the Poe cottage), A. Koopman and Charles H.
uncommon, but her colour, with a tendency to Miller, wood engravings by Timothy Cole (proofs
brickiness, is conventional—certainly not dis¬ of the ‘ Spanish Painters ’ series, recently com¬
tinguished. Mr. Henry Golden Dearth’s land¬ pleted in the Century), examples of modern
scapes—nocturnes and luminous twilights—at the wood engraving gathered by T. D. Sugden, book¬
Oehme Rooms, showed variety of range, breadth plates by W. F. Hopson, and photographs of
of style and research for beauty and truthfulness recent sculpture by J. Scott Hartley, are among
of tone. these recent gifts.

200
&ve/ru/n CTL {/ (' .////v

i/cr
% i/y t*?crro-t
 <a? EDITORIAL ARTICLE
THE PROGRESS OF AMERICAN COLLECTING
HE progress of collecting Europe, we need not regard her progress
in America is so com¬ with too much alarm. Now and then, as
monly regarded as a in the case of the Rokeby Velazquez, a
danger to collecting in work of art of unique interest may come
Europe that it is not into the market for which the two
amiss from time to time hemispheres are compelled to engage in
to take stock of the results that the wealth friendly competition. Yet so far as
and enterprise of America have actually painting is concerned, the works of the
attained. In addition to the huge acquisi¬ supreme Italians, such as Titian and
tions made by the great American art Michelangelo, are, with very few excep¬
patrons which from time to time feature tions, contained in European galleries, from
in the newspapers, there has been a steady which they are never likely to pass ; and
outflow from Europe, Asia and Africa of the same may be said of the great bulk of
objects, not always of the first importance the work of the no less rare primitive
in themselves, but possessing a distinct masters. When we come to later painting,
importance in the aggregate. Nowhere, the public and private galleries of Europe
perhaps, are European and Egyptian have still at least a sufficiency of examples
archaeology and the art of China and Japan of men like Rembrandt or Van Dyck, or
more enthusiastically studied than in Reynolds or Gainsborough. Nor in the
America ; certainly nowhere is their study department of archaeology can America
backed by such corporate and private ever hope, even with the best of fortune,
generosity. The handbooks and bulletins to surpass Europe, European museums
which come to us from American museums already hold securely the chief relics of
indicate how very considerable the accu¬ ancient art, and recent legislation has placed
mulation of treasures of this kind is becom¬ limits on the exportation of archaeological
ing, and with how much energy it is being treasure-trove in the future.
arranged and classified. On the other There would therefore seem to be no
hand, the monumental work upon the reason for fearing American competition
capital pictures in American private col¬ on public grounds, although there can be
lections, to which the principal scholars of no doubt that it bears hardly upon our
Europe have been contributing for the last private collectors. At the same time, the
two or three years, and of which the first contents of English houses are still so im¬
instalment is now on the eve of publi¬ perfectly known that from time to time
cation, proves that in the case of masterpieces will inevitably come into the
European painting American private market which England ought to retain.
collectors have been no less conspicuously If our authorities can but organize and
successful than their museums have been husband our resources to meet these great
in the matter of archaeology and oriental occasions, we may be content to see a fair
art. share of our treasures pass into the keeping
Yet, though we may envy America the of the friendly competitor to whose enthusi¬
possession of masterpieces which would astic patronage they owe their enhanced
be an attraction to any great gallery in money value.

THE BURLINGTON MAGAZINE. No. 52, Vol. XI—July, 1907 R 2°3

 THE CASE FOR MODERN PAINTING
^BY A MODERN PAINTER^
IV—TEIE ROYAL ACADEMY AND THE NEW ENGLISH
ART CLUB
HAVE now tried to review years ; so the Royal Academy is not only
the tendencies and prospects an oligarchy but an oligarchy of old men.
of the leading art societies The New English Art Club, on the
in England, with the excep¬ other hand, is a democracy of the most
tion of two. But those uncompromising kind. Everything and
two, the Royal Academy everybody seems to be dependent upon
and the New English Art Club, are popular election—that is to say, by out¬
among the most important of all. Nothing siders as well as members. I wonder if
could be more diametrically opposed than any other art society in the world gives
their respective constitutions, ideals, the casual exhibitor a voice in the conduct
and worldly circumstances. The Royal of its affairs? The abstract of the Club’s
Academy owns a historic tradition constitution, as given in its catalogue,
beginning with the great founders of does not say on what principle the Hon.
the English School, a palace in Picca¬ Secretary is elected, unless he be elected
dilly, a large invested capital, and a social annually with the rest of the Executive
reputation which, if steadily decreasing, is Committee, but no one else in the Club
still considerable. The New English Art seems to hold any kind of permanent
Club is more than a century younger; office. There is no President, only a
not one Londoner in a hundred could Committee and a Selecting Jury: the one
point the way to its humble gallery in elected annually by the members, the
Dering Yard; though its reputation with other by the whole body of exhibitors at
the critics stands high, it is practically the previous exhibition. A comparison
unknown to the general public, and, even with two or three old catalogues proves
if its fortune has been far greater than this election to be no farce, for the names
appearances suggest, it cannot possess the are different each year, and the old con¬
accumulated wealth of an old corporation stantly vanish to make room for the young.
like the Royal Academy. Constitutions so diametrically opposed
The two Societies differ no less widely cannot be expected to produce the same
in their constitutions. Turn to the first results. The splendid quarters and imposing
page of the Royal Academy Catalogue array of the Academicians are admirably
and you will see its principalities and adapted to attract the public; their age and
powers arrayed in all their glory. Yet experience are equally adapted to the social
many of the names, including those of all and business side of art. Year after year
the Associates, count for nothing in matters they are able to give sumptuous banquets
of government. The whole of the power and crowded receptions, as well as to fill
of the Academy lies vested in the President their galleries with visitors, while at the
and Council, and against their decision same time, in such matters as the Chantrey
even the unanimous protest of the remain¬ Trust, they have proved themselves strong
ing members (not to mention the Asso¬ enough even to defy Parliament. No
ciates) would be impotent. The Council other institution in England could, I believe,
is made up of members who serve in have defended such a difficult case with
rotation, and nearly all are advanced in absolute impunity.

2°4
 The £ase for Modern Tainting
Yet the weight of years which gives coupled with the fact that it hangs pictures
the President and the Council experience two and three deep, enable it to exhibit a
in managing Parliament and the public is larger number of works than any other
a serious disadvantage when they have to English society. It also is wide in its
deal with art. Few men, even among the scope, for it includes many other arts
greatest, have retained their faculty of besides oil-painting. Sculpture, water¬
painting in old age ; fewer still, perhaps, colour drawing, etching, engraving and
have retained breadth of judgment enough architectural design can all be received,
to be fair to their juniors. The ruling with the result that the Academy attracts
powers at Burlington House are thus for to itself the greatest possible variety of
the most part painters whose day has long contributors. The case of architecture is
been over, and in their attitude to the specially notable. The Academy is the
work of younger generations they are, single body which caters for architects, so it
with all the goodwill in the world, receives year after year the majority of
constantly found to be at fault. The con¬ the good designs that are made in the
tinued dissatisfaction over the Chantrey country—and the architectural room, in
purchases is a case in point, while the consequence, is always one of the best
former failing is very clearly marked in features of the show. The enormous
the present exhibition at Burlington number of exhibits accepted in other
House. There, with the exception of the departments, together with the weakness
ubiquitous Mr. Sargent and a single portrait of the selecting body to which we have
by Mr. Orchardson, the forty Academicians alluded, tends to make the main portion
contribute nothing that is noticeable, all of the exhibition a miscellaneous aggre¬
the good work being admittedly either by gate, rather than a collection of well-
outsiders or by the younger Associates. chosen works. Also the competition on
It is, indeed, evident that the present the crowded walls makes every painter try
constitution of the Academy does not to outshine his neighbour, with disastrous
make sufficient provision for the infusion results on the general tone and colour of
of younger blood into its counsels. The the pictures exhibited.
mere fact that a painter and critic such as These two defects, quite apart from the
Mr. Clausen has no longer any official post, arbitrary and often unsympathetic ruling
and is not entitled to make his voice to which they are subjected, year after
heard in the deliberations of the Council, year tend to drive conscientious artists to
speaks for itself. Yet the Academy could attach themselves to smaller societies.
hardly have pursued a career which, on Yet the miscellaneous character of the
the whole, has been distinctly successful, show, its comprehensiveness, and even its
had it not possessed sources of strength gaudy colouring, make it specially attrac¬
which go far to counterbalance the heavy tive to the general public, who like to get
disadvantages imposed upon it by the fact plenty to look at for their money ; and,
that its constitution is out of date. without presuming to prophesy, I believe
To begin with, its established prestige that in a few years the income of nine
gives it a certain momentum which no Royal Academicians out of ten will be
constitutional hindrances can check at derived from entrance fees and catalogues
once. Then, it opens its doors to outsiders ; and not from bona fide sales.
and the magnificent galleries at its disposal, The New English Art Club with its

205
The Qase for Modern Painting
democratic constitution has not this while, if rejected, he has the consolation
democratic patronage. Dependent upon of being rejected by artists whose work, in
the popular control of the young, it tends one way or another, he is bound to respect.
year after year to give prominence to artists Nor is the Club narrow in its tastes, if
who are making their reputations, but I may judge by the present exhibition,
who, as soon as they have made them, pass where works by impressionists pure and
on to the honours and titles which await simple hang cheek by jowl with the very
them in grander societies. Two or three latest thing in the manner of the old
notable figures, it is true, remain unshaken masters. This return to the methods of
pillars of the Club year after year, but round a bygone age is perhaps the most
them moves a constantly changing group significant feature in modern English
of clever young men, whose attachment to exhibitions. Time after time, the New
the institution seems less devoted. So English Art Club has been the forerunner
the New English Art Club is dominated of movements which have afterwards be¬
by men who are engaged in making their come the general fashion. Indeed, its com¬
reputations : the Academy by men whose parative lack of success as compared with
reputations are a matter of ancient history. more conventional institutions is probably
Novelty, however, is not beloved of the due to the fact that it is always several
British public, and the consequence is years in advance of its time. It anticipates
that the New English Art Club never movement after movement ; but before
inspires quite the same confidence in the time has been allowed for each movement
public that they derive from older—and, to be accepted and made successful, it has
may I say, stodgier?—institutions. passed on to some fresh innovation. If
Yet in what might be termed an this supposition be true, we may expect
aggregate of brilliant experiments there in a few years to see in other exhibitions
is always some work to be seen which a revival of traditional methods of drawing
will grow more famous with time. And, and painting, such as that which is now
therefore, although the public does not visit foreshadowed by the little exhibition in
the New English Art Club, the collectors Dering Yard.
do, and it has the reputation in its small [By the courtesy of the artist, Mr. A. A. McEvoy, we are
en ibled to reproduce an example of the class of painting at the
way of being one of the best galleries for New English Art Club to which our contributor refers. It will
be seen at once that in this Mother and Child the artist’s aim has
selling in all London. A large proportion been to combine something of a modern feeling for light and
air with the scientific technique of the great genre painters of
of the members, though young men, are Holland. Other examples of this interesting form of art will
people who have made a certain name for be remembered by those who happened to see Mr. McEvoy’s
recent exhibition at the galleries of Messrs. Carfax. The
themselves in one way or another, so that method employed offers a singular combination of advantages,
since^it enables the painter to get much of the vibrant quality of
the outsider who gets a picture accepted light obtained by the Impressionists without losing the power
of delicate and sensitive manipulation of the brash on which
is sure of hanging in good company, all great painting in the past has depended.—Ed.]

206
MOTHER AND CHILD, BY AMBROSE McEVOY
IN THE EXHIBITION OF THE NEW ENGLISH ART CLUB

THE CASE FOR MODERN PAINTING

 THE MARBLE AND CERAMIC DECORATIONS OF THE
ROMAN CAMPANILI
^ BY J. TAVENOR-PERRY ^
HE stately but mouldering before the eleventh century ; but it "must be
brick towers which were once remembered that, with the exception of the surface
the campanili of mediaeval decorations, they are built entirely of materials
Rome have never received from the ruins of older buildings, ancient bricks
from architects or archaeo¬ and ancient marble, and that there is nothing but
logists the attention which, the workmanship itself to give a clue to the date
for their beauty and their when the work was done. So far as the mere
associations, they have de¬ brickwork is concerned there is nothing either in
served. But painters have always appreciated the walling itself or in the arrangement of the
them as valuable accessories to their compositions ; cornices to distinguish it from the work of later
and they may be found, like notes of emphasis, in imperial times ; and the same sort of walling is
the landscapes of the found in the ‘ Casa di
Poussins, of Claude, and Crescenzio,’ which is the
of many others. They are oldest private building of
but modern as compared the middle ages erected
with the venerable ruins in Rome,2 and was built
among which they stand, certainly not later than
but ancient as compared the eleventh century.3 The
with the rococo palaces classical character of the
and ‘gimcrack churches design of these towers,
of Gesu ’ with which they so symmetrical in their
are, perforce, too often proportions and arrange¬
incongruously associated; ments, is such as can
and they have now to be scarcely have been the
sought for behind the product of so late an age
screens of huge and as that commonly as¬
commonplace edifices, a signed to them. Towers
mere Parisian veneer, with for use and ornament
which the new streets were common in imperial
of Rome are bordered, times, and that their
where lie hidden the sole form was closely akin to
relics of an age not only that of the mediaeval
long past but long for¬ campanili is shown by the
gotten. model of one on a
Much obscurity hangs stucco relief recently
over both the origin and discovered among the
the date of these towers ; ruins in the Farnesina
and, although not the gardens on the banks of
immediate subject of this FIG. 4. S. FRANCESCA the Tiber.1 But besides
article, it is necessary to ROMANA, ROME the support of analogy,
know something of their there are, not only direct
history properly to appre¬ documentary evidence,
ciate the peculiarities of their decorations. Their but actual remains, which go to prove the
erection has been usually assigned to the twelfth erection of such buildings at a very early date.
and thirteenth centuries ; but their origin and Pope Stephen II, about 755, built a bell-tower
some of the existing remains undoubtedly belong to the atrium of the basilica of S. Peter, which
to a much earlier period. Their fate was, in he is stated to have overlayed with gold and
many respects, paralleled by the more modern silver; and a tower was built to S. Maria in
case of the towers of Auvergne and Velay, which Cosmedin by Adrian I about 780.5 Within
were destroyed or dismantled by the revolutionary an upper stage of the tower of S. Prassede
agents at the close of the eighteenth century, and are the remains of some archaic paintings
in the former half of the nineteenth century were contemporary with and representing some events
gradually restored to their original conditions.
Cattaneo1 says that he is unable to trace in any 2 ‘ History of the City of Rome in the Middle Ages,’ by Fer¬
dinand Gregorovius.
detail of the campanili evidence of their erection 3 For ornamental details of this building see Seroux d'Agin-
court,1 Histoire de l’Art par les Monuments.'
1 ‘ L’Architecture en Italie,’ par Raphael Cattaneo. Traduc¬ 4' Pagan and Christian Rome,’ by Ridolfo Lanciani.
tion par M. le Monier. 5 Gregorovius.

2°9
*'Decorations of the T\oman Qampanili
which occurred during the pontificate of Paschal I, the Caelian lying between the Lateran and the
about 820, which point to the erection of the Coliseum, along the Caput Africae, at that time
tower itself at some previous date.6 These thickly populated, was burnt, and with it the ancient
examples are quite sufficient to show that, what¬ churches of S. Clemente and SS. Quattro Coronati;
ever may be the date of the towers now standing, and the whole city was given up to pillage. But
the custom of building such towers begins at the armed bands which raided the churches, and
least as early as the eighth century. There carried off as many captives for slavery as they
are, undoubtedly, definite records of the building could, were too intent, in the short space of time
of campanili at much later dates, many if not at their disposal, on acquiring their spoil, to waste
most of which may have been restorations, as in their energies on the destruction of bricks and
the case of Auvergne. Thus the church of S. mortar. Within three weeks of their entry they
Maria in Trastevere, to the bell-tower of which we retired again across the Campagna; and it is
shall have again particularly to refer, seems to impossible to believe that in that short time the
have been entirely rebuilt by Pope Innocent II Normans of Guiscard wrought the havoc done by
about 1140. the landsknechts of Frundsberg in the nine months’
It has been assumed, perhaps too hastily, that sack with which Charles V closed the history of
even if towers earlier than the twelfth century did mediaeval Rome.
once exist, they had perished in the disorders of These campanili may be roughly described as
the troublous times of the tenth and eleventh
centuries, and more particularly in the devastations
attributed to the Normans and Saracens under
Robert Guiscard. But the dilapidation of two
centuries on buildings so simple and so solid could
not be very considerable, and the mischief wrought
by Guiscard’s raid on the monuments of the city
may have been much exaggerated. When he
entered Rome by the Flaminian Gate on the 28th
May 1084, his aim was to rescue the Pope as
quickly as possible from his captivity in S. Angelo, FIGS. 7 AND 8. BACINI FROM S. FRANCESCA
and, this done, he forced his way through a hostile ROMANA, ROME
population, avoiding as far as possible all large
buildings from which he might be attacked, across ‘all alike,’ although in the number of their storeys,
the Campus Martius, through the Via Lata, skirting the proportions of their parts or the grouping of
along the east side of the imperial fora and the their openings each tower differs from the rest.
Coliseum, to the Lateran Palace by the Via Caeli- But the characteristic features of their squareness,
the arrangement of their stages, and the rich and
boldly projecting cornices which crown each
storey, make them a type of tower unknown in the
romanesque architecture of Italy outside Rome
or its immediate precincts. They were built at
first solely for the purposes of utility, and such
slight decorative features as they possess, such as
the cornices and window openings, were the result
of the adaptation by their builders of the modes
of construction they found in the ruined edifices
FIGS. 5 AND 6. BACINI FROM SS. GIOVANNI
around them. The objects for which they were
E PAOLO, ROME
built were two-fold ; first to form a stronghold for
the protection of the treasure of the church in the
montana. During this difficult march his troops times of disorder which so frequently disturbed
were too much occupied in their own preservation the city, and, second, to provide a suitable place
to do more wilful damage than was caused by the for hanging the church bells. From an early date,
fires which broke out along their line of progress ; however, some attempt at embellishment, beyond
and it was only when, three days afterwards, the the constructional decoration of the cornices, was
citizens rose and attacked them in the Lateran made, as is implied in the description of the over¬
that, in retaliation, any definite destruction was laying of the bell-tower of S. Peter’s with gold
attempted. But even then this was confined to and silver ; but whatever the nature of this early
the comparatively small area which lay within easy ornamentation may have been, no remains of it
reach of Guiscard’s headquarters. The portion of have survived to this day. The remains of deco¬
6‘Le due nuove campane di Campidoglio,' by Francesco
ration which still form part of the existing cam¬
Cancellieri; also 1 Le Chiese di Roma,’ by Mariano Armellini. panili are mainly constructional, as but few portions

210
 'Decorations of the Roman Qampanili
of the plating with which they were, in part at roundels of majolica; of these the latter appear
least, encrusted still adhere to their crumbling not only to have been the first to be used but to
walls. The structural marble decorations consist have continued in use until the period when
of the little corbels forming the principal part mediaeval gave place to Renaissance architecture.

FIG. II. S. PUDENZIANA, FIG. 2. S. CROCE IN

TRASTEVERE, ROME ROME GERUSALEMME, ROME

of the cornices, which were once used in a When first the idea of employing such a mode of
similar way in the brick cornices of the later decoration sprang into existence cannot be deter¬
imperial buildings, and may still be seen on the mined, but the suggestion made by Fortnum8 that
remains of the Thermae of Diocletian ; and of it was due to the use of inlaid stones and enamelled
the columns placed between the window open¬ discs in goldsmiths’ work seems borne out by the
ings of the upper stages. These latter were of overlaying of S. Peter’s bell-tower with silver and
white marble taken from the ruins of ancient gold. The use of bacini as a decoration seems to
buildings, and selected mainly for their decorative have occurred first at Pisa in the eleventh century,
effect. Thus we find that Leo IV used a little or perhaps still earlier at Pesaro, where pottery
column on which was a Greek inscription to works were being carried on in the time of
Serapis for the adornment of a window in the Theodoric.9 There is nothing to show when first
campanile of S. Peter’s ;7 and the fluted shafts in they were placed on the Roman campanili, but it
the tower of S. Maria in Cosmedin and the spirally seems pretty clear from the evidence of the
decorated shafts of those of S. Giovanni Laterano buildings themselves that they were an after¬
are similar examples of such use. thought, since no place was formed constructively
The niches which appear on a few of the towers to receive them on the face of the walls ; and where
must also be classed with the constructional they have been let into the brickwork it has only
oramentation, since they are also formed of
ancient marble corbels and shafts. They were
intended as protections or shrines, not for statues
as is generally supposed, since there is neither
ledge nor corbel on which a figure could be placed,
but for pictures, painted or in mosaic, of the
Blessed Virgin. These niches are found on the
towers of SS. Giovanni e Paolo (fig. i), S. Croce
in Gerusalemme (fig. 2), S. Maria in Trastevere
(fig. 3), and S. Francesca Roniana, once
S. Maria Nuova (fig. 4), which has two.
The paintings and mosaics have all disappeared FIG. 9. ROUNDEL FROM FIG. 10. CROSS FROM

from them except from that of S. Maria in Tras¬ S. MARIA MAGGIORE, S. FRANCESCA ROMANA
ROME
tevere, where in a niche of a peculiar form is a ROMS

much faded mosaic of the Madonna and Child

dating perhaps from the time of Eugenius III. been roughly cut away to form a sinking, as in the
Of the applied or encrusted decorations there case of the disc under the niche on the tower of
are two kinds, the one consisting of discs or slabs
of marble or porphyry, and the other of bacini or 81 4 Descriptive Catalogue of the Majolica, etc., at South
Kensington,’ C. D. E. Fortnum.
7 Gregorovius. 91 Archueologia,’ XLH. Notes on bacini.

21 l
‘Decorations of the foman fampanili
SS. Giovanni e Paolo. These bacilli are of two properly set into the brickwork, much of which is
sorts ; the earlier in point of elate are such as those coloured and glazed, and evidently formed part of
on the towers of S. Francesca Rcmana and the original construction of the tower.
SS. Giovanni e Paolo, which are enamelled dishes Sometimes in association with the bacilli, but
of varying designs, and the later ones are merely more generally by themselves, thin slabs of marble
roundels of glazed terra cotta, frequently set and porphyry were employed as an encrusted
in rings of glazed brickwork, as at S. Maria ornament. The supply of such material in Rome
Maggiore. The four examples which we illus¬ was practically inexhaustible, and early in the
trate of the former class (figs. 5 to 8) seem eleventh century a school of marble masons sprang
to be covered with a lead glaze and tinted up in the city who developed the mosaic art till
yellow, brown and green in flow colours not un¬ it came to perfection in the hands of Vassilectus
like some late productions of the Wedgwood and the Cosimati. These slabs were of various
factories. The effect of them in the sunlight is shapes, such as circular and oblong, and some¬
most brilliant ; but the metallic iridescence which times in the form of crosses, formed perhaps as
they show seems to be due to the decomposition the material in hand permitted, and they seem to
of the glaze which has taken place in the lapse of have been affixed to the towers without much
years. They do not appear to have been specially regard for symmetry. Generally they are merely
made for the positions they occupy, except perhaps placed on the face of the brickwork, but frequently
in the case of one dish, of which we give an illus¬ the edges were guarded by a projecting rim of
tration (fig. 5), which shows in a pattern of tiles as shown by the porphyry cross on S. Fran¬
indigo on an apple-green ground the sword and cesca Romana, of which we give an illustration
crown of martyrdom symbolic of the saints on (fig. 10).
whose church it appears. The later roundels are When complete, these decorations of marble
slightly hollowed discs generally glazed in a green and majolica must have presented a happy and
colour, set sometimes in a ring of plain brickwork even brilliant effect. But they are now fast dis¬
as at S. Croce in Gerusalemme and SS. Rufina e appearing ; and though, as in the case of S.
Seconda, and would seem to be of the same date Pudenziana (fig. n), some attempts have been
as the restored or rebuilt towers to which they are made to replace the marbles, most of the towers
attached. Those on the tall bell-tower of S. Maria present but a forlorn appearance, scarred with the
Maggiore (fig. 9), which is of late date and differs patches and empty settings from whence their
from the normal type of Roman campanili, are ornaments have fallen.

HANS WYDYZ THE ELDER

^ BY Dr. RUDOLF F. BURCKHARDT r*>
N the Historisches Museum at body hanging perpendicularly, so that the skin
Basel there is a gem of German takes on fine cross folds.
modelling on a small scale, a Behind the back of Adam, Eve has reached for
little boxwood group of Adam the apple. She holds it grasped in her outstretched
and Eve (plate 1), from the right hand, whilst she stands firmly planted on the
Amerbach collection. right side of the pedestal, almost full face, with the
The figures—each about 6 in. upper part of her body bent back, and inclines her
in height '-—both stand on small charming little head, with its wonderful softly
blocks, the surface of which is made by means of waving masses of hair, to the left towards Adam,
fine incisions to give the impression of grass. and smiles at him. She rests her left hand on her
Upon each of these little grass plots, between the hip.
feet of the figures, is inscribed a letter—in the Adam, too, stands firmly planted on both feet,
case of Adam an FI and in that of Eve a W— but the artist has given tension to his figure by
without doubt the initials of the artist. These placing his left foot at right angles to his right.
small blocks are set in a larger block of lime wood, The forward bend of his body increases this
which is treated as broken-up, rocky ground. tension, which reaches its full expression in the
Above, on the left, a tree trunk is introduced. turn of his head sideways towards Eve. His right
It is characterized distinctly, by flat, irregularly hand hangs down, holding an apple, while the
carved grooves, as an upward climbing growth. raised left1 hand emphasizes the passionate words
The trunk is forked at about the height of Adam’s which his open mouth seems to whisper.
neck. The serpent’s heada lies over this fork, its
4 The left arm has been broken at the elbow, and mended
translated by L. I. Armstrong. later, roughly though correctly. The finger-tips of the hand are
2 Adam is 6 in. high ; Eve is 5f in. high. broken off. They probably held an apple, something like the
a The head of the serpent is broken off. Eve of Meit.

2I 2
ADAM AMD EVE. BOXWOOD, ABOUT 6 INCHES HIGH EVE = SI°E VIEW' AB°UT 6 1NCHES H1GH
IN THE HISTORISCHES MUSEUM, BASEL IN ™E HIST0R1SGHES MUSEUM,JiASEL
 THE MARTYRDOM OF ST. SEBASTIAN. BOXWOOD. ABOUT ~]\ INCHES HIGH
' IN THE KAISER FRIEDRICH MUSEUM, BERLIN

THE ADORATION. A.D. 1505. WOOD, HALF LIFE-SIZE

IN THE CATHEDRAL, FREIBURG IN BREISGAU

HANS WYDYZ THE ELDER

PLATE II
 Hans JVydyz the Elder
Every one will admit that the group is a German two parted masses down the back, towards the left,
work, dating from the beginning of the sixteenth following the movement of the head.
century. Every one, too, on seeing the group, If Meit’s treatment of the body and his velvety
will be involuntarily reminded of the boxwood modelling declare him a genuine native of the
statuettes of Adam and Eve by Konrad Meit of Lower Rhine, the characteristics described above
Worms at Gotha. point to the Upper Rhine as the home of our
Both artists show a reckless naturalism and a master.
similar keenness in the observation and represen¬ Since so small a boxwood group is very fragile,
tation of nature.5 Both omit the fig-leaves, and since also it belonged to the Amerbach col¬
although it was customary to give them in the lection, we may safely assume that it was made at
current art of the period. Our master copies the Basel. A lucky chance led also to the interpre¬
female model exactly as it appeared before him, in tation of the initials H.W.
the easiest possible attitude, with the feet at right In the cathedral of Freiburg in Breisgau, a few
angles to each other, and the upper part of the hours from Basel, there stands on the left as one
body bent backward, an attitude common in the enters the choir a carved altar with the Adoration
art of that time. of the Three Kings in half life-size modelling in
In the male model he does not even slur over a the round (plate 2). In the middle, in front
defect, the projecting joint of one of the toes of of the manger, sits the Madonna on a bench.
the left foot—the signature, as it were, of a per¬ She holds out the naked Child towards the old
fectly faithful imitation of the model. king, who is kneeling on the ground on the right,
Otherwise, however, the two masters are utterly whilst from the left the second king approaches,
different. Even in their choice of models, they with a dachshund at his feet. Behind the group
show an interest in opposite kinds of figures. stands Joseph, who is balanced by the young
Meit likes a fleshy figure with fat legs, broad hips, Moorish prince on the extreme right. The hair
narrow shoulders, round head, and soft curves in and flesh are coloured after nature, and the
the movements of the joints. Our master chooses garments are gilded.
a spare, muscular body; he makes the joints stand The movement of the bodies, especially that of
out, and throws the limbs into abrupt, angular the king on the left; the turn of the heads, especially
positions. Even though in his modelling of Eve that of Joseph ; the lovely face of the Madonna,
he betrays a delicate sense of the lustre of the skin, and the treatment of the ground/ all remind one
what attracts him above all else as a factor in immediately of the Adam and Eve group. An
expression is the play of the muscles beneath the inscription high up on the right of the manger
skin, which in Meit are covered by a layer of proved the connexion. It runs : ‘ 1505 I O H.
fat. WYDYZ,’ the H and the W being carved exactly
It is, however, in their composition that their as in the Adam and Eve. Further investigation
different temperaments are fully revealed. Meit elicited the fact that the altar comes from the chapel
carves two quiet figures, loosely connected by of the Baslerhof near the Kaiserstrasse at Freiburg
gentle gestures, giving in spite of their small¬ in Breisgau.6 The Basel chapter had bought this
ness an impression of size, and carried out in the house in 1590 from the Sturzel family, and had
modelling with wonderful velvety softness. Our settled in it with the property which the Basel
master makes his figures formal and not nearly so Council had not confiscated and which had not
finished in their modelling ; but genuine passion been destroyed by the iconoclasts. Thus this
combines them into a single group. At the same altar of Hans Wydyz has also a special historical
time he shows, like Meit, a great sense of beauty, a value as one of the few works which were not the
thing as a rule not often united with the impulse victims of the Basel iconoclasm.
to expression and with reckless naturalism. This Beneath the signature of Wydyz is written :
is shown even in the curly head of Adam, but ‘ Verg. d 105 Dom. Glaenz. 1823,’ that is : ‘gilded
above all in the charming little head of Eve, with by T. D. Glaenz.’ The process, however, did not
the coiffure not to be found in the German plastic stop at gilding only, but implies thorough
art of that period (plate i). Parted in the restoration. The background is certainly new ;
middle, the hair falls down the back in a soft, but the most important thing, the group of the
only slightly waved mass, from both sides of the Adoration, and the artist’s inscriptions are without
temples, covering the upper part of the ears. At doubt quite intact.
the top of the brow a ribbon is placed round the The baldacchino which overarches the Adoration
head, fastened at the back by a fourfold twist,
above which part of the hair is taken up and waves 6 The assumption that the altar comes from Basel is strength¬
ened by the wings, entirely decayed, which are in the charge
upwards in a lightly curling mass, ennobling the of the custodian of the cathedral. Outside on the left, Peter ;
outline of the head, while below it the hair falls in on the right, Paul; inside on the left, the Emperor Henry, with
a good picture of the Basler Munster, the Pfalz, and the Rhine
6 Reproduced in the ‘Jahrbuchd. K. Preuss Kunstsammlung,’ enlivened by ships ; on the right, St. Pantalus. The painting,
1901 (p. viii), considered by Bode to date from 1510. or the painting-over in the manner of Bock is dated 1601.
Hans TVydyz the Elder
is crowned by three wooden figures, Christ (yi inches high), bound to a tree trunk. On the
between Mary and John. I reproduce the figure left is an archer (6 inches high), a Czech with a
of Christ (plate 3), not on account of its bald skull and a long moustache, wearing a leather
artistic quality, but because it permits a small, collar and a long undergarment with hanging
nobly formed crucifix in the Basel historical sleeves ; on the right a warrior (6 inches high) in
museum, also from the Amerbach collection, to a coat of mail and puffed and slashed doublet
be ascribed to Hans Wydyz. The risen Christ, sleeves, with his plumed hat on his back. Both
with both hands lifted in benediction, has the wear broad-toed (bull-nose) shoes.
same type of face, the same treatment of the hair, The movement of the group begins on the left,
as the kings in the Adoration. in the archer. The artist has represented him
The treatment of the body shows a striking after the string has been loosed and the arrow has
resemblance to that of the Adam (plate 1) ; the flown. He still holds his hand level with his
feet, the shape of the knees, the three horizontal right shoulder ; his two fingers still remain just as
folds on the belly, and the chest formation are the they were when they let the string fly. He still
same, though the Christ is more roughly shaped, holds his left arm stiffly stretched out, but his
larger, and meant to be looked at from below. At fingers have gripped the bow more tightly to meet
any rate, the Christ is also the work of Wydyz. If the shock of the loosened string ; and now that
we now compare this figure with our Christ the arrow has been shot, head and shoulders have
Crucified (plate 3), we may ascribe this also to fallen back into full face instead of profile. An
Wydyz. Both show the same type of face, the echo of this is found in the billowing folds of the
same straight, longish nose, the same shaped long garment. The Czech, like a born archer, has
beard, the same treatment of the hair, the same fulfilled his function in a cool, matter-of-fact way,
crown of thorns. Similarities are also shown in and the slightly fluttering hanging sleeves give a
the loin cloth with frilled border. The prominent certain grandezza to the movement.
chest, the belly and the knees are modelled quite His arrow has pierced the neck of Sebastian.
differently because of the entirely different move¬ Shuddering with pain, the martyr turns his head
ment, the strained hanging position. Perhaps, up and away from his tormentor with a wild jerk
too, the Crucifix is a rather more mature work. which tosses his long hair upwards. He plants
In any case, it belongs to the noblest small scale his left foot firmly on the ground and strives to
sculptures of the time. The figure gains still raise the upper part of his body. But he is tightly
further interest from the two unfinished pieces pinioned, and in poignant contrast to the impotent
from the same hand and the same origin, which straining upward of the body, the voluminous loin
throw a new light on the creation of a small cloth glides freely in manifold twists down to the
sculpture of this kind, and give pleasure to every ground on the right.
artist and lover of art (plate 3). On the right stands the warrior, full face, with his
These three works of Wydyz—the Adoration, head only turned towards Sebastian. His plavfully
the Adam and Eve, and the Christ Crucified— raised hand seems to emphasize his words of
belong to the same plane of development. The mockery. He is a figure of slight importance in the
Adoration is of 1505, the Adam and Eve more or execution, chosen only to balance that of
less contemporary with it, the Christ Crucified the archer ; yet a subtle choice, for as regards the
probably a little later. These works surely origi- general impression both the side figures are of
natedat Basel. It is probable that several other works equal value, with their free, lively outline making
of Wydyz were destroyed by the iconoclasts. In a striking contrast to the bound form of the
the State archives, where Dr. Rudolf Wackernagel prisoner.
was so kind as to make inquiries, no further trace A comparison of the Adam and the Sebastian
of Wydyz was to be found. Up to the present I indicates that the Basel and Berlin groups are
have not been able to determine any artistic from the same hand. Both show the same type
connexion with Hans Weidiz of Strasburg, the of head, both in the form of the skull and in details
so-called Petrarch master. For that reason I call such as the chin, the mouth, the nose, the setting
the Wydyz who was working at Basel in 1505 of the eye, and the curly hair. Both show the
Hans Wydyz the Elder. same build of body, the same emphasis of the
A later work, showing a much more mature muscles, the same impulse to movement and the
style, can be pointed out in the almost equally same turn of the neck.
large boxwood group of the Martyrdom of St. The same hand is further fully indicated by
Sebastian'1 (plate 2) in the Kaiser Friedrich details which could hardly be found represented
Museum at Berlin. with such similarity even in artists of the same
In the middle of a low pedestal, which is treated school and the same temperament : the treatment
as rocky ground of slaty cleavage, stands Sebastian of the curls radiating from the crown, the forma¬
tion of the nipples, the carefully executed hairs
7 Bought in 1904 as the work of a Ratisbon master, com¬
puted to date from 1525. which in the figure of Sebastian are visible even

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 Hans TVydyz the Elder
above the loin cloth, the laborious imitation of as shown in the reproduction, in a parallel line.
the veins in hand and leg, and last, the fine parallel Only thus is value given to the painfully agitated
cross-folds of the skin, produced at knee and heel bodies of the thieves in full contrast to the Christ,
by the straining of the leg. whose quiet solemnity is strikingly impressive :
The Sebastian, of course, is a much more mature His nobly shaped head droops, for His sufferings
work. Both the leg which supports the body and are over.
that which is bent backward are definitely modelled The style of both of these late works of Hans
throughout. The movement of the body betrays Wydyzthe Elder, particularly in the freelyfluttering
the study of Italian works of art. The modelling robes, is so absolutely that of Central Bavaria9 that
is much richer, although subordinated to the we may safely place his later activity there.
general movement. We have now tried to arrange in order a few
If we place the Basel group at 1505, the Sebastian works of the till now unknown Hans Wydyz the
probably dates from about twenty years later. A Elder. The Adam and Eve and the Sebastian,
more definite date cannot be assigned it in the up till now the known masterpieces of the
present conditions of our scanty knowledge of earlier and later period of Wydyz, we have en¬
German plastic art of the sixteenth century. deavoured to make especially familiar to the
Similar costumes are found until the close of the reader by means of detailed description, in the
forties. hope that this essay may incite collectors and
Related to the Sebastian is the Crucifixion directors of museums to search amongst their
(this was already recognized on the occasion of treasures for further works of Hans Wydyz the
the Dusseldorf Exhibition in 19028); the slightly Elder.
bronzed boxwood group of Christ Between the These small boxwood groups, which were pro¬
Thieves, owned by Herr W. Clemens of Munich bably made for the pure pleasure of the artist and
(reproduced in the ‘Zeitschrift fur christliche not to order, often reveal a capacity for
Kunst,’ 1902, p. 373), and the figures of Mary and expression, a nobility of conception, and a beauty
John, owned by Frau Reichenheim of Berlin (re¬ of form, joined to a quality of modelling which
produced in ‘ Renaissance Ausstellung,' Berlin, we rarely find in the same perfection in large
1898, p. 62). As in the Sebastian, the principal works. This small scale modelling belongs to
figure, that of Christ (7 in. high), is larger than the the most beautiful and original creations of
side figures of the thieves (6 in. high) ; the model¬ German art.
ling of the body is of similar development; the 0 Compare the saints of the Frauenkirche at Munich
treatment of the hair, the formation of the nipples Christopher, Kasso and George in wood, painted about 1540
(Reproduced in ‘ Kunstdenkmale des Konigreichs Bayern ’
and of the parallel folds in the skin is just the Vol. 1, Plate 142, Munich 1 Jahrbuch der bildenden Kunst,’
same. The crosses of the thieves should be I, page 124), and the Lamentation over Christ by Hans
placed slanting towards the cross of Christ, not Leinberger, (Munich ‘ Jahrbuch der bildenden Kunst ’ I, page
116). The figures by Lorg Hering in Eichstatt also show the
8 Friedlander and Voege kindly called my attention to this. same swirling drapery.

EGYPT AND THE CERAMIC ART OF THE NEARER EAST

^ BY A, J. BUTLER, D.Litt. c*v
HE collection of Persian, origin of the various types exhibited and the dates
Rhodian and Damascus ware at which the several manufactures flourished.
at the Burlington Fine Arts Mr. Read, in his able and lucid introduction to
Club is probably the finest the catalogue, shows how far the study of the
of its kind ever got together subject has advanced, and how much remains to
from private sources. One be accomplished. Dated pieces on which to base
feels the exhibition to be a a chronology of the art are lamentably few, and
place rather for enthusiasm where this is the case the temptation to generalize
so sumptuous and splendid from them is great. Broadly speaking, the cata¬
is the array of choice pieces, so charming their logue classifies early Persian tiles and vessels as
variety of colour, design and technique. But the thirteenth century, later Persian as seventeenth
monotony with which most of the objects are century, and Rhodian and Damascus ware as
labelled ‘ thirteenth century ’ or ‘ sixteenth century' sixteenth century. So great is Mr. Read’s authority
suggests some historical problems to which criti¬ that to differ from him is a presumption which
cism may well be directed ; and I propose here, nothing but a real desire to further inquiry can
after a short notice of particular specimens, to extenuate. But it seems hard to believe, for
deal, however imperfectly, with some of those example, that the two albarelli (Nos. 6 and 10 in
questions which students in this branch of art are Case A) are of the same date as Nos. 1 and 4,
bound to raise—questions mainly concerning the from which they differ in body, in glaze, in style,

22 I
Egypt and the Qeramic Art of the Nearer East
in tone—indeed, in almost every particular. What exceedingly poor quality might be considerably
is the evidence for putting these pieces alike in the later. No doubt the difficulty of dating these
thirteenth century ? Would it not be safer to put specimens is very great. Literary evidence on the
Nos. 6 and io down as sixteenth century, and subject there is none : and the general label of
Nos. i and 4 as eleventh or twelfth century—the ‘sixteenth century’ stands only in virtue of the two
turquoise glaze and still-black ornament recalling facts that some few Rhodian jugs are mounted in
the early pottery of Fustat ? Again, is it quite silver which bears an Elizabethan hall-mark, and
certain that the brilliant ruby lustre shown in D 9 that the general style and artistic excellence of the
is as late as seventeenth century, when there appears work assign it to the same period as the dated
to be very little lustre, except the familiar copper Damascus work. Thus the conventional date of
lustre, in any of the Persian ware here dated between Rhodian ware hangs upon a somewhat slender
the thirteenth and the seventeenth centuries ? thread ; but that the name is rightly given need no
The jug C 8 proves by inscription that ordinary longer be questioned. Kilns certainly existed at
Persian lustred ware was made in the thirteenth Lindus, in Rhodes ; and I can confirm the state¬
century ; Frame No. 7, probably rightly assigned ment that the late Professor Middleton had visited
to the fourteenth century, shows a lustre of finer the spot, and had found there fragments and wasters
quality, but less brilliant than the ruby lustre ; and clearly proving the manufacture of Rhodian ware
yet in Frame No. 5 a panel of tiles, showing in on that site. But this beautiful art cannot have
drawing and lustre alike the utmost degradation arisen in sudden splendour in the sixteenth century.
of the art, is called sixteenth century. Such a It must have had definite artistic antecedents, were
sequence of dates is surely difficult to follow. they only known ; and it is very improbable that
Of the Kutahian ware one specimen is dated it was confined by the limits of that short period
1510 and gives the rule for the chronology of the to which its products are commonly assigned.
rest. Kutahian differs from the Damascus ware But these detailed criticisms and pious—or
mainly in its avoidance of all colours but blue. perhaps impious—opinions cannot be said to
Among the Damascus work in Case FI the mosque advance matters much. It remains to be seen
lamp, No. 2, seems strangely called ‘ Rhodian six¬ whether something can be put forward a little
teenth century,’ when it has none of the character¬ more constructive, a little more tending to
istic sealing-wax red of Rhodian, and looks like correlate the various forms of ceramic art in which
seventeenth-century work of Damascus, whence the genius of Muslim craftsmen found expression.
indeed it came. So the Frames Nos. 17 and 18 Historical documents bearing on the subject are,
are impartially labelled sixteenth century, while in as Mr. Henry Wallis said in reference to the
fact both are clearly decadent work—bad alike in previous Burlington Fine Arts Club exhibition,
drawing and in colouring, and probably two almost entirely wanting ; but I think Mr. Read’s
centuries later. Indeed, these two pieces are so statement, that the last twenty years have added
poor that they can have no raison d'etre in the nothing to our knowledge in this respect, may be
exhibition, unless they are meant by contrast of somewhat qualified. If no new documents have
style and date to illustrate the decline of the art been discovered, some of the authorities have at
from its supposed sixteenth century meridian. least been made more accessible to research : and
The contrast is indeed remarkable : for nothing a certain amount of fresh evidence—scanty and
could be finer than the large Damascus bowls sometimes dim, yet substantial, evidence—is
over Cases I to K, and the superb array of dishes, available. It is true that this evidence relates
mainly lent by Mr. Godman, within the cases. mainly to a section of oriental pottery scarcely
These may all with confidence be assigned to the represented in this exhibition—viz., pottery with
fifteenth or sixteenth century; but when one a provenance definitely Egyptian. Indeed, it is
comes to Case L and finds that the two jugs and quite curious how little Egyptian influence is
dish (Nos. 6, 7, 8), with their designs painted in recognized either in the introduction to the
black under a brilliant turquoise glaze, are equally catalogue or in the classification of specimens.
assigned to the sixteenth century, one may fairly But I venture to think that the clue to much that is
ask whether any comparison with dated pieces of called Persian and Syrian and Moorish is to be
the ordinary Damascus style and colouring can found ultimately in Egypt—that, in fact, Egypt
justify the assignment to the same period of ware was the centre from which there spread over the
so totally dissimilar and so strongly impressed Nearer East the art of decorating faience, first with
with a much more ancient tradition. beautiful coloured glazes and enamels, and then
Similarly in the Rhodian section—by no means with brilliant changing lustre, and the art of deco¬
the least fascinating in this wonderful collection— rating wall surfaces with glazed and painted tiles.
itisdisappointing to findthat everypiece of Rhodian No argument is needed to prove that for many
ware is classed as sixteenth century, with the centuries before our era the potters of Ancient
solitary exception of No. 4, Case S, which is put Egypt adorned their wares with glazes and
down as seventeenth century, and which by its enamels of great beauty and varied colour. Our

222
 Egypt and the Qeramic Art of the Nearer East
museums teem with specimens, some of which the Arab conquest came, all the traditional arts of
have scarcely suffered at all from time. The Egypt were swept away. The country was cut off
oxides of copper, iron, cobalt and manganese were from the Roman Empire, and the conquerors were
in familiar use for making colours, among which neither literary nor artistic by training. But while
blues and greens of many charming shades are it is certain that the Arabs brought no arts into
most in evidence. Now, it is a long way from 1500 Egypt, it is no less certain that the ordinary
or 2000 B.C. to 1500 A.D., and something more skilled crafts of the country went on as before.
than a resemblance between the ancient Egyptian Moreover, the Arabs not only encouraged the fine
coloured glazes and those of Damascus must be arts, but also by slowly absorbing into their own
proved to establish any real connexion between life and religion most of the industrial classes, and
them. Well, it can be shown that there is the by educating their own innate artistic sense, they
most extraordinary likeness also in some of the developed a method and style of their own, and
designs. I have already referred to the fine and attained a pre-eminence in some branches of art to
rare specimens in Case L, Nos. 6, 7, and 8,1 with which this exhibition is witness.
their turquoise blue glaze and black ornamenta¬ There was, then, a continuous historic evolution
tion. These might almost have been made in of art in Egypt from Pharaonic times to the middle
Egypt three thousand years before the ' sixteenth ages. It is true that for some few centuries after
century.' But there is an even more remarkable the conquest no Arab records were written, or
coincidence as regards design. InCase H,No. 5, none have been preserved, which can be quoted
may be seen a very beautiful jug which, though in direct reference to ceramic art ; but the works
coloured in purely Damascus style, has the ground of Walid, of Mansur, the founder of Baghdad, of
covered by a pattern of scale-work in black varied Harun al Rashid, Mamun, Tulun, and Khamara-
with formal rosettes. That this mode of decoration wiyah, contain a sufficient history of artistic
comes by direct tradition from Pharaonic potters progress in the eighth and ninth centuries—a
is beyond doubt: precisely the same combination witness carried on by the mosques of Al Azhar
of scale-work and rosettes occurs in twentieth and Hakim in Cairo into the tenth century. In
dynasty blue ware, of which an example found at the eleventh century we have the strongest docu¬
Abydos in Egypt may be seen in the Ashmolean mentary evidence that the arts—in particular
Museum. textiles and ceramics—had attained a splendour
So with the wall-tiles which have come to be in Egypt unrivalled elsewhere. It is therefore
known as Damascan. Their prototype was the certain that there was no gap or break in the
enamelled earthenware plaques or slabs used artistic history of Egypt : that from Pharaonic art
under the eighteenth and nineteenth dynasties in to Ptolemaic, from Ptolemaic to Roman, and from
Egypt for wall decoration. Those found at the Roman to Mohammedan, the chain is complete.
palace of Rameses III were slightly modelled in This brings us, then, to the well-known diary of
relief and covered with coloured enamel ; or the the Persian traveller Nasir-i-Khusrau, who visited
ground was covered with various bits of enamel Old Cairo or Fustat in 1047 A.D. Both Mr. Read,
pieced together and fused in the fire ; or, again, in his introduction, and Mr. Hobson, in a recent
the tiles were coated with white slip, then painted article in this magazine, have referred to the
in colours and glazed over. How long the use of passage in which the diary mentions the singularly
wall-tiles continued in Ancient Egypt we do not advanced and beautiful faience made in Fustat
know—probably until it was driven out in favour at that date; but, although Mr. Hobson more
of coloured marbles in the Ptolemaic and Roman justly appreciates the significance of the passage,
period, by the opus sectile and opus Alexandrinum I think its full importance has not yet been
which lasted long into the Muslim times. But recognized. What Nasir-i-Khusrau says is that he
though the fashion changed, there is not the saw made in Cairo (I use the term for convenience)
smallest reason for thinking that the art of enamel¬ pottery of every kind, ' so fine and diaphanous
ling faience in colours with beautiful glazes de¬ that through the vessel may be seen the hand that
cayed or perished. On the contrary, skill in holds it.' All sorts of vessels, he repeats, were
pottery and glasswork developed, and in Roman made of this ware—bowls, cups, dishes, etc. In
times attained to great perfection. The myrrhine this description Mr. Read does see reason for
vases of Egypt were famous, and the delicacy of tracing the origin of the translucent 'rice-grain'
the glass enamels then made is matchless—for ware of Persia to Egypt; it is, however, difficult
instance, the glass plaques, resembling miniature to believe that Nasir-i-Khusrau refers only to
tiles, and showing inlay of the finest workmanship that very special type, though it happens to be
in gold and colours, which have been found at the only one surviving which corresponds to the
Bahnasah. But the record of the existence of glass¬ description. But Mr. Read does not proceed
works and of their fame in Roman times is, as the with the quotation from the diary, which goes on
Arabs say, ‘ independent of mention ' : it is historic. to say that the potters decorated their ware with
Nor can it be thought for a moment that when iridescent lustre which resembled the shot silk

223
Egypt and the Qeramic Art of the Nearer East
fabric called bukalimun, which changed hue as golden throne of the Sultan, he says that it was
the light fell on the surface. This is a statement adorned ‘with hunting scenes, men galloping
of transcendent interest. Nasir-i-Khusrau was a horses, and finely written inscriptions’—just, in
most cultivated person, as his diary shows—he fact, in what would now be called the Persian
even took a part of his library with him to Cairo— manner. The truth is that up to the eleventh
and in particular he had a keen eye to artistic century the Muslims of Egypt had not that dislike
beauty or rarity. More than this, he had at least of portraying human and animal figures which
a fair knowledge of oriental faience—i.e., knew they afterwards displayed. But, granted that
not only the ware of Persia and Syria, but also painting in lustre spread from Cairo to Persia,
that of China. The proof is that, speaking of it is equally certain that it spread westward to
a very beautiful marble vase which he saw at Spain. In both countries it produced results
Caesarea, he likens it to ‘Chinese porcelain.' of very varied beauty. That the Persian
Now, in all his travels he had seen nothing like lustre was of many types is proved by this
this lustre decoration. To describe it, indeed, he exhibition : for although the coppery lustre of the
has recourse to a comparison with a unique well-known star-shaped tiles is the most familiar
Egyptian textile called bukalimun or ‘ chameleon kind, yet Nasir-i-Khusrau’s bukalimun is irresistibly
fabric,’ as one might say. Of this fabric he himself recalled by the ‘ intense blue and ruby lustre ’ of
writes : ‘ At Tinnis and nowhere else in the world the vases in Case F, No. 10, and D, No. 9—vases
they make the stuff called bukalimun, the colour which I have already said seem dated much too
of which changes every hour of the day ; it is late as ‘ seventeenth century.’ But precisely the
exported to countries of the east and of the west.'1 same variations are found in Moorish lustre work.
It was at Tinnis, too, that the Sultan’s looms For although there is a predominant type of lustre,
produced a linen so fine that ‘ it is neither given not unlike the Persian, in the well-known Hispano-
nor sold,’ and the ruler of Persia had an agent Moresque ware, and this type has a somewhat
waiting there for years prepared to buy a complete monotonous sameness, yet there is also a less
robe at the price of .£10,000, but in vain. I may known type of lustre with the most beautiful
add that the diary further states that the fine bronze-green, ruby, purple and gold hues—again
woollen stuffs worn in Persia are made in Upper recalling bukalimun. I do not know of any
Egypt; and at Siut Nasir-i-Khusrau describes a Spanish vases or vessels lustred with this varied
piece of such stuff as ‘ finer than anything in brilliance ; but such colours may be seen in all
Persia, as fine as silk’ ;2 and finally he alleges that their richness on the walls of the Casa de Pilatos at
if he were to tell of the general wealth and Seville—a Moorish building dated about 1600 A.D.
splendour of life in Cairo he would not be believed —and a few similar tiles are in the Second Mihrab
in Persia. of the mosque of Cordova dated to the thirteenth
Here, then, is the clearest admission by a Persian century. Thus the art which flourished in Egypt
eye-witness not merely of the supremacy of the in the eleventh century was well established both
textile and ceramic arts in Egypt in the eleventh in Spain and in Persia by the thirteenth.
century, but of the manufacture of most beautiful So much for lustre work. Coming now to wall
products by processes elsewhere unknown. If tiles, it is not less but more easy to show that this
such testimony can be rejected, no evidence is of form of architectural decoration, which was of
any value ; if it is not rejected, then it follows that ancient use in Egypt, spread outwards through
the art of painting in lustre had its origin in Syria. For it can be proved conclusively that
Egypt, and not in Persia, and that, at whatever wall-tiles were manufactured in Cairo in the
period it began, it had reached to great perfection eleventh century and were thence exported when
before the middle of the eleventh century, but had required for work in Palestine. When Mukaddasi
not then spread northward to Syria or westward was at Jerusalem in the tenth century, the famous
to Kairuan, to which Nasir-i-Khusrau’s travels Dome of the Rock was intact, and it is doubtful
extended. It is, however, highly probable that the whether any tile-work existed in it. He says:
art was introduced into Persia in the late eleventh ‘ The walls of the mosque for twice the height of
or early twelfth century—possibly workers were a man are faced with variegated marbles, and
sent from Old Cairo even before the great fire above this up to the ceiling are mosaics in gold
which caused its first destruction. And it is and various colours, showing trees and towns and
curious to note that the animal painting and inscriptions all exquisitely worked.’ In 1016 A.D.
figure painting which often differentiates the Dome fell in owing to an earthquake, and the
Persian from Egyptian design in pottery was Fatimite Khalif of Cairo had it rebuilt, the work
certainly found in Cairene art at the time of taking five years—1022 to 1027. This fact is
Nasir-i-Khusrau’s visit ; for, speaking of the recorded by two inscriptions, one of which is
on ‘the tile-work and, though mutilated, still
1 ‘Nasir-i-Khusrau,’ tr. C. Schefer, p. hi. Tinnis was a town plainly retains the date A.H. 418, or 1027 A.D.
upon an island in what is now Lake Menzaleh.
2 Id., p. 173. The lettering is yellow on the dark-green ground

224
 Egypt and the feramic Art of the Nearer East
of the enamelled tiles.8 The same earthquake derived its name from a covering of blue enamelled
overthrew part of the Aksa mosque adjoining tiles. On the minarets of the old mosque at the
on the Haram area, and this damage also was citadel in Cairo may to this day be seen remains
repaired by the same Khalif, Adh Dhahir, at the of a similar covering of green tiles, encircled by
same time. Now Ali of Herat, who visited the an inscription in white lettering on a band of blue
place in 1173, gives this Aksa inscription in full. tiles—work of the same period, or, more precisely,
Though not on tiles, but 1 done all over with dated 1318 A.D.
mosaics of gold,’ it expressly records that the From this time onward examples might be
work was executed by ‘ Abdullah, son of Hasan, multiplied; but I have given enough for my
the decorator, native of Cairo.’1 It can scarcely purpose, which was to show that tile-work as we
be questioned that the same decorator super¬ know it arose in Egypt, and that first the use and
intended the tile-work done at the same time then the manufacture of tiles passed to Syria on
under order from the same Khalif. Here, then, we the one side and to Spain on the other. In
get both tile-work and mosaics ordered by the regard to Persia the case is not so clear.
Sultan from Egypt and executed by a Cairene artist. The tenth-century writer Mukaddasi, speaking of
This was twenty years before Nasir’s visit to Cairo. the mosque at Samarra on the Tigris above
But apparently Nasir himself alludes to the tile- Baghdad says that the walls were covered with
work at the Dome of the Rock when he says that enamelled tiles (mina).10 This is strong evidence,
the wall of the dome above the pillars is ‘ deco¬ and if it can stand alone, which is doubtful, it may
rated with an art so marvellous that there are few point rather to an independent origin for tile-work
things like it ’—which would seem to show that in Persia than to a connexion with Egypt—perhaps
he had not seen the same work in Persia. More¬ to the survival of ancient Assyrian traditions. But
over Nasir-i-Khusrau, speaking of another part of I know of no other literary evidence for this
the Haram area, says : ‘ Both gateway and halls Persian work before the thirteenth century. At
are adorned with coloured enamels set in plaster, that epoch every kind of ceramic art flourished in
worked into patterns so beautiful that the eye Persia. Both Mr. Read and Mr. Hobson limit
becomes dazzled in contemplating them. Over our knowledge of the factories to Rakkah, Rhages
the gateway is an inscription set in the enamels (or Ray) and Varamin : but far the most important
giving the titles of the Sultan (who is the Fatimite of all was at Kashan in J ibal. Here, says Yakut, were
Khalif) of Egypt.’5 The word here used for made the beautiful green bowls11 which were
enamels is mina, which conclusively proves that exported widely: moreover the tiles called mina
mosaics are not in question, and that what Nasir by Mukaddasi became known at least by the
saw was exceedingly beautiful tile decoration, also thirteenth century as Kashani. The green dome
done by Adh Dhahir. He also speaks later of over the tomb of Turkhan Khatun at Kirman,
the ‘ mighty dome ornamented with enamel work,’ dated by an inscription 1242, was covered with
and adds that ‘ the great Mihrab is ornamented these tiles : Ibn Batutah speaks of tiles (Kashani
with enamel work.’ u That tiles were made in work) at Mashhad Ali in Irak in 1326 and at
Egypt early in the eleventh century, that they Tabriz in 1330, and says that the mosque and coilege
were of such beauty as to form a worthy embellish¬ at Mashhad in Khurasan had walls covered with
ment of the most splendid buildings in the Kashani.12 In Syria, Tyre was important even
Muslim world, and that they were novel to the in the twelfth century for the manufacture, as
Persian traveller, needs no further proof. Idrisi says, of those ‘ long-necked vases of
Rather more than a century later Idrisi, writing glass and pottery' which are too freely called
in 1154, says that the mosque at Damascus is Persian.
adorned ‘ with all varieties of gold mosaic work, Systematic research—and far more is now
enamelled tiles and polished marble,’7 and though possible than has ever been made—may determine
the Arabic word rnahkuk is doubtfully rendered more fully the relation of Persian to Egyptian
by ‘ enamelled,' the whole expression is clear. tile-work both in its earlier and in its later stages.
Makrizi tells us that in 1261 A.D., when the Sultan I can only claim to have shown some results of
of Egypt, Az Zahir, was again repairing the Dome
of the Rock, ‘ he sent workmen and materials from 10 Mr. Le Strange, in a passage dealing with the mosque of
Nishapur at Khurasan, quotes Mukaddasi as saying that ‘ golden
Cairo’ ;8 and the Blue Dome of Damascus, which
tiles’ were used to adorn the main building. But on turning to
he also records9 as repaired in 1292, probably the original Arabic text I find nothing to justify this expres¬
3 1 Palestine under the Moslems,’ by G. Le Strange (1890), sion. The Arabic merely says that in the middle of the court¬
yard was ‘a golden house,’ or more strictly a ‘gilded ’ building.
P-125.
4 Id., p. 102. As far as I am aware, then, there is but the one single instance
5 Palestine Pilgrim Text Society, vol. iv., p. 29-30. from Mukaddasi to establish the use of tiles in Persia in the
6 Id-, P- 37.
tenth century.
7‘ Palestine under the Moslems,’ pp. 239-240. 11 Nos. 6, 7, 8, in Case L, may be examples of this ware; or
8 ‘ Histoire des Sultans Mamlouks,’ par E, Quatremetre, t. i, possibly they come from Fustat.
p. 140. 12 See ‘ Lands of the Eastern Caliphate,’ by G. Le Strange,
9 Id., t. ii, p. 140, 1905, PP. 385- 55. 209, 306, 307, 309, and 78.

225
 Egypt and the Qeramic Art of the Nearer East
a hasty examination of the written authorities. with glazed and painted tiles. These arts,
At any rate it savours of a strange irony that the moreover, had attained to such splendour at the
part played by Egypt in the history of the so- beginning of the eleventh century in Egypt that
called Persian and Damascan ware is so they must have been practised there for genera¬
ill recognized. For if my conclusions are sound, tions before, and must go back—in the forms now
the ceramic art of the Nearer East (includ¬ familiar—to at least the tenth century. Even
ing Persia for at least one of its main depart¬ then, if the nomenclature of this faience requires
ments) had its originating source and centre no change, the whole scheme of dating may well
in Egypt: there the art of making fine be reconsidered, and in particular the attri¬
porcelain arose, the art of enamelling in lustrous bution of so many specimens to the sixteenth
colours, and the art of embellishing wall-surfaces century seems open to question.

A PICTURE BY COROT
HE example of the art of them scholarly rather than fresh. Freshness, on
Corot which we are permitted the other hand, is the prevalent note in Corot’s
to reproduce by the courtesy smaller studies, and among them this Evening
of Messrs. Obach and Co. as on the Lake deserves a high place. Nothing
the frontispiece of this number can be more delightful than the simplicity
represents that master in his of the piece. It is the kind of scene which
most intimate and delightful all of us must have seen a hundred times, but
mood. It was formerly in the the charm of which few of us could hope to
famous collection of Lord Leighton, who, it will render with any degree of success. Every¬
be remembered, was also the owner of the four thing depends upon the felicitous concurrence
exquisite decorative panels by Corot which are of the tones and masses, which we should con¬
now among the treasures of Lady Wantage. Corot sider mere good fortune did we not know how
resembles Claude, from whom he learnt so much, sound and scientific was the practice on which
in more than one respect. Those to whom the Corot’s facility was founded ; and upon the
oil paintings of Claude seem conventional and lightness of hand and certainty of vision which
tedious will always experience a shock of surprise could lay in the large mass of soft mysterious
when they make the acquaintance of his drawings shadow without hesitation, and could then create
and sketches, for there Claude appears, not only as behind it this expanse of luminous air and
the pioneer of classical landscape, but as the fore¬ shimmering water. The problem may appear a
runner of Constable, Turner and the Impres¬ simple one to those who are accustomed to
sionists. The difference between the more discuss or to experiment with the complexities of
ambitious compositions of Corot and his smaller figure painting, but if the landscape painter were
studies is of the same kind, if not perhaps of the called upon to defend his art, apparently so easy,
same degree. Masterly though the more important he could at least point out that hardly half
paintings of Corot may be, they are seldom free a dozen masters in Europe have succeeded
from just that hint of effort, of reliance upon in painting landscape perfectly. Corot is one of
traditional methods of arrangement, which makes the fortunate few.

