,,the ,,burlington ,,magazine ,,for ,,connoisseurs ,,vol4 ,,ii ,the ,burlington ,magazine for ,connoisseurs ,illustrated ,published ,monthly ,volume ,,ii--,june to ,august ,,london ,,the ,,savile ,,publishing ,,company1 ,,limited #ad ,,new ,,burlington ,,street1 ,w4 ,,paris3 ,,librairie ,h4 ,,floury1 #a ,,boulevard ,,des ,,capucines ,,brussels3 ,,spineux ,,cie41 #fb ,,montagne ,,de ,,la ,,cour ,,leipzig3 ,,karl ,w4 ,,hiersemann1 #c ,k,,nigsstrasse ,,vienna3 ,,artaria ,,co41 ,i41 ,,kohlmarkt #i ,,amsterdam3 ,j4 ,g4 ,,robbers1 ,n4 ,z4 ,,voorburgwal #fd ,,florence3 ,b4 ,,seeber1 #bj ,,via ,,tornabuoni ,,new ,,york3 ,,samuel ,,buckley ,,co41 #ajj ,,william ,,street #aijc ,illustration ,,contents ,,page ,editorial ,articles3 ,i4--,clifford's ,inn and the ,protection of ,ancient ,buildings #c ,,ii4--,the ,publication of ,works of ,art belonging to ,dealers #e ,the ,finest ,hunting ,manuscript extant4 ,written by ,w4 ,a4 ,baillie-,grohman #h ,a newly-discovered #8,libro di ,ricordi' of ,alesso ,baldovinetti4 ,written by ,herbert ,p4 ,horne3 ,part ,i4 #bb ,part ,,ii 7conclusion7 #afg ,appendix--,documents referred to in ,articles #cgg ,the ,early ,painters of the ,netherlands as ,illustrated by the ,bruges ,exhibition of #aijb4 ,written by ,w4 ,h4 ,james ,weale3 ,article ,,iv #ce ,article ,v #cbf ,on ,oriental ,carpets3 ,article ,,iii4--,the ,svastika #dc ,article ,,iv4--,the ,lotus and the ,tree of ,life #cdi ,the ,dutch ,exhibition at the ,guildhall3 ,article ,i4--,the ,old ,masters #ea ,article ,,ii4--,the ,modern ,painters #agg ,early ,staffordshire ,wares ,illustrated by ,pieces in the ,british ,museum4 ,article ,i4 ,written by ,r4 ,l4 ,hobson #fd ,notes on ,various ,works of ,art3 ,two alleged #8,giorgiones' #gh ,two ,italian ,bas-reliefs in the ,louvre #hd ,two ,pictures in the ,possession of ,messrs4 ,dowdeswell #hi ,a ,marble ,statue by ,germain ,pilon #ij ,lace in the ,collection of ,mrs4 ,alfred ,morrison at ,fonthill #ie ,the ,sor ,chalice #ceg ,the ,oaken ,chest at ,ypres #ceg ,a ,burgundian ,chest #ceh ,a ,new ,fount of ,greek ,type #ceh ,portrait of a ,lady by ,rembrandt #cfj ,pictures in the ,collection of ,sir ,hubert ,parry1 at ,highnam ,court1 near ,gloucester4 ,article ,i4--,italian ,pictures of the ,fourteenth ,century4 ,written by ,roger ,fry #aag ,mussulman ,manuscripts and ,miniatures as ,illustrated in the ,recent ,exhibition at ,paris4 ,part ,i4 ,written by ,e4 ,blochet #acb ,the ,plate of ,winchester ,college4 ,written by ,percy ,macquoid1 ,r4,i4 #adi ,the ,seals of the ,brussels ,gilds4 ,written by ,r4 ,petrucci #aij ,note on the ,life of ,bernard van ,orley #bje ,the ,collection of ,pictures of the ,earl of ,normanton1 at ,somerley1 ,hampshire4 ,article ,i4--,pictures by ,sir ,joshua ,reynolds4 ,written by ,max ,roldit #bjf ,french ,furniture of the ,seventeenth and ,eighteenth ,centuries4 ,article ,,ii4--,the ,louis ,,xiv ,style 7cont47--,the ,gobelins4 ,written by ,emile ,molinier #bbi ,the ,exhibition of ,greek ,art at the ,burlington ,fine ,arts ,club4 ,written by ,cecil ,smith #bcf ,the ,lowestoft ,porcelain ,factory1 and the ,chinese ,porcelain made for the ,european ,market during the ,eighteenth ,century4 ,written by ,l4 ,solon #bga ,titian's ,portrait of the ,empress ,isabella4 ,written by ,georg ,gronau #bha ,a newly-discovered ,portrait ,drawing by ,drer4 ,written by ,campbell ,dodgson #bhf ,later ,nineteenth-,century ,book ,illustrations4 ,article ,i4 ,written by ,joseph ,pennell #bic ,andrea ,vanni4 ,by ,l4 ,mason ,perkins #cji ,the ,geographical ,distribution of the ,first ,folio ,shakespeare4 ,written by ,frank ,rinder #cce ,recent ,acquisitions at the ,louvre #cch ,new ,acquisitions at the ,national ,museums #gj1 #aid ,bibliography #ajd1 #bef1 #cfg ,correspondence #aac1 #bfg1 #cgf ,foreign ,correspondence #cgc ,,list ,,of ,,plates ,,page ,frontispiece--,the ,judgement of ,cambyses--,gerard ,david #b ,the ,finest ,hunting ,manuscript ,extant3-- ,stripping the ,boar #i ,hunting the ,fallow ,buck #ac ,pages from ,gaston ,phoebus ,,ms4 #ag ,page from ,gaston ,phoebus ,,ms4 #ai ,painted-glass ,window in the ,cloister of ,santa ,croce1 ,florence--,alesso ,baldovinetti #be ,altar-piece1 in the ,florentine ,academy--,alesso ,baldovinetti #bi ,the ,blessed ,virgin and ,child1 with ,angels1 surrounded by ,virgin ,saints--,gerard ,david #cd ,the ,blessed ,virgin and ,child1 ,st4 ,catherine1 and ,st4 ,barbara--,cornelia ,cnoop #cg ,portraits of ,thomas ,portunari and his ,wife--,attributed to ,hans ,memlinc #da ,section of ,oriental ,carpet1 showing the ,svastika #de ,the ,cook ,asleep--,jan ,vermeer of ,delft #ej ,portrait of ,himself--,jan ,steen #ec ,portrait of the ,wife of ,thomas ,wijck--,jan ,verspronck #ec ,off ,scheveningen--,jan van de ,capelle #eg ,le ,commencement d',orage #fa ,a ,scandinavian ,chalice1 with details #ga ,madonna and ,child--,cariani #gi ,the ,sempstress ,madonna--,cariani #ha ,adoration of the ,shepherds--,venetian ,school 7,two ,pictures7 #he ,bas-relief--,school of ,leonardo da ,vinci #hh ,bas-relief--,agostino di ,duccio #hh ,adoration of the ,magi1 and ,dormition of the ,blessed ,virgin--,french fourteenth century #ia ,la ,charit--,germain ,pilon #id ,specimens of ,lace3-- ,plate ,i #ig ,plate ,,ii #ii ,plate ,,iii #aja ,lady ,betty ,hamilton--,sir ,j4 ,reynolds #aaf ,nativity and ,adoration--,school of ,cimabue #aai ,altar-piece--,bernardo ,daddi #aba ,coronation of our ,lady 7,two ,subjects3 #a1 by ,agnolo ,gaddi2 #b1 by ,taddeo ,gaddi7 #abc ,adoration of the ,magi--,lorenzo ,monaco #abg ,the ,visitation--,lorenzo ,monaco #abg ,madonna and ,child1 with ,angels--,florentine of the early fifteenth century #abi ,triptych1 by the same painter #abi ,mussulman ,miniatures3-- ,plate ,i--,from the ,makamat of ,hariri--,from ,,ms4 of the ,astronomical ,treatise of ,abd-er-,rahman-el-,sufi #acc ,plate ,,ii--,from the ,book of ,kings #acg ,plate ,,iii--,from the ,book of ,kings #ada ,plate ,,iv--,a ,hunting ,scene #ade ,plate of ,winchester ,college3-- ,the ,election ,cup #adh ,parcel ,gilt ,rose-water ,dish and ,ewer #aea ,sweetmeat ,dish and ,gilt ,standing-,salt #aed ,gilt ,cup with ,cover #aed ,rose-water ,dish and ,ewer1 and small ,gilt ,standing ,cup and ,cover #aeg ,two ,tankards and ,standing ,salt #afj ,steeple-cup and ,hanap #afc ,ecclesiastical ,plate #afe ,paintings on a vaulted roof at ,s4 ,trinita1 ,florence--,alesso ,baldovinetti #aga ,a ,group of ,three--,jan ,miense ,molenaer #agf ,the ,archives at ,veere--,jan ,bosboom #agi ,a ,jewish ,wedding--,joseph ,israels #agi ,a ,fantasy--,matthew ,maris #aha ,the ,new ,flower--,joseph ,israels #aha ,watering ,horses--,anton ,mauve #ahc ,the ,canal ,bridge--,jacob ,maris #ahc ,a ,windmill1 ,moonlight--,jacob ,maris #ahe ,the ,butterflies--,matthew ,maris #ahg ,engravings at ,s4 ,kensington3-- ,queen ,elizabeth--,william ,rogers #aie ,roman ,edifices in ,ruins--,thomas ,hearne and ,william ,woollett #aig ,the ,water ,mill--,c4 ,turner #bja ,the ,htel de ,ville at ,louvain--,j4 ,c4 ,stadler #bjc ,miss ,murray of ,kirkcudbright--,sir ,j4 ,reynolds #bjg ,charity1 ,faith1 ,hope--,sir ,j4 ,reynolds #baj ,temperance and ,prudence--,sir ,j4 ,reynolds #bac ,justice and ,fortitude--,sir ,j4 ,reynolds #baf ,the ,little ,gardener--,sir ,j4 ,reynolds #bai ,george1 third ,duke of ,marlborough--,sir ,j4 ,reynolds #bbb ,study of a ,little ,girl--,sir ,j4 ,reynolds #bbe ,the ,misses ,horneck--,sir ,j4 ,reynolds #bbe ,high ,warp ,tapestry1 ,louis ,,xiv--,after ,charles ,le ,brun #bbh ,gobelin ,tapestry #bca ,a ,marquetry ,bureau--,andr ,charles ,boule #bcd ,a ,bookcase--,andr ,charles ,boule #bcd ,fragment of the ,frieze of the ,parthenon #bcg ,bust of ,aphrodite--,probably by ,praxiteles #bci ,head of a ,mourning ,woman #bda ,head of a ,youth #bda ,group of ,bronzes #bde ,repouss ,mirror-,cover #bdg ,terracottas #bea ,krater1 belonging to ,harrow ,school #bec ,kylix1 and plate #bec ,the ,great ,executioner #bgj ,lowestoft ,porcelain ,teapot of ,soft ,paste #bgc ,small ,plate painted in ,underglaze ,blue1 with a ,view of ,lowestoft ,church #bgc ,hard ,porcelain ,teapot1 marked #8,allen1 ,lowestoft' #bgf ,portrait of the ,empress ,isabella--,titian #bhj ,copy of the ,portrait of the ,empress ,isabella from which ,titian painted the above ,portrait #bhc ,portrait of a ,lady--,albrecht ,drer #bhg ,portrait of a ,lady--,albrecht ,drer #bia ,later ,nineteenth-,century ,book ,illustrations3-- ,plate ,i #bie ,plate ,,ii #bih ,plate ,,iii #cja ,plate ,,iv #cjd ,plate ,v #cjg ,polyptych in the ,church of ,s4 ,stefano1 ,siena--,andrea ,vanni #caa ,annunciation1 in ,s4 ,pietro ,ovile1 ,siena--,andrea ,vanni #cad ,virgin and ,child1 from the ,altar-piece in ,s4 ,francesco1 ,siena--,andrea ,vanni #cad ,madonna and ,child--,andrea ,vanni #cag ,details of the ,annunciation in ,s4 ,pietro ,ovile1 ,siena--,andrea ,vanni #cbj ,annunciation1 in the ,collection of ,count ,fabio ,chigi1 ,siena--,andrea ,vanni #cbc ,annunciation1 in the ,uffizi ,gallery1 ,florence--,simone ,martini #cbc ,st4 ,luke--,adrian ,isenbrant #cbg ,triptych3 ,the ,blessed ,virgin and ,child with ,two ,angels--,adrian ,isenbrant #cbg ,the ,vision of ,saint ,ildephonsus--,adrian ,isenbrant #ccj ,portrait of ,roger de ,jonghe1 ,austin ,friar #ccc ,episodes in the ,life of ,st4 ,bernard--,john van ,eecke #ccc ,three ,italian ,albarelli of the fourteenth century #cci ,landscapes--,solomon ,ruysdael #cdb ,portrait of ,dame ,danger--,louis ,tocqu #cde ,lid of an ,arabic ,koursi of the fourteenth century #cdg ,tabriz ,carpet #cea ,the ,sor ,chalice #cef ,polychrome ,chest belonging to the ,office of ,archives at ,ypres #cfa ,a ,burgundian ,chest of the fifteenth century belonging to the ,hospices ,civiles at ,aalst #cfa ,portrait by ,rembrandt van ,rijn #cfc ,on the ,seine--,charles ,franois ,daubigny #cfe ,le ,pcheur--,lon ,lhermitte #cfe ,illustration3 ,walker ,cockerell1 ,ph4,sc4 ,the ,judgement of ,cambyses from the picture by ,gerard ,david in the ,bruges ,museum4 ,,editorial ,,articles ,i4-,,clifford',s ,,inn ,,and ,,the ,,protection ,,of ,,ancient ,,buildings ,we must confess that when we published ,mr4 ,philip ,norman's appeal to the ,government to save ,clifford's ,inn1 we had little hope that the appeal would be listened to2 it is too much to expect an ,english ,government to take any interest in a question of an artistic nature2 in agreeing to ignore such questions the unanimity of political parties is wonderful4 ,nor does the ,english public really care about such matters4 ,the appeal received considerable support in the press1 but it was a support given by men who1 whatever they themselves think1 know well enough that an agitation for the preservation of an ancient building would only bore most of their readers4 ,so ,clifford's ,inn has been sold1 and sold at a ridiculously low price4 ,it is some satisfaction to know that legal education1 which condemned it to destruction1 will profit little if at all by its sale1 for the income derived from the purchase money can be no larger than could have been derived from the rents of the ,inn under proper management4 ,the end1 however1 is not yet1 for the gentleman who now owns ,clifford's ,inn is happily not without appreciation of its artistic and historical interest2 for the present1 at any rate1 he will leave matters in statu quo1 and all the tenants have been informed that they need not fear early ejection4 ,moreover we have every reason to believe that1 if there were any movement to preserve the ,inn1 the present owner would be willing to part with his property at a very moderate premium on the sum of #ajj1jjj that he paid for it4 ,the ,london ,county ,council--the only public authority in ,london that cares about such matters--has had its eye on ,clifford's ,inn1 and a committee of the ,council only refrained from recommending its purchase from fear of the ratepayers4 ,we would1 however1 appeal to the ,county ,council to cast aside fear of the ,philistines and reconsider the matter4 ,expert opinion in such matters holds that ,clifford's ,inn could be made1 as it stands1 to return #c1jjj a year2 its purchase1 therefore1 at a little more than #ajj1jjj would involve little or no loss to the ratepayers4 ,the ,county ,council has done and is doing admirable work for the preservation of ancient buildings2 it might well add to its laurels by acquiring ,clifford's ,inn for the citizens of ,london4 ,the case of ,clifford's ,inn raises the larger question of the preservation of ancient buildings generally4 ,we in ,england pretend to be an artistic nation2 we talk and write very much about art1 and we all collect more or less works of art or imitations thereof2 most of us try to paint pictures1 and the world will soon be unable to contain the pictures that are painted4 ,but there is one fact that brands us as hypocrites1 the fact that ,great ,britain shares with ,russia and ,turkey the odious peculiarity of being without legislation of any kind for the protection of ancient buildings and other works of art such as is possessed to some degree by every other country in ,europe1 and by almost every ,state of the ,american ,union4 ,we have calmly looked on while amiable clergymen1 restoring architects1 and legal peers with a mania for bricks and mortar and more money than taste1 have hacked1 hewn1 scraped and pulled to pieces the greatest architectural works of our forefathers2 too many modern architects1 when they are not engaged in copying the work of their predecessors1 are engaged in destroying it4 ,though the legend of #8,cromwell's soldiers' still on the lips of the intelligent pew-opener accounts for the havoc wrought in many an ancient church1 the historian and the antiquary know that to the sixteenth and not the seventeenth century must that havoc be in the first place attributed1 and the observer of recent history knows that the mischief worked by the iconoclast of the sixteenth century has been far exceeded by that worked by the restorer and the ,gothic revivalist of the nineteenth4 ,and if this has been done by persons who imagined themselves to be artistic and were actuated by the best possible motives1 what has been the destruction wrought by those who made no profession of any motive but that of commercial advantage8 ,within the memory of the youngest among us1 buildings of great artistic and historical interest have been ruthlessly swept away in ,london and in every other town in the kingdom1 and the few that have been left are rapidly disappearing4 ,there is no way of saving the remnant of our heritage but that of legislation2 but we cannot honestly recommend the advocacy of such legislation to a minister or a party in need of an electioneering cry1 and we are not sanguine as to the prospects of anything being done4 ,still1 it may be interesting to some to learn what the despised foreigner has done in this respect2 we take the information from a ,parliamentary paper presented to the ,house of ,commons on ,july #cj1 #ahig4a ,we will briefly summarize the facts given in this paper1 referring those of our readers who wish for further information to the paper itself4 ,in ,austria there has existed for many years a permanent #8,imperial and ,royal ,commission for the investigation and preservation of artistic and historical monuments4' ,this ,commission had1 in #ahig1 direct rights only over monuments belonging to the ,state 7in which churches are included72 but it acted in concert with municipalities and learned societies1 and promoted the formation of local societies to carry out its objects4 ,no ancient monument coming within its scope can be touched without the sanction of the ,commission4 ,since #ahig its powers have1 we believe1 been extended4 ,not only buildings1 but objects of art and handicraft of every kind as well as manuscripts and archives1 of any date up to the end of the eighteenth century1 come within the scope of activity of the ,commission1 which is a consultative body advising the ,minister of ,public ,worship and ,education1 who is the executive authority for these purposes4 ,in ,bavaria1 alterations to all monuments or buildings of historical or artistic importance 7including churches7 belonging to the ,state1 municipality1 or any endowed institution1 have1 since #ahgb1 required the sanction of the ,sovereign1 who is advised by the ,royal ,commissioners of ,public ,buildings4 ,the ecclesiastical authorities and even religious communities are prohibited from altering a church or dealing with its furniture without the consent of the ,commissioners4 ,in ,denmark there has been a ,royal ,commission with similar objects since #ahjg2 ancient monuments are scheduled1 and since #ahgc the ,royal ,commission has had power to acquire them compulsorily if their owners will not take proper measures for their preservation4 ,in ,france