<*, THE COTTAGE, BY F. W. WATTS a*

HE picture which we repro- stable can no longer be sustained. There can be
duce in this number is one of no doubt whatever that the picture is a good
no little interest to students example of an English artist of much inferior
—of English landscape. For power, who followed closely in Constable’s
many years it has hung in footsteps, and was from 1821 to i860 a constant
*"\jn the Louvre as a typical ex- exhibitor at the Royal Academy. The list of his
d/j\ ample of the work of John seventy-seven exhibits can be consulted in Mr.
v/y Constable, and as such has Graves’s catalogue. Even in England the pictures
been copied by many painters of the French of Frederick W. Watts are still mistaken for
school. We remember seeing some years ago at those of Constable,1 but any one who chooses to
Christie’s an excellent version of this picture make a close examination of one or two works by
which appeared to us to be from the hand of the the lesser artist ought never to be mistaken as to
great Daubigny, whose general colour and tone 1 During the last few weeks at least six works by Watts
the work so nearly resembles. As Mr. P. M. have appeared in the London sale-rooms. Of these one was
labelled 1 Old Crome a second, a large and important work,
Turner pointed out in the March number of The was sold as a Constable, two more had forged signatures of
Burlington Magazine, the attribution to Con- Constable, while only two were rightly described.

226
PORTRAIT OF AN UNKNOWN MAN, BY BARTOLOMMEO VENETO
IN THE BORGHESE gallery, Rome (Die Galerien Eunpas, No. 10:
 c The Cottageby F. IV. TVatts
the difference between them. The colour and paints in oil as if it were water colour : his paint
general tone of the two artists are often deceptively has but little substance and is poor and cold in
alike, but when seen closely the work of Watts quality. Constable, by working on a foundation
will be found to be smaller in touch, harder in of brown monochrome, retains a certain warmth
edge, and more patchy than that of Constable, of tone even when the colours he uses are cool,
whose work has always a certain liquidity and so that there is a fundamental difference between
‘ fatness ’ of pigment retained from the days "when the two painters which any one accustomed to
he used to copy Reynolds and Hoppner. Watts looking at pictures should at once recognize.

A PORTRAIT BY BARTOLOMMEO VENETO <-*>

'ARTOLOMIO mezo Venizian precision of the detail, the separate hairs being
e mezo Cremonese,’ as he firmly painted like fine spun wire, but in the
describes himself on his translucent glow of his pigment, as well as in the
earliest known picture, is a quaintness of conception seen in his most
somewhat shadowy figure. characteristic efforts, and the love of intricate,
We know almost nothing of glittering jewellery which he constantly displays.
y ar*d n°thing more of His sitters have an air of alert refinement which is
fa) Ins art than we can gather not readily forgotten ; and in these days, when
the few pictures attributed to or signed by painters without a tithe of his skill and insight are
We may guess that he was born about the liberally treated in print, it is curious that both in
year 1480, and was trained in Venice. We know the National Gallery catalogue and in the new
that he was working for Lucrezia Borgia at edition of Bryan’s Dictionary, Bartolommeo Veneto
Ferrara between the years 1506 and 1508, that he should be so inadequately dealt with. The little
had some connexion with Cremona, and in later note by F. Hermanin prefixed to this plate in
life with Milan, while the portrait of Ludovico Messrs. Seemann’s popular publication, ‘ Die
Martinengo in the National Gallery proves that Galerien Europas,'1 will be found far more
he was still painting in the year 1530. Had he informing, while the reproduction itself is the best
always or often attained to the level of the fine proof of how in his fortunate moments Bartolom¬
picture in the Corsini Gallery which we reproduce, meo Veneto combined delicate craftsmanship,
Bartolommeo Veneto would rank among the finest glowing colour and sympathy with the finer
portrait painters of his time. It is not without shades of human character, as only the masters of
significance that the picture long bore the name portrait painting have combined them.
of Holbein. There is a strong northern element 1 ‘ Die Galerien Europas.’ 200 Farben reproduktion in 25
in the painter’s work, not only in the minute Heften. Heft XIII. (Leipzig: Seemann, 4 marks.)

NOTES ON PICTURES IN THE ROYAL COLLECTIONS’

X-FRANCO-FLEMISH SCHOOL : THE DIVINE MOTHER
BY LIONEL CUST <-*,
MONG the smaller paintings lids upon the Infant Christ. The Child is held by
acquired by H.R.H. Prince His Mother in her arms, partially wrapped in the
Albert with the Oettingen- blue mantle, which is open at the bosom, showing
Wallerstein collection is an a white vest, through which appears the Virgin’s
interesting little picture of The left breast. The Child grasps this, but turns His
Virgin and Child, or the Divine head before taking nourishment.
Mother. The Virgin is seen to This little picture is painted in tempera on the
below the waist attired in a finest canvas, almost like silk. The background
bright blue mantle, which is wrapped round her is gold, covered with reddish brown spots, and be¬
body and covers her arms. Her long fair hair is hind the Virgin’s head issue flames painted in gold.
brushed back off the forehead and falls from the The whole is inserted in a painted frame inscribed
crown of the head in long wavy locks over the in large Gothic characters with votive inscriptions to
shoulders. Her face is wide, and she looks down the Virgin, that round the sides of the frame being
with a slight smile and with heavy drooping eye- written in black : Ave Regina Celorum ave
Domina Angelorum Salve Radix Sancta ex qua
1 For previous articles see vol. v, pp. 7, 349, 517 ; vol. vi, Mundo Lux est orta, while on the lower edge of
pp. 104, 204, 353, 470 ; vol. vii, p. 377; vol. ix, p. 71. (April,
July, September, November, December, 1904 ; February, March the frame is an inscription in three lines of the same
August, 1905 ; May, 1906.) character written in red. The dimensions of the

T 23I
Notes on Pictures in the Royal (Collections
little painting are 14^ inches high by 10 inches wide the solemn feast of the Puy, or the Purification,
within the frame. and added on the following Christmas Day to
The style of painting and the material on which those already hanging'in the cathedral at Amiens.
it is painted suggest some connexion with the early In 1517, when Franpois I and his mother, Queen
paintings of Albrecht Dtirer. The features of the Louise of Savoy, visited Amiens, the paintings
Virgin, the downcast eyes and the general propor¬ amounted to forty-eight, and they were suspended
tions of the head, show some affinity to Diirer, and on one of the pillars of the cathedral, known as the
this is also the case with the careful treatment of Pilier Rouge. Owing to the interest shown by the
the hair, which has some resemblance to that in queen-mother, the paintings then existing were
Diirer’s portrait of the Furlegerin. The artist seems copied in grisaille by a painter of Amiens called
to have been conscious of his inability to draw Jacques Platel, fora manuscript, which is preserved
hands, and to have concealed them with intention in the Biblioth^que Nationale. During the
in the folds of the blue drapery. seventeenth century, owing to the great number
Three repetitions of this actual subject are of the paintings, some had to be removed,
known : that now at Buckingham Palace, one in and finally in 1723 the whole collection w*as
the Louvre at Paris, and a third in the National removed from the cathedral, some paintings being
Museum at Munich. All are practically identical, distributed among churches in the neighbourhood,
even to the Gothic inscriptions on the painted but many destroyed. Of this collection, which
frames. The Munich painting is stated to have must have been of the greatest interest and im¬
come from the convent of Altomiinster, near portance, only a few fragments survive, which
Aichach. have now been brought together in the Musfie de
It has been suggested by Dr. Max Friedlander Picardie. A glance at these paintings is sufficient
that these paintings are taken from some miracle- to show that, although they belong to a definite
working painting of The Virgin and Child in Ger¬ school at Amiens, represented about 1568 by
many, of which many copies were made for pilgrims. Firmin Lebel and in 1600 bv Mathieu Prieur, the
This, however, seems less probable in view of the principal paintings preserved at Amiens belong to
fact that another painting, representing The the early part of the sixteenth century, and to a
Virgin and Child between St. Barbara and St. painter, or painters, deriving from that school or
Catherine, painted in the same material on the workshop, at Dinant or Liege, which is generally
same fine linen and with a similar frame bearing connected with the name of Herri met de Bles.
an inscription in similar Gothic characters, is to be The style of composition and other details show a
found in the Collection Carrand now in the Museo local influence of their own, but the types,
Nazionale of the Bargello in Florence. In this costumes and the introduction of portraiture
picture, which is there attributed to the Netherland¬ point to the Bles origin. Among these types,
ish school, the figure of the Virgin is from the same moreover, are to be found those of the Virgin and
model as that in the three pictures mentioned the female saints, which are seen in the pictures
above, but the female saints show from their head¬ referred to above.
dresses the costume of the Lower Rhenish school Without going so far as to attribute the paintings
of about 1500. It would seem, therefore, to be in at Buckingham Palace, the Louvre, Munich and
this direction that the authorship of these inter¬ Florence to some painter of the actual Amiens
esting paintings is likely to be determined. school, it may be suggested that they are due to
Another solution is, however, possible. In the some confraternity on the borders of France and
Musee de Picardie at Amiens there has recently Flanders, similar to that of Notre Dame du Puy
been arranged a series of interesting paintings of d'Amiens, and that the few specimens which have
the early part of the fifteenth century, belonging been preserved are but the remnants of a series
to the Confraternity of Notre-Dame du Puy not unlike those now in the Musee de Picardie at
d’Amiens. The history of this confraternity Amiens.
affords an interesting page in the history of It is to be regretted that up to the present no
painting, especially in that of the French or photographs can be obtained of the paintings at
Flemish painters in the north of France. This Amiens other than those of two modern copies
confraternity, like others in the same neighbour¬ made by Crauk ; a full description, however, of
hood, was of great antiquity. As early as 1452 the the pictures will be found in the catalogue of the
archives of the confraternity show that a painting Musee de Picardie, from which the above informa¬
was commissioned annually for the mystery at tion is derived.

232
the divine mother, franco-flemish school
IN 1HE COLLECTION OF H.M. THE KING AT BUCKINGHAM PALACE

NOTES ON PICTURES IN
THE ROYAL COLLECTIONS
 WHERE DID MICHELANGELO LEARN TO PAINT?
^ BY C. J. HOLMES
T is usually assumed that tondo cannot be classed for a moment with
iMichelangelo learned the tech¬ Michelangelo’s work ; it is clearly the production
nique of painting in the studio of a minor artist of the Ferrarese school.1
of Ghirlandajo. Yet neither Our Holy Family, on the other hand, with all its
Vasari nor Condivi is conclusive imperfections, is clearly connected with Michel¬
evidence on this point. Both angelo. The sculpturesque grouping and model¬
lay stress on Michelangelo's ling are his, the austere pose of the figures is his, the
extraordinary precocity in draw¬ St. John in particular is a masterly invention not un¬
ing and in copying prints ; but the mere fact that worthy of his best time. The children with thick
he entered Ghirlandajo’s studio in April, 1488, at ankles and tiny feet will be found again in the relief
the age of fourteen, and went away in the following of the Madonna in the Casa Buonarroti. The angels’
year with Granacci to work in the Medici Gardens, heads, both in feature and in the treatment of the
shows how brief was his apprenticeship. During hair, resemble the angel carved in S. Domenico, and
the remainder of his first residence in Florence we still more the St. Proculus. This saint indeed has
have no word that he followed any other profession the same broad face, straight eyebrows and short
than that of a sculptor, and no record of his having nose that we might expect Michelangelo himself to
done any painting whatever. The copying of have had in youth, and that we find in the
Masaccio’s frescoes in the Carmine, mentioned Madonna and two angels of the National Gallery
by Vasari, is described on first-hand authority in picture. The saint’s carved draperies fall from his
Cellini's autobiography as making drawings. After girdle just as do the painted ones in the angel on
the death of his patron Lorenzo in 1492, Michel¬ the right of the picture ; the saint’s legs correspond
angelo continued in the service of his successor, exactly in outline and type with those indicated
Piero, till he was frightened by the extraordinary in terra verde but unfinished on the left of the
dream of his friend Cardiere, and fled from picture. If the saint be by Michelangelo, then the
Florence in 1494. Michelangelo was now just picture too must have been designed by him, and
twenty, and, with the exception of the year passed at about the same time—for neither before nor after
as a boy with Ghirlandajo, the whole of his do we meet with this peculiar type in his work.
working life had been spent in the study of Our Holy Family, then, would seem to have been
sculpture, first under Bertoldo, the pupil of designed about the time of Michelangelo’s stay at
Donatello, then in connexion with the antique Bologna in 1494-5, but how do we find it
as it was understood by the brilliant group of connected with the work of the Ferrarese master
scholars at the court of Lorenzo, lastly in its who painted the Vienna tondo, and exhibiting
relation to anatomy, which he studied with his many of the same mannerisms and weaknesses ?
friend the prior of S. Spirito. We have here to take refuge in hypothesis.
His flight led him to Bologna, thence to Venice, The Ferrarese masters had been great favourites
and then back again to Bologna, almost certainly in Bologna, as the gallery and churches still show,
passing through Ferrara and Padua on the way. but their master-work was the painting of the
In Bologna he remained a year, executing the Garganelli chapel in S. Pietro, begun in 1480 by
small statues of St. Petronius, St. Proculus[?], and Francesco Cossa and completed after his death by
the kneeling angel in S. Domenico, and reading Ercole Roberti. These frescoes, fragments of
the Tuscan poets to his protector, Aldrovandi. He which survived till after 1820, are specially men¬
returned to Florence some time in the year 1495, tioned by Pietro Lami in his ‘ Graticola di Bologna ’
and then, after making the Sleeping Cupid, went to as having excited the admiration of Michelangelo
Rome (June, 1496), where he produced the Bacchus to such an extent that he termed them (evidently
and the Pietd in St. Peter’s. on his second visit to Bologna) ‘ a little Rome.’
Now the Holy Family in the National Gallery, Now, though Cossa was dead and Ercole Roberti
if it be by Michelangelo at all, is clearly earlier in had returned to Ferrara, it is easily conceivable that
date than these last-named works, yet it is hard to minor painters of their following, whose works still
see at first sight when it can have been executed. adorn Bologna, remained in the city, and that
Comparison with the interesting tondo of the Michelangelo during his stay with Aldrovandi
same subject in the Vienna Academy reveals a studied painting with one of them.
curious similarity in certain points. In both we If we assume this we shall at once understand
find the same small, feeble hands, the same elegant
prolongation of the wrist and forearm, a similar 'The peculiarities of the design and treatment suggest a pupil
of Cosimo Tura. The drapery awkwardly disposed behind the
pose of the head in the figure of the Madonna, a Virgin’s head is found again in Tura’s picture of Charity in the
similar treatment ot the hair, and the skin thrown Poldi-Pezzoli Museum ; the slender, bony forearm, and the head
over the limbs of St. John ; indeed, this latter of the Virgin with its high forehead and prominent cheekbones
are also characteristic of Tura. Tura does not appear to have
figure in the tondo is, with all its weakness, worked in Bologna ; but one of his assistants may well have
curiously Michelangelesque in style. Yet the joined Cossa or Roberti when they were painting there.

235
Where did Michelangelo Learn to Laint ?
the mannerism of the hands and arms, and the head and the muscular development are a prelude
poor style of execution,1 which detract from the to the cartoon of Pisa, while the powerful forearm
square monumental design, austere non-Floren¬ finds an exact parallel in the Uffizi tondo, as does
tine types and colour, and sculpturesque the head of Joseph of Arimathea. It would seem,
modelling of the National Gallery Holy Family ; then, as if Michelangelo may have tried to continue
while in the Vienna tondo we can see the Fer- the Entombment after his return to Florence, some¬
rarese painter vainly attempting to assimilate some where about the year 1500, but gave up the attempt
of the genius of his young Florentine pupil. —perhaps in disgust at the initial faults of the
The kneeling figure in the left corner of The design, which he was unable to overcome.
Entombment shows the same type of head, and Possibly a careful search at Bologna would reveal
exactly the same peculiarities in the forearm and morelinks of the very imperfect chain of connexion
hand that we have noticed in the Holy Family ; the with that city on which I have ventured to speculate.
peculiar purple of the draperies, too, is Ferrarese, Those who have a more detailed knowledge of the
not Florentine. We may therefore presume that this Ferrarese school and of Mantegna may note
picture was also begun at Bologna. Possibly his im¬ further points of contact between them and
perfect success in handling the brush may have been Michelangelo, and will at least excuse the
among the causes contributing to Michelangelo’s hypothesis being put forward.2 Although the
belief that he was wasting time at Bologna, though panels in the National Gallery have been vaguely
it would appear that he carried the unfinished panels connected with the names of Granacci, Bugiardini
with him when he returned to Florence in 1495. and Pontormo, no definite works by these masters
The Madonna of the Holy Family, softened and ever seem to have been cited which can claim to
beautified by more gracious ideals than those of make these attributions more than a theory. No
Ferrara, reappears in the marble statue in Notre quite satisfactory alternative has in fact been sug¬
Dame at Bruges ; but the unsatisfactory picture is gested, and there seems no positive argument against
never finished. The Entombment,on the other hand, the idea that Michelangelo experimented in
is continued under the influence of Mantegna’s painting during his stay at Bologna, except that
print of the subject, from which the pose of the Vasari and Condivi are silent. As the works referred
figure on the right (the type of the head still to are all reproduced in the volume on
recalling Ferrara) and the bands confining the Michelangelo in the cheap and handy series,
drapery seem to be borrowed. They recur again ‘ Klassiker der Kunst,’ it would be superfluous to
in the Pietd of St. Peter’s, with which the dead body reproduce them again, especially since their
may also be compared, though in the painting it still reproduction might give a look of finality T> what
retains a hint of the affected elongation of the is after all a mere suggestion. Possibly some
Ferrarese, which is quite different from the terrible more fortunately situated student will succeed in
realistic elongation of such later works of Michel¬ identifying the Vienna tondo with the works of
angelo as the marble groups in the Rondanini one of the minor Ferrarese artists which are still
Palace and the Duomo at Florence. The magni¬ extant in Bologna. If so, we might be one step
ficent figure of the bearer on the left of the En¬ nearer to the solution of the problem of
tombment recalls Mantegna too, but the poise of the Michelangelo’s first attempt at painting.
2 I do not know whether the attribution of the S. Proculus
1 The diminutive hands in the National Gallery pictures are so statue to Michela/ngelo is universally accepted, but whether
unlike Michelangelo’s usual treatment of the hand as to warrant that be the case or not, its correspondence with the National
the supposition that his Ferrarese companion may have helped Gallery Holy Family seems unquestionable, and the connexion
in the actual preparation of the cartoons, and perhaps even of the picture with Michelangelo’s stay at Bologna in no way
worked on the panels. impaired.

NATHANIEL BACON, ARTIST d*

BY H.H. PRINCE FREDERICK DULEEP SINGH, M.V.O., F.S.A.
1 OR a long time there has been think it is well that the question of his identity
iconsiderable uncertainty as to should, if possible, be settled once and for all.
'who, exactly, was Nathaniel On my recently becoming engaged in making a
Bacon the artist. As far back list of Norfolk portraits (in emulation of my friend
as 1826 a writer in the ‘Gentle- Mr. Farrer’s forthcoming work on ‘ Suffolk
Iman’s Magazine’ practically Portraits ’), one of the first series of family pictures
/cleared the matter up ; but as which came to my notice was the interesting
1 the recognized modern authori¬ Bacon portraits. In endeavouring to identify one
ties, such as Redgrave’s ‘ Dictionary of Artists/ of these—Sir Nathaniel Bacon, by himself, but
Bryan’s ‘ Dictionary of Painters and Engravers ’ which Sir Nathaniel it was uncertain—I turned to
(1903) and the ‘ Dictionary of National Biography’ the books of reference above mentioned, only to
(1903) all give contradictory accounts of him, I find ‘confusion worse confounded,’ as any one

236
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who cares to refer to the different biographies
there given will at once see.
Nathaniel Bacon Artist
of Sir Thomas Meutys to Lady Bacon (‘ Corre¬
spondence of Jane Lady Cornwallis’), he died of
,
Let me first of all set down, in order, the three a decline, sometime between June 22 and July 2
Nathaniel Bacons who have been confused. They (probably July 1), 1627. That he was an artist
are— his monument1 with carved palette and brushes—
1. Sir Nathaniel Bacon, K.B., of Stiffkey, Nor¬ but without age or date—in Culford church
folk, second son of Sir Nicholas Bacon, Lord testifies ; but the fact that, on it, so little mention
Keeper, and, therefore, one of the elder half- is made of his genius has caused some to imagine
brothers of the great Sir Francis Bacon. He was that he was not the artist. One finds, however, that
born in (?) 1547, became an ‘Ancient’ of Gray’s he was always being consulted in her art purchases
Inn in 1576, was knighted in 1604 and died in by that talented and beautiful ‘ connoisseuse,’
1622. He was buried at Stiffkey, where is his Lucy countess of Bedford, the great friend of his
monument. wife. His brother - artist and contemporary,
2. Sir Nathaniel Bacon, K.B., of Culford, Edward Norgate, also speaks of his art and
Suffolk (nephew of the above), youngest surviving colouring in the highest terms, and dilates on a
son of Sir Nicholas Bacon, premier baronet peculiar shade of pink which he invented and
(brother of the above). He was born in (?) 1583, used. Again, in his letters in the aforementioned
was knighted in 1625, and died in 1627. His series, there are frequent references to his
monument is at Culford, but the registers do not requirements as to ‘ masticott’ and colours.
show that he was buried there. I have at present seen four pictures attributed
3. Nathaniel Bacon, third son of Robert to Sir Nathaniel Bacon—
Bacon of Great Ryburgh, Norfolk (second son of 1. An oval portrait, head and shoulders of him¬
the first baronet and himself afterwards third self, in the possession of Mr. Bacon of Ravening-
baronet). He was born in (?) 1603, and admitted ham. This is the picture which originally
to Corpus Christi College, Cambridge, in 1621. led me to make inquiries.
He took his M.A. degree in 1628, and in the same 2. A very fine full-length of himself in the
year was instituted, by his father, to the rectory of possession of the earl of Verulam, at Gorhambury.
Great Ryburgh. He may possibly have died in This is the one from which the engraving in
1647, as 'n that year his successor was appointed, Horace Walpole’s ‘Anecdotes’ is taken.
but I have not looked this up. Here, then, we 3. A head of a lady, said to be his mother, at
have an uncle, nephew and great-nephew all Gorhambury.
mistaken for one another ! I think most of the 4. A large picture called The Cook Maid, repre¬
confusion has been caused by Horace Walpole, senting a woman with fish, etc., also at Gorham¬
in his ‘Anecdotes of Painting in England,’ where, bury.
although he speaks of Sir Nathaniel as ‘ of Cul¬ The portrait called The Artist's Mother is
ford,’ he calls him the half-brother of Sir Francis, inferior to the rest, whoever may have painted
and a painter of Elizabeth’s reign. This (but for it. The two of himself, which, so far as
his place of residence) would be quite right if he one can tell, have not been compared for
were the first Sir Nathaniel ; but there is not one nearly three hundred years, are undoubtedly
tittle of evidence to show that Sir Nathaniel of of the same man—a man of about thirty to thirty-
Stiffkey ever put pencil to paper or brush to five, with fine artistic face, long fair hair, pointed
canvas. The third Nathaniel Bacon on my list, beard and moustache—and by the same hand.
rector of Great Ryburgh, may be dismissed on The dress in both is in the style prevalent about
the same negative evidence. He no doubt 1620, and the tradition in both families is that the
‘flourished,’as the ‘Dictionary of National Bio¬ painting is of ‘ Sir Nathaniel Bacon by himself.’
graphy’ has it, circa 1640 ; but he seems to have They cannot be portraits of the first Sir Nathaniel,
remained a quiet country parson. One point as he died, an old man, in 1622 ; they cannot
about him specially to be remarked, and to which represent the Reverend Nathaniel, as he would
I shall refer later, is that he was never knighted. have been but a boy at that period. If, then, they
I now come to the second Sir Nathaniel Bacon, are of a Nathaniel Bacon, which there is no sort
and he, I take it, is the one whom every one who of reason to doubt, he can only be Sir Nathaniel
has written about the painter really intends of Culford.
to specify; though the similarity of name, About the fourth picture, The Cook Maid, there
of period and, in two cases, of title, has led is no uncertainty whatever. It is particularly
them astray. He was (according to the Davy named in an inventory2 of pictures and other
MSS.) born in 1585, and knighted at Whitehall— goods made at Culford in 1659, as being by ‘Sir
at the coronation of Charles I, as his uncle was at
that of James I. He married Jane, daughter of xThis monument, by Thomas Stanton, was set up by his
widow, some years after his death, although in the ‘ Letters ’ it
Hercules Meutys, Esq., and widow of Sir William would appear that it was begun shortly after that event occurred.
Cornwallis of Brome, and, as shown by the letters 2 In the possession of the earl of Verulam.
24I
Nathaniel Bacon Artist ,
Nathaniel Bacon,’ and, most important of all, it is
unquestionably by the same artist as the other
aged in (about) 1620. This does away with the
pretensions of a man who died, aged about 75, in
two, the similarity in the painting of the hair and 1622.
skin being very marked. The evidence, therefore, There now remains but Sir Nathaniel Bacon,
seems to me conclusively to prove : K.B., of Culford, the man who died in 1627 aged
(a) That Nathaniel Bacon, artist, had the title of 44. His contemporaries and his monument
‘ Sir.’ This, apart from questions of age, disposes vouch for his artistic talents, and, if the evidence
of the claims of the man who took his M.A. in of the pictures I have cited is accepted, he was a
1628, and who took Holy Orders in the same year. very good painter indeed—I had almost said a
(b) That the artist was not more than middle- great one.

THE jIUNI-TENNO OF TAKUMA CHOGA

BY PROFESSOR R. PETRUCCI1 ^
HE japanese paintings now colouring materials of high value and glistening
in my possession, of which gold are admirable. We saw several sets of
this article treats, date from twelve Devas beforehand, but none so fine as this.
the end of the twelfth century. Moreover, most of them were incomplete in num¬
For very many years they ber, while this one has no single scroll missing.
were preserved in the temple For the above reasons we consider this set of
of Kiuzoji, one of the oldest paintings a rare treasure in the Japanese art
religious foundations of the world.’
At the dawn of the Meiji era, The school of Takuma was founded by Takuma
the temple was reduced to poverty by the sudden Tamenari in the eleventh century, in the reign
suppression of the dues and gifts which con¬ of the seventy-second emperor. At the out¬
stituted its wealth, and was compelled to sell its set it was nothing more than a branch of
treasures one by one ; and thus it was that this the school of Rose Kanaoka, which had pre¬
unique series was set free to cross the ocean. ceded it ; but Takuma Choga, or Shyauga,
Nowadays, when the Japanese Government has was destined to create the style which charac¬
had inventories drawn up, and passed laws pro¬ terized it thenceforth. He flourished at the
hibiting the sale out of the country of the works beginning of the Kamakura era, which began in
of art placed under its protection, it would be very 1186. Affected by the new influences at work, he
difficult to abstract from under its vigilant eye so substituted for the ancient principles of the school
leading an example of national art. of Kanaoka the vigorous and brilliant manner
The series had been in the temple of Kiuzoji which he drew from the Chinese art of the Soung.
ever since the thirteenth century, and tradition Takuma Choga marks the apogee of a school, and
points to them as the work of Takuma Choga. the relatively perfect preservation of the paintings
This master, who bore the title of Hoin, the most under notice renders it possible to form an accu¬
exalted attainable by the artists of the Mikado’s rate opinion of its quality. They represent the
court, died in the early years of the thirteenth twelve ‘ Tens’ : Yemmaten, who corresponds with
century (1201 or 1204). Buddhist paintings were the demon king of death ; Futen (the Sanskrit
never signed in the ancient art of Japan, and in Vasu) ; Nitten (Surya) ; Bonten (Brahma) ; Getten
that age of faith a painter would have considered (Soma, Candra) ; Chiten (PrithFvi) ; Rasetsuten
it a grievous sin of pride to affix his mark to the (Nairrita) ; Taishakuten (Indra) ; Suiten (Varuna);
awful images of the gods. The works of those Kwaten (Agni); Bishamonten (Vaigravana); and
distant ages, therefore, must be judged by analysis Ishanaten (Civa).
and tradition. The origin of the twelve kakemono The profound fervour of Buddhistic art, which
under notice leaves no doubt of their attribution ; by the expression of religious abstraction and
and on their style I will content myself with quot¬ ecstasy succeeded in rendering the loftiest and
ing the opinion of Mr. Nakamura, formerly deepest emotions of the human race, is affected
director of the Tokio Museum, who examined in these paintings by the element of realism
them some twenty years ago. ‘ Judging from his introduced by the new conditions. The rigidity
style,’ he writes, ‘any connoisseur will perhaps of the conventional and hieratic figures of the
agree to this tradition at once. We call the atten¬ school of Kanaoka has disappeared. In its place
tion of the inspector to the beauties of all the we have a slender elegance and voluptuous grace
lines and colourings. Really the traces of brushes in the flowing curves of the bodies of the
in the draperies of the deities are almost undis- benevolent boddhisatvas; sudden and violent
cernable, and the grandeur produced by the movement in those of the demons ; countenances
1 Translated by Harold Child* calm or terrible, rapt in a mystic dream or deeply

242
 The Jiuni-Tenrio of Takuma
marked with violent passion—all showing, in Gandhara. These Buddhist figures, like those
exquisite colour which is in itself a dream of from their birth-place, as yet unmodified by the
more than human beauty, how far art had thrown accretion of magic which in Thibet, for instance,
off the dominion of the ancient formulas and how is productive of so much obscurity, deserve to be
much new power it had won. studied from the different points of view of
To the exceptional artistic value of these paint¬ religious history and of the effects of Indo-Euro¬
ings must be added an archaeological value of the pean influence on Japanese art of the early periods.
highest importance. Among the twelve boddhis- In these paintings, therefore, we have not only a
atvas represented, some correspond to old and unique work of the master who won the highest
forgotten forms. They approach very closely to artistic honours at the Imperial court and was the
the earliest periods of Buddhist teaching, and, first great founder of a school after Kanaoka ;
together with the Hindoo character of the symbols we have precise evidence of one step in a moving
they hold, they preserve the foreign type of face story. Side by side with the subtle beauty of the
and that exquisite delicacy which seem to result figures we can divine the age-long ripening, the
from Greek influences anterior to the art of nobility and the complexity of the spirit of man.

THE BOOK CYPHERS OF HENRI II

<*> BY CYRIL DAVENPORT rJ^
BOUT the middle of the six¬ of more personal application in the form of
teenth century several beautiful cyphers containing initials.
bookbindings were made for Leonard Limousin, a celebrated portrait enamel-
Diane de Poitiers, Grande ler, made two portraits which touch particularly
Seneschale de Normandie and on the present inquiry ; the first of these represents
Duchesse de Valentinois. On the dauphiness, Catherine, and the other the
these bindings appear several dauphin Henri on horseback.
book stamps which were made In 1540 Henri married Catherine de Medicis, a
for Henri II, king of France, and these stamps lady of high lineage and fond of magnificence
appear to have been lent to the duchess by the of all sorts. Her portrait shows her in a rich
king as a mark of royal favour. Several of the dress with embroidered borders on
royal books were also lent or given to her. the bodice and sleeves ; the borders
Diane was almost twenty years older than the are ornamented with repetitions of
king, a lady of great ability, distinguished parentage, the cypher H.D.C. This I interpret
and a notable patron of the Arts. Her historical as meaning H[enri] D[auphin] et A
position has been properly defined by De Thou Catherine]. Catherine’s jewelled
and Brantome, but gossip has treated her more necklace is, moreover, composed of links fashioned
unkindly. into the same cypher.
Henri, as dauphin, adopted as his impress— The arrangement of the letters in this cypher
such personal devices were then in full fashion— is, however, not quite happy: the levels of the tops
a crowned crescent with the motto Donee totum of the D and theC do not range well ; so I suggest
impleat orbem, a device and motto in every way that the royal designer broke the cypher up into
suitable to an heir to a throne. This crescent two other symmetrical ones, each of which
naturally suggested the Huntress Diana, with her v~7 retained the H, namely,
other emblems of bows, arrows and quivers, all of ^ 44 ] one showing H with
which appear in bindings made for the king, x two D’s, and the other
on most of which the centre ornament is the H with two C’s. The
royal coat-of-arms of France enclosed within a 1 retention of the HD
border of unstrung bows and having the crescent ZA cypher by the king
below it. after his accession to the throne would be justified
In 1550, on Henri's triumphal entry into Rouen, by the accident that his number, Deux, began
the crescent badge was worn on the coats of the with the same letter. It is the existence of this D
royal footmen and on the state trappers of the that puzzles bibliophiles, and many of them
horses, and on various flags were ‘ croissants, chiffres consider that it stands for Diane.
et devices dn Roi.’ In 1575 Catherine, then a widow, As I have shown, a D appears prominently on
caused crescents, quivers, bows and arrows to be the dress of the dauphiness, conjoined with her
painted on the stained glass windows of the Sainte own initial as well as that of her husband. Is it
Chapelle at Vincennes, set up by her in memory at all likely that a young bride would brook the
of her husband. inclusion of the initial of any other lady in such
But besides all these devices there were others intimate fashion ? Certainly not ; and if the

243
The Book Cyphers of Henri II
presence of the D can be otherwise justified, I of France, but have instead of it her name,
should feel strongly inclined to accept such justi¬ 1 Dianna,' her coat-of-arms, Br6ze-Maulevrier, or
fication, if possible. crescents.
At various times kings have given away their Diane liked black and white, and many of her
books, and even allowed their book stamps to be bindings are in white leather. Her crescents were
copied, but there is no instance in which a king’s coloured black or white, and her bows were
royal monogram has been combined with that of sometimes strung and sometimes unstrung.
any lady but his queen, and I do not see that it is Henri I I’s bows were always unstrung.
necessary to conclude that this was done in the No doubt Diane did her best to appropriate
case of Diane de Poitiers. the royal devices as her own, and the stamps she
No doubt Diane saw that the accident of had cut for herself are as near the royal ones in
Henri’s adoption of the crescent for his badge design as possible. One of these,
fitted in admirably with her own name, and she an H crossed by two crescents, is
used on her bindings and houses not only the very like that made for Catherine
crescent, but bows, quivers and arrows as well. the queen, but the ends of the
Not only this, but the initial cyphers were also crescents are without the serif.
pressed into her service, and she even had a stamp The two D’s for Diane also seem
cut showing a crowned H, in imitation of one intended to imitate the cypher of
used by the king. the H and the two D’s.
After Henri’s death in 1559, Diane lived at the If Diane wished to have her
Chateau d'Anet, designed for her by the royal cyphers confused with those of
architect, Philibert de l’Orme, and her books in the king and queen, she was re¬
the library there were freely ornamented with the markably successful, as the con¬
stamps I have just discussed, except that of Queen fusion continues to the present day. I hope that
Catherine. The centres, however, of the bindings the suggestion I have offered may do something
made for Diane never bear the royal coat-of-arms to clear it up.

JAMES DARET
^ BY W. H. J. WEALE c*v
AMES DARET, the subject of seems that the designing of all art work of any
a newly published memoir,1 and importance was as a rule entrusted to a master
Roger de la Pasture were fellow painter.
pupils of Robert Campin, a From 1423 to 1428 Campin filled several offices
native of Hainault, probably of in the gild and became possessed of a considerable
Valenciennes, who settled in fortune. In 1432 he lost the services of his two
Tournay about 1406 and apprentices, to whom no doubt the high reputation
quickly made a reputation for of his studio was in some measure due. After
securing a large number of their departure Campin seems to have been chiefly
commissions from private persons but becoming engaged in designing work, the execution of
practically painter in ordinary of the municipality. which was carried out by others. He died 26th
It is not known where he received his art training, April, 1444. I have given in this magazine (Vol. I,
but there seems to be some probability that it was pp. 202 and 207) my reasons for thinking that two
at Maastricht, as he had taken for his wife Elisabeth pictures in the Prado gallery may possibly be by
of Stockhem, a village on the left bank of the him. Panel paintings of the Tournay school were
Maas within a short distance of Maaseyck ; but often of large dimensions ; this no doubt was due
this is a mere conjecture. The superiority of his to their authors having been much employed in
art or of his technique must have been quickly designing tapestries and in painting on linen—
recognized, as although there were several master Campin, for instance, designed a series of scenes
painters of repute established in the city he seems in the life of Saint Peter which covered 68 ells of
to have been very soon looked on as the master to linen cloth.
whom the designing, if not the execution, of all The oldest of the gild registers gives the names
art work should be entrusted. M. Houtart enum¬ of four apprentices of Campin, as to the first of
erates a number of works executed by him in and whom nothing further is known ; the second is
after 1406, including paintings, the gilding and Rogelet de la Pasture, who commenced his
polychroming of statues and carved work, and the apprenticeship 5th March, 1427, and the third
furnishing of designs, ‘patrons,’ to sculptors, gold¬ Jacquelotte Daret, who began his, five weeks later,
smiths, brass-founders and tapestry weavers. It 12th April, 1427. It is certain that between 1406
11 Jacques Daret, Peintre Tournaisien du XV®, Siecle.’ Maurice
and 1427 Campin must have had a good many
Houtart. 45pp. Tournai; Casterman. 190'. apprentices. At Tournay before a painter could

244
MAN MAKING WINE, BY CHARDIN
IN THE POSSESSION OF THE UNIVERSITY OF GLASGOW
 James 'Daret
obtain the grade of master he had to serve an James Daret had not received a single commission
apprenticeship of not less than four years. Not only from the municipality, nor, so far as we know,
that, but, during Campin's time at least, those who from any of the churches in the town. He there¬
were admitted to apprenticeship had previously fore removed to Arras, where he was employed by
gone through a long period of instruction. In the abbot of Saint Vedast to design and afterwards
many other towns, as for example at Bruges, to gild brass lecterns and other articles of furniture
where the craft was originally composed of mere for the abbey church. He also designed a
decorators, raw youths were admitted as appren¬ tapestry of the Resurrection for the same prelate,
tices, and the obligatory term of service was only and was the chief designer and painter of the
two years. entremets at the famous banquet of the Pheasant,
The Darets were an artistic family. In the at Lille, in February, 1454. He continued to
period 1397 to lA9&> we find among the members dwell at Arras until 1460, when he returned to
of the family two cabinet makers and wood Tournay. On 28th March, 1468, he went off to
carvers, three sculptors and four painters. James Bruges, taking with him a number of other
Daret, born c. 1403, was the eldest son of John, painters, at whose head he worked for seventy-
who was, like his father, a wood carver. At eight days at the decorations for the wedding of
Tournay males attained their majority at the age Charles the Rash and Margaret of York. After
of fifteen, and so in April, 1418, we find James the 12th of July we lose sight of James Daret,
Daret lodging and boarding with master Campin of whom no trace is found at Tournay—neither
and working at his craft. In 1418 he received the will, nor mention of works nor of heirs. His half-
tonsure, which proves that he could read and had brother and pupil, Daniel Daret, succeeded John
some knowledge of Latin and of religious and van Eyck as the official painter of Philip III,
secular history. Many craftsmen of the more duke of Burgundy.
artistic industries became clerics in order to escape Besides the up-to-date narrative of all that is
being subject to the jurisdiction of lay tribunals. known of James Daret, this careful and pleasantly
On 6th July, 1426, Daret went to Aachen, to the written memoir will be found to contain a good
exposition of the great relics which then as now deal of information as to Roger and other art
attracted a vast number of pilgrims every seventh craftsmen of Tournay, making it a valuable con¬
year. He had been living and working with tribution to the history of the school. Until quite
Campin during at least nine years when he com¬ recently all early Tournay pictures were assigned
menced, on 12th April, 1427, his four years of official positively to Roger when not attributed to one of
apprenticeship. Until the completion of these he the van Eycks ; now they are with equal assurance
was not at liberty to work for any one but his given to Campin or to one of the Darets under
own master. Immediately after his admission as their own name or the absurd title of master of
master, 18th October, 1432, he was chosen to be FEmalle, though doubtless some of these paintings
provost of the gild. On 8th January, 1433, he were really executed by Master Henry le Chien
received his half-brother, Daniel Daret, as his (1413-1429), or by some other one of the three
apprentice; this Daniel was not admitted as dozen painters admitted as free masters before
master until 10th February, 1441. Up to that date 1440.

^ NOTES ON VARIOUS WORKS OF ART

A MAN MAKING WINE, BY CHARDIN superb vermilion. Not even Velazquez has
Of the three superb examples of Chardin recently invented a bolder contrast, and even he could not
lent to the Whitechapel exhibition by the univer¬ have enveloped it more successfully in perfect
sity of Glasgow, that which we here reproduce, harmony of tone. Pictures such as this, at once
A Man Making Wine, must, in its original con¬ tender, scientific and daring, make us long for
dition, have been the most remarkable in colour. the day when modern processes of colour repro¬
The surface is now badly cracked, a defect which duction will enable these masterpieces to be placed
our photograph reproduces only too accurately, within the reach of their humbler admirers.
but even in its present imperfect state the picture
could not fail to attract attention. Conceived, as GUARDI AND TIEPOLO
are the majority of Chardin’s works, in a scheme So little is known concerning the Venetian
of warm, luminous grey, upon which the white eighteenth-century masters that the most insignifi¬
dress of the figure and the lustrous black of the cant incident in their lives appears to be worth
bottle tell as the extremes of light and darkness, recording. It is because no information whatso¬
and which is varied still further by the warmer ever has been forthcoming as to the personal
tones of the jugs and of the tub, the picture is, relations subsisting between Francesco Guardi and
as it were, made almost startling by the intro¬ Giambattista Tiepolo, who became his brother-in-
duction of the cans on the right painted in a law by marrying Cecilia Guardi, that the inscription

U 247
Notes on Various TVorks of Art
on a drawing by Tiepolo which has recently come wrangling over its rebuilding. Many serious in¬
to light will, we venture to think, be welcome to the terruptions have checked the work, the worst of
student. Though it does not enlighten us as to these occurring some three years ago, when the
the effect of this family alliance on the intercourse weight of the rising tower placed a strain on the
between the two painters, it would seem to allow the foundations which they were not able to bear, and
inference that Tiepolo was intimately acquainted they began immediately to subside. This diffi¬
with a kinsman of Francesco. culty was, however, overcome after an infinity of
As we are not here concerned with the intrinsic labour, and the foundations were relaid with
merits of the drawing in question (which, we may a care and nicety brought about by failure
incidentally remark, comes from the collection of and experience. The question as to the impos¬
a Spanish artist, Raimondo de Madrazo, and is sibility of the belfry presenting exactly the same
now the property of an American lady, Miss S. C. appearance as its predecessor had done is largely
Hewitt, of New York), but with its value as a occupying the artistic world in Venice, and letters
document, it will suffice to point out that it is a and articles appear constantly in the papers to
spirited composition representing an allegorical insist that the bricks shall be made to look old, the
subject, and a good example of Tiepolo’s finished marble weather-stained, and make other demands
sepia drawings heightened with white. which it will be impossible to satisfy. An angry
As we learn from the inscription in the left-hand dispute raged for some time as to placing the
top corner of the drawing, which runs as follows : tower on three or five steps. The old campanile,
‘LO FECE IL TIEPOLO E ME LO DONO it is well known, stood originally on five, but in
IUSEPPINO GUARDI,' Giuseppe Guardi the course of ages two of these steps had sunk
(‘Juseppino’ is the colloquial diminutive of below the level of the piazza, and the question
'Giuseppe') received the drawing as a present arose as to how many were to be used to-day.
from Tiepolo himself. Its inscription may have It was ultimately decreed that the original plan
been added to it byway of guarantee of its authen¬ must be adhered to, and the supporters of the five-
ticity when the owner parted with it, or because step plan won the day. Another check occurred
he felt proud of possessing a work by his distin¬ last winter when the quality of the bricks used for
guished relative. As we find the name of Giuseppe the construction of the tower was called in doubt,
Guardi only once in the genealogical tree of the and again the work was suspended. The com¬
Guardi, it represents presumably the recipient of mittee appointed to decide on so momentous a
the drawing. According to the tree, Giuseppe matter met in Rome to talk things over, and till
issued, like Francesco Guardi, from the Mastellina judgment was pronounced all was at a stand-still
branch of the family, and was a contemporary of in Venice. After much valuable time had been
the famous landscape painter’s father (Domenico). lost in this way it was discovered that the bricks
Thus the inscription gives us a glimpse of Tiepolo’s were of the right kind after all, and work was
friendly relations with an older kinsman of his resumed. It is now progressing steadily, and the
brother-in-law. tower, standing on the five steps, has reached, at
It is difficult to conceive that Tiepolo did not its highest point, a height of ten feet. The actual
also come into contact with, or at least exercise an brickwork in the interior differs in many ways
influence over, Francesco Guardi, as he was a from what was in the old tower, but no objection
rising artist when he married Cecilia, and sixteen can be raised to a form of construction which
years older than her brother. Until Guardi makes for solidity and stability, and which it is
attained his artistic majority, Venice remained the hoped will guard for ever against any likelihood
headquarters of Tiepolo’s activity. Cecilia did not of another disaster. The mode of ascending will
accompany her husband to foreign courts when be as formerly : an inclined plane gradually lead¬
he left Venice. That she continued to live on ing up the four sides of the tower, and making
good terms with her brother to the end of her the process of ascent easy to every one. Three
days we may infer from the fact that she or four years are talked of as necessary for the
bequeathed a small legacy to him in her will, completion of the work—provided that no delays
which was framed two years only before her death. or accidents interfere with its progress.
George A. Simonson. Alethea Wiel.

MASTER HARE
THE REBUILDING OF THE CAMPANILE The portrait of Master Hare on p. 356 of The
OF S. MARK’S Burlington Magazine for June was erroneously
On the 14th of this month, just five years ago, the attributed in the inscription to Gainsborough. It
great campanile of S. Mark's, at Venice, collapsed ; is, of course, by Sir Joshua Reynolds, as mentioned
and artists, architects and engineers are still in Mr. P. M. Turner’s article.

248
 LETTER TO THE EDITOR
A NEW BOOK ON THE POLLAIUOLI British, believe that neither of Dr. Bode’s two
To the Editor of The Burlington Magazine. bugbears above mentioned ever made mistakes so
Sir,—May we be allowed to suggest that the great, on a question of Italian art, as Dr. Bode
tone taken by your distinguished contributor, Dr. himself made when he gave the name of Leonardo
Bode, in his review of Miss Cruttwell’s book on the to the Resurrection at Berlin, or when he main¬
Pollaiuoli in your June number, is not one which tained the Donna Velata of the Pitti to be the
is customary on this side of the North Sea, nor work of a Bolognese. Our study—to which the
one which it seems desirable to encourage in your name science is too freely given—is a very
columns ? Why must Berlin criticism continue difficult one ; its results are seldom capable of
to exhibit so morbid a sensibility in all contro¬ absolute or experimental verification in the
versies wherein it discerns or suspects the influence manner of the true sciences, but depend for their
either of the late Senatore Morelli or of Mr. final acceptance on the gradually won assent of
Berenson ? On several of the points in debate an international body of students. We can only
independent inquirers may very possibly be do our best with such inborn faculties and
more inclined to agree with Dr. Bode than with acquired training as we may possess ; can we not
Miss Cruttwell; but that lady is a serious and a avoid, whatever our nationality, or domicile, or
competent student, and her opinions are entitled position, the dogmatic and dictatorial denuncia¬
to be received with courtesy. When Dr. Bode, tion of each other’s works and views ?
perhaps not wholly without cause, complains of Sidney Colvin.
her for enouncing them ‘with an air of infallible Claude Phillips.
assurance and great scientific pretension,’ we
cannot but be moved to ask, ‘ but with what air [We need not say that we have good reason
does he himself contradict them ?' There is no to desire courtesy in critical discussions, if only
infallibility in these matters : not even Dr. Bode’s because it relieves 11s from the responsibilities of a
immense services in the expansion and organization censorship which we have hardly ever found it
of the Berlin galleries, nor his brilliant activity in necessary to exercise, and which, if exercised often,
many fields of criticism, can justify him in would impair the reputation of The Burlington
assuming the pontifical tone which he condemns Magazine as a medium open impartially to all
in others. We all make mistakes ; a majority competent authorities, whatever their opinions.—
of students, Continental and American as well as Ed.]

^ ART BOOKS OF THE MONTH

It must be admitted that the book in which the
ART HISTORY results of many inquiries are thus summed up
L'Art Mosan depuis l’introduction DU suffers from a lack of organization and arrange¬
Christianisme jusqu’a la fin DU XVIII® ment, a defect which may well be attributed to
siecle. Jules Helbig. Publie . . . par les the want of the author’s supervision during the
soins de Joseph Brassinne. Tome I. later stages of its preparation. Of the section
Bruxelles: G. Van Oest & Cie. 1906. 50 fr. dealing with goldsmiths’ work M. Helbig did not
(subscription price 40 fr.) the two volumes. live to complete even the manuscript, and it has
been finished by another hand. This is the more to
It is hardly a generation ago that ‘ Mosan Art' be regretted in that the goldsmiths’ craft flourished
was an unknown term in the vocabulary of art in the Meuse valley with exceptional luxuriance.
criticism. With the claims of Rhenish art on one Those who were fortunate enough to see the exhibi¬
side and Flemish art on the other, perhaps there tion at Bruges in 1902 are not likely to forget the
seemed little room for an intermediate art of the masterpieces of the thirteenth-century monastic
Valley of the Meuse. In recent years quite a goldsmith, Hugo of Oignies, works of unsurpassed
literature has sprung up about the art of this dis¬ beauty and richness. At Liege, three years later,
trict, which by reason of its Walloon population several of these again figured, supported by a whole
really stands essentially separate from the neigh¬ series of splendid enamelled reliquaries of the twelfth
bouring countries inhabited by Flemings and and thirteenth centuries, among them the glorious
Germans ; and to that literature M. Jules Helbig coffer-reliquary of Staveloo, saved from the hands
was a substantial contributor. It was fitting that of the restorer some years since by the efforts
one who bore his part in the pioneer work of investi¬ of Mr. Weale. The enamels of the school of
gation should undertake, in the evening of his Godefroid de Claire of Huy, elucidated recently
life, the pleasant task of gathering together the by Messrs. Von Falke and Frauberger in their
fruits of his own and his fellow-labourers’ toil, monumental work ‘ Deutsche Schmelzarbeiten des
and it is to be regretted that he did not live to see Mittelalters,’ rank with the finest productions of
the completion of what he regarded as the crown the world-famous enamellers of Cologne and
of his life’s work. Limoges.

249
Books on Art History
While its goldsmiths and enamellers thus held defining the qualities of the art he is dealing with.
their own against those of any country in Europe, In spite of his belief that Hart n’est que la
in the craft of the latten-worker the Valley of the manifestation du genie et de l’esprit d’une nation,'
Meuse enjoyed an unrivalled supremacy. The and his declaration that he so regarded the art he
little town of Dinant gave its name to the whole was dealing with, the impression left on the mind
class of works in brass or latten—lecterns, fonts, after reading his book can hardly be said to be
candlesticks, ewers, buckets and the rest—which that of a clear and coherent body of art-work
the commerce of the Middle Ages distributed expressing a definite national character.
through north-western Europe from their centre The present volume carries the subject down to
of production on the Meuse, and which are still the beginning of the sixteenth century; the
familiarly known among antiquaries under the completing volume, announced to appear this
name of Dinanderie. year, is to finish the account to the end of the
These arts of the goldsmith and metalworker eighteenth century.
were indeed in a very special sense arts of the It only remains to be said that the book is
country. Their history offers a rich field for the liberally provided with illustrations made from
patriotic historian of the arts, and the regret admirable photographs, which yet, by being
naturally arises that M. Helbig was unable to placed with persistent disregard to the text they
devote a fuller and more systematic treatment to are supposed to illustrate, serve rather to
those characteristic branches of his subject. exasperate the reader’s temper than to help his
However the case for architecture may stand— understanding.
and the author has not made out a very con¬ H. P. M.
vincing account of it—for a Mosan school of
sculpture there is a good deal to be said. The Handbuch der Kunstgeschichte. Von A.
diptych of Flavius Anastasius, formerly at Liege, Springer. I : Das Altertum. Achte Auflage
and now divided between South Kensington and bearbeitetvon A. Michaelis. Leipzig: Seeman.
Berlin, is avowedly included and figured in a full- 1907. 9 marks.
page plate merely as a possible source of influence. The rapid progress of discovery in the fields of
The ivory plaque at Liege representing Christ’s ancient art has made it necessary to issue a fresh
three acts of raising the dead is marked by much edition of Springer’s ‘ Handbook of the History of
the same character as Carlovingian sculpture else¬ Art' (completely remodelled since the death of its
where, and it is not until the ivory plaque of originator) every three years since 1895—a proof
Bishop Notger (972-1008) and the noble Vierge of the demand for such literature in Germany, and
de Dotn Rupert are reached that the rudiments of the thoroughness with which it is kept up to
appear of a style which seems to lead up to the date. The eighth edition of the first volume
reliefs of the wonderful brass font of S. Bartho¬ (‘Ancient Art’), which lies before us, is, like the
lomew’s at Liege. Passing to the fourteenth and four preceding ones, the work of the veteran Prof.
fifteenth centuries, we find a whole group of Michaelis, of Strassburg. With its range from
sculptors from the Meuse valley, among whom prehistoric times to the end of the Roman world,
the names survive of Pepin of Huy and Henne- its completeness and detail, its 900 illustrations,
quin of Liege, carrying the art and fame of their and, we should add, its price, it may be said to be
native land into France and Flanders. without a rival. Certainly we have nothing like it
The latter part of the volume is mainly devoted to show in English. A book like this is not a
to a sketch of the Mosan painters and their work, dictionary of antiquities ; it is a continuous history
headed, on the strength of their birthplace, by the of the development of art, with the unity of view
brothers Van Eyck, though with an admission and presentment which results from the work of a
that by reason of their migration they exercised single mind. The difficulty is to preserve a sense
no immediate influence on the art of their own of proportion, while not omitting any information
country. Patinir and Bles, though in the same which the intelligent reader or student might look
way they quitted their birthplace for a more for. In these respects the book seems to have
promising field, stand more truly for Mosan attained a very high level of success. Greek art,
painting, a school which deserves special honour as is natural from its intrinsic importance, takes up
for its early recognition of the importance of more than half the volume; but sections, adequate
landscape. for the purpose in view, are devoted to the art of
Such a book as this does not profess to offer prehistoric times, and to that of the countries—
new discoveries. It sets forth a general view of Egypt, Assyria, Persia, etc.—which were in touch
the subject, obviously warmed and inspired by its with the Greek world and influenced its artistic
author's love for the honour of his native country. development, while at the other end of the scale a
Perhaps this enthusiasm made it hard for him to complete treatment is accorded to the art of Italy
see that it would have been well to lay firm and and of the Roman Empire, in which Hellenism
solid the foundations of his work by analysing and found a new sphere of existence and wider modes

250
 Books on Art History
of expression. Everywhere what is essential for book should, from the strict historical point of
the history of art is insisted upon, as against purely view, be transposed. Both societies originated in
archaeological aspects. One of the most important the exhibition held under the auspices of the
and interesting sections illustrating this point of Society for the Encouragement of Arts, Manu¬
view is the account of the Hellenistic civilization, factures and Commerce in 1760. The Society of
in which, under the successors of Alexander, new Artists was a secession of the more important
artistic forms were developed which later had contributors, who held a separate exhibition of
great influence and found a world-wide scope in their own in 1761. The Free Society, being the
the Roman Empire. We may add that the plan section which remained true to the place and
of the book includes the history of architecture. methods of the 1760 show, has thus the sounder
Where the field is so vast, selection is all-impor¬ title to corporate seniority, as Mr. Graves himself
tant ; and it might not be difficult for a captious admits in a note.
critic to ask why this monument or that theory The volume is the most interesting of all Mr.
was not mentioned. But a handbook of this Graves’s catalogues, for in it we see the British
kind, intended to lay the achieved results of the school in its infancy. Reynolds, Gainsborough,
subject before the student or general reader, is Hogarth, Romney and many other distinguished
not the place for every recent theory still waiting, artists up to the year 1769, when the competition
perhaps, to stand the test of time. Thus we find of the newly founded Royal Academy begins to
no allusion to Strzygowski’s theories about the tell, exhibit in company with artists in hair and
art of Asia Minor, too recent for inclusion in an needlework, and young ladies from boarding
authoritative manual. On the other hand, the schools. It is interesting to note that Reynolds’s
influence of Wickhoff’s 1 illusionism ’ in Roman Lord Ligonicr and Captain Orme hung side by side
art is to be traced in the account of the sculpture in the exhibition of 1761, as they do once more in
of the Flavian period. Generally speaking, as the National Gallery. We wonder how the mis¬
we might expect, the book is extremely well kept prints in the quotation from Catullus which
up to date. The new discoveries in Crete, and follows crept into the catalogue : Reynolds was
the whole subject of Aegean art which had its not the man to quote incorrectly. This catalogue,
centre there, are adequately described, considering by the way, has a preface by Johnson, in which
our still imperfect knowledge. Delphi, again, is given an explanation of the charge for admission
which under the French excavations has provided and of a system of sale by auction of works
so many fresh examples of Greek art from nearly not disposed of during the exhibition—a system
every period, figures largely in these pages. We which did not survive the first experiment.
notice, too, that Furtwangler’s reconstruction of A glance over the contents reveals many inte¬
the pediments of the temple at Aegina has been resting names : Captain Baillie exhibits his prints
utilized. If we must mention one correction, after and in the manner of the Dutch masters,
we think that Mr. Stuart Jones’s demonstration including his restoration of the Hundred Guilder
that the Borghese reliefs from the so-called Arch Plate; Basire is a frequent contributor ; the once
of Claudius really belong to a monument of famous Pompeo Batoni sends a portrait from
Trajan (‘ Papers of the British School at Rome,’ Rome. When we come to the name of Robert
iii. 21 r) ought to have been appropriated. The Chrone we wonder whether Mr. Graves should
illustrations, among which are twelve coloured not have identified him with Crone, who exhibited
plates, are excellent, and include (as we might two landscapes in the same year, and whose name
expect from the author of ‘ Ancient Marbles in was also Robert. He is remembered only because
Great Britain ’) some of the little-known specimens his drawings are occasionally confused with those
in English collections, such as the beautiful of John Crome, and, judging from the Academy
Theseus at Ince-Blundell and the Lansdowne catalogues, he must have produced a considerable
Hercules. An appendix containing a bibliography number of them. The lists of works by H. D.
of the subject is promised shortly. G. M'N. R. Hamilton (not to be confounded with the better-
known Gavin Hamilton) and by Joseph Highmore
The Society of Artists of Great Britain, recall two men whose portraits not infrequently
1760- 1791. The Free Society of Artists, pass for Hogarth’s, just as the landscapes of
1761- 1783. By Algernon Graves, F.S.A. William Hodges pass for those of his master,
London: G. Bell and Sons, and Algernon Wilson. The Chevalier Manini’s titles are some¬
Graves. £3 3s. net. times equivocal—e.g., Britannia encouraging the
In this volume Mr. Algernon Graves deals with Arts—Raphael and Michelangelo in the back¬
the two art societies formed in England previous ground ; so is that of ‘ Master Oppey's' first
to the foundation of the Royal Academy, and exhibit, A Boy’s Head—an instance of genius,
eventually crushed out of existence by it. The not having ever seen a picture. Another good
dates of the first exhibition of each of the societies portrait painter, Penny; the clever, unclerical
given on the title page and elsewhere through the Peters; Robert Edge Pine, with his theatrical

251
Books on Art History
portraits; and the group of artists with the engaging look. Its worst defect, however, was a tendency to
name of Pingo ; Russell the pastellist; and the elder gushing over-statement, due to reliance upon pre¬
Runciman, who in his day was a personage among conceived theories rather than upon ascertained
Scottish painters, are also noticeable figures—but facts. This made the book rather useful to those
the occurrence of James Ward in the book comes who already possessed knowledge than trust¬
as a surprise, since that fine animal painter con¬ worthy for those who did not.
tinued to exhibit at the Royal Academy till the The new edition remedies many of these defects.
year 1855. By dividing the work into four volumes and bind¬
The volume has provided us with so much enter¬ ing it more tactfully, the publishers have made it
tainment that our minds have been too frequently handy and attractive. The illustrations are greatly
diverted from serious study. These notes in con¬ improved. A few of the old engravings are
sequence are much scantier than they ought to be. omitted, but many new ones are added, including a
Such a series of entries as that under the heading handsome proportion of coloured plates ; and even
‘ Anonymous ’ is a continuous temptation to where the old subjects still appear new and larger
intellectual vagrancy. It opens with ‘a model of blocks have frequently been used. Crome is still
a candle-stick ’ ; a few lines lower down ‘ a Gentle¬ ‘ represented ’ by one small engraving made from
man ’ identified by Horace Walpole as ‘ Nesbit ' a poor etching of a picture by another Norwich
shows ‘ Head of St. Paul, in crayons, a first painter ; the one specimen of Charles Furse has no
attempt’ Shade of good Sir Edward Poynter ! ‘A connexion with the work by which his name will
basket of fruit (in wax) ’; ‘An historical picture, live ; a print by Toyokuni is still described as by
in needle work ’; ‘ Two frames of sketches by a an ‘Unknown Master’ ; and other faults of the
child seven years old ’ ; ‘A flower pot, in raised same kind still remain uncorrected—but on the
paper '; ‘A festoon of flowers, cut in cork ’; ‘A whole the illustrations have benefited enormously
landscape in needle work, with human hair’; by the revision.
‘ Three drawings made upon board with a hot The text has not been so drastically overhauled.
iron ’ ; ‘ Three small landscapes in oil, the trees Examination, indeed, shows that it has been rigor¬
and shrubs made in seaweed, a new invention ’ ; ously pruned, many pages of rather windy criticism
‘A vase of flowers made with shells ’ ; are fair having been omitted ; so that there is no small
samples of these miscellaneous exhibits. Six gain in point of conciseness. But when we come
miniatures are exhibited by ‘ a servant,’ while to see how the author deals with the new shoots
children, schoolboys and schoolgirls figure largely that have been added to the tree of art during the
among the contributors. Some of the entries are twelve years that have elapsed since the first edition
puzzling. What, for instance, does ‘ A frame with was issued, we must confess to some disappointment.
five small landscapes and artificial Mochas ' imply ? That revision should imply revision of judgment
The note at the end of a contributor’s entries was perhaps too much to expect, but to hope that
for the year 1790 is perhaps the significant it would imply a fuller treatment of the more
sentence of all : ‘N.B.—Enquire for particulars significant aspects of contemporary art was not
at the Bar.' Hi motns animorutn ! unreasonable. That hope, however, has not been
fulfilled. When we read that ‘ Robert Macbeth is
now the most superior reproductive etcher in
The History of Modern Painting. By
England,’ we do not know whether to wonder
Richard Muther. New and Revised Edition. more at the statement or the grammar. An
4 vols. J. M. Dent and Co. £3 3s. net. additional chapter by some competent authority
Dr. Muther’s work is already well known and would have added considerably to the value of
appreciated as it deserves to be. To follow with any¬ the book, and so far as English buyers are con¬
thing like completeness the tortuous course of the cerned, would have been a prudent extravagance.
development of modern painting, with its endless Considering the very large number of excellent
twists and ramifications, was a remarkable feat; to art monographs published both here and abroad
do so without a constant bias of personal and racial during the same period, the bibliography also
prejudice was still more remarkable. Not that can only be termed incomplete, and the fault is
the book was faultless. On certain movements the more inexcusable because a few hours spent
and periods it was incomplete ; with others it dealt upon the catalogue of the National Art Library in
far too diffusely, while as a whole its rhetorical the Victoria and Albert Museum would have sup¬
tone made it rather ponderous reading. The illus¬ plied the titles of a hundred books and articles
trations were numerous, but not always well which embody more recent knowledge than those
chosen ; were for the most part small, and were included in Dr. Muther’s list. Yet in spite of all
frequently made from indifferent engravings these defects, the new edition is a great improve¬
instead of from the original pictures. The three ment upon its predecessor. The edges of so
volumes of the English edition were too thick for voluminous a book ought certainly to have been
comfortable handling and had not an attractive trimmed.