the ,minister of ,public ,instruction and ,fine ,arts1 who is advised by a ,commission of ,historical ,monuments1 has as drastic powers as the ,danish ,royal ,commission2 some #a1gjj churches1 castles1 and other buildings 7including buildings in private ownership7 have been scheduled and classified1 and cannot be destroyed1 restored1 repaired1 or altered except with the approval of the ,minister1 who has power to expropriate private owners under certain circumstances4 ,belgium has statutory provisions of a similar character2 there a ,royal ,commission on ,monuments was constituted so long ago as #ahce1 so that ,belgium is second only to ,denmark in this matter4 ,the ,commission may schedule any building or ancient monument1 and the scheduled building cannot be touched without the consent of the ,commission1 even if it is in private ownership4 ,in ,belgium1 as in ,france and ,denmark1 grants of public money are given for the purchase and preservation of ancient monuments1 and the ,belgian municipalities are very zealous in the same direction4 ,in ,bruges1 we understand1 the faades of all the houses belong to the municipality1 so that their preservation is secured1 and also congruity in the case of new buildings4 ,no object of art may legally be alienated or removed from a ,belgian church2 this law1 however1 is unfortunately still evaded to some extent4 ,in ,italy several laws have been passed1 beginning with an edict of ,cardinal ,pacca for the old ,papal ,states in #ahbj4 ,the ,minister of ,public ,instruction may1 by a decree1 declare any building a national monument1 and the municipalities have large powers2 works of art1 as is well known1 cannot legally be taken out of ,italy1 but this law is often evaded4 ,in ,greece the powers of the ,state are perhaps more drastic than anywhere else4 ,even antique works of art in private collections are considered as national property in a sense and their owner can be punished for injuring them2 if the owner of an ancient building attempts to demolish it or refuses to keep it in repair1 the ,state may expropriate him4 ,holland1 ,prussia1 ,saxony1 ,spain1 ,sweden and ,norway1 ,switzerland1 and many ,american ,states have provisions of a more or less stringent character with the same purpose4 ,but we need not now go further into details2 the whole of the facts will be found in the ,parliamentary paper1 and we have given enough of them to show how far behind every other civilized country ,england is in this matter4 ,the protection of monuments of the past which ,denmark has had for nearly a century and ,belgium for nearly seventy years we have not yet thought of4 ,surely the time has come to wipe out this reproach2 until it is wiped out let us have done with the hypocritical claim that we are an artistic people4 ,,ii4--,,the ,,publication ,,of ,,works ,,of ,,art ,,belonging ,,to ,,dealers ,in the ,april number of ,the ,burlington ,magazine we stated that it was our intention not to exclude from the ,magazine works of art likely to be of interest to the student and collector because they happened to be in the hands of dealers4 ,the policy of including objects belonging to dealers has been adversely criticized by friends who have the interests of the ,magazine at heart2 we therefore think it well to refer again to the matter1 although the purpose of our decision was1 as it seems to us1 clearly enough stated in the ,april number4 ,suggestions have1 it seems1 been made in certain quarters that some corrupt or at least commercial arrangement with the dealers concerned is accountable for the publication in the ,magazine of objects belonging to them4 ,such suggestions we may pass over1 for they are not and will not be credited by anyone whose opinion need concern us4 ,but we owe it to the friendly critics who are concerned for the welfare of the ,magazine1 and anxious that it should not be affected even by a breath of suspicion1 to state our position quite frankly4 ,in the first place we may say that we entirely sympathize with their point of view1 and we recognize as fully as they do the harm that has been done to artistic enterprises--literary and otherwise--by commercial entanglements1 and1 in the case of periodicals1 by a too intimate relation between the advertisement and editorial pages4 ,so much has this been the case that we are not surprised at the alarm which is felt by some of our friends lest even a suspicion of a similar tendency should attach to a periodical in the success of which they are1 we are glad to know1 keenly interested4 ,but we would point out that in such cases as those to which we have referred far more subtle methods are resorted to than that of frankly publishing a work of art that may happen to be for the time in the hands of a dealer2 a little reflection will convince anyone that an ,editor of a periodical ostensibly devoted to art1 if he wishes--to put it quite plainly--to puff the goods of this or that individual1 does not set about it in so palpable a way as that of publishing without subterfuge objects which are frankly stated to be in the possession of the individual or individuals whom it is desired to advertise4 ,it is the very purity of our motives that has enabled us to take a course the boldness of which we do not for a moment deny4 ,nor must it be supposed that the publication of works of art in their possession is necessarily desired by the dealers themselves2 on the contrary1 as is well known to every one with experience in these matters1 the idiosyncrasies of collectors are such that in many cases a dealer who has a fine work of art in his possession does not wish it to be generally known4 ,we have in some cases had considerable difficulty in inducing dealers to allow their property to be reproduced1 and we will go so far as to say that1 strange as it may seem to the purist in these matters1 we believe that some of them are really actuated by a desire to assist the study of art4 ,it would be false modesty on our part to affect to believe that publication of a work of art in ,the ,burlington ,magazine is injurious to the owner1 whether dealer or collector2 we are willing to admit that such publication may1 on the contrary1 be advantageous to the owner of the work of art published4 ,but1 surely1 that is not the question to be considered2 the only question1 it seems to us1 is whether the work of art is likely to be of interest to readers of ,the ,burlington ,magazine and of value to students4 ,this is1 at any rate1 the only question that we have taken into consideration2 and we have felt that if any particular work of art is of interest to our readers1 and particularly to those who make a special study of the branch of art concerned1 we ought not to hesitate to publish it merely because it happens to be in the hands of a dealer4 ,is there not after all just a suspicion of cant in this squeamishness about the publication of pictures or other objects belonging to dealers8 ,even private collectors have1 we believe1 been known to sell objects out of their collections1 and1 so far as our information goes1 they do not invariably sell them at a loss2 indeed1 when one comes to define the boundary between collecting and dealing one finds a considerable difficulty in doing so with exactitude2 the border country between the two is very wide in extent and very hazy4 ,we have heard of cases in which private collectors1 who would not for the world be considered to be dealers1 have written anonymously in a periodical about objects in their own possession and then put them up to auction with a quotation from their own article in the catalogue4 ,any such practice as that we shall certainly discourage or rather repress2 these are difficulties which beset the path of an editor of an art periodical4 ,but if we are to be deterred by such difficulties it will end in our being afraid to publish any work of art in case we haply enhance its value1 and thus indirectly do a service to its owner4 ,let us restate more fully the case which we have already stated shortly in the ,april number of this ,magazine4 ,at any given time there are in the hands of ,london dealers not a few pictures which are of profound interest to all students of art1 and which may indeed throw light on vexed problems and assist in their solution4 ,are we to deprive the readers of ,the ,burlington ,magazine of the opportunities which the publication of such pictures may give them8 ,doubtless in a normal state of things such pictures would ultimately find their way either into the ,national ,gallery or at least into the possession of some ,english collector4 ,but as things are they are far more likely to find a home either1 let us say1 in the ,berlin1 ,amsterdam1 or ,munich ,museum1 or in a private collection on the other side of the ,atlantic2 and it may be very difficult to trace them if the opportunity is lost of publishing them while they are in ,london4 ,were the ,national ,gallery still a buyer of pictures1 it might not be necessary for a periodical to take such a course as we have taken4 ,but it is notorious that the ,national ,gallery is no longer a buyer of pictures2 not merely is the money allotted by the ,government absurdly inadequate1 but it is also the case that1 inadequate as it is1 it is not made the best use of4 ,only last month ,mr4 ,weale pointed out in this ,magazine that the ,berlin ,gallery had recently bought for #a1jjj a charming picture by a rare ,flemish master1 which was sold at ,christie's eight years ago for #c #ajs41 and this is merely one example of the almost innumerable opportunities that escape those who at present direct the ,national ,gallery4 ,although we are told that present prices in ,england are prohibitive so far as public collections are concerned1 it is nevertheless the fact that museums such as those of ,berlin1 ,boston1 ,munich1 and ,amsterdam find it worth while to buy largely in ,london1 and we do not suppose that they always pay exorbitant prices1 although of course a large and wealthy country like ,bavaria can afford to spend more on art than a country like ,england4 ,in former years a ,london dealer who had a particularly fine picture in his possession would have offered it to the ,national ,gallery2 now that is the last thing that he thinks of doing2 he knows too well that the authorities of the ,national ,gallery would probably not take the trouble even to look at it1 and that some of those who would have a voice in deciding whether it should be purchased have not the necessary qualifications for making such a decision4 ,the evil has been increased by the insane rule now in force1 that the trustees of the ,national ,gallery must be unanimous before any picture is purchased--a rule which1 as anyone with sense would have foreseen1 has led to an absolute deadlock4 ,within the last few weeks1 for instance1 the chance of purchasing a superb work of ,frans ,hals at a very moderate price has been lost to the nation1 simply because one of the trustees of the ,national ,gallery refuses to agree to any purchase that does not suit his own preference for art of what may be called the glorified chocolate-box type4 ,but we need not now enlarge upon this subject1 with which we hope to deal at some future time2 we have said enough perhaps to support our contention that it is hopeless to expect that fine pictures which have passed into the hands of ,london dealers will find their way into that collection which has been made by former directors one of the most representative in the world of the best ,european art4 ,this being so1 we feel very strongly that we ought to risk something in order to give the readers of ,the ,burlington ,magazine the opportunity of seeing1 at least1 reproductions of works of art which they may otherwise never have the opportunity of seeing4 ,at the same time we cannot lightly reject the objections which have been raised by those who1 as we know1 have only the best interests of ,the ,burlington ,magazine at heart2 and1 while we do not at present feel disposed to alter our policy in this respect1 we are nevertheless open to argument1 and if the considerations which we have put forward can be shown to be unsound or inadequate we are prepared to be convinced4 ,we invite from our readers expressions of opinion on the subject4 ,,the ,,finest ,,hunting ,,manuscript ,,extant ,,written ,,by ,w4 ,a4 ,,baillie-,,grohman ,when the burly ,landsknechte stormed the walls of the deer park and therewith won the hard-fought battle of ,pavia1 one of the treasures they captured in ,francis's sumptuous gold-laden tents was a vellum ,codex of folio size1 almost every leaf of which bore beautifully illuminated pictures of hunting scenes4 ,we know from other evidence that this precious volume was one of the favourite books of the luxury-loving ,french king1 and the fact that he took it with him to the ,italian wars in preference to a printed copy1 infinitely more portable1 such as had been turned out in three different editions by the hand-presses of ,antoine ,verard1 ,trepperel1 and ,philippe le ,noir1 is a further proof that ,francis's love for finely illuminated manuscript was a ruling passion with him4 ,it is this very ,,ms4 which forms the subject of these lines1 and the facsimile reproductions1 which the writer obtained permission to have executed by competent hands1 show the rare skill of the fifteenth-century miniaturist of whose identity we unfortunately know but little4 ,the history of this ,codex is an extremely interesting one and well worth the research expended upon it by ,gaucheraud1 ,joseph ,lavalle1 ,werth1 and others4 ,the eighty-five chapters are written in a wonderfully regular and perfect hand1 and the ink is today as black and clean of outline as it was four and a half centuries ago4 ,the author of what is unquestionably the most beautiful hunting manuscript extant was ,count ,gaston de ,foix1 the oft-cited patron of ,froissart4 ,this great noble and hunter began the book on ,may ,day #achg1 and we know that it was completed when a fit of apoplexy1 after a bear hunt1 cut short his remarkable career four years later1 when he was in his sixty-first year4 ,of the forty1 or possibly forty-one1 ancient copies of this hunting book that have come down to us1 one or two were written it is almost certain during the author's lifetime1 though the original itself1 which was dedicated by ,gaston to #8,phelippes de ,france1 duc de ,bourgoigne1' disappeared in a mysterious manner from the ,escurial during the eventful year of #ahji1 and has not turned up since4 ,none of the other contemporary copies have illuminations at all comparable to those in our ,,ms41 for the simple reason that it was not until some decades later that art had reached1 even in ,france1 the brilliancy that our illuminations show4 ,for although ,argote de ,molina--who in his #8,libro de la ,monteria1' published in ,seville in #aehb1 describes the lost original--says #8el qual se vee illuminado de excelente mano1' it is safe to say that1 could we place the original side by side with the ,,ms4 of which we are speaking1 its illuminations would be found to be far inferior to those in the ,,ms4 owned by ,francis ,i4 ,very likely the lost original ,,ms4 was written by one or the other of the four secretaries ,froissart tells us were constantly employed by ,count de ,foix4 ,these he did not call ,john1 or ,gautier1 or ,william1 but nicknamed them #8,bad-me-serve1' or #8,good-for-nothings4' ,the illuminations were probably the work of some wandering master-illuminator attracted to the splendid court at ,orthz by the ,count's well-known prodigal liberality4 ,gaston de ,foix1 to interrupt for a brief spell our tale1 was the lord of ,foix and ,barn2 buffer countships at the foot of the ,pyrenees--the castle of ,pau was one of ,foix's strongholds4 ,he succeeded1 as ,gaston ,,iii1 at the age of twelve to his principalities4 ,two years later he was serving against the ,english1 and shortly afterwards was made #8,lieutenant de ,roi' in ,languedoc and ,gascony1 and at the age of eighteen he married ,agnes daughter of ,philip ,,iii ,king of ,navarre4 ,his person was so handsome1 his bodily strength so great1 his hair of such sunny golden hue1 that he acquired the name of ,le ,roi ,phoebus or ,gaston ,phoebus1 by which latter both he and his hunting book have gone down to posterity4 ,illustration3 ,,stripping ,,the ,,boar ,,from ,,the ,,gaston ,,phoebus ,,ms4 ,the oldest copy that is extant is preserved in the same treasure-house that contains our ,,ms4 and some fourteen other copies of it1 namely the ,bibliothque ,nationale in ,paris4 ,it bears the number #fai 7anc4 #g1jih71 while our ,,ms4 is numbered f4fr4 #faf 7anc4 #g1jig71 and if ,p4 ,paris ,,mss4 ,franc4 ,v #bag is right1 it was ,gaston's working copy4 ,the pictures in this ,,ms4 are shaded black-and-white drawings1 and are not illuminations4 ,that its origin was the south of ,france is proved1 as ,m4 ,joseph ,lavalle says1 by the spelling of certain words3 car being spelt guar1 baigner as bainher1 montagne as montainhe1 a manner peculiar in the fourteenth century to the langue d',oc4 ,the fact that in the ,,ms4 #faf these words are spelt in the more modern fashion supports the theory1 according to the last-mentioned authority1 that it was written at a later date1 i4e4 in the first half of the fifteenth century1 thus confirming the impression already produced by the far superior illuminations in ,,ms4 #faf4 ,these latter1 as we see by a glance at the two full-page reproductions1 somewhat reduced in size though they necessarily had to be to find space in this place1 evince the unmistakable signs of having been created during a period of transition in the miniaturist's art4 ,for while the one has the characteristic diapered background1 the other has a more realistic horizon1 which betokens a later origin than the beginning of the fifteenth century4 ,of the eighty-seven illuminations in our ,,ms4 #faf1 only four have a natural horizon as background1 the rest are diapered in the conventional older manner1 in the invention of which the miniaturists of the fourteenth century developed a perfectly wonderful ingenuity1 and of which this exquisite ,codex is one of the most remarkable examples4 ,in the opinion of some experts the illuminations in ,,ms4 #faf are by the hand of the famous ,jean ,foucquet1 born about #adae1 who was made painter and valet-de-chambre to ,charles ,,vii4 ,amongst the choicest works of this artist rank1 it is perhaps hardly necessary to mention1 the ,book of ,hours that he executed for ,estienne ,chevalier1 ,charles ,,vii's ,treasurer1 another ,hours which he made for the ,duchess ,marie of ,cleves1 and most famous of all the ninety miniatures of the ,boccaccio of ,estienne ,chevalier which is one of the principal treasures of the ,royal ,library in ,munich4 ,those who are acquainted with ,count ,bastard's monumental work will probably discover a distinct resemblance between one of his reproductions1 especially in the foliage and scroll work1 and the two full-page pictures now before the reader4 ,on the other hand1 the opinion of such a painstaking critic as is ,levalle deserves attention4 ,according to him--and nobody expended more time and trouble in ,gaston ,phoebus researches--the illuminations are not by ,foucquet's hand1 but possibly by an artist of his school4 ,if they are ,foucquet's1 they cannot have been executed before #addj1 or at the earliest #adce4 ,and now to return to the romantic history of our ,codex4 ,on one of the front leaves is painted a large coat-of-arms4 ,it is that of the ,saint-,vallier family1 and two events connected with the then possessors of this precious manuscript throw a telling sidelight upon ,french social conditions at the period to which the opening scene on ,pavia's bloody field has introduced us4 ,a generation before that event1 namely in #adgg1 ,jacques de ,brz1 a rich noble of well-known sporting proclivities1 returning suddenly home found his wife in a compromising position with a young noble4 ,swords flashed on slighter provocation than this one in those days1 and the angry husband killed both the lover and his wife without further ado4 ,unhappily for him1 the latter was no less a personage than ,charlotte of ,france1 natural daughter of ,charles ,,vii1 and it cost the stern husband a fine of #ajj1jjj ducats1 a huge sum in those days1 and a couple of years' confinement in a castle to save his life4 ,the eldest of the six children who were made motherless by this event subsequently married ,diane of ,poitiers1 who not long afterwards became the all-powerful mistress of ,francis ,i1 and later on of ,henry ,,ii1 his son4 ,now ,diane de ,poitiers was the daughter of ,jean de ,poitiers1 ,sieur of ,saint-,vallier1 on whom his ,king 7,louis ,,ix7 had bestowed the hand of his natural daughter ,marie4 ,the ,codex whose reproductions we have before us had been given1 probably as part of the ,king's dower1 to ,jean de ,poitiers's wife1 hence the armorial bearings4 ,if we want to become acquainted with the circumstances that probably were the cause of its presence in ,king ,francis's tents on the eventful day of ,pavia1 we have to turn to another tragic event which occurred two years before ,pavia4 ,in #aebc ,jean de ,poitiers involved himself in the ,conntable de ,bourbon's conspiracy1 and the discovery by the ,king's minions1 among ,jean's secret papers1 of the code treacherously used by the ,conntable in his correspondence with ,charles ,v of ,germany1 sent ,jean speedily to the scaffold4 ,he was in the act of kneeling down to receive the deathblow when the pardon obtained by his daughter from her royal lover1 the ,king1 saved his life4 ,but all his goods and chattels were confiscated by ,francis ,i1 and amongst them was most probably our ,codex1 and thus it came to form part of the vast booty captured by ,emperor ,charles's rough-handed ,landsknechte4 ,these formidable soldiers1 who1 under their giant leader1 ,georg von ,frundsberg1 had performed in the ,italian campaigns deeds of great prowess--they were really the first trained infantry--were recruited almost exclusively in ,tyrol1 and for this reason it is not surprising that the next authentic news we have of our ,codex is from that country4 ,bishop ,bernard of ,trent purchased it evidently from some returning booty-laden ,landsknecht1 and1 recognising its great value1 he presented it about the year #aecj to ,archduke ,ferdinand1 ,duke of ,tyrol1 one of the greatest collectors of his time1 whose museum and library at his castle ,ambras1 near ,innsbruck1 was the wonder of the day4 ,it remained in the possession of the ,hapsburgs for about #acj years1 when victory returned it once more to the country from whence defeat had removed it4 ,during ,turenne's campaign in the ,netherlands1 ,general the ,marquis of ,vigneau became possessed of the volume--how remains unfortunately a mystery--and on his return to ,paris presented it1 ,july #bb1 #affa1 to his ,king1 ,louis ,,xiv4 ,bishop ,bernard's and ,general ,vigneau's dedications to the respective royalties are inscribed on the fly leaves1 the former1 in the shape of a long-winded ,latin #8humblest offering1' taking up a good deal of space1 though1 unlike the ,frenchman's dedication1 it fails to indicate the year when the presentation was made4 ,louis ,,xiv deposited it in the ,royal ,library1 where it received its librarian's birthmark1 the number #g1jig1 which it retained down to recent days1 when it was rechristened1 to be known henceforth1 as already stated1 as ,,ms4 #faf4 ,it never should have left those sacred halls1 but ,louis ,,xiv was no venerator of his own law when it suited him to break it4 ,regretting his gift to the ,library1 a few years afterwards he demanded the volume back1 and back again he got it1 his son1 the ,count of ,toulouse1 becoming the next owner of it4 ,from him it passed to ,orleans princes until1 in the fateful year #ahdh1 it formed part of the private library of ,louis ,philippe at ,neuilly1 when that royal residence was plundered and fired by the populace4 ,illustration3 ,,hunting ,,the ,,fallow ,,buck ,,from ,,the ,,gaston ,,phoebus ,,ms4 ,by a wonder it escaped complete destruction on that occasion1 and though the covers were badly damaged and blood-bespattered1 the inside of the book was left intact4 ,although a new cover of somewhat gaudy modernity has been supplied to it in consequence of the fiery ordeal through which it had passed1 the student visiting the great ,paris library1 where this unique ,codex is exhibited in what is known as the ,reserve1 will find its vellum leaves in very much the same perfect condition as they were when ,diane de ,poitiers and ,francis ,i turned them over with the care that is bestowed upon a work one loves4 ,another fine copy of ,gaston ,phoebus is preserved in the late ,duc d',aumale's magnificent library at ,chantilly1 now the property of the ,french nation4 ,when recently making some researches there the writer came across a pathetic little note in the late ,duke's catalogue respecting our ,codex1 which1 as we have heard1 belonged to the ,house of ,orleans for upwards of a century4 ,it occurs where the ,duc d',aumale speaks of the ,,ms4 #faf1 and it runs3 #8,saved from the conflagration of #ahdh1 it was taken to the ,bibliothque ,nationale1 but our appeals for a return of the volume addressed to the ,conservateurs of the ,library were rejected1 however well founded we considered our claim6' ,the miniatures in the ,chantilly copy are finely drawn1 but evince in some instances a grotesqueness which is absent from those adorning ,,ms4 #faf4 ,thus the much suffering reindeer comes in for some exceedingly quaint limning1 with antlers of perfectly ludicrous proportions and a coat like an ,angora goat's4 ,one curious fact obtrudes itself upon our notice as we examine the illumination in almost all the ,gaston ,phoebus copies that are adorned with illuminations 7the majority of the existing forty ,,mss4 are not illuminated1 or at best only with very inferior pictures74 ,it is the bright colours of the huntsmen's dress in the fifteenth century4 ,with the exception of the wild-boar hunters1 who are generally garbed in grey costumes1 mounted and unmounted hunters engaged in the pursuit of the stag1 buck1 bear1 otter1 fox1 wild cat1 wolf1 hare1 and badger1 wear with curious promiscuousness blue1 scarlet1 mauve1 white1 and yellow costume quite as often as they appear in the more orthodox green-coloured dress4 ,it may possibly have been merely an instance of artistic licence on the part of the miniaturists1 for according to the text grey and green were the only colours of venery known to the good veneur4 ,to come to the contents of our ,,ms4 we can introduce it by the broad statement that ,gaston ,phoebus is the first mediaeval hunting-book in prose that does not deal with the subject in the catechism-like form of question and answer4 ,the few previous prose works that have come down to us take the form of questions asked by the keen young apprentice and answered by his instructor1 an experienced veneur1 explaining to him the ,a ,b ,c of venery4 ,some bits in ,gaston's ,livre de ,chasse are borrowed from ,roy ,modus1 written about sixty years earlier1 some from ,gace de la ,buigne 7or ,vigne71 ,king ,john's first chaplain1 written less than thirty years earlier1 and a few from ,la ,chace dou ,serf1 a poetic effusion of the second half of the thirteenth century4 ,but taking it as a whole ,gaston ,phoebus is unquestionably as original as could be any work upon such a popular subject as hunting then was4 ,to those who know their ,froissart1 ,count ,gaston de ,foix's personality will be very familiar2 but1 considering that the chronicler's visit occurred in #achh1 the year after the commencement of the ,livre de ,chasse1 it is somewhat strange1 in view of his long stay and intimate intercourse at the ,count's court1 that he does not mention the opus upon which his host was then engaged4 ,the prologue mirrors in a characteristic manner the spirit of the age1 as does also the last miniature in ,,ms4 #faf1 which represents the noble sportsman in an attitude of beatitude kneeling in a chapel4 ,that ,gaston was a pious lord we can see by the score or so of ,latin prayers said to have been composed by him in the dire hour of mortal distress after the tragic death of his only son by his--the father's--hand4 #8,by the ,grace of ,god' ,count ,gaston speaks wisely and well of the good qualities that a hunter should have1 and how hunting causeth a man to eschew the seven deadly sins1 concluding his homily with a sentiment that appeals to the sportsman of the twentieth century as much as it did to him of the fourteenth4 #8,and also1 say ,i1 that there is no man who loves hunting that has not many good qualities in him1 for they come from the nobleness and gentleness of his heart of whatsoever estate he be1 great lord or little1 poor or rich4' ,the prologue once finished1 ,gaston starts with zest on his task1 beginning with the stag1 or1 to be quite correct1 with the #8nature' of what was considered in all ,continental hunting the most important beast of venery4 ,the next thirteen chapters deal respectively in a similar way with the natural history of the reindeer1 the fallow deer1 the #8bouc1' under which the ibex and the chamois were included1 the roe-deer1 the hare1 the rabbit1 the bear1 the wild boar1 the wolf1 the fox1 the badger1 the wild cat1 and the otter4 ,following these fourteen chapters1 we get ten very interesting ones on the various kinds of sporting hounds1 their training1 treatment when ill1 the construction and management of the kennel1 and other details relating to the subject4 ,in ,gaston's time there were five kinds2 the first is the ,alaunt1 which he subdivides into the ,alaunt gentle and the ,alaunt veautres2 the second is the levrier or greyhound2 the third the chien courant or running hound2 the fourth the bird dog or espainholz1 from which the modern spaniel has sprung2 and the fifth the mastin or mastiff4 ,then come two chapters on how to make nets1 and how to blow and trumpet1 followed by eighteen chapters on how to track the stag and the wild boar1 and how to judge of their presence1 size1 age1 etc41 by the various signs known to the veneur1 who made a very exact science of what we would call woodcraft4 ,the next fifteen chapters relate to the chase proper of the fourteen beasts named at first1 with a double chapter on the chase of the wild boar4 ,the concluding twenty-six chapters deal with the various manners of netting1 snaring1 trapping1 and poisoning of wild beasts of prey and other less noxious animals4 ,they are mostly short chapters1 and in more than one place the author displays his unwillingness to deal with matter that a good sportsman need have no ken of1 except in so far as was necessary to keep down vermin and destroy #8marauders of the woods' for the benefit of his legitimate quarry4 ,certain historians have called ,gaston ,phoebus a #8cruel voluptuary1' and no doubt some of his repressive measures sound unnecessarily harsh1 not to say merciless1 in these soft times2 but the spirit in which he wrote his famous book is unquestionably that of a really good sportsman who abhors all underhand advantages that curtail the hunted beast's chances1 and who takes his bear or wild boar single-handed1 and pursues his stag to a finish1 be the forest a trackless maze1 and the river to which the hunted deer finally takes a swift flowing stream1 into which to plunge is but a minor incident of an exciting sport4 ,of the forty or forty-one ancient ,,ms4 copies of ,gaston ,phoebus that are known to exist in ,europe to-day1 twenty-one are in ,france1 fifteen keeping our ,,ms4 #faf company on the shelves of the ,bibliothque ,nationale4 ,five form part of the ,vatican ,library1 and six adorn the principal libraries of ,continental capitals4 ,of the eight copies that are or were in ,england one is in the ,british ,museum1 and two form part of the well-known collection formed in the first half of the last century by the late ,sir ,thomas ,phillipps1 ,bt41 a bibliophile as wealthy as he was discerning4 ,of these two ,,mss41 ,no4 #aa1eib is an incomplete late copy of little value2 but the other ,,ms41 #aj1bih1 is on the other hand a treasure of great value4 ,of all the ,continental and ,english copies that the writer has examined this one contains1 next to those in ,,ms4 #faf1 the finest miniatures4 ,it is less carefully written1 and there are some variations1 but nothing of importance so far as is known1 though it has never been carefully collated with the best ,french copies4 ,illustration3 ,,from ,,the ,,gaston ,,phoebus ,,ms4 ,illustration3 ,,from ,,the ,,gaston ,,phoebus ,,ms4 ,illustration3 ,,from ,,the ,,gaston ,,phoebus ,,ms4 ,the ,british ,museum copy of ,gaston ,phoebus1 catalogued as ,addit4 ,,ms4 #bg1fii1 is on vellum1 quarto1 written in the first half of the fifteenth century4 ,the miniatures are by an indifferent hand1 and have been left in an unfinished state1 the miniaturist having apparently expended most of his time1 and nearly all his bright colours and shining gold1 upon the diapering of the backgrounds4 ,it was bought at the ,yemeniz ,sale in ,paris1 in ,may #ahfg1 for something less than #djj4 ,the ,ashburnham ,library contained two copies1 both early ones1 and of these ,,ms4 ,app4 #agi is interesting on account of an hitherto unknown treatise on hawking and birds being added at the end of the hunting book1 which is incomplete1 and the spaces at the head of each