252
Books on Art History
The History of Painting. By Richard and that the book needs no serious criticism.
Muther, Ph.D. Translated by George Kriehn, Nor is the author more happy when he approaches
Ph.D. In two volumes. New York and the period with which his name is commonly
London : G. P. Putnam’s Sons. associated. A first glance reveals the statement
In these two handsomely produced volumes Dr. that ‘ Goya is no painter ’; a second, that in none
Richard Muther essays to cover the history of of Reynolds’s male portraits ‘does one encounter
painting from the fourth to the nineteenth century. an affable smile or finely cut nostrils.’ Such
He approaches his study from the psychological verdicts speak for themselves. In his work on
standpoint, treating each artist as representative Modern Painting Dr. Muther had the excuse of
of the temper of his period—a method which at doing something which had not previously been
least has the merit of making connexion and attempted. In the present instance that excuse is
grouping much easier than they are if each artist lacking, and we cannot recommend his book as
be studied only as a separate personality. being in any way serviceable to any one.
Some of the disadvantages of such a form of
treatment were made evident in the author’s better-
known work on modern painters : the necessity
of compressing every artist into the exact form
ARCHITECTURE
which in theory he ought to occupy, thereby The Alhambra, being a brief record of the
eliminating the whole element of personal prefer¬ Arabian Conquest of the Peninsula with a
ence, and the tendency to make much of common¬ particular account of the Mohammedan
place persons who follow the general drift of Architecture and Decoration. Second edition.
popular feeling. Such men have no real bearing By A. F. Calvert. London: John Lane.
on the progress of art, and deserve no place in its New York: [ohn Lane Co. 42s.net.
history. The psychological analysis of an age,
too, is apt to be a wordy business, and therefore is, As was the case with Mr. Calvert’s ‘ Moorish
to those to whom words come easily, a temptation Remains in Spain,’ a perusal of the present volume
to be discursive and gushing. raises doubts as to the existence of a class of
In the work before us Dr. Muther’s scale is reader to whom it can be of use. According to
smaller, so that there is little room for discussion the preface, the writer’s aim was to compile an
of minor masters, but he has not escaped the ‘ illustrated souvenir.' From a popular stand¬
other perils we have indicated. He is fond of point—a very popular one—he has, perhaps,
strong contrasts, and to obtain them he constantly succeeded. But we imagine that people fresh
abuses one age in order that his praise of the next from the scenes he describes, who have probably
may have due force. consumed a more than proper allowance of
Those who know the glowing mosaics of S. printed rhapsody, would prefer a really adequate
Prassede or the radiant decoration of S. Apollinare commentary upon the Alhambra, a more critical
Nuovo will hardly believe their eyes when they spirit on the part of a cicerone, and, above all,
read : ‘ Stony cold and icy is the heart of these appreciations less utterly Irvingesque. One
things, ... a stony Gorgon looks down upon the searches these pages in vain for a statement of
world.’ Countless instances of such reckless the place Granada occupies in the history of
exaggeration might be quoted. But the inflated Mohammedan architecture, or for any evidence
language of the book is a small defect compared of architectural erudition. The author would
with its inaccuracy. probably be surprised to hear that however high
To refer everywhere to Fra Angelico as ‘ Fiesole ’ the Alhambra ranks ornamentally, its architectural
is as silly as to suggest that Giotto ‘ endeavours to value is, absolutely, that of decadent over-elabora¬
attain the effect of faded Gobelins.’ But the tion. But, apparently, the only frame of mind
errors in the facts of history and criticism are so in which the subject can be fittingly approached,
numerous that all the author’s vulgar mannerisms is that induced by Washington Irving. The
pale before them—even when to support his question is : Would any continental writer of similar
‘psychological’ theory he states that Filippo pretensions to Mr. Calvert’s treat the subject thus,
Lippi’s Coronation of the Virgin ‘ rivals the beauty in the present year of grace ? We think not.
of a harem.’ Mr. Calvert’s text (his only ‘two trustworthy
He repeats the long-discredited legend that authorities ’ upon the Moors in Spain are Gayan-
Domenico Veneziano was murdered by Andrea da gos and Dozy) is eked out with Ford (‘ As to
Castagno ; he is not aware that the famous Queen Isabella, Ford is loud in her praise'),
triptych of Hugo van der Goes is now in the Irving (Aimez-vons la montarde, on en a mis
Uffizi. But when, as an example of Filippino’s fartoitt f) and other famous authorities (‘For the
exact imitation of Botticelli, he quotes the altar- true character of Ferdinand consult Shakespeare,
piece in the Badia, it is clear that he is entirely who understood all things ’). The character of
unfitted to discuss the subject he is talking about, the information Mr. Calvert supplies, when left to

253
Books on Architecture
himself, could not be better illustrated than by
FURNITURE, PLATE, ETC.
that he gives concerning the owner of the Gene-
ralife, ‘ the Marquis of Campotejar, of the Grimaldi Old Church Plate of the Isle of Man.
Gentili family, better known as Pallavicini of By E. Alfred Jones. Bemrose and Sons.
Genoa. . . . The founder of the Grimaldi family 1907. 10s. 6d. net.
was one Cidi Aya, a Moorish prince,' etc. And the In remote Isle of Man, the land of runes and
Alhambra jarro is still ‘ probably from the Balearic , kists and cromlechs, we might expect to find, if
Isles.' The author’s command of terms is very pecu¬ anywhere, remains of the arts of bygone ages. In
liar. His vocabulary includes ‘ Moresco-Spaniards,’ the matter of church plate, however, the island
1 Granadian,’ ‘ Azulejo tiles'; and elsewhere the per¬
produces nothing of older date than Henry VIII,
plexity of choice between Arabian and ‘ Moresco ’ and even of this age nothing exists except a solitary
is visibly great. chalice of 1521 and a paten somewhat later. The
The book is lavishly illustrated—largely from quest for portable antiquities throughout its
Murphy’s ‘ Arabian Antiquities of Spain,’ the numerous churches is no less illusive than in
* Monumentos Arquitectonicos de Espana,' draw¬ other islands to the north, including Iceland, the
ings by J. F. Lewis, Owen Jones's great work on glamour of its sagas notwithstanding. Yet more
the Alhambra and his ‘ Grammar of Ornament.' surprising is the absence of Reformation chalices,
The extent of Mr. Calvert’s borrowings can be only one solitary cup dating back to the sixteenth
estimated from the fact that eighty coloured plates, century. This is not a chalice, but a domestic
mainly after Owen Jones, are quite lost among beaker of 1591, by a London maker using for
the multitude of illustrations in black-and-white. mark T. S. over a double-headed eagle displaved,
Whilst a certain number of the latter are from engraved with the usual Holbeinesque border, and
photographs, far too many are reproductions of in use at Kirk German. A beaker of Dutch make
comparatively unimportant old views ; some of is of early seventeenth-century date, presented to
these being duplicates of those illustrated from S. Paul’s Church in Ramsey in 1747. Beakers of
photographs. It would have been well if Mr. later date are used in other churches, as in
Calvert had appended to each borrowed illustra¬ Scotland. Cups with beaker-shaped bowls on
tion the source from which it was drawn, if only balustered stems are represented by one at Kirk
for reference purposes, as in many cases reduction German, by a London maker using a hound sejant
in scale has rendered them valueless. for mark, 1650. It is associated with a fine
A. V. D. P. Commonwealth flagon, the oldest in the island.
Another chalice of the time of Charles I is at
Essentials in Architecture. An Analysis of the Kirk Conchan, formed of the ordinary truncated
Principles and Qualities to be looked for in conical bowl on a balustered stem.
Buildings. By John Belcher, A.R.A. London: Of domestic plate the chief objects are a small
Batsford. 5s. net. Charles II tankard, 1675, at Kirk Braddon, and a
few pieces, of no especial interest, bequeathed in
The ‘ Seven Lamps of Architecture ’ attempted to early Victorian years. The best is a two-handled
do for a former age what this book aims at doing cup and cover of Dublin make, circa 1725, weighing
for our own, namely, to give a clear idea of the just under 48 oz., in S. Mary’s Chapel, Castletown.
general principles underlying all good buildings. So much for the church plate of Manxland,
Ruskin's arguments and examples all tended to an island with its own parliament, the House of
the glorification of Gothic. Time and experiment Keys, and forming the diocese of Sodor and Man.
have proved the limitations of that glorious art, Only one piece, a beaker, appears to be of Manx
and in Mr. Belcher’s book the great majority of provenance.
the seventy-four excellent illustrations are drawn Mr. E. Alfred Jones has chanced upon, with
from the Renaissance. The buildings of this perhaps some self-denial, one of the less interesting
period, in spite of Ruskin’s denunciations, have districts, while the church plate of many of the
proved themselves well suited to our public and richest English counties remains, still inviting
private needs, and if Mr. Belcher’s book meets description at the hands of competent recorders.
with the success it deserves, it should have a To judge by the church plate of Wilts., there must
sensible influence for good in teaching the be treasure indeed to be brought to light in Hants,
principles on which the majority of the structures Sussex, Devon and Cornwall, Somerset, the home
rising around us are, or should be, designed. All counties, the west coast, the east coast, the mid¬
that freedom from prejudice and simple writing, lands and the north. Local societies who publish
accompanied by a profusion of good illustrations, journals, the clergy, or local residents could
can do, Mr. Belcher has done ; and though a perform the task at far less cost and with less
logician might not pass his analysis of the subject, labour than a stranger from a distance, but they
the book is one that ought to be read by every one do not. An indefatigable investigator and worker
who has the slightest interest in good building. like Mr. Jones appears and accomplishes the task

254
while others are thinking about it. May others
like him appear, for until the church plate of
Books on Furniture
PAINTING AND DRAWING
, , Plate Qpc.

England is as adequately known as that of Tizian. Des Meisters Gemalde in 230 Abbildun-
Scotland, no real history of old English plate gen. Dr. Oskar Fischel. M. 6.
can be forthcoming. J. S. G. Durer. Des Meisters Gemalde, Kupferstiche und
Holzschnitte in 447 Abbildungen. Dr. Valentin
Common Greek Coins. Vol. I. The Coinage of Scherer. M. 10.
Athens, Corinth, Aegina, Boeotian League, Michelangelo. Des Meisters Werke in
Alexander the Great, Achaean League and 166 Abbildungen. Fritz Knapp. M. 6.
Lycian League. By the Rev. A. W. Hands. Klassiker Der Kunst. Deutsche Verlags-
Spink and Son. Pp. 170. 5s. net. Anstalt, Stuttgart und Leipzig.
This excellent series does very well what Eng¬
This little book is a reprint of articles which lish books of the same kind have hitherto done
have appeared in a well-known coin dealer’s
very badly or not at all. Each volume presents
circular. Its object is to interest modest collectors
in a compact form reproductions of the whole of
(and there are more modest collectors of coins
the work of a great master, prefaced by a short
than of anything else except, perhaps, stamps) in
introduction and completed by brief notes. Each
Greek coins. Every one who has any knowledge
reproduction is of fair size, is well printed and is
of ancient art and archaeology will admit that the
set in its proper chronological place. The series,
object is a laudable one. Mr. Hands writes with
in fact, is admirably adapted to the need both of
great enthusiasm for his subject, and this to some
students who desire completeness, and of the
extent compensates for his lack of scholarship.
general lover of art who likes plenty of illus¬
The book is an uncritical jumble of old and new,
trations. The volumes before us, covering as they
true and untrue, information put in a quaintly
do the work of three of the world’s greatest
old-fashioned way. We have no doubt that it will
masters, open up so many problems to the critic
interest a class of collectors who are not reached
that it is impossible in a short notice to touch
by books of a more scholarly or methodical kind.
upon even the most salient of them. We may
not always comprehend the standard which
French Furniture. By Andre Saglio. G. Newnes. in the case of Titian is too high for the Madonna
7s. 6d. net. and Child with the Magdalen in the Hermitage
and yet is not too high for a good many things
By approaching his complicated subject from the here included among his genuine works, such as
historical standpoint the author has contrived to the Adoration of the Shepherds in the Pitti, or the
weave his facts into a connected narrative, and so Mater Dolorosa of the Prado ; or which in the case of
has produced a good popular introduction to the Durer places Sir Frederic Cook’s marvellous grisaille
study of French furniture. We have noticed a on a level with things that are hardly even imitations
few small slips and misprints, and we think more of Diirer. Yet to have all Diirer’s paintings, en¬
attention might have been given to the furniture gravings and wood-cuts in a single volume is a boon
of the Empire, which is condemned in too which makes minute criticism an ungrateful task.
sweeping fashion; but the chief fault we have In the volume on Michelangelo, too, we notice
to find is that the text does not give references to that the Deposition in the National Gallery is
the illustrations. These number nearly sixty, and placed among the doubtful works, a concession
are admirable in their way, but the book would have to modern depreciatory gossip which should not
been more useful to beginners had they been more have been made except upon far better evidence
closely connected with the letterpress, and if some than any which has hitherto been produced. To
attempt had been made to date the specimens ap¬ suppose that it was the work of Pontormo from
proximately. The volume includes an index and a a design made by Michelangelo in late life is
short bibliography, and has the additional merit surely far more difficult than to regard it as an
of being well printed and prettily bound. early work of the master himself, midway between
the St. Proculns at Bologna and the Uffizi tondo.
Glass, China, Silver. By Frans Coenen. Lon¬ The problem, however, is too complex for
don : T. Werner Laurie. 6s. net. discussion here ; we can only once more
commend the book which suggested it.
We have read this collection of illustrated essays
reprinted from the Onze Kunst with some interest.
They show a decided appreciation of the objects The Landscapes of George Frederick Watts.
described, and though, as the preface states, they Introduction by Walter Bayes. Newnes.
may serve as a kind of advertisement for the Willet 3s. 6d. net.
collection, they are well worth reading by British We have found fault with some of the previous
collectors of glass, china and plate. volumes of Messrs. Newnes’s series for a certain

V 255
Books on Painting and Drawing
want of thoroughness in carrying out an essentially 15) or The Garden Poisoned in the Orpheus set
praiseworthy idea. The selection of plates has not (page 39). The influence of Watts on Burne-
always been adequate, their arrangement has often Jones is an interesting study that has not, perhaps,
been haphazard where order was eminently desir¬ received due attention.
able, and the introductions have not infrequently
been superficial. In the present instance, the Antoine Watteau. By Claude Phillips. Seeley.
arrangement of the plates is still haphazard, and 2s. net.
the series of eighteen subjects rather smaller than Raphael in Rome. By Mrs. Henry Ady. Seeley.
admirers of Watts could have wished. The intro¬ 2s. net.
duction is an ingenious piece of criticism which These two little books are the latest additions to
more than redeems these material defects. Mr. the pretty series of * Miniature Portfolio Mono¬
Bayes is not blind to the technical failings of graphs.’ Both books have been revised by their
much of Watts’s later painting : to the fumbling authors, and a glance at Mr. Claude Phillips’s
touches of dry colour which encourage constant monograph will show with how much care the
revision, and to the dominance of an indolent new edition has been brought up to date. Mrs.
lyric note which overwhelms the braver and more Ady covers ground which critics have recently
strenuous expression of his early days. In the avoided on a scale which does not admit of much
search for absolute justice the case has even been attention being given to details, yet we note that
pressed too far. To sketch landscape is compara¬ the drawing reproduced on p. 127 is described as
tively easy ; to make great pictures out of landscape belonging to the end of Raphael’s Roman period,
is supremely difficult, especially in these days, when whileits style definitely points to the beginning of it.
the habit of scientific vision has robbed the painter A good many other small points might be criticized ;
of many of the convenient abbreviations possible but, while lacking the assured authority of Mr.
in a less photographically minded age. Watts at Phillips’s study, it is in its degree a sound and
least succeeded in painting noble landscapes, and careful piece of work.
it is by his results that we must judge his methods.
In most of his landscapes the technique seems MISCELLANEOUS
adequate and well adapted to the matter in hand,
Venice : Its Individual Growth, from the
and no technique need be more than that. To
Earliest Beginnings to Fall of the
judge Watts by the technique of Whistler or Turner
Republic. By Pompeo Molmenti. Translated
(each supreme in his own field) is to be as rash as
by Horatio Brown. The Middle Ages. In
Ruskin was in the case of Whistler, or as unjust as
two parts, pp. 223, 237. London : Murray.
every critic of note was to Turner’s most brilliant
1906. 21s. net.
phase of oil painting for nearly a century. In the
house of fame there are just so many technical This work is a translation of the first volume
methods as there are fine artists. of Mr. Molmenti’s ‘Storia di Venezia,’ which was
reviewed at length in The Burlington Magazine
Sir Edward Burne-Jones. Second Series- for November, 1905. We then said that the new
Newnes’s Art Library. London: Newnes. history would be a necessary possession for all
3s. 6d. net. students of Venice and her arts : to this opinion
This second series of reproduction from Burne- we adhere, and therefore welcome Mr. Brown’s
Jones contains an appreciation by M. Arsene translation, which will place it within the reach
Alexandre (who, if he wrote in French, has not of many who labour under the disadvantage of
been very well treated by his translator) and not reading Italian. The translator knows Ven¬
forty-eight half-tone plates, including the eleven ice : he has lived there for many years past, has
scenes in the Story of Orpheus and the Pygmalion calendared its archives for the British Govern¬
series of four, besides the frontispiece, which is a ment, and has written not a little himself on the
photogravure of the Vespertina Quies. Recent history and customs of the Venetians. As would
exhibitions of pictures have helped to show that be expected, the translation is on the whole
Burne-Jones's colour is unable to hold its own excellent, but there is one slip which we should
against that of robuster painters; while it scarcely hardly have looked for from one who knows
needed the exhibition of his drawings at the Venice so well. On page 215 of the first part
Leicester Galleries to prove the merits of his Mr. Brown says that ‘ Maundy Thursday was
design and draughtsmanship. In losing his colour, kept in commemoration of the victory of Venice
therefore, as we lose it in such reproductions as over Ulric Patriarch of Aquileia': the day so kept
these, we lose less than would be the case with was gioved'i grasso, and gioved'i grasso is the last
many other artists, and his design may be Thursday before Lent, not the last Thursday in
profitably studied in the plates before us. The Lent. Two or three other small points struck
resemblance to Watts must strike the eye at once, us in going through these volumes. The head of the
especially in such plates as that of the Luna (page old chapter of S. Mark’s was the primicerius : Mr.

256
 Art Books of the Month
Brown Englishes this 1 the dean, the primicerio.’ red and gold and mauve which melt away into
This seems to imply that ‘ dean' is so commonly it with admirable softness and mystery ; and his
the title of the head of a chapter that any other method of wash drawing is perfectly adapted to
is abnormal, which is very far from being the the diffusion of light in such night scenes as
case. Again, while he wisely translates chiesa The Alhambra (p. 20), The Porch of the Carlton
arcipretale as ' parish church ' (ii, 79), for some Hotel (p. 74). He can, on occasion, produce the
reason or other he speaks of the duomo of full effect of a bright sunshine; and that he
Aquileia, and the duomo of Torcello—duomo is a has a sense of humour is clear not only
word which seems to have a fascination for foreign from his view of the Albert Memorial—which
writers on Italy. Mr. Brown has added no notes omits all except the steps—but also from some
of his own, but in one place we think he of his studies of low life in our streets. Mr.
should have done so. Mr. Molmenti says (i, 221) Loftie's text is full of interesting matter; but his
that 1 Venice numbered among her guests . . . the English is not quite so good as Mr. Markino's.
archbishop of Westminster, uncle of Henry V of
England (1418).' Of course the prelate in ques¬ The Oxford Historical Pageant: June 27-
tion was Cardinal Beaufort, bishop of Winchester, July 3, 1907. Book of Words, with Illus¬
and the translator would have done well had he trations. Oxford : for the Pageant Committee.
added a note correcting the author. The illustra¬ 1907. 2S.
tions are numerous, but are only a selection from Pageants are not as a rule productive of much
those in the original volume; they are apparently that is valuable either in literature or art ; but this
printed on art paper which has afterward been volume alone would except the Oxford Pageant
coated with, of necessity, a loss of definition, which, from any such stricture. Its contents and format
however, for ordinary readers is more than made make it worth at least double the price asked. Of
up for by increase in beauty. Comparing the two the literary matter it is sufficient here to say that
editions, we may sum them up by saying that the among the contents are a poem by Mr. Robert
translation will be used for pleasure, the original Bridges and a short and characteristic essay by
for study. Mr. Quiller-Couch; that the scenes of the Pageant,
E. B. from St. Frideswide to James II and the Fellows
of Magdalen, are written, mainly in verse, by Mr.
The Colour of London, Historic, Personal Laurence Housman, Mr. Laurence Binyon, Pro¬
and Local. By W. J. Loftie, F.S.A. fessor Oman, Mr. Godley, Professor Raleigh, Mr.
Illustrated by Yoshio Markino. With an Stanley Weyman, Miss Wordsworth and Mr. J. B.
Introduction by M. H. Spielmann, F.S.A., and Fagan ; and that its notes and text give something
an Essay by the Artist. Chatto and Windus. like a brief history of education in Oxford. The
20s. net. volume is a quarto of 136 pages, and is printed by
This volume reproduces in colour a selection from Mr. Horace Hart with the ancient types (circa
the drawings of Mr. Markino lately on view at the 1677) of Bishop Fell, with appropriate—and, we
Clifford Gallery. Mr. Markino is a Japanese who suspect, contemporaneous—head and tail pieces.
has spent ten years in London, has attended The full-page illustrations number thirty-five, and
English art schools, and has achieved a style in cannot fail to appeal to the antiquarian. Eigh¬
which Western methods are superimposed upon teenth century numbers of the Oxford Almanack
Japanese vision with a unique and very agreeable furnish not a few ; but even more interesting are
result. Mr. Markino’s drawing is his weakest those reproduced from the views made by Bere-
point; which is not surprising when we learn block in 1566 for Queen Elizabeth’s visit to
from his naive little essay that he is almost Oxford, and Agas's bird’s-eye view of 1578.
entirely self-taught ; and it is, naturally, in the Manuscripts, drawings and engravings, in the
drawing of architecture that he most conspicu¬ Bodleian and elsewhere, are the sources of many
ously fails. His In Westminster Abbey (p.182) is more ; and the reproductions taken from the illus¬
injured, also, by an inevitable lack of familiarity trated catalogues of the Oxford Historical Portraits
with the spirit of the place. It is not, therefore, exhibitions include the Jesus College Elizabeth,
in the buildings of London that he succeeds best; Bower’s Charles I at All Souls, the Bodleian
but, as the title of the book implies, in the represen¬ Laud, and the Prince Rupert, by J. M. Wright,
tation of its colour. He understands thoroughly at Magdalen.
the advantage of the vague background provided
by the atmosphere of London, and his love of it The Land in the Mountains (Tyrol). By
leads him so far as to declare that December is W. A. Baillie-Grohman. Simpkin, Marshall,
his favourite month. The most effective and Hamilton, Kent and Co., Ltd. 12s. 6d. net.
charming of all these delightful things are the Mr. Baillie-Grohman is equally well known as
scenes in autumn and winter. Against the a writer and as a sportsman, as the pages of The
dim background Mr. Markino throws touches of Burlington Magazine have frequently shown.

257
*Art Books of the Month
As might be expected, his book on the Tyrol is a announcement that Mr. and Mrs. Pissarro are
thoroughly readable study of the history of the prepared to issue some songs by Herrick,
country, with special reference to his own pic¬ Lovelace and others, with original settings by
turesque home. It is illustrated with an admirable Henry Lawes, if sufficient support is assured them
series of photographs of scenery, castles, people and in such a difficult and expensive production.
furniture, the latter including a number of remark¬ The price of the paper copies will not exceed £2,
able specimens of fifteenth century work in wood and all who are interested and wish to subscribe
and metal. The book is very well written, and should communicate with the Secretary of the
will interest even those who are not familiarly Eragny Press, The Brook, Hammersmith, W.
acquainted with the wonderful country it describes.
Pictures and their Value. Turner and Rob¬
Riquet a la (Deux versions d’un
Houppe. inson. Eltham. 6s. net.
conte de nia mere Loye.) Eragny Press, In some respects this record of auction prices
The Brook, Hammersmith, W. 25s. net. during the season of 1905 and 1906 represents an
advance upon other works of reference of the
We have frequently called attention to the beauty
kind we have received. It is not quite free from
of the Eragny Press publications, so that we
misprints, but here and there it does show a certain
need only chronicle the appearance of this dainty
attempt at discrimination in that the entries are
little volume in order to recommend it to our
occasionally annotated. The addition of the
readers. The two versions of the folk-tale present
names of the purchasers, where possible, would
an amusing contrast; the second, from a seven¬
have increased its future value as a work of refer¬
teenth-century MS., investing it with the gallantry
ence.
of a later age, while that of Perrault is in a more
primitive vein. The two coloured woodcuts with The price of the volume on Correggio by Dr.
which it is embellished are among the happiest of Georg Gronau in the series of ‘ Klassiker der Kunst ’
Mr. Pissarro’s conceptions, and as usual the book (Deutsche Verlags-Anstalt), reviewed in The
is a model of fine typography. A prospectus Burlington Magazine for June, is 7 marks, not 6
inserted in our copy makes the interesting as stated at the head of the review.

^ RECENT ART PUBLICATIONS* a*

ART HISTORY Baldry (A. L.). Royal Scottish Academy. Edited by C. Holme.
Illustrierte Geschichte des Kunstgewerbes: herausgegeben in (12x9) London (‘ Studio’ Spring number). 40 plates.
Verbindung mit W. Behncke, M, Dreger, O. von Falke, Straus (R.) and Dent (R. K.). John Baskerville, a memoir.
J. Folnesics, O. Kiimmel, E. Pernice, und G. Swarzenski, (12x9) London (Chatto & Windus), 21s. net. 14 plates.
von G. Lehnert. Part I. (nX7) Berlin (Oldenbourg), Roberts (W.). Sir W. Beechey, R.A. (8x6) London (Duck¬
8 parts, each 4 m.25. Copiously illustrated, some plates in worth), 7s. 6d. net. Plates.
colour. Rusconi (A. J.). Sandro Botticelli. (11x7) Bergamo (Istituto
Michel A.). Histoire de l’Art depuis les premiers temps d’Arti grafiche), 7 1. 142 illustrations.
Chretiens jusqu’a nos jours. II: Formation, expansion et Gronau (G.). Correggio, des Meislers G^miilde in 196 Abbil-
evolution de l’Art gothique. Seconde paitie. (12x8) Paris dungen. (10X7) Stuttgart, Leipzig (Deutsche Verlags-
(Colin), 15 fr. Anstalt), 7 m.
British Museum. A guide to the mediaeval room and to the Calvert (A. F.). Murillo, a biography and appreciation. (8x5)
specimens of mediaeval and later times in the gold ornament London, New York (Lane), 3s. 6d. net. Plates. ‘The
room. (9X6) London (British Museum), is. 6d. By Spanish Series.’
O. M. Dalton ; 290 pp. and over 200 illustrations. Toudouzk (G.). Henri Riviere. (11x8) Paris (Floury), 25 fr.
Strzygowski (J.). Die bildende Kunst der Gegenvvart. Ein Illustrated.
Biichlein fiir jedermann. (9 X 6) Leipzig (Quelle & Meyer), Rauch (C.). Die Trauts. Studien und Beitriige zur Geschichte
4 m. Illustrated. der Niirnberger Malerei. (10x7) Strasburg (Heitz), 8 in.
31 plates.
TOPOGRAPHICAL WORKS A. E. G. Whistler notes and footnotes and other memoranda.
Budge (E. A. W.). The Egyptian Sudan, its history and (10x7) London (Mathews), 10s. 6d.; New York (Collector
monuments. (10x7) London (Kegan Paul), 42s. net. and Art Critic Co.), 2.50 dols.
2 vols., maps and plans.
Kusejr Amra. [By A. Musil and others.] (17x13) Vienna PAINTING
(North-Arabian Commission of the Imperial Academy of
Sciences), 10 gs. 41 plates, some in colour, and process Abendschein (A.). The Secret of the Old Masters. (7x5)
illustrations. London (Appleton), 4s. 6d. net.
Trovver (H. E.). The Book of Capri. (9x5) Naples (Prass), Frizzoni (G.). Le Gallerie dell’ Accademia Carrara in Bergamo.
1. 5. Illustrated. (11 x 8) Bergamo (Istituto d’Arti grafiche), 1.6.50. Illustrated.
Janse (O.). Medeltidsminnen Iran Ostergotland. Stockholm The George A. Hearn Gift to the Metropolitan Museum of Art,
(Cederquist), 10s. 100 illustrations. in the City of New York, in the year 1906. (10 x 7) New
York (printed for the Museum). Illustrated.
BIOGRAPHICAL WORKS AND MONOGRAPHS Bassermann-Jordan (E.). Unveroffentlichte Gemalde alter
Graves (A.). The Society of Artists of Great Britain, 1760-1791. Meister aus dem Besitze des bayerischen Staates, I. Kgl.
The Free Society of Artists, 1761-1783. A complete dic¬ Schloss zu Aschaffenburg. (20X15) Frankfurt-a.-M.
tionary of contributors and their work from the foundation (Keller). 50 phototype plates and text.
of the Societies to 1791. (11x8) London (Bell; Graves), Vienna. Die Gemaldegalerie : alte Meister. Catalogue. Second
63s. net. edition. (7x5) Vienna (Holzhausen), Leipzig (Hierse-
‘Sizes (height X width) in inches. mann), 10s. 200 illustrations.
 T^ecent Art Publications
Oppolzer (Baron E. von). Katalog einer Kunstsammlung. FURNITURE
Unter Mitwirkung der Herren E. Flechsig, C. Hofstede Singleton (E.). Dutch and Flemish Furniture. (HX7)
de Groot, R. Freiherrn von Lichtenberg und A. Mahler. London (Hodder & Stoughton), 423. net. 62 plates.
Bearbeitet und herausgegeben vom Besitzcr. (14x12) Saglio (A.). French Furniture. (9x6) London (Newnes’
Munich (Helbing), 15 m. 33 plates, etc. ‘ Library of the Applied Arts '), 7s. 6d. net. 60 plates.
Richter (J. P.). A descriptive catalogue of Old Masters of the L’Architecture et la Decoration franqaises, Style Empire.
Italian school, belonging to H. W. Cannon, Esq., Villa L’hotel Beauharnais, palais de l’ambassade d’Allemagne
Doccia, Fiesole. (8x5) Florence (Seeber). 2 plates. a Paris. (18x13) Paris (Lib. centrale d’Architecture).
Jacobsen (E.). Sienesische Meister des Trecento in der Paits I and II, 40 phototype plates.
Gemaldegalerie zu Siena. (12x8) Strasburg (Heitz), 8 m.
Illustrated. LACE
Aubert (A.). Die malerische Dekoration der San Francesco
Kirche in Assisi : ein Beiirag zur Losung der Cimabue Moody (A. P.). Devon Pillow Lace: its history and how to
Frage. (10x7) Leipzig (Hiersemann), 36 m. 69 plates. make it. (8x5) London, New York (Cassell), 5s. net.
Muther (R.). The History of Modern Painting. Revised Illustrated.
edition, continued by the author to the end of the nineteenth Jurie (B. von). Spitzen und ihrer Charakteristik. (10x7)
century. 4 vols. (10x7) London (Dent). Illustrations, Berlin (Cassirer), 3 m. 50. Illustrated.
some in colour.
James (M. R.). The Frescoes in the Chapel at Eton College. MISCELLANEOUS
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Lichtenberg (Baron R. von) and Jaff£ (E.). Hundert Jahre Willmott (E. C. M.). The cathedral church of Llandaff.
deutsch-i omischer Landschaft unalerei. (8x6) Berlin (7X5). London (Bell’s ‘Cathedral series’), is. 6d. net.
(Oestcrheld), 18 m. 45 plates (qx 12). A series of twelve Delft plates illustrating the tobacco industry,
presented by J. H. Fitzhenry, Esq., to the Victoria and
SCULPTURE Albert Museum. (11X9) London (Wyman, or at the
Edgar (C. C.). Catalogue general des Antiquites egyptiennes Museum), 4s. 6d. 15 reproductions, 1 in colour.
duMuseedu Caire : Sculptors’ studies and unfinished works.
(14x10) London (Quaritch). 43 plates.
Newberry (P. E.). Catalogue general des Antiquites egyptiennes BOOKS RECEIVED
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London (Constable), 52 francs. 22 plates. Tim Land in the Mountains. By W. A. Baillie-Grohman.
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259
 ART IN GERMANY c*>
Suermondt Museum at institutions going to be filled with, considering
Aix-la-Chapelle has ever since how rapidly the market for good and genuine old
its foundation cultivated the art is being exhausted, unless they limit themselves
collection of old German to the purchase of modern work ?
<3% wood-carving as a speciality. Your Paris correspondent, in discussing the
£Tk\ The recent acquisition of the Sedelmeyer sales, has again drawn attention to the
1)11 wood-carving collection of fact that the English school of painting, in spite
the late Richard Moest, who of all the enthusiasm there is for it, is still little
^ resided at Cologne, places it understood upon the continent. His remarks
at a bound in the foremost position as regards apply to Germany as well as they do to France, as
this kind of work. Moest had brought together appears from the very fact that, according to his
about 6oo carvings illustrating all phases of the account, many of the overpaid and doubtful Sedel¬
art from the twelfth and thirteenth centuries down meyer paintings went to Germany. During the
to the beginning of the nineteenth, the majority past six months a somewhat similar collection of
being altars and statues or statuettes taken from English eighteenth century paintings has been on
altars. Besides that, he owned over fifty pieces of an exhibition tour through the principal towns of
genuine Gothic and Renaissance furniture, and Germany. The standard, I should say, does not
nearly a thousand various fragments, panels and nearly come up to that of the Sedelmeyer stock,
other pieces of decorative carving, which supple¬ and many of these attributions to masters of the
mented the main collection. first rank, like Reynolds, Romney, Gainsborough,
The ducal collection of art and antiquities at Constable, Turner, Morland, etc., are palpably
the castle in Coburg is one of the most important unconvincing even to those who have only a very
in Germany, among those not depending upon general knowledge of the school. If more were
public means for their acquisitions. It is, how¬ really known, of course, such an exhibition would
ever, known to very few specialists and not at all not be acceptable even to the general public. As
to the general public. Coburg does not lie on it is, collectors and museums have apparently not
one of the main lines of traffic, and even when been incautious enough to suppose that here was
one has decided to devote a day or two to touching a special chance of acquiring a masterpiece ; for
upon Coburg, the treasures up there in the castle the collection seems to have remained entire or, at
are not easy of access, being in the nature of a big least, almost unbroken to this day. It would
private collection. During the summer months indeed be strange if England had allowed such a
of this year a great part of the collections is collection as this purports to be to pass quietly
going to be publicly exhibited in the rooms of the out of its reach without as much as taking notice
Coburger Kunstverein, down in the town, and of it.
thus many people will have at least an easy chance The newly founded King-Albert Museum at
of seeing them. Perhaps the most important Chemnitz, Saxony's industrial metropolis, has
feature is the contents of the Print Room, including received a collection of modern paintings as an
valuable drawings by the foremost masters of the anonymous gift.
German Renaissance, and many incunabula of Hans Thoma has presented one of his early
the art of engraving on copper in Germany. The works, Fighting Lads (painted 1872), to the museum
armoury is also important. The strong point of the of Karlsruhe, besides an unusually austere Cruci¬
picture galleries is the portrait collection, covering fixion by Ludwig Schmid-Reutte, who cultivates
the periods from Cranach down to Graff. In an archaic style of painting. Two further paintings
accordance with the universal character of such by Thoma, The Evening Star and Dusk, are likewise
‘ kunstkammern ’—as which the Coburg collec¬ among the new acquisitions of the same museum.
tion was started—there are miniatures, stained We reproduce a very fine example of early
glass, old furniture, Gothic and Renaissance sculp¬ seventeenth century German silversmiths’ work—
tures in stone and wood, tapestries, etc. a drinking vessel made by Elias Geyer in 1608-
The late Councillor Keddig left his art collec¬ 1610, now in the Green Vault, Dresden. Other
tions to the town of Stettin, besides a large sum of examples of this craftsman's work were reproduced
money to start and run a municipal fine art museum in the June number of this magazine. The recent
with. The frequent recurrence of such bequests exhibition of applied arts in Leipzig, where no
is a most pleasing sign of the spirit of our age. less than 120 of his masterpieces were collected,
Yet one cannot help putting the question to one¬ has served to bring Elias Geyer's name into the
self from time to time : what are these numerous prominence it deserves. H. W. S.

260
-

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 ^ ART IN FRANCE cK>
*NE of the most interesting others ; their quality is exquisite, and it is hard to
exhibitions of the Paris season choose between them. The three lent by the
has been reserved for its close : German Emperor are less attractive ; two of them
I the exhibition of the works of in particular, La Pourvoyeuse and La Ratisseuse de
1 Chardin and Fragonard at the Navels, are not of the finest quality. Two very
Georges Petit galleries, which fine pictures from the collection of Madame Emile
1 was opened by the President of Trepard, Lejeune Homme an Violon and L’Enfant
_ jthe Republic on June io, and an Toton, have been bought by the Louvre for
will remain open until July 12. The exhibition is ^14,000; we hope to reproduce them before long
due to the initiative of M. Armand Dayot, the well- in The Burlington Magazine. M. Leprieur is
known editor of ‘ L’Art et Les Artistes/ and has to be congratulated on his acquisition of two
been organized by an influential committee of examples worthy to take their place among the
museum directors, amateurs and artists, with Baron best of those which the Louvre already possesses.
Henri de Rothschild as chairman and M.Dujardin- The exhibition contains a replica of L’Enfant an
Beaumetz, the Assistant-Minister of Fine Arts, as Toton (No. 70), much inferior in quality. There is
honorary president. The profits are to be devoted not space to deal in detail with the many beautiful
to the fund for erecting a monument to Chardin examples of still life ; those lent by Baron Henri
and to charitable purposes. They should be con¬ de Rothschild, M. Francois Flamengand M. Alexis
siderable, for up to the present the exhibition Vollon are perhaps specially admirable. But the
rooms have been daily so crowded that it is standard of the exhibition as a whole is a very
difficult to get a glimpse of the pictures. high one. Among the drawings a word of special
The arrangement of the pictures is not all that mention is due to the wonderful pastel portrait of
could be desired ; only aesthetic effect has been Chardin by himself belonging to M. Leon Michel-
considered, and there is no attempt at chrono¬ Levy.
logical or any other classification. The fact that The seventy paintings by Fragonard do not
the paintings are all in one large hall no doubt show so high a level of excellence as those of
made classification difficult without considerable Chardin for the simple reason that Fragonard was
sacrifice of the general aesthetic effect; but the far more unequal. Among them are many pot¬
works of the two artists might at least have been boilers of the kind that Fragonard produced by
separated instead of being mixed up together in the score to decorate the boudoirs of demi-mon-
inextricable confusion. This mistake, as it seems daines, a purpose for which they are admirably
to the present writer, in the arrangement does fitted. But side by side with these trifles are
not, however, prevent the exhibition from being works of art possessing other qualities besides the
profoundly interesting and extremely attractive. extraordinary cleverness which Fragonard shows
Without being an exhaustive display of the in his lightest moments. The Bank of France
work of either painter—that would be almost has lent the superb Fete de Saint-Cloud which we can
impossible—it is quite sufficiently representative here compare with the smaller version of the same
to give material for a comparative estimate of their subject formerly in the collection of the late M. Gold¬
respective achievement. It establishes beyond schmidt and now in that of his son-in-law, Count
question—if there were any question about the Andre Pastre, who also lendsthe portrait of Diderot.
matter—the superiority of the earlier master ; and These two latter pictures were reproduced in The
this is saying much, for, in face of some of the Burlington Magazine in 1903 (vol. iii, pp. 287
paintings here, it is impossible to contest the claim and 291). A drawing for the picture of the Bank
of Fragonard to be called a great artist. But of France, which belongs to Sir James Knowles,
Chardin appears as among the greatest, one of has also been reproduced in The Burlington
those who belong to no country and no period, (vol. viii, pp. 379). Madame Buret’s Portrait of
while Fragonard is essentially of his own country Fragonard’s Sister has the qualities of a Rubens,
and his own epoch. and so has the Amants heureux belonging to Mr.
The paintings of Chardin number seventy-two, Pierpont Morgan, one of the most exquisite
and there are also three pastels by him as well as pictures in the exhibition, but likely, one would
eight drawings of different kinds, a miniature, and imagine, to shock profoundly the American public
a box decorated with exquisite miniatures which should it ever cross the Atlantic. Among other
is lent by Mr. Pierpont Morgan. Baron Henri paintings deserving special mention are Les
de Rothschild sends no less than twenty-seven Dindons, lent by M. Charley; Lajeune Mere, lent by
pictures and a drawing, and this is by no means Madame Levert; Le Cache-cache, lent by M. Armand
the whole of his wonderful collection of Chardin's Marne ; La Toilette de Venus, lent by M. Leon
works. Naturally among so large a number Michel-Levy ; and Le Billet doux, lent by MM.
there is some inequality of merit, but the Roths¬ Kraemer and Wildenstein. The last was exhibited
child exhibit includes some of the finest examples in London last year. M. Henri Cain lends a
in the room. The four genre pictures from the most beautiful oil sketch, Les Naiades, for the
Liechtenstein collection are unsurpassed by any picture in the Louvre. There are also sixty-five
263
 Art in France
drawings by Fragonard, some of very fine quality, The incident has caused considerable sensation
and several miniatures. The great majority of the in artistic circles. In this particular case the
works of both painters exhibited are from French expert no doubt corrected the attributions; but
collections ; the only foreigners who lend pictures the Sedelmeyer sale as a whole has led people to ask
are the German Emperor, the prince of Liechten¬ whether the system of having an expert at French
stein, and Mr. Pierpont Morgan ; one or two of auctions (of works of art) is really a protection to
the miniatures come from England. the public. Apart from the possibility of undue
The sale of the collection of the late M. Chappey, influence by the vendor, as to which no suggestion
the well-known Paris dealer, shows that fine works is made in the present case, what single expert
of art, even if bought at high prices, are not a bad could possibly be competent to deal with all the
investment. M. Chappey was notoriously a bad schools represented in the Sedelmeyer sale ? The
buyer in the sense that he was inclined to pay readers of The Burlington Magazine have
more than was wise for one who wishes to sell heard something about the representation of the
again. But he was a real connoisseur, and the English school. Not one of the attributions of
result of the sale is a tribute to his taste and judg¬ the catalogue was corrected by the expert, who
ment. It will be remembered that, at his death, passed as a genuine Gainsborough, for instance,
he was regarded as insolvent, his debts amounting the Portrait oj a Princess, which fetched nearly
to about £120,000, but the sale has produced a £2,000—a picture which nobody with the smallest
total of £168,000. The result has been received knowledge of Gainsborough’s work could possibly
with satisfaction by the many friends of a man have attributed to him. In such circumstances
whose comparative failure in business was due to can it be said that the expert is a help to the
the possession of a true artistic temperament and buyers ? The English system, in which the buyer
of scruples as to sharp practice from which some backs his own opinion, and the auctioneer takes
of his successful competitors are free. It is no responsibility, would seem to be more satis¬
worthy of note that on the whole the objects of factory. What has been said in The Burlington
the Gothic and Renaissance periods sold better about attributions in the English school is true to
than those of the eighteenth century. Is this the some degree of the whole sale. Some of the
beginning of a healthy reaction ? The collection pictures attributed to Van Dyck, for instance, could
was mainly composed of objets dart. not possibly be accepted as the work of that
The Sedelmeyer sale has at last reached its master or of any great master. Yet they were
conclusion, and the final instalment, which included passed as Van Dycks by the expert. He cannot be
drawings and modern pictures, gave rise to an severely blamed : who is omniscient ? But the
interesting incident. On June n, the day before mischief is that the buyer is apt to think that he
the sale began, the ‘New York Herald’ published an has a certain guarantee.
article by its critic, M. Georges Bal, on the attri¬ The French law, I believe, makes an expert in
butions of certain pictures of the French school. some degree responsible for his attributions, but
M. Bal, who is one of the ablest and most inde¬ the point is rarely, if ever, tested : I have not heard
pendent art critics in Paris, expressed astonishment of a case. And it would be very hard on an expert
that some of these pictures should be included in to be held personally responsible for mistakes
the sale at all, and pointed out that among the which every one must make at times. He would
works attributed in the catalogue to Corot, Diaz hardly dare to accept any attribution at all. It
and Daubigny (among others) were pictures which would be more reasonable to permit the purchaser
could by no possibility have come from the to recover the money from the vendor, should the
brushes of those artists. M. Sedelmeyer defended expert’s attribution be clearly proved to be mis¬
his attributions in the same paper on the following taken. For all I know, the French law may
day, and before the sale began the auctioneer enable that to be done. But it is at least an open
stated, in reply to a question put to him, that question whether it would not be best to do away
M. Sedelmeyer would guarantee the pictures as with the expert altogether unless the system can
the work of the painters under whose names they be drastically reformed. By the way, it is
were sold. When, however, the pictures men¬ reported here that the two pictures attributed to
tioned by M. Bal were put up, they were offered Constable in the Sedelmeyer collection, the Valley
only as ‘ attributed ’ to Corot, etc., and fetched of the Stour and the Banks of the Stour (see page
merely nominal prices. 107 ante), were bought for an English collector !
R. E. D.

264
LANDSCAPE STUDY BY CLAUDE
IN THE UNIVERSITY GALLERIES,
OXFORD
 CLAUDE
^ BY ROGER E. FRY r*>
iN spite of all the attacks soil. In particular, when he wants a
Jof critics, in spite of all repoussoir in the foreground at either
the development of high end of his composition he has recourse to
flavour and emphasis of a clumsily constructed old bare trunk,
* 4*-wJromantic landscape, which which has little more meaning than a
v—1^ might well have spoilt stage property. Even in his composition
us for his cool simplicity, Claude still there are naivetes which may or may
lives, not, indeed, as one of the gods not be intentional : sometimes they have
of the sale-room, but in the hearts of con¬ the happiest effect, at others they seem
templative and undemonstrative people. not childlike but childish. Such, for
This is surely an interesting and encourag¬ instance, is his frequent habit of dividing
ing fact. It means that a very purely spaces equally, both vertically and horizon¬
artistic and poetical appeal stills finds its tally, either placing his horizontal line
response in the absence of all subsidiary half-way up the picture, or a principal
interests and attractions. The appeal is, building on the central vertical line. At
indeed, a very limited one, touching only times this seems the last word of a highly
certain highly self-conscious and sophisti¬ subtilized simplicity, of an artifice which
cated moods, but it is, within its limits, so conceals itself; at others one cannot be
sincere and so poignant that Claude’s very sure it is not due to incapacity. There
failings become, as it were, an essential is, in fact, a real excuse for Ruskin’s
part of its expression. These failings are, exaggerated paradox that Claude’s drawings
indeed, so many and so obvious that it is look like the work of a child of ten.
not to be wondered at if, now and again, There is a whole world of beauty which
they blind even a sensitive nature like one must not look for at all in Claude.
Ruskin’s to the fundamental beauty and All that beauty of the sudden and unex¬
grandeur of Claude’s revelation. But we pected revelation of an unsuspected truth
must be careful not to count as failings which the Gothic and Early Renaissance
qualities which are essential to the parti¬ art provides is absent from Claude. As
cular kind of beauty that Claude envisages, the eye follows his line it is nowhere
though, to be quite frank, it is sometimes arrested by a sense of surprise at its
hard to make up one’s mind whether a representative power, nor by that peculiar
particular characteristic is a lucky defect thrill which comes from the communi¬
or a calculated negation. Take, for cation of some vital creative force in the
instance, the peculiar gaucherie of his artist. Compare, for instance, Claude’s
articulations. Claude knows less, perhaps, drawing of mountains, which he knew
than any considerable landscape painter— and studied constantly, with Rembrandt’s.
less than the most mediocre of modern Rembrandt had probably never seen
landscapists—how to lead from one object mountains, but he obtained a more intimate
to another. His foregrounds are covered understanding by the light of his inner
with clumsily arranged leaves which have vision than Claude could ever attain to by
no organic growth, and which, as often familiarity and study. We need not go
as not, lie on the ground instead of spring¬ to Claude’s figures, where he is notoriously
ing from it. His trees frequently isolate feeble and superficially Raphaelesque, to
themselves helplessly from their parent find how weak was his hold upon character

The Burlington Magazine. No 53, Vol. XI—August, 1907 Wr 267

Claude
in whatever object he set himself to know and recognize it well enough in
interpret. In the British Museum there literature. To take a random instance.
is a most careful and elaborate study of Racine makes Titus say in ‘Berenice’: ‘ De
the rocky shores of a stream. Claude has mon aimable erreur je suis desabuse.’ This
even attempted here to render the contorted may be a dull, weak and colourless mode of
stratification of the river-bed, but without expression, but if he had said with Shake¬
any of that intimate imaginative grasp of speare, ‘ Nowold desiredoth inhisdeath-bed
the tension and stress which underlie the lie, and young affection gapes to be his
appearance which Turner could give in a heir,’ we should feel that it would
few hurried scratches. No one, we may destroy the particular kind of even and
surmise, ever loved trees more deeply than unaccented harmony at which Racine
Claude, and we know that he prided aimed. Robert Bridges, in his essay on
himself on his careful observation of the Keats, very aptly describes for literature
difference of their specific characters ; and the kind of beauty which we find in
yet he will articulate their branches in Shakespeare : ‘ the power of concentrating
the most haphazard, perfunctory manner. all the far-reaching resources of language on
There is nothing in all Claude’s innumer¬ one point, so that a single and apparently
able drawings which reveals the inner life effortless expression rejoices the aesthetic
of the tree itself, its aspirations towards imagination at the moment when it is
air and light, its struggle with gravitation most expectant and exacting.’ That,
and wind, as one little drawing by Leonardo ceteris paribus, applies admirably to certain
da Vinci. kinds of design. It corresponds to the
All these defects might pass more easily nervous touch of a Pollajuolo or a
in a turbulent romanticist, hurrying pell mell Rembrandt. But Claude’s line is almost
to get expressed some moving and dramatic nerveless and dull. Even when it is most
scene, careless of details so long as the rapid and free it never surprises us by any in¬
main movement were ascertained, but there timate revelation of character, any summary
is none of this fire in Claude. It is with indications of the central truth. But it has
slow ponderation and deliberate care that he a certain inexpressive beauty of its own.
places before us his perfunctory and It is never elegant, never florid, and, above
generalized statements, finishing and polish¬ all, never has any ostentation of cleverness.
ing them with relentless assiduity, and The beauty of Claude’s work is not to be
not infrequently giving us details that we sought primarily in his drawing : it is
do not desire and which add nothing but not a beauty of expressive parts but
platitude to the too prolix statement. the beauty of a whole. It corresponds in
All this and much more the admirer fact to the poetry of his century—to Milton
of Claude will be wise to concede to the or Racine. It is in the cumulative effect
adversary, and if the latter ask wherein the of the perfect co-ordination of parts none
beauty of a Claude lies he may with more of which is by itself capable of absorbing
justice than in any other case fall back on our attention or fascinating our imagina¬
the reply of one of Du Maurier’s aesthetes, tion that the power of a picture by Claude
‘ in the picture.’ For there is assuredly a lies. It is the unity and not the content
kind of beauty which is not only that affects us. There is, of course, content,
compatible with these defects but perhaps but the content is only adequate to its
in some degree depends on them. We purpose and never claims our attention on

268
VIEW OF A TOWN. FROM THE DRAWING
BY CLAUDE IN THE UNIVERSITY
GALLERIES, OXFORD
 Claude
its own account. The objects he presents is in this place.’ Never, it is true, one of
to us have no claim on him but as parts the greater gods : no mysterious and fear¬
of a scheme. They have no life and pur¬ ful Pan, no soul-stirring Bacchus or all-
pose of their own, and for that very reason embracing Demeter; scarcely, though he
it is right that they should be stated in tried more than once deliberately to
vague and general terms. Particularization invoke them, Apollo and the Muses, but
would spoil the almost literary effect of some mild local deity, the inhabitant of a
his presentment. He wishes a tree to rustic shrine whose presence only heightens
convey to the eye only what the word the glamour of the scene.
‘ tree ’ might suggest at once to the inner It is the sincerity of this worship, and
vision. We think first of the mass of the purity and directness of its expression,
waving shade held up against the brilliance which makes the lover of landscape turn
of the sky, and this, even with all his detailed with such constant affection to Claude,
elaboration, is about where Claude, whether and the chief means by which he com¬
by good fortune or design, leaves us. It municates it is the unity and perfection
is the same with his rocks, his water, his of his general design ; it is not by form
animals. They are all made for the mental considered in itself, but by the planning
imagery of the contemplative wanderer, of his tone divisions, that he appeals, and
not of the acute and ardent observer. But here, at least, he is a past master. This
where Claude is supreme is in the mar¬ splendid architecture of the tone masses
vellous invention with which he combines is, indeed, the really great quality in his
and recombines these abstract symbols so pictures ; its perfection and solidity are
as to arouse in us more purely than nature what enables them to bear the weight of
herself can the mood of pastoral delight. so meticulous and, to our minds, tiresome
That Claude was deeply influenced by an elaboration of detail without loss of
Virgil one would naturally suppose from unity, and enables us even to accept the
his antiquarian classicism, and a drawing enamelled hardness and tightness of his
in the British Museum shows that he had surface. But many people of to-day,
the idea of illustrating the Aeneid. In accustomed to our more elliptical and
any case his pictures translate into the quick-witted modes of expression, are so
language of painting much of the senti¬ impatient of these qualities that they can
ment of Virgil’s Eclogues, and that with only appreciate Claude’s greatness through
a purity and grace that rival his original. the medium of his drawings, where the
In his landscapes Meliboeus always leaves general skeleton of the design is seen
his goats to repose with Daphnis under without its adornments, and in a medium
the murmuring shade, waiting till his which he used with perfect ease and
herds come of themselves to drink at the undeniable beauty. Thus to reject the
ford, or in sadder moods of passionless pictures is, I think, an error, because it
regret one hears the last murmurs of the was only when a design had been exposed
lament for Gallus as the well-pastured to constant correction and purification that
goats turn homewards beneath the evening Claude got out of it its utmost expressive¬
star. ness, and his improvisations steadily grow
Claude is the most ardent worshipper under his critical revision to their full
that ever was of the genius loci. Of his perfection. But in the drawings, at all
landscapes one always feels that ‘ some god events, Claude’s great powers of design
271
Claude
are readily seen, and the study of the ceptibility to natural charms which, in
drawings has this advantage also, that its width of range and freedom from
through them we come to know of a the traditional limitations of the art of
Claude whose existence we could never landscape, is most remarkable. Here
have suspected by examining only his we find not only Claude the prim seven¬
finished pictures. teenth-century classic, but Claude the
In speaking of the drawings it is well romanticist, anticipating the chief ideas
to recognize that they fall into different of Corot’s later development1, and Claude
classes with different purposes and aims. the impressionist, anticipating Whistler
We need not, for instance, here consider and the discovery of Chinese landscape,
the records of finished compositions in the as, for instance, in the marvellous
‘ Liber Veritatis.’ There remain designs for aper^u of a mist effect, which we reproduce
paintings in all stages of completeness, from (plate xiv)2. Or, again, in a view which is
the first suggestive idea to the finished quite different from any of these, but
cartoon and the drawings from nature. quite as remote from the Claude of the
It is, perhaps, scarcely necessary to remark oil-paintings, in the great view of the
that it would have been quite foreign to Tiber (Plate xiii), a masterpiece of hurried,
Claude’s conception of his art to have almost unconscious planning of bold
painted a picture from nature. He, him¬ contrasts of transparent gloom and
self, clearly distinguished sharply between dazzling light on water and plain. This,
his studies and his compositions. His indeed, is so modern in manner that one
studies, therefore, were not incipient might mistake it at first glance for a
pictures, but exercises done for his own water-colour drawing by Mr. Steer.
pleasure or for the fertility they gave to The impression one gets from looking
his subsequent invention, and they have through a collection of Claude’s drawings
the unchecked spontaneity and freedom of like that at the British Museum is of a
hand that one would expect in such un¬ man without any keen feeling for objects
reflecting work. These studies again fall in themselves, but singularly open to im¬
into two groups : first, studies of detail, pressions of general effects in nature,
generally of foliage or of tree forms, and watching always for the shifting patterns
occasionally of rocks and flowers ; and of foliage and sky to arrange themselves
secondly, studies of general effects. Of in some beautifully significant pattern and
the studies of detail I have already said choosing it with fine and critical taste.
something. They have the charm of an But at the same time he was a man with
easy and distinguished calligraphy, and of vigorous ideas of the laws of design and
a refined selection of the decorative possi¬ the necessity of perfectly realized unity,
bilities of the things seen, but without and to this I suppose one must ascribe the
any of that penetrating investigation of curious contrast between the narrow limits
the vital nature of the thing seen which of his work in oil as compared with the
gives its chief beauty to the best work of wide range, the freedom and the profound
this kind. originality of his work as a draughtsman.
It is, indeed, in the second group of ’As, for instance, in a wonderful drawing, On the Banks of
the Tiber, in Mr. Heseltine’s collection.
studies from nature that we come from 2 it is not impossible that Claude got the hint for such a
time to time upon motives that startle and treatment as this from the impressionist efforts of Graeco-
Roman painters. That he studied such works we know from
surprise us. We find in these a sus¬ a copy of one by him in the British Museum

272
LANDSCAPE STUDY BY CLAUDE
IN THE UNIVERSITY GALLERIES, OXFORI
 Claude
Among all these innumerable effects which dimly suggested wood, the figures meet
his ready susceptibility led him to record and hold converse ; to the right the mound
he found but a few which were capable of of Calvary glimmers pale and ghost-like
being reduced to that logical and mathema¬ against the night sky, while over the
tical formula which he demanded distant city the first pink flush of dawn
before complete realization could be begins. It is an intensely poetical con¬
tolerated. In his drawings he composes ception. Claude has here created a
sometimes with strong diagonal lines landscape in harmony with deeper, more
(Ripa Qratide, pi. i), sometimes with mystical aspirations than elsewhere, and,
free and unstable balance. In his pictures had he given free rein to his sensibilities,
he has recourse to a regular system of we should look to him even more than
polarity, balancing his masses carefully on we do now as the greatest inventor of the
either side of the centre, sometimes even motives of pure landscape. As it is, the
framing it in like a theatrical scene with only ideas to which he gave complete
two repoussoirs pushed in on either side. though constantly varied expression are
One must suppose, then, that he approached those of pastoral repose.
the composition of his pictures with a Claude’s view of landscape is false to
certain timidity, that he felt that safety nature in that it is entirely anthropocentric.
when working on a large scale could only His trees exist for pleasant shade ; his
be secured by a certain recognized type peasants to give us the illusion of pastoral
of structure, so that out of all the various life, not to toil for a living. His world
moods of nature to which his sensitive is not to be lived in, only to be looked at
spirit answered only one lent itself to com¬ in a mood of pleasing melancholy or suave
plete expression. One wishes at times reverie. It is, therefore, as true to one
that he had tried more. There is in the aspect of human desire as it is false to the
British Museum a half-effaced drawing on facts of life. It may be admitted that this
blue paper, an idea for treating the Noli is not the finest kind of art—it is the art
me tangre which, had he worked it out, of a self-centred and refined luxury which
would have added to his complete looks on nature as a garden to its own
mastery of bucolic landscape a masterpiece pleasure-house—but few will deny its
of what one may call tragic landscape. genial and moderating charm, and few of us
It is true that here, as elsewhere, the figures live so strenuously as never to feel a
are in themselves totally inadequate, but sense of nostalgia for that Saturnian
they suggested an unusual and intense key reign to which Virgil and Claude can
to the landscape. On the outskirts of a waft us.

^ NOTES ON THE DRAWINGS REPRODUCED r*?