chapter for the usual miniatures are left blank4 ,it was bought at the fourth ,ashburnham ,sale in ,may #ahii by the writer4 ,of the copy which ,werth and ,lavalle quote as being in the possession of a ,cambridge ,library1 it is regrettable that no information could be obtained by them or by myself4 ,as a rule the lot of the student making researches of this sort in ,english libraries1 always excepting1 of course1 the ,british ,museum and the ,bodleian1 is not a happy one4 ,not only is study in the libraries discouraged1 and letters of inquiry are left unanswered1 but valuable ,,mss4 seem to get mislaid1 lost1 or stolen1 rather more frequently than should be4 ,the two remaining copies of ,gaston ,phoebus in this country1 one being in a public museum1 the other in a well-known ducal library1 have shared this fate1 and their whereabouts are unknown4 ,the latter copy must have been a very beautiful ,,ms41 for it is described in ,dibdin's ,decameron1 ,vol4 ,,iii1 p4 #dgh1 and was bought in #ahae for #afa1 then a large sum1 by ,loch2 and according to ,werth 7,altfranzsische ,jagdlehrbcher1 #ahhi1 p4 #gj7 it was1 when he wrote1 in the ,duke of ,devonshire's library1 from which1 however1 it seems to have disappeared1 for no trace of it can be found4 ,curiously enough1 this fate is shared by yet another valuable hunting ,,ms41 which for the ,english student has even greater interest1 namely1 one of the few existing copies 7nineteen all told7 of the ,duke of ,york's translation of ,gaston ,phoebus1 which has disappeared from a well-known nobleman's library4 ,in conclusion1 it is necessary to say a few words respecting the subject matter of the ,,ms4 just mentioned1 for many erroneous impressions regarding it are abroad4 ,gaston ,phoebus deals with some animals that were not found in ,england in ,plantagenet times1 e4g4 the reindeer1 the ibex and chamois1 and the bear4 ,hence when ,edward1 second ,duke of ,york1 who filled the position of ,master of ,game at the court of his cousin1 ,henry ,,iv1 made a translation of his famous contemporary's hunting book1 he took only those parts of it which related to game and dogs found in ,england1 and added five original chapters1 calling the whole #8,the ,master of ,game4' ,this book is the oldest hunting book in ,english1 but has never been published4 ,the writer's reproduction of it1 illustrated by photogravure copies of the illuminations in the ,paris ,codex ,,ms4 #faf1 some of which are reproduced in the present article1 is now going through the press4#b ,it will1 it is hoped1 fill a gap in ,english hunting literature1 and remove numerous misconceptions concerning this subject4 ,a ,,newly ,,discovered #8,,libro ,,di ,,ricordi' ,,of ,,alesso ,,baldovinetti ,,written ,,by ,,herbert ,p4 ,,horne ,,part ,i ,among the books of the ,spedale di ,san ,paolo1 at ,florence1 is a volume marked on the cover #8,testimenti1' and lettered #8,b4' ,it contains a record of all wills between the years #acii and #aebf under which the hospital in any way benefited2 and on fol4 #af recto is the following entry3 #8,alexo di ,baldovinecto ,baldovinetti has this day1 the #bcrd of ,march1 #adii1 made a donation to our hospital of all his goods1 personal and real1 after his death1 with obligation that the hospital support ,mea1 his servant1 so long as she live3 the deed was engrossed by ,ser ,piero di ,leonardo da ,vinci1 notary of ,florence1 on the day aforesaid4' #8,alexo died on the last day of ,august1 #adii2 and was buried in his tomb in ,san ,lorenzo2 and the hospital remained the heirs of his goods4 ,may ,god pardon him his sins6'#c ,milanese1 who quotes this #8ricordo' textually1 though not without some slight errors1 in his notes to ,vasari1 states that the volume in which it occurs is preserved in the ,archivio di ,stato at ,florence2 whereas the archives of the hospital are now in the #8,archivio' of ,santa ,maria ,nuova1 ,san ,paolo having been united to the latter hospital by the ,grand ,duke ,pietro ,leopoldo1 c4 #aghc4d ,at first sight1 this #8ricordo' would not seem to bear out the story which ,vasari tells of ,alesso and his dealings with the authorities of ,san ,paolo4 ,it states only that ,alesso made a donation to the hospital of all his worldly goods after his death1 upon the condition that his faithful servant1 ,mea1 was to be lodged1 clad1 and fed1 during her life2 whereas ,vasari1 on the contrary1 states that the painter himself became an inmate of ,san ,paolo4 #8,alesso1' he says1 #8lived eighty years2 and when he began to grow old1 desirous of being able to attend to the studies of his profession with a quiet mind1 he1 as many men often do1 entered the ,hospital of ,san ,paolo3 and in order1 perhaps1 that he might be received the more willingly1 and be better treated 7though it might1 indeed1 have happened by chance71 he caused a great chest to be brought into his rooms1 in the hospital2 acting as if a goodly sum of money were therein3 whereupon the master and the other ministrants of the hospital1 believing that this was so1 bestowed on him the greatest kindness in the world2 since they knew that he had made a donation to the hospital1 of whatever was found in his possession at his death4 ,but when ,alesso died1 only drawings1 cartoons1 and a little book which set forth how to make the tesserae for mosaic1 together with the stucco and the method of working them1 were found therein4'#e ,the apparent discrepancy between the #8ricordo' in the books of ,san ,paolo and ,vasari's account led me to search1 and not without success1 for the deed by which ,alesso's property passed to the hospital4 ,i found that both the name of the notary and the date of the execution of the instrument were incorrectly given in the #8ricordo' cited above4 ,the instrument was engrossed by ,ser ,piero di ,antonio di ,ser ,piero da ,vinci1 the father of ,leonardo da ,vinci1 and executed on ,march #af1 #adig-h4 ,by this deed ,alesso1 ex titulo et causa donationis1 #8irrevocably gave and bequeathed during his life-time1 to the ,hospital of the ,pinzocheri of the third order of ,st4 ,francis1 otherwise called the ,hospital of ,san ,pagholo1 and to the poor of ,christ living in the said hospital for the time being1' etc41 #8all his goods1 real and personal1 present and future1 wherever situate or existent1' etc41 reserving to himself #8the use and usufruct of the said goods1' etc41 #8for the term of his natural life4' ,the #8rogiti' of ,ser ,piero da ,vinci for the year #adih have not been preserved among the #8protocols' of that notary now in the ,archivio di ,stato at ,florence2 and so it is no longer possible to say under what conditions1 if any1 the donation was made3 but it is to be presumed upon the evidence of the #8ricordo' cited above1 that it entailed the obligation on the part of the hospital1 to maintain ,mea1 his servant1 during her life4 ,on ,october #ag1 #adih1 ,alesso executed what was technically known as a #8renuntiatio1' which was likewise engrossed by ,ser ,piero da ,vinci4 ,this second instrument1 which begins by reciting the former deed of donation in the terms quoted above1 sets forth how1 on that day1 ,alesso1 #8by reason of lawful and reasonable causes of motion influencing1 as they assert1 his mind1 and by his mere1 free1 and proper will1' etc41 #8renounced the said use and usufruct1 expressly reserved to himself in the aforesaid donation1 and freely remitted and released the said use and usufruct to the said hospital1 and to the poor of ,christ dwelling in the said hospital1' etc4 ,the text of this document1 which is preserved in the ,archivio di ,stato at ,florence1 is printed at length at the end of this article4#f ,it allows us to draw but one conclusion2 namely1 that when the painter executed the deed of donation on ,march #af1 #adig-h1 he had been left without wife or children2 and that he anticipated but two contingencies against which he would provide after his death--the health of his soul and the maintenance of his faithful servant1 ,mea4 ,alesso had married late in life4 ,it appears from the #8,portata al ,catasto1' returned by him in #adgj1 that he was still unmarried at that time1 and that he was possessed of no real property1 but rented a house in the #8popolo' of ,san ,lorenzo1 in ,florence1 described in his later #8,denunzie1' as being in the ,via dell' ,ariento1 at the ,canto de' ,gori4#g ,in another #8,denunzia' returned in #adhj1 ,alesso thus describes his family3--#8,alesso ,baldovinetti1 aforesaid1 aged #fj1 painter2 ,monna ,daria1 his wife1 aged #de2 ,mea1 his maid-servant1 aged #ac4' ,as a matter of fact1 ,alesso was #fc years of age1 having been born on ,october #ad1 #adbg1 ,milanesi1 by the way1 in his notes to ,vasari1 gives the name of his1 ,alesso's wife1 as ,diana1 in error for ,daria4#h ,according to the same #8,denunzia1' the painter was at that time possessed of a parcel of land of twelve staiora1 situate in the #8popolo' of ,santa ,maria a ,quinto1 and another parcel of seven staiora1 in the same #8popolo1' the latter having been bought in #adgi1 with a part of his wife's dowry4 ,it is1 therefore1 probable that he had not long been married at that time4#i ,it appears from a yet later #8,denunzia' on which the #8,decima' of #adih was assessed1 though the return itself was probably drawn up in #adie1 that he possessed1 in addition to the two parcels of land in the #8popolo' of ,santa ,maria a ,quinto1 a third parcel of over eleven staiora1 in the adjoining #8popolo' of ,san ,martino a ,sesto1 on the road to ,prato4 ,he was still living at that time in the same house at the ,canto de' ,gori2 and he also enjoyed the rents of two shops1 with dwellinghouses above1 which had been made over to him for the term of his natural life1 by the ,consuls of the ,arte dei ,mercanti1 on ,february #bf1 #adhc-d1 in payment of his #8magistero e esercitio et trafficho1' in having restored the mosaics of the ,baptistery of ,san ,giovanni4#aj ,the ,spedale di ,san ,paolo1 of which the beautiful loggia1 with its ornaments by ,andrea della ,robbia1 still remains on the ,piazza of ,santa ,maria ,novella1 was originally a hospital for the care of the sick2 and as such it is mentioned in a document of #abjh4aa ,from the time that ,st4 ,francis himself is said to have lodged at ,san ,paolo1 the hospital appears to have been administered by ,franciscans1 called in the records #8,fratres tertii ,ordinis de ,penitentia ,s4 ,pauli4' ,during the fourteenth century1 the house underwent certain reforms2 and in #acih it was decreed by the ,signoria1 #8that the place was to be no longer a hospital1 but a house of ,frati ,pinzocheri of the third order4'#ab ,notwithstanding1 the members of the community continued to devote themselves to the care of the sick2 and a papal brief of #adeb directs that the revenues of the house were to be set apart for the infirm4#ac ,at an early period in the history of ,san ,paolo1 mention occurs of ,pinzochere1 that is to say1 women attached to the community1 no doubt for the service of the hospital2 but unlike the men of the house1 who are invariably called ,frati ,pinzocheri1 they were not dignified by the title of #8,monache'3 from this ,stefano ,rosselli infers that they originally had no share in its government4#ad ,owing1 however1 to some cause which is not very clear1 the ,frati ,pinzocheri appear to have died out towards the latter part of the fifteenth century1 leaving the women in possession of the hospital4 ,from evidence that ,rosselli and ,richa adduce1 it seems that in #adig ,san ,paolo was controlled and administered entirely by ,pinzochere2 and in the document of #adii1 cited below1 it is called #8lo spedale di pizichora del terzo ordjne dj san franchesco4'#ae ,from this we must conclude that1 when ,alesso renounced the use and enjoyment of his property on ,october #ag1 #adih1 he entered the hospital of ,san ,paolo1 not as a member of the community1 but as a sick man who sought nothing more on earth than to be tended during the brief span of life that was left to him4 ,he died ten months later1 on ,august #bi1 #adii1 and was buried in his own tomb in ,san ,lorenzo4#af ,the hospital of ,san ,paolo probably inherited1 along with ,alesso's other property1 all his cartoons and drawings1 as ,vasari asserts3 they1 certainly1 came into the possession of his books and papers1 as we know4 ,the little treatise on the art of ,mosaic has long been lost2 but ,milanesi has stated in a well-known passage in his ,vasari1 that the autograph manuscript of certain #8,ricordi' of ,alesso ,baldovinetti still existed in his time1 in the ,archivio of ,santa ,maria ,nuova1 among the books of the hospital of ,san ,paolo4 ,he adds that these #8,ricordi were published at ,lucca in #ahfh1 by ,dr4 ,giovanni ,pierotti1 per le nozze ,bongi e ,ranalli4'#ag ,few of those innumerable1 little pamphlets with which ,italians1 learned and unlearned1 delight to celebrate the marriages of their patrons1 friends1 or relatives1 are more difficult to find than the little brochure of ten leaves1 in a green paper wrapper1 to which ,milanesi alludes4 ,the title page runs thus3 #8,ricordi di ,alesso ,baldovinetti1 pittore fiorentino del secolo xv4 ,lucca4 ,tipografia ,landi4 #ahfh4' ,unfortunately only a portion of ,baldovinetti's manuscript is given in this pamphlet4 ,the extracts1 which fill less than a half of its twenty pages1 are partly given in the text1 and partly in an abstract1 of the original4 ,the rest of the pamphlet is filled with the introductory preface and notes of ,dr4 ,pierotti4 ,it is now some years ago since ,i first made an attempt to find the original manuscript of these #8,ricordi1' in the ,archivio of ,santa ,maria ,nuova1 only to discover that ,i was not the first student of ,florentine painting to search in vain for the volume4 ,whether it had been borrowed by ,pierotti1 or merely mislaid1 or in what way it had disappeared1 no one could tell me4 ,not long after this attempt1 however1 ,i chanced upon what proved to be a clue to its history4 ,while searching among the #8,carte ,milanesi1' the voluminous manuscript collections which the famous commentator of ,vasari left to the ,communal ,library of ,siena1 ,i came across a series of extracts from the #8,ricordi' of ,baldovinetti1 in the handwriting of ,milanesi1 with the title3 #8,estratto del libro dei ,ricordi di ,alesso ,baldovinetti autografo essitente nell' ,archivio dello ,spedale di ,santa ,maria ,nuova di ,firenze4--,libri dello ,spedale di ,san ,paolo1 #ab ,febbo4 #ahej4' ,on comparing these extracts with ,pierotti's pamphlet1 ,i found that the two copies agreed word for word with one another4 ,it was evident that ,pierotti had made use of ,milanesi's manuscript 7indeed1 he owns as much in his concluding note71 and that he may never have seen the original manuscript4 ,last autumn1 having occasion to make some researches in the ,archivio of ,santa ,maria ,nuova1 with my friend ,sir ,domenic ,colnaghi1 for his #8,dictionary of ,florentine ,painters1' ,i took the opportunity of renewing my search for the missing volume4 ,on the top shelf of one of the presses which contain the books and papers of the hospital of ,san ,paolo1 ,i came across a #8filza' labelled #8,libri ,diversi1' and filled with miscellaneous account-books of the hospital1 chiefly of the fifteenth and sixteenth centuries4 ,among these was a small1 upright book of forty-seven leaves1 bound in a parchment cover which was inscribed3-- ,,richordi#ah ,illustration3 ,,painted-,,glass ,,window ,,decorated ,,with ,,figures ,,of ,,god ,,the ,,father ,,and ,,st4 ,,andrew1 ,,from ,,cartoons ,,by ,,alesso ,,baldovinetti2 ,,over ,,the ,,altar ,,of ,,the ,,pazzi ,,chapel ,,in ,,the ,,cloister ,,of ,,santa ,,croce1 ,,florence ,on the recto of the first leaf was written3 #8#adgj4 ,in this book ,i will keep a record of all the expenses that ,i shall incur in the chapel of the ,high ,altar of ,santa ,trinita1 namely of gold1 blue1 green1 lake1 with all other colours and expenses that shall be incurred on behalf of the said chapel2 and so we may remain in agreement ,i and ,messer ,bongiani ,gianfigliazi1 the commissioner of the work1 and the patron of the said chapel1 as appears by a writing which ,i hold1 subscribed by his own hand4' ,fol4 #b tergo1 and fol4 #c recto1 were filled with entries relating to the purchase of colours and other materials for the work of the chapel1 and fol4 #c tergo contained two further entries in the same hand2 after which was written1 in a different hand3 #8,here follow the records of the hospital of the ,pinzochere of the third order of ,st4 ,francis1 written by ,giovanni di ,ser ,antonio ,vianizzi4' ,the remainder of the book was filled with entries relating to the hospital of ,san ,paolo1 the first of which recorded a payment of twenty-three lire1 made by the hospital on ,october #ai1 #adii1 to ,luca d',alesso ,baldovinetti4 ,on comparing the #8,ricordi' relating to ,santa ,trinita1 with the #8,portata al ,catasto1' returned by ,alesso in #adga1 it was clearly evident that both documents were in the handwriting of the painter4 ,of the #8,portata al ,catasto1' returned by ,alesso in #adhj1 two copies exist in the same hand2 but they do not appear to have been written by the painter himself1 although ,milanesi has reproduced a portion of one of them1 in his #8,scrittura di ,artisti ,italiani1' ,florence1 #ahgf1 ,vol4 #a1 ,no4 #gd1 as a specimen of his handwriting4 ,what is more1 this manuscript1 which ,i may call #8,libro ,b1' throws a light upon the nature of the missing volume1 #8,libro ,a4' ,in the case of #8,libro ,b1' what undoubtedly happened was1 that the good ,pinzochere1 on looking over ,alesso's property after his death1 found an account-book of which only the first three leaves had been used4 ,with a proper spirit of economy1 they determined to make use of the rest of the book for the accounts of their hospital3 but instead of tearing out the leaves containing ,alesso's #8,ricordi1' they fortunately allowed them to stand2 their procurator adding the note ,i have cited above4 ,the same thing probably happened in the case of #8,libro ,a4' ,from the extracts that ,milanesi made1 it appears that ,alesso's #8,ricordi' only filled some sixteen pages of a volume1 that cannot well have contained fewer leaves than #8,libro ,b4' ,with this clue to its discovery1 ,i leave my friends and rivals in ,florence to continue the search for a volume1 whose loss every genuine student of ,italian painting must regret4 ,the history of the ,cappella ,maggiore of ,santa ,trinita affords a curious instance of the tardy process by which many of the ,florentine churches and their chapels were brought to completion4 ,the present church of ,santa ,trinita was begun c4 #abej1 but many of the lateral chapels remained unfinished until the fifteenth century1 and among them the ,cappella ,maggiore4 ,on ,november #a1 #acga1 the abbot of ,santa ,trinita1 inter missarum solepnia1 made an appeal to many of the chief parishioners1 who had assembled for mass1 to contribute to the expenses necessary for the erection of the ,cappella ,maggiore4#ai ,the work appears to have proceeded very slowly1 since it is on record that the chapel was but half built in the year #adfc4 ,in order to bring it to completion1 the abbot1 having assembled the parishioners in the church1 gave notice that since money was wanting to finish the work1 licence to do so would be granted to the family that was able and willing to undertake the expense2 and accordingly on ,february #d of the same year1 the patronage of the chapel was granted by acclamation of the parishioners1 to ,messer ,bongianni ,gianfigliazzi and his descendants4#bj ,the ,gianfigliazzi were an ancient ,florentine family1 of no little repute in the conduct of affairs and arms during the last two centuries of the republic4 ,ugolino ,verino celebrates them in his ,latin poem1 #8,de ,illustratione ,urbis ,florentiae'3-- ,non genus externum est3 agro venere paterno1 ,janfiliazze1 tui1 si vera est fama1 priores4 ,protulit illustres equites generosa propago4#ba ,according to ,piero ,monaldi1 the ,gianfigliazzi were descended and took their name from one #8,ioannes filius ,acci1' who is named in a treaty concluded between the ,sienese and ,florentines in the year #abja4bb ,besides knights of ,malta and ,santo ,spirito1 this family boasted of ten gonfaloniers of the republic1 and thirty priors2 the first of whom held office in #acde4 ,gherardo ,gianfigliazzi was gonfalonier in #adfb2 and ,messer ,bongianni1 his brother1 in #adfg1 and again in #adgj4 ,the latter1 #8magnificus miles' as he is styled in documents1 was a #8cavalier spron d'oro1' and famous in his day as a leader of the ,florentine forces4 ,he was several times created ambassador of the ,florentine republic1 and one of the ,dieci di ,balia4 ,in #adga he was one of the six #8orators' sent to felicitate ,sixtus ,,iv on his election to the papacy2 and in #adhc he was appointed #8commessario' in the war against the ,genoese1 which ended in the capture of ,sarzana4 ,alesso was not the only famous artist which this family patronized4 ,their shield of arms1 carved with a lion rampant1 by ,desiderio da ,settignano1 is still to be seen on the front of their palace on the ,lung' arno ,corsini1 at ,florence4#bc ,giuseppe ,richa states that the deed granting the patronage of the ,cappella ,maggiore of ,santa ,trinita to the ,gianfigliazzi1 was engrossed by ,ser ,pierozzo ,cerbini on ,february #ac1 #adfc-d1 which we may well believe2#bd but he adds that the #8ius patronale' was vested in the persons of ,messer ,bongianni and ,messer ,gherardo4#be ,the latter statement1 however1 would seem to be incorrect1 for ,gherardo was already dead at that time1 as we learn from the inscription on the sepulchral slab 7one of the most beautiful of its kind in ,florence71 which is still to be seen on the floor of the chapel1 but now partly covered by a choir-organ3 ,,gherardo 4 ,,ianfiliatio 4 ,,de 4 ,,se 4 ,,familia 4 ,,et 4 ,,patria 4 ,,be8 ,,ne- ,,merito ,,bonioannes 4 ,,fratri 4 ,,pientissimo 4 ,,sibi 44444 ,,idvs 4 ,,sep 4 ,,an 4 ,,sal 4 ,,mcccclxiii ,illustration3 ,photo1 ,alinari ,,the ,,altar-,,piece ,,painted ,,by ,,alesso ,,baldovinetti ,,for ,,the ,,cappella ,,maggiore ,,of ,,santa ,,trinit1 ,,at ,,florence1 ,,and ,,now ,,preserved ,,in ,,the ,,florentine ,,academy ,messer ,bongianni appears to have proceeded at once with the work of finishing the chapel4 ,his share of the work may yet be made out3 the vaulting1 with its heavy roll ribs1 too large for the corbels on which they rest1 was clearly erected by him4 ,the corbels themselves probably date from the thirteenth century4 ,furthermore1 he constructed the large window of two round-headed lights1 and an a #8occhio1' or circular light1 above1 which is still to be seen in the head of the chapel4 ,the structure being completed1 he next turned to the decoration1 which he began by filling the lights of the window with painted glass4 ,alesso ,baldovinetti enters1 in his #8,ricordi1' ,libro ,a1 that #8,lionardo di ,bartolommeo1 surnamed ,lastra1 and ,giovanni di ,andrea1 glazier1 owe me this #adth day of ,february1 #adfe-f1 lire #abj2 which moneys are for the painting of a window placed in the ,cappella ,maggiore of ,santa ,trinita2 and ,bongianni di ,bongianni ,gianfigliazzi has ordered this window to be executed by the said ,lastra and ,giovanni1 master-glaziers2 and ,i1 ,alesso1 have designed and painted it for them1 at the rate of forty soldi the square braccio3 the #8occhio' above being estimated with the said window1 in the said sum1 and according to the said measure4#8#bf ,it appears from the #8,trattato' of ,cennino ,cennini that it was the common practice of the #8maestri di finestre' in ,florence in the fifteenth century not only to employ painters to design cartoons for their windows1 but also to paint the design upon the glass4 ,the #8maestro di finistre1' says ,cennini1 #8will come to you with the measure of his window1 both breadth and length4 ,you will take as many sheets of paper glued together as will be necessary for your window2 and you will draw your figure first in charcoal1 afterwards you will outline it in ink1 having shaded your figure as completely as if you were drawing it on panel4 ,then the master-glazier takes this design and spreads it out on a desk or board1 large and even1 and according as he wishes to colour the draperies of the figure1 so1 piece by piece1 he cuts the glasses1 and gives you a colour made of copper filings1 well ground2 and with this colour1 piece by piece1 you proceed with a little pencil of minever1 having a good point1 to contrive your shadows1 making the joins of the folds and other parts of your figure agree1 one piece of glass with another1 just as the master-glazier has cut and put them together2 and with this colour you are able1 without exception1 to shade on every sort of glass4'#bg ,in #afaf1 the glass designed and painted by ,alesso1 #8being all spoiled1 broken1 and patched1 in such a manner that it yielded no light1 except where there was no wire-screen1' the whole of the lights were reglazed anew1 at the joint expense of the monastery and the patrons of the chapel4#bh ,the beautiful stonework of the window1 however1 designed in the classic taste of the time1 with finely-wrought pilasters at the jambs and mullion1 was restored and filled with modern stained-glass during the recent restoration of the church1 in #ahij-g4 ,it appears from the #8,ricordi1' ,libro ,a1 of ,alesso ,baldovinetti1 that the painter gave designs for several windows to the #8maestri di finestre4' ,in #adgb1 he designed an ,annunciation to be executed in glass for the cathedral church of ,san ,martino1 at ,lucca2 and in #adha1 he designed a window for the church of ,sant' ,agostino1 at ,arezzo4#bi ,these windows have perished1 but there still remains in ,florence a painted window which was undoubtedly executed from a cartoon by ,alesso4 ,this window1 which1 so far as ,i am aware1 has never been ascribed to him1 is above the altar of the ,pazzi chapel1 in the first cloister of ,santa ,croce4 ,plate ,i4 ,it consists of two lights1 a lower circular-headed light containing a full-length figure of ,st4 ,andrew1 the patron saint of the chapel1 with the arms of the ,pazzi below2 and an upper round window1 or #8occhio1' containing a half-length figure of ,god the ,father4 ,this window affords a good example of the use of the pure and brilliant colours which the ,florentine #8maestri di finestre' employed in the fifteenth century1 and which to our northern eyes are apt to appear crude and too little wrought upon4 ,but seen1 as such windows were doubtless intended to be seen1 with the full power of the ,italian sun upon them1 their colours become fused1 and take that jewel-like quality which is essentially distinctive of the finest painted-glass4 ,the figure of ,st4 ,andrew is draped in a golden leaf-green robe1 lined with a smalt blue1 and worn over an underrobe of a warm and brilliant purple4 ,the frieze of the niche behind the figure is of a colder purple2 the capitals of a madder tint2 the cupola of a smalt blue2 and the sky in the background of a full ultramarine4 ,the figure of ,god the ,father in the #8occhio' above1 wears a golden purple vest1 and a mantle of smalt blue2 and the curtains of a madder purple1 lined with green1 which are drawn apart1 reveal a skyey background of ultramarine behind the figure4 ,during the recent restoration of the ,pazzi chapel1 this window was repaired1 and several missing pieces of the glass made good4 ,these repairs are especially noticeable in the ultramarine glass4 ,the high altar of ,santa ,trinita was originally placed immediately below the window1 in the head of the ,cappella ,maggiore4 ,its beautiful marble frontal1 carved with the symbol of the ,trinity in relief1 was found during the recent restoration of the church1 in the ,cappella della ,pura1 in ,santa ,maria ,novella1 and has once more been put to its original use4 ,for this altar ,alesso1 as he records in ,libro ,a1 received the commission from ,messer ,bongianni1 on ,april #aa1 #adgj1 to paint an altar-piece1 in which was to be a ,trinity with two saints1 namely1 ,st4 ,benedict and ,st4 ,john ,gualbert1 and angels4 ,he finished it on ,february #h1 #adga1 and received eighty-nine gold florins in payment for the work4#cj ,in #aefi1 the high altar was brought forward1 and placed below the arch of the ,cappella ,maggiore2 and the choir which anciently lay before the high altar1 in the body of the church1 was reconstructed in the chapel1 behind the altar4 ,in #afga1 the crucifix of ,st4 ,john ,gualbert was brought from ,san ,miniato1 and placed upon the new high altar2 and ,alesso's altar-piece was left hanging in its original position1 below the window of the choir1 where it was to be seen when ,don ,averardo ,niccolini collected his notices of ,santa ,trinita1 towards the middle of the seventeenth century4#ca ,at a later time the picture was removed into the sacristy2 and finally1 upon the suppression of the monastery in #ahjh1 it was taken to the ,florentine ,academy1 where it is still preserved1 ,no4 #aei4 ,plate ,,ii4 ,it is painted on a panel measuring #g ft4 #h ins4 in height1 and #i ft4 #a ins4 in length4 ,god the ,father is seated in the centre of the composition1 in the midst of a glory of seraphim1 supporting the cross on which the figure or ,christ is hanging4 ,the ,holy ,ghost1 in the form of a dove1 hovers above the crucifix2 and at the foot of the cross1 which rests upon the earth1 is the skull of ,adam4 ,in the lower left-hand corner kneels ,st4 ,benedict1 in the habit of his order2 and on the opposite side of the picture kneels ,st4 ,john ,gualbert4 ,in the upper corners1 two angels draw back a curtain embroidered with pearls2 while other angels hover around1 against the skyey background4 ,dry1 almost unpleasing as a whole1 and with little or nothing of that delicate feeling for sensuous beauty which distinguishes ,alesso's early works1 this altar-piece is1 nevertheless1 one of the most remarkable productions extant of ,florentine painting in the fifteenth century4 ,in execution1 it shows a mastery of technique to which few of ,alesso's contemporaries attained4 ,the draperies1 for instance1 are wrought with a richness of colour and texture which recalls the work of some great ,fleming4 ,in conception too severely understood1 in presentation too precisely wrought out1 and with too exacting a definition1 this altar-piece seems to forestall something of that profoundly intellectual rendering of constructed form1 which ,michael ,angelo afterwards carried to its height in the fresco of the ,last ,judgement4 ,certainly1 there are few more striking instances of the manner to which the ,florentine painters of the fifteenth century developed the technique and science of painting4 ,to be continued4 ,illustration3 ,,the ,,blessed ,,virgin ,,and ,,child1 ,,with ,,angels1 ,,surrounded ,,by ,,virgin ,,saints 7,,dexter3 ,,ss4 ,,fausta1 ,,an ,,unknown ,,saint1 ,,agnes1 ,,catherine1 ,,and ,,dorothea2 ,,sinister3 ,,ss4 ,,apollina1 ,,godeliva1 ,,cecilia1 ,,barbara1 ,,and ,,lucy72 ,,in ,,the ,,background1 ,,the ,,painter ,,and ,,his ,,wife ,,on ,,either ,,side2 ,,by ,,gerard ,,david2 ,,in ,,the ,,rouen ,,museum ,,the ,,early ,,painters ,,of ,,the ,,netherlands ,,as ,,illustrated ,,by ,,the ,,bruges ,,exhibition ,,of #aijb ,,written ,,by ,w4 ,h4 ,,james ,,weale ,,article ,,iv ,the ,exhibition included a number of other works attributed to ,memlinc4 ,three of these are supposed to have been executed in his early years3 the ,passion of ,saint ,sebastian 7#fi71 belonging to the ,brussels ,museum2 the triptych with the ,deposition of ,christ in the centre1 and ,saints ,james and ,christopher 7#ib71 formerly at ,liphook in the ,heath collection1 now the property of ,m4 ,r4 von ,kaufmann2 and the ,blessed ,virgin and ,child with a donor protected by ,saint ,anthony4 ,the first of these was probably painted by a follower of ,dirk ,bouts2 the second by an imitator of ,bouts and ,memlinc2 the third only has any claim to be considered the work of ,memlinc2 the date #adgb1 inscribed in the background1 is certainly modern1 but probably copied from the frame when this was discarded4 ,the ,blessed ,virgin and ,child 7#gh71 lent by ,mr4 ,a4 ,thiem1 is a school picture in not very good condition2 another 7#hc7 belonging to ,baron ,p4 ,bethune1 having long served as the lid of a miller's flour box1 has very little of the original work left4 ,a ,madonna enthroned with two angels 7#hb7 entirely overpainted1 lent by ,mrs4 ,stephenson ,clarke1 and another belonging to the ,museum of ,woerlitz 7#bi71 are like similar pictures in the ,museum at ,vienna and in the possession of the ,duke of ,westminster1 works probably painted after ,memlinc's death from his patterns by ,louis ,boels4 ,the three large panels from the monastery of ,najera 7#hd71 belonging to the ,antwerp ,museum1 are fine decorative works painted about #adij by an imitator of ,memlinc and ,van ,eyck4 ,as to the ,annunciation lent by ,prince ,radziwill 7#he71 said by ,dr4 ,waagen to have been painted in #adhb1 ,i should1 looking at the colour and execution1 think it at least twenty years later1 and am convinced that ,memlinc never had anything whatever to do with it4 ,mr4 ,hulin calls it ,memlinc's most perfect composition2 ,dr4 ,friedlnder1 #8an extremely original composition of remarkable delicacy of sentiment and execution' 7von hchst eigenartiger ,komposition und besonderer ,feinheit in ,empfindung und ,durchfhrung72 while a writer