HE present series of sketches succeeded him. Commenting on the drawings, it
and studies by Claude serves is easy to discuss these two aspects of the master’s
a double purpose. In the first art at the same time ; indeed, by so doing, we are
place it will illustrate in some materially aided in gaining a clear idea of the
measure the course of Claude’s course of his progress.
development from early man¬ The history of art as a whole bears a singular
hood to old age. Incidentally, relation to the development of great individual
too, it illustrates the remarkable artists. The great artist has his primitive period, in
manner in which Claude anticipated the landscape which his work is stiff and precise, just as painting
work of almost all the masters of the art who itself was stiff and precise almost to the close of

275
j^otes on the ‘Drawings T^eproduced
the fifteenth century. He then enters upon the powers at the time he settled in Rome, after his
period in which his works are, perhaps, most Wauderjahre, that is to say, about the year 1630.
perfect, when the precision of his youth is tem¬ We do not, of course, see here the same mastery
pered with the freedom of perfected skill. An of aerial perspective which we find in the latter
analogous stage is reached by every school of art drawings; the contrast between the boats, the
in its maturity. Last, as the artist approaches buildings and the sky behind them is too forced ;
old age, his work, if he be a great man, becomes yet already we may trace that feeling for effects of
emancipated from all current rules and theories misty sunlight which Claude afterwards developed.
of conception and technique. His composition
becomes unrestrained, his handling more loose. II
A similar character will be found in all schools The next study is one of those sketches to which
of painting that have passed their period of full a reproduction cannot do full justice. The trees
strength. The painters who have not originality are sketched in a reddish-brown pigment which
copy their predecessors ; those who have origin¬ conveys by itself the impression of strong illumi¬
ality express themselves with more fluency but nation, while in the background one or two touches
with less sharpness of vision. of cooler grey give the hills by contrast a tone of
The sketches of Claude are of the utmost variety, rich purple. This device, by which an effect of
and, as we have seen, seem to anticipate from rich colour is suggested without the use of colour,
time to time the qualities obtained by many of is one that we often find in Claude’s work. He
will make his drawing in some warm tone of
his successors. We shall not, therefore, be far
wrong, perhaps, if we conclude that their relative brown, and then delicately work over the distance
chronological order is analogous to that of the in black and white, gaining from the play of the
dates at which the respective artists whom he cool tone with the warm one a richness and sub¬
resembles lived and worked, and to conclude that tlety comparable with that of an elaborate oil
a drawing resembling a work of Gainsborough is painting. A similar effect is occasionally found
later than one which resembles the work of in the sketches of other great masters, but it was
Poussin ; and that a drawing which recalls the used most consistently perhaps by Gainsborough,
Impressionists of the nineteenth century comes whose landscape studies almost alwaj's convey
later still. Such dated sketches as we possess on the sense of fine colour without the use of a single
positive hue.
the whole bear out this assumption, though it
III
must always be remembered that the assumption
The third drawing is a thing of special interest
applies only to sketches and studies from nature.
in the study of Claude. Not only may it be
Claude the sketcher is, in fact, a different person
taken as an example of his studies of the ruins of
from Claude the designer of classical compositions;
Rome which were the foundation of the classical
and the principle which guides us in dating the
architecture introduced into his mythological
former class of work is not applicable to the latter.1
pictures, not only is it an admirable example of
I his art, but it is also interesting in relation to his
That the first sketch of shipping represents accuracy as a topographical draughtsman. It is
Claude’s style at the very opening of his career in evident that the building on the right of the
Rome is indicated, not only by a certain tentative drawing is the arch of Constantine, its base heaped
quality in the workmanship, but also by external with grass-grown rubbish on which sheep are
evidence. Among not the least interesting draw¬ grazing. When we look at the distance, however,
ings in Mr. Heseltine’s splendid collection are we begin to find ourselves in a difficulty. The
certain pages of blue paper from one of Claude’s buildings on the hill to the left may, by some
early sketch-books, and on the back of one of stretch of the imagination, be taken to represent
them (No. 3) is a study of a boat, the deck covered the temple of Venus and Rome, and the basilica
with the sailors and awning, and with the inscrip¬ of Constantine; but the houses which, as we
tion ‘ Etude faite a Ripa Grande.' The coincidence, know from other contemporary evidence, sur¬
both of the subject and of the inscription, with rounded them in Claude’s day are all obliterated,
the drawing in the British Museum, together with and, instead of the centre of a still populous
the resemblance to his countryman Callot which Rome, we are presented with a scene of utter
we notice in the figures, makes it clear that we desolation. That the interval between the fore¬
have here an example of Claude’s earliest style. ground and the middle distance should be filled
Those who know his history will remember how by a pool of water is another concession to the
largely marine subjects figured during the first demands of the picturesque. As all who know
portion of his career, so that on all grounds we Rome will recognize, its place in the Rome of
may assume that this drawing represents his reality is occupied by the slope which leads up to
the arch of Titus. At the foot of that slope nearest
1 To those who wish to make a more detailed study of Claude to the arch of Constantine lie the remains of the
the little biography by Mr. Edward Dillon, published in Messrs.
Methuen’s half-crown series, can be heartily recommended. fountain of the Meta Sudans, while on the far side

276
SUNSET. FROM THE DRAWING BY CLAUDE
IN THE UNIVERSITY GALLERIES, OXFORD
%
 5\(otes on the ^Drawings T^eproduced
of the slope the basilica of Constantine overlooks these sudden splendours rather than with the spirit
the forum where, some thirty or forty feet below of Claude and the tranquil sky of Italy.
the Renaissance level of the ground, modern VI
archaeological enterprise has discovered traces of The little sketch which forms part of the collec¬
the pool round which the earliest settlements on tion of drawings in the Oxford University Galleries
the site of Rome were built. Claude’s drawing, conveys the same impression, blended, it is true,
therefore, cannot be regarded as in any way an with a more tempestuous wind and a wider horizon.
accurate representation of Rome as it was in his In connexion with this study, it may not be amiss
day ; it is merely an improvisation on a Roman to mention the four drawings at Oxford which
theme, an essay on the desolation of Italy, rather are reproduced in facsimile. Of these, the two
than a view of a real place. In the precision of views of towns are perhaps the earliest in date.
the pen-work and the care with which the details Both exhibit in perfection the qualities on which
of the arch of Constantine are interpreted, we Claude’s mastery of landscape is based, his feeling
recognize some survival from the manner of his for the modelling of the ground, his love of
earliest time, in which he relied almost entirely winding lines which lead the eye insensibly yet
upon careful work with the pen. In this drawing, with infinite variety from the foreground into the
however, the dryness of this early manner is distance, that preference for country once popu¬
mitigated by masterly use of the brush, so that lated by man but now almost deserted which is
the outlines of the distance are blended by delicate the keynote of so much of his most intimate work.
tones with the paper on which they are drawn, As with Piranesi, the figures who move in the
while the wiry harshness of the stronger pen lines landscapes of Claude are rarely contemporary
in the foreground is modified by lavish use of with the buildings around them. Like Claude
wet colour so skilfully varied in quality that it is himself, they are but spectators of the ruins of
everywhere transparent and luminous. former grandeur, they seem to lead only a butter¬
fly existence under its shadow. It will be
IV noticed how in these drawings the touch of
Having said thus much as to the degree of accu¬ Claude has become more free ; the pen line is
racy we may expect from Claude as a topographer, no longer hard and crisp but is delicately blurred
it would be rash to speak too positively as to the either by working on paper already damped, or
place depicted in the next sketch. The varied by a subsequent softening with the brush. This
species of the trees perhaps indicate rather the quality is specially noticeable in the romantic
neighbourhood of a city and of gardens, but even study of a woodland glade where an opening
then we have no means of deciding the locality. reveals to us an expanse of calm water bounded
We must content ourselves with noticing how far away by a low range of hills over which the
clear and fresh is the impression of sunlight con¬ sun is setting. Here (as in No. XVI) three-quarters
veyed, how direct and simple the method of ex¬ of the composition are only a framework for an
pression, how free from all the then prevalent exquisite passage of distance. We may note how
notions of manipulating nature. It is, indeed, careful the artist has been to subdue the incisive¬
just the sort of study that might have been made ness of his pen stroke by blurring ;t everywhere in
by some good English artist in the early part of the shadows, so that no importunate detail may
the nineteenth century, except that the articula¬ distract our eyes from the passage he desires to
tion of the boughs is not observed as a modern emphasize. The treatment, in fact, is really the
master would observe it. same as that employed in the fourth drawing,
where a shadowed watercourse flows out into a
V quiet lake : a sketch in which both brush and
In the olive garden represented in the following chalk are used together to produce strength of
drawing we are brought face to face with nature tone and soft play of light without the intrusion
in a more serious mood. This is one of the of any sharp lines to detract from the effect of
sketches in which Claude has worked in black misty evening light under which the scene is
and white on the top of a drawing made in brown, viewed.
producing that impression of rich sober colour VII
to which we have previously referred, but thereby If we now turn to the next illustration, a study
making the effect something which the camera of a tree fallen into a river, made during one of
cannot reproduce. Nevertheless, the engraving Claude’s excursions to Tivoli, we shall notice how
may give some idea of the beauty of this sketch. the general mass and sweep of the foliage,
It is a cloudy evening, but a burst of sunlight has together with the forms of the landscape in the
broken through the clouds and has for a moment background, are blocked out with loose strokes of
turned to splendour a scene of no great intrinsic the brush, but the portion of the subject which
attraction. It is with the name of Rubens and the artist was most keenly bent on recording, the
with the stormy days of autumn that we associate bough trailing in the water, is drawn with the

279
H^otes on the ^Drawings T^eproduced
pen, vigorously yet with an eye for detail and strong enough to resist the allurements of facile
structure which Claude does not always show. success, the criticism of a less gifted friend, or the
tastes of a patron. Men of great independence of
VIII
mind, like Rembrandt, constantly make mistakes,
In this study we see an increased complexity of
but they do so deliberately, as an inventor may
method. The subject seems first to have been
sometimes waste his time in following up a false
faintly indicated with the brush, then to have
scent. The failings of Claude cannot be assigned
been carried out in black chalk, and finally
to any such honourable cause.
once more strengthened with a few vigorous
touches of wet colour. It is thus analogous to the X
landscape studies of Gainsborough in method as In the sketch which follows, we see Claude
well as in feeling and execution. Indeed, it working untrammelled, with a good taste and pro¬
resembles Gainsborough so closely in its tech¬ fundity that are almost worthy of Rembrandt.
nique that it might well pass for a study by him, The slightly conventional silhouette of the foliage
although a student who is intimately acquainted to the left is the one passage in which we can still
with Gainsborough would probably find it recognize his limitations, but the suggestion of
difficult to give the drawing a date, since the the great wall rising on the right and screening all
close reliance upon nature which underlies it is but a glimpse of the sunlit hills in the distance
found only in Gainsborough’s early work, while has a boldness and massiveness that are rare in the
the exquisite freedom of touch and breadth of landscape design of any country or of any period.
style which it displays were achieved by him only Translated into solid paint, it would need the
in middle life, when he had few or no oppor¬ genius of a Rembrandt to match the play of
tunities of working in the open air. The drawing broken tones and reflected lights which make
cannot claim to be a complete composition, or to this sketch a little masterpiece of chiaroscuro. It
be a thing of extraordinary beauty, yet it is the is, indeed, in company with the work of Rem¬
work of a master in that it expresses perfectly the brandt that it deserves to be studied.
things it sets out to express, the mysterious charm XI
of a road running deep between tree-clad banks, a If dignity was the keynote of the previous
charm obtained by that elimination of unnecessary drawing, then the keynote of the present one is
detail which is the hall-mark of all good crafts¬ romance. The famous picture of The Enchanted
manship. Castle in the Wantage collection is Claude's
IX supreme achievement as a painter in oil, and in
If the drawing of the hollow road might be itself is sufficient to place him among the great
compared with Gainsborough, this sepia sketch creative landscape artists. Yet such a drawing as
of rocks and trees might with equal justice be that before us, if small things may be compared
compared with the works of the English water- with great, may fitly be compared with the
colourists of the early part of the nineteenth Wantage picture. Here Claude transports us
century. It exhibits just the same facile, confident into an ideal Italy—not the Italy of wide plains,
use of the medium, just the same perception of the white walls and quiet sunshine that we find in
obvious relations of sunshine and shadow. Per¬ his paintings, as in those of his great follower,
haps it might be charged with the same defect, Corot, but an Italy which we might hope to
namely a certain materialism of attitude which is discover even now, in some remote district from
content with a clever record of some casual which the stirr and stress of active life have long
natural effect, and does not attempt to be more passed away. We feel that if we could but leave
than clever. Had Gainsborough or Rembrandt railways and all other means of conveyance far
approached such a subject, he would infallibly behind, and follow the less travelled stretches of
have endowed it with some new quality of air or the Italian coast line, we might in some fortunate
distance or mystery which would make the rocks moment come across just such a quiet little bay,
and trees symbols of something much more than with just such jutting cliffs, with just such a little
they actually are, would have enveloped them in mouldering tower on the far headland, and with
the atmosphere of a wider and more significant just such an uncertain sky brooding over it all. A
universe, and we should forget that there was such few of the felicitous little studies by Guardi of islets
a thing as skilful manipulation of wet colour in our forgotten among the Venetian lagoons touch the
delight at the profound sensation with which the same lonely note. The best landscape painters
drawing inspired us. This materialism is not of Holland try for it, but with infrequent success.
uncommon in Claude’s work, and goes far to ex¬ It is, in fact, one of the few veins of landscape
plain the faults of his pictures. It is evident that sentiment which might still be explored with
lie was by nature a man of profound feeling, but profit.
his feeling was superior to his character. When XII
his inspiration was uninterrupted he could be a In this broadly executed sketch of Tivoli, we see
fine emotional artist, but his mind was not Claude once more anticipating the style of later

280
PLATE I. STUDY OF SHIPPING. FROM THE
PLATE II. STUDY OF TREES AND HILLS. FROM
PLATE III. THE ARCH OF CONSTANTINE. FROM
THE DRAWING BY CLAUDE IN THE BRITISH MUSEUM
 "*■ i-'i

PLATE IV. STUDY OF SUNLIT TREES. FROM

THE DRAWING BY CLAUDE IN 'THE BRITISH MUSEUM
PLATE VI

PLATE V

PLATE V. A GARDEN AT SUNSET. FROM THE

DRAWING BY CLAUDE IN THE BRITISH MUSEUM

PLATE VI. A WINDY EVENING. FROM THE DRAWING

BY CLAUDE IN THE UNIVERSITY GALLERIES, OXFORD
'
PLATE VII

PLATE VIII

PLATE VII. A TREE iN THE RIVER AT TIVOLI. FROM

THE DRAWING BY CLAUDE IN THE BRITISH MUSEUM

PLATE VIII. A ROAD BETWEEN HIGH BANKS. FROM

THE DRAWING BY CLAUDE IN THE BRITISH MUSEUM
PLATE IX. STUDY OF ROCKS AND TREES. FROM
THE DRAWING BY CLAUDE IN THE BRITISH MUSEUM
PLATE X. LANDSCAPE STUDY. FROM A DRAWING
p
c
 J^otes on the ‘Drawings Reproduced
masters. On this occasion the analogy is with moment that the drawing was two centuries old
Girtin and Crome, in whose art we see the same and more.
large, solemn view of nature expressed with the The sketch of a woodland glade with a vague
same force and simplicity of means. One cannot country scene beyond it is equally modern, and if
help feeling a regret that Claude should not have we did not know from its place in the British
attempted to carry out in the more solid and Museum and its history that it was a work by
substantial medium of oil some of these broad Claude, we might pardonably recognize in it a
conceptions which he realized so completely in sketch by Mr. Sargent or Mr. Wilson Steer.
water-colour. Whatever our admiration for his Indeed, it is the existence of sketches such as this
skill as an oil painter, we cannot help recognizing that makes Claude such a difficult figure to under¬
that his brush-work is somewhat petty, that his stand. How was it that a man who could see
masses are too frequently broken up, too consis¬ nature so independently, and learn to report his
tently fretted with small details, so that it is only on impressions so boldly, did not, as a painter, show
rare occasions, as in the superb Acis and Galatea a trace of this boldness ? We can only attribute
at Dresden, that we find him dealing with large the failure to lack of character. Nevertheless, in
things in a large way; and, even there, the fashion judging his achievement as a whole, the extra¬
of the day or the imperfection of his taste admits ordinary gifts displayed in his sketches cannot be
the introduction of importunate little figures in set on one side, and if we count them, we are almost
the foreground. These figures, it is true, are said compelled to admit that Claude’s natural disposi¬
to have been re-painted with additions by another tion for landscape was not inferior to the reputation
hand, but the mere fact of their being introduced he once held in Europe.
at all shows that the artist was not strong enough, XVI, XVII
as Crome and Girtin were, to throw aside con¬ The three large drawings which follow indicate
vention, and to leave the great solitudes of nature the use which Claude made of the detached studies
to tell their own story. from nature which we have been considering.
XIII, XIV, XV Nos. XVI and XVII are both in Mr. Hcseltine’s
collection, and are reproduced here by his kind
These three studies introduce us to an even more permission. The collection at the British
advanced stage in the history of art. Something Museum is far larger, but contains a good deal
in this marvellous bird’s-eye prospect may remind that is not of the first importance. Mr. Hesel-
us of Rembrandt; something, perhaps, of the tine’s collection, on the other hand, is a collection
spreading plains which Turner loved to paint; but of picked examples, covering the whole period of
the style is that of a generation later even than Claude's career, and including some of his very
Turner. When Ruskin uttered his famous de¬ earliest known drawings, but especially strong in
nunciations of Claude in ‘ Modern Painters,' he the work of his mature period (1660-1665), when
joined with them abuse of what he termed ‘ blott¬ his art was at his best. The first drawing we have
esque landscape.’ Little, I think, could he foresee to consider, No. XVI, is of singular majesty in the
that the loose style of workmanship which he then disposition of its masses, but we cannot help feel¬
condemned would, before the end of his life, be ing that these solemn trees and rolling foreground
the generally accepted manner of artistic sketching, which occupy so much of the picture’s space are,
and that this seemingly incoherent method of as in the Oxford drawing already mentioned, only
expression would be found more decorative and a framework for the exquisite glimpse of the dis¬
infinitely more suggestive than the minute state¬ tance which they permit us to see—a quiet sheet
ment of details that he practised and preached. of water, bordered by low hills beyond which
In the house of art there are many mansions, and sunlit mountains rise sheer into the evening sky.
we are being compelled to recognize more and The abrupt forms of these mountains suggest the
more that we may without inconsistency visit Dolomites rather than the softer outlines of the
them all. Yet it is remarkable that it should have mountains that look down on the Roman Cam-
been reserved for Claude to anticipate so com¬ pagna. Here indeed, as in many other passages
pletely a style of technical work and a form of in Claude’s work, we must recognize how largely
artistic vision which the other landscape painters he was influenced by the work of other artists,
of Europe did not reach till two hundred and and how skilfully he assimilated the hints of
fifty years after his death. novel scenery which they gave to him.
Still more definitely impressionistic is the next The next drawing, too (XVII), has nothing speci¬
study, in which the charm of misty moonlight is fically Italian about it. The movement and nature
enlivened and contrasted with artificial illumina¬ of the cloud forms, the moisture with which the
tion. It is a sketch which could be hung in a air is laden, and the group of castellated ruins on
show of modern English or continental work the right to which the whole composition sweeps
under the name of half a dozen artists one can re¬ upwards, are so definitely northern in character
member, without the spectator guessing for a that we are once more reminded of the art of
x 297
j^otes on the ^Drawings Reproduced
Gainsborough. Again, as in Gainsborough’s work, sheer delight in the prospect of wide plains and
we find Claude getting a suggestion of actual giant architecture which stretches before us. The
colour by working in black and white on the top artist will note the skill with which the eye is led
of a drawing executed in brown. As in the earlier away across the level country to the huge erection
drawings where this practice was noticed, the that rises literally into the sky, will admire the
effect is one of singular richness, so that, although subtlety with which the vast height and massive
the actual tones before us are no more than grey bulk of the towering buildings on the right are
and brown, the mind is instinctively compelled suggested, and will perhaps regret that Claude did
to colour the composition with the rich tones of not carry out this stupendous conception in paint.
sunset in which the similar compositions of Yet we may wonder whether the realization of
Rubens and Gainsborough are enveloped. To such an idea is possible in paint; whether the
the artist of to-day such drawings may not always artist was not wise to leave it as a suggestion. In
appeal strongly, since the eye may be repelled by painting even the most skilful artist is to some
much that is formal and conventional in the build¬ extent subject to accidents of material, to the
ing up of the composition, and by the generalization necessity of representing positively much at which
of natural forms which made Ruskin so angry. a sketch needs only to hint. If we remember
Yet there is a place for art that has no relation to how few paintings of a highly imaginative nature
photographic appearances, just as there is a can be termed unqualified successes, we may
literature which has nothing to do with the recognize that Claude was perhaps right in
statement of facts such as may be found in the leaving this idea in the form of a sketch, where
daily paper ; and those who have still sufficient the imagination of the spectator, if attuned to the
imagination to appreciate a literature which is not subject, would inevitably supply all that was
a literature of facts (if, indeed, journalism can be required to complete the picture, without the
so termed) may also be able to enjoy the beauty help of any of those importunate details which,
and romance of these drawings of Claude, and to when materialized in an oil painting, are apt to
make allowance for their artifice. distract the attention and weaken the design.
Once more, the analogy with the work of
XVIII certain northern artists will not fail to strike those
In the last subject reproduced no such allow¬ who are conversant with the history of landscape,
ance at all is necessary. In this sketch for a but in this case, as in that to which we previously
composition representing apparently the Tower referred, this exotic element is so blended and
of Babel we are dealing with a world which is fused with the breadth of view and stability of
entirely a world of the imagination. To this construction that are characteristic of all good
place of cloud-capped towers and gorgeous Italian work that we can accept it without the
palaces we need not apply the tests of common reservations which we are compelled to make
realism any more than we apply them to before the imaginative landscapes of Flanders
Prospero’s island, but can abandon ourselves to and Germany. C. J. H.

298
PLATE XI. A TOWER ON THE COAST, FROM THE
DRAWING BA' CLAUDE IN THE BRITISH MUSEUM
PLATE XII. VIEW OF TIVOLI. FROM THE
DRAWING BY CLAUDE IN THE BRITISH MUSEUM
PLATE XIII. THE TIBER ABOVE ROME. FROM
>-
PLATE XIV. NOCTURNE. FROM THE DRAWING
BY CLAUDE IN THE BRITISH MUSEUM
PLATE XV. RAPID STUDY OF TREES. FROM THE
DRAWING BY CLAUDE IN THE BRITISH MUSEUM
PLATE XVI. LANDSCAPE COMPOSITION. FROM THE DRAWING
BY CLAUDE IN THE COLLECTION OF MR. J. P. HESELTINE (NO. 30)
PLATE XVII. LANDSCAPE COMPOSITION. FROM THE DRAWING
BY CLAUDE IN THE COLLECTION OF MR. J. P. HESELTINE (NO
PLATE XVIII. THE TOWER OF BABEL. FROM
THE DRAWING BY CLAUDE IN THE BRITISH MUSEUM
 BRUGES AND THE GOLDEN FLEECE CELEBRATIONS
BY FRANCIS M. KELLY <+»
NDOUBTEDLY (lie com- kings and princes in seeking admission to the
YZAYG hlmittee have chosen the right ranks of the Toison d’Or.1
'imoment for the present exhi- Of English monarchs Edward IV, Henry VII
jjbition of objects connected and Henry VIII were enrolled upon its register.3
IV blMlAlvi K/with the history of the Golden Kings of France, Castille, Hungary and Poland,
Fleece. Now that Bruges pos¬ princes of Orange, dukes of Bavaria, of Saxony
sesses a direct waterway to the and a host of other rulers have been of its number.
sea, those who appreciate the The tale of its members is the enumeration of all
innate shrewdness and enterprise of the Flemings that was noblest and most famous in Spain, Ger¬
can alone foresee how far the town will go many, Austria, Hungary and the Netherlands
towards recovering her past repute as a centre of throughout a period extending over centuries.
commercial activity. It is therefore very fitting, After the fall of the power of Burgundy and the
after a long period of relative stagnation, that union of its reigning house with that of Hapsburg,
Bruges should pause to cast a retrospective glance the hereditary headship of the Order passed over
at her old greatness before shaking off the old- to Austria. From Charles V onward the Toison
world habit that has long constituted her chief d’Or was divided into two branches, the Austrian
charm. and the Spanish ; the sovereigns of both countries
The story goes that the Order of the Golden enjoying equally the dignity of Grand Master.3
Fleece owes its origin to the ironical comments of The privileges of membership were in keeping
the Burgundian nobles on the ‘ auburn ’ tresses— with the difficulties of admission, and the official
‘ Toison d’Or,' some learned wag had dubbed it— proceedings of the Order were characterized by
of their prince’s lady-love, Maria von Crombrugge unusual splendour.4 The exhibition now on view
—‘ Fore Heaven ! Sirs,’ quoth Duke Philip the in the Maison du Gouverneur leaves us in no doubt
Good, ‘ I will make of this same golden fleece a on this point at least. Much there is which has
badge of such high honour as the best of you that little or no direct relation to the object of the
mock now shall think it glory enough to wear’ ; collection. In fact the words ‘ Exposition de la
and, as in the kindred case of the Garter, from a Toison d’Or' have been interpreted in a more than
thoughtless jest at a lady’s expense sprang into catholic manner. We have, however, splendid
existence a great and puissant order of knight¬ examples of the habits and insignia of the knights
hood which to this day numbers kings amongst gathered from a variety of sources. The habit of
its proudest members. Less romantic but more the Order has remained the same from the date of
convincing is the view that by the institution of its birth to the present day. It consists of a
the Golden Fleece its founder intended to com¬ close gown or habit shirt of red velvet with close-
memorate the prosperity of Flemish commerce sleeves, generally plain. Over this is worn a semi¬
and especially of the woollen industry of which circular mantle of crimson velvet embroidered in
Bruges was the headquarters. Whether one in¬ gold and lined with white satin, fastened upon
cline to the first account, to the second, or to a the right shoulder. Along the extreme edge runs
third version according to which the duke’s the motto of the Toison d’Or in gold :
motive was to honour his bride, the essential fact ‘ Je lay emprins.’5 Beyond this is a broad
remains that on February ioth, 1429, the new band of embroidery which bears at intervals
Order was solemnly inaugurated with great pomp the Fleece supported by the Burgundian linked
and ceremony. At the first installation the num¬ fusils or fire-steels. This embroidery often varies
ber of knights created was twenty-four in all; a little in detail. Thus we sometimes find the
amongst whom we find such illustrious names as
1 An order, named 1 Ordre des Trois Toison d’Or,’ was pro¬
Croy, Lannoy, la Trimouille and Commines. claimed by Napoleon at Schoenbrunn in 1810 with much pomp
The Toison d’Or was formally placed under the and circumstance. For eligibility princes of the blood must
patronage of Our Lady and of St. Andrew. have undergone their ‘ baptism of fire,’ and ministers have held
The latter saint was peculiarly identified with the offices for ten consecutive years. Only two nominations were
ever made, and the order, though never revoked, gradually
Order, and his anniversary was the principal feast lapsed into oblivion.
in its calendar. A St. Andrew’s cross rciguly, be 2 King Edward VII and the duke of Devonshire are the only
it mentioned, was one of the badges of the house actual English knights, to the best of my knowledge.
3 Spain seems always to have been the preponderant authority.
of Burgundy. The requisite qualifications were * The knights of the Fleece were judicially answerable to
of a very severe standard ; none but men of the their own chapter only, and all had a voice in its elections. A
quaint privilege was the daily grant of two measures of wine
highest quality, spotless integrity and rigid honour and ten Hards' worth of bread.
were eligible. The slightest taint spelt rejection, 5 The motto of Philippe le Bon, which was also that of this
and personal courage was put at such a premium order, is ‘Aultre n’auray tant que je vive,’ ‘Plus oultre’
that discretion was forbidden to temper valour (Charles V) and ‘ Plus en seray ’ (Philip II) are also found on
the robes. To the collar of /usils and firestones was attached
under any circumstances. The consequence was the motto" Anteferit quam flamma viicet,” and to the pendent
that the flower of European chivalry vied with lamb or fleece the device “ Pretium non vile laborum.".

Y 315
Bruges and the Golden Fleece
cross-staves raguly of Burgundy introduced. The and shoulder-plates are decorated with broad
hood or chaperon, which is in principle the same bands of black and gold tracery. The paulilrons
as the ‘ humeral ’ of the Garter robes, matches the are similarly decorated, but of a most unusual
cloak, and also has gold embroidery at the end of type, being made exactly like very short wide sleeves.
the folded cock’s-comb or cornette. The emperor The brassarts cuishes and toe-caps are modelled
of Austria has lent a complete habit of the Order in imitation of the puffs and slashes characterizing
of the eighteenth century, which varies principally the civil fashion of the day. The whole impression
from the accepted shape in having the roundlet or aimed at is that of a puffed suit of the Maximilian
stuffed roll which usually is the foundation of the epoch, worn beneath a long-skirted short-sleeved
hood replaced in this instance by a sort of jerkin. The gauntlets have no cuffs, but appar¬
embroidered smoking cap.0 Also the motto is ently are in one with the vambrace and are fluted
worked upon a narrow border of white satin. across the back of the fist. This is a harness of
Comparison of a number of pictures and illumi¬ German make. Such imitations of civil modes
nations on view at this exhibition shows a certain are comparatively rare in extant suits. Of the
variety in the minor details, so slight, however, as fluted steel bases another fine instance is in Vienna,
to escape a casual eye. The collar of the Order while of puffed and fluted harnesses there is one
was formed of pairs of linked fusils, alternating in the Wallace Collection (formerly at Goodrich
with blue enamelled flints having gold flames Court) two in Paris and two very fine ones in
issuant. Sometimes the flint is absent altogether Vienna.8 It is curious to compare the Madrid suit
or represented by a jewel. In front hangs the attributed to Philip I of Castille, from the Armeria
Golden Fleece suspended by the middle with Real, Madrid, with the child’s suit already men¬
head and legs pendant. A number of examples tioned as ascribed to the same monarch. It is
of this collar have been gathered together, but all not a full ‘ hosting harness,’ the leg-armour being
of them are more modern and less massive than absent, if such portions ever existed. This, a
the old collar is shown to have been. The insignia harness made for a grown man, fully agrees with
of the Spanish and Belgian kings are of this the date assigned to it. The whole character is
number. The collar of the latter is rather on the late Gothic, and it is undoubtedly much the earliest
‘pretty’side of things, and the fusils have been piece of armour on exhibition. In former times
elaborated almost out of recognition. In this, as it must have been more imposing than at present,
in all the actual collars shown, the flint, or pierre as it has been richly decorated with gilt and en¬
a feu, is of blue black enamel irregularly mottled graved bands. Now however the gilding has been
with white. An informal collar attributed to for the most part worn off and even the engraving
King Charles II of Spain is of plaited white silk, has suffered severely, perhaps as the result of in¬
the centre portion entirely covered with tiny judicious cleaning. It has a narrow placate or
square brilliants and supporting the pendant, also ‘piece de renfort' to the breast. In this connex¬
filled in with brilliants, the head and legs above ion it is interesting to note a piece of plate shown
being of plain gold and hanging from a blue in the central case9 in this room. This piece is of
flint with red enamelled flames. The large pen¬ most unusual form, although its shape leaves little
dant belonging to Alfonso XIII is a mere mass of doubt as to its purpose. It obviously was in¬
diamonds ; ‘golden ’ it cannot be called. tended as a strengthening piece to the breast, but
No single class of object shown is more re¬ while such pieces generally follow the lines of the
markable than the armour section, of which the cuirass, the present one is merely an oblong strip
most important pieces have been sent by the of steel moulded to fit the underlying armour.
monarchs of Austria and Spain. Every single The most curious feature of Philip I's harness—
piece in this section is of such superlative quality to return to our subject—is the chapel. This has
that no room is left for criticism, but only for a turned-up brim of two plates curving out¬
admiration. There is a child’s suit, made—says ward at the top. The crown itself is quadrilobed,
the inscription, which I venture to question—for and the general effect very much that of the civil
Philip I of Castille.6 7 Apart from this being bonnet in vogue towards 1500. The Vienna
apparently valued more highly than any other in suit, be it remarked, lacks the customary
the collection, viz: at £So,ooo, it is in every thickly cabled edges. One of the small breast¬
single detail of the most rare and extraordinary plates exhibited with this armour (and of
character. It has long fluted skirts or bases the fifteenth century) has the full collar of
—like the suit in the Tower given to Henry the Order engraved on the breast. This en¬
VIII by Maximilian I. These and the body graved coliar is also present on the exquisite
armour of Nicholas III of Sahn-Neuberg (d. 1550^
6 While apologizing for so flippant a term, I can think of none
more descriptive. gThe whole of the armour here compared with the so-called
7 The whole character of this suit indicates a period not ‘Philip the Fair’ suit dates about 1510-20. The Tower suit
earlier than 1510-1520. It isthearmour of a boy of about eleven dates from 1519; the two Viennese examples from 1511 and
to thirteen years, and Philip the Fair died in 1506. Cf. also next 1515 (about).
note. v Lent by H.M. The King.

316
 Bruges and the Golden Fleece
of Charles V (attributed to Colman of Augsburg some fine ‘ serving knives,’ and a set of three
anno 1521), of Ferdinand I (d. 1564), and upon falcons’ hoods, for hawking, in gilt leather. All
a complete suit of late sixteenth-century date these objects are displayed in the great hall,
of splendid workmanship, but unattributed. It is where is also a most interesting and precious col¬
seen to even greater advantage on the gorget of a lection of MS. works relating to the Toison d'Or,
semi-open headpiece which belonged to Charles V. including Guillaume Fillastre’s history of the
This is a helmet of curious fashion : the skull Order (Bibliotheque Royale) and Georges Chas-
is modelled and gilt to represent a head telain’s life of James de Lalaing (lent by the
of hair, whilst the beaver in like manner present Count de Lalaing). A most curious and
is decorated with a full beard and mous- rare book lent by the king of Spain is a complete
tachios. The general appearance recalls certain series of water-colour drawings of the armour
Japanese helmets. The crossed staves of Burgundy formerly belonging to Charles V. It shows every
are used to decorate a fine suit made for Philip II detail and variety of body defence then in use.11
which also shows an extra detachable frame to A similar album exists in England, and has been
secure the panache. Combined with fusils they described by Viscount Dillon in a paper entitled
decorate the breast and back of a fifteenth-century ‘ An Elizabethan Armourer’s Album,’ which
child’s demi-suit from St. Petersburg. The appeared in ‘The Archaeological Journal.’ This
armour, alia Romana, of Charles V is, perhaps, is a record of the work of one Jacob Topf, a
the best-known suit lent by Spain. It is, of German, who was the leading armourer in this
course, an armtire de parade, intended for country at the close of the sixteenth century. He
show in triumphal processions rather than actual was the master of William Pickering, the only
practical use. The whole is of bruny steel, English armourer of any note. This MS. has
relieved with gold, and consists of a cuirass been invaluable in enabling one to attribute
moulded in imitation of the classic lorica, and certain existing suits (c.g., that of Sir Christopher
furnished with lambrequins at the arm-holes and Hatton) to their original owners with absolute
waist, a shirt of mail, an open casque and openwork certainty. The Spanish exhibit is superior in
buskins, all of metal. On the left shoulder-blade, execution to Topf’s book, and moreover shows
in gold, is inscribed : ‘ B (artolommeo); C (ampi) interesting examples of military underwear. Thus
and on the right: ‘ F (ecit).’ The date assigned on the page exposed are a variety of arming
it is 1541, but I understand the actual curator of boots variously reinforced with pieces of mail
the Armeria Real, Senor Florit, is against its and laced up the small of the leg. In some
attribution to Charles V. A curious detail is that cases toe-caps of plate are attached. One of
the top of breast and back is modelled to represent the most striking things displayed in this
a square decolletage, filled in with mail. The room is a herald's tabard in silk and velvet,
casque is a burgonet modelled on pseudo-classic outlined in gold and beautifully worked. It
lines and encircled by a golden laurel wreath. has been lent by the Austrian emperor, and
The buskins have the toes slightly indicated, the original design which hangs opposite to it
and fasten by means of their own elasticity and has been lent by the king of Spain. The latter
buttons on the outer side. is cut to pattern and drawn the exact size of
The war-harness of Charles V (ascribed to the actual garment. In the absence of any
‘ Colman ’l0 of Augsburg, anno 1521), apart from definite information, 12 I am driven by the
the Fleece engraved on it, is very interesting. It heraldry and general fashion to supposing this to
may, possibly, have formerly had palettes, for the have belonged to a royal herald either of Charles V
front view of the pauldrons resembles the type or Philip II—probably the former. In the
known in German as Spangrols, that is to say, they original design the heraldic colours are frankly
lack the broad flanges overlapping the breast. treated for what they are. Thus gules is expressed
At the back, however, they are very complete, by vermilion, azure by a sky-blue, or by a strong
and the right hand one has an extra articulation. yellow which may be gamboge, or puree. In the
This, probably, indicates that this piece has been actual garment however the red is a deep crimson
broken and the damage made good by cutting velvet, and the blue a velvet of a deep sapphire
away the damaged portion and adding a splint. tone. The purple velvet is so deep as to appear
The greaves only cover the outside of the leg and black at first sight. The or is expressed by a deep
end in a vandyked fringe of mail. There are gold-coloured silk, and the argent and sable por¬
no solcrets. The tassels are continuous with the tions are also of silk. The various divisions of
fald and there is a prominent cod-piece. the field are separated by a line of black and
Other objects worth notice in the cases are a
11 On the page opened is a drawing of the bearded helmet
number of knives attributed to Philip le Bon, described above.
10I presume this to be Coloman Helmschmied (1470-1532). He
was son to Lorenz Helmschmied, armourer to Maximilian 1 (died 12 The absence of any catalogue up to date and the fact that
1516,) and father to Desiderius, who worked for the Austrian and half the exhibits are unlabelled render it difficult to describe
Spanish Courts about 1550. many of them as satisfactorily as might be wished.

3*7
Bruges and the Golden Fleece
gold braid and the details outlined in gold. corpses of men and dogs. Fourth, Charles V
Neither of these two peculiarities is indicated in reviews his cavalry.15
the design. The sleeves, instead of being as usual Of peculiar interest is the series of prize collars
square flaps, are semicircles attached to the body given to the winner in the popinjay shooting
of the tabard by their whole diameter and this matches. The finest, perhaps, of these is ascribed
shape has considerably cramped the designer in to Charles V and comes from Nivelles.11 It is
repeating the charges on them. The arms mounted on red velvet and consists of open work
quartered are those of Castille, Leon, Burgundy silver-gilt plates in relief. The arms of Austria
and Austria, and in the centre is a small scutcheon crowned are in the centre with the usual chain of
with the arms of Portugal, which would seem to fusils underneath, and on either side is a female
point at Isabel of Portugal, queen to Charles V. figure, an abbess and a reading maiden. The
Mention of this reminds one of two fine copes usual little silver-gilt popinjay is attached. This
which hang in the lower hall, both from is one of some half-dozen specimens.
Tournai Cathedral ; one, of cut velvet, known The turning lathe of Maximilian I is a rare and
as ‘ Manteau de Charles V,’ of very curious remarkable exhibit by a private collector. It is
effect, the pile being deep crimson and the curiously carved with armorial devices and retains
foundation pale gold. The second cope is traces of painting ; the exact working is not quite
that of Guillaume Fillastre, bishop of Tournai apparent. Near it is a curious MS. illuminated roll15
and chancellor of the Order (in the fifteenth showing the ceremony of initiation of the Golden
century), whose portrait is seen in his own Fleece, viz., first, the Accolade ; second, the Pro¬
MS. history already alluded to. This is of gress to the Church ; third, the Prayer of the
crimson velvet embroidered with semi-circular Postulants; fourth, the Investiture of the Insignia ;
rows of stags’ heads, the antlers enclosing a G,— fifth, the Thank-offering; sixth, the Return Pro¬
his initial. There are also two fine dalmatics of cession ; seventh, the Banquet.
silver damask. To return to the upper floor, On the paintings, medallions and sculptures, I
there is to be seen a magnificent set of four do not propose to dwell. The few pictures of
tapestries (king of Spain) representing the Tunis special artistic interest are in no way associated
expedition of Charles V, in which the various with the history of the Fleece ; the rest are merely
occurrences incidental to such a campaign are portraits of personages connected with the Order
remarkably well shown. We have, first, the and of no interest except as a record of mem¬
military transport work, the naked shaven galley- bers. Tilborch’s Procession of the Golden Fleece
slaves ; second, an engagement between the shows us the habits combined with costumes of
Moorish cavalry and the entrenched Spaniards ; about 1670, and the portraits of knights belonging
third the Moorish chief making his peace to the Croy family (twenty-five in all) illustrate
with Charles V. In this picture we have a the important part played by this house in the
most wonderful presentment of camp life ; the annals of Toison d’Or.
Spaniards are seen shooting and fishing, attend¬ ls Many of the knights wear the say a or surcoat cut diagonally
ing ito their laundry, and engaged in even so as to leave one shoulder uncovered, like the Greek t£w/xis.
more intimate business. Outside the camp,
14 At Nivelles our own Charles II, while on his wanderings
is reported to have carried off such a trophy.
however, and in the water he decomposed 15Unlabelled. ? Temp. Rudolf SI.

THE EARLY WORKS OF VELAZQUEZ

BY SIR J. C. ROBINSON, C.B. r*>
III—THE ALTAR-PIECE OF LOECHES
iORTY years ago there was day, taking steps to that end. It is not, however,
|remaining in its original place for the first time that he has moved in the matter,
'in a remote convent of nuns for, on February 15th, 1890, a letter from him
in Spain a great altar-piece, was published in the ‘Times’ respecting it, and he
substantially an early work of thinks that the matter cannot be more fitly brought
tVelazquez, yet undescribed and, to the notice of the readers of The Burlington
/indeed, entirely unknown. Magazine than by the reprinting of that ‘ Times ’
_ The writer, by a fortunate letter in its columns.
chance, discovered the picture at that time ; if he
had not done so, probably all knowledge of it ‘AN UNKNOWN WORK OF VELAZQUEZ
and its history would have been lost to the art ‘ To the Editor of the “ Times.”
world. Whether or not the picture is still in its ‘ Philip IV’s all-powerful minister, the
place is uncertain ; perhaps this notice may bring Conde Duque Olivarez, in the time of his
enlightenment. He is now, though late in the greatness, founded a convent of nuns at
 Early JVorks of Velazquez
Loeches, a little out-of-the-way ‘pueblo’ on quite in vain. Neither the priest nor the
his property some twenty miles from Madrid. doctor were allowed to accompany me.
Here he erected a stately church and con¬ ‘ It was the afternoon of a cold, grey Nov¬
ventual buildings, and endowed the establish¬ ember day, and as I entered the convent the
ment with a series of grand pictures by darkness visible of the cheerless interior, and
Rubens, and with tapestry hangings and a general impression of the leaden sameness
other costly works of art. of cloister life, seemed almost to annihilate
‘ During the French war the Rubens times and seasons ; so powerful, indeed, was
pictures were sold by the nuns, and two of the feeling that, for the moment, it would
them found their way to this country. They scarcely have seemed wonderful if the Conde
are the well-known great pictures now at Duque himself had appeared in his black
Grosvenor House. doublet and golilla. The first picture was,
‘ Finally, Loeches was the burial place of indeed, a striking one. Two very old ladies
the great minister. The establishment is, or stood before me, both wearing long black
was some twenty-five years ago when I visited veils which covered them from head to foot,
it, still kept up, but the nuns, twenty-three entirely concealing both features and figure.
in number, were struggling for existence in One of them addressed me in a low melan¬
a chronic state of great poverty. It then choly voice as if an echo from the tomb itself;
occurred to them, or, rather, to a noble lady this was the lady abbess. The nun behind
of Madrid, their patroness and protector, to her carried a bell in her hand which, as I
ascertain if the convent still contained any accompanied the pair, she rang from time to
works of art by the sale of which money time.
could be raised. Amongst other reputed ‘ Orders had been given that I was to be
treasures a series of tapestries from Raffaelle’s allowed to enter every nun’s cell even, to
cartoons were known to be still there. Ap¬ ascertain if anything of value might be hang¬
plication was thereupon made to the English ing on the walls, and the bell-ringing was
Government, through the Spanish ambassador to warn the inmates to evacuate their rooms.
in London, to ascertain if these tapestries Slight flutterings and shufflings could, in
could be purchased for the Kensington consequence, be heard as we advanced in
Museum. As I, at the time, happened to be the almost complete darkness of the corridor
in Spain in my capacity as superintendent into which the cells opened. An inspection
of the museum, in research of objects of art, of a few of the cells, however, revealed
I was directed to proceed to Loeches and nothing of any value, and I did not investi¬
report. I found that the convent was one gate the rest. In the church I found the
in which the rule of strict ‘clausura’ prevailed, great Rubens pictures had been replaced
i.e.} in which the nuns never went outside the by copies hastily made in Madrid at the
convent walls, and into which no male person period when they were sent away. These,
was allowed to enter. By special dispensation, of course, were of no value, nor were the
however, from the principal of the Dominican Raffaelle cartoon tapestries of any great
order, the Patriarch ‘de las Indias' in Madrid, importance, for they were inferior Spanish
an exception was made in my favour. copies evidently made in the time of Olivarez
‘The place is situated in one of the most from earlier examples, and so not suitable for
barren and forbidding districts in the province acquisition for South Kensington. What has
of Madrid, in a treeless, waterless tcircuo since become of them I know not.
salitroso, and accessible only by rough and ‘ One important discovery alone rewarded
intricate bridle-paths. Although not more my visit, and it is this which I hope will be
than five or six leagues from Madrid it took thought to justify, so many years afterwards, the
me the best part of two days’ riding to get infliction of this recital on the readers of the
there. On my arrival at the village I was met “ Times.” In the stately chapter-house, which
by the parish priest and the doctor, both of had evidently not undergone the slightest
whom were anxious that I should take them change since the time of its erection and
with me into the nunnery, where they had furnishing forth, I found an altar, over which
never been allowed to penetrate beyond the hung a large picture, some ten or twelve feet
precincts of the grated ‘ locutorio ’ and the high, representing the Crucifixion—a single
church. The doctor informed me that he figure of our Saviour on the Cross, on a plain
was anxious to make a sanitary inspection, for dark background. Although there was but
there were always three or four nuns ill with little light to see it by, I thought at the first
low fever, entirely owing to the ■ antique glance that I recognized in it the work of
insanitary status and depressing gloom of the Alonso Cano, but a further inspection seemed
place. My representations, however, were to tell of Velazquez. There seemed, in fact,

3*9
Early IVorks of Velazquez
to be some analogy in style with the famous Next as to the possible co-operation of Alonso
Christo dc las Monjas in the Madrid Gallery. Cano and Velazquez with the fourth Philip. The
‘When I said to the abbess: “It seems to answer is that it is not only possible but highly
me that we have here a work of Alonso Cano,” probable.
she promptly replied, “ Si y non, Senor. You Velazquez and Cano were almost of the same
are both right and wrong. Our records tell age, both had been scholars together with Pacheco
us that this picture was given to us by our in Seville, and furthermore, both of them had been
founder, the Conde Duque, for whom it was called up to Madrid by the king at the same time
painted by his master, King Philip himself, (1623).1
expressly for the place it now occupies ; but,” Alonso Cano was both a painter and a sculptor.
she added, “we further know that it was a His fame rests perhaps mainly on his eminence in
copy by the king from an original by Alonso the latter art, but his pictures, although few in
Cano, and that it was afterwards re-touched number and exclusively of religious subjects,
and finished by Velazquez.” display him in that class of art, at the highest
1 I think it extremely likely that the picture level of his time and country. Cano’s works in
is still in its place at Loeches, though I know sculpture are, however, those by which he is best
not what may have happened to the lone known. These are carvings in wood painted in
community in all these years. At the time lifelike colours, ‘ Est of ados’—a speciality of Spain,
I refer to, benevolent Madrid ladies went there inherited from mediaeval times, but which in the
occasionally, and a few young girls were taken beginning of the seventeenth century, at the hands
in for education, such as it was, but connois¬ of Montanes, Juan de Juni and Cano, was carried to
seurs and picture buyers can scarcely even a point of supreme excellence. This art, however,
yet, I think, have got as far as Loeches. can be adequately seen only in the land of its
‘ If this picture is still in situ, and any rich development.
and benevolent amateur were so inclined, it It is more than likely that a painted wood figure
would probably be a work of mercy, and of the Crucified Christ by Cano, rather than a
certainly a gain to the art world, to purchase picture, was the model from which the king
it from the nuns and present it to the Madrid made his greatly enlarged copy on the Loeches
Gallery, where it ought to be. canvas. In that case a drawing from the carving
‘ My visit, though to my great regret it was would be made on an enlarged scale from it and
infructuous, was an event in the lives of these put upon the canvas by one or other of his artist
poor women, and on taking leave of the assistants. The after painting from that model
lady abbess she said that she had ordered the would be a task doubtless within the competence
nuns to pray for my safe journey home, and of the royal artist. Not so however the final com¬
to sing a hymn in the coro alto of the church. pletion of the work, in which the writer can
It was not with dry eyes that I sat in the certify that there was no appearance of amateur
waning daylight, alone in the vast empty
1 This important fact, which seems to have escaped the atten¬
church, listening to their voices, and I cannot tion of recent writers, rests nevertheless on contemporary
even now recall the occurrence unmoved.’ evidence of indubitable authority—that of Juseppe Martinez,
who was intimate with both painters (see Martinez 1 Discursos
It will, I think, be considered that the account Practicos,’etc., pp. 116-7). That work, published for the first
time from the manuscript by Don Valentin Carderera, contains
given by the aged abbess of Loeches, who must other valuable information of which other writers on Velazquez
long ago have found her last resting-place in the seem hitherto to have taken little note. The writer had the
conventual cemetery, should be verified. Her advantage of personal intercourse and friendship with Don
Valentin Carderera during more than one visit to Madrid, in the
positive statement, that the fact of the co-operation years preceding the death of that eminent and most estimable
of King Philip IV and the two painters in the man in the early sixties. Don Valentin told the present writer,
production of the work in question was on record amongst other interesting information, that he did not think
that the picture of the expulsion of the Moriscos had been burnt in
in the archives, of the convent, was made to me as the Palace fire in 1734, and that it was a tradition in Madrid that it
a matter of her personal knowledge. The docu¬ was taken away by General Sebastiani during the French
occupation of Madrid; if so, the great canvas was doubtless cut
ments in question, if they existed then, are from the stretching frame and rolled up for exportation to
doubtless still extant. Need it be said that Spain France, and it may well be that it came to an end in the rout at
owes it to the art world to cause research for them Vittoria.
Is it, however, possible that the lost masterpiece is still repos¬
to be made ? ing in some one of the Madrid Palace store-rooms amongst
In the meantime we learn from sevenleenth and the numberless rolls of precious tapestry which seldom or
eighteenth century Spanish writers that the three never see the light ? To the writer’s own knowledge, and in
his own time, stranger and more unlooked-for discoveries of
successive Philips, kings of Spain, were lost works of art have been made in royal palaces nearer home.
‘aficionados’—art connoisseurs and amateur What again has become of the competing pictures of the
painters actually practising the art. Doubtless three Italian painters? Can they, too, have perished in the
holocaust of 1734 ? It seems at least remarkable that not one
the most was made of the royal efforts, but the of those works should have ever been described or indeed
fact itself is sufficiently certified. heard of in any way since the days of their production.

32°
THE MARCHKSE GIOVANNI BATTISTA CATTANKO, BY VAN DYCK. PHOTOGRAPH BY PERMISSION
OF MESSRS. P. AND D. COLNAGHI AND CO., AND MESSRS. M. KNOEDLER AND CO.

THE NEW VAN DYCK IN THE NATIONAL GALLERY

 Early JVirks of Velazquez
weakness or uncertainty. In this will doubtless not yet seen his works in Spain. The great artist
be found revealed the hand of the great master is most imperfectly represented in the Prado
Velazquez. Gallery; more adequate illustration is only to
Although it is upwards of forty years since the be found in the churches and convents of Malaga
writer saw this picture, the impression it left on and Granada. His works in painted wood
his mind is still vivid. It is coupled with that of sculpture are perhaps better known, but here
another work by which he is reminded of it, the again so little critical account has been taken of
Christ at the Column of the National Gallery. To this branch of Spanish art that literally almost
his mind that beautiful and much-discussed every painted wooden figure is set down as the
picture has more in it of Cano than of Velazquez. work of Alonso Cano. Needless to say it is the
The art writers of Spain have as yet scarcely more necessary to discriminate.
gone beyond the well-known sources of informa¬ The magnificent altar-piece now illustrated is
tion about their great art hero, but Velazquez, the one of the chief treasures of the Spanish section
important court official, must have been the of Sir Frederick Cook’s collection at Richmond.
subject of endless official notices and documents. The bald-headed old man on the right is reputed
The archives of Simancas, in all probability, still to be a portrait of the painter. If this composi¬
include many unnoted records touching the tion be compared with that of Velazquez’s
doings of the great painter. If so, even the most picture of the same subject, it will, the writer
seemingly trivial notice might afford a key to thinks, be evident that it was the inspiring source
much that we would fain know more about. The of the latter work. The fine pen and bistre draw¬
archives of Loeches might, in like manner, prove ing by Cano of a similar composition will illustrate
to be a mine of information concerning the the ready facility and hand power of the great
relations of the great painter to his patron Olivarez. master. The drawing was formerly in the writer’s
The illustrations of Alonso Cano’s works now collection, then in the Malcolm collection, and is
given will be acceptable to art lovers who have now in the British Museum.

THE NEW VAN DYCK IN THE NATIONAL GALLERY

^ BY LIONEL CUST, M.V.O, F.S.A. ^
IR CHARLES HOLROYD is comprehend, the early development of Van Dyck ;
a lucky man, but no visitor to the the second period, the greatest perhaps of all, was
National Gallery during the last not represented by a single example ; the third only
few weeks will grudge him his by a portrait-group of but second-rate interest—as
good fortune, for by rearrang¬ compared with the portraits of this period to be seen
ing the works of the Dutch at Munich, Dresden or the Louvre ; while the
and Flemish painters he has English period, in which the English nation may
achieved a notable success. If be supposed to take some pride, is only represented
it was difficult to realize before that the nation had by the large and rather empty painting of Charles I
in its possession paintings by Rubens of the on horseback, which in reality cannot compare in
highest quality and interest, it has perhaps been a interest as a painting with the smaller and earlier
revelation to many people that England of all version of the same composition in the royal collec¬
countries was most lamentably deficient in really tion at Buckingham Palace. The religious side of
adequate paintings by Van Dyck, the painter Van Dyck’s art, one full of peculiar interest and
who has dominated, and to some extent does importance, has been, as it would seem,
still dominate, the English School of painting deliberately neglected and set aside.
from the date of his arrival here in 1632. The trustees have now removed a reproach by
Jordaens, the third of the great Antwerp trio, is the fortunate acquisition of one of the portraits of
hardly represented at all. The career of Van Dyck the Cattaneo family at Genoa, which have been
may, as is well known, be divided into four lately so much discussed in the press. The
periods: the early youth and adolescence under history of these portraits, and their rape from
Rubens at Antwerp; the glorious, almost Genoa, will possibly become a landmark in
heroic, period at Genoa and elsewhere in Italy the history of art. A few years ago, hearing of the
under the inspiration of Titian ; the triumphant existence of these portraits, I sought admission at
rivalry with his master, Rubens, at Antwerp ; and the old palace of the Cattaneo family by the church
finally the shimmering glitter and elegance of the of the Annunziataat Genoa. The Genoese nobles
courtier-painter to the king of England. No are a proud race, and not easily accessible, but
one of these periods was satisfactorily represented admission was readily granted to me in my official
at the National Gallery. The splendid portrait of capacity. Ascending the lengthy flight of stairs,
Cornelis Van der Geest illustrates, but does not which are so familiar an object in Italian palaces,

325
 'The New Van rDyck in the H\(ational Gallery
I was ushered into a series of rooms, and for a One of these portraits of the Cattaneo family
moment stood spell-bound. From every wall, as w ill now find a permanent home in the National
it seemed, Van Dyck looked down, and on one Gallery, that of the Marchese Giovanni Battista
there stood and gazed at me a haughty dame, over Cattaneo, a half-length. This is a superb piece
whose head a negro-page held a scarlet parasol. All, of painting, and if there still lingered any doubt
however, spoke of clust and neglect, and when I in some minds as to the claim of Van Dyck to
left the palace, it was with a feeling of regret that rank among the great painters of the world, with
such treasures of painting should be left to moulder Velazquez, to whom this painting is much akin,
on the walls, unseen, unknown except to very few, with Rembrandt, with Rubens or with Titian, this
a slur upon the surpassing genius of Van Dyck, portrait will go far towards dispelling such a doubt.
through whose brush the great Genoese families It may be added that the price of the portrait was
have become famous. The subsequent history of in the circumstances very moderate. Should the
the CattaneoVan Dycks is now well known. It is history of the Cattaneo Van Dycks ever be known
possible to sympathize most deeply with the in its entirety, it will be seen that the well-
Italian Government in their wish to preserve and known firm of Paul and Dominic Colnaghi and
retain in their own country the treasures of paint¬ Co. have acted throughout as true lovers of art,
ing to which that country gave birth. It is im¬ in addition to the generosity with which the
possible, however, to avoid feeling satisfaction firm has come to the assistance of the trustees
that some of these treasures have been saved from of the National Gallery in order to enable this
the decay which was slowly threatening their important acquisition to be made for the national
very existence. collection.

SIXTEENTH CENTURY EMBROIDERY WITH EMBLEMS

BY M. JOURDAIN «-*,
T has been supposed that during the sources of ornamentation for articles of house¬
the Elizabethan period English hold furniture, and for the embellishment of
secular embroidery branched off country mansions. A remarkable instance is sup¬
into a peculiar style, exhibiting plied from “The History of Scotland,” edition,
fancies or conceits which stand London, 1655, “ By William Drummond of
in some relationship to the con¬ Hathornden.” It is in a letter “ To his worthy friend
ceits of contemporary poetry. Of Master Benjamin Johnson,” dated July 1, 1619,
this embroidery so little actual respecting some needle-work by Mary Queen of
trace remains that, in confirmation of the theory, Scots, and shows how intimately she was acquainted
we have to appeal to the evidence of portraits with several of the Emblem-books of her day, or
like that of Queen Elizabeth (attributed to had herself attained the art of making devices. . . .
Zucchero), in which the underskirt is embroidered Drummond thus writes—
with a curious medley of conceits based on plant, “ I have been curious to find out for you, the
animal and bird forms, or to the portrait of the Impressaes and Emblemes on a Bed of State
same queen at Hatfield House, where the robe wrought and embroidered all with gold and silk
is embroidered all over with human eyes and by the late Queen Mary, mother to our sacred
ears, emblematical of the royal vigilance and Soveraign, which will embbelish greatly some
wisdom. Another tendency of the day was re¬ pages of your Book, and is worthy your remem¬
produced in Elizabethan needlework—the interest brance ; the first is the Loadstone turning towards
in emblem-books and emblematical devices. the pole, the word her Majesties name turned
No extant piece of embroidery except the black- on an Anagram, Maria Stuart, sa vertu, m’attire,
work jacket belonging to Lord Falkland (which which is not much inferiour to Veritas arviata.
I will notice later) comes quite under this descrip¬ This hath reference to a Crucifix, before which
tion of embroidery, and it is interesting to find with all her Royall Ornaments she is humbled
in a work by Henry Green (1870) called ‘Shake¬ on her knees most lively, with the word undique;
speare and the Emblem Writers : an exposition an Impressa of Mary of Lorrain, her Mother,
of their similarities of thought and expression,’ a Phoenix in flames, the word en via fin git won
an account of a piece of embroidery, in which the commencement. The Impressa of an Apple Tree
motifs are taken from the emblem-writers of the growing in a Thorn, the word Per vincula crescit.
period, or invented in consonance with the prin¬ The Impressa of Henry the second the French King,
ciples of emblem-making set forth in those works. a Cressant, the word, Donee totum impleat orbem.
‘ An acquaintance with that literature/ writes The Impressa of King Francis the first, a Sala-
Mr. Green, ‘ may be regarded as more spread nuinder crowned in the midst of Flames, the wrord,
abroad and increased when Emblem-books became Nutrisco et extingo. The Impressa of Godfrey of

326
 Sixteenth Qentury Smhroidery
Bullogne, an arrow passing throw three Birds, the described as ‘ vncomplete, sewit be his Maiesties
word, Dcderit ne viam Casusve Deusve. That of mother, of gold, silver, and silk,’ which in September,
Mcrcurius charming Argos with his hundred eyes, 1616, was ordered to be sent from Holyrood to
expressed by his Caduceus, two Flutes, and a Pea¬ England1 ‘ thair to be mendit and prouidit with
cock, the word, Eloquium tot lamina clausit. Two furnitour answerable ’ ; and then sent back to
Women upon the Wheels of Fortune, the one Holyrood. It is apparently the ‘ bedd wrought
holding a Lance, the other a Cornucopia ; which with needleworke of silke, silver and golde, with
Impressa seemeth to glaunce at Queen Elizabeth divers devices and armes, not throughlye finished,’
and her self, the word, Fortunac Comites. The found in the queen’s apartments after her death,
Impressa of the Cardinal of Lorrain, her Uncle, a and bequeathed to her son, King James, by her.2
Pyramidc overgrown with Ivy, the vulgar word, Several of these emblems are to be found in
Te stante virebo ; a Ship with her Mast broken and Whitney, several in Paradin’s ‘ Devises heroiques,’
fallen in the Sea, the word, Nunquam nisi rectum. and several in ' Dialogue des Devises d’armes et
This is for her self and her Son, a Big Lyon and a d’amours,’ de S. Paulo Jovio, etc., qto, A Lyon,
young Whelp beside her, the word, unum quidetn, 1561. In the latter book are to be found the
sed Leonen. An embleme of a Lyon taken in a Emblems of Francis I, the Salamander (to signify
Net, and Hares wantonly passing over him, the that he was glowing with passions of love), and of
word, Et lepores devicto insultant Leone. Cammomel Henry II.
in a garden, the word, Fructus calcata dat amplos. It may be noticed that Samuel Daniel’s rule
A Palm Tree, the word, Ponderibus virtus innata that ‘the mot or posie of an impresa may not
resistit. A Bird in a Cage, and a Haivk flying exceede three words ’ (although a little license was
above, with the word, il mat me premeet me spaventa allowed in the case of Dutn, Nec, Et, Non, In,
Peggio. A Triangle with a Sun in the middle of a Per, etc.) was not kept by Queen Mary.
Circle, the word, Trino non convenit orbis. A It may appear almost impossible, even on a
Porcupine amongst Sea Rocks, the word Ne bed of state, to work twenty-nine emblems and
volutetur. The Impressa of King Henry the eight, the arms of Scotland, England and France,
a Portculles, the word altera securitas. The ‘severally by themselves and all quartered in
Impressa of the Duke of Savoy, the annunciation many places of the bed ’—but a ‘ curious and
of the Virgin Mary, the word Fortitndo ejus very antient oak’ bed, much gilt and ornamented,
Rhodum tenuit. He had kept the Isle of Rhodes. probably of equal antiquity, was, as late as 1811,
Flourishes of Arms, as Helms, Launces, Corslets, existing at Hinckley in Leicestershire,3 on which
Pikes, Muskets, Canons . . . the word Dabit Dens the same number ‘ of emblematical devices, and
his quoque finem. A Tree planted in a Church¬ Latin mottoes in capital letters conspicuously
yard environed with dead men’s bones, the word, introduced ’ had found space. Twenty-nine
Pietas revocabit ab orco. Ecclipses of the Sun and emblems with their mottos are given, among
the Moon, the word, Ipsa sibi lumen quod invidet others Two dogs barking at the shadow from the
aufcrt; glauncing, as may appear at Queen Eliza¬ moon, the word, Rnmpentunlia Codri; A dis¬
beth. Brennos Ballances a sword cast in to weigh played hand with awls under the nails, the word,
Gold, the word, Quid nisi Victis dolor ? A Vine Heu cadit in quenquam tantum scelus An
tree watred with Wine, which instead to make ostrich with a horseshoe in the beak,4 the word
it spring and grow, maketh it fade, the word, Mea spiritus durissima coquit; A cross-bow at full
sic mihi prosunt. A wheel rolled from a Mountain stretch, the word Ingenio superat Vires. A hand
in the Sea, Piena di dolor voda de Sperenza. playing with a serpent, the word, Quis contra
Which appeareth to be her own, and it should be nos? The tree of Life springing from the cross
Precipitio senza speranza. A heap of Wings and on an altar, the word, Sola vivit in illo; An inverted
Feathers dispersed, the word, Magnatum Vicinitas. tulip suspended, the word, spe illectat inani; A
A Trophie upon a Tree, with Mytres, Crowns, tortoise walking in a bed of roses, the word, inter
Hats, Masks, Swords, Books, and a Woman with spinas calceatus.
a Vail about her eyes or muffled, pointing to some A piece of Spanish work illustrated in Lady
about her, with this word Ut casus dederit. Three Marion Alford’s history of embroidery as belong¬
Crowns, two opposite, and another above in the ing to Louisa, marchioness of Waterford, repre¬
Sea, the word, Aliamque moratur. The Sun in sents ostriches holding iron in their beaks, turkeys
an Ecclipse, the word, Medio occidet Die. and eagles.
‘ “ I omit the arms of Scotland, England, and
France severally by themselves, and all quartered 11 Registrum Secreti Concilii Acta,'1615-1617, fol, 63. MS .
Register House.
in many places of this Bed. The workmanship 2 ‘ Lettres de Marie Stuart ’ (ed. Prince Labanoff), t. vii.
is curiously done, and above all value, and 'JSee ‘Gentleman’s Magazine,’ vol lxxxi, pt. 2, p. 416.
truely it may be of this Piece said, Materiam Nov. 1811,
4 An ostrich with an horseshoe in its beak is represented in
superabat opus.” ’ Giovio’s ‘Sent. Imprese,’ ed. 1561, p. 115, and in Camerarius
The bed Drummond describes is perhaps that ‘ Emb ’ ed. 1595, p, 19.
 Sixteenth Qentury Embroidery
Samuel Daniel, the poet who wrote in 1585 a Other devices are :—A man of Herculean type
preface to a translation of Paolo Giovio, notes astride a crocodile, holding a writhing serpent
that black and white were quite sufficient for an in each hand ; Actaeon 8 being devoured by his
impresa, and even, it would appear from his rather hounds ; Bacchus beating a drum ;7 a stag,8
obscure statement, preferable. The impresas in pierced by an arrow, another pursued by a hound,
the emblem-books would be naturally copied in ‘ a Pelican in her piety, prancing horses, a camel,
black silk upon a ground of a white material— an elephant, a seahorse, monkeys, squirrels, birds
in the ‘black work,’ or ‘Spanish work’ of Tudor and fishes.' Three of these devices, it will be
times. noted, appear in Whitney’s ‘ Emblems,’ though they
The jacket or tunic of ‘black work ’ belonging are somewhat simplified by the embroiderer.
to Lord Falkland has already been mentioned, The jacket, which is said to have belonged to
and is of interest as the only known surviving Queen Elizabeth, was given by William IV to the
specimen of this class of emblem-work. The Viscountess Falkland, wife of the tenth viscount.
embroidery is in black silk on linen, and besides As the author of ‘ The History and Antiquities
the characteristic floral work of this period there of Hawsted and Hardwick, in the County of
area number of devices.. Such is a rendering of Suffolk,’ remarks in a description of the employ¬
a plate in Whitney’s ‘ Emblems ’5 which represents ment of emblems in adorning a closet for the last
a very small fish which has leaped out of the sea Lady Drury, ‘ They mark the taste of an age that
in order to avoid a large dolphin-like fish, while delighted in quaint wit, and laboured conceits of
above hover two large crested birds representing a thousand kinds,' and since so many emblems
the cormorant and seamew. The title of the were gathered to adorn Queen Mary of Scots’ bed,
plate is— a ‘very ancient oak wooden bed in Leicestershire,’
' Iniuriis, infirmitas subiecta,’ and ‘a lady’s closet’ in Suffolk, and also a linen
tunic belonging to Queen Elizabeth, the supposi¬
and the verse below runs—
tion is most reasonable that the knowledge of them
The mightie fishe, devoures the little frie, pervaded the cultivated society of England and
If in the deepe, they venture for to staie, Scotland during the Elizabethan period.
If vp they swimme, newe foes with watchinge
6Sambucus in his ‘ Emblems’ (ed. 1564, p. 128) and Whitney
flie, after him make use of this same woodcut, only with a different
The camoraunte, and Seamewe, for their border. Actaeon is also illustrated in Aneau’s ‘ Picta Poesis,’
praie : and in Alciatus, ‘Emb.’52, ed. 1551.
7 A very 1 plump Bacchus,’ beating a -drum is figured in
Betweene these two, the frie is still destroi'de, Alciatus, (ed. Antwerp, 1581, p. 113). This also appears in
Ah feeble state, on euerie side anoi’de. Whitney’s ‘Emb.,’ ed. 1586, p. 187.
8 The stag pierced by an arrow appears in Giovio and
5 ‘ A choice of Emblems and other Devises,’ by Geoffrey Symeoni’s ‘Sent. Imprese,’ ed. 1561. In Paradin’s 1 Dev. He.
Whitney, Leyden, 1586. ed. 1562, f. 168. In Camerarius (ed. 1595) 1 Emb.’ 69, p. 71.