in the ,athenaeum of ,september #bj says3 #8,in conception it belongs entirely to the master1 and the composition is as fine and original as anything to be found in his work1' and thinks that #8it was a beautiful and new conceit thus to represent the ,virgin as sinking down tremblingly at the angel's word1 but held by the supporting arms of two other attendant angels who look up to her with reassuring smiles4' ,now it is certain that ,memlinc1 far from being an innovator and an inventor of what the writer properly calls new conceits1 was a faithful follower of ecclesiastical tradition1 and would never have dreamt of introducing into the representation of this mystery these two sentimental and affected angels4 ,no doubt the ,gospel says that ,mary was troubled at the words of the angel1 but there is nothing to warrant this impertinent addition4 ,the fact is that the beautiful long waving line of the ,virgin's robe with its sudden returning lines has made these critics shut their eyes to these points1 which ,i think are by themselves sufficient evidence that the picture is the work of a sixteenth-century innovator4 ,as to the six panels 7#agf7 lent by the ,strassburg ,museum1 it is an outrage to suggest that ,memlinc was their author4 ,after ,memlinc1 the greatest master who worked at ,bruges was another foreigner1 ,gerard son of ,john1 son of ,david1 a native of ,oudewater in ,south ,holland1 who in all probability learnt his art either at ,haarlem or under ,dirk ,bouts at ,louvain4 ,he came to ,bruges at the end of #adhc1 and was admitted into the ,guild of ,saint ,luke as free master on ,january #ad1 #adhd4 ,although we have no written evidence as to his history previous to that date1 yet certain details in his works make it almost certain that he had travelled in ,italy after the termination of his apprenticeship4 ,bruges still possesses the earliest works by him of which the authenticity is established2 these with a number of others by his followers not only afforded an excellent opportunity for studying the variations in his manner1 but showed the great influence he exercised over his contemporaries and followers4 ,in #adhh ,gerard ,david was commissioned to paint two pictures by the magistrates elected by the three members of ,flanders to succeed those who had been deposed after the imprisonment of ,maximilian2 they were intended by them to commemorate the execution of the judge ,peter ,lanchals and other members of the late administration who1 having been found guilty of corruption and malversation1 had been condemned to death and executed4 ,gerard1 however1 instead of painting the history of ,lanchals1 took for his theme an analogous subject originally recorded by ,herodotus1 which he probably drew from the then much better known works of ,valerius ,maximus4 ,by so doing he avoided the resentment of the friends of the deposed magistrates1 while the subject chosen was equally well adapted to recall to the sitting magistrates that they must be honest and impartial4 ,in the first of the two panels 7#aba71 which we reproduce 7as the frontispiece of this number71 ,cambyses1 accompanied by his court1 is represented entering the hall of justice and ordering the arrest of the unjust judge ,sisamnes4 ,in the background ,sisamnes is seen at the porch of his house receiving a bag of money from a suitor4 ,the groups of nude children and the garlands of fruit and flowers1 the earliest instance of the occurrence of such details in a ,netherlandish picture1 must have been copied from ,venetian or ,florentine pictures1 and the two ,medicean cameos are almost proofs of a visit to ,florence2 one of these1 the ,judgement of ,marsyas by ,apollo1 is represented as a breast ornament worn by ,lucretia ,tornabuoni 787 in the portrait of that lady by ,botticelli in the ,stdel ,institute at ,frankfort4 ,it is interesting to note that the square seen in the background is an almost exact representation of the ,square of ,st4 ,john at ,bruges4 ,the flaying of ,sisamnes 7#abb7 is an extremely realistic picture vigorously painted with wonderful finish4 ,the composition and pose of the figures in both scenes remind one of ,carpaccio1 the heads have a great deal of character1 and the hands are admirably modelled4 ,for the two pictures1 which were not completed until #adih1 ,gerard received in three instalments the sum of #ad #ajs4 ,the ,national ,gallery contains two pictures painted between #aejj and #aeaj1 both formerly in the ,cathedral of ,saint ,donatian at ,bruges1 the one an altar-piece executed for ,richard ,de ,visch ,van der ,capelle1 who held the office of cantor in that church2 the other1 the dexter wing of a triptych painted for ,bernardine ,salviati1 a canon of the same cathedral4 ,these of course were not at ,bruges1 but ,i mention them here because they form a connecting link with the triptych representing the ,baptism of ,christ 7#abc71 of which the centre and the inner face of the shutters were painted before #aejb1 and the outer in #aejh4 ,the next work in order of date1 and in my opinion ,david's masterpiece1 is the picture 7#abd7 presented by him in #aeji to the convent of the ,carmelite nuns of ,sion at ,bruges1 and now in the ,rouen ,museum2 it represents the ,blessed ,virgin and ,child surrounded by virgin saints and two angels1 the one playing a mandoline1 the other a viola1 whilst at the extreme ends in the background the painter has represented himself and his young wife4 ,the composition is not quite original2 ,memlinc had already painted for ,john ,du ,celier a small ,sacra ,conversazione now in the ,louvre1 and another artist who has not as yet been identified had executed in #adhi1 for the ,guild of ,saints ,mary ,magdalene1 ,katherine1 and ,barbara1 an altar-piece 7#aad7 which doubtless suggested not only the composition of this picture but the mode of characterizing the saints4 ,the author of this earlier work1 if one may judge by its colouring1 was probably accustomed to design tapestries2 most of the figures are exceedingly plain and wanting in expression1 whereas in ,gerard's picture the colouring is harmonious and the figures remarkable for beauty of expression1 the angels being amongst the most charming conceptions realized by the school4 ,illustration3 ,,triptych3 ,,the ,,belessed ,,virgin ,,and ,,child1 ,,st4 ,,catherine1 ,,and ,,st4 ,,barbara2 ,,by ,,cornelia ,,cnoop1 ,,wife ,,of ,,gerard ,,david2 ,,in ,,the ,,possession ,,of ,,messrs4 ,p4 ,,and ,d4 ,,colnarghi ,the large triptych 7#abe7 lent by ,m4 de ,somze1 with life-size figures of ,saint ,anne with the ,blessed ,virgin and ,child in the centre1 and ,saints ,nicholas and ,anthony of ,padua on the shutters1 painted for some ,spanish church1 is a late work inferior in execution to those already mentioned4 ,six other panels with scenes from the lives of the two saints1 said to have been the predella of this altar-piece1 not exhibited1 are on the contrary charming works2 they are now in the possession of ,lady ,wantage4 ,two shutters of a triptych 7#ach7 with full-length figures of four saints1 lent by ,mr4 ,james ,simon1 of ,berlin1 appear to me to be authentic works2 the ,saints ,christopher and ,anthony are especially good4 ,of the other eleven works attributed to ,gerard by their owners or by those who have written on the exhibition1 ,i can only say caveat lector4 ,we know no picture painted by ,gerard before #adhh or after #aeab1 and the variation of style in the works executed between those dates of which the authenticity is established makes it difficult to say with certainty that any picture painted at ,bruges between #aeab and #aebg is or is not by him1 and it is certainly mere guesswork to attribute to him any pictures of an earlier date than #adhh2 it is indeed probable that1 being a stranger1 he would during his first four years at ,bruges have confined himself to the execution of small pictures of religious subjects which would meet with a ready sale4 ,the ,adoration of the ,magi 7#ace7 lent by the ,brussels ,museum1 formerly supposed to be by ,john van ,eyck1 was first attributed to ,gerard by ,dr4 ,scheibler4 ,dr4 ,friedlnder believes it to be an original work of about #aejj1 often copied4 ,it was originally in the ,premonstratensian abbey of ,saint ,michael at ,antwerp1 and ,i doubt its being a ,bruges picture or an original composition4 ,the original painting was certainly executed shortly after #adij and was copied by the miniaturist who adorned a ,dominican ,breviary which was in the possession of ,francis de ,roias in ,spain before #adig4 ,the style of the figures and the colouring of the ,annunciation 7#abh7 lent by the ,museum of ,sigmaringen are very much in ,gerard's manner1 and it may possibly be by him2 the ,stdel ,museum at ,frankfort contains a copy of these two panels apparently painted by a ,netherlandish artist in the ,peninsula or by a ,portuguese artist in the ,low ,countries1 the inscription on the border of the angel's vestments being in ,portuguese3 ,modar de ,senor4 ,a triptych representing the ,deposition of ,christ 7#abf71 which though thrice restored1 in #afge1 #aggc1 and #ahbg1 is still in fairly good condition1 was first included by me in #ahfc among the works by ,gerard on the authority of a document of the year #afge1 preserved in the archives of the ,confraternity of the ,holy ,blood1 to which the picture has always belonged4 ,it certainly differs considerably from the pictures painted by him between #adhh and #aeaj1 and shows a strong influence of ,quentin ,metsys1 and ,i do not think that the opinion of two or three modern critics warrants the rejection of the evidence in its favour4 ,the picture was certainly painted c4 #aebj in ,bruges1 where several old copies of it were preserved until the middle of the last century4 ,a ,holy ,family 7#cdc7 lent by ,m4 ,martin ,le ,roi is an excellent work painted about the same time1 showing even more strongly the influence of ,quentin ,metsys1 and ,i have little doubt painted by an ,antwerp master4 ,yet this is classed by ,dr4 ,friedlnder as an excellent work of ,david's later time 7,vortreffliches ,werk aus der ,sptzeit ,davids71 although there is neither tradition nor documentary evidence in favour of this attribution4 ,the ,transfiguration 7#aag7 belonging to the church of ,our ,lady1 another work of about the same date1 is of interest as representing an event rarely treated by the early masters of the ,netherlands4 ,the composition shows an ,italian influence2 the figures1 especially those in the group on the left1 that of ,gerard2 the colouring is light and cool2 the picture has suffered very much from neglect4 ,the shutters of this altar-piece1 not exhibited1 were painted by ,peter ,pourbus4 ,the lunette 7#adi7 lent by ,baron de ,schickler is a fine piece1 but the types of the figures are unlike any in ,gerard's authentic works4 ,gerard was not only a painter but also a miniaturist1 and as such a member of the ,guild of ,saint ,john and the head of a school of miniaturists4 ,two specimens of his own work--7#abi7 ,saint ,john the ,baptist preaching in the wilderness and the ,baptism of ,christ--and three by his wife1 ,cornelia ,cnoop1 were formerly in the ,cistercian abbey of ,saint ,mary in the ,dunes2 the three last 7#acj71 lent by ,messrs4 ,p4 and ,d4 ,colnaghi1 are here reproduced2 they have been framed as a triptych4 ,the previous articles of this series were published in ,nos4 #a1 #b1 and #c of ,the ,burlington ,magazine for ,march1 ,april1 and ,may1 #aijc4 ,,editorial ,,note ,we give reproductions of the portraits of ,thomas ,portunari and his wife1 referred to by ,mr4 ,weale in his third article 7,burlington ,magazine1 ,no4 #c1 ,may #aijc1 p4 #ccf71 as they may be of interest to students of ,flemish art1 since their authorship is a disputed question4 ,these portraits have hitherto been attributed to ,memlinc1 but1 when they were exhibited at ,bruges last year1 this attribution was doubted by many critics4 ,mr4 ,weale1 as our readers know1 has suggested that the portraits may be early works of ,hugh van der ,goes4 ,the question is one on which further opinion will be welcome4 ,amateurs of mediaeval jewellery1 by the way1 should notice the very beautiful necklace worn by ,portunari's wife1 which is a remarkably fine example of fifteenth-century work4 ,illustration3 ,,portraits ,,of ,,thomas ,,portunari ,,and ,,his ,,wife2 ,,attributed ,,to ,,hans ,,memlinc2 ,,in ,,the ,,collection ,,of ,,monsieur ,l,,opold ,,goldschmidt ,,on ,,oriental ,,carpets ,,article ,,iii4--,,the ,,svastika ,until a comparatively few years ago1 the literature of science was almost wholly silent on the subject of the ,svastika4 ,professor ,wilson1 of the ,smithsonian ,institute1 writing in the early nineties1 sets forth that in most of the best-known encyclopedias1 both ,european and ,american1 the word ,svastika is not so much as mentioned4 ,it was indeed1 he says1 this to him incomprehensible omission1 and consequent admittedly general ignorance1 that prompted him to make an exhaustive study of the subject1 and to embody the results of his researches in what is undoubtedly the standard work on ,svastika at the present time4 ,yet even ,professor ,wilson1 while giving to his readers the great mass of evidence he has collated1 is chary of expressing any definite opinion as to the origin and significance of this universal symbol4 ,in this reserve he is doubtless prudent1 at least in so far that he has avoided entering upon a controversy which must probably be endless4 ,the theories1 indeed1 that have been presented concerning the origin and the symbolism of the ,svastika are as numerous as they are diverse4 ,every kind of suggestion has been made as to its relation to the most ancient ,deities1 and as to its typifying of certain qualities4 ,various writers have regarded it as being the emblem1 respectively1 of ,zeus and of ,baal1 of the ,sun ,god1 of the ,sun itself as a ,god1 and of the ,sun chariot4 ,of ,agni 7the ,ignis of the ,romans7 the fire ,god1 and of ,indra the rain ,god4 ,in the estimation of others1 again1 it is typical of the sky and of the sky ,god2 and finally of the ,deity of all ,deities1 the great ,god1 the maker and ruler of the universe4 ,again1 it has been held to symbolize light and the ,god of light1 and the forked lightning1 as a manifestation of that ,deity2 and yet again1 according to some1 from its intimate association with the ,lotus1 it has been regarded as the emblem of the ,god of water4 ,that it is the oldest known ,aryan symbol is hardly in dispute4 ,there are writers who have announced their conviction that it represents ,brahma1 ,vishnu1 and ,siva1 the creator1 the preserver1 and the destroyer4 ,certainly it appears in the footprints of ,buddha1 engraved upon the living rock of ,indian mountains2 equally certainly it stood for the ,jupiter ,tonans and ,pluvius of the ,latins1 and for the ,thor of the ,scandinavians1 though that it represented a variety of the #8,thor hammer' is now considered to be disproved4 ,many have attributed a ,phallic meaning to it1 or1 regarding it as the symbol of the female1 have claimed that it represents the generative principles of mankind1 while its appearance on the person of certain ,goddesses1 ,artemis1 ,hera1 ,demeter1 ,astarte1 and the ,chaldean #8,nana1' the leaden ,goddess from ,hissarlik1 has caused it to be claimed as a sign of fecundity4 ,but1 as ,professor ,wilson points out1 and as every other writer has allowed1 whatever else the ,svastika may have stood for1 and however many meanings it may have had1 it was always1 if not primarily1 ornamental4 ,it may have been used with any or all and other than the above significations1 but it was always ornamental as well4 ,but in whatever other connexion it may have been employed1 it was invariably1 and still is to-day1 an auspicious sign4 ,it is still used by the common people of ,india1 of ,china1 and of ,japan1 as a sign of #8long life1 good wishes1 and good fortune4' ,among many ,north ,american ,indian tribes it is called #8the luck1' and the men wear it embroidered on their garters1 and the women on the borders of their skirts2 and in ancient times it was wont to be embroidered in quills on the bags in which they carried their medicinal herbs4 ,in ,thibet it is a not uncommon mode of tattooing2 and in this connexion it is interesting to note that ,higgins in his #8,anacalypsis' says1 concerning the origin of the cross1 that the official name for the ,governor of ,thibet comes from the ancient ,thibetan name for cross1 the original spelling of which is 8,lamh40 ,davenport corroborates this view in his 8,aphrodisiaco40 ,there is1 according to ,balfour1 despite ,mr4 ,gandhi's contradictions of ,colonel ,cunningham1 a sect in ,thibet who receive their name from this symbol4 ,they