NOTES ON VARIOUS WORKS OF ART

A PICTURE OF THE TOURNAI SCHOOL An examination of the picture indicates almost
Among the many interesting, if often damaged, conclusively that the work is not Italian but
pictures which decorate the library of Christ Flemish in character, and Mr. W. H. James Weale,
Church, Oxford, the fragment which we reproduce to whom a photograph was submitted, has sug¬
is not the least curious. The manuscript catalogue gested that it is a work of the school of Tournai.
states that it is a fragment of a large picture that The painters of that school were accustomed to
was almost destroyed by fire in a palace at Genoa, paint in tempera on linen on a considerable scale,
and the picture is labelled ‘ By Bellini or Mantegna.’ especially in connexion with the preparation of
The work is executed in tempera on linen, and designs for tapestry weaving, and it is therefore
the heads are three-quarter life size. The original possible that the work of which this Christ Church
painting must thus have been of considerable size. fragment once formed a part was sent from
The background is apparently gold, the face of Tournai to Genoa for that purpose. The remark¬
St. John is of a rather dark coppery red, the face able delicacy of the workmanship and the large¬
and hands of the Virgin paler and cooler in tone. ness of the design point to one of the greater
St. John is dressed in a robe of dull orange, varied masters of that school ; and it is in the hope that
by what appears to be dark green, which has some of our readers may be able to throw further
turned almost as black as the hood of the light upon this interesting work that we are
Madonna. The painting has been so much permitted to reproduce it by the governing body
patched, e.g., on the hands, that the original forms of Christ Church. It may at least serve as an
are not easy to trace, and the whole is covered additional document in the dossier of that shadowy
with a thick coat of varnish. personage, Rogier de la Pasture. C. J. H.

328
THE VIRGIN AND ST. JOHN. FRAGMENT OF A PICTURE OF THE TOURNAI SCHOOL
BY PERMISSION OF THE GOVERNING BODY OF CHRIST CHURCH, OXFORD

SIXTEENTH CENTURY EMBROIDERY. BLACK-WORK JACKET BELONGING TO LORD FALKLAND

IN THE VICTORIA AND ALBERT MUSEUM
 fotes on Various JJrorks of Art
THE PROPOSED TURNER GALLERY Gallery itself from the overcrowding which we all
At the moment of going to press, we have not deplore, and which cannot fail to become worse
time to do more than refer briefly to the letter as years go by, however much the existing accom¬
from the Director of the National Portrait Gallery modation may be increased. It would have to be
which was published in the ‘Times’ of July 19th, more than doubled for the proper display of its
but we feel bound to say that the case could not present contents, let alone the acquisitions of the
have been stated more clearly and sensibly than future, and to make a temporary arrangement now
has been done by Mr. Lionel Gust. We quite would be embarrassing that future at the cost of a
agree with him that the legal opinion quoted is little present trouble. It is only natural that the
difficult to understand, and even if it should prove Trustees should wish to proceed cautiously in a
to be the present law of the land, it should not be matter which raises so many difficult questions.
a permanent hindrance to a much-needed re¬ At the same time, Mr. Gust’s arguments appear so
arrangement. We are strongly disposed to think moderate and so logical that we have no doubt
that the removal of Turner’s pictures and drawings that they will obtain the piactical support which
from Trafalgar Square and their housing in an they deserve.
appropriate gallery at Millbank under some such
comprehensive description as the Turner Gallery We are informed by the Keeper of the Department
not only best fulfils the responsibility which the of Prints and Drawings in the British Museum that
nation incurred when it accepted Turner’s magni¬ the Print Room will be closed to students and
ficent bequest, but also relieves the National visitors for four weeks from August 18th.

LETTER TO THE EDITOR civ

THE BROTHERS MARIS pictures reproduced in the summer number of the
To the Editor of The Burlington Magazine ‘Studio,’ namely : N0.9/I Study, No. 30 The’Sisters
— I am, Dear Sir, Yours faithfully,
Dear Sir,—At the desire of Mr. Matthijs
Maris, I venture to ask your permission to state E. J. VAN WlSSELINGH.
that he cannot accept responsibility for two of the July 16, 1907.

ART BOOKS OF THE MONTH c*c

BOOKS ON PAINTING opinion, was a lapsus calami of the careless cleric

who made the entry ; but the careless person was
QUELQUES POINTS OBSCURS DE LA VIE DES
M. Houdoy, who, had he troubled to look
freres van Eyck. Joseph Coenen. 27 pp. through the accounts of the following years,
Liege. 1907. would have found payments to John de Yeke
This is a reprint of three articles published in for painting three red Calvary crosses on the out¬
Leodium, a local magazine often containing side of the cathedral walls propter immundicias quae
interesting notices relating to the history of the ibi jiebaut (a common practice in the ages of faith,
old episcopal principality. The author’s intention the modern French substitute for which is Defeuse
to try and clear up obscure points in the history de . . .) while van Eyck was busily employed week
of the van Eycks is praiseworthy, and had he not after week without intermission in decorating the
reissued these articles as a pamphlet I should have palace at the Hague. Now although I have
confined myself to a few reflections on some of repeated my refutation in various reviews of books
the points in a communication to the same in both English and foreign journals it still
magazine. But now I feel bound to say that, far reappears, and in the present pamphlet (p. 13) the
from clearing up any point, he has put forth fresh identity of John de Yeke and John van Eyck is
misstatements which I have little doubt will meet said to have never been contested, at least not to
with acceptance and find their way into bio¬ the writer’s knowledge.
graphies and dictionaries, just as the statement that It is to another discovery of equal value, the
the fabric rolls of Cam bray Cathedral contain real name of John van Eyck (not Cone as imagined
the proof that John van Eyck was working in that by the late M. Bouchot), that I wish to draw
city in 1422, published in 1878 by the late attention in the hope that I may stop its diffusion.
M. Houdoy, has been accepted and is still be¬ Many years ago the late M. Carton, who
lieved by many. His book was reviewed by me in pretended that the van Eycks were natives of
the ‘ Academy ' (21 June 1879), and I there showed Bruges, asserted that van Eyck was in the
that there was no excuse for this misstatement, for fifteenth century a family name of frequent
the entry in the fabric roll is of a payment to occurrence in the town. In my Notes on John
‘ Ioanni de Yeke, pictori.’ This, in M. Houdoy’s van Eyck published in 1861 I affirmed that he

331
Books on Tainting
o

and his brother Lambert were the only persons Mr. Roberts’s task, the amassing of facts about the
bearing that name that 1 had come across in the portraits Beechey painted in a busy and success¬
archives of the town. I appended a list of all the ful career of more than sixty years must have
persons bearing somewhat similar names who entailed a vast amount of labour. Certain points
had bought the freedom of the town between 1416 he has failed to clear up—such as the mystery
and 1450. Amongst these was one John Tegghe, surrounding Beechey’s first wife, and here and
born at Maaseyck, in the land of Li6ge, who there the reader will notice small matters where
on 9th September, 1433, became a free burgher additional information might have been desirable ;
by purchase. He was charged 10 1. ; nineteen but the book as a whole is wonderfully thorough,
of the other twenty paid much less. M. Coenen and, if compressed almost to dryness, and therefore
from this entry drew the inference that Tegghe less attractive to the general reader than some
must have been a rich man, and, as it was not other volumes of the series, it is made all the more
at all likely that two natives of such a small town useful as a work of reference to the serious
as Maaseyck bearing the same Christian name student. Beyond one or two minor slips such as
should have settled at Bruges at this time, he con¬ Martin R. Shee (p. 69) we have noticed no
cluded that Tegghe was the real family name of mistakes.
van Eyck, who must in 1433 have become a rich A glance at the illustrations indicates that
man. The premisses on which these conclusions Beechey’s work was more various in design than
are based are imaginary. The sum charged for we are sometimes apt to think. Reynolds, Law¬
the freedom of the town was not based on the rence, Hoppner, Raeburn, all seem to have been
fortune but on the birthplace of the applicant. carefully studied, yet when we look at Beechey’s
Natives of Flanders had only to pay 3 1., all others pictures they have for the most part a uniform
101. The reason why Hubert is mentioned as character in the painting which makes them easily
‘ e Eyck' in the inscription on the frame of the recognizable.
polyptych and not ‘ de Eyck ’ is because if ‘ de' had His pigment is thinner and less rich than that of
been written the last syllable of Hubertus would Reynolds, his touch has not the splendid glitter
have been long, and the line would not scan :— of Lawrence, his aims are less forcible than those
Pictor Hu | bertus 61 Eyck quo] nemo rejpertus. of Hoppner and Raeburn. An urbane eclecticism,
May we hope that John Tegghe will not reappear coupled with a certain ruddiness and smoothness
in any future work ? in the flesh tones, distinguishes his portraits, which
W. H. J. W. are usually soundly coloured, if never the work of
a born colourist. It is impossible that Beechey
Sir William Beechey, R.A. By W. Roberts. can ever be ranked by artists among the great
London : Duckworth. 7s. 6d. net. portrait painters, and improbable that he will
be so by collectors ; yet to this latter class at
There was need for such a book as this. The
least this careful and handy record will be indis¬
ever-increasing favour with which the great
pensable.
British portrait painters are received by collectors
has reacted upon their less well-remembered col¬
leagues, so that Beechey is once more a name Gemalde alter Meister. Parts 20-24. Price
that picture buyers have to remember. 5 marks each. Richard Bong, Berlin.
In his preface Mr. Roberts tells us that his work With the issue of the last five instalments this
was originally planned as a catalogue raisonne, and sumptuous publication is completed. In reviewing
that form in all essentials it still retains. In the the previous numbers we have drawn attention to
case of Beechey the form is appropriate. He was the exceptional value of the book, both on account
not one of those great inventors whose progress of the thoroughness and authority of the letter-
has to be traced by the internal evidence of their press and the scale and beauty of the illustrations.
pictures, and whose artistic development is a It is, of course, to students of the French school
fascinating and often baffling pursuit for the critic. of the eighteenth century that the work makes the
He is rather one of those who are clever enough most direct appeal. Although examples of the
to assimilate much of the taste and talent which school of the Netherlands and of Italy are not
are in the air around him, and to adapt them wanting, the main strength of the Imperial
to the needs of the day. collection lies in its examples of Watteau, Lancret,
Any elaborate criticism of such men is impos¬ Pater and the brilliant painters around them.
sible as well as unnecessary, and in restricting Antoine Pesne, for example, figures prominently
himself to a catalogue of Beechey’s exhibits Mr. in the instalment before us. Indeed, so complete
Roberts has taken the right course. He has also is the representation of these French masters, so
done his work well. The book is a mass of com¬ ample is the scale on which their works are
pressed and accurate information, and though the reproduced, that anyone wishing to study them
existence of the Beechey account books, which will find this publication, if not indispensable, at
are printed in the volume, may have lightened least an invaluable work of reference. Even

332
 Books* on Tainting
however, where the French school is so splendidly to meet the obvious need of the general public for
illustrated, it would be unfair not to give a few a comprehensive account of the past causes and
words of notice to the admirable examples of present effects of artistic culture in practical life,
Rubens and Cranach, and a certain number of and to recommend means whereby still more
detached pictures of the Italian and other schools, satisfactory results may be obtained in the future.
such as that fine portrait of Cardinal Antonio Karl Scheffler discourses upon the aesthetic
Pallovicino illustrated on page 80, and attributed endeavours of the present day, the connexion
to an unknown Venetian master of the latter half between life and culture, artistic training, and
of the sixteenth century. It is a portrait of upon style and taste in living. Foreign influences,
singular sensitiveness, dignity and beauty, and we French, English, American and Japanese, are
cannot help suggesting tentatively the name of embraced by W. Fred; ‘Music' is entrusted to
Lorenzo Lotto in connection with its authorship. Karl Storck ; the ‘ Collecting Hobby ' to Georg
There is, at least, something of Lotto’s manner in Lehnert. This brief list of the contents of the
the level flakes of cloud and level expanse of first volume alone indicates the varied scope of
landscape seen through the open window before the work, the modest object of which is to sum¬
which the Cardinal sits, as well as in the subdued marize and examine the processes and results of
modelling of the cape and slightly timid, yet the modern impulse towards artistic culture from
sensitive, treatment of the face. The price of the an historical, aesthetic and cosmopolitan point of
whole work contrasts very favourably indeed with view. To show what that culture is, there are
that of most large works published in England, nearly eighty eloquent reproductions of the most
since the publishers give no less than seventy-two modern German architecture, decoration and
magnificent photogravures and 128 illustrations handicraft. The second volume will appear in
of the text in return for the £6 which is the cost the autumn, and will contain sections on ‘ Person¬
of the twenty-four parts, while the letterpress has ality and its Circle ' by Frau Marie Diers ; ‘ Society
the authority of such great names as those of Dr. and Sociability ' by W. Fred ; ‘The relation of the
Paul Seidel, Dr. Friedlander, and Dr. Bode. Individual to the Community' by E. Heyck ;
‘ Appearance ' by W. Fred ; ‘ Eating and Drinking '
Notable Pictures in Rome. By Edith Har¬ by W. Fred anclE. Heyck (theaesthetic importance
wood. London: J. M. Dent and Co. 4s.6d.net. of this subject is not commonly recognized outside
Though well produced and well intentioned this Germany) ; ‘Travelling’ by E. Heyck; ‘ Reading
book cannot be unreservedly recommended. To and Books’ by H. Hesse; The ‘Theatre’ by K.
give any fair account of the paintings in Rome Scheffler, and other articles. We shall look for¬
demands extensive knowledge of all schools of ward to its appearance.
art, and (since repainting is so ubiquitous) some
technical experience, but most of all it demands Torokorsagi Levelei. Zagoni Mikes Kelemen.
sympathy with the spirit of Rome during the Budapest. 1906.
Renaissance. These qualifications Miss Harwood
The well-known Franklin Tarsulat, of Budapest,
cannot claim to possess, though she has evidently
has published this handsome edition of ‘ The
worked at her subject, and done her best to supply
Turkish Letters' of Clement Mikes, and some of
deficiencies by liberal citations from other authors.
the most esteemed Hungarian authors have written
A writer who ‘ has to confess unutterable boredom'
elucidatory introductions for it. The text of the
when studying the stanze of the Vatican, if not
famous ‘ Letters ’ is from the original manuscript,
actually unfit, is at least not properly equipped to
and the drawings which illustrate it are the skilled
study Roman painting, and though she quotes
handiwork of Elias Edvi. Little as these ‘ Letters ’
two or three pages from Pater about Raphael, her
are known in Great Britain, Hungarians justly
account of his masterpieces is not thereby made
regard them as their chief literary relic of the
into a good one. Indeed there are many points
eighteenth century. Their author, Clement Mikes,
open to criticism apart from the constant misspell¬
was a S6keley nobleman who accompanied his
ing of proper names, and such evidence of care¬
unfortunate prince, Francis Rakoczy the Second,
lessness as the Farnesina headline, which is con¬
through all his wanderings and, finally, settled
tinued from p. 247 to p. 253, though the account
down with him at Rodosto, on the Sea of Marmora,
of the frescoes there (which omits all mention of
where the Ottoman government gave them shelter.
Sodoma’s masterpiece) occupies less than a page.
Francis, his son, and all his retainers died in exile
To make matters worse there is no index.
—Mikes, the last, surviving until 1761.
To occupy his mind during his many years of
MISCELLANEOUS exile, Mikes wrote the ‘ Letters ’ which are the
Moderne Kultur. By Dr. E. Heyck and others. raison d’etre of this volume. Presumedly, they
Deutsche Verlags-Anstalt, Stuttgart, 15 marks. were sent to his elder sister, but the book in which
This handsome work, the sub-title of which is the so-called ‘ copies ’ are preserved is deemed to
‘A Manual of Culture and Good Taste,’ is written be the original work and to be really the writer’s

33 3
Art Tjoo{s of the Month
diary. These ‘ Letters ’ contain most amusing Saint George : Champion of Christendom and
gossip about the exiles’ everyday life, as well as Patron Saint of England. By E. O. Gordon.
interesting anecdotes and valuable historical matter. London : Swan Sonnenschein. 21s. net.
The prose is fluent and idiomatic, but as it was Every reader of Gibbon knows the passage on
written whilst the Magyar speech was still in a Saint George—one of the most deadly in all the
transitory state, there are grammatical variations work of that master of prose. And even while
in it from the language as now spoken. It would enjoying its exquisite turn, it would be well to take
be foreign to our purpose to enlarge further upon up Mr. Gordon’s book, and study the real St.
the text of this work, but we desire to call atten¬ George from a different point of view. For the life
tion to the merit of the water-colour drawings by of the Saint Mr. Gordon’s chief authorities are, of
Mr. Edvi depicting the various scenes connected course, the ‘ Encomia ’ recorded in contemporary
with the career of Mikes, as explained in his Coptic Texts, which he has studied in Dr. Wallis
‘Turkish Letters.’ The facsimiles with which Budge’s translations, and of which he makes good
the book is illustrated deserve special praise, not use. Subsequent chapters concern the commemo¬
only for the exactness with which they reproduce ration of the Saint in liturgies and national
the touch and texture of the originals, but for the institutions ; the celebrated knights of St. George
unusual taste with which they are printed and from the sixteenth to the twentieth century, and
mounted. J. H. I. St. George in art, customs and traditions. It was
high time that the matter presented by Mr. Gordon
New College, Oxford. Engraved by Emery
should be collected and rendered accessible. The
Walker from a pen-drawing by Edmund
volume covers an immense amount of ground,
Holt New. Ryman and Co., Oxford. One
including, as it does, such different subjects as the
guinea net.
formation of the Round Table by Arthur under
This admirably produced plate seeks to revive the patronage of St. George, and that of the Order
the method used in David Loggan’s Oxonia of the Garter, with a selection from the multifa¬
Illustrata and many other old prints, by giving a rious lore attached to each, the Dragon of Wantley,
bird’s eye view of the college and its grounds as and the execution of Charles I; but the nature of
they would appear from an imaginary elevation his main object demanded this variety, and his book
to the west. A comparison between Mr. New’s loses none of its historical value by its pleasant
work and the engraving on which it is based, pub¬ discursiveness. Mr. Gordon’s bent of mind is all
lished in 1675, shows that the modern draughts¬ towards belief in legend, but his judgment is
man is fully the equal of his predecessor. The clear, and his sympathetic treatment of England's
general design very cleverly combines a pictorial patron Saint should serve to remove a large amount
treatment with the sense of an architectural of current ignorance and error. The book is full
pen-drawing, and though we miss something of of interesting illustrations, most of them reproduced
the severe academic spirit of the older work, there from rare sources, and the binding, in raised cloth,
can be nothing but praise for the atmosphere and is a transcript of a sixteenth century panel-stamped
grace which the artist has contrived to retain in binding, and an excellent example of the work of
what might have been so easily a merely formal Messrs. Leighton, Son and Hodge.
record of facts.
BOOKS RECEIVED
Recollections of a Humorist Grave and Der Ursprung des Donaustiles (Kunstgeschichlliche Mono-
Gay. By Arthur William a Beckett. Lon¬ graphien, VII). 18 marks. Hiersemann, Leipz g.
don : Pitman and Sons. 12s. 6d. net. Charles E. Dawson : His Book of Book-Plates. By
Charles E. Dawson. Otto Schulze & Co., Edinburgh.
At the climax of a long and varied journalistic 5s. net.
career Mr. a Beckett did his best work as assistant Gfmalde alter Meicter (22, 23, 24 Lieferung). Richard
Bong, Berlin. 3 marks each.
editor to Sir Francis Burnand on Punch. In the Old English Furniture. By G. Owen Wheeler. L. Upcott
volume before us he once more plays second, Gill. 7s. 6d. net,
longo intervallo, to his chief. His book is a humble Die Galerien Europas (14, 15,16,17, 18 Lieferung). Seemann,
Leipzig. 3 marks each.
imitation of a more interesting work, the reminis¬ Bury St. Edmunds. By Rev. H. J. Dukinfield Astley, M.A.,
cences of Sir Francis himself. Whatever Sir Litt.D. Elliot Stock, is. 6d. net.
Francis has done, Mr. a Beckett appears to have MAGAZINES RECEIVED
done not so well ; and it is perhaps a necessary Oxford and Cambridge Review. Expert. Collecting. Crafts¬
disadvantage that he should have to insist as he man. Nineteenth Century and After. Art Journal. National
does on his claim to be considered a humorist. Review. Fortnightly Review. Albany Review. Contem¬
porary Review. Connoisseur. Fine Art Trade Journal.
A few good stories do little to lighten the tedium Rapid. Review of Reviews. Commonwealth. Studio.
of a dull book. And when Mr. a Beckett owned Gazette des Beaux-Arts, Chronique des Arts et de la
Curiosite. Revue Illustree. Die Kunst (Munich). Augusta
so many ‘ dear and valued ' friends, why Perusia (Perugia). La Rassegna Nazionale (Florence).
should du Maurier be fobbed off with ‘ my poor Bollettino D’Arte (Rome). Museum of Fine Arts Bulletin
friend'? (Boston). Kokka (Tokio). Onze Kunst (Amsterdam).

334
 <*■> ART IN FRANCE
MENTIONED last month that the replica. But, aesthetic considerations apart,
the Louvre had purchased from the external evidence is conclusive. The
Madame Emile Trepard two original picture was, as I have already said,
fine pictures by Chardin, Le exhibited in 1738 ; the picture alleged by Dr.
Jcune Homme an Violon and Liebreich to be the original is dated 1741. More¬
L’enfant an Toton, which were over, the picture now in the Louvre, which is
shown at the recent exhibition at signed but not dated, has come down to Mme.
the Georges Petit Galleries. The Trepard by transmission from M. Godefroy him¬
latter picture is a portrait of the son of a banker and self, whose portrait it is. He died at a very
jeweller called Godefroy, who was a personal advanced age in 1813, and bequeathed the
friend of the painter, and it was exhibited under picture, together with other property now in
the title of Portrait du fils de M. Godefroy, joaillier, Mme. Trepard’s possession, to a cousin from
in the Salon of 1738. Some of the Parisian papers whom Mme. Trepard is directly descended. It
have been casting doubts on the authenticity of this is hardly possible that the owner of the replica
picture on the authority of a Dr. Liebreich, who painted in 1741 can share the opinion of Dr.
is said to be well known in Germany as an eye- Liebreich, since I am told on the best possible
specialist, but has not been hitherto known as an authority that he himself tried some years ago to
art critic. Dr. Liebreich declares that the other buy both the pictures which have recently been
version of L'enfant an Toton, which belongs to a added to the Louvre from the relative of
well-known Parisian collector and is No 70 in the Mme. Trepard who then possessed them. It
catalogue of the recent Exhibition, is the original would not, perhaps, be worth while to pay so
picture and that the picture bought by the Louvre much attention to this matter, were it not for the
is a copy executed in the nineteenth century. If fact that a certain scandal-mongering section of
this be true, the copyist was as great an artist as the Paris press has made use of the incident in
Chardin, for there is no question that, as I said order to make a most unjustifiable attack on the
last month, the Louvre picture is greatly superior administration of the Louvre.
in quality to the other, although the latter is It will amuse the readers of The Burlington
apparently also the work of Chardin. But the Magazine to hear that Dr. Liebreich claims to
arguments by which Dr. Liebreich supports his be quite infallible in regard to the technique of
views are not worthy of serious attention, and it is pictures. He has, it would seem, arrived at his
plain that he has not even accurately observed the infallible method by buying the works of Italian
Louvre picture, since he cites in support of his masters (or what he believes to be such), dissect¬
contention certain marks which have no existence ing them to see ‘ how it is done,’ and then re¬
save in his own imagination and which he alleges painting them ‘equal to new.’ It is certainly an
to have been copied from the other. original training for an art critic, and one can
On aesthetic grounds alone one can say only hope that the corpora on which Dr. Liebreich
without hesitation that the Louvre picture is made his experiments were of the suitable quality.
not only the original work of Chardin, but a R. E. D.
very fine one, and that the other version is

^ ART IN GERMANY c*»

CARCELY any picture has candidate for the honour of having painted this
puzzled connoisseurs as much portrait, in the person of Pieter Francoys (Fran-
as the admirable full-length choys) of Malines (1606-1654), who in his best
portrait of the Florentine cap¬ works imitates and nearly approaches Van Dyck’s
tain, Alessandro del Borro, in most passionate style. The ascription to a cis-Alpine
the Kaiser-Friedrich Museum artist is, on the "face of it, rather startling, but
at Berlin. It was bought 1873 Hedberg adduces specimens of Francoys' craft at
as a Ribera, and was at once Brussels, Cologne, Dresden, Frankfort, etc., to
re-named Velazquez, as one of whose most excellent support his hypothesis, in which he discovers
works it passed for years, until a somewhat closer various similarities of treatment. Among these
attention to the coloration disclosed that it could the little portrait sketch at Dresden must be the
never have been painted by the great Spaniard. weakest prop for his theory, for it, to be sure,
Luca Giordano was suggested, but only with half looks very unlike what we would expect of the
a breath, because the portrait seems far superior to painter of del Borro.
anything else by this master with which we are The ‘ Schweizerische Kunstverein ’ in its annual
acquainted. The unusual dash and brilliancy of meeting at Lucerne has decided to unite, if pos¬
the picture then allowed Tiepolo and Tiberio sible, the two important Swiss fine art events, the
Tinelli to be thought of. Now Mr. Tor Hedberg ‘ Salon,’ which takes place every two years, and
has proposed in a Swedish magazine a new the ‘ Turnus,’ the annual circulating fine art

335
Art in Germany
exhibition. The Turnus this year shows the usual ment of men to vacant places on the museum
preponderance of landscape work, and a slight staffs. It will not be long before such schemes
falling-off of snow scenes, which is to be lamented, prove themselves unsatisfactory. The tendency
as, naturally, the peculiar problems of snow of modern museum practice is to pick your man
scenery, yielding so readily to fine artistic present¬ carefully, and let him work on unhindered, not to
ment, are a legitimate speciality of Swiss painters. hamper him at all with a supervisory committee,
There is also a falling-off of the strained, would-be which of course is composed of amateurs. What
intellectual, style of work, and this is fortunate. harm committees can do has been sufficiently
Among the younger generation in Switzerland, as proved by many museums during the middle of
elsewhere in German-speaking countries, the the nineteenth century, and is proved to this day
tendency to produce confused allegories and deem at some minor institutions. For one thing, if the
them deeply philosophic had gradually developed single, individual director makes mistakes, they
into a disease. If the aims of the ‘Schweizerische will all be in one direction, and the next genera¬
Ivunstverein ’ can be realized, much good may tion can easily remedy them by relegating his bad
come of it for Swiss art and artists. At present acquisitions to the store-room. But the many-
there is too much energy lost in instituting local ininded committee makes mistakes in all directions,
exhibitions which cannot signify anything to and the traces of these errors of judgment are not
anybody outside of the town where they occur, so easily eliminated.
and do not offer a sufficient foil to the genuine New frescoes have been discovered in the
talent that may be struggling to rise to the surface Maurice chapel of the St. Sebaldus church at
by means of them. A union of management at Nuremberg. Karl Gebhardt has pronounced
least of all these small functions with the ‘Turnus’ them to be by the same hand as the Holy Family
and the ‘ Salon ’ must prove beneficial. in possession of the Przibram family at Vienna
The ‘ Schweizerische Vereinigung fur Heimath- and claims to have discovered the name of the
schutz,’ a society whose aim is to baulk the clever painter, one Weinschroter, who flourished towards
speculators in their attempts at disfiguring the the end of the fourteenth century at Nuremberg.
natural beauties of Switzerland with mercenary Heretofore the Przibram picture, an important
projects, has scored various successes. It is work in the history of early German painting, was
owing to its intervention that no concession was not definitely claimed for Nuremberg.
granted for the building of an inclined railway The museum at Heidelberg is to be enriched
up to the Tell Chapel on Lake Lucerne, and, at by the gift of rqi old Netherlandish paintings,
present, an attempt is being made to put a spoke belonging to the collection of the late Mr. Posselt,
in the wheel of the Matterhorn railway project. A separate wing is to be annexed to the building
The historical gallery at Budapest has been to receive them.
reopened after having been closed to the public Among the recent acquisitions of the museum
for almost twelve years. It is now housed in the at Magdeburg figures one of Menzel’s most inter¬
former premises of the Hungarian National Gal¬ esting works, his so-called Cassel Cartoon. This
lery in the Academy buildings. The director, large drawing representing the Entry of Duchess
von Kammerer, has rearranged the collections, Marie with her three-year-old son in Marburg, was
to which numerous additions have been made executed at Cassel during the winter of 1847 an<^
during the space of time that they were not on spring of 1848 for the Kunstverein there, by which
view. it was bespoken. Menzel bought it back in 1866,
An important museum building is to be erected thereby giving rise to the report that he himself
at Cassel, which is to be devoted to the history did not think much of it and wished to hide it
and art of the province of Hessia. from the public. In a letter of the 17th November,
Owing to dissatisfaction with the turn that 1882, Menzel rather indignantly denies the truth
various art affairs have been taking of late, of this report. He says that, returning to Cassel
the Bavarian Government has instituted serious eighteen years later, he found the huge cartoon,
changes in the management of all questions per¬ for want of better accommodation, skied in a dark
taining to art. So far these alterations do not by hall of the library at Cassel, begrimed and dirty,
any means seem full of promise, for instead of and so he bought it back in order to give it another
picking out experts and specialists, who are chance to become publicly known, not in order to
responsible for what they do, and to whom in withdraw it from the public notice. It figured at
consequence as much freedom as possible should the big Menzel exhibition in 1905, and now has
be accorded, no end of boards of trustees and found a resting place in one of our most enter¬
committees have been appointed, with power to prising civic museums.
counteract the decisions which the several directors A charming and refined portrait of a Countess
and presidents of the museums, galleries, aca¬ Bose, painted in 1789 by Joh. F. A. Tischbein,
demies, etc., may come to. In fact such committees has just been bequeathed to the Dresden Gallery,
are hereafter to have a voice even in the appoint¬ which already possesses an excellent but smaller

336
CASSONE FRONTS IN AMERICAN COLLECTIONS
 Art in Qermany
portrait by his hand. Works of this class prove the sculptor’s birthplace, with the works found in
that German art at the close of the eighteenth his studio at his death, with a house to be
century, if not quite on an equal standing with converted into a museum, and with a capital
French and English, was not at all contemptible of £10,000.
by the side of them. One of the most interesting acquisitions that
There is a German adage, ‘ It’s water that they any of our museums can boast of has lately fallen
cook with everywhere,’ which comes to mind, as a gift to the lot of the Goethe Museum at
a propos of a recent legal verdict. Generally Frankfort-on-the-Main. Goethe gives a most
speaking, our views on the subject of the nude, lively description in the third volume of his
etc., in art are quite sane and apt to be looked ‘ Wahrheit und Dichtung ’ of the French occupa¬
upon with envy by the cultured of countries where tion of Frankfort in 1759, and of the Lieutenant
prudishness is more likely to pass for virtue than Comte Thoranc, who was at the head of the
here. Recently, however, the prosecuting attorney- French, and was quartered in Goethe’s house.
general at Breslau had a dealer up for exhibiting Thoranc was a great lover of paintings. Scarcely
and selling picture postcards, printed in colours, arrived at Frankfort, Goethe says he ordered all
and reproducing the two Judgments of Paris, by the local painters of repute to come and show him
Rubens and Van der Werff, in the Dresden their work. He bought many pictures, and
Gallery. The man was fined, too ! and sentence bespoke many more for his house at Grasse. The
was passed that the cards, the plates to produce room where these works were hung has now been
them with, etc., should be confiscated. It is a hunted up, and the contents are the subject of my
wonder that the Breslau police staff did not sen¬ notice. The lad Goethe had a hand in the com¬
tence the original paintings to destruction also. position of many of these works ; for instance, he
That important creation of Dr. Carl Jacobsen, mapped out a series of allegories for the painter
the Ny Carlsberg Glyptothek at Copenhagen, has Seekatz. In return the painter flattered him by
just bought Max Klinger’s latest work of sculpture, introducing his portrait in an April which he
the Diana. The Ny Carlsberg Museum, famous painted for Thoranc. This picture, now returned
for having brought together a surprising number to Frankfort, offers us a hitherto unknown and
of excellent genuine antiques, when one considers one of the earliest portraits of Goethe. If feasible
how young the institution is, has hitherto lold a room is to be added to the Goethe Museum,
French and Danish productions among its modern which will be equipped in all detail like the
acquisitions, but this is the first work by a living original room at Grasse.
German sculptor it has bought. Klinger may well The new Palma Vecchio, just acquired by the
feel pleasure at the distinction thus conferred museum at Frankfort-on-the-Main, came from
upon his work, in view of the reputation for dis¬ England, and is a very important picture (See The
cernment and taste which Dr. Jacobsen has so well Burlington Magazine, Nos. 47 and 51, February
earned for himself in matters of sculpture. and June, 1907). It is Giorgionesque in character,
The well-known author of the New York and a kind of counterpiece to Titian’s famous Ter¬
Harbour Pharos (the goddess of Liberty), the restrial and Celestial Love, the painter having made
late sculptor, Frederick August Bartholdi, was an use of the same models. Probably Jupiter, in
Alsatian by birth. In spite of his Teutonic Diana’s shape, wooing Calisto is the subject of the
ancestry, as betrayed by his Christian names, he picture. The figures are relieved by a distinctly
sided with the French and became after 1871 a Venetian landscape, with water in the foreground
rabid anti-German Chauvinist. Fortunately this and distant mountains to the right. A church with a
hatred is not to extend beyond the grave. cupola to the left is reminiscent of St. Anthony’s
Bartholdi's widow has just presented Kolmar, Cathedral at Padua. H. W. S.

^ ART IN AMERICA ^

CASSONE FRONTS IN AMERICAN concrete and descriptive visualization rather than

COLLECTIONS—V, Part I in the charisma of the sheer masters of form ; and
the more complicated the problem the easier will
The ‘ Tournament in the Piazza S. Croce ’
be its final resolution. Where Greek meets Greek
and ‘The Garden of Love': Jarves
comes the tug of connoisseurship—Giotto and
Collection.
‘Master Oblong' or ‘Master Stefano,’ Masolino
An extensive knowledge rather than any great and Masaccio, Lippi and Pesellino, Verrocchio
insight is necessary for the classification and and Leonardo, Giorgione and Titian, give the
elucidation of the industrial paintings of Florence expert pause.
in the early and middle quattrocento. A decoia- Our industrial painters are labyrinthine, but
tive and therefore inferior art, in spite of its great there are so many clues in the internal evidence
beauty, will often have its stylistic origin in some alone that we have little excuse for going far wrong

A A 339
Art in America
in our criticism in this field. I, however, am tradition, and that their authors are obscure.
especially intrigued by a group of decorative They are the wild flowers of an artistic spring.
pictures which offer by virtue of their complexity This particular type of cassone piece is, as decora¬
of motives a sure criterion of their stylistic origin tion, all the more perfect for its spontaneous and
and relationships, but which I cannot understand unstudied character. No better illustration for
for want of the master-keys. I refer to the very the undergraduate of his studies in early Renais¬
beautiful type of work which we have already sance life could be devised, but my experience of
considered in the two panels at New Haven with the American undergraduate is that his eye is not
scenes from Virgil’s ‘ Aeneid.' There is one impor¬ yet attuned even to the most obviously descriptive
tant ignoto in this region—the painter of the Dido and illustrative features of early art.
and Aeneas pictures in the Kestner Museum at We now come to a small group of cassone pieces,
Hanover. His art I cannot analyse, not having in which I see Masaccio’s direct influence. They
seen the originals ; but as every example helps to are, in fact, almost too derivative to be of indepen¬
make the general triangulation more accurate, I dent artistic value.
shall not delay the publication of the Tournament I take it that some recent criticism, as Mr.
of the Jarves collection, which seems to be a Berenson’s, has given to Masolino, on reasonable
derivative of this group and is an important and morphological grounds indeed, but without quite
beautiful work. weighing essential differences, a few works that
Whether any of the earlier Tournaments have belong more properly to his great reputed pupil.
been identified I do not know—I am far from There is in Masolino’s authenticated art at Castig-
libraries. I assume that we have in the technique lione d’Olona a certain penchant for a descriptive
of the New Haven panel a tradition which is and romantic visualization of the external world
earlier than that of Domenico Veneziano’s atelier which is not only foreign to Masaccio’s inevitable
(as illustrated in a picture to be mentioned here¬ idealization of the concrete but which actually
after), owing to its rich palette (in tempera), its seems to import an exotic character into the Flor¬
preference for colour over tone, its discursive and entine tradition—just as, in a previous generation,
repetitory colour style, its exuberant inventiveness Giovanni da Milano breaks with Giottesque or
of composition, in which an exotic or at least a Gaddesque formulas to exploit a realistic genre.
romantic spirit seems to be substituted for the While Masaccio (like Giotto) is intrinsically and
reticence of Masaccio’s following. instinctively classic and uses his nature-stuff (as
Uccello’s influence is obvious here, but it is not did Giotto) always with a sense of its organic life
fundamental, and the piece is surely not of and truth rather than for externally picturesque
Uccello’s atelier. A relationship in technique with motives, Masolino in his architecture, in his
the Virgilian episodes in the same gallery is antique ornament, in his accessories generally, and
certain, and I should say that the same painter in his landscape—to judge especially by the amaz¬
may be involved. In actual date we may be near ing but still ‘decorative’ and partly romanticized
the middle of the century, but the style is then a landscape composition in the Palazzo Castigliono
survival. On the other hand, we have no relation¬ at Castiglione d’Olona—manifests a less epic
ship here to the decoratively important type of art imagination. In S. Clemente at Rome the con¬
of which the Adimari Ricasoli Nozze at Florence structive sense of the foreground in the scene of
is a central example. The latter type is unques¬ St. Catherine’s martyrdom, not to speak of the
tionably a Masaccio derivative.1 background to the Crucifixion, will illustrate a
I can furnish no accurate description of the difference which is, on other terms, something like
Tournament. There is so much art to study at that which confronts the student of the young
New Haven, and 1 can visit it so seldom, that I Leonardo as compared to his immediate pre¬
cannot take iconographical or archaeological decessors. I must assume that some of the best
notes. The historical student should apply to the things in S. Clemente at Rome are by Masaccio.
authorities of Yale University. The armorial Now it is clear that while Masaccio’s style is too
bearings and standards should be properly inter¬ sheer and nobly simple to suggest much to a pro¬
preted, and it is possible that some of the portraits, fessionally decorative art—and in the case of a
which are in some cases fairly individualized, painter like the master of the Adimari-Ricasoli
might be known. My purpose is to indicate the Nozze we may observe Masaccio’s influence to
milieu in which an explanation of these industrial consist in a justness and sobriety of the presen¬
pieces may be found. It adds much to the enjoy¬ tation of figure and landscape relations rather than
ment of these works, in which the colour is a chief in any specifically derivative motives—I think
attraction, that they do not belong to a classic that Masolino’s looser art may well have inspired
1 The painter of the Nozze translates Masaccio into the some of our descriptive industrial painters of the
vernacular. The portrait of a swarthy youth at Fenway Court, early and middle quattrocento. I cannot, how¬
attributed to Masaccio by Mr. Berenson, seems to me perhaps ever, be sure of this, for want of adequate
by this fine artist, and to make his relationship to Masaccio
clear. knowledge of the period ; but in the Garden of

34°
 Art in America
Love, at New Haven, we may see—dimly reflected Exhibition of the Academy—the first to be held
—the essential difference between Masolino and under the new organization—went far to justify
his mighty contemporary—between an ordered the hopes of those who brought about the union,
limning of nature and an achieved compositional and augured well for the future. This exhibition
synthesis. of high average quality, and containing a number
We reproduce this picture for its rarity rather of works of importance, could hardly fail to impress
than its quality, and to illustrate especially its con¬ the discerning with the gradual affirmation of a
tents. But the very beautiful portrait idealizations distinctive American school of painting. Such
seem certainly to be inspired by Masaccio. No personal works as Winslow Homer’s vigorously
other artist comes to mind except Pesellino ; and original and dramatic Gulf Stream, or George de
our panel cannot be by Pesellino, and is earlier in Forest Brush’s grave and dignified Mother and
style than any of that master’s decorative work. Child; such adaptation to individual expression
The description of the picture must depend of acquired methods as is shown in Childe
upon the iconographical interpretation, which I Hassam’s Little June Idyllc, or Robert Henri’s
am not prepared to give. My interest in the Girl with the Fur Cape ; above all, such serious
work is, indeed, small ; for I take my stand in research of the higher qualities of art as is shown
the criticism of these industrial pictures upon by some of the younger men, as in Hugo Baffin's
the adaptation of means to end, and the end is Syhilla Europa, or in Paul Dougherty’s Land and
here less a pictorial than an illustrative one. The Sea—these things are full of promise, even of
execution of our panel is not unpleasing, but it achievement.
is distinctly feeble. It is a timid artisan’s work, Though the Academy was founded in 1825 in
and not a self-sufficient artist’s. The forms are a spirit of revolt against the older American
laboured, the colour is without nuance, the hand¬ Academy of Arts, it was essentially conservative
ling is nerveless. The dark blue sky recalls in its constitution, and was modelled on the
Uccello ; but the picture is, to me, an atelier general lines of the British Royal Academy. Its
work of Masaccio’s school, of great rarity indeed, foundation stones were limitation of membership
but of little artistic significance, except as it and privilege of members. When the new move¬
copies something else to me unknown. Dr. ment in American art began, about 1876, it was
Mather’s suggestion of the subject as being from inevitable that a clash should occur between the
Boccaccio’s ‘ Visione Amorosa ’ may be referred old organization and the new ideals, and the
to students on the spot. Society of American Artists was founded in 1877
But this picture is, at least, like Pesellino’s on the diametrically opposite principle of unlimited
Triumphs, a type of the idealistic rather than the membership and equality of members and non¬
descriptive style. A salver in the Martin Le Roy members before the committee of selection. The
collection1 may be compared. The execution in new society had at first a difficult and chequered
this latter piece also is seemingly inferior to the career, but it showed in the exhibitions, which
design, which is very classic and recalls Pesellino, were supported by the personal exertions and
although the salver is not of his atelier. sacrifices of its members, many works of the
I would like to add a word to my remarks on greatest interest which could hardly have been
the two pictures by Piero de Cosimo in New seen elsewhere. It first introduced such artists as
York. They now hang on the line in a proper Whistler and Sargent to the American public ; such
light. I feel that the importance of the setting of men as La Large and Inness, Chase and Shirlaw,
works of art in a museum is exhibited by the fact Weir and Brush, Thayer, Dewing, Tryon, Theo¬
that the most intimate message of these scenes dore Robinson, were among its founders and early
was lost, did not carry at least to me, until after I members; and although Winslow Homer refused
had twice written about them—without seeing to become a member his best works were placed
them. Call my eye exponential of the public eye in its exhibitions. By 1892 it was firmly estab¬
(as I try to make it), and I ask if the matter of lished, and by combining with the Art Students’
aesthetically effective installation be not one of League and the Architectural League, and forming
the most pressing as it must be one of the most the American Fine Arts Society, it had come into
exacting duties of museum management. possession of a permanent home and the best
W. Rankin. galleries in New York.
For a time there had been a real antagonism
A LIBERALIZED ACADEMY between the Academy and the Society—more
The union of the National Academy of Design perhaps on the part of the elder than of the
and the Society of American Artists, long the two younger body—and the fact that an artist was a
leading artistic bodies of America, has been member of the Society was often a sufficient
formally accomplished, and the last Winter reason for refusing him election to the Academy.
1 The Triumph o) Love mentioned by W, Weisbach (‘Fran¬ As the Society membership included most of the
cesco Pesellino,’ p. 17), who gives a reference to a reproduction. strongest artists in the country, this policy inevit-

341
Art in America
ably weakened the Academy and had gradually to of the Academy has always provided for the
be abandoned. By 1906 the two bodies had so eligibility to membership of architects and
far overlapped that a majority of both Academi¬ engravers, but none had been elected in many
cians and Associates of the Academy were also years. A special class of architects and engravers,
members of the Society of American Artists, while apart from the number of painters and sculptors
only one-third of the members of the Society who may be elected Academicians, has now been
were entirely outside the Academy. The Academy provided for. The Academy is thus on the way
had thus become less conservative, while the to become in fact as well as in name a national
Society had become more so as its members grew body and one truly representing the arts of design
older. It was no longer an opposition ; it was, as they exist in America.
like the Academy itself, though on other lines, an Its present need is a proper building with
institution. The Academy had an excellent name, greatly increased gallery accommodation. The
an honourable history (as America counts length, galleries now at its disposal are so inadequate
a long one), some considerable funds, but no that it is obliged to hold two exhibitions annually
galleries of its own. The Society had a shorter for oil paintings alone. It has no facilities for the
but perhaps more brilliant history of which exhibition of works of sculpture except in the
it was proud, a gallery in which to exhibit, form of an occasional bust or statuette, and the
but scarcely any funds. Neither body could work of our architects and mural painters must
claim to be entirely representative of American be seen at the exhibitions of the Architectural
art or to have the unqualified support and League, while that of our water colour painters,
confidence of the public. The semblance of our miniaturists, illustrators, etchers and engravers
an antagonism that no longer really existed still must be shown at still other exhibitions or not
prevented either from making a confident appeal, at all. The small exhibitions are increasing and
in the name of the whole body of American will increase. It is for the Academy to provide,
artists, for such enlarged facilities for carrying on if possible, for that larger exhibition which shall
its proper work as were imperatively needed. show at one time and in one place something
Could not the two societies combine their assets like the total annual output of acceptable works of
and their membership and form a united body art in its various branches.
which should retain the name and prestige of the It is not the Salon, made huge by promiscuous
Academy with an organization sufficiently modern¬ admissions, that is desired, but the fixing of a time
ized to meet the needs of the future as well as the and place where work may be seen together that
present, leaving to younger hands the work of must now be seen separately, so that not only
creating and maintaining any opposition that might New Yorkers, but citizens of other common¬
again become necessary ? The task seemed wealths in our vast country and visitors from
worth attemping. The work was entered upon other lands, knowing where and when to find it,
and prosecuted with diligence, and has now been may arrange to come once a year to survey the
completed by the adoption, on January 15th, of whole field of American art. For such an exhi¬
the revised constitution of the Academy. bition commodious galleries are necessary and a
The National Academy, as now constituted, is monumental building is desirable, and if the
probably unlike, in some particulars, any other galleries were in existence they would be avail¬
Academy in existence. The principle of a limited able for such retrospective or loan exhibitions as
membership is maintained, as far as the number the Academy would be glad to organize from time
of full Academicians is concerned, though this to time between the annual shows. As a liberal
number has been increased ; but the Academicians and representative body of artists, the Academy
are little more than a body of financial managers. could enlarge its sphere of usefulness and perform
In the right to elect and to serve on juries or a great work if it were provided with an adequate
committees of selection, in the right to nominate equipment.
new Academicians and to nominate and elect new In any other country than this that equipment
Associates, in all that concerns the artistic work of would be provided by the nation, the state or the
the Academy, the Associates are as fully members city. In this country we must look for it to that
as the Academicians themselves ; and as there is private munificence which has already done so
no limit to their number, it may be expected to much for art, for science and for education. The
increase as rapidly as new talent affirms itself. erection of a proper building for the National
The privilege of exhibition exempt from examina¬ Academy of Design and the endowment of that
tion by the jury has been cut down to one work institution for its work of carrying on its exhibi¬
by each member, and is equal for Academicians tions and schools are the most pressing need of
and Associates. The system of selecting works for American art. It is impossible to believe that our
the exhibition has been taken bodily from that of wealthy collectors and lovers of art will leave it
the Society of American Artists. The constitution long unsupplied. KENYON Cox.

342
 THE CASE FOR MODERN PAINTING
^ BY A MODERN PAINTER
V—'THE IDEALS OF MODERN GERMANY
ROFESSOR JOSEPH virtuous (/.£»., beautiful) and necessary,
STRZYGOWSKI’S‘little inevitably and spontaneously, as a flower
book for every man ’ (‘ Die grows. The drollest result of such ambi¬
Bildende Kunst der Geg- tions is to be seen in our own Tower Bridge,
enwart : ein Biichlein which, after many years of trial, we have
fiir jedermann.’ Leipzig : found to be neither virtuous nor necessary.
Quelle and Mener, 4 marks) is yet large The iron structure of the towers has been
enough to range through all the branches of masked with imitations of the adjoining
artistic activity : monumental architecture, Tower, a vicious procedure involving great
monumental sculpture, private architecture, expenditure ; and the towers themselves,
ornament, sculpture, drawing and painting. with the upper bridge which necessitated
A short article cannot be expected to do their erection, are not found necessary by
justice to the work, which in many respects beery foot-passengers, who prefer to wait a
is a sane, clear-sighted review of modern few minutes; although there are benighted
art. But all such reviews must be in¬ idlers—few in number, I am thankful to
efficient which do not, asRuskin did, insist say—who enjoy walking up five hundred
on the intimate relation between society and steps and down again, because they can
art. The restriction of criticism and do so gratis.
analysis to the actual performance is no However, in architecture I am in the
doubt more modest than Ruskin’s out¬ position of the plain man who ‘knows
rageous excursions into the universe, but what he likes,’ a confession of little interest
its shortcomings are obvious. What is to other plain men. Of any other
the use of inveighing against the New knowledge I am innocent. I can only say
York sky-scraper, which performs its func¬ that these modern German buildings, with
tion without affectation, when the only their whorls and contortions, are most for¬
criticism possible is that the function itself bidding and inhospitable in aspect. The
is devilish, and should appear so ? To Early Victorian houses, with their Kidder¬
mark for approbation the ‘ Fernheizwerk ’ minster carpets, mirrors, coal-scuttles,
in Dresden, a structure for uses so modern ormolu clocks, antimacassars and all, were
that we can only parody it as a ‘ calorific homely, cosy dwellings. The famous
power-house,’ on the score that at enormous ‘ Gemiitlichkeit ’ of the German seems to
cost the chimney has been made to appear have disappeared for a strenuous self-
like the tower of a church in the Middle conscious ‘ Gedankenkunst.’ However,
Ages, seems to me a topsy-turvy view of Professor Strzygowski has some views on
things. The author claims that the the aberrations and abortions of L’Art
architects have made a virtue of a necessity. Nouveau. The chapter on sculpture, with
Surely it would be more true and more the contrast between Pheidias, Michel¬
philosophical to say that they have added angelo, Rodin, Meunier, and Klinger is
a vice, that of lying, to a necessity which extremely interesting as analysis; but I
was no necessity in those times, when the pass from this to the second part, the
two characteristics, virtue and necessity, chapters on painting, which take up
were one and indissoluble. A Dutch wind¬ almost one-half of the work.
mill of the eighteenth century is both Here analysis, the attempt to lay down

THE BURLINGTON Magazine, No. 54, Vol. XI—September, 1907. B B 345

 The Case for Modern Painting
any general principles, is a work of artist should possess in expressing realities.
immense difficulty, and, I must say, of Let us take for example such realistic
great tediousness ; yet it still seems to me painters as Fantin Latour and Manet.
that Ruskin, with all his cantankerous ab¬ The early flower-pieces of Fantin Latour,
surdities, his longueurs and impertinent up to 1870, express two things to perfec¬
passages, hints at eternal truths that other tion : the beauty of a rose or sweet-
writers miss. The main theme of Professor pea, and the beauty of paint in the hands
Strzygowski seems to be the contrast be¬ of a master. So with any realistic piece
tween Gegenstand (subject) and Inhalt (pur¬ of Manet, such as Le Gateau. Every
port, meaning). ‘To the artist the subject touch is a translation, an interpretation
is merely the occasion to express himself.’ of the thing seen. Each brush-stroke has
Yet he inveighs against the modern schools a beautiful relation to the whole, in its
for their contempt of subject. ‘ The perfect economy and justice. Or, to go
difference between then and now is that further back, let us analyse a landscape by
Carstens, Cornelius, Schwind and Richter Gainsborough and try and explain its
were poor painters but thorough artists, wonderful beauty. The view of Dedham
whilst Manet, Monet, Degas, Liebermann, is perfect pictorial idealism ; there is a
and whatever stars of the first magnitude childlike naivete in the painting of the
of yesterday and to-day may be called are foliage of the oaks which reminds us
thorough painters, but fundamentally no of the great Japanese painters. Each
artists.’ Like most German critics he group of leaves is laid flat, as it were,
lays too much stress on what is grossartig like the blossoms of Hiroshige, and
(noble or sublime), and appears to rule yet the • expression of nervous living
that purport or idea is something extra¬ growth has never been surpassed. Indeed,
neous to painting, something containing perfect technique is the only pictorial
literary, historical, mythological, senti¬ idealism, because, receiving no suggestion
mental, religious, pantheistic associations. from nature, it stands alone. Take any
The painter, as of old, has to excuse aspect—sky, trees, houses, figures, sea—
himself by an appeal to sentiments which there is no hint in nature for their perfect
are assumed to be universal. Thus, whilst expression. The sky seems a flat surface
Impressionism and Realism are to be of infinite gradations in tone and colour,
deprecated, they are excused in Uhde’s but not revealing any method of obtaining
Komm, Herr Jesu, sei unser Cj-ast; and we beautiful quality by variation of pigment.
are to admire the entirely up-to-date It is difficult to give any logical reason
painting of the peasants’ figures, the ‘bath¬ why all painters, from the time of Rubens
ing of light,’ etc., because the figure of at least, loaded the high lights and painted
Christ, halo and all, is intruded. To me the shadows thin ; and as for the use of
such a picture as this of Uhde is not only scumbling and glazing, it would take
lacking in idea but is offensive as well ; volumes to explain these.
so also the Twilight in the Beeckvoood, by It is in the neglect of these pictorial
H ans Thoma, with the incredible figures ideas, of technique, that modern art is
of the faun and the knight. Not in the deficient.
delineation of incredibilities like these and No doubt Professor Strzygowski, in
the works of Bocklin lies true idea, but deprecating ‘ quality ’ as an object per se
in the power of translation, which the contemptuous of subject and purport, is

346
 The £ase for Modern Tainting
in the right. c The artist should not make canvas uncovered, flies, specks of dust, hairs
a goal of what should only be a means.’ of the brush, etc. Now five minutes with
And again: ‘It is true, one may appeal to a sharp razor would often obliterate these
nature, but not imitate her. Art is blemishes, and yet I have often seen good
expression, nature only the vehicle work diminished in value by these trifles.
whereby it can be attained.’ This is It is only in human nature that if the
excellent, for the artist who is bent on artist appears by any negligence to think
obtaining perfection in the air, as it were, his work of small account, it will be
without referring either to nature or to reckoned accordingly by the average man.
the great masters, will only produce Professor Strzygowski, like Ruskin, is
meaningless exercises. The first impulse bothered with the two gifts, the true pain¬
or hint must come from nature, and ter’s eye and the analytical mind ; and the
often as regards form, colour, compo¬ combination leads to singular contortions.
sition, spacing, she is all-sufficient. But He cannot mention Max Liebermann
in respect of quality nature helps us not, with tolerable courtesy—‘ the painting
and it is in this department that the Old firm of Max Liebermann and Co.’ is his
Masters should be especially studied. usual description—because Liebermann
Hence it appears to me singular that paints without Inhalt ; yet he quite
Professor Strzygowski’s main quarrel with rightly adores Menzel’s Curtain in the
modern artists is their preoccupation with Morning Wind. The distinction he makes
technique, wherein he agrees with most is quite inadequate: ‘ Liebermann sees
art critics of the day. Now, it seems to with sharp comprehension, Menzel with
me that our artists are not lacking in warm feeling.’ To me the distinction is
ideas, ‘ literary, religious, mythological,’ that Menzel paints (in this particular
but that in technique they are immeasur¬ canvas, not by any means always) well, /.<?.,
ably inferior to the most unknown and in with pictorial ideas, and Liebermann badly,
some respects even contemptible painters with no ideas at all. Throughout the
of the past. Nicolas Lucidel was a name centuries the pictorial ideas in artists are
unknown to me till I saw the portrait at in inverse ratio to any others. Rubens’s
the last exhibition of Old Masters, yet there and Vandyck’s ideas in religion are abso¬
is no living artist who could approach its lutely nauseating, Raphael’s coldly com¬
technical perfection. Whistler might have placent, Leonardo’s rhetorically repellant,
done so if he had taken the trouble in his Veronese’s sumptuously indifferent. Tur¬
young days, for there was something pecu¬ ner’s cockney itch for the sublime led
liarly Whistlerian in the painting of the him to such subjects as Dido building
face, but as a matter of fact he never did. Carthage, where the puzzle is to find Dido,
The indifference to technical beauty extends or Apuleia in search of Apuleius, leading
to lengths which it may seem puerile to the cockney connoisseur to search in turn
mention, but which are so characteristic for Apuleia, unaware, poor man, that she
of modern artists that they are not to be never existed, whether in Ovid, Lucian or
neglected. In repaintings, or corrections, Apuleius, and that au fond neither Turner
or merely from the sheer ‘ cussedness ’ of nor he cares a brass button for any of
any material, there are bound to be streaks them. No true painter of the past took
of paint which catch the eye unpleasantly, these ideas seriously fide Browning’s
little knots of dried pigment, edges of ‘Fra Lippo Lippi’), but the modern

347
The Qase for Modern Painting
painter, being more of a gentleman, con¬ had who, like Bocklin, is contemptuously
scientiously pulls a long face, thereby shoved aside by the moderns, and that
merely adding a hypocrisy to what was artist is [guess !] the Englishman,
already an absurdity. Turner.’ I can assure the author that
It is obvious, therefore, that with these the most modern painters in England, at
Shawful notions (surely a better adjective least, hold Turner in greater reverence
than Shavian) Bocklin, the apex of modern than ever, even to the detraction of one
art according to the author, must be of the greatest who learnt a little from
merely obnoxious to me. His pictorial him, Whistler. And if we could sum¬
ideas are of the most primitive kind, marize 4 Modern Painters ’ in a sentence,
theoretically sound in composition, ex¬ we should say it was because his visions
cruciating in colour, and, where he con¬ were marvels of memory, his colour sense
tradicts the modesty of nature as in the unique, his drawing sensitive, however
curved cypresses of the Ruine am Meer, incorrect, and his quality the despair of
ruinous to the composition, which might all his successors. 4 And as for the
have been at least theoretically correct. meaning, it’s what you please,’
All his pictures are built up from theory, It is curious, if afflicting, to watch the
and whilst it is obviously true that the various forms which decadence in art—to
famous Toteninsel (Island of the Dead) my mind as indisputable as it is inevitable,
‘ was conceived out of his head,’ my being correlative with present social con¬
retort is that the head is that of a ditions—takes in the French, German and
philosopher or a mathematician, not that English temperaments. In Germany
of a painter. The author reverts with besides the Inhalt skim stler there are
admiration to Bocklin’s power of painting painters like Leistikow, with his doctrinaire
what he has seen with his eyes shut. demonstrations of how a space should be
But the question is, what has he seen filled propounded with serene indifference
with his eyes shut ? If he has merely as to what these spaces represent (as the
seen untruths, that does not make a great author points out, a negative virtue); the
artist of him. The little boy in ‘ Punch ’ affectations of Gustav Klimt, symbolical
argued thus : ‘ Once ought is ought, two because absurd (‘ paint soul by painting body
times ought is ought, three times ought— so ill, the mind must go further and can’t
must make something,—stick down one.’ fare worse’); the Impressionists, who have
No, no ; no number of negatives make a formularized and regulated such wild
positive. That Bocklin’s colour is untrue, children of nature as Monet and Renoir.
and therefore extremely ugly, that his In England the decadence has taken other
drawing should be weak and faulty, his forms, modest and pathetic, but profoundly
composition banal, does not per se make pessimistic. On the one hand are those
him, as the author declares, 4 the greatest who laboriously reconstruct with the
artist of meaning (Inha/tskiinst/er) since utmost realism the customs and appearance
Rembrandt.’ of past ages, and on the other those whose
There is another passage, still more reference to nature is of the slightest, but
astounding, where he speaks of his ‘ faculty in whose art the overwhelming influence
of holding fast to the original impression is that of past artists, Titian or Daumier
through all the stages of a fully developed or Velazquez or Wilson or Hogarth or
work of art. This power another artist Corot or the great Japanese. Now we

348
 The £ase for Modern Painting
cannot prophesy with any certainty about megalomania. But, indeed, I think it
future generations, but if human nature arose from the incorrigible sentimentalism
remains at all the same, we cannot expect of the English, which led him to the fatal
that fifty years hence people will be humility of belittling his glorious gifts,
interested to know what a Dutch gentle¬ and to thinking that Lord Campbell, Mary
man living in St. John’s Wood thought Cassavetti, Lady Cavendish Bentinc\ with
an Apodyterium looked like, or the views her Children, Mrs. Nassau Senior, could
of an Englishman in the year 1907 not bear comparison with Reynolds or
on the appearance of a quartet in the Titian. Hence his attempt to excuse
fifties. On these matters they will himself for painting at all by becoming an
refer to the sources : Pompeian frescoes, Inhaltsiyinstler (I thank thee, Strzygowski,
or Winterhalter or Deverell. Nor will for teaching me that word) and neglecting
they be interested in any adaptations of pictorial ideas for ideas that were rudi¬
the masters, singly or in groups, unless mentary in comparison with the spoken or
they have been welded together to form written word, which is the proper vehicle,
a new thing-—new because nature, and not Whistler’s art, like that of Degas, was
art, is the prime motive, and pictorial primarily inspired by nature, and the
ideas, the thing seen and translated, are qualities it possesses are simply those of
the outcome. If the only contribution clear unprejudiced vision combined with
the modern artist has to add to the masters the faculty of translating the truth of nature
is an inferiority, then reference to the into something more beautiful than nature,
original source must again be the result. not by deliberate alteration but by economy,
The basic value of a picture, which emphasis, the visible handiwork, the ex¬
underlies all artistic values, is that it quisite quality of surface.
should be of the nature of a document, Ever since Ruskin pointed out that all
telling the world something—not always pictures are intended to be seen at a proper
very much—of its appearance at a certain distance, and that on approaching them we
date and in a certain place. The great ought not to discover more detail—in
Dutchmen, of course, did little else, but which demonstration he was unnecessarily
even in the altar-pieces or religious savage to Canaletto—it seems to be held
pictures of Botticelli, Lippi and the rest that any approach to a modern work must
we are distinctly aware of a place and a inevitably shock us by presenting an
time. I will go so far as to say that even anarchic ugliness of pigment. This does
Titian’s Bacchus and Ariadne, apart from not follow. Approach any Gainsborough,
a similarity to other painters of his time Turner, Diaz, and you will find, not more
and country, hears internal evidence in the detail, but the magical power of translating
types of face and forms and in the land¬ a thing seen, which in itself has no surface,
scape of being by an Italian painter who into a surface of beauty, containing every
lived at a certain period. variety of quality, except that thick, solid,
At first sight it would appear that uniform impasto which makes all modern
Watts’s decadence when he began the works dreary or positively ugly on close
series of vast failures, ‘Time and Death inspection. Mr. Shannon’s study of the
and Bimetallism,’ ‘Love and Truth and Old Masters has at least this advantage of
Stenography ’—Lleaven knows what these beautiful surface, and when it is applied
tedious abstractions were !—arose from to portraiture, as in Mrs. Ghalloner DoVedall

349
The Qase for ^Modern Painting
or the two girls in cook’s costume, we get lin ; the painters whose pictorial ideas
something truly individual and beautiful. are too derivative, too little in touch with
I have been led into these digressions their own times and their own country.
because the main conclusion from the It is no wonder that painters should turn
study of Professor Strzygowski’s book, and their eyes away from the present and live
the comparison between English and as far as possible in the past, but it is a
German painters which it aroused, is that sign of a deep distemper, this soothing of
there is a fatal divergence in art of the the public with exotics or narcotics. The
present day. We are all divided into evils lie deep in the body politic : written
opposing camps: the painters who have word and painted canvas are of no avail ;
no pictorial ideas at all, like the late James the necessary revolution must come from
Charles or Mr. La Thangue ; the painters the people, who will make short work of
of ideas which are not pictorial, like Bock- the art of the present day.

THE SPIRES OF ROME

^ BY J. TAVENOR-PERRY ^
HE spires of Oxford, or even was the theory of spire growth in Rome which
of London, formed a distinc¬ suggested itself to the mind of this old-world
tive feature in the architecture ecclesiologist; but an examination of those spires
of these, as well as of most still left in the city will show that they were only
mediaeval cities, and gave an importation of northern gothic, which never
them that picturesqueness
which is so characteristic of
_ the towns of northern Europe;
but to speak of the spires of Rome sounds almost
an anachronism, for it is difficult, by a simple act
of memory, to recall the likeness of any which
still remain among the almost countless domes
that form the undulating sky-line of that city.
Yet there are a few, and those few stand, moreover,
in prominent places; but so closely are they
surrounded by more important works of the
Renaissance school that they receive but scant
attention from the mere sightseer, and almost
escape the observation even of the architect.
Among the many domes of the Piazza del Popolo
rises Pintelli’s pinnacled tower of S. Maria ; from
a corner of the Piazza Navona is seen the gabled
and crocketted spire which the Flemings built to
their church of S. Maria dell’Anima; and from
the lofty steeple of S. Maria Maggiore which
crowns the Esquiline can be seen on one side the
pyramid of S. Lorenzo in Panis Perna on the
Viminal, and on the other the twin spires of
S. Giovanni in Laterano which top the Caelian Hill.
An archaeologist, writing at the end of the
eighteenth century, after commenting with some
contempt on the spires of the north—' obelisk-like,
made up of bundles of rods ’—says that Pintelli
introduced a better style to Rome and added to
some of the bell towers an obelisk at the top, less
pointed and simpler than the gothic pyramids,
which look as if they were imitations of that of
Caius Cestius near the Porta di S. Paolo. Such I. S. LORENZO IN PANIS PERNA

35°
 The Spires of Rome
acclimatized itself to the air of Rome, and faded The spire of S. Maria dell’ Anima is one of the
before the influence of the incoming Renaissance. oldest and least altered of the spires in Rome. It
In S. Maria del Popolo we have what is probably is no fancied reproduction of the pyramid of Caius
the first attempt at spire building in Rome, which Cestius set upon a tower ; but with an outline and
set a fashion lasting only till the advent of dome details, modified perhaps, recalling the gothic
building put an end to it. This church was spires of the North. Although the lower
founded by Pascal II on the site of Nero’s part of the tower is enclosed in a Renaissance
tomb and of the gigantic demon-haunted covering, the spire with its crocketted pinna¬
walnut-tree which grew out of it, but it was cles and gables stands up clear above the
entirely rebuilt by Sixtus IV, Francesco delle classic cornice; and, with its great eagle
Rovere, a native of Savona on the Ligurian finial and iron cressets, and its sparkling
coast. He had resided for the greater part coloured tiles, it forms a composition com¬
of his life in northern Italy, teaching in the parable to nothing in Rome. The history
schools of Bologna, Pavia, Siena and of the church and its foundation gives some
Florence ; and when he was raised to the clue to the peculiarities of this tower, though
pontifical chair he brought with him to not, perhaps, a sufficient explanation. The
Rome, or induced to follow him, the Floren¬ first building erected on the site was a
tine architect Baccio Pintelli. The rebuild¬ hospice for pilgrims from Germany and
ing of S. Maria del Popolo was among the the Low Countries, which was founded by
many important works entrusted John Peters of Dordrecht, and
to Pintelli; and although the the papal secretary, Dietricht of
greater part of his design was Niem, in the year 1399, and
destroyed by Bernini when he Armellini speaks of a consecra¬
restored the church for Alex¬ tion by Eugenius IV in 1433.
ander VII, his tower and its spire But in any case a new church
still survive. It is possible that was built on the site, of which
the lower part of the tower may Matthias Lang laid the founda¬
contain the remains of an earlier tion stone on April n, 1500.
campanile which belonged to the The new church is said to have
first church, but the spire erected been erected from the design of
on it was Pintelli’s design and a German architect under the
is, in all essentials, a reproduc¬ supervision of Bramante, and
tion of those of northern Italy ; was consecrated 23rd November,
and perhaps the pope, who owed 1511, although it was not com¬
his elevation to his Milanese in¬ pleted until 1519. To which of
fluence, had in his mind, and these periods the gothic spire is
suggested to his architect as to be assigned only the spire
models, the spire of Chiaravalle, itself can help us to determine.
or those of S. Gottardo and S. Although smaller, it is similar
Eustorgio in Milan. The tower in many respects to Pintelli’s
itself is of grey bricks, spire of S. Maria del Popolo,
shows on each face a but distinctly more gothic
single round-headed win¬ __ in detail, and might, per-
dow of two lights with a 'l haps, belong to the era
sort of tracery over the Ip* of the first building ; on
openings, and very similar the other hand, although
in its style and details to very different from any
the windows of the great other works proceeding
campanile of S. Spirito in in Rome at the beginning
Sassia which the same ar¬ S. MARIA DEL POPOLO of the sixteenth century,
chitect built in imitation and utterly unlike any¬
of one of the older Roman belfries. The tower is thing -done by Bramante, it does not seem
crowned by a lofty spire in the form of a cone impossible that a German architect should have
covered with red tiles, and at the angles are designed a gothic spire in the same year that
circular pinnacles arcaded round on two storeys with Adam Kraft was raising his Sacramentshaus
red brick cusped arches and capped with conical in S. Lorentz, Nuremberg, and the south
spires. Altogether it presents a form and character transept of Beauvais was in building. It may,
unknown, before its appearance, in Rome ; and therefore, belong to the date 1500, usually
rising, as it now does, amid Bernini’s domes, and assigned to it, and the explanation be that
contrasted with the great domed churches on the although the church, including the spire, was
other side of the Piazza, it seems somewhat incon¬ designed by a German, Bramante intervened in
gruous. time to construct the church as we now see it, and

351
The Spires of Tome
to replace the tower, leaving only the super¬ restoration which took place in 1575 under
structure to testify to the original design. That Gregory XIII.
the result is incongruous is undeniable ; but the Perhaps the most ancient and certainly the
colour of the tiles, the grey stone and the fantastic smallest of the spire-crowned campanili is that of
ironwork make up a picture for which we may the church of S. Benedetto in Piscinula in the
thank both the architect who designed it and the Trastevere quarter,
classic restorer who let it alone. stands on the site
Two interesting associations connected with of the house in
this church of the Germans and Flemings may be which St. Benedict
noted : it was during that short stay in Rome lived when a boy
from which Erasmus was recalled to England at the beginning of
that the rebuilding took place, and he, doubtless, the sixth century.
frequently visited the hospice founded by his If the evidence of
fellow - countryman, one of the bells
Peters of Dordrecht; hanging in it, as¬
and it is in this cribed to the year
church lies buried 1061, be conclusive,
his friend and then this little tower,
teacher, Florent of as was probably the
Utrecht, who, as case with many
Adrian IV, was the others of the Roman
last German to sit campanili, was
on the pontifical standing before the
throne. devastating raid of
The spire of the Robert Guiscard oc¬
ancient church of curred. In spite of
S. Lorenzo in Pan is its diminutive pro¬
Perna on the Vimi- portions, it displays
nal may also be due in its brick and
to Baccio Pintelli, marble cornices and
as co n si derab 1 e its plaques of por¬
works were carried phyry and serpen¬
out in connexion tine all the charac¬
with the church teristics of the larger
during the latter towers, and only
half of the fifteenth differs from them
century. The ori¬ in its spire-like roof.
ginal church was There is no doubt
rebuilt by Boniface that some alterations have been made to the upper
VIII about the year part of the tower, which is now covered with a
1300, and the tower coat of cement; and it is not unlikely that when
may be part of that some fifteenth century alterations were made to
reconstruction, as, the church, the pitch of the roof was altered to
although the portion give it the more fashionable appearance of a spire.
immediately under The spire of S. Crisogono in Trastevere, if such
the spire has been it can be called, is merely a brick pyramid raised
altered and in parts on the ancient campanile and coated with cement.
shows a facing of It is possible that this high-pitched roof was added
grey bricks like in the fifteenth century, but of this there is no
S. Maria del Popolo, record ; its present state, however, is due to the
it retains some of fact that Cardinal Scipio Borghese, having in 1623
the discs of por¬ removed the ancient bells from the tower to Grotta
phyry which form Ferrata, sought to allay the just irritation of the
so distinguishing a parishioners by employing the architect Soria to
feature of the earlier garnish the whole structure with plaster and
campanili. The whitewash.
III." S. MARIA DELL’ ANIMA
spire is square on The spires of which we have hitherto been
ilan, and the bricks or tiles of which it is speaking are all constructed of brick or tiles, and
:omposed are hidden under a coating of cement, are of a more or less substantial character ; but
m alteration which, together with the baluster- there are in Rome some simple metal spires such
ihaped pinnacles at the angles, may be due to a as those which modern ecclesiastical architects

352
 The Spires of fome
consider to be appropriate to English romanesque, with the usual arcades, which have on the lower
and have placed on the Norman towers of South- storey of the western tower marble shafts and
capitals which are undoubtedly ancient, and which
with the brick cornices may belong to the period
of the restoration by Sergius III in the tenth
century. Above the towers rise the lofty square
leaded spires surrounded by marble balustrades
which may form the addition made by Sixtus IV.
The tower of S. Maria Maggiore is the loftiest
and the last of the series of mediaeval campanili
in Rome. The lower part of the tower may
belong to an earlier period, but the portion
which shows immediately above the roofs has
pointed arches, and may be of the date, usually
assigned to it, of 1376, when Gregory XI had some
works of reparation effected in the basilica. But
under Cardinal Estouteville, in the time of Sixtus
IV, the roofs of the church were repaired, and it
seems probable that the lead spire and iron
balcony round its base were set up at the same
time. If this be the case, then the whole of the

well Minster. These are the spires of S. Maria

Maggiore and S. Giovanni in Laterano.
d he twin towers of the north transept of the
Lateran basilica present an appearance perfectly
unique in Rome, where all the campanili are
built singly, irrespective of the churches to which
they belong, and not forming a part with them of
any architectural composition. Here, however,
they are built as a portion of the fapade and
remind one of nothing so much as the western
towers to a northern cathedral. How far the ar¬
rangement can be regarded as ancient it is difficult
now to determine, as, apart from the damage
inflicted on the fabric by itsoccupation by Guiscard,
it was twice devastated by fires in the fourteenth
century, and after the second one, about 1370, was
thoroughly restored by the architect Giovanni
Stefani of Siena under Pope Urban V. The
towers themselves preserve no traces of his
work, and one of them, at least, it is evident, VI. S. GIOVANNI IN LATERANO
required no restoration. Although Pius IV
coated them with plaster decorations, now happily spires of Rome may have been built within a
falling off, their conversion into spires seems to be period of fifty years and owe their initiative, if not
due to Sixtus IV, and therefore, in all probability, their design, to Sixtus IV and his architect,
was carried out by Baccio Pintelli. As the towers Baccio Pintelli.
now remain they show two storeys above the roofs The details of Pintelli’s life and his practice in

c c 353
The Spires of ‘Ityme
Rome are somewhat elusive. Vasari’s statements within the category of spires, that of the campanile
regarding his history are, as is often the case with of S. Catarina de' Funari. When Giacomo della
his ‘ Lives,’ called in question in many particulars. Porta built the church in 1563 he found attached
While one writer says that Pintelli was only a to the adjoining della Rosa convent a heavily
practitioner of moderate skill and far behind the machicolated tower, and on that he raised a bell-cot
Florentine architects and produced a strange, but not unpicturesque,
of his day, and another building. His work, which is of plastered brick¬
asserts that he was work, considerably overhangs the base of the
only employed during tower, having been built to the extent of the
the later years of Sixtus spreading parapets ; and the whole looks like one
IV, Vasari says that his of those models of bell-towers, shown occasionally
ability was so highly in mediaeval pictures, carried in the hands of
appreciated by the church donors or saints.
pope that he would There are other towers in Rome capped with
undertake no building fantastic shaped roofs, such as that which Boro-
w i t h o u t consulting mini put on the Sapienza—even more unlike
him. It appears cer¬ mediaeval spires than those of Sir Christopher
tain that throughout Wren—which form, however, a useful foil to the
the pontificate of his innumerable domes which crowd the city. But
patron he was in his as the pointed architecture of northern Europe
constant employment;
and was not only en¬
gaged on the first
work of importance
he undertook, the re¬
building of S. Maria
del Popolo, as an in¬
scription by the south
door testifies, but was
especially sent by the
pope in the year 1480
to repair the church
of S. Francis at Assisi,
which had become
ruinous. Two of the
principal works done
in Rome during the
VII. S. MARIA MAGGIORE reign of Sixtus were
undoubtedly from the
designs of Pintelli : the Capella Sistina in the
Vatican in 1473, and the rebuilding of the Pons
Valentinianus, which survives to this day, much
altered and widened, under the name of the Ponte
Sisto. That the campanile of S. Spirito in Sassia
is due to him is disputed ; but it was only during
the last year of the pontificate of Paul II, 1471,
that the great hospital was burnt to its foundations,
and there seems but little doubt that the ascription
of the design for the rebuilding to Pintelli is cor¬
rect. As to the numerous other works in Rome
with which he is credited, it is open to question
whether he actually designed them ; but for all
those which were erected for Sixtus himself Pintelli
as his advising architect was, no doubt, to a degree
responsible ; and we do not, perhaps, unduly
magnify his influence if we associate all the spires
in Rome, as well as that of S. Maria del Popolo,
with his name. failed to obtain a foothold in Rome, so the spire,
There is one other curious mediaeval tower in its most distinguishing feature, only remains as a
Rome wThich may be mentioned in connexion reminiscence of a fashionable architect and an
with this subject, although it does not correctly fall art-loving pope.

354
I. THE PAINTER AND THE CONNOISSEUR, BY FRANS VAN MIERIS THE ELDER
IN THE DRESDEN GALLERY

THE LIFE OF A DUTCH ARTIST

PLATE I
 THE LIFE OF A DUTCH ARTIST
^ BY DR. W. MARTIN cK>
PART VI—HOW THE PAINTER SOLD HIS WORK1
N the pleasant London house of same as or very like that of to-day, in others quite
Sir Henry Howorth there is a re¬ different.
markable peep-show box, painted Thus, for example, there were no art exhibitions
by the artist in perspective, Samuel in those days. However, instead of beginning
van Hoogstraeten (1627-1678). with the exhibitions, I think it better to discuss
Three of the outer sides of this from the outset the subject of the sale of pictures,
box are painted with allegorical following up our earlier considerations as to their
representations, each of which production. In the first place, then, we observe
is intended to glorify one aim of the art of paint¬ that in those days no one was allowed to sell
ing. In each of the pictures a young painter is pictures unless he was a member of the Painters’
sitting at his easel. In the first an angel holds a Gild of the place where he sold them. He
wreath over the artist’s head, for he is painting might not sell even ' secretly,’ that is, not publicly.
1 gloriae causa,’ as the inscription on the picture Only at fairs were non-members, or even, strangers,
explains. In the second, a little angel points to allowed to offer pictures for sale. These restric¬
the likeness of the painter’s betrothed, which he is tions, which were in almost general use, had no
just about to copy; ‘ amor is causa’ is painted connexion with the question whether a man
beneath it on a ribbon scroll. Finally, the third were a painter or an art dealer, or both. Nor did
painted side of the box, the largest of the three, it matter whether a painter sold his own pictures
shows in the background the same painter, but in or those of others. The gild simply formed the
the foreground, in the splendour of brilliant sun¬ link between those materially interested in local
shine, an opulent genius with crown and sceptre, art, and was continually endeavouring to watch
reposing at ease upon clouds and leaning on a over their interests, under the auspices of the town
horn of plenty which rains golden coins, and magistrate. It is true that in a few places, in Delft
beneath which is written in large letters ‘ lucri for example, non-members of the gild by payment
causa.’ of a fee could obtain permission to trade in
‘ Lucri causa ’—that is, ' for the sake of gain ’ 1 pictures, or to sell in the general market. There
Certainly the most ignoble of all the impulses to was even one town, Utrecht, which allowed
art, but one which then as now, along with Gloria foreign painters, with the previous consent of the
and Amor, played a leading part in the life and Painters’ Gild, to paint and sell there during a
work of artists, in Holland as elsewhere. maximum term of six months. These ‘ permitted ’
In the Holland of the seventeenth century, painters might, however, under no circumstances
painters, in so far as they had to live by their art, take pupils. In general, though, the above-
had to wage a hard battle for their bread. Only a mentioned restrictions held good. In addition,
comparatively small number succeeded in earning the gilds paid regard, as far as possible, to good
enough by it to enable them to live in comfort; quality in their members’ pictures, in any case to
a few more might be happy if their art secured the quality of the materials used, and also to the
their daily bread, but to the greater number, even moral content of the pictures. In regard to the
of capable painters, it was not granted to live in last, however, they are known not to have been
any but the most poverty-stricken circumstances. too strict.
We merely mention these facts in passing, as they Although, according to repeated complaints
are so generally known that it is not necessary to preserved to the present day, there were places,
enter into details. The conditions in this respect Amsterdam and Leyden for instance, in which
were, mutatis mutandis, what they are now. In sufficient attention was not always paid to the
addition, the superfluity of really first-class pictures enforcing of the rules, and although they seem
continually depressed the market and did nothing in many towns to have been entirely neglected
to improve the economic conditions in the art towards the end of the seventeenth century, we
circles of the Netherlands. must presume that in the flourishing period of
It is easy to understand that the painters Dutch painting every man who wished to devote
themselves were always endeavouring to fight himself to his art as an honest painter, and without
against these unfavourable conditions, by trying fear of punishment, was obliged to keep to the
on the one hand to check the production rules.
wherever possible, and on the other to advance A painter, then, who was a master, and a
the sale of pictures as much as possible. This member of the Painters’ Gild in his locality, might
gave rise to a state of things in some respects the there sell everything that he himself and others
had painted. These 'others’ were mostly the
1 Translated by L. I. Armstrong. For previous pnrts see painter’s pupils, for in the seventeenth century the
Vol. VII, pp. 125 and 416 (May and September, 1905),
Vol. VIII, p. 13 (October, 1905), Vol. X, p. 144 (December, opinion of the middle ages still held good—that
1906), and Vol. XI, p. 363 (March, 1907). all pupils' work was the property of the master.

357
 The Life of a Dutch Artist
We have already mentioned in these pages the occurrence, for nearly every Dutchman living in
well-known story told by Houbraken, of the way moderately good circumstances had himself
in which Frans Hals is said to have exploited ‘ counterfeited ’ and preferably his wife and chil¬
Adriaen Brouwer. That Rembrandt also sold the dren, too, if not his maids and men-servants. Then
work of his pupils may be conclusively deduced there were the large portrait groups of riflemen
from the notes written in his own hand on the and of trustees of all kinds of institutions, with
back of a red chalk drawing, representing Susanna their many figures, which were entrusted to many
and the Elders,2 which plainly refer to a ‘tran¬ painters everywhere. Usually these pictures were
saction’ with pictures by his pupils Ferdinand paid for per head, as we know to have been the
Bol and Leendert van Beyeren. case with Rembrandt’s so-called Night-watch.
That was the practice of most painters in those The existence of some artists was practically
days. Besides this, they often sold paintings, assured by a Maecenas who favoured them so
engravings and drawings of all kinds, which they highly as to buy from them every piece of work
dealt in, not only in secret, but in some cases unconditionally, or, at any rate, to secure by pay¬
with the utmost publicity. In Dordrecht and ment of an annual sum the refusal of every picture.
Utrecht, for instance, many painters had a loon, Such relations between painter and client, which
that is a show window or shop, where they offered are not unknown to-day, were often fixed by
for sale their own and others’ work.3 Often, indeed, contract, and hence we know in detail several
they rented from the magistrate a place in the seventeenth-century examples. The best known
market in which to exhibit pictures. But every is the agreement between Gerrit Dou and the
genuine painter lived, of course, chiefly on the Swedish resident Petter Spiering, who paid him
products of his own art, and we must now try an annual salary of 1000 gulden in exchange for
in the first place to answer the question how a the right of purchasing from Dou everything he
painter sold his own creations. It may easily be painted. A similar arrangement existed between the
surmised that this happened in general much as painter Pieter van den Bosch (of whose work the
it does to-day ; but just because we desire, not Berlin Gallery has some charming little examples)
merely to surmise, but to know for certain, we and the Amsterdam art collector Maerten Kretzer,
will give one or more instances of the various for whom he painted for a whole year.
ways of selling which have come to our knowledge. Several of these patrons, moreover, dealt in the
Some of these instances are already known ; some, things they bought, as, for instance, Becker,
particularly in the illustrations, are now published Vredenburg, Gerard, Sylvius (the three last bought
for the first time. a great deal from Frans van Mieris the elder).
It was, and is, most comfortable for the painter Contracts similar to those which were made
when clients came of themselves to his studio, as with private patrons were also often made by
happened, for instance, to the famous Delft painter painters with professional art dealers. We will
Jan Vermeer, who, in 1663, received a visit from cite a few of those that are still preserved, and
the Seigneur de Monconys, who wished to buy amongst them some which are to be regarded
some of his work. The same patron, according rather as commissions, but demand inclusion on
to the account in his own diary, visited Gerrit account of the prices.
Dou, Frans van Mieris, Pieter van Slingelandt, First, then, let us mention the contract of Tobias
and so on. Thus, in those days as in ours, many Verhaecht with the art dealer Pieter Coenraets, to
a painter did good business at his ease, and we paint not less than eighteen pictures of hunting
see one of these painters, Frans van Mieris, even scenes, on canvas, for 30 gulden apiece. Willem
choosing such a visit for the subject of a delicately van Nieulandt contracted at the same time with
painted little picture which is in the possession the same dealer to produce eight views of towns,
of the Royal Picture Gallery at Dresden (plate on canvas, for 48 gulden a picture.
I). The accompanying reproduction plainly The dealer Pieter Goetkint ordered from the
shows the painter, still fairly young, in suspense painter Adriaen van Stalbemt twenty little pictures
as to whether the picture will please the connois¬ painted on copper, and four on wood, for the
seur. The latter, who has just come in from the decoration of two cupboards. The pictures were
street, is sitting with his cloak on, and his hat on to represent pastoral idylls and scenes from Ovid’s
his knee, and carefully examining the work. ‘Metamorphoses.’ Copper and wood were sup¬
A good thing, too, for every artist was the execu¬ plied by the dealer, and for the work the painter
tion of commissions, at any rate if enough liberty received 550 gulden. A year later the same painter
were allowed him, and he were not forced to received 300 gulden for the painting of a similar
excessive hurry and worry, as in many cases to be cupboard.
discussed later. Portrait orders were of frequent Many painters who could not otherwise get rid
of their art painted exclusively for a certain dealer,
2Beckerath collection, Print Room, Berlin. Cf. Hofstede either original productions or copies of other
de Groot, ‘ Urkunden,’ No' 39.
:! For further examples cf. also Floerke’s book, often men¬ pictures. It is known that the Amsterdam dealer
tioned in my previous articles, and my book on G. Dou. Uylenburch had several young painters at work

358
BY DAVID TENIERS THE YOUNGER
3- SELLING PICTURES IN THE MARKET. DETAIL FROM A PICTURE
BY DAVID VINCKBOONS IN THE BRUNSWICK GALLERY

4. PICTURE SHOPS IN A PUBLIC BUILDING. DETAIL FROM A PICTURE

BY A DUTCH MASTER (CIRC. l6lO) IN THE MUSEUM AT WURZBURG

THE LIFE OF A DUTCH ARTIST

PLATE III
 The Life of a Dutch Artist
copying pictures. This custom was very general, a painter could send his pictures to dealers ' on
and explains the existence of the numerous, often commission.' We know, for instance, that Jan
excellent, old copies, which often pass for originals Vermeer of Delft had sent several pictures for
even in these days. Some striking examples of sale to the dealer Coelembier at Haarlem ; and
still extant contracts, which we take from the that the painter Palamedes sent his pictures
above-mentioned book by Dr. Floerke, may explain everywhere, to dealers at the Hague, Haarlem,
still more clearly the conditions then existing in Leyden, Rotterdam, etc. Artists, too, went round
this department. Josef van Bredael contracts in in person to dispose of their creations. We know
the year 1706 with Jacob de Witte, dealer in works numerous examples of engravers on copper offer¬
of art and — wine !—at Antwerp, to copy for the ing their plates to the magistrate, to princes or
latter, for four years, pictures after Velvet Brueghel, nobles, for payment. In some pictures, even, the
Wouwerman, etc. The first year he receives 6 moment is represented in which an artist enters
gulden per picture, the second year 8, the third the house of a collector with a picture to offer
and fourth 10, besides an annual 'shilling tip,’ him for sale. There is, for example, a picture
and at the end a cloak of blue cloth. Frans in the collection of Count Harrach at Vienna,
van Bredael makes a similar contract, but for representing a painter offering a collector a
higher pay : 10, 12 and 14 gulden, and a two- picture of a Madonna. In the Hulot collection,
shilling tip. which was sold on May 9th, 1893, at Paris, there
Another example : In the year 1674 the painter was a Teniers representing a picture gallery
Elias van den Broeck places himself in the service (plate II). To the left, in the foreground of the
of the art dealer Bartholomeus Floquet, by signing picture, a young painter shyly shows the collector
a deed in which he binds himself to paint, during a portrait which he has evidently painted, and at
one year and for the whole dav, everything that the back, on the right, yet another painter is
Floquet shall require of him. In return, the entering an ante-room ; he likewise has a picture,
painter receives free board, 120 gulden salary, and which he clearly wishes to sell to the owner of
39 gulden for lodging. If he misses, he must the gallery.
make it up. If, within the year, he wishes to Artists did not even shrink from offering their
marry, then he must pay damages. pictures, etc., for sale in the streets and in the
The custom of hiring oneself, so to speak, in market. The Rotterdam painter Volmaryn
this way, was fairly common in those days amongst journeyed with his pictures throughout the
the Netherlandish painters, who could not other¬ country, and Gerard de Lairesse put up one
wise live by their art, and was, indeed, called by a of his pictures for sale in the Utrecht market,
particular expression ; they called it ' painting at whilst, according to Houbraken’s story, the
the galleys.’ engraver Testa sold his prints in the streets of
We cannot refrain from relating here the very Rome.
original agreement which the painter Jacques de It is very remarkable that the idea of co-operation
Ville made on the 26th January, 1625, with the was then so unfamiliar that only in a few places did
sailor Hans Melchiors. The painter had gone bail the artists’ fellowships, the gilds, hit upon the
for the sailor’s debts. The painter was, within a idea of organizing exhibitions. Such an exhibi¬
year and a half, to paint 2,400 gulden worth of tion had indeed existed in the Exchange at Antwerp
pictures at definite prices per piece. The sailor, since the sixteenth century, but the pictures which
who, of course, travelled about everywhere and were constantly exhibited there were offered for
could also easily do business in far off places, was sale by artists and dealers at places agreed upon by
to sell the pictures and pay the money to the them, without the gild having anything to do
painter. He supplied the painter with canvas, with it. The whole thing had far more of the
wood, and frames into the bargain. Thus these two nature of a market, of the kind we shall discuss
did business together. That this is not an isolated below, than of an exhibition. It was only after
case may be seen from the contract, made in 1615, the year 1665 that a permanent exhibition of pic¬
between the famous sea painter Jan Porcellis and tures by the gild members was held in the
the cooper Adriaen Delen. The latter will supply Antwerp Exchange under the management of
forty panels, on which Porcellis will paint ‘vari¬ David Teniers the younger, which seems, however,
ous ships and water, well and thoroughly, in his to have had but little success because it did not
best way and art.’ The cooper supplies, also, the emanate directly from the dealers.
colours and a pupil, to give the painter ‘ help and Another undertaking which suffered from the
assistance’ during the twenty weeks within which same evil was that of the Painters’Gild at Utrecht,
the work is to be done. (That means two pictures which in 1639 received the loan of a large hall in
a week!) The cooper was then to sell the pictures the Agneta convent; this they divided into
in the Friday fair, and, after deducting 200 gulden several sections for the decoration of which every
for colours, panels and frames, the profit was Utrecht painter had to furnish a picture of his
to be divided between them. own painting, to be left there until it was sold.
It is hardly necessary to say that then, as now, In default the painter had to pay 10 stuiver a week.

.363
 The Life of a ‘Dutch Artist
On a sale being effected the Painters’ Gild received amongst clocks, weapons and musical instruments,
5 per cent, up to a maximum of 5 gulden ; and are hanging all sorts of pictures—both portraits
the painter must supply another picture within six and landscapes—and people are looking at them.
months. The painters had to furnish the pictures In engravings of that time, too, e.g., in an
in a finished condition and in one of three illustration by A. Van der Venne in the book
prescribed shapes. But, notwithstanding the fines, ‘ De Belachende Werelt,’ such picture booths may
the rules were not kept, and in spite of all the be seen.
means employed the whole undertaking came to In many places, moreover, sites in public
nothing in less than ten years. buildings were assigned for the sale of pictures
In one direction only did the undertakings of on market-days. Thus, for example, after 1531 a
the painters’ gilds have any distinct effect on the certain part of the Antwerp Exchange building
sale of pictures; namely by the picture lotteries, was leased to art dealers for this purpose, and as
and the auctions of works of their members, late as the beginning of the seventeenth century
which they conducted. In several cases the the chief seat of art dealing was there. At
gilds succeeded also in appropriating the right of Amsterdam there was a similar arrangement in
sale of works of art left by deceased artists and the Exchange; at the Hague the large hali in the
art dealers, thus exercising some influence on the ‘ Binnenhof ’ (in which the Peace Conference now
market. holds its meetings) was destined for the same
Notwithstanding the various means we have purpose ; and at Leyden, on market-days, gold¬
mentioned which an artist could employ in order smiths’ work, etc., and also pictures (probably
to live by his talent, in the case of many unfortunate only those of good quality) were frequently shown
artists those means were unsuccessful. Numerous, in the large hall in the first storey of the town hall.
often highly gifted, painters were, in spite of all, The only painted example I know of such a
unable to make a living by their art. In that case picture market in such a hall is found in a Dutch
they had no alternative but to seek some secondary (or Flemish?) picture, painted about 1610, which is
means of subsistence, or to give up painting. in the Art Museum of the Wurzburg University
And then as a last resort they often sold their (plate III, 4). In the catalogue of that gallery, on
artistic goods and chattels. Thus we see in page 28, No. 267, it is ascribed to Hendrick van
1647 Adriaen van de Venne, so intellectual and Steenwyck the younger and Brueghel, which,
to-day so highly prized, organizing an auction of however, does not seem correct. We reproduce
his pictures ; the famous landscape painter Jan here the left half, which is interesting. It gives a
van Goyen found himself obliged to do the same surprisingly perfect picture of art dealing in such
(his pictures fetched prices from 5 to 32 gulden !); a hall.5
and so did the still-life painter Jan van Beyeren. Between the windows cupboards are built which
And how many more besides ! Often the future of can be thrown open. On the sides of the cup¬
such a master was very gloomy ; for instance, at boards hang masses of engravings, drawings and
Haarlem no painter who had sold his pictures by paintings of every sort. In front of one of the
auction might practise his art there again for six windows stands a large table, covered with piles
years, and at the Hague he was forbidden to do of prints, drawings, etc., and behind it again oil
so for two years. paintings are hung up. A dealer and his servant
So far, our chief aim has been to indicate the are showing a picture. In front a gentleman is
means whereby a painter could render his art examining a drawing or print, and several other
fruitful. We shall now see how professional art people are looking at the works of art. A picture
dealing was organized. Public trade in pictures by Berckheyde in the Dresden Gallery (plate IV)
took place in certain places of sale in public shows a picture stall near the entrance of the
buildings (instead of at booths in the markets) Exchange at Amsterdam. Some pictures are
and in the shops of art dealers and such painters hanging on the wall, amongst others a duel, two
as followed business as well as art. Of these landscapes and a still-life in the manner of Kalf.
various classes we will now give a few examples Of art dealers, in our sense of the word—
from the many that are known.1 that is, of those who did their business at home
In the first place, let us consider the sale of or in their own shops—we not only know
pictures in the market, as depicted in several of several names, but also a good deal about their
the fair scenes by David Vinckboons and others. methods. Many dealers were, or had been,
We reproduce a detail of the picture in the Bruns¬ painters, many copperplate engravers, too, dealt in
wick Gallery by Vinckboons, for the photograph art. Booksellers, jewellers and goldsmiths also
of which we are indebted to the kindness of exhibited in their shops pictures, prints and
the Director (plate III, 3). In the large stall, so on.
In this connexion two little drawings by

4 The illustrations given as examples are nearly all from

pictures ; most of them here reproduced for the first time. For 6 Unfortunately I have been so far unable to identify the
further information Floerke’s book should be consulted. place represented.

364
5- THE EXCHANGE AT AMSTERDAM, WITH A PICTURE SHOP
FROM THE PAINTING BY BERCKHEYDE IN THE FRANKFORT MUSEUM

THE LIFE OF A DUTCH .ARTIST

PLATE IV
 The Life of a Dutch Artist
Salomon de Bray, 1628, which are in the Print about the dealers—for instance, that raised by
Room at Amsterdam, and are published here¬ Jan Campo Weyermann—were the results ; often
with (plate V, 6 and 7) are interesting. Both of too, tedious law-suits about pictures supplied, as
them afford an excellent insight into the methods for example the law-suit of Gerrit Uylenburch
of combined trade in books and art in the Holland with the Elector of Brandenburg with regard to
of those days. forged pictures.
A picture, by an unknown master, in the In general, after about 1630, the whole Nether¬
Amsterdam Rijksmuseum, which we also publish landish art trade was heavily overloaded, not only
(plate V, 8), shows the exterior of a shop arranged with inferior wares, but also with the numerous
solely for art dealing. On the left, in the street, a first-class works produced daily by the countless
quack, in front of a large painted advertisement, Netherlandish masters. I need only print the
offers his wares for sale. On the right, at the frequently quoted statement from the diary6 of
back, there is a 'French and German' school, John Evelyn. On the 31st August, 1641, Evelyn
and near it, on the corner of two streets, an art shop. visited the yearly fair at Rotterdam. ' We
In the middle of the gable, over the first row of arrived,’ he writes, ' late at Rotterdam, where was
windows, are the artist’s arms : three small white their annual marte or faire, so furnished with
shields on a blue ground. In the windows, and even pictures (especially Landskips and Drolleries,
in front of the door, there are pictures on sale, and as they call those clownish representations) that I
above, beneath the windows of the first storey, pic¬ was amaz’d. Some I bought and sent in to
tures have been hung out, amongst which a large England. The reason of this store of pictures
seapiece arrests attention. and their cheapness proceedes from their want of
We have already mentioned the names of several land to employ their stock, so that it is an
art dealers. We need only refer here to some of ordinary thing to find a common Farmer lay out
the best known, such as Johannes de Renialme, two or -£3,000 in this com'odity. Their houses
Abraham Francen, whose well-kno\Vn portrait was are full of them, and they vend them at their
etched by Rembrandt; Hendrick Uylenburch, faires to very greate gaines. . . .’
with whom Rembrandt lived for a time, and his The prices of pictures were in those days not
son, Gerrit Uylenburch ; Jan Pieterszoon Zoomer, generally very high, and for a few gulden an
etc. excellent piece of work could often be obtained.
Many of them played an important part in the For his Night Watch Rembrandt received only
art circles of the seventeenth century. As it is our 1600 gulden. The highest price van Goyen ever
chief object to interpret the conditions of those got was 600 gulden for his very comprehensive
days by illustrations, we need not go into further view of the Hague (now in the Municipal Museum
details on this point, and will merely publish the at the Hague). When the painter Hanneman was
original drawing of Pieter van den Berge (plate appraising the pictures of the painter Abraham
V, 9), which portrays the visit of Prince Eugene of van Beyeren he estimated their value at 14 and 15
Savoy to the last-named art dealer, Zoomer. The gulden apiece. Jan Steen painted three portraits
prince kneels before a picture which P. van den for 27 gulden ! And so on. Several pages of
Berge is holding. Behind the prince stands an examples might be given of the prices at that
ambassador, and on the extreme right, near the time, but we will content ourselves with these few.
window, is Zoomer himself. We learn this from Nor will we enter now into the interesting part
the names written on the drawing above the heads. which pictures then played as means of payment;
The dealer’s room is hung all over with pictures, whereby, for example, the marine painter Simon
and the entire staff of servants, including the servant de Vlieger could buy a house for 900 gulden, to
girl, is occupied in dragging pictures in. be paid ... in pictures ! The criticism and the
In general, things went much the same with taste of those days must also be left untouched.
the affairs of art dealers then as they do to-day : What sold best, how and where pictures were
some grew rich, others had to give up business ; hung, and many other such questions would take
many were honest men, others carried on all us too far for the present. Perhaps an opportunity
kinds of swindling. Satirical rhymes, like the will occur later of returning to the subject once
well-known poem on Zoomer, in which he is more, for in this respect also Netherlandish art
called a 'John the Baptist in art,’ (that means a life of the seventeenth century is full of interest.
‘ picture christener’), and furious complaints 6 1 Memoirs of John Evelyn,’page 13. London, 1818.

369
A DRAWING BY REMBRANDT IN THE COLLECTION OF
THE DUKE OF DEVONSHIRE
By the kind permission of His Grace the Duke draughtsmen. Into this little view of a village
of Devonshire we reproduce one of the most street for instance, he has brought not only air and
characteristic of the drawings by Rembrandt which light, but a sense of reality, of an actual place and
are included in the Chatsworth collection. actual things seen, which is almost incredible
Technically it is executed in the same manner as when we think of the simple medium employed,
the drawings by Claude which formed a prominent and the swiftness with which the sketch is done.
feature in The Burlington Magazine for August, Not only are the masses perfectly disposed on the
but even in their slight sketches the difference paper, not only do we find a suggestion of light
between the two men is absolute. Claude’s and air as vivid as we find in Claude, not only
pleasure in air and light and sunshine leads him do we know the disposition of the houses he saw
to employ all the faculties of his hand and eye in and their individual peculiarities ; but the exact
rendering them, but in the pursuit he is careless of contour of the ground and the very texture of the
everything else, of those beauties of colour and woodwork of which the humble sheds are built
modelling that attract the draughtsman, of those are conveyed to us by the infinite variation of what
intricacies of real life which attract the acute seems to be a single rapid wash of brown pig¬
observer. His forms are often clumsy or conven¬ ment. Those who have tried to grapple with the
tional, his outlook on human life almost comic in complexities of modern landscape painting may
its limitations. It was the custom half a century ask themselves whether, even with the full resources
ago to describe Rembrandt in much the same way, of the palette, unlimited time and a large canvas,
except as one loving darkness where Claude loved they could get the essentials of such a scene as
the light. Now we all see that Rembrandt u7as no this so thoroughly and certainly as Rembrandt
mere juggler with flashes of white and masses has done in this rapid sketch. The question will,
of black, but among the most keen-eyed and at least, make us wonder whether our painters as a
sympathetic of observers, the most masterly of rule attain so little because they attempt so much.

cjh NELLY O'BRIEN. BY SIR JOSHUA REYNOLDS ^

The large room at Hertford House, like the itself softened in part by a gauze veiling. Into this
Salon Cane of the Louvre, makes comparisons harmony of blue and white, black and white and
possible which cannot be so easily made in red the pale flesh tones merge easily, the painting
galleries where schools are rigorously separated, and of the face in reflected light aiding the general
where we cannot see at a glance how a Venetian harmony, and making the whole work one of
compares with a Fleming or a Rembrandt with a those tours de force of chiaroscuro for the like of
Raphael. In the Wallace Collection we can pit which we have to go back to Rembrandt. Only
Reynolds and Gainsborough against Rembrandt in one respect, indeed, is the work inferior to that
or Hals, Van Dyck or Velazquez, and such trials of the very greatest of the old masters. The
of strength have their uses. It is no blind patriot¬ defect lies in the modelling of the hands and the
ism to assert that Gainsborough’s Perdita Robinson neck. They are delightfully suggested, and take
stands the ordeal triumphantly. Reynolds’s Nelly their place perfectly within the picture scheme ;
O'Brien is less immediately fascinating. The but underlying the suggestion there is not the
general tone is darker, the brushwork not so complete knowledge that underlies the suggestion
triumphantly free, the sitter has not the languid, of the older masters, who were trained draughts¬
alluring beauty of Gainsborough’s Perdita. Yet men as well as trained painters. Yet to make
when we come to consider the portrait carefully much of such a defect is mere pedantry, where so
we find that under a modest exterior it contains a many excellencies are consummately joined.
variety of beauties such as no other portrait, even There is hardly a portrait in the gallery that would
in that splendid gallery, quite succeeds in blending. not look either too hard or too flimsy, too dull or
In the first place, it is a masterpiece of colour. too sharp, if set beside Nelly O’Brien, and that,
With scientific accuracy the blue and white of the perhaps, is the best indication of Reynolds’s rank
hat is echoed below in the blue and white stripes among the great masters.1
of the dress, softened over the shoulders by a
black lace shawl, and lower down by the white 1 The coloured plate forms part of the excellent popular series
of reproductions, ‘ Die Galerien Europas,’ published by Messrs.
lace of the sleeves, and then brought into contrast Seemann, of Leipzig, the monthly parts of which have been
with the splendid red of the quilted petticoat, frequently reviewed in these columns.

37°
A NEGLECTED POINT IN THE EARLY HISTORY OF ENAMEL
BY EDWARD DILLON r*»
i N the ‘ glossary-’ attached to the to decorate metal objects.2 The reason why the
Guide to the Mediaeval Room ’ Egyptians had no true enamels is simply this :
^recently issued by the trustees they were unacquainted with the application of lead
’of the British Museum, there is to form a readily fusible glass.3
perhaps nothing of greater in¬ The absence of true enamels from the great
terest than the few pages packed family of inlaid jewellery—the orf'everie cloisonne
tV. full of information that deal that probably had its origin in Egypt in the time
V*~«3lwith the subject of enamel. As of the twelfth dynasty or earlier—has often been
this invaluable little handbook is accessible to noticed. The strangely circuitous path by which
everybody, I will take it as my text-book for a few this type of jew'ellery passed in later days by way
notes on that department of the arts du feu that of western Asia, traversed Europe in the path of
deals with the decoration of a surface of metal or the Germanic invasion, and finally reached England
of pottery by fusing upon it variously coloured with the Anglo-Saxons has been admirably w'orked
substances known as enamels. out by Mr. Dalton (‘ Archaeologia,’ Vol. LVIII).
There is one essential requisite for these enamels. It is one of the most fascinating stories in the
They must be made of a substance that is fusible history of art. But perhaps the strangest chapter
at a lower temperature than the base upon which in this long story is the last. When, after some
they rest. This is a self-evident, what may be thousand years or more of wandering, this primi¬
called an a priori condition. Now, as a matter of tive method of cell inlay reached the west of
experience, it will be found that from the earliest Europe with the advance of the Germanic tribes,
times to the present day the substance selected to it for a time pushed into the background the
fulfil this condition has varied but little. much more recent process of decoration by means
Whether spread in various ways upon the surface of a readily fusible glass melted into the hollow's
of metal or applied over the glaze of pottery,1 the of a metallic surface—the champleve enamel, I
essential constituent of all enamels has always mean, of the old Celtic inhabitants. The triumph,
been a silicate of lead. The problems that faced however, of the inlaid jew'ellery was short-lived.
the craftsman have always been connected with the After their conversion to Christianity, the Germanic
preparation of this flux and the staining of it by peoples soon learnt to appreciate, and at times to
various metallic oxides. copy, the minutely finished cell enamels of the
It may be said that there is nothing new in all Byzantines, and before long the very home of the
this—the facts are to be found in all the hand¬ Frankish tribes, w'ho had above all delighted in
books that deal w'ith the enameller’s art. This their garnet and glass inlaid jewellery—‘ the middle
may be so, but w'hat I would point out is that in kingdom’ of Lorraine—became the centre of a
the attempts to clear up the many thorny problems new school of champleve enamel.
connected with the history of enamels it has per¬ But I am not here tracing the history of enamel.
haps not been sufficiently recognized that the My special concern is with the place of origin and
acquaintance wTith a flux of the nature described, the date of discovery of a particular kind of fusible
that is to say, with a fusible glass of lead, was glass containing lead. I want to accentuate the
practically a sine qua non for the manufacture of fact that the knowledge of such a glass has had an
enamels upon metal. Now7, I think it may be influence on certain of the ‘minor arts ’ that has
safely asserted that the Egyptians up to Ptolemaic, scarcely been sufficiently appreciated as yet. This
if not to Roman times, had no knowledge of such lead glass has indeed had a threefold application :
a glass or flux. The primitive glass of the Egypt¬ first, as an invaluable glaze for pottery, then as a
ians is a lime-soda silicate, identical in composi¬ basis for all kinds of enamels, and, finally, as a
tion w'ith the glass of the Romans, of the Saracens,
2 So again M.Molinier. 1II me semble bien difficile d’admettre
and with the normal type of glass in use in later que des artistes aussi habiles que les Egyptiens et qui surtout
times. It w'ould be quite impossible to fuse such ont pousse si avant l'etude de l'art de la verrerie et de la poterie
a glass upon the surface of copper or between emaill6e n’aient point connu des une epoque tres ancienne
l'application des emaux sur un excipient metallique ’ (‘ Les Arts
meshes of gold without melting the metallic base. appliques a l’lndustrie,’ Vol. IV, p. 29). But note that neither
The vitreous glaze of Egyptian pottery w'as of a M. Molinier nor the English authorities can bring forward a
similar composition. I cannot, therefore, agree single example of true enamel from Egyptian tombs.
3 Further proof that the Egyptians, had they been able, would
with the statement in the British Museum have replaced their inlaid cell jewellery by a true enamel on
‘ glossary ’ that it would have been ‘natural and metal may be found in the fact that on their so-called porcelain
easy ’ for the Egyptians to have employed enamel as a basis they applied at times what may be strictly called
champleve enamels. On some plaques of this ‘ porcelain ’ in
1 The glaze itself of pottery may or may not contain lead, but the British Museum small compartments with sharply defined
as a matter of practical convenience it will be well to keep this edges have been cut out, and these have been filled partly with
glaze strictly apart. On the other hand, the decoration over inlays of coloured stones and partly with coloured pastes, now
the glaze has long been generally known as enamel, and fhere for the most part decomposed ; these pastes have apparently
is this justification in the use of the term—it is, in the main, been fused into the hollows, perhaps by a second baking of
of the same composition as the enamels applied to metai the whole mass. It would be interesting to know the compo¬
surfaces. sition of the decayed mass remaining in the cells.

D D 373
Early History of Enamel
material for the imitation of precious stones. With type. There is then a long gap in our history,
its application in the eighteenth century to the tilled only by the sparing use of an enamel-like
manufacture of ' table glass ’ I am not here con¬ substance on Greek jewellery (perhaps here the base
cerned. is rather tin than lead) and by the studs of red
The primitive glass of the ancient Egyptians enamel on the arms and fibulae of Celtic tribes.
was always a somewhat rare substance ; nor do I Then, in the first century of our era we find the
think that in later times glass was ever made in the art fully developed. On the one hand, champleve
Nile valley on a large scale—cheap and abundant enamels of the finest type have been found in Eng¬
fuel was always wanting. The glass that in the land in Romano-British tombs ; and in distant
days of Cicero was shipped to Rome from Alex¬ Nubia, on the other hand, from the pyramid tombs of
andria probably had its origin further east. native queens, at Merawi or Nepata, near the fourth
We must, however, remember that the new glass Cataract, a rich parure of jewellery of true cloisonne
made with the blowing rod—soon to become an enamel has been extracted. That there should be
important Roman industry—was identical in com¬ little or nothing to fill up the gaps between these
position with that from which the Egyptians had widely separated spots shows how much still
tor ages been making their little objects of verroterie remains to be worked out in this department.
—their little flasks and their plaques for inlays : The use of lead in the glaze of pottery is above
it was a soda-lime glass, only melting at a high all characteristic of early mediaeval times. I do
temperature. But just at the time when this new not think that any of this pottery with unctuous
art of blowing vessels of glass was spreading transparent glazes of yellow or green tints is earlier
westward, the existence of a new material was than the first century B.c. In Egypt, pottery
becoming more generally known—a formula had with a glaze of this description is to be associated
been arrived at by means of which a glass could with the days of Roman rule at the earliest. In
be made that was not only fusible at a much lower Mesopotamia, on the other hand, the application
temperature, but which by certain secret processes of enamel-like glaze containing both tin and lead
could be stained with the most various and brilliant to the surface of various kinds of pottery—to
colours. This was the vitrum plumbcum, the bricks above all—had been known from very early
mysterious substance that the early writers on the times.
goldsmith’s arts and on alchemy dangled before On the whole, then, we may say that it was only
the eyes of the reader without fully explaining its after the first century of our era that these various
nature. In course of time this new glass of lead applications of glass of lead became generally
in a measure took the place of the ‘ primitive glass ’ known in Europe. We have seen that the manu¬
of the Egyptians, being, like the old Egyptian glass, facture and the colouring of glass pastes for
applied above all to small articles of verroterie. artificial gems were during the middle ages a care¬
For such purposes the brilliance of its colours fully guarded secret. Doubtless, although we
and its ready fusibility were recommendations. have here less evidence for the facts, the employ¬
It is a curious history, the application of glass of ment of lead in the glazing of pottery and for
lead to the imitation of precious stones. It is told enamel was at the beginning a scarcely less well
in a strange literature where we come into contact guarded craft. In any case, the details of the pro¬
with the shady company of the magician and the cesses would probably be known to very few
alchemist. This literature—if the term may be persons. Both the sources of the material and the
allowed for such a farrago of incoherent charms rule of thumb recipes may often have been lost in
and recipes—may have had its origin in Egypt, times of war, and during the wanderings of the
but its home from later classical times all through tribes.
the early middle ages was in Syria. I can only And at this point we come face to face with a
here mention that the cryptic formulas that abound problem that presents itself in the case of many
in these manuscripts have over and over again other inquiries of this kind. Are we to associate
relation to the manufacture and colouring of glass these rapid advances in the technique of glass—
of lead and that the Jews seem always to have I include both the art of blowing glass and the
taken a prominent place among the craftsmen. knowledge of glass of lead—with the valley of the
Vitrum plumbcum, Judaeum scilicet, says an early Nile, or rather with that vague hinterland of
writer. western Asia of which at this time the principal
To return now to that application of glass of exits to the west were through the Phoenician
lead with which this discussion took its start. ports of Syria? In either case it was the absorb-
Perhaps the earliest examples of true enamels that tion of these lands in the Roman empire that so
can be pointed to are those from the cemetery of rapidly made these advances the common property
Koban in the Caucasus—these are of the champleve of the western world.
class. The date of these Koban enamels is very As regards the first—the Nile valley—our
uncertain ; by some they are placed as far back as sources of information are comparatively plenti¬
the ninth or tenth century B.c. ; at any rate, they ful. Not only have the tombs been ransacked,
are found associated with objects of a very early but of late years some attempt has been made to

374
 Early History of Enamel
separate, and even to arrange separately, the finds while on the other side is a product of late Greek
that date from later times—Greek, Roman, Coptic or of Roman art.
and early Arab. Much remains here to be done, I dwell upon this, as it is not only the arts of
but the material in our museums has vastly in¬ the glass-maker and the potter that are in question.
creased of late. Unfortunately little light comes An accurate classification of the vast material that
from Egypt on this question of the use of lead for has accumulated—the by-products of the diggings
glazes for pastes and for enamels. Even well into in Mesopotamia and in Persia—is a pressing need
Roman times the Egyptians kept, in the main, to to-day. If for not more than a tenth of these
their old methods. In the case of glass, towards miscellaneous objects we could be told where
the end of the Ptolemaic period, or perhaps even exactly they were found, and if only some attempts
later, the new industry made its way, as else¬ were made to indicate their approximate date—
where, into the Roman empire, as an already well- Greek, Parthian, Sassanian, or even early Arab—
developed art. I think that such collections as these would have
Let us turn to what for want of a more definite much to teach to those in search of information
term we may call western Asia. Partly by a concerning these middle centuries and these
process of exhaustion, partly by a few facts gleaned middle lands. For here, if anywhere, we may
here and there, we can make a shrewd guess that hope to find not only the explanation of not a little
the great advances in the development of the that is obscure in the origin of our European arts,
manufacture of glass in the first centuries before but many valuable links as well with the early arts
our era—advances that, as I have said, were soon of the Far East.
spread far and wide by Rome—were made in the What has been uppermost in my mind in the
coast-towns of Syria—in Sidon in the first place. course of these rather rambling remarks has been,
At the same time the earlier stages of advance may on the one hand, to accentuate the important
well have been worked out in more distant lands, part that the knowledge of the use of lead in the
either in the Euphrates valley or in regions further preparation of glazes, of enamels, and of glass
to the north and east. Now, although in these pastes has played in the history of a wide branch
regions for two generations and more, diggings on of the lesser arts ; on the other hand, to make a
avast scale have been going forward, yet little light claim for the more careful arrangement and, if
has been thrown from this source on the early possible, separate classification of the miscel¬
history of glass or, indeed, on the many other laneous objects dating from, say, the fourth
important technical and artistic developments of century B.C. to the seventh or eighth century A.D.,
the centuries preceding and following our era. of which so vast a number have been found
The fact is that the attention of the explorer has during the gigantic excavations that have during
been practically confined to earlier times. Any¬ the last sixty years been carried on in western
thing that did not bear a cuneiform inscription Asia. At the time when these excavations were
has been cast aside as late and of little interest, or in progress all interest seemed to have flagged
if preserved, no accurate record has been kept of when objects of later date than the Persian
its provenance. There has, perhaps, been some monarchy of the Achaemenidae came to hand.
change for the better lately ; but let the inquirer The Assyriologist feels that with the extinction of
into the arts of western Asia during these later the cuneiform character his task is ended. But
centuries turn to the Upper Assyrian Room in the we are now coming to see—to speak only of the
British Museum (the case is little better in the history of art—that what was going on during
Louvre). Here he will find some two-thirds of the subsequent centuries in western Asia is of no
the space occupied by innumerable examples of less importance for us to understand. It is here
cuneiform writing inscribed on various materials that we must look for the material that will help
—a whole library is, in fact, displayed—the con¬ us to unravel many a problem not in the history
tents of each example are carefully summarized of Byzantine art alone, but at times in that of
and the source and approximate date indicated. western Europe as well. Again, as regards the
As for the innumerable objects of bronze or stone, origins of Saracenic art and the as yet dimly seen
of glass and of pottery that fill the remaining connexions that during these centuries were
space, we are briefly told that they come from established with India, on the one hand, and with
‘ Babylonia, Assyria and Vau,' and that they date China and even Japan on the other, the little that
from B.C. 2500 to A.D. 100. Of the individual has already been learned from these diggings in
objects, not one in a hundred has any further Syria, in Mesopotamia, and in Persia has sharpened
indication of origin or date. This is the more our appetite for further knowledge. The origin
tantalizing, as among them are many specimens— and spread of glass of lead in its various forms is
of glass and of glazed pottery especially—that but a sample, so to speak, taken from the many
seem to call out for recognition. We may guess new developments of the arts that during these
that such a one is of Sassanian date, but next to centuries seem to have made their way from
it is another of unmistakable Assyrian origin, western Asia as a centre.

375
A MADONNA BY ANTONIO DA SOLARIO, AND THE
FRESCOES OF SS. SEVERINO E SOSIO AT NAPLES1
BY DR. ETTORE MODIGLIANI
|N the same review which pub¬ The probabilities that the signature of the Wer¬
lished the only two pictures theimer picture was forged—a signature which, by
'hitherto known that bear the the way, presented all the external characteristics
name of the Venetian Antonio of authenticity 3—diminished, as did those that
Solario I wish to draw attention a mistake in the name had been made in the
■to a third picture by this painter, cartellino by some former owner of the picture.
'whose historical and artistic per- The figure of Antonio da Solario began to issue
_ Jsonality has been wrapped in from the world of shadows. But since Mr. Fry’s
mystery. As a reaction from the legends of the second discovery did not lend itself, especially
old writers—of De Dominici first of all—Antonio’s considering the nature of the subject, to inquiries
very existence had become doubtful, and remained and comparisons which might have illuminated
so even when works bearing his name and with some side of the question, the problem remained :
an indication of his adopted country began to come Who is this Antonio Solario who painted at the
to light. It will be remembered how much interest end of the quattrocento and the beginning of the
was aroused by the publication by Mr. Roger Fry in cinquecento, in a manner which, according to
The Burlington Magazine for May, 1903, of the Mr. Berenson’s opinion of the Wertheimer picture,
Madonna and Child, then in the possession of had no affinity with the famous frescoes at Naples
Mr. Asher Wertheimer, which had been known by that Antonio Solario who was surnamed Lo
to exist in the Leuchtenberg collection at St. Zingaro, and, if we believe De Dominici, was a
Petersburg, but of which there was only a hasty Neapolitan and lived in the first half of the fifteenth
engraving in Rosini’s book. The Madonna was century ? But several Neapolitan writers4 prior to
signed with the name of Antonio Solario, not¬ De Dominici had already affirmed that Lo Zingaro,
withstanding which Mr. Berenson, in The Bur¬ the author of those frescoes in the cloisters of
lington Magazine for June, 1903 (page 114), SS. Severino e Sosio, was a Venetian, and lived
questioned this attribution on the ground of style, about 1495 ; and modern criticism,5 if at first un¬
and, reviving the doubts which so many art certain, in the opinions of Cavalcaselle, Burck-
historians had previously expressed, from Rosini hardt and Morelli, had finally recognized in them
to Crowe and Cavalcaselle, found no relation the work of an artist taught in the school of
between the Wertheimer picture and the frescoes Carpaccio, Gentile Bellini and Montagna, and
of the cloister of SS. Severino e Sosio at Naples, painting with his assistants in that cloister during
given by tradition to Antonio da Solario, surnamed the last years of the quattrocento.
Lo Zingaro. There is, then, no difficulty on the ground of
Though this great critic’s argument did not date or school in identifying the Antonio Solario
carry conviction, there remained the indisputable of the two signed pictures with the painter of the
fact of considerable affinity of style between the Neapolitan frescoes of the history of St. Benedict.
works of Andrea Solario and the picture connected Yet no work was known which could change this
with Antonio’s name (though the latter had a more possibility to certainty, which should constitute a
frankly Venetian look) suggesting that the hand link between the two panels and the frescoes at
which had painted this charming Madonna was Naples, and would give certain proof of the
not the same as that which had traced the signature identity of their authorship. Now, by the good
beneath her. However, a serious argument against fortune which seems sometimes to protect art
those who definitely confined the personality of criticism, this work has come to light. It appeared
Antonio da Solario to the field of Neapolitan last year in one of the great national art markets,
artistic mythology, and denied him the right of and the present writer secured its purchase by the
citizenship in that of history, was again brought to Italian Government for the Naples Gallery, where
light by Mr. Fry when he published in The 3 By the courtesy of Mr. Wertheimer, I have been permitted
Burlington Magazine of April, 1905, a second to examine the signature closely with a glass, and have not
picture, a Head of St. John the Baptist on a found any hint of forgery. I may add that the signature runs
precisely thus : ‘ Antonins de solario venetus/.’
crystal dish with a chased base, signed also 4 Cf. D’Engenio, ‘Napoli sacra.’ Naples, MDCXXIII, p. 322 ;
‘ ANTONIUS DE SOLARIO. VENETUS. P. C. Celano, ‘ Delle notizie . . . della citta di Napoli,’ Naples,
ANNO DOMINI MDVIII.’2 MDCXCII, Giornata III, 227 ; P.Sarnelli, ‘ Guida dei forestieri
per Napoli,’ Naples, MDCXCVIII, p. 211 (from d'Engenio), etc.
translated. 5See G. Frizzoni, ‘ Arte Italiana del Rinascimento,' Milan,
2 The picture, which was acquired some months ago from 1891, p. 47 onwards; B. Berenson, in The Burlington
Senator Luca Beltrami, has since been presented to the Magazine, June, 1903, p. 114. See also L. Serra, in ‘ L’Arte,’
Ambrosiana Gallery in Milan, where it will appear as a docu¬ IX (1906), p. 206 and onwards, where the frescoes are attributed
ment of singular importance near the works of Andrea Solario, partly to an unknown Venetian painter (perhaps Solario) and
with whom Antonio was acquainted. Of the relations between partly, we do not know with how much foundation, to Riccardo
them the Head of St. John the Baptist, by Andrea, would Quartararo and his pupils. The signatures of the two London
alone be sufficient indication. It resembles this one greatly. pictures are in the article given erroneously : the date 1495 does
It is signed and dated 1507, and is in the Louvre (No. 1,533). not exist upon the Wertheimer Madonna.

376
MADONNA AND CHILD. BY ANTONIO DA SOLAKIO
IN THE NAPLES MUSEUM

A MADONNA BY ANTONIO DA SOLAKIO

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SOME ENGLISH PORTRAITS BY CARL VOGEL VON VOGELSTEIN
 A c SAadonna ’ by Antonio da Solario
it is now placed, after the colour had been fixed in which Antonio seems to imitate from Cima ;
some places and the good condition of the picture in short, the same way of feeling and of rendering
definitively insured by Luigi Cavenaghi. nature.
The painting is on panel, and represents, almost Now, therefore, we can settle the identity of the
life-size, a Madonna and Child, worshipped author of the three signed pictures with the
by the donor or a devout personage.8 The painter Antonio Solario, called Lo Zingaro, who,
beautiful photograph which we publish here according to D’Eugenio, Celano, Moschini, etc.,
makes it unnecessary to describe the picture in painted the frescoes of SS. Severino e Sosio. And
detail or to demonstrate at length what artistic therefore, declining, until we have proof to the
currents are followed in this work, so conspicuously contrary, to put faith in the fancies of De Dominici,
Venetian. In fact, its author’s derivation from repeated by subsequent writers ; discarding all the
the Vivarini and from Giovanni Bellini and his legendary authorship ascribed to Lo Zingaro of
connexion with the Venetian art of the last numerous Neapolitan pictures7; strongly doubting
decades of the fifteenth century are self-evident. the tradition of his having painted at Montecassino,
The lines are rather hard, the modelling a little we may, in my opinion, conclusively advance the
flat and schematic, the contours sharp, the following points :
colouring harsh (perhaps damaged by the hand Antonio da Solario, whose relationship, whatever
of some clumsy restorer), especially in the cloak, it was, to Andrea is unknown, was in all probability
which is of a clear blue with a lining of orange by origin a native of Solario,8 and received his
yellow. But these are peculiarities which, if artistic education at Venice, studying the works
unlike those of the Wertheimer Madonna, which of the brothers Bellini, of the Vivarini and the
is more morbid, refined and fused, and belongs to other masters who flourished in Venice during the
a more advanced period of Venetian art, take us two last decades of the fifteenth century. The
back directly to the art which flowered on the picture now published belongs to this period, and
lagoons, including Murano (one remembers the was perhaps painted there. It was probably
work of Alvise), at a period one or two decades followed shortly afterwards by the series of
before 1500. frescoes of SS. Severino e Sosio, which were
As in the Wertheimer Madonna, the inscription executed by the master with some assistants in the
is on a cartellino on the front edge of the table on last years of the century.
which the Child is standing. It is in capitals, and It would seem that he had worked in the
runs thus :— Marches9 in the first years of the following century,
‘ANTON I VS . DE . between 1502-3, and that he must have abandoned
SOLARIVS (sic) them very soon (a reason of his ‘ Gypsy’ laurels !)
V[ENETVS]. P[INXIT] ’
7 The ancona of the church of S. Pietro ad Aram (now in the
Thus there is no doubt that this Antonio da National Gallery at Naples), which had been attributed to him
Solario, the author of the Head of St. John the unanimously by the historians, is, as Prince Filangieri has
shown (‘ Archivio storico per le provincie napoletane,’ IX, p. 91),
Baptist and of the Madonna already published in
the work of the Bolognese, Antonio Rimpacta.
The Burlington Magazine, is the man who 8 The hypothesis recently put forward Rivista abruzzese,’
painted some of the frescoes in the cloister at XXI, p. 639) that he was born at Ripateatina in the Abruzzi is
entirely to be rejected.
Naples, and supervised the execution of the whole
a From a document published by C. Grigioni in the ‘ Rassegna
cycle representing the history of St. Benedict. If Bibl. dell’arte ital.’ (IX, 6-8, p. 115); see also the same writer
we compare with our Madonna the first three in ‘Arte e Storia,’ XXV, 23-24, p. 177) it appears that on the
21st April, 1502, a ‘ Magister Antonius Joannis Pieri de Soleriis
frescoes which belong to the same artist, together
de Venetiis habitator Firmi ’ received a commission to finish a
with the landscape of the fourth (the ninth of the large polyptych for the church of S. Francesco at Osirno, which
series), which in all probability is by the same had been begun by Vittorio Crivelli, and had remained incom¬
plete on his death. This work has been lost. However, there is
hand, notwithstanding the condition of these
preserved in the Leopardi Chapel in the church of S. Francesco
frescoes and the repaints with which they have an ancona which, according to a document of the 4th January,
been partly disfigured, we shall find sufficient 1503 (cf. Anselmi in ‘ Arte e Storia,’ XII, 24, p. 186), would have
analogies in the types, in the modelling, in the been commissioned to the same Maestro Antonio di Giovanni di
Pietro Veneto. On the other hand, three years afterwards a
draperies, and above all in the landscape. More¬ payment is made for the same picture to a Maestro Giuliano di
over, in the background of the Wertheimer Luca (Giuliano Presutti ?), and therefore we do not know what
part the first-named painter had in the picture, if indeed he
picture the motives of the landscape are the same ever had any that was worth consideration. Is this Magister
as those of the frescoes: the same rocks cut into Antonio our Solario ? I think we can certainly affirm it. The
strange conventional forms, the same trees with unusual de Soleriis leaves the matter a little doubtful, but is it not
probable that the de Solario took that shape under the pen of
sparse foliage grouped in concentric clusters, the notary of Fermo by analogy with the usual plural de Venetiis
the same clouds like running waves of smoke, which came afterwards ? However, that Antonio had been a
pupil of Vittorio Crivelli, and that, in the works which have
6 It may not be impossible to identify him by means of the come down to us, elements of the style of the Marches survive,
crest on the ring which he wears on the index finger of his left cannot possibly be maintained.
hand. The crest shows a shield with three white horizontal I think that inquiries made in the Marches churches,
bars diminishing on a black ground. The shield is surmounted especially in Fermo and the neighbourhood, will bring to light
by a coronet of small white beads on a dark brown ground. other works of our Solario.

381
A i^Madonna' by Antonio da Solano
to go once more into Northern Italy. He must, Madonna, in which, in spite of the cartellino,
in fact, have seen the St. John the Baptist painted there is a wish to acknowledge a work of Andrea!
by Andrea in 1507, shortly before his departure for This is, to my thinking, the last of the pictures
Normandy, in order to represent the same subject of Antonio which have come down to us, and was
in a very similar style only one year later. Perhaps executed when his technique was more advanced
the works of his contemporary, who at this time and freer, his sentiment more refined and softened.
was in the first maturity of his talent and lais fame, But in this picture, as in all the others, he remains
made Antonio anxious to rival him, and evident purely Venetian, as in his signatures he proudly
traces of this effort appear in the Wertheimer proclaims himself.

SOME ENGLISH PORTRAITS BY CARL VOGEL VON

VOGELSTEIN
BY DR. HANS W. SINGER
ONSIDERING the interest one man was not a genius of the first rank like
that faithful portraits must Van Dyck.
have for everybody who cares Carl Christian Vogel the painter, born on the
for history and for anthro¬ 26th of June, 1788, at Wildenfels in Saxony, was
pology, it seems strange to the son of the artist who painted that delightful,
find so little use made of the popular picture of the two little boys with a
treasures of this kind which picture book, now No. 2189 in the Dresden Gallery.
we actually possess. How This collection possesses half a dozen portraits by
wonderful is the material for illustration which Carl Christian himself, some small heads, under
Van Dyck’s so-called ‘Iconography’ offers to life-size, among them. Works like these were
anyone writing about the Thirty Years’ War ! passed by unheeded until a couple of years
Yet I do not know of any author, writing upon ago. The late Centenary Exhibition of German
the period, who has levied any contributions Art at Berlin, however, has taught us to value
therefrom, let alone exhausted the opportunity them again. The straightforwardness and lack
which lay before him. The other day 1 proposed of affectation or strained sentiment apparent in
to an editor of a well-known series of popular art portraits of this kind are worthy of praise and
monographs one on the portrait engravers of pleasing. Eor they obtained at a time when art in
Louis XlV’s age. I consider his reply nothing general, owing to unpropitious circumstances, was
short of stupefying. He said he thanked me for not exactly distinguished by these characteristics,
my suggestion, but felt that in a popular series like but aimed rather at too high a mark and grew
his there was a chance only for books about artists bombastic in consequence.
in whom the public is interested from having Of Carl Christian Vogel may be said what
heard about them. ‘ Now, I must confess, far from applied in a measure to Sir Thomas Lawrence.
knowing these Nanteuil, Masson, Edelinck, Drevet, His youthful successes as a portrait painter thrust
Poilly, van Schuppen, Daulle, Mellan, Morin him into the midst of a busy practice, which
whom you mention, I have not even ever heard of precluded the possibility of a steady and extended
them, and I don’t think I’m exactly what one training in his profession. It was not until the
would call an outright tyro in matters pertaining year 1813 that he managed to get to Rome, at that
to art.’ time the Mecca of German art students, and found
Doubtless he is not, since he has success¬ at length leisure for the pursuit of his art, without
fully brought down his series of monographs to a view to earning money.
the eightieth volume by this time ! And yet this He succeeded in time in entering the ranks of
editor had never even heard of such a man as the ‘historical painters,’ which was the height of
Nanteuil or Edelinck, let alone being cognizant of ambition of painters in his day, and also perfected
the almost boundless wealth of aesthetical enjoy¬ his special branch of portrait painting to a notable
ment and biographical interest which the many degree. There are altarpieces by him in the royal
prolific artists of this school have provided for chapel at Pillnitz, in the cathedral at Naumburg
those who would partake of it. and several other churches. In 1820 he was
The collection to which these lines would draw appointed professor at the Dresden Academy of
attention cannot quite compete with the two Art. After his second visit to Italy in 1842, he
mentioned for value and interest. Being the devoted himself especially to painting and illus¬
work of one man, virtually, it is not as com¬ trating subjects from Dante.
prehensive as the product of a whole school ; It does not appear, exactly, what led him to
and, again, respectable artist that he was, that begin a collection of portrait-drawings of famous

382
 Some English 'Portraits hy Carl Vogel
men, upon which he was engaged for about forty subjoin a list. The reproductions will give a fair
years of his life. He commenced as early as 1811, idea of the quality of these drawings.1
when he was at St. Petersburg. While at Dresden
Queen Victoria.
it seems as if he must have visited every stranger — Audubon, animal painter, son of John James A.
of any reputation at all, as soon as he heard of H. A. Barlow, M.D., author in London.
his arrival, requesting him or her to give him a James Barry, the painter (drawn by Peschel).
Henry Peyronnet Briggs, painter in London.
sitting. Large additions to his collection were Isambard Brunei, engineer in London.
made at London and especially at Rome during William Bull, author in Baltimore,
his second stay there. He finally bought or Sir Augustus Wall Callcott, the landscape painter.
Dr. M. Castle, phrenologist.
begged for portrait-drawings by other artists in R. Cobden, free trader (drawn by L. Saulini).
cases where he was not able to reach the sitter Charles Robert Cockerell, architect in London.
G. Darly, Irish scientist.
himself.
George Dawe, the Anglo-Russian painter.
This collection was sold by him, in several sec¬ William Dyce, the painter.
tions, to the Royal Print Room at Dresden, where Sir Charles Lock Eastlake, P.R.A.
it is to be found to this day of course, with a few Richard Evans, painter in London.
Edward Ealkener, architect in London.
additions, made after Vogel’s death. How famous Edward Finden, the engraver.
it once was and in what estimation the acquisition John Flaxman, the sculptor (drawn by Richter after Caputi).
was held transpires from the fact that besides John Gibson, the sculptor.
Francis Grant (?), the portrait painter (drawn by himself).
receiving the not inconsiderable sum of 600 thalers, Samuel C. Hall, editor of the ‘ Art Journal.’
the artist was knighted (at his own proposal) in Anna M. Hall, nee Fielding, author of 1 The Buccaneer,
order to cancel an obligation which money alone children’s books, etc., wife of S. C. H.
Sir George Hayter, painter (drawn by himself).
was supposed insufficient to meet—the simple Carl Arthur Hughes, painter to H.M. the Queen.
Vogel becoming Vogel von Vogelstein. Anna Jameson, writer on art.
Covering so long a period of life these drawings Washington Irving, the American author.
Edwin Landseer, the animal painter.
—there are 783 in all, including those not by — Martin, painter of architectural subjects.
Vogel’s own pencil—vary of course greatly in Conrad Martin Metz, engraver.
value and quality. For one thing, some are Robert Ralph Noel, phrenologist.
Amelia Opie, ncc Alderson, author (drawn by H, Peyronnet
painstakingly finished in consequence of his being Briggs).
granted a number of sittings—others are mere Albert Henry Payne, English publisher settled in Leipzig.
sketches of persons who had perhaps only half an Fred, W. Philips, American painter.
Henry Wm. Pickersgill, portrait painter.
hour or an hour to spare. The majority of the Hiram Powers, the American sculptor.
early sheets are pencil drawings, and in their Louisa, Mary Ann and Eliza Sharpe, sisters, painters (minia¬
rigour begin to appeal to us again now, whereas tures by Eliza Sharpe).
Sir Martin Archer Shee, P.R.A.
the past generation had a tendency to decry them Mary Somerville, ncc Fairfax, painter (Mrs. Craig : drawn by
as stiff and unrelentingly conscientious. In A. Kestner).
later years crayons, crayon and sanguine, with Thomas and Rosalia Kemble Sully, painters (she a native of
Philadelphia, Penna.).
occasional use of the stump and of flat washes, James R. Swinton, portrait painter,
prevailed. George Augustus Wallis, painter.
As far as one can judge by the help of comparison Richard Westmacott, painter.
David Wilkie, the painter.
with other portraits, these drawings must have been Edwin Williams, painter.
very ‘ like.’ It is clear that this was the principal Alban and William Samuel Woodburn, fine art dealers in
aim of the artist, and that he did not value his London.
William Wyon, chief engraver to the Royal Mint.
work for its style, but for its subject, did not in fact
think of himself while working so much as of his In the last portfolio, the contents of which are
sitter. Thus, despite of an occasional real gem, not indexed, there is a drawing of a gentleman
where a few slight touches of colour make up a born 1807 in Woodlands, Galloway, Scotland, and
harmony, or the draughtsmanship commands a still residing there when this portrait was taken,
charm of contour or modelling, the iconographical whose very illegible signature seems to me to read
value of the collection is its strong point. Vogel Wm. L. Graham.
added to this value by getting most of his sitters
1 The Gibson and Jameson drawings are simple crayon
to sign their names on the sheet, and add a few sketches. For Irving the artist seems to have combined crayon
dates or a motto. It has thus also become an with soft pencil, using the stump also. Dyce was done with
important autograph collection. crayon and stump, Shee apparently with a very soft black lead
pencil. The Queen Victoria is a very delicate and refined
In looking over the portraits I found nearly fifty drawing, to which a black-and-white half-tone block cannot do
drawings of English and American men and justice. Pencil, crayon, stumping, Indian ink are combined,
women. As this was before the days of photo¬ with touches of sanguine on cheeks and lips; There is, per¬
haps, slightly too much finish in this work, which lacks vigour
graphy, probably these are the only portraits in to the same degree that portrait-lithographs in the forties and
existence of some of these sitters, and I therefore fifties of the last century do.

3b3
 ^ NOTES ON VARIOUS WORKS OF ART
THE ABBEY OF S. BE REIN, BY R. P. sunset with the light which plays upon the tall
BONINGTON columns and spandrels, some touch of gold with
the pale sky, some ruddy tint of autumn with the
The picture by Bonington which we are permitted
grass and trees. The thing might thus have
to reproduce has been recently acquired by the acquired a more Venetian richness and fullness of
Corporation of Nottingham for their Art Gallery. effect, but it would inevitably have lost the
It will be familiar to many readers of The freshness which is its distinctive charm, and in
Burlington Magazine from the fact that it
virtue of which Bonington maintains his claim to
formed one of the attractions of Messrs. Shepherd’s be counted among the pioneers of modern
exhibition in King Street, together with a fine painting. Too often, even in his fine coast scenes,
early landscape by Crome which, we believe, has this freshness is attained at the cost of the graver
been purchased for the National Gallery of constructive side of pictorial art, but in such rare
Scotland, and the copy by Gainsborough of Van works as this he shows himself the peer of Turner
Dyck’s equestrian portrait of Charles I, which we and Constable. Neither the science of the one
described and reproduced in May. nor the sincerity of the other is lacking here,
Bonington shares with Constable the credit of and before this austere masterpiece we are com¬
starting the revolution in French landscape¬ pelled to realize that the world lost by Boning¬
painting, which resulted in the rise of the so-called ton’s death a much greater master than his other
Barbizon school. His handsome person, the compositions, supremely brilliant as they are,
praises of his friend Delacroix, the uniform would lead us to suspect.
brilliancy of his work, and his early death, all
combine to keep his memory green. In the
HEAD OF THE HORSE WHOSE RIDER HAS
picture which we reproduce his art is seen in
0 VERTIIROIVN H ELI ODOR US
perfect maturity. In its earlier stages it is no less
accomplished, but the accomplishment both in A FRAGMENT OF A CARTOON BY
figure and landscape has the immediate effective¬ RAPHAEL
ness, the dramatic cleverness, of such painters as The fresco of the Heliodorus marks a
Isabey, although from the first the execution is critical point in Raphael's career. The subject
infinitely more sure and dexterous than was the was dictated by the political success of his
Frenchman’s. In such paintings as the view of patron, Julius II, who had just secured the
the Piazzetta in the Tate Gallery we find the same retirement of the French troops from Italy, but
accomplishment employed in realizing a wholly the treatment was influenced by an event which in
different ideal. Here Bonington’s aim is precise the lapse of time has assumed far greater import¬
and literal to excess. Every part of the picture is ance—the unveiling of the Sistine ceiling in the
treated with the utmost definition, and with the year 1511. That event revealed a pictorial con¬
keenest possible eye for the cool, pale tonality of ception of the human figure such as the world had
nature, but the result, for all its sincerity, is hard never seen before, and Raphael at once set himself
and cold. to blend with his own steadily advancing art all
In the Nottingham example Bonington has got that he could gather from the genius of his great
rid of the theatricality of his former method, but rival. The result is not a complete success, for
has retained the compositional science underlying the fresco as a whole is somewhat gloomy and
it, just as he has got rid of the hardness of the turbulent, while the execution, being largely the
Venetian picture, while retaining its truth of tone work of pupils and assistants, is coarse and heavy.
and detail. The formal lines of the architecture The bye-products of Raphael’s effort are, on the
are so deftly planned and so subtly foiled and other hand, among his most splendid achievements.
blended with the tones of the sky and the ground The University Galleries at Oxford among their
that we never feel for a moment that in less many treasures possess a sheet of studies of
competent hands they would be stiff. The pale kneeling women of supreme power and beauty,
grayish blue of the sky consorts perfectly both which are to be included, I believe, in the next part
with the crumbling sunlit walls and the pale of Mr. Colvin’s great work. Nowhere does Raphael
shadows, made more luminous by contrast with reveal a more perfect combination of life, power
the grass and trees below, while the brushwork and beauty. Never did the stimulus of rivalry
shows everywhere that certainty, force, and delicate with Michelangelo move him more happily.
precision which make the masterpieces of The drawings might have been termed unsur¬
Canaletto a source of endless delight to the passable, had not Raphael almost surpassed them
painter. What is most wonderful, however, in the fragment of the actual cartoon, contained
about the picture is the almost ascetic restraint in the same collection, which has been reproduced
which it displays, and to which it owes its per¬ in slightly reduced facsimile as a special plate for
fection of tone. Turner might have seen the subscribers to The Burlington Magazine.
subject thus, but in no period of his career could That the drawing is a fragment of the actual
he have kept himself so well in hand, have cartoon can hardly be doubted. Not only is it
refrained from infusing some hint of the glow of pricked for transfer to the wall, but by the kindness

3*4
THE ABBEY OF S. BERT N.
1 BY R. P. BONINGTON FRAGMENT OF A CARTOON BY RAPHAEL
IN THE NOTTINGHAM ART GALLERY IN THE UNIVERSITY GALLERIES, OXFORD
THE REVENGE OF TOMYRIS
 Notes on Various Works of Art
of Mr. J. Marshall of Lewes we have been master of Flemalle,’a picture given by an English
furnished with a tracing of the fresco, and the connoisseur to the Royal Gallery at Berlin,
tracing fits the Oxford fragment exactly. As Sir representing the revenge of Tomyris, queen of the
Charles Robinson points out in his ‘ Critical Massagetes,who killed Cyrus. The subject belongs
Account of the Drawings by Michel Angelo and to the typological cycle of the ‘ Speculum humanae
Raffaello in the University Galleries, Oxford ’ salvationis.’ It probably served as one of the
(p. 220, No. 86), ‘Vasari in his life of Raphael representations of acts of justice, as they are to be
mentions that fragments of the Heliodorus Cartoon found in town halls.
were then preserved in the house of Francesco Von Tschudi claims the composition for the
Massini at Cesena. In all probability this was one master of Flemalle, pointing out that the manner
of them. Ottley purchased it from the Albani of treating receding planes is analogous to pictures
Palace in Rome in 1801 for _£qo ; he alludes to it in claimed by himself and others for this anonymous
the following terms in his Italian School of Design. follower of Jan van Eyck—for instance, to the
‘ “ The head of the horse which was formerly Marriage of the Virgin, a diptych in the Prado
preserved in the Albani Palace at Rome is Museum (published in The Burlington Maga¬
of such marvellous perfection that it can only zine, 1903, Vol. I, p. 207) that has been ascribed
be compared to the finest remains of Ancient already to some Hispano-Flemish painter of the
Greek Art." ' late fifteenth century (Weale) as well as to a pupil
H is praise is not excessive. We must indeed go of Ouwater (Bode), and which at any rate does
to the marble steeds of the Parthenon to find a not offer sufficient reasons either in its forms and
similar balance of strength with vital beauty. The types or in technical respects to bring it in any
fact is the more curious because as a rule Raphael direct connexion with the master of Flemalle.
seems to have had no eye for the points of a horse, Other analogies in details which Von Tschudi
and was apt to paint horses with hardly more sense enumerates as being striking arguments for the
of their peculiar character than was displayed by authorship of this painter (such as the numerous
Paolo Uccello. In this instance, however, he was oriental head coverings, the rich golden ornaments
more fortunate. It is evident that his mind on the garments, the decorative stripes covered
reverted to Leonardo’s cartoon of the Bailie of with meaningless fantastic ciphers and letters of
Anghiari, which he had studied as a boy in Florence, Greek and Hebrew character) seem characteristic
and reverted so enthusiastically that much of the not so much of a single painter, but rather of the
fury and spirit of Leonardo has survived in his work. whole period. They are not at all uncommon,
The glaring eye and tossing mane are eloquent and are often to be found in various pictures
of Leonardo, and from this fragment we may of the time.
reconstruct in our imagination the spirit of A picture lately purchased by the Academy of
Leonardo's epoch-making cartoon and of the Fine Arts in Vienna shows the same composition
projected Sforza statue more vividly than from any and gives an interesting specimen of late sixteenth
work by his own hand that has come down to us. century copying. Dr. Voll of Munich has given in
No other drawings for the remaining frescoes his recently published ‘ Vergleichende Gemalde
in the Chamber of the Heliodorus are known, so Studien' a fine example of the correct method
that this fragment of an actual cartoon is doubly of comparing these copies with their originals, and
precious, for rarity as well as for beauty. When, of tracing in them the characteristics and features
too, we compare it with the coarse, clumsy hobby¬ of a later style, from whose domination the copy¬
horse in the fresco, we can estimate what the world ist is not able to free himself. Apart from the
has lost in losing the rest of Raphael’s studies for merely formal difference of which he will in
this room. It may be added that the drawing is general be conscious, so that while he thinks he
executed in charcoal and black chalk on brown has produced an exact copy the real effect will be
paper, that the blacks have apparently been fixed entirely different (cf. Rubens’s copy of Titian's
by some kind of varnish that has darkened the Lavinia in the Viennese Gallery), the copyist
ground, that it measures 27 in. by 21 in., and that will nearly always give way to the seduction of
it passed from the Ottley collection to that of Sir changing those parts of the old—though much
Thomas Lawrence, from which it was acquired for admired—work which seem insupportable to his
Oxford in 1845 together with the other drawings of advanced taste, trained and developed by the
Michelangelo and Raphael which are the pride of artistic style of later generations.
the University Galleries. C. J. Holmes. In the present case the most striking change in
this respect consists of the addition of a new
THE REVENGE OF TOMYRIS figure to the old composition that has come
(A COMPOSITION AFTER THE MASTER down to us, as we may with some reason
suppose, in a truthful and exact form. The
OF FLEMALLE) intention, which is documented by that addition,
In the nineteenth volume of the ‘Jahrbuch’ reveals itself easily by its effect. To the taste of
Dr. von Tschudi published, in an article on the an artist of the late sixteenth century, who was
E E 389
Notes on Various JVorks of Art
thoroughly acquainted with Italian art and all its windows—a spacial disposition of ancient and
subtle compositional principles, the loose compo¬ relatively primitive character which occurs in
sition shown in the Berlin picture—lacking all the pictures of Jan van Eyck and his successors.
concentration and emphasizing all the figures The fixed height of the columns also effects
almost in an equal manner by bestowing on them a limitation of the space at the top, the figures
equally a rich and detailed execution—was being enclosed as in a cell, recalling the treatment
unbearable. Therefore he tried with all the means found in mediaeval art. In the Viennese picture
at his disposal to make it more compact. this arrangement is replaced by typical Italian
The first object he achieved by adding a sixth Renaissance architecture, as it is to be seen in
figure connecting the lady carrying a little dog sixteenth century Venetian pictures. The effect
with the female servant holding the vase, and of this is double. We get deeper recession of the
filling with a pointing hand the gap that existed planes, according to the sixteenth century style ;
in the old composition between Tomyris and the and secondly, the sharp boundary at the top is
servant. By this arrangement the composition replaced by unlimited space. The way the pillars
obtains a character of continuity and closeness are cut off at the top of the picture is of itself a
which the copyist missed in the old picture. This sufficient argument to prove the late date of this
is very loose in arrangement, especially on the work ; it causes the imagination of the observer to
right hand side, whereas the queen with the two build up an architecture more proportionate to
men already forms in the copy a fairly compact the figures than in the Berlin picture.
group. A number of other differences seem to have
The same outstretched hand brings into the been caused by less urgent necessities than those
picture a trait absolutely characteristic of the imposed by the different stylistic feeling. The
tendency of the author of (his work. By this body of Cyrus is not dressed in rich royal apparel,
means he causes the queen to be clearly pointed but in a bluish shining steel armour, and the head
out as the principal and central figure, the bearer is not crowned. It might be suggested that such
of the chief role in the dramatic action. This an archaism as that of dressing a king, even
effect is further augmented by the coloristic trick when a prisoner, with sceptre and crown, seemed
of bestowing on the central figure an arrangement unnatural to the copyist, a child of a more ration¬
of very light and fresh colours—red and green— alistic epoch, as also did the archaic dress of the
on which the daylight shines brightly, detaching queen with its letter-covered stripes. To explain
the figure and emphasizing in this way, too, her his uncommon subject the copyist wrote a verse
existence, while a contrast to the light vase is on the base of the pillar,
formed by the black cloak. A comparison with ‘ Sanguinem ferox sitisti Cyre,
the queen’s dark figure in the Berlin picture shows Sanguinem bibe.’
the difference of style, and the greater recession Altogether every brush-stroke proves the origin of
attained by this emphasis. this picture. Note the antique Roman cloak of the
The secondary figures are treated in brownish executioner covering his left shoulder, as well as
tones and are chiefly in half light. All of them, but the lower arm of the queen coming out of the
especially the executioner, who in the old picture parted sleeve and calling to mind similar Venetian
by his pompous attire and by the extraordinary motives.
expression of his fat face claims more interest The two figures on the right speak a language
than was desirable for the total effect, are deprived of their own. Apart from the style of their
of their rich apparel and dressed in a simpler way. costume, their facial types and their portrait-like
The turban of the bearded man behind the group, way of looking out of the picture—the woman
which even now shines out too strongly from the with the dog being especially different from the
background, alone reminds us of the former rich¬ same figure in the Berlin picture—they remind
ness. The expression of both these figures has us of special sixteenth century Flemish types, as
lost its remarkable sternness, and has become we know them from portraits by Pourbus or some
rather empty and commonplace. The frowning other pupil of Floris.
executioner, now less broad and monumental, is It may be that special connoisseurs of the art of
represented with a hat and bearded ; the string of this period will be able to find a definite attribution
pearls he wears round his neck and falling down for this not uninteresting copy.
his breast seems to have been misunderstood, and George Sobotka.
is represented here as belonging to the sword.
A NOTE ON C. N. COCHIN’S SECOND RE¬
The change of the greatest importance is in the
recession of the planes. The Berlin picture intro¬ VISION OF ABRAHAM BOSSE’S ‘ TRAICTE
duces a gallery formed by slender gothic columns DES MANIERES DE GRAVER’
with representations of biblical scenes on the Bosse’s treatise, one of the earliest books on the
capitals, as they are commonly shown in Nether¬ practice of engraving, was published in 1645.
landish quattrocento pictures. They separate the 1701 it was reissued, with the addition of a new
actors from a hall in the background with coloured manner of biting etchings used by Sebastien Le

39°
 Notes on Various JVorks of Art
Clerc, which is the earliest indication known of the invention of the crayon manner for J. C.
the use of the present method of the bath. The Franpois, the editor proceeds to speak of De-
work was again revised and issued with con¬ marteau and Bonnet, referring to the success
siderable additions by C. N. Cochin the younger, recently achieved by the latter in a new method
under the title ‘ De la maniere de graver a l’eau- of imitating pastel. Now, Franpois had received
forte et au burin et de la gravure en maniere noire. the certificate in question in 1757 and the king’s
Avec la fapon de construire les presses modernes, pension in the following year; but it is very
et d’imprimer en taille-douce. Par Abrahan improbable that Bonnet had developed his pastel
Bosse, Graveur du Roi. Nouvelle edition. method at that date. Basan (‘ Dictionnaire,’
Revue corrigee et augmentee du double, et second edition, 1789) gives 1735 as the date of
enrichie de dix-neuf planches en taille-douce. A Bonnet’s birth, but, according to the best authority
Paris . . . chez Charles Antoine Jombert. . . . (Chavignerie and Auvray, 1882), it did not occur
MDCCXLV7 A second issue of Cochin’s revision, till 1743. In either case 1758 would seem too
with further additions, appeared, according to the early for the position which is accorded him.
title-page in all the copies and all the biographies (iii) P. 141. Reference to twenty-nine prints
I have been able to consult, in 1758. The title exhibited by Le Prince at the Academy, executed
differs from that of 1745 as follows: ‘Nouvelle in a special method of his own which he still kept
edition, augmentee de l’impression qui imite les secret. These twenty-nine plates were exhibited
tableaux, de la gravure en maniere de crayon, et in the Salon of 1769 (see J. f. Guiffrey, ‘Collection
de celle qui imite le lavis. Enrichie de vignettes des livrets desAnciennes Expositions, 1769,’ Paris,
et de vingt-une planches en taille-douce.’ Feb., 1870), and the earliest date on any aquatint
‘MDCCLVIII’ appears on the title-page, and plate by Le Prince is 1768.
1758 in Arabic numerals in the ‘Approbation’ of (iv) P. 145.—Allusion to a frontispiece by
the new edition at the end (after p. 205). That a Bonnet to a new edition of ‘ Recueil de tetes de
date so clearly given in Arabic and Roman caracteres gravees d’apres Leonardo de Vinci’
numerals should be in error is curious ; but, if (with etchings by Caylus) as ‘just published by
correct, it would lead to the startling admission Jombert.' This edition belongs to the year 1767.
that Le Prince introduced aquatint ten years (It has a side interest in showing Bonnet producing
before the accepted date. something very like aquatint a year before Le
Cochin’s position as secretary of the French Prince’s first authenticated attempt.)
Royal Academy lends great weight to his authority From (iii) it follows that the text cannot have
in the history of this period of experiments in new been written before 1769, and from (iv) that it
manners of engraving, and a fundamental in¬ cannot be long subsequent to this date. The only
accuracy of this sort might at any time mislead positive evidence of the actual date is found on
the unwary student. The following are the chief p. 143, in the reference to ‘Arthur Po[u]nd,
points which prove that some rectification is publishing in London, about 40 years ago, a
needed :— set of chiaroscuri. . . .’ This seems to allude to
(i) P. 133.—Footnote states that the article on the series of 1734-35, which would fix the edition
the crayon manner was extracted from the roughly about 1774. The Roman MDCCLVIII
' Recueil des Planches sur les Sciences et les Arts, might conceivably be an error for MDCCLXXIII,
4me livraison, article gravure.’ This ‘ Recueil ’ is a but, unless the printer merely repeated this
part of the great ‘ Encyclopedic ’ of Diderot and original error in the Arabic numerals of the
D’Alembert, which started in the year 1751. ‘Approbation,’ the explanation is quite unsatis¬
Vol. VII, with the article on ‘Gravure,’ is dated factory. I see no reason whatever to think that
1757, but the corresponding part of the ‘Recueil any parts of the book are later additions, and I
des Planches’ did not appear till 1767. am of necessity driven to regard the whole as
(ii) P. 140.—Note on the introduction of crayon being published in any case within a few years
engraving. After remarking that the Academy’s after 1769. Perhaps some bibliographer may find
certificate and a royal pension seemed to claim the real clue. A. M. Hind.

LETTERS TO THE EDITOR Hk?

EGYPT AND THE CERAMIC ART OF Burlington Magazine for July, he says (p. 224)
THE NEARER EAST that if the statements of the Persian, Nasir-i-
Khusrau (A.D. 1047), be not rejected, ‘then it
To the Editor of The Burlington Magazine.
follows that the art of painting in lustre had its
Sir,—In the course of Dr. Butler's learned origin in Egypt, and not in Persia, and that, at
review of the evidence in favour of the Egyptian, whatever period it began, it had reached to great
as against the Persian or Syrian, origin of the use perfection before the middle of the eleventh century,
of lustre and wall tiles, entitled ‘ Egypt and the but had not then spread northward to Syria or
Ceramic Art of the Nearer East,’ published in The westivard to Kainian, to which Ndsir-i-Khusrau's

391
Letters to the Editor
travels extended ’; and as regards tile-work, Dr. AN EARLY FLEMISH PORTRAIT IN THE
Butler contends that from Egypt it ‘spread out¬ NATIONAL GALLERY
wards through Syria,’ the earliest extant example
he cites being that in the Dome of the Rock, 1027. To the Editor of The Burlington Magazine.

May I be allowed to point out that there appears

Sir,—Has it occurred to any one that No. 943,
to be evidence of much earlier date to connect
Portrait of a Man, in the Early Flemish Room
both lustre and tile-work with Mesopotamia, if not
of the National Gallery, might possibly be by the
Syria proper ? This evidence, if the literary
hand that executed the little Madonna and Child,
sources upon which it is based stand the test of
hanging close to it, and which is lent by Mr.
investigation, will prove that, so far from the
Salting, and attributed to Dierick Bouts ? In each
passage I have italicized above being a statement
picture there is an open window, through which
of fact, the lustre technique of Nearer Asia,
a landscape is seen ; these landscapes are strik¬
applied to tiles, travelled the length of the
ingly similar both in treatment and colour. The
Mediterranean, and precisely to Kairuan, in the
trees have a thick impasto, with high lights. In
ninth century.
each picture the distance is represented by the
The evidence in question has been available
same unnatural blue. The wooden shutters be¬
since 1899 *n Monsieur H. Saladin’s ‘ Les Monu¬
tray the same hand in the way in which the rusty
ments Historiques cle la Tunisie; La Mosquee de
streaks under the nails are indicated. (It is diffi¬
Sidi-Okba a Kairouan' (pp. 16, 64, 97), and it
cult to see these in the photograph of the
amounts to this : that when Ibrahim el Aghlab
Madonna. The wood itself is also painted in a
enlarged the great mosque at Kairuan, in A.D. 894,
precisely similar way. Moreover, the painting of
he ornamented the wall above the mihrab with
the figures in each panel is alike, and this is
tiles, enamelled and painted with designs in lustre
especially noticeable in the treatment of the hair
pigment, some of which were procured from
and dresses. The character of the eyes of the
Bagdad and some made on the spot by a Bagdad
man is to me quite similar to that of the infant
potter.
Christ. It may be said that the hands are not at
The native historians who are the sources of the
all alike, but this difficulty is easily overcome
tradition are given in Monsieur Saladin’s mono¬
when we realize that whilst one picture is a
graph, with drawings of the tiles, which are also
portrait, the other emanated entirely from the
reproduced in the just-published ‘Manuel d’Art
artist’s imagination ; this fact would account for
Musulman,’ Vol. II (p. 256), by Monsieur Gaston
the superiority of the painting of the hands in the
Migeon. Yours truly,
portrait of the man. Another point of interest is
A. Van de Put.
the date of the portrait (‘ 1462 ’) ; for when we
examine it we find that the first three figures are
To the Editor of The Burlington Magazine. given in ‘ intaglio ’ and the last in ‘ cameo.’ This
Sir,—Mr. Van de Put’s letter unfortunately peculiarity tends to prove that the artist was no
finds me away from home and from books, so common craftsman, but a man of imagination
that I cannot possibly verify or criticize the very and even genius. Taking into consideration all
remarkable statement which he makes on the these similarities, is it not probable that this
authority of M. Saladin. But I hope to look into exquisite little portrait was painted by the author
the matter in time to send a note, with your of the Madonna—that is to say, by Dierick
permission, for the October number. Bouts ? I remain, Your obedient servant,
A. J. Butler. Gerald Parker Smith.

<a> ART BOOKS OF THE MONTH vr-

The Discoveries in Crete and ti-ieir Bearing pleasantly written guide for others who would
on the History of Ancient Civilisation. find their way about these pathless wilds.
By Ronald M. Burrows, Professor of Greek Whether ten years hence any one will find it easy
in the University College, Cardiff. London : or advantageous to follow him is open to question.
John Murray. 1907. 5s. net. New evidence springs up year by year and hides
Antiquites Cretoises, premiere serie. Cinquante the old. The landmarks in prehistoric archaeology
planches par G. Maraghiannis. Texte de L. are moved as the results of each season’s work alter
Pernier et G. Karo. Vienna : Phototypie the explorers' views about periods and relations.
Victor Angerer. 1907. £1 4s. net. The author flattered himself that his book would
The author of ‘ The Discoveries in Crete ’ is an appear ‘ during a partial lull of excavation.’ It is
accomplished classical scholar who has left the true that the British School has moved to Sparta,
fenced and orderly fields of his daily labours and and that the German eagle, after hovering a while
gonea-hunting in the haunted forest behind them. over Crete, has swooped on a site in the Western
As a result of his wanderings he has produced a Peloponnese in quest of the Palace of Nestor. But

392
 c*Art Books of the Month
Italians and Americans are still on the spot, and at who saved the contents of the Muliana tomb, and
Knossos Mr. Evans has just obtained fresh clues gave so clear an account of its arrangement that
of far-reaching importance. However, the book scholars have agreed to accept his evidence, is
will always have an interest as a record of what an by no means the only Cretan whose instinct was
able historian, who had visited Crete and read to preserve where that of most peasants, even in
almost everything that had been written about Greece, is to destroy. The first collection of
recent discoveries, could extract from the welter of ‘ Kamarais pottery ’ was formed by a shepherd of
facts and theories in 1907. He reproduces all Ida who dug the sherds out of the floor of the
manner of speculations from obscure periodicals cave and pieced them together on winter nights,
and adds a few of his own, seasoning them with rejoicing in their beauty of form and colouring.
shrewd and often humorous criticism. Some of It was by a mere chance that they were conveyed
them do not deserve the attention that he bestows ; to Candia, where Mr. Myres saw them and realized
such are the dreams that connect steatite vases their significance.
made in Crete with bronze urns made in Italy seven Mr. Burrows is so much interested in the work
hundred years later—on the ground that boxers of British excavators that he scarcely does justice
appear on both—or regard the Minoan population to that of the Italian mission. Perhaps he found
of Crete as invaders from northern Europe because it impossible to discuss the Southern Palaces,
they and the later Goths both had wasp waists. Phaistos and Hagia Triada, without plans or views.
In dealing with theories Mr. Burrows’s learning He ought to provide the plans in his next edition.
and common sense generally make him a judicious For the views he can in future refer to ‘ Antiquites
guide. With the actual documents, the remains Cretoises,’ a volume of photographs of Cretan sites
of Cretan palaces and cities and the treasures of and antiquities which has just been issued by Mr.
the museum at Candia, he is not so familiar as with Maraghiannis, an enterprising photographer of
the literature; and want of first-hand knowledge Candia. It omits Knossos, to which the pub¬
sometimes leads him astray. A case in point is lisher hopes to devote a second volume, but all
the chamber-tomb at Muliana in which instances the other sites, or objects from them, are repre¬
of inhumation and incineration occurred together. sented. Here are the courts and stairways of
It is the leading case for the transition from burial Phaistos, and the megaron of Hagia Triada, with
to burning, from bronze to iron : on one side the pillar-lamps of carven stone flanking its door¬
of a chamber-tomb late Mycenaean vases, bronze way, jars with bizarre Middle Minoan decoration
weapons and fibulae, with unburned bones ; on from the lower strata of these palaces, and painted
the other Mycenaean vases of slightly later type, laniakcs from Anogia in the same district.
one containing ashes, and fragments of an iron Unfortunately the limestone sarcophagus with
sword and knife. Our author speaks of the painted scenes of sacrifice, the most wonderful of
cinerary urn as ' resembling in design the Early all Minoan monuments, is not included. Then
Greek vases found near the Dipylon gate at Athens.' come the Dictaean Cave and the peak of Petsofa,
There is no such resemblance. In form and both explored by the British School and offering a
decoration the Muliana vases represent the later dramatic contrast : here perilous descents to a
stages of a purely native development. Mr. torch-lit stalactite grotto, where the god of war
Burrows has been misled by a remark of the was propitiated with gifts of miniature weapons ;
Cretan writer who described the tomb. It is there pilgrimages to a hill-top shrine of healing,
curious, by the way, that he says so little of the where a clay portrait of the worshipper or a model
services as excavator and organizer of Dr. of his ailing limb was offered to an unknown
Joseph Hatzidakes, who for thirty years has deity, probably the mountain mother. These
smoothed the path of every foreign explorer in sites in Eastern Crete have less architectural
turn and administers the somewhat severe law of splendour than the cities in the centre of the
antiquities with justice and tact. island, but surpass them in romance and variety.
‘ Crete was as much part of the East in the What strange possibilities are suggested by that
Minoan age as Constantinople is to-day.’ But hoard of cJay seal-impressions which Mr. Hogarth
she had closer ties with the South than with the found at Zakro ! Compared with the hundreds of
East, with Africa than with any part of Asia. The Cretan seal-stones in our museums this series of
currents flowed northward, not westward ; monstrous and fantastic types is seen to be quite
Minoan civilization spread first to Melos and abnormal ; they must be evidence of trade
Thera, then to the mainland, but it learned no¬ between Zakro and some region that has yet to be
thing from Cyprus, and taught little to Sicily. Its explored. The book ends with the archaic terra¬
finer qualities were home-grown. To this day cotta sculptures from Praisos and other Hellenic
the creative faculty is not uncommon among the monuments. Dr. Karo, one of the few German
Cretans of the hills. The art of improvising in scholars who have written on the Cretan dis¬
song flourishes there as nowhere else in Greece. coveries after adequate study, has furnished a
Lace and needlework of surpassing delicacy are bibliography, and Dr. Pernier, of the Italian
produced in mud-floored cottages. The peasant mission, a preface. R. C. B.

393
Art Books of the Month
The Frescoes in the Chapel at Eton the characteristic Flemish pose. The central part
College. Facsimiles of the drawings by R. of the body is not thrust forward, nor is the
H. Essex, with explanatory notes by Montague upper part of the figure so slight as Flemish
Rhodes James, Litt.D. Provost of King’s painters loved to make it. Figures in violent
College, Cambridge. Eton College : Spottis- action are poorly rendered. Those are best
woode and Co., Ltd. 1907. 7s. 6d. Avhich most nearly resemble woodcarvings. In
The Avail spaces above the choir-stalls in Eton fact, so far as design is concerned, the sculpture
College Chapel were decorated with a series of tradition is closely followed. The paintings are
frescoes, which appear, from the College accounts, bas-reliefs and figures in the round, standing in
to have been begun in the year 1479-80 and finished niches, represented on the flat. The style descends
eight years later. The principal artist employed by an apparently unbroken tradition from the
was one William Baker, obviously an Englishman. fourteenth century, and may quite Avell have been
Here it may be remarked in passing that as a characteristic of the local schools. It does not at
general rule old records concerned with the making all resemble that of contemporary miniatures.
of pictures in England prove the artists employed The good and careful draAving of architectural
to have been English, whilst when any good detail is in marked contrast Avith the usual slovenly
English pictures of mediaeval date are found, the architecture of fifteenth century English minia¬
superior persons, who give us such positive infor¬ ture paintings. It is evident that William Baker
mation from internal evidence alone, usually thoroughly understood the structure of the some¬
ascribe them to foreign manufacture. Avhat complicated architectural detail he had to
In the year 1560 the Eton frescoes were white¬ depict. Probably he Avas accustomed to work
washed over, and afterwards, in part, at any rate, under or in conjunction with architects and
covered with panelling. In 1847 this panelling sculptors. A great deal of Avoodcarving had
was removed and the frescoes were revealed. to be painted in his days, and no doubt he was
Notwithstanding the intervention of Prince Albert, familiar with that class of work and had done
the parts of the frescoes which Avere not promptly plenty of it himself. Perhaps he Avas also
destroyed were covered over again and so remain. experienced in painting panels for the numer¬
Fortunately Mr. R. H. Essex made drawings after the ous carved screens that were then being made.
frescoes before their second obscuration, and these Such panels, primarily intended to be a cheaper
draAvings have iaoav been reproduced Avith accom¬ substitute for coloured bas-reliefs, naturally Avere
panying notes by the Provost of King’s College, designed in accordance with the bas-relief tradition.
Cambridge. The notes are concerned with the Indeed, if the figures and niches in the Eton
subjects of the pictures—illustrations of miracles frescoes were carved in the round in Avood (as
of the Virgin separated from one another by might easily be done) and the pictures painted on
decorated figures of saints and prophets. A some¬ panels between them, the Avhole might enter with
what similar set of illustrations of the Virgin’s perfect propriety into the composition of a screen.
miracles are still visible in the Lady Chapel at The lack of affiliation of the artist to Flanders is
Winchester. They were painted about 1498-1524, thus easily explained. We may suspect that he
or someAvhat later than the Eton series ; neverthe¬ stands somewhat nearer to the French tradition,
less one set throws a good deal of light upon the but confidence on that point could only arise from
other. The iconographical value of the publication an inspection of the pictures themselves. Probably
under review hardly requires to be asserted, but he was a purely English craftsman who learnt his
that is a purely archaeological matter and does not art and derived his main traditions from his own
concern the readers of this journal. What \ye country, Avhere schools and painters were far more
are particularly concerned about is the artistic numerous than most people nowadays suspect.
value of the pictures and the place they occupy in Dr. James has done a valuable service in giving
the history of art. Unfortunately the reproductions publicity to these draAvings. It may be hoped
could not be directly made from the paintings, but that before long the remains of the originals will
only from drawings of them done in the year 1847. once more see the light. Obviously they are
They are outline drawings, evidently careful work ; amongst the best fifteenth century English wall
but they bear the date of their origin very clearly paintings surviving, and every scrap of English
upon the face of them. They are mediaeval work work of the date is precious, where so little remains
seen through early Victorian eyes. Hence it is and so much has been destroyed.
not easy to argue soundly from them as to the Martin Conway.
quality or style of the pictures themselves. I he
general design and pose of the figures and draperies Old English Furniture. By G. OAven
may be assumed to be correct. From these broad Wheeler. L. Upcott Gill. 7s. 6d. net.
factors we can conclude that there is little Flemish This is a book which the amateur, Avho purchases
influence in the work. The draperies are simpler eighteenth century furniture on his oavh judg¬
in fall and fold than is usual at the time in the ment, Avould do Avell to buy. The author is
Low Countries. Moreover, the female figures lack evidently a collector of long standing Avho has

394
 Art Books of the Month
studied the subject from every point of view, and back chair. Where there is any internal evidence
few, if any, can read his book without adding to by which to date them, such as scooped out seats,
their knowledge. One of the most useful parts of or the introduction of ornaments like the honey¬
‘ Old English Furniture ’ is where the author deals suckle pattern, I have never been able to place
with ‘ fakes,’ also giving minute instructions to them much before 1780, and to me the ‘ Chippen¬
the tyro whereby genuine old pieces can be told, dale ’ specimens illustrated have all evidences of
and inlay read ‘like large print.’ In these par¬ later design. Mr. Wheeler has an interesting
ticulars his book seems to me to be better than theory that Sheraton came to London about 1780,
anything that has gone before it, as he has made a or perhaps as early as 1770, but he is careful to
special study of the ordinary ‘ conversions,' and throw it out as a suggestion. If either of these dates
put them down plainly and clearly. is even approximately correct, the supposition that
This is all done in a pleasant, interesting manner, Sheraton was influenced by other designers, such
while at times he is not only readable but amusing. as Shearer and Gillow (which, by the way, Mr.
For instance : ‘ Speaking after a banquet at Guild¬ Wheeler appears to endorse) must be re-considered.
ford, a gentleman some years ago stated that the I know nothing in furniture between 1770 and,
staple trade of that ancient and interesting town say, 1785 which leads me to suspect, or even allow,
was the manufacture of antique furniture.’ The Sheraton influence, and I cannot accept the theory
illustrations are particularly well chosen, so well as stated, more particularly as Sheraton’s tract on
indeed as to render any attempt at fault-finding baptism was published at Stockton in 1782. On
hypercritical. A specially interesting piece is a the other hand it is perfectly possible he came to
‘ Portuguese ’ settee on page 199, the difference London shortly after that, and was well known as
between its treatment and that of the Chippendale a designer before Shearer published in 1788.
school being lucidly explained in the text. Reason¬ Mr. Wheeler has made considerable use both
ing from the known to the unknown, I would of Miss Constance Simon’s book and a recent
endorse Mr. Wheeler’s views regarding it ; for, publication of my own, part of which latter
at the time when rococo work was most rampant appeared in The Burlington Magazine. He,
in England, such settees had practically ceased to however, acknowledges this, not only in the
be made. preface but continually through the text. It is
As a general rule I can follow Mr. Wheeler, therefore a great personal satisfaction to me that
both in ascriptions and dates. I cannot, however, I can conscientiously end this notice without a
agree with him with regard to the typical ladder single word of really adverse criticism. R. S. C.

^ RECENT ART PUBLICATIONS*

ART HISTORY TOPOGRAPHICAL ANTIQUITIES
Pica (V.). L’arte giapponese al Museo Chiossone di Genova. Burrows (R. M.). The discoveries in Crete and their bearing
(11 x 8) Bergamo (Istituto d’Arti grafiche). 1. 6. 332 on the history of ancient civilisation. (9X5) London
illustrations. (Murray), 5s. net. 4 plates.
Seymour (F.). Siena and her artists. (8x5) London (Unwin), Cumont (E. and F,). Studia Pontica, II. Voyage d'exploration
6s. Illustrated. archeologique dans le Pont et la petite Armenie. (10x7)
Leclerq (Dom H.). Manuel d'archeologie chretienne, depuis Brussels (Lamertin), 17 fr. 50. Illustrations and maps.
lesorigines jusqu’au Vllle siecle. 2vols. (10x6) Paris M‘Call (H. B.). The early history of Bedale in the North
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Manuel d’Art Musulman—I L’Architecture, par H. Saladin ; 7 plates.
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patronage du comite executif de l’Exposition universelle de Paul), 21s. net. 36 plates.
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logical explorations in Chinese Turkestan, carried out and Schwindkazheim (O.). Unterfranken : eine Streife auf Volks-
described under the orders of H.M. Indian Government. kunst und malerische Winkel in und urn Unterfranken.
Two vols. (13x10) London (Frowde); Oxford (Clarendon (iox 11) Vienna, Leipzig (Gerlach and Wiedling), 50 m.
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London (Methuen’s ‘ Ancient Cities ’), 4s. 6d. net. BIOGRAPHICAL WORKS AND MONOGRAPHS
Ellis (E. J.). The real Blake. A portrait biography. (9x6
‘Sizes (height X width) in inches. London (Chatto & Windus), 12s. Plates.

395
Recent *Art Publications
Williamson (G. C.). John Downman, A.R.A., his life and Reinach (S.). Tableaux inedits ou peu connus tires de collections
works. With a catalogue of his drawings. (11x8) London franchises. (17x13) Paris (L6vy), 50 fr. 56 phototypes.
(Otto, Ltd.). ‘ Connoisseur ’ extra number, 68 pp., illustra¬ Voss (H.). Der Ursprung des Donaustiles. Ein Stuck
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Michaelis (S.). Jens Adolph Jerichau. (9x7) Copenhagen Leipzig (Hiersemann). 30 illustrations.
(Hagerup), 1. 50. Illustrated publication of the Danish Springer (J.). Sebastian Brants Bildnisse. (10x7) Strasburg
National Art Society. (Heitz), 2 m. 50. 5 illustrations.
Thomson (D. C.). The Brothers Maris (James, Matthew, James (M. R.). The frescoes in the chapel at Eton College :
William). Edited by C. Holme. (12x8) London (‘The facsimiles of the drawings by R. H. Essex, with explanatory
Studio ’ summer number), 5s. net. 73 plates. notes. (11x5) Eton College (Spottisvvoo e), is. 6d,
Cotarelo Y Mori (E.). Los grandes caligrafos espanoles, I. 6 plates.
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schreibungen. (13x10) Strasburg (Trubner), 32 m. 108 25 drawings reproduced by photo-lithography.
illustrations. Cornell (F.). Brunnen aus Tirol, Voralberg und Salzburg.
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(18 x 14)-
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Siena Monumentale. Anno I : fasc. i-ii, La Pieve di ductions.
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Hinderer (R.). Alte schweizer Bauweise. (13x10) Frank¬ Vol. IV, S-Z. (10x6) London (British Museum).
fort (Keller), 20 m. 36 phototypes. Le Portrait a la Cour des Valois. Crayons Francois du XVI*
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London (privately printed). A pamphlet of 6 pp., concerning (8x5) Berlin Museum Handbook, 2 m. 50. 14 illus¬
the authorship of National Gallery No. 781. trations.

396
 T^ecent zArt Publications
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London (Batslord), 10s. 6d. net. Twenty plates, measured MAGAZINES
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of workmanship. Also how to clean and repair valuable Further Strand Improvement Committee. Bulletin of the
lace, etc. (10x7) London (Chapman & Hall), 5s. net. Pennsylvania Museum (Philadelphia). Das Metallbecken
Illustrated. des Atabeks Lulu von Mosul (Munich).

ART IN AMERICA r*,

RECENT ADDITIONS TO THE COLLEC¬ dazzling work of his later life that even those who
TION OF MR. HENRY C. FRICK have studied him are apt to overlook, or at least to
ARTICLE I take as a matter of course, these sombre, powerful
works of his youth, and regard them merely as a
HE three landscapes by stage in the development of a more perfect art.
Turner, Corot and Rousseau Yet if we can imagine for a moment that
which we reproduce are not Turner had died in or about the year 1810, our
only superb and character¬ estimate of his genius might, indeed, have to be
istic examples of three great altered in character, but his place among the
masters of landscape, but world’s landscape painters would remain unaltered.
illustrate more effectively Three or four works by Rubens, one or two works
than any written description by Rembrandt, are the only landscapes painted
do the process of transition from the art of before the nineteenth century which can stand a
the past to the art of the present. comparison with these products of Turner’s early
Of the three, that by Turner—Fishing Boats manhood. Had Turner died young, we could
Entering Calais Harbour—is the earliest in date. not have termed him one of the pioneers of
As students of that master will immediately modern painting as we now do, but we should
recognize, it is contemporaneous, or almost con¬ have been compelled to admit that he was the last
temporaneous, with the famous Calais Pier in the of the Old Masters.
National Gallery, and dates, therefore, from the When we try in the presence of such a picture
first years of the nineteenth century. The name as this of Mr. Frick’s to reckon what that distinc¬
of Turner is so commonly associated with the tion implies, we shall find that it implies much.

F F 397
Art in America
We can recognize this most easily, perhaps, by the palpitation of the vaporous sky. Yet this
comparing this Fishing Boats, by Turner, painted feeling for nature, this sincere effort at rendering
about the year 1803, with Le Lac, by Corot, the very breath of nature’s life, has not been
exhibited at the Salon of 1861, and the Village cif allowed to oust or overbalance the necessity for
Becquigny, by Theodore Rousseau, which was making a beautiful picture. Corot’s touch has
exhibited in the Salon of 1864. There is, it is not, it is true, the splendid confidence of Turner,
true, a certain gap between the picture by Turner nor the plastic quality in the paint which seems to
and the picture by Corot, a gap which we have to draw and model at the same time ; it is by com¬
till in imagination with a work by Constable ; but parison loose, fragmentary, elusive. Yet there is
since our present purpose is to emphasize change a science in its freshness as well as in the painter¬
rather than continuity, the gap may safely be like feeling by which the broad masses of broken
disregarded. tone are enlivened and accentuated by the delicate
The most obvious difference between the drawing of the stems and branches. Thus the
English picture and the two French pictures is picture, with all its lightness of brushwork, lacks
in luminosity. Turner obtains his effect by the neither force nor shapeliness of touch nor variety,
strongest possible contrast of light and shade. although it is less forcible, less shapely and less
His work has thus a dramatic force which is various in the quality of its pigment than the
lacking in either of the other canvases, and his Fishing Boats. Corot, in fact, has sacrificed some
pigment has a richness and variety of substance qualities of good oil painting to his sincere love
which is unattainable in oil, except when accom¬ of nature, but he still remains a delightful and
panied with considerable force of tone. By accomplished artist.
adopting this force of tone Turner was able to get In the picture by Rousseau this process of
a strength, and contrast of pictorial effect com¬ change has advanced another stage. Much has
parable with that obtained by the Old Masters in been written about Rousseau’s admiration for the
portraiture and mythological subjects, yet, as all technique of the Old Masters, and it is evident that
modern critics have recognized, this effect was his careful study of the great landscape masters of
obtained by the sacrifice of those splendours of Holland was a lasting influence upon his method
natural colour, atmosphere and sunlight which of work. The resemblance of his treatment to that
Turner himself afterwards discovered and of such masters as Van der Neer is frequently quite
exploited. striking, though his pigment is thicker and rougher.
Turner’s picture, in short, is powerful in Up to the end of his life Rousseau painted on a
effect, superbly painted, and filled with the brown monochrome foundation, in the manner of
closest possible observation of nature, but in the Old Masters, so that in general appearance his
its tonality it is artificial, as almost all the Old pictures are less far removed from them than are
Masters were artificial. In its conception, too, the ideals underlying his art and his general attitude
we cannot deny that there is something of the towards nature and painting. Rousseau set out to
same artificiality, if, indeed, so unkind a word can be a naturalist painter pure and simple, and Mr.
be used of the power, skill and invention which Frick’s most characteristic picture shows exactly
Turner displays. Compared with the appearance how far he succeeded in realizing that aim.
of similar effects in nature, we have to admit In the pictures of Turner and Corot there was
that the lighting is forced, and that the arrange¬ much of nature, but it was nature always con¬
ment of the shadows is arbitrary. And yet, trolled, ordered and regulated by art—by a skilful
when these deductions are all made, the picture arrangement of light and shade, by a scientific
remains a masterpiece superbly conceived, disposition and balancing of masses, by a desire
superbly observed, and painted with unrivalled to make the picture into an agreeable ordered
power and science. The tones and lighting may pattern. In the picture by Rousseau these ideas of
not be scientifically accurate, but the world has formal composition, of deliberate pattern making,
yet to produce a master who is able to render so are ruthlessly repressed. The sky-line cuts straight
perfectly in oil paint the weight, motion and across the middle of the picture in a horizontal
majesty of a stormy sea. direction, while in a vertical direction the surface
To pass to the delightful picture by Corot is to is bisected with equal formality by a straight road.
pass into a different world. We may still, perhaps, It is viewed under an even illumination which
be reminded here and there of the work of the admits neither the tempestuous contrasts of Turner
Old Masters, or at least of one Old Master, for the nor the romantic mystery of Corot. All is seen
grouping of the foliage and the sentiment of the in a clear, almost merciless light, and what that
composition cannot fail to recall a memory of light reveals to us is a straight street of humble,
Claude, but all else is changed. The tone of the clumsy cottages, too trim even to be picturesque,
picture has become luminous and fresh with the and redeemed from sheer ugliness only by the
freshness of morning, and the very pigment is scanty trees and hedges round them. The trees
handled in the way best calculated to suggest the have none of the grace of Corot’s slender birches
rustling of leaves, the shimmering of water, and and poplars, as the poor cottages have none of

398
FISHING BOATS ENTERING CALAIS HARBOUR, BY TURNER
IN THE COLLECTION OF MR. HENRY C. FRICK

recent Additions to the collection of mr. -henry c. Erick

PLATE I
I
LE LAC, BY COROT
IN THE COLLECTION OF MR. HENRY C. FRICK

RECENT ADDITIONS TO THE COLLECTION OF MR. HENRY C. FRICK

PLATE II
 Art in America
the majesty of Turner’s foaming billows and with the great wave of commercial and industrial
tossing ships. development and the rapid growing-up of large
Even when we come to the painting we have cities. If only for the reason that one can hardly
to confess that there is an immense gulf between feel the same intimate personal relation towards a
either the experienced mastery of Turner or the large as a small community—or at least, that it
tender accomplishment of Corot and the dry, must be a slow process for us to adapt ourselves
monotonous pats and spots out of which the as individuals to the new conditions and become
Rousseau picture is built. The neglect of Rousseau a working part of the living organism of our
by the French academic painters of his day is modern cities—the result of this sudden develop¬
never hard to understand, since to any artist ment in our activities has been to sever us as
trained to appreciation the achievement of great individuals from civic interest and duties. The
masters such as Titian, Velazquez, Rubens or enormous fortunes particularly have tended to
Rembrandt, such a method as that of Rousseau segregate their owners from their milieu. Our
would infallibly seem timid, disagreeable, childish. rich men became cosmopolitan, and quite naturally
Here we have no broad sweeps of succulent paint many of them sought for the distinction, so
as with Velazquez, no glowing expanses of easily within their reach, of becoming the patrons
luminous blues and browns as with Titian, no of eminent foreign artists whose names were
juicy depths of shadow as with Rembrandt, no famous in countries with established and respected
fluent sword-play of the brush as with Rubens, art standards and traditions. Nothing has so
but a method which at first sight recalls the much contributed to our emergence from this
niggling of an amateur. In what then does stage of our development as the fact that the
the supreme merit of Rousseau’s picture consist ? fashions of Europe have proved untrustworthy
The answer may be given in a single word. Its guides in such matters and that pictures famous
merit lies in its sincerity. When looking at the in their day, and bought at extraordinary prices
picture, we are overwhelmed by the feeling that have turned out in due time to prove of little
the place Rousseau has painted looked just so, financial or artistic value. The lesson has not been
that the funny little chimneys, the awkward trees, lost. Our present American collectors have profited
the scanty bushes, could we but go to Becquigny, by it. They know, to start with, that intelligent
are all to be found there, and that, could we gathering of pictures requires taste and culti¬
choose a day such as that on which the artist saw vation and not the indiscriminate following
it, the place itself would hardly be more real than of fashions of the day. Hence the great strides
the picture. By throwing to the winds all con¬ of recent years and the fact that all schools
ventional graces of composition and technique of ancient and modern art have now their lovers
Rousseau has caught the exact spirit of the and purchasers. From statements in the
scene, has re-created for us this homely French public press and current report in art circles
village, and has conveyed to us exactly the there really seems now to be a serious awakening of
sensation which the spectacle of life in such interest in American art. American painters and
a remote country place would convey to a sculptors of our day long believed, and not without
sensitive observer. To Titian or Rubens such reason, that collectors of modern work inclined
a thing might have seemed hardly a picture at to favour foreign to the exclusion of American
all; but it is a fragment of real life expressed artists. This has been strikingly true in the field
in paint, and in doing it Rousseau has achieved a of portraiture, where the importation of foreign
thing which almost all his successors have spent painters, rarely of the first or second rank and
their lives in trying to do, and have spent them often of no artistic rank whatever, had become a
in vain. C. J. Holmes. well established branch of commerce. But of
late—in what may be the fullness of time—there
have been, as we said, numerous indications of a
CURRENT EVENTS
change. The authorities of the most important
OUR history shows that there have been periods museums in the country and some public-spirited
when American artists did not lack in substantial citizens are planning to do and already have done
recognition and when indeed they were regarded much to encourage American art. Most notable
with the same pride and consideration as their instances were the gift to the nation of Mr. Charles
literary confreres, the Irvings, Bryants, Longfellows. E. Freer’s entire collection, rich above all in
The rich man of our older generations (and it is the Whistlers, and the presentation by Mr. William T.
rich who are patrons of art and leaders of taste) Evans of fifty paintings, all of them, with one
was as a rule a person of culture, who, living in a exception, by native artists, and most by living men.
small community, was an integral part of it and Both gifts are made to the Smithsonian Institution
an important factor in its everyday life. It was at Washington, which it is planned to make the
natural for him to recognize the merit and value future American National Gallery. The Corcoran
the associations with all distinguished men of his Gallery in the same city has purchased pictures
comparatively small world. But all this changed from the exhibition of contemporary American art
Art in America
which it was holding in February of this year, Of recent important additions to our private col¬
and the St. Louis Museum has acquired from Mr. lections of pictures must be noted with particular
La Farge his noble painting The Wolf Charmer. gratification the Madruzzo portraits added to the
To the Metropolitan Museum of New York one collection of Mr. James Stillman. These magni¬
of the trustees, Mr. George A. Hearn, has given an ficent portraits come from the collection Salvadori
endowment of over $125,000, the income of which at Trente. The Louvre, which had been coveting
is to be applied exclusively to the purchase of them for more than thirty years, was able to open
contemporary American paintings, with this pro¬ negotiations for their purchase some two or three
vision : that if any artist already represented in the years ago. A special envoy on his way to close
collection of twelve such works he has given the the affair was stopped when a few hours from
museum should paint a better picture than the Trente by a telegram stating that the paintings
one he has given, that better one can be purchased had been sold.2
and the other sold. Of these pictures Alden Weir’s The portraits, full-length, life-size and in
Green Bodice and Thayer’s Young Woman will admirable condition, represent Cardinal Cristoforo
undoubtedly remain among the museum treasures, Madruzzo, Prince-Bishop of Trente, by Titian,
and so will the three canvases by Winslow Homer, and his nephews Lodovico and Federigo Madruzzo.
Cannon Rock, Search Light and The Gulf Stream. It is sufficient to say that the pictures are of so
While it is beyond our scope even to catalogue rare a quality that Mr. de Tanzia and M. Georges
the evidence of this recognition of American art Lafenestre judged them worthy of a place on the
throughout the country, we must not fail to note line in the Salon Carre of the Louvre.
the recent acquisition by the Brooklyn Institute Mr. Havermeyer has .added to his collection a
of Arts and Sciences of an interesting full-length superb bust portrait by Ingres, of the period and
portrait by Whistler of Miss Florence Leyland} quality of the Madame de Senonncs, the painter’s
1 This is one of the several executed for this family, the father acknowledged masterpiece. The picture comes
Mr. F. R. Leyland, the mother and the daughter. Of Florence, from Corsica and the sitter was a Corsican in the
Whistler made an etching in dry point in 1873, as a young girl
with a hoop in her hand, and he also painted from her the full-
diplomatic service—charge d’affaires at Rome, we
length Blue Girl or Baby Leyland, three times commenced, once believe. This admirable portrait takes its place
completed and finally destroyed by the artist. Some studies of with, if it is not superior to, the best man portrait
it have been preserved. The Brooklyn portrait is supposed to
have been executed about 1877. After the death of Mr. Leyland
of Ingres, the Granet, Architecte, of the Museum of
in 1892, it became the properly of the sitter, who had married Aix.
Val Prinsep, and at the death of Val Prinsep in 1905 it was sold
to Messrs. Obach and Co., from whom it was purchased in April, 2 See the article by M. Georges Lafenestre in ‘ La Revue de
1906, by Mr. Augustus Healy, President of the Brooklyn l'Art et de la Curiosite,’ for May 10, 1907, with full-page repro¬
Institute. ductions of the portraits.

ART IN GERMANY c$v

THE GERMAN ‘SALONS’ OF THE which is extravagantly ‘ impressionistic ’ in the
YEAR 1907 sense here referred to—viz., that of a ruthlessly
There are only about 275 paintings and less than rough-and-ready workmanship. The ten Van
fifty sculptures at the thirteenth exhibition of the Goghs were at least well selected, and even an
Secession at Berlin, yet it seems to me to be the untrained eye could ascertain ihe aim of this art,
best and the most important of all the many with though many a trained one will be far from
which we are blessed this summer. Most of the conceding that it has been reached. But now, as
older Secessionists have become classics by this before, the canvases of Munch fail to persuade
time. They have won all along the line, and even me ; these wildly-hued algae do not at any angle
the state and royalty recognize them as the true or at any distance even faintly suggest trees, nor
leaders in art; to them public tasks are entrusted, has the character of the particular artistic phase to
and upon them the highest distinctions have which they are meant to furnish the key become
been conferred. Alluding to this circumstance, a with time any plainer than it was at the beginning.
short introduction to the catalogue explains that Similarly, a number of landscapes by Heine Rath,
naturally the outward face of these exhibitions H. Nauen, von Brockhusen, M. Sterne (Paris) ; of
has changed. They are less international than portraits by Tewes, Cuno Amiet, H. Maurer, the
they were, for such of the foreign ideals as Beergarden by Miss Flatow, the Lady at a Table
have stood the test of time have in the meanwhile by Nolde, and the scarcely serious nude studies
been accepted as home ideals ; and the ‘ impres¬ by J. Puy (Paris) seem to me to be playing
sionistic school no longer shows up to the same nothing but their crude facture—as the French
degree as formerly, since we have brought it to do call it—for a winning card, in the hopes of over¬
for our artists what was necessary.’ awing us into silence. In the work of Max
This statement must be accepted with some Beckmann (A Crucifixion, Nude man and woman)
reserve. Passing through these nine halls, we there is a lamentable lack of taste superadded
still come across a pretty liberal amount of work which would not be tolerated in any country but
THE VILLAGE OF BECQUIGNY, BY TH. ROUSSEAU
IN THE COLLECTION OF MR. HENRY C. FRICK
 Art in Germany
Germany. It is easy to admit the great amount uncommon taste as regards the choice of colours
of talent and forceful energy apparent in such that go well together, and a delightful Thoma,
work, but it is not easy to see why such almost with his incomparable Italian-azure sky, should
morbid abrogation of refinement should be a not be forgotten.
requisite, let alone an object. To celebrate their president’s sixtieth birthday,
Portraiture and still life are two branches of the Secession arranged a special Liebermann
painting which have always received special exhibition in one of the rooms. The nineteen
attention at the hands of the Berlin Secession ; canvases were excellently selected to display the
the output this year is again excellent. In still steady development and increase of this artist’s
life Emil R. Weiss (Nuts and Fruit), Ernst Oppler, painter-like qualities. There are one or two early
F. Rhein, Alice Triibner (Doll wider a Glass Cover), pictures like the Woman Darning of the year
Rob. Breyer (Japanese Articles), further H. Hiibner 1880 ; then some of the grayish, plein air pieces of
(Tulips), H. Schlittgen, L. Stutz, P. Klein (both the beginning of the nineties, not unlike von
of these flowers), and the late Ch. Schuch Uhde’s work of the same time. The rather wild
head the list. Among the portraits some by period when he attempted a new Belgian style
Linde-Walther, Luc Simon (Paris), E. R. Weiss, a la Courtens, but had not quite mastered it, is not
Werenskiold, Dora Hitz, deserve a word of lively represented. The remaining work is all of the
praise, while others call for more attention. best, being examples of success in the various
B. Pankok's portrait of a lady sitting is extremely styles that he passed through in his steady search
piquant in coloration. She is a dark, almost for the essence of pure paintership. Such pictures
swarthy, brunette, in a marvellous grey velvet as the Horses in the Water, painted in 1902, are
tight-fitting dress, with a bewitching touch of lilac really about as close an approach to a solution of
at the collar, of blue at the upturned facings of the the problems involved as an artist can hope to
sleeve, and of brown in the purse which she holds, attain. There is a perfect harmony of subject
all this being finely relieved by the line of the and object, enough of nature to satisfy any fair
old oaken chair. There is not a particle of claims, and enough of the artist’s personal will to
Japanese reminiscence in the arrangement, but it make the conception interesting, enough mani¬
speaks of a similar keen joy in colour symphonies. festation of a spirited technique to engage our
Count Kalckreuth’s Portrait of himself and of interest without totally engrossing it.
Senior D. Belirmann belong to the kind that At the Grosse Berliner Ausstellung (Lehrter
improve upon acquaintance. The sureness of Bahnhof) the immense amount of objects shown
draughtsmanship and the sagacity with which the and the huge extent of the place are rather more
character of the sitter is convincingly interpreted oppressive than last time: one feels weary and
strike us at the very first view. But the coloration, helpless, after a very short while, and setting aside
though it recognizes the low tones characteristic the ‘ special attractions ' the standard of excellency
of interiors, is somewhat spiritless ; it might attained, by the paintings at least, is this year not
be likened to the voice of a brilliant singer when as high as it has been the two preceding years.
indisposed. E. Orlik’s double portraits of two The exhibition is mildly international, with just a
girls, which he calls The Two Friends, is extremely sprinkling of foreign pictures here and there,
interesting. Ever since his fourteen months' stay barely enough (except in the Scandinavian and
in Japan, Orlik has tried to find some way of the portrait rooms) to be noticed. The general
blending the Oriental taste with the Occidental ; in arrangement of the building has been left unaltered,
other words, has tried to see whether there might the huge so-called ‘ Blue Hall,’ stretching almost
not be some way of infusing that peculiar refined across the palace and reserved for statuary, having
and self-conscious feeling into European pro¬ been retained. In it a number of exceptionally
ductions without making them look like mere striking figures by Lederer, most of them for the
imitations. He is gradually coming nearer and masonry ground-work of his huge Bismarkstatue
nearer to this goal. The present picture has the at Hamburg, rivet our attention.
wonderful delicacy of enamel unattended by in¬ The ‘specialities' begin immediately as you
sipid effeminacy. The gamut of coloration is enter to the right with a large hall reserved for a
very light, and the modelling, with scarcely any display of portraits. There are a few old specimens,
shadows visible, a marvel of skill. The combina¬ a Hogarth replica, a Reynolds, a Raeburn, a
tion of colours is pleasingly quaint, and that Romney, Van Dyck, Cosway, Ang. Kauffmann,
rare faculty of rushing an extraneous touch of Makart, Courbet, and a Canon. About sixty
strong colour into a harmony of hues tuned to a further portraits are by living masters, and many
different key, without ruining them, is in evidence. of them very fascinating. Steinhausen of Frank¬
W. Triibner is this year not quite as attractive fort sent a beautiful mild picture of his wife,
as usual, but another of the principal props of the Thoma an excellent one of Steinhausen as a young
Secession, W. Leistikow, has contributed capital man, dark and passionate like the work of an old
landscapes. An excellent bit of ‘ interior ’ painting master. The Frau Ullmann by Tooroop, Bantzer’s
by E. Spiro, called The Courtesan, showing portrait of his wife, and the marvellous Mine.Rejane
Art in Germany
by Besnard (belonging to the pianist E. Sauer) however, here as well as ever. C. Langhammer,
have been frequently seen before in German the pastedist and colour monotypist, combined
exhibitions, but are always welcome. Other with the sculptor, M. Schauss, to fill another room.
striking works are Mr. linages by Groeber, Mrs. Fritz Burger displays about twenty-five portraits in
Hitchcock, built up on a fine undertone of steel- a third. He is always elegant, never poor, but
blue, by G. Melchers, C. Blos's portrait of himself, rather inclined to turn into the typical portraitist
two old ladies by R. Bacher. A large number of of fashionable society.
rooms show examples of interior house decoration This exhibition likewise contains a number of
by Bruno Paul and others. A good deal of very fine still life pictures ; Zwintscher of Dresden,
this has been bodily tiansplanted from last year's H. Looschen and K. Kappstein of Berlin, and
Dresden show, and excites considerable interest R. P. Junghanns are the authors of four of them.
here, especially now that Paul has become director Among the mass of other work The Red Tea Set
of the Berlin School of Applied Art. This series by Sharbina, and some landscapes by Rich. Kaiser
of rooms includes an interesting display of new are all that I have space to mention.
ceramic work by the Royal Charlottenburg-Berlin The Secession at Munich enters the ring with
factory, which likewise has now a Munich man as an advantage over all its rivals, as it is housed
director in the person of Mr. Schmuz-Baudiss. in the finest building of them all. The exhibition
Two other special features are the very full palace at the Konigsplatz represents architecture
exhibit of recent German medals and plaquettes, as an art and is not only a building roughly
and the display of architectural designs. To this answering practical ends. The show is very small,
latter the Prussian Government has contributed about two hundred pictures, eighty sculptures and
numerous extremely interesting items, embracing a dozen or so of works in black-and-white. Thus it
the plans,etc., of theatres, court houses, government was possible to hang the exhibits beautifully, and
buildings, bridges, etc., which have been erected in the first impression of this show is, perhaps, the
various parts of the kingdom during the past decade. best to be gathered at present throughout Germany.
The cost of construction and other practical infor¬ There are some few foreign works—just enough
mation accompany these models, views and plans. to keep up the Secession’s old reputation of large-
The Black-and-White Exhibition occupies mindednessas regards the admission of strangers—
twelve smaller rooms this time and has been and there is nothing inferior, likewise nothing
excellently selected as well as hung by Mr. overwhelming, to be seen there. Even the eccen¬
Kappstein. Delicate etchings by Gold of Vienna, tricities of the Berlin Secession show are missing.
clever woodcuts by Fritz Lang of Stuttgart, the The clou of the exhibition is certainly the work
surprising splatter and stencil work by Jungnichel, of Ludwig Schmid-Reutte, who seems to me to
and the powerful, broad craft of Boehle, who has have attained some of the aims which the famous
a touch of Durerian seriousness about his work, H. von Marees had in mind. His theme is the
are the principal things to be seen here. nude human body, which he treats with a breadth
Three rooms are consecrated to a show of and superiority of mind most rare. He is striking
Danish paintings. There is a conscious, not at all without being far-fetched, and he is heroic without
naive, quietness about the work of the school. Of being inflated. His forceful, broad brushwork
late we have been treated to so much that is and the sombre, brown coloration are truly
riotously sensational; the newest departure seems monumental. Above all he is, if I am right, about
to be, in Denmark at least, to be sensationally the only man among our painters who can present
quiet. Scarcely anything occurs or is told by us with pictures of nothing but the nude without
these pictures : interiors without any figures, or seeming strained. The idea—what reason has he for
bits of ground—one can scarcely call them land¬ painting these people naked ?—which forces itself
scapes—also unenlivened by figures prevail, and upon one even when looking at Hodler’s works,
there is much still life. From problems of colour does not arise in one when looking at the Cruci¬
the artists seem again to have turned to problems fixion, At the Crossway and Resting Fugitives.
of drawing. You have to settle down to long and Schmid-Reutte has contributed some fine black-
serious inspection in these rooms—there is nothing and-white cartoon-sketches of these same designs,
that strikes you at first sight in them—but then which display an unusually powerful outline.
many of the delicacies grow to be realities to you. The figures are boldly circumscribed with a
The Lehrter Bahnhof exhibition embraces also contour that reminds one of the leadings in
a few one-man shows. Room 41 is devoted to the stained glass windows, minus their constraint.
work of the new president of the Berlin Academy, Stuck, the Secession’s ‘strong card,' has contri¬
Arthur Kampf. Ivampf was well represented at buted four canvases. The largest one, Hades, seems
the Academy exhibition in Berlin in January, and to me pretty well subject to the same adverse
that may explain why this second display within criticism that greeted Sir Thomas Lawrence’s Satan
so short a time in the same town is not quite so when that failure appeared. Stuck’s Crucifixion
strong as one would have expected. His ad¬ is a wonderful bit of colour, but colour on the
mirable powers as a draughtsman are apparent, rampage, so to speak. As Tooroop used to fondle

408
 Art in Germany
and play with line even to trifling, so Stuck seems out work which impresses one as destined to per¬
to me to trifle with colour. It is pretty and petual admiration. Even here the personality,
effective enough, but then it seems to lack serious¬ far raised above his fellow-labourers, is con¬
ness. Stack’s portrait of the Grand-Duke of Hesse spicuously absent. Unless it be Fritz Erler, there
is the best favoured of his this year's output. There is not a man, among the many hundred whose
is a bit of wilful quaintness in it, but it is a very work in its multiplicity on these walls dazes you,
lively representation of character, and he succeeds of whom you are willing to hope that he will be
in making the portrait fascinating. remembered after fifty or a hundred years. Erler’s
There is an excellent Sharbina here too, a Lady original designs for The Seasons, the mural paint¬
in a yellow Saloon, which has been bought for the ings executed by him at Wiesbaden, are striking
Munich gallery. Hans Borchardt and Ernst enough indeed. The coloration, joyously light,
Oppler have sent fine low-toned Interiors as usual, full of strong contrasts of bright but matte hues,
H. Hiibner an excellent still life picture. Trubner’s recalls the gayest of late Renaissance fresco-
Equestrian Portraits are getting rather too numerous decoration as far as effectiveness goes.
of late—-there are three at this show alone. They The Summer is especially fine, a symphony in
begin to grow mannered, and there is an unpleasing citron, gray and black ; the effect of the negro’s
undertone of asphalt in the coloration : besides, profile, cut clear against a gray sky, is a thing not
the horses seem to have engaged more of the soon to be forgotten.
painter’s attention than the real sitters. The four huge pictures are hung in a hall by
A few more pictures which seem to me especially themselves. There are four more one-man shows
worthy of notice are : E. Spiro’s portraits of an Old included in this exhibition. The one of Fritz
Lady and Laughing Lady ivitli a Dog on a Lounge ; August Kaulbach’s portraits is disappointing. A
a good Robert Haug ; Drinking Breton Peasants by couple of years ago he was, at least, fresh and
Helene Beckerath, in the style of Cottet but more pleasing, if not truly original ; but now there is
robust—or shall I say uncouth? ; a fine landscape too much of one and the same insipid tone of
by Paterson ; Mother and Child by Viggo polite gentility in all his portraits, and the
Johansen, quite like all the recent Copenhagen reminiscences of Lenbach here and there are not
work, without contrasts, without ‘ symphonies,’ prepossessing. The etchings of the late Wilhelm
and but for the fact that ‘ atmosphere ’ is painted Rohr, being in the main reproductions of other
along with it, for all the world like the genre men’s work, or at least in the character of
pictures of 1830-1850 ; a good Male portrait by reproductive etchings when they are not, do not
R. Beryer ; the rather rough-and-ready, but command especial interest. The exhibition of
effective, railway pictures by Pleuer ; and a fine his life-work is a fit tribute to the memory of an
marble group, Maternal Felicity, by Fassnacht. estimable man and respectable artist, but is not an
The Jahresausstellung, 1907, at the Glaspalast event of prime importance. The work of the two
in Munich is about as huge as the one at the late Munich academicians, Wilhelm von Diez and
Lehrter Bahnhof in Berlin, but decidedly less Edmund Harburger, is more serious. Harburger
interesting. I should say it possesses all the faults was best known through his almost life-long
of management that are possible in a case of this connexion with the ‘ Fliegende Blatter.’ His
kind. No less than eighteen distinct artists' drawings of Bavarian peasants were personal to
societies—the Society of Scottish Artists, and the the core and wonderful feats of humorous charac¬
‘ Glasgow Boys ’ among them—have been allowed terization ; many of the original cartoons are to
their own jury and separate room or rooms. be seen here. His work in oils is scarcely equally
Consequently the selection has been pretty much interesting. Painting, brushwork as a craft, on
a matter of give and take, and the disposition of the other hand, was distinctly the forte of Wilhelm
the whole show is as confused as possible. Any von Diez, and it kept him from being common¬
one who should, for instance, try to get an place. For his choice of subject and the feeling
impression of the black-and-white department in which he put into his workwere slightly antiquated.
a hurry would soon be driven distracted : he has Like Meissomer, he chose genre subjects from
to hunt around for things to such an extent. bygone days, and was always on the verge of
Everywhere the tight grip of a single governing turning out an ‘ historical falsehood,’ and, like
hand may be found missing. Meissonier, he limited himself to work on a small
Among the artists’ groups the one called the scale. Like him, too, it is by means of his
‘ Scholle ' of Munich appears to me to show up fadure that he attaches more than the interest
by far the best. The members have cooled down of an old costume or a flat joke to his pictures.
somewhat and relinquished the extravagances Just as in the great Berlin show, I do not mean
with which they made their debut some years ago. to deny the presence of many an interesting and
What they have ‘boiled down ’ to now is Munich good picture in this big Munich sister affair.
art at its best—distinctly local and earth-bound, There are many that I should be well satisfied to
clever and well in with the trend of the times. possess. But in a short account like this I am
However, not even one of their members turns going on general impressions and deem only
Art in Germany
things rather out of the common worthy of Brown, Greiffenhagen, W. Crane, G. Sauter, etc.,
notice. by landscapes and subject pictures.
The exhibition at Mannheim celebrates the The success of the Dresden 1906 exhibition has
tercentenary of the foundation of the city, and brought it about that Mannheim likewise includes
likewise its rehabilitation, after an interval of about about twenty examples of house decoration in its
one hundred years, as one among the number of scheme. Among them those by Bermann (Munich),
art centres. The building provided was designed and especially those sent by Viennese, are again
by the Karlsruhe architect, Billing, and will, at rather trying and very aggressively ‘ modern.’
the close of the exhibition, be installed as the Fine Prof. Behrens’s large saloon is stern but not un¬
Art Museum. It does not depend upon its orna¬ pleasing. It serves, here, as a set-off to some
mentation, but rather upon its simple outlines and excellent sculpture by B. Hoetger, A. Malloil,etc., of
excellent proportions for its effect. The entire Paris. Five of these rooms contain 'one-man shows'
management of the exhibition was entrusted to of the work of Cottet, the late Evenepoel, Khnopff,
Prof. L. Dill, of Karlsruhe, there being no jury to F. Stuck, and the sculptor, H. Hahn. A sixth is
dispute his decision, except in the case of living devoted to Japanese applied art and woodcuts.
artists of Baden. His aim was to collect an Among the single works that seem to me to
international show, displaying, as far as he could deserve special mention there are the Portrait of
manage, the important departures of these last few a Lady in White, by W. Georgi, happy in the pose
years’ art. Of course, some important names are and fresh in the brushwork; Hierl-Deronco’s
missing, in spite of the endeavours to make the Diana, and H. Hanner’s portrait of his little sister,
show representative. A greater percentage of the with much of the charm that a Boutet de Monvel
exhibits than anywhere else are not for sale, and water-colour portrait possesses.
have been loaned by collectors. Among the This year’s exhibition at Cologne is not of an
lenders we find the Victoria and Albert Museum. equal importance with those already discussed,
(It is a matter worthy of note how often German but there are some interesting features in the
museums as well as English have loaned some of programme. According to it the various depart¬
their treasures across the Channel to ordinary ments of the exhibition are to be housed in the
exhibitions within the last three years). There ‘Flora,’ the ‘ Orangerie ’ and the ‘ Rosenhof.’ A
are proportionately fewer unimportant works (and number of interior house decorations by B. Paul,
none wholly devoid of interest) among the 250 odd R. A. Schroder, J. M. Olbrich, P. L. Troost,
pieces of sculpture and about 600 paintings than L. Paffendorf, Niemeyer, K. Bertsch and the
there are in the bigger shows at Berlin and Viennese Werkstaetten were intended to run
Munich. through the whole season, whereas separate shows
The Munich school is represented best, and of (1) jewellery and fans, (2) Viennese architectural
among the foreigners the French, whom Dill designs (Prof. O. Wagner), (3) lace, embroidery,
collected personally. He managed to secure, etc., (4) amateur photographs, (5) posters,
among others, works by Blanche, Cottet, Courbet, (6) modern reform costumes, (7) end papers and
Dethomas, Denis, Gericault, Van Gogh, Manet, cards, (8) goldsmiths’ work, (9) the art of setting
H. Martin, Menard, Monet, Pissarro, Renoir, a table, (10) stage scenery, are to follow upon one
T. Roussel, Serusier, Luc Simon, Sisley, G. La another, each to last two to four weeks. This
Touche, and Vuillard. The British paintings variation from the usual German plan of keeping
were brought together by Prof. Hellwag; Lavery an exhibition set and fast for the space of five
is represented by three pictures (The Hammock months or more is good enough ; but, of course, if
among them), Strang by Darleith and three others, the show were to be on anything like a large scale
Whistler by Mr. Studd’s Girl in White, Nicholson the expenses would be enormously increased
by Miss Alexander, Brangwyn, East, Austen thereby. H. W. S.

410
 GENERAL INDEX TO VOLUME XI rfv
Academy, The Royal, 4 Apt Books—contd.
Theory, or the Graphic Muse by Reynolds, at, 114
compared with the New English Art Club, 204 ‘ Leonardo Da Vinci. Thoughts on Art and Life.’ Trans¬
architecture at, 205 lated by Maurice Baring, 54
Agrippina, portrait bust of, in British Museum, 99 ; illustrated, 101 ‘ Le Couvent de St. Jean A Munster dans les Grisons,
coin struck in memory of ; illustrated, 10 Joseph Zemp, 54
Aix-la-Chapellc, The Suermondt Museum at, 260 ‘ Manuale d’Arte Decorativa. Antica c Moderna,’ Alfredo
recent acquisitions by, 260 Melani, 120
Ambrogio da Predis : ‘ Manchester Sketches,’ Frank Lambert, 121
a portrait of Bianca Maria Sforza, by, 130 ; illustrated, 125 ‘ Michelangelo,’ Fritz Knapp, 255
America, Art in, 58-62, 129-132, 199, 200, 339-342, 397-403 ‘ Moderne Kultur.’ Dr. E. Heyck and others, 333
American collecting, the progress of, 203 ‘New College, Oxford,’ engraved by Emery Walker from a
Architecture : pen drawing by Edmund Hort New, 334
the new Regent quadrant, 65 ‘ Notable pictures in Rome,’ Edith Harwood, 333
its relation to commerce, 65-66 ‘Old Church Plate of the Isle of Man,’ E. Alfred Jones, 254
stage architecture, its relation to sculpture, no ‘ Oxford Historical Pageant; The Book of Words,’ 257
at the Royal Academy, 205 ‘ Perugino,’ Edward Hutton, 119
criticism of, 345 ‘ Pictures and their Value,’ 258
see also under Leadwork, Spires, etc. ‘Plate of the Diocese of Bangor, The,’ E. Alfred Jones,
52
‘Poems by Wordsworth.’ Selected, with an Introduction,
by Stopford Brooke. Illustrated by Edmund H. New,
Art Books: 192
‘Alfred Stevens et son CEuvre,’ Camille Lemonnier, 118 ‘Practical Wood Carving,’ Eleanor Rowe, 119
‘ Alhambra, The, with a particular account of the Moham¬ ‘ Quelques points obscurs de la Vie des Freres Van Eyck,
medan Architecture and Decoration,’ A. F. Calvert, 253 Joseph Coenen,331
‘Amsterdam, Original Drawings of the Dutch and Flemish ‘ Roman Picture Galleries,’ Alice Robertson, 51
School in the Print Room of the State Room at, 119 ‘ Raphael in Rome,’ Mrs. Henry Ady, 256
* Antiquites Cretoises, premiere serie.’ Plates by G. ‘ Recollections of a Humorist Grave and Gay,’ Arthur
Maraghiannis. Text by L. Pernier and G. Karo, 392 William a Beckett, 334
Art of the Dresden Gallery, The,’ Julia de W. Addison, 51 ‘ Reproductions from Illuminated Manuscripts in the British
1 Beechey, Sir William, R. A,, W. Roberls, 382 Museum,’ Series I, 53
‘Behind the Veil.’ Ethel Rolf Wheeler. Illustrated by ‘ Riquet a la Houppe,’ Eragny Press, 258
Austin O. Spare, 54 ‘Rubaiyat of Omar Khayyam.’ Translated by Edward
‘ Brasses of England, The,’ Herbert W. Macklin, 119 FitzGerald. Introduction by Joseph Jacobs. Designs
‘Burne-Jones Sir Edward,' second series, Newnes’ Art by Frank Brangwyn, 121
Library, 256 ‘Studien Aus Kunst Geschichte,’ Friedrich Schneider, 120
1 Colour of London, Historic, Personal and Local, The.’ * Saint George: Champion of Christendom and Patron
W. J. Loftie, F.S.A. Illustrated by Yoshio Markino.257 Saint of England,’ E. O. Gordon, 334
‘ Common Greek Coins, Vol. I,’ Rev. A. W. Hands, 255 ‘ Sign of the Cross in Western Liturgies, The,’ The Rev.
‘Coreggio. Des Meisters Gemalde im 196 Abbildungen. Ernest Beresford-Cooke, Alcuin Club Tracts VII, 121
Herausgegeben von Georg Gronau,’ 191 ‘ Society of Artists of Great Britain, The, 1760-1791. The
‘ Costume : Fanciful, Historical and Theatrical.’ Compiled Free Society of Artists, 1761-1783,’ Algernon Graves,
by Mrs. Aria. Illustrated by Percy Anderson, 12 r F.S.A., 251
‘Die Galerien Europas,’ Heften X-XIV, 51 ‘ Tapisseries et Sculptures Bruxelloises,’ Joseph Destree.
‘ Discoveries in Crete and their Bearing on the History of 48
Ancient Civilisation,’ Ronald N. Burrows, 392 ‘Tableaux Inedits ou Peu Connus. Tir&s de Collections
‘ Diirer,’ Dr. Valentine Scherer, 255 Frangaises. ’ Salomon Reinach, 50
‘ Edwardian Inventories for Huntingdonshire, The.’ Edited ‘Thames from Chelsea to the Nore, The.’ Drawn by T. R.
by Mrs. S. C. Lomas, 53 Way. Text by W. G. Bell, 120
‘ Edinburgh Parthenon, The, and the Scottish National ‘Tizian,’ Dr. Oskar Fischel, 255
Gallery,’ William Mitchell, S.S.C., 191 ‘ Torokorsagi Levelei,’ Zagoni Mikes Kelemen, 333
‘ English Furniture Designers of the Eighteenth Century,’ ‘ Unveroffentlichte Gemalde Alter Meister aus dem Besitze
Constance Simon, 192 des Bayerischen Staates,’ Herausgegeben von Dr.
‘ Essentials in Architecture,' John Belcher, A.R.A., 254 Ernst Bassermann-Jordan, 51
‘ Fernand Khnopff,’ L. Dumont-Wilden, 50 ‘ Urs Graf. Ein Beitrag zur Geschichte der Gold-Schmiede-
‘ Florentine Galleries,’ Maud Cruttwell, 191 kunst im xvi Jahrhundert,' Emil Major, 52
‘ French Furniture,’ Andre Saglio, 255 ‘ Van Dyck,’ Lionel Cust, 50
‘ Frescoes in the Chapel at Eton College.’ Facsimiles by ‘ Venice.’ Beryl de Selincourt and May Sturge Henderson.
R. H. Essex, with explanatory notes by Montague Illustrated by Reginald Barratt, A.R.W.S., 192
Rhodes James, Litt.D., 394 ‘Venice: Its Individual Growth, from the Earliest Begin¬
‘ Furniture, Old English,’ G. Owen Wheeler, 394 nings to the Fall of the Republic. The Middle Ages.'
‘ Gemalde Alter Meister ; im Besitze seiner Majestat des Pompeo Molmenti. Translated by Horatio Brown, 256
deutschen Kaisers.’ Parts XIII—XVIII, 51 ‘ Watteau, Antoine.” Claude Phillips, 256
Parts XX—XXIV, 332 ‘Watts, Landscapes of George Frederick, The,' Walter
‘ Glass, China, Silver,' Frans Coenen, 255 Bayes, 255
‘ Handbuch der Kunstgeschichte. i : Das Altertum. Catalogues, etc., 55, I2r, 193
A. Springer, 250 Art market, The trend of the, 135, 136
‘ History of Modern Painting, The,’ Richard Muther, 252 Art Publications, Recent, 122, 123, 192, 193/258 259, 395-397
‘ History of Painting, The.’ Richard Muther, Pli.D. Trans¬ Art sales
lated by George Kriehn, Ph.D., 253 in America, 62
“‘John Inglesant,” Drawings illustrative of, ’ Lady Jane in France, 56, 123, 193-198
Lindsay, 54. in Germany, 124, 129, 260
‘ L’Art Mosan depuis l'Introduction du Christianisme jusqu’
a la Fin du XVIID siecle.’ Jules Helbig, 249
‘ Land of the Mountains, The (Tyrol),’ W. A. Baillie- Bacon, Sir Nathaniel, xvi-xvii cent. English painter :
Grohman, 257 his identity, 236, 241
‘ L’Ecole Beige de Peinture, 1830-1905.’ Camille Lemon¬ Portrait of Himself, 241 ; illustrated, 237
nier, 49 Another, 241 ; illustrated, 237
‘Le Genre Satiiique Dans la Peinture Flamande,’ L. The Artist’s Mother, by, 241
Maeterlinck, 49 The Cook Maid by, 241
General Index to Volume XI
Bandinelli, Baccio, male torso, by, 189 Ceramics
Barcelona origin of, 22-23
altar-piece of the Constable Pedro of Portugal at, 112 examples illustrated, 17, 20
Basel Museum Rakka pottery, 83
works by Konrit Witz, at, 103 Rhodian ware, 222
Beechey, Sir William Kutahian ware, 222
Brother and Sister, by, 143 Lustre, 224, 391
Bellini Gentile, Miniature by, found at Constantinople, 115-116 wall tiles, Egyptian, 224
Berlin, Royal Print Room at, 58 see also under Majolica
Blake, William Chantrey Fund, The, 67, 204
engraving after Reynolds, by, 113-115 ; illustrated, 11 3 Chardin
his relations with Prince Hoare, 113 Works by, in the Whitechapel exhibition, 96
Bocklin, 346 'The Woman with a Frying Pan, by, 96 ; illustrated, 64
Bonington, R. P., pictures attributed to, 197 A Man making Wine, by, 247 ; illustrated, 246
The Abbey ofS. Bertin, by, 384 ; illustrated, 385 exhibition of works by, in Paris, 263
Book cyphers of Henri II, 242 Chartres
Bosse, Abraham, Treatise on engraving revised by Cochin, stained glass at, 173-175
390, 39i China
Bouts, Dierick, xv cent. Flemish painter colour printing in, 31
Madonna and Child attributed to, 392 its relation to Japanese prints, 32
British Museum see also under Ceramics
portrait bust of Agrippina at 91 ; illustrated, 101 Chirk Castle, sec tinder Ceramics
wax model attributed to Michelangelo at, 189; illustrated, Claude
186 compared with Corot, 226
male torso attributed to Baccio Bandinelli at, 189 limited nature of his appeal, 267
drawings by Claude in, 272, 275-314 his failings, 267
Bronzes compared with Rembrandt, 267, 370
from Herculaneum, 149-156 his charm, 268
Head of Dionysus, 155 ; illustrated, 145 his drawings, 272
Archaic Apollo, 155 ; illustrated, 157 Landscape Study, by, 275 ; illustrated, 266
Bronze Horse, illustrated, 151 View of a Town, by, illustrated, 269
Bust of (?) Sappho ; illustrated, 148 Landscape Study, by, illustrated, 273
Bruges Sunset, by, illustrated, 277
exhibition of the * Golden Fleece’ at, 117, 315 Study of Shipping, by, 276 ; illustrated, 281
Budapest Museum, 45 Study of Hills and trees, by, 276 ; illustrated, 284
representation of foreign art at, 46 The Arch of Constantine, by, 276; illustrated, 285
Burlington Fine Arts Club Study of Sunlit Trees, by, 279 ; illustrated, 288
exhibition of Persian pottery at, 83, 222-226 A Garden at Sunset, by, 279 ; illustrated, 289
Burlington House, The, see under Academy, The Royal A Windy Evening, by, 279 ; illustrated, 289
Bury St. Edmunds A Tree in the River at Tivoli, by, 279 ; illustrated, 292
pageant at, 117 A Road between High Banks, by, 280 ; illustrated, 292
Butler, A, J., Letter from re the ceramic art of the near East, 392 Study of Rocks and Trees, by, 280 ; illustrated, 293
Landscape Study, by, 280 ; illustrated, 296
A Tower on the Coast, by, 280 ; illustrated, 299
View of Tivoli, by, 280 ; illustrated, 302
The Tiber above Rome, by, 297 ; illustrated, 303
Callow, Mr. William Nocturne, by, 297 ; illustrated, 306
water colours by, 159 Rapid Study of Trees, by, 297 ; illustrated, 307
the water colour method of, 160, 161 Landscape Composition, by, 297; illustrated, 310
Cameron, D. Y., contemporary artist Landscape Composition, by, 297 ; illustrated, 311
water colours by, 159 The Tower of Babel, by, 298 ; illustrated, 314.
Campanile of S. Mark’s, rebuilding of, 248 Clough, G. T., letter from, re the Florentine temperament and
Campanili, Roman, their origin, 209 the Strozzi marriages, 190
their characteristics, 210 Colour printing in China and Japan, 31, 32
decorations on, 211, 212 Colvin, Sidney, letter from, re a new book on the Pollaiuoli, 249
examples illustrated, 209-212 Constable, pictures attributed to, 194, 197, 226
see also under Spires Copley, J. S.
Campin, Robert, xv cent. Flemish painter, 244 a pastel by, 58 ; illustrated, 44
his apprentices, 244 Corot
Candlesticks, silver, in possession of Lord Mostyn, 77 ; illus¬ compared with Claude, 226:
trated, 75 Evening on the Lake, by, 226 ; illustrated, 202
Cano, Alonzo, xvii cent. Spanish painter, 320 Le Lac, by, 398 ; illustrated, 402
Altar piece, by, 318 ; illustrated, 321
Assumption of the Virgin, by, illustrated, 321
Canterbury, stained glass at, 172-176
Cassone Fronts, 131-132
The Visit of the Queen of Sheba to Solomon, 131 ; illustrated, Daret, James, xv cent, Flemish painter, 244
128 apprenticed to Robert Campin, 247
The Voyage of Aeneas, 131 ; illustrated, 128 Daubigny, xix cent. French painter
Cataloguing, the right and the wrong system of, 182-183 La Moissou, by, 197
Catalogues Version of The Cottage by F. W. Watts, by, 226
Annotations to Catalogues of Mezzotints, by MacArdell Denmark, the painters of, at the Guildhall, 82-83
and Valentine Green, 183-188 De Vos, xvii cent. Flemish painter, 40
Ceramics Diane de Poitiers
early ‘ Persian ’ bowl and ‘ Rice-grain ’ ware, 83-89 ; book cyphers of, 243
examples illustrated, 85 Dresden, Mezzotints by MacArdell and Valentine Green at,
Gombroon ware, 83, 84, 89 ; illustrated, 85 182-188
Chinese porcelain and the rice-grain ornaments, 89 loan of pictures at, 198
slip decorated dishes from Chirk Castle, 16-23 Dutch artists, how they sold their work, 357-369
descriptive list of, 21 agreements made by, 358

412
 General Index to Volume XI
Dutch artists Ghirlandajo
commissions given to, 359 his relations with Michelangelo, 235
auctions held by, 364 Gilds, their effect on the sale of pictures, 364
sales held in public halls by, 364 ; illustrated, 362, 365 Gibbons, Grinling, his English nationality, 164
prices commanded by, 369 Giorgione, his connexion with Palma, 189
Girtin, paper used by, 161
Glass, see under Stained Glass
‘ Golden Fleece,’ The Order of
East, Alfred, contemporary painter, 81
exhibition at Bruges, 117, 315
A Winter's Dawn by, 81; illustrated, 79 origin of the order, 315
Eckersberg, xix cent. Danish artist, 82
habit of, 315, 316
Egypt
Gombroon ware, 83, 84, 89
ceramic art in, 221-226 example illustrated, 85
Nasir-i-Khusrau’s visit to, 84, 223-224 Goya, black and white work by, 58
Embroidery prints by, 124
so-called ■ Jumna* embroideries, 32 Green, Valentine, engravings by, at Dresden, 182
classification of, 32-39 ; examples illustrated, 35, 38 Annotations to Dr. Whitman's catalogue of, 183-188
conventional character of, 33
Guardi, Francesco, 247
colour schemes in, 34 his relations with Tiepolo, 248
Eastern influences, 34 Guildhall, exhibition of Danish art at, 82
Elizabethan embroidery, 326-338 ; illustrated, 329 Guiscard, Robert, 210
Enamels his raid on Rome, 210, 352
essential character of, 373
origin of, 374, 375
Engravings Hals, portrait of a young man by, 2 ; illustrated, 1
examples by William Blake, 113 The Lady with a Rose, by, 129 ; illustrated, 125
Bosse’s treatise on, 390 Hammershoi, contemporary Danish artist, 82
Cochin’s revision of, 391 Harp, silver, in possession of Lord Mostyn, 68 ; illustrated, 69
Ewers, silver, in possession of Lord Mostyn, 73 ; illustrated, 69 Henry II
Etty, pictures in Sedelmeyer collection, 194 book cyphers of, 243
Exhibitions, contemporary, 3-13 his relations with Diane de Poitiers, 243, 244
in Paris, 56, 123, 198, 263 Herculaneum, excavations at, 144-156
in Berlin, 404 theatre at, 149; bronzes from, see Bronzes
in Leipzig, 57, 199 Hoare, Prince, 113
in Pennsylvania, 59 his connexion with William Blake, 113
in New York, 199, 200 ‘ Inquiry into the Present State of the Arts of Design in
England,’ by, 113, 115
Hokusai
a colour print by, 28 ; illustrated, 2g
Flagon-Tankards, in possession of Lord Mostyn, 73 I Holsoe, contemporary Danish artist, 82
illustrated, 69 Holman Hunt, Mr.
Flemalle, The Master of his Lady of Shalott, presented to National Gallery, 67
The Revenge of Tomyris, attributed to, 389, illustrated, 388 Hoppner
a copy of, 390 ; illustrated, 388 Portrait of the Countess of Oxford, by, 138 ; illustrated, 142
Flemish painting, technique of, 103 Lady and Child, by, 138
Florence prices paid for pictures by, IC4
marriage negotiations in, 23-28
prosaic element in art of, 26-28
cassone panels illustrating marriage ceremonies in, 24-25 International Society, The, 4
France, art in, 55, 56, 123, 124, 193-108, 263, 335 pictures at the annual exhibition, 9
Fragonard Ironwork
exhibition of works by, in Paris, 263 Early German, 116
Franco-Flemish School, '1 he
The Divine Mother, 231 ; illustrated, 233
similarity to the early work of Albert Diirer, 232
possible origin, 232 Jaccaci, August F., letter from, re St. Francis Receiving
Frick, Henry C. the Stigmata, a picture by Van Eyck in the Johnson collec¬
recent additions to his collection, 397-404 tion, 46
Furniture Japan, art of, 28
Dutch and Flemish Furniture, 163-170 its relation to Chinese art, 31-32
examples illustrated, 165 Japanese paintings, 242
decadence of, 169 Greek influences on, 243
English furniture, its connexion with Holland, 170 John, A. E., contemporary artist, 10
Washing Up, by, 10
drawings by, 10, 13
Head of a Git l, by, illustrated, 11
Gainsborough
Jones, Inigo, 95
version of Van Dyck’s equestrian portrait of Charles I
by, 96 ; illustrated, 97
Klinger Exhibition at Leipzig; 58
distinctive marks of his style, 99 ; his position in art, 113
two pictures attributed to, in the Louvre, 136, 137
prices paid for pictures by, 194 Lawrence, Sir Thomas
Geneva Mr. John Julius A ngerstein and his Wife, by, 143 ; illus¬
works by Konrat Witz at, 103, 109 trated, 139
Germany, art in, 56-57, 124-129, 198, 260, 335-339, 404-410 Portrait of Miss Farrcn, by, 143
artistic ideals of, 345-350 Portrait of May Palmer, by, 143
Geyer, Elias, xvn cent. German silversmith, 199 Portrait of Lord Whitworth, by, 143
silver gilt salver by, 199 ; illustrated, 195 salaries paid by, 170
drinking vessel by, 260 ; illustrated, 261 prices paid for pictures by, 194

41 3
 General Index to Volume IKI
Leadwork Nicholson, William, contemporary artist, 10
leaded lanterns, 89-96 ; examples illustrated, 91, 94 Portrait of Miss Alexander, by, 10
Leipzig, contemporary exhibitions at, 57 The Paper Cap,, by, 10 ; illustrated, 8
Letters to the editor Norwich School, pictures of in the Sedelmeyer collection, 197
August F. Jaccaci, 46
Dr. Wilhelm Schmidt, 118
G. T. Clough, F. J. Mather, 190
Sidney Colvin, Claude Phillips, 249
Opie
E. J. van Wisselingh, 331
A. van de Put, A. J. Butler, G. P. Smith, 391 portrait attributed to, in the Louvre, 143
Limousin, Leonard, xvi cent. French painter, 243 Oxford, University Galleries
‘ Lo Fil de Mestre Rodrigo,’ xv cent. Spanish artist, hi, 112 drawings by Claude, 279, 280
Adoration of the Magi, by, in; illustrated, 108 examples reproduced, 266, 269, 273, 277, 289, 296
head of a horse by Raphael, in, 384-389
London
S. Bene’t, Paul’s Wharf, the lantern of, 90 ; illustrated, 91 Christ Church. Picture of Tournai school at, 328
Barnard’s Inn Hall, 90 ; illustrated, 88
S. Edmund, Lombard Street, 90 ; illustrated, 94
S. Nicolas, Cole Abbey, 96; illustrated, 94
National Gallery, 96 ; illustrated, 94
S. Bene’t Fink, 95 Pacheco, xvii cent. Spanish painter, 40
Lotz, Charles, xix cent. Hungarian artist, 46 Palma Vecchio
Louvre A Shepherd and hvo Nymphs, by, 188, 189 ; illustrated, 186
portrait by Rembrandt at, 55 compared with Giorgione, 189
Societe des amis du Louvre, 55 Patronage of Dutch painters, 358
recent acquisitions by, 56, 197 Paulsen, contemporary Danish artist, 82
the representation of the British school in, 136-143 Pennsylvania Academy of Fine Arts
annual exhibition, 59
Persian ware. See under Ceramics
Perugia
exhibition of Umbrian art at, 117
Pictures, decorative use of, 13-16
MacArdell, engravings by at Dresden, 132 Phillips, Claude, letter from, re a new book on the Pollaiuoli, 241
Annotations to Mr. Goodwin’s catalogue of, 183 Pilo, xvii cent. Danish artist, 82
Majolica Pintelli, Baccio, xv cent. Italian architect, 353
Decorative use of, on Roman campanili, 211, 212 Plate, see Silver
Master of Flemalle, The, 104 Pollaiuoli, The Brothers
Masaccio, 131, 132 Miss Cruttwell’s book on, 181, 249
Mather, Frank J., junior. Letter from re a portrait of Bianca attribution of various works to, 181, 182
Maria Sforza, 190 p-iortrait of a lady, by Antonio Pollaiuolo, 55
McEvoy, Ambrose, contemporary painter, 206 Madonna and Child, by Piero Pollaiuolo, 181 ; illustrated,
Mother and Child, by, 206; illustrated, 207 180
Medals Porcelain, see under Ceramics
Greek medals from Abukir, 162 ; illustrated, 165 Prices of works by old masters, 135, 136
their connexion with Alexander the Great, 162, 163
Meit, Konrad, xvi cent, sculptor, 217
Menzel, Adolf, xix cent. Hungarian artist, 46
Mezzotints, by MacArdell and Valentine Green, 182-188
Michelangelo, wax model attributed to, 189 ; illustrated, 186 Rackham, Arthur, contemporary artist
naturalism in the work of, 190 water colours by, 15 >
Holy Family, by, 235 Raphael, head of a horse by, 384-389 ; illustrated, 385
evidence as to his training, 235, 236 Raeburn
Mieris, Frans Van, xvn cent. Dutch painter, 358 Portrait of an Old Sailor, attributed to, 138
The Painter and the Connoisseur, by, 358 ; illustrated, 356 Mrs. Machonochie and Child, by, 138
Miniatures prices paid for pictures by, 193
a miniature by Gentile Bellini, 115-116 Ramsay, Allan
Modern Painting, the case for, 3-13, 77-81, 156-159, 204-206, Portrait of Princess Charlotte, by, 143
345-350 Ravenna, throne of St. Maximian at, 109
Monteath bowl, in possession of Lord Mostyn, 77; illustrated, 72 classical influences in, no
Mostyn, Lord, old plate in possession of, 68-77 Rembrandt
Mschatta, 109, 111 compared with Velazquez, 39
portrait by, in the Louvre, 55
The Night Watch, method of payment for, 358
drawing by, 370; illustrated, 371
Reynolds, Sir Joshua
design for Theory, or The Graphic Muse, by, 113
Naples Gallery
engraved by William Blake, 113-115 ; illustrated, 113
painting by Konrat Witz at, 103, 104 Master Hare, by, 137 ; illustrated, 142
relics from Herculaneum at, 144 Portrait of a Lady, attributed to, 137
Nasir-i-Khusrau Nelly O'Brien, by, 370 ; illustrated, 344
his evidence as to early Cairene pottery, 84, 223-224 prices paid for pictures by, 194
National Art Collections Fund, 67 Rice-grain ware, see under Ceramics
National Gallery, 67 Rogier de la Pasture, 328
leaded dome of, 96 ; illustrated, 94 Rome
Adoration of the Magi, by Lo Ml de Mestre Rodrigo, in, spires of, 350-354
hi ; illustrated, 108 campanili in, see under Campanili
early Flemish portrait in, 392 Romney
new portrait by Van Dyck in, 325; illustrated, 324 Portrait of Sir John Stanley, by, 137, 138
New English Art Club, the, 4 prices paid for pictures by, 193
compared with the Royal Academy, 204-206 Rousseau, Th., xix cent. French painter
New Gallery, the, 4 The Village of Becquigny, by, 403 ; illustrated, 405

414
 General Index to Volume XI
Royal Institute of Painters in Water Colour, 77 Takuma Choga, xiii cent. Japanese painter, 242
pictures at, 78 Futen, by, 242 ; illustrated, 240
Royal Society of British Artists, 77 Rasatsuten, by, 242 ; illustrated, 240
pictures at, 81 Mitten, by, 242 ; illustrated, 240
Royal Society of Painters in Water Colour, The, 156-159 Greek influences on, 243
Rubens, a sketch by, 45, 117 ; illustrated, 44 Tapestry
Ruskin, John, criticisms of Claude, 267, 297 Flemish tapestries, 169
Russell, works attributed to, in Sedelmeyer sale, 194 Thomson’s History of Tapestry, 171-172
rise of tapestry weaving at Arras, 171
tapestry in England, 172
Gobelins, tapestry, 172
Salon des Beaux-Arts, the, 123 Tate Gallery, ground available for extension of, 67
Salon de la Societe des Artistes Frangais, 198 Taylor, William and George, makers of slip decorated dishes
Salomon de Bray, xvn cent. Dutch artist, 369 21-23
drawings by, 364 ; illustrated, 368 Teniers, David, the younger, 363
Sarcophagi, from Sidamara, 109-110 Interior of a Picture Gallery, by, 363 ; illustrated, 359
their connexion with the throne of St. Maximian at Tiepolo, Giambattista, 247
Ravenna, no inscription on a drawing by, 248
sarcophagus in the collection of Sir Frederick Cook, Bart., relations with Guardi, 248
no; illustrated, 10S Toft, Thomas and James, makers of slip decorated dishes, 21-23
Sargent, John S., water-colours, 159 Tournai school, a picture of, 328 ; illustrated, 329
S. Denis, stained glass at, 174-176 Turner
Schmidt, Dr. Wilhelm estimate of his genius, 397
letter from, re Piping Faun and Tenipesta di Mare by Palma Fishing Boats entering Calais Harbour, by, 398 ; illustrated,
Vecchio 399
Sculpture proposed gallery for his pictures
in America, 60 Turin
a portrait bust of Agrippina, 99 ; illustrated, 101 picture attributed to Van Eyck, 46
the throne of St. Maximian at Ravenna, 109 ; illustrated, 108
statues from Herculaneum, 149
boxwood statuettes by Hans Wydyz the elder, 212-221
see also under Bronzes
Ucello, Paolo, 131, 132
Sedelmeyer sale, English pictures at, 193-198
Uhde, contemporary German painter, 56
conclusion of, 264
his religious paintings, 57
guarantees at, 264
University Galleries, Oxford, drawings by Claude in, illus¬
Sens, stained glass at, 175
trated, 266-273.
Sforza, Bianca Maria. Portrait by de Predis, 130 ; illustrated,
head of a horse by Raphael in, 384, 389
125
Shannon, C. Hcontemporary painter, g
pictures by, g-xo
Hermes with the Infant Bacchus, illustrated, 15 Valencia, art of, see under Spanish art
Shannon, J. J., contemporary painter, 9 Van de Put, A., letter from re the ceramic art of the nearer
War, by, 9 East, 391
The Fireside, by, 9; illustrated, 8 Van Dyck
Shaw, Norman, design for the new Regent Quadrant, 65-66 version of his equestrian portrait of Charles I, by
Sidamara sarcophagi, 109-110 Gainsborough, 96; illustrated, 97
Silver Portrait of Giovanni Battista Cattaneo, by, 325 ; illustrated,
Old English plate in possession of Lord Mostyn, 68-77 > 324
illustrated, 69, 72, 75 Van Eyck, John
silver gilt salver by Elias Geyer, 199 ; illustrated, 195 The Enthronement of Thomas a Bcckct at Chatsworth,
Simpson, Ralph, maker of slip decorated dishes, 21-23 ascribed to, 45
Slip decoration, see under Ceramics Van Eyck, the brothers
Smith, Gerald Parker, letter from re an early Flemish portrait St. Francis Receiving the Stigmata, at Turin, by, 46
in the National Gallery, 392 ascription to Jan, 47 ; or to Hubert ?, 47
Snyders, xvn cent. Flemish painter, 40 Crucifixion, by, 104
Solario, Antonio, xv cent. Venetian painter, 376 Van Wisselingh, E. J., letter from re the Brothers Maris, 331
his identity, 376 Velazquez
Madonna and Child, by, 381; illustrated, 377 early works by, 39-40, 318-325
frescoes by at Naples, 376, 381 The Kitchen, 39 ; illustrated, 41
Spanish Art The Fight at the Fair, 39 ; illustrated, 41
The Adoration of the Magi, in the National Gallery, 111; Veneto, Bartolommeo, xvi cent. Italian painter, 231
illustrated, 108 Portrait of an Unknown Man, by, 231 ; illustrated, 227
northern influences on, 112 Venice, recent discoveries in, 45
altar-piece of the Constable Pedro at Barcelona, 112 supervision of the Doges, 45
Spires of Rome, The, 350-354 ; examples illustrated, 350-354 Victoria and Albert Museum
See also under Leadwork Adoration op the Magi, in, loaned to National Gallery, in
Stage illustrated, 108
architecture of, no Vinckbooms, David, 364
Stained Glass detail from a picture, by, 364; illustrated, 362
its invention, 169 Vogel, Carl Christian, xix cent. German artist, 382
stained glass in Canterbury Cathedral, its origin, 172 ; portraits by, 383
examples illustrated, 177 Queen Victoria, 383 ; illustrated, 380
its connexion with France, 172-176 John Gibson, 383 ; illustrated, 380
compared with glass at Sens and Chartres, 173-175
glass at St. Denis, 174-176
Steeples, see under Leadwork
Steeple cups, in possession of Lord Mostyn, 74 ; illustrated, 69 Water-colour Technique, a note on, 161, 162
Strozzi, the, marriage negotiations of, 25-28 Whistler, 349
Strzygowski, Professor Joseph, his views on modern art, 345 memorial to, 67
Strzygowski, Professor Joseph, and the throne of St. Maxi¬ his service to art, 68
mian at Ravenna, 109-m Wallace Collection, the, 370

415
General Index to Vtolume XI
Watts, F. W., English painter in style of Constable, 226 Wydyz, Hans, the elder, xvi cent, sculptor, 217-221
The Cottage, by, 226 ; illustrated, 230 Adam and Eve, by, 312 ; illustrated, 213
Watts, G. F., 349 Adoration of the Three Kings, by, 217, 218 ; illustrated, 216
Wilson, Richard, landscape attributed to, 143 Christ Crucified, by, 218 ; illustrated, 219
Widener Collection, the, notes on, 129-131 Martyrdom of St. Sebastian, by, 218 ; illustrated, 219
Witz, Konrat, xv cent. German painter, 103
The Crucifixion, by, 103-109; illustrated, 105
Woodcuts
Chinese, 31
Japanese, 31
Wyatt, Henry, xix cent, painter Zucchero, Federigo, portrait by, 190
A Man with a Hmvk, by, 170; illustrated, 134 Zoomer, xvn cent, art dealer, 369
Portrait of Miss Grcatorex, by, 194 bis shop, 369 ; illustrated, 368
 ALPHABETICAL LIST OF CONTRIBUTORS TO VOL. XI

E. ROSS BARKER MILZIADE MAGNINI

LAURENCE BINYON F. R. MARTIN
Dr. WILHELM BODE Dr. W. MARTIN
A. CLUTTON-BROCK F. J. MATHER, Jun.
Dr. RUDOLF F. BURCKHARDT K. A. McDOWALL
A. J. BUTLER, D.Litt. Dr. ETTORE MODIGLIANI
G. T. CLOUGH LOUISA F. PESEL

R. S. CLOUSTON Professor R. PETRUCCI

Dr. SIDNEY COLVIN CLAUDE PHILLIPS

LIONEL CUST, M.V.O., F.S.A. SIR J. C. ROBINSON, C.B.

CYRIL DAVENPORT Dr. WILLIAM SCHMIDT
R. E. DELL GEORGE A. SIMONSON
EDWARD DILLON Professor HANS W. SINGER
H. H. PRINCE FREDERICK CECIL H. SMITH
DULEEP SINGH GERALD PARKER SMITH
ROGER E. FRY GEORGE SOBOTKA
CLEMENT HEATON M. L. SOLON
A. M. HIND EUGENIE STRONG
R. L. HOBSON J. TAVENOR-PERRY
Professor C. J. HOLMES PERCY MOORE TURNER
AUGUST F. JACCACI A. VAN DE PUT
E. ALFRED JONES W. H. J. WEALE
M. JOURDAIN LAWRENCE WEAVER, F.S.A.
Dr. KAMMERER ALETHEA WIEL
FRANCIS M. KELLY E. J. VAN WISSELINGH
Dr. A. KOESTER C. H. WYLDE

4W