are the #8,tao-sse' of the ,chinese4 ,the founder of this doctrine is said to have flourished ,b4,c4 #fjd to #ebc4 ,they were rationalists who held that peace of mind and contentment were the only objects worthy of attainment in this life4 ,they assumed the name of ,tirthakar1 or pure-doers4 ,professor ,max ,mller1 discussing the question why the sign ,illustration should have had an auspicious meaning1 mentions that ,mr4 ,thomas1 the distinguished oriental numismatist1 has called attention to the fact1 that in the long list of the recognized devices of the twenty-four ,jain ,tirthankara#cb the sun is absent1 but that while the eighth ,tirthankara has the sign of the half moon1 the seventh is marked with a ,svastika1 i4e4 the sun4 ,here1 then1 is clear indication that the ,svastika with the ends pointing in the right direction was originally a symbol of the sun1 perhaps of the vernal sun as opposed to the autumnal sun1 the #8,suavastika1' and therefore a natural symbol of light1 life1 health1 and wealth4 ,this #8,suavastika1' ,max ,mller believes1 was applied to the ,svastika sign ,illustration with the ends bent to the left1 but with the exception of ,burnouf 7#8,des ,sciences et ,religions'7 no one agrees with him4 ,burnouf supports his theory 7which is1 that the word ,suavastika is a derivation of the ,svastika1 and ought to signify #8he1 who1 or that which bears or carries the ,svastika or a species of ,svastika'7 by the story of ,agni 7,ignis71 the god of ,sacred ,fire1 as told in the #8,veda' 7the four sacred books of the ,hindus74 #8,the young ,queen1 the ,mother of ,fire1 carried the ,royal infant mysteriously concealed in her bosom4 ,she was a woman of the people1 whose common name was ,arani--that is1 the instrument of wood 7the ,svastika7 from which fire was produced by rubbing4' ,burnouf says that the origin of the sign is now easy to recognize4 ,it represents the two pieces of wood which compose the ,arani1 of which the extremities were to be retained by the four nails4 ,at the junction of the two pieces was a fossette or cup-like hole1 and there was placed a wooden upright in the form of a lance 7the pramantha71 the violent rotation of which 7by whipping after the fashion of the whipping-top7 brought forth fire4 ,illustration3 ,form of ,svastika at the end of ,kolppur ,inscription4 ,illustration3 ,svastika at end of ,kd4 ,illustration3 ,croix ,svasticale 7,zmigrodski74 ,illustration3 ,,section ,,of ,,oriental ,,carpet ,,in ,,the ,,possession ,,of ,,mr4 ,,harold ,,hartley1 ,,showing ,,the ,,svastika ,zmigrodski agrees with this view2 but1 as with every other theory connected with ,svastika1 it has many opponents4 ,professor ,dumontier holds that ,svastika is nothing else than a development of the ancient ,chinese characters ,c4 h4 e1 which carries the idea1 according to ,count ,goblet ,d',alviella 7in #8,la ,migration des ,symboles'71 of perfection or excellence1 and signifies the renewal and perpetuity of life4 ,max ,mller1 ,waring1 and ,d',alviella are agreed that neither in ,babylonia nor in ,assyria are any traces of ,svastika to be found4 ,ludwig ,mller1 however1 finds ample evidence of it on ,persian coins of the ,arsacides and ,sassanides dynasties4 ,arsacides was the name of the ,parthian kings whose family name was ,arseus4 ,the ,arsacidean kings of ,armenia1 according to ,moses of ,chorene1 began to reign ,b4,c4 #acj1 and ruled until ,a4,d4 #de1 when the ,armenian kingdom was extinguished4 ,the ,sassanian kings of ,persia ruled from ,a4,d4 #bbf to #fda1 when the last monarch1 ,yez-de-jird the ,third1 was overthrown by the ,mahomedans4 ,this monarchy took its origin when ,artaxerxes 7the ,greek and ,roman way of pronouncing ,ardeshir7 overthrew the ,parthian dynasty4 ,this prince1 ,ardeshir ,babekan1 son of ,sassan1 was an officer of ,king ,arsaces ,artabanus the ,fifth1 whom he murdered1 assuming the ,persian throne as the first of the ,sassanian dynasty4 ,ohnefalsch ,richter holds the view that although no trace of ,svastika had been found in ,phoenicia1 yet that travellers to that country had brought it from the ,far ,east1 and had introduced it into ,cyprus1 and into ,carthage and the north of ,africa generally4 ,as against the denial of it in ,assyria1 however1 is ,wilson's assertion that the three-rayed design is found on ,assyrian coins1 as also as a countermark on those of ,alexander1 ,b4,c4 #ccc to #cbc4 ,professor ,sayce1 on the other hand1 is of opinion that ,svastika was a ,hittite symbol which passed by communication to the ,aryans1 or to some of their important branches before their final dispersion took place4 ,the ,professor regards it as being fairly established that the symbol was in more or less common use among the peoples of the bronze age anterior to either the ,chaldeans1 ,hittites1 or ,aryans4 ,illustration3 ,egyptian ,intrusive ,seals4 ,illustration3 ,ogee ,svastika4 ,with circle4 ,plain4 ,illustration ,illustration ,as against all these theories1 ,major-,general ,gordon1 writing to ,dr4 ,schliemann in #ahif from the ,royal ,arsenal1 ,woolwich1 of which he was then ,controller1 points out that the ,svastika is obviously ,chinese1 and that on the breech of a large gun captured in the ,taku ,fort in '#fa1 and at the time of writing lying outside his office at ,woolwich1 the same symbol is displayed4 ,dr4 ,lockyer1 who was for many years a medical missionary in ,china1 also says that the sign is thoroughly ,chinese4 ,colonel ,sykes1 another authority on matters ,chinese1 concludes that according to the ,chinese authorities1 ,fa-hiau1 ,soung-,young1 and ,hiuantusang1 the #8doctors of reason1' ,taosee or followers of the mystic cross were diffused in ,china and ,india before the advent of ,sakya in the sixth century ,b4,c4 7according to other authorities in the eleventh century ,b4,c471 continuing to ,fa-hiau's time1 and that they were professors of qualified ,buddhism1 which it is stated was the universal religion of ,thibet before ,sakya's advent1 and continued until orthodox ,buddhism was introduced in the ninth century ,a4 ,d4 ,as to this ,colonel ,tod holds the opinion that the first ,buddha of the four flourished circa ,b4,c4 #bbej4 ,this was ,budh the parent of the lunar race4 ,the ,greeks undoubtedly connected the symbol with the cult of ,apollo1 but it seems probable that the sign came to them from ,egypt1 where the ,tau which was a cross was anciently a symbol of the generative power1 and afterwards was introduced into the ,bacchic mysteries4 ,such a cross has been found at ,pompeii in a house1 in juxtaposition with the ,phallus and with other symbols embodying the same idea4 ,this mystic ,tau1 or ,standard of the ,cross as it has been called1 formed just half of the ,labarum1#cc or idolatrous war standard of the ,pagans4 ,the ,labarum bore at once the crescent and the cross1 the crescent as the emblem of ,astarte the ,queen of ,heaven1 and the cross as that of ,bacchus4 ,the controversy1 if so it can be called1 will doubtless rage for all time1 but the one essential point remains salient3 namely1 that the symbol is admittedly universal1 and equally admittedly it is the basis and the mainstay in one form or another of all conventional decorative design4 ,it is to be found everywhere in our modern life4 ,in our household appointments1 in our mural decorations1 in the shapes and adornment of articles of our furniture4 ,even does it come down to us in the shape of those old irons on houses with which we are all familiar1 and which1 though a few persons fondly believe them to be so placed for the purpose of remedying cracking walls1 are regarded by every right-thinking country person as a protection against lightning and fire4 ,unconsciously ,svastika permeates our whole existence4 ,we cannot even sit down to dinner without finding it set before us in some of our table appointments2 and nowhere is the symbol more constantly and more permanently evident than in oriental rugs and carpets4 ,in every specimen of these1 of whatsoever provenance1 and no matter how much the flowing line of curves may have encroached on the rectilineal design of convention1 the ,svastika is traceable4 ,it may not be at once discovered in the main body of the pattern1 though it is always present1 but it is invariably and inevitably to be found in the border1 which it may at once be said is as much an historical asset as is the central design itself4 ,illustration3 ,irons on ,old ,houses4 ,illustration3 ,sunsnakes4 ,double4 ,single4 ,of course throughout the natural working of ,time's processes1 the merging of myths and the blending of conceptions1 certain bold and salient developments1 if projected with sufficient force and persistency1 must ever remain paramount4 ,this is the case with the ,svastika and with that other symbol1 that of the lotus1 with which it is almost invariably found in conjunction4 ,there are many indeed who claim that the two symbols are indivisible4 ,professor ,goodyear1 no mean authority1 is specially insistent on this point4 ,he holds that it is the lotus that is the keynote of decoration4 ,the lotus1 he contends1 is the ,tree of ,life1 or rather the accepted ,tree of ,life is really the lotus in one or another of its many aspects4 ,the spiral scroll1 he urges1 comes from the bent sepals of the lotus much exaggerated1 which being squared becomes the ,greek fret or meander or key pattern1 and this doubled forms the ,svastika4 ,the ,lotus and the ,tree of ,life will form the subject of the next article4 ,previous articles of this series were published in ,nos #a and #c1 for ,march and ,may1 #aijc4 ,illustration3 ,,the ,,cook ,,asleep1 ,,by ,,jan ,,vermeer ,,of ,,delft1 ,,in ,,the ,,colleciion ,,of ,,monsieur ,,rudolphe ,,kann ,,the ,,dutch ,,exhibition ,,at ,,the ,,guildhall ,,article ,i4--,,the ,,old ,,masters ,there is every probability that the current exhibition of early and modern pictures by ,dutch artists will prove to be one of the most popular which has yet been held at the ,guildhall2 not1 indeed1 because it is of finer quality than its predecessors1 but from the fact that the pictures are well within the grasp of the average man4 ,there is nothing incomprehensible to those least acquainted with ,dutch art1 and there is something that will appeal to all4 ,it must have occurred to many with regard to pictures of ,holland by artists of varying nationality that only the ,dutchman really grasps the subtleties of the country4 ,all the rest look upon it with alien eyes1 and give us but the external form4 ,they never get behind the veil and infect us with that indefinable exquisiteness and charm so characteristic of ,holland with its pastoral flats1 pollard willows1 canals1 picturesque craft and windmills and1 most wonderful of all1 that delicate atmosphere softening the harshest lines into a melodious ensemble1 and overhead the immensity of sky1 vast in its expanse and with its delicacies of blues and greys4 ,the finest ,dutch landscape painters have always painted in a minor key2 whenever they seek to modulate into the major they lose themselves and become commonplace4 ,this applies equally to ,rysdael and to ,jacob ,maris2 doubtless it is an expression of the national temperament of the ,dutchman4 ,generally upon emerging from a contemplation of the old men into a modern artistic environment a feeling of repulsion creeps over one1 but this is not the case here4 ,rysdael and ,rembrandt seem strangely in harmony with ,maris and ,mauve1 and in this fact may be found a plea for the endurance of the latter4 ,a very different impression is given1 for instance1 when one leaves an eighteenth-century ,french picture and comes to a modern ,french landscape4 ,the modern ,dutch school have maintained the traditions of their predecessors1 and one of them at least--,jacob ,maris--is worthy to be put on the same plane as ,rysdael and ,hobbema4 ,in the small gallery upstairs the student of seventeenth-century ,dutch art will find much to admire1 still more to interest him1 and not a few examples which will tax his ingenuity as to attribution4 ,among these last are some of the six pictures ascribed to ,rembrandt4 ,the most important1 and perhaps the one which should attract the most attention1 is the large landscape ,le ,commencement d',orage1 which is surpassed by little in the landscape work of ,rembrandt for poetical intensity and incisive truth4 ,this picture is by most modern critics denied to ,rembrandt2 as the question is one which must be fully dealt with1 its discussion may conveniently be postponed to the end of this paper4 ,when we leave this and come to the portraits we find but one1 the ,portrait of the ,painter's ,son ,titus1 which has any serious pretensions to be considered as coming from his brush4 ,against this1 however1 nothing can be urged in point of quality4 ,of the ,dutch master's last and finest manner--it is dated #afee--;it has all the pathetic realism of his unsubdued genius4 ,it is interesting to compare this canvas1 which is undoubtedly a portrait of ,titus1 with that of the same boy in the ,wallace collection4 ,as this is dated authentically #afee1 the ,hertford ,house picture should be painted within the next year1 or at the latest in #afeg1 whereas it is approximately dated in the catalogue #afeh-fj4 ,on the score of quality there is little to choose1 but perhaps the ,english picture is in a better state of preservation4 ,the ,head of a ,man1 a careful work1 and with many good qualities to recommend it1 is in all probability a work of ,solomon de ,koninck1 who was one of those pupils of ,rembrandt who assimilated most of his technicalities4 ,the extreme timidity of many of those points in which the bolder qualities of ,rembrandt would be brought into play1 such as the handling of the nose1 mouth and hair1 go far to convince us of the correctness of this attribution4 ,coming to ,the ,portrait of the ,artist1 it appears quite incomprehensible that a picture of such inferior artistic qualities should have been seriously considered for so long a period as a work of the master4 ,coming from the collections of ,m4 de ,calonne1 the ,marquis ,gerini and ,mr4 ,agar1 engraved by ,seuter and ,townley1 quoted in ,smith1 it serves to show the hazy idea of even the best connoisseurs in the early days of the last century4 ,such a work would be difficult to affiliate upon any of the best known of ,rembrandt's pupils4 ,the weakness of the drawing and lack of power and roundness are clearly the work of but a second-rate man of the period4 ,the signature1 moreover1 presents no claim to serious consideration4 ,in ,ruth and ,naomi is possibly to be found the work of a very interesting painter of the school of ,rembrandt--,karel ,fabritius1 who is little known yet in this country4 ,it is painted with remarkable strength and solidity1 and although not a great achievement1 is worthy of comparison with some of those pictures which are ascribed to the greater light upon very slender foundation4 ,the picture1 however1 is in such bad condition and has suffered so much that no one can tell what it may have been when fresh4 ,more interesting upon the whole than the representation of ,rembrandt and his ,school is that of ,frans ,hals4 ,his so-called ,admiral de ,ruyter 7which is not a portrait of that admiral7 for decision and fearless handling has not an equal in the gallery4 ,it is not ,hals as we see him at ,hertford ,house1 careful and conscientious1 though successful1 but the spontaneous1 daring master whom we find at ,haarlem and in the ,louvre1 at ,cassel and ,st4 ,petersburg4 ,it is the ,hals that we not only admire but also love1 the wonder of the cultured art-loving public1 and--may we add it8--the despair of the modern portrait painter4 ,such brushwork has only been equalled1 we shall not say surpassed1 by a few masters1 of whom ,velasquez stands out prominently4 ,when1 however1 we turn to ,van ,goyen and his ,wife and ,child1 we have another instance of more than doubtful attribution4 ,the landscape is probably by ,van ,goyen1 for it has many of his characteristics of tree draughtsmanship and sober colour4 ,the figures1 however1 betray nothing of ,hals beyond his influence1 and even the latter is only just allowable4 ,they are well and strongly painted in parts2 but ,hals would never be guilty of such loose handling as is observable in the child in the foreground or such weak drawing as the foot of ,van ,goyen betrays4 ,there is but little from which to deduce an attribution with any degree of certainty4 ,the present ascription is part of that system which insists on fathering upon ,hals all the portraits in this manner and of this period1 in much the same way as in the past all portraits which betrayed any of the technicalities of ,rembrandt were attributed to that master4 ,illustration3 ,,portrait ,,of ,,himself1 ,,by ,,jan ,,steen1 ,,in ,,the ,,collection ,,of ,,the ,,earl ,,of ,,northbrook ,illustration3 ,,portrait ,,of ,,the ,,wife ,,of ,,thomas ,,wijck1 ,,by ,,jan ,,verspronck1 ,,in ,,the ,,collection ,,of ,,mrs4 ,,stephenson ,,clarke ,turning from this to a ,group of ,three we have a splendid example by a master whose history is enshrouded still in much mystery1 but who was1 if one can judge from his art1 a pupil of ,hals--we are referring to ,jan ,miense ,molenaer4 ,it was evidently painted in the earlier portion of his career and has much in common with ,the ,spinet-players in the ,rycks ,museum at ,amsterdam4 ,a scene which ,hals would have revelled in depicting1 full of uproarious good humour1 the picture presents attractions quite apart from its superb technical qualities and masterly composition4 ,curiously enough1 upon the same wall we have two examples1 ,jovial ,companions and ,the ,health of the ,troop1 by ,molenaer's wife1 ,judith ,leyster1 a painter of the school of ,haarlem of the period when ,hals was at the height of his fame4 ,they are both catalogued as being collaborations by ,hals and ,judith ,leyster1 but beyond the potent influence of the former they have nothing to do with him4 ,as pictures they are interesting to the student1 but not for any striking qualities which they present4 ,the brushwork is of a character which one expects from a painter who from self-assurance endeavours to emulate a bold and dashing manner without possessing the ability of the prototype1 with the inevitable result of a coarse disjointedness irritating to the last degree4 ,the colour scheme of each is unpleasing too1 blues and reds being foiled against one another with a rashness which is born of over confidence4 ,of quite another character is the little ,portrait of a ,gentleman by ,thomas de ,keyser4 ,the strong and firm modelling of the face has not a weakness apparent anywhere1 whilst1 as is usual with this master1 he has placed a restraint upon himself which sustains him through the most arduous task without loss of dignity or ease of presentment4 ,this grasp of his material leaves him when he attempts anything on a large scale3 he loses concentration and becomes straggling4 ,the picture is1 however1 overcleaned4 ,but to revert to the school of ,hals again1 there are few more instructive pictures in the exhibition than ,the ,portrait of a ,dutch ,lady by ,jan ,verspronck1 who was in many respects his cleverest pupil4 ,this is a remarkably characteristic example1 the authenticity of which is convincingly attested by the presence of the signature with the date #afdc4 ,it must have occurred to many students that the scarcity of ,verspronck's pictures is accounted for by their being not infrequently converted into examples of the better-known master4 ,they lend themselves very readily to this from the strong affinities of technique4 ,the great point of difference is to be found in the lack of brilliancy and freedom1 qualities eminently characteristic of ,hals1 both in his early and late period4 ,but the delicate silveriness and luminosity of ,hals find an echo in the finest portraits of ,verspronck4 ,i remember seeing a portrait of a man some years ago in ,london which was ascribed with all confidence to ,hals1 until a close examination revealed the traces of an obliterated signature of ,verspronck on the background4 ,further1 ,i have always held the opinion that the superb ,portrait of a ,lady at ,antwerp is by this master1 and a contemplation of the present picture strengthens this view4 ,one other portrait is well worthy of mention1 although it may be observed that it hardly comes within the scope of an exhibition of ,dutch ,art1 but we should have been considerably the losers without it--the ,portrait of ,ambrogio1 ,marchese di ,spinola1 by ,cornelis de ,vos4 ,it is a superb piece of direct portraiture1 full of dignity and precision1 and the ruff and breastplate are handled with remarkable accuracy and vigour4 ,of the genre paintings the most attention will be attracted by ,the ,cook ,asleep1 a picture ascribed to that very rare master ,jan ,vermeer of ,delft4 ,there is little of his characteristic technique displayed in the treatment of the accessories--the fruit and the bottle4 ,still1 the girl1 particularly in the head and bosom1 and the handling of the table-cloth1 point to the work of the great ,delft master1 to say nothing of the signature1 which has every appearance of being authentic4 ,nevertheless1 to extol it as a masterpiece--it is set forth as such in the catalogue--by ,vermeer1 is quite unjustifiable when one remembers the picture in ,mrs4 ,joseph's possession1 the two in the ,six ,collection at ,amsterdam1 or those in the ,rycks ,museum1 the ,louvre1 and at ,dresden and ,berlin4 ,there are weaknesses1 as witness the flat painting of the arms1 and the diffusion of light is not grasped with his wonted skill4 ,it lacks just that which delights one most in the master's work4 ,it is unfortunate that a better picture to represent ,vermeer's contemporary ,gabriel ,metzu could not be obtained than ,a ,woman ,dressing ,fish4 ,i cannot agree with ,smith in describing it as #8this excellent little picture'2 indeed ,i have grave doubts as to its being a genuine picture at all4 ,neither does a ,portrait of a ,lady worthily display the magic and refined art of ,terborch1 for the painting is careful even to timidity4 ,better by far is the ,portrait of a ,young ,woman1 which1 in spite of an unequal tussle with the restorer1 still presents some of his most charming qualities4 ,both the head and hands are in his best manner1 and the black dress with its semi-transparent frills is full of such delicate painting as characterizes ,the ,portrait of a ,gentleman in the ,national ,gallery4 ,a most interesting panel1 ,a ,lady at a ,harpsichord1 is ascribed to ,palamedes4 ,great confusion has existed with regard to his works in the past1 arising from the fact that several painters have an almost identical technique and painted similar subjects4 ,foremost among these are ,willem ,cornelisz ,duyster1 ,pieter ,codde1 ,dirk ,hals1 and that controversial and mysterious master1 ,hendrik ,pot4 ,the fine picture at ,hampton ,court1 described in the ,commonwealth ,inventory as #8,a ,souldier making a ,strange ,posture to a ,dutch ,lady1 by ,bott1' which has been in turn assigned to ,pieter ,codde1 ,poelenburgh1 ,palamedes1 ,mytens1 and ,hendrik ,pot1 is now permanently and rightly ascribed to the last1 an attribution arrived at by careful comparison with other works1 and further confirmed by the presence of ,pot's initials on the chimneypiece--all in addition to the suggestive entry in the ,commonwealth ,inventory4 ,now the panel in the exhibition is almost identical in treatment1 and also with that of the ,convivial ,party in the ,national ,gallery1 and ,i think that ,pot is much more likely to be its creator than ,palamedes4 ,the life work of ,jan ,steen1 so badly illustrated at present in our public galleries1 is well summed up by the humorous and most masterly ,portrait of ,himself4 ,seated on a chair1 he bawls without restraint a ditty1 no doubt culled from his own cabaret1 accompanying himself with a mandoline1 which he plays with evidently greater gusto than expression4 ,steen was no idealistic dreamer3 he believed in earthly enjoyment1 and from this fact arose the tales of dissipation of which modern investigation has proved the falsity4 ,still1 he seems to have largely been in sympathy with the views of ,omar ,khayyam1 and making #8the most of what we yet may spend4' ,the ascription to ,adriaen ,brouwer of ,an ,interior with ,figures is perhaps another misnomer4 ,there is none of his exquisite transparency1 the colouring is opaque and lacks the brilliancy of his palette1 and the draughtsmanship has not nearly his precision4 ,again1 the figures in the foreground1 although having much in common with ,brouwer1 betray the influence of ,david ,teniers1 an influence still more marked in those talking through the window4 ,consequently there is a strange mixture of ,dutch and ,flemish art1 which points to a master conversant with both4 ,two men suggest themselves as its author1 ,hendrik ,sorgh and ,joost van ,craesbeeck1 and the weight of evidence is in favour of the latter1 largely because of the ,flemish sentiment which pervades the whole composition and the presence of mannerisms which are peculiar to ,brouwer1 which leads one to give the preference to ,craesbeeck rather than to ,sorgh4 ,some particularly fine examples of the still-life painters of ,holland are shown1 ,jan van ,huysum and ,jan van ,os especially2 whilst one of the three canvases by ,willem van ,aelst 7,no4 #afg7 is quite a new revelation of his powers4 ,illustration3 ,,off ,,scheveningen1 ,,by ,,jan ,,van ,,de ,,capelle1 ,,in ,,the ,,collection ,,of ,,mr4 ,,charles ,t4 ,d4 ,,crews ,coming to the landscape men1 in some respects a pleasurable surprise awaits us1 and in others something akin to disappointment4 ,the latter was furnished by the representation of ,jacob van ,rysdael1 by whom no less than three examples are shown4 ,good as they all will be considered1 not one shows to the full the intensely poetical side of his genius1 a side which1 exemplified by the magnificent ,view of ,haarlem in the ,mauritshuis at the ,hague or the ,view over an extensive flat wooded ,country in our own ,national ,gallery1 places him far ahead of any painter of the ,dutch school for the rendering of dreamy poetry of nature4 ,he must yield the palm to ,hobbema in tree painting and to ,cyp in landscape full of delicate shimmer and sunny glow1 and if ,philips de ,koninck is his equal in the presentment of immensity of distance1 he is left far behind by ,rysdael's atmospheric achievements4 ,one point may be conceded to ,hobbema1 namely1 that he is more equal3 he never painted a bad picture1 whereas ,rysdael frequently did so2 but when the two are seen at their best1 the latter surpasses him by reason of his superiority in catching that essentiality of landscape--stimmung4 ,for want of these qualities ,a ,forest ,scene1 fine as it is from a technical standpoint1 and in a perfect state of preservation1 does not show the better side of ,rysdael4 ,the ,seapiece is better1 but fails by reason of its obviously forced sky4 ,its redeeming feature is the masculine painting of the sea and its finely-felt distance4 ,perhaps the best is the so-called ,view on the ,brill1 which is impressive whilst remaining unsatisfactory4 ,it is particularly unfortunate that a picture of ,rysdael in his best and most soulful mood could not be found1 for then he would more than hold his own against any of the plein air men in the remaining galleries4 ,by ,hobbema there are two superb panels1 ,a ,woody ,landscape with a gentleman on a grey horse1 and ,a ,landscape1 between which1 although painted at different periods of his career1 there is little to choose in point of quality4 ,however1 the latter suffers from over cleaning1 particularly in some of those parts--notably the middle distance--where ,hobbema shines most1 and this gives it a rawness quite foreign to the picture in its pristine state4 ,still1 they are both profound in their grasp of nature and magnificence of achievement4 ,cyp1 too1 is equally well represented by ,a ,herdsman and a ,woman tending ,cattle1 with its suffusion of golden sunlight over the placid river4 ,a delicately soft and delicious haze1 so essential a feature on a summer afternoon in the vicinity of a river1 envelops the whole composition from the finely-grouped cattle and figures in the immediate foreground to the distant tower1 and the portrayal of the relation of the exquisitely truthful sky to the landscape was vouchsafed to no ,dutchman to a greater degree than to ,cyp4 ,this is the only example here of the ,dordrecht master1 for few will consider seriously the pretensions of the ,head of a ,cow to be from his hand4 ,it is signed 7but it is to be questioned if it is a contemporary signature7 ,berchem1 and it is possible that it is by that master1 but there are other men equally likely4 ,a capital little landscape with cattle represents the art of ,adriaen van de ,velde at its best4 ,it is well that such a picture has been chosen1 for it is in its original condition1 unlike all too many which have become dark in parts owing to the employment of unstable pigments4 ,another noteworthy example is that by ,jan van der ,heyden2 whether or not one is allowed to altogether admire such finish1 one cannot but wonder at the minute and painstaking rendering of detail and at the masterly way with which1 in spite of his finesse1 he preserves the unity of his composition4 ,when we come to the ,aart van der ,neer1 a ,moonlight ,river ,scene1 we are confronted with a clever picture1 but one which almost presents doubts as to its being really from the hand of the master4 ,in the first place it is painted with a much fuller brush and broader handling than is usual with ,van der ,neer4 ,the trees1 instead of being delicately1 even minutely wrought1 are treated in broad masses1 and the buildings have not his directness2 and one's doubts are strengthened by the figures4 ,now ,van der ,neer was never loose--if anything1 his failing is in the opposite direction--but here we have men in the foreground who are even clumsy1 whilst the whole work has a lack or transparence which raises grave doubts whether it is a ,dutch picture at all4 ,here and there is just a trace of a copyist1 although a man of no mean talent and one who was copying to arrive at the spirit of the ,dutchmen4 ,we have at least one man of the ,english school who1 if this hypothesis has foundation1 is capable of this1 and many little mannerisms are very like him2 but some good authorities regard the picture as an early work of ,van der ,neer1 much over-cleaned and repainted4 ,the two ,jan van de ,cappelles are of unsurpassable beauty4 ,in the little ,seapiece1 with its placid water1 an awful stillness pervading the whole scene before the approaching storm1 the last glimpses of lurid light which catch the distant town before a complete envelopment in inky blackness of the scene is accomplished1 and the depth of the picture1 are quite wonderful4 ,but it is rather to ,off ,scheveningen we look for a thoroughly characteristic ,van de ,cappelle4 ,the wonderful sky and the amount of atmosphere infused into the whole theme raises it quite on a level with the ,river ,scene of the ,wynn ,ellis bequest in the ,national ,gallery1 an equal of which for pure aerial painting we have yet to see in a ,european ,gallery4 ,the present example is one which surpasses ,willem van de ,velde at his best in all the higher qualities of art4 ,another curious picture is the ,rising in a ,dutch ,town1 ascribed to ,gerrit ,berkheyde4 ,we will now return to ,le ,commencement d',orage2 and in this connexion it may be convenient to quote the passage referring to this picture which occurred in the notice of the ,guildhall ,exhibition published in ,the ,times1 since it expresses a view now widely held4 ,the passage is as follows3--#8,another picture1 of great beauty and greater importance1 has for more than a century borne ,rembrandt's name--ever since de ,marcenay engraved it with that attribution4 ,yet it is absolutely certain that ,lady ,wantage's great picture1 ,the ,beginning of the ,storm 7#agd71 is not by ,rembrandt at all1 but is the masterpiece of ,philip de ,koning1 who has two or three similar but smaller works in the ,national ,gallery1 and whose signed pictures since the days when ,dr4 ,waagen wrote1 have become perfectly well known4 ,such a picture places de ,koning in the very first rank of landscape painters1 and it is unjust to deprive him of it4 ,it would take us too long to give reasons for the change of name1 but there can be no doubt whatever about it4 ,the picture1 of course1 shows the influence of the mighty teacher throughout1 but it is in point of fact a better1 truer1 less fantastic landscape than he himself ever painted4 ,it makes the ,cassel and other landscapes seem what they really are--dreams1 not transcripts from nature in any sense of the term4' ,that the opinion thus dogmatically expressed is that of the majority of critics cannot be denied1 but ,i venture still to acquiesce in the attribution to ,rembrandt and ,i will give my grounds for so doing4 ,in the first place the view is just of such a character as de ,koninck painted--an extensive landscape seen from a height with river and distant sandhills1 the intervening space studded here and there with hamlets4 ,when1 however1 we come to compare the technique here with that in accepted pictures by de ,koninck1 such as the landscape ,no4 #hcf in the ,national ,gallery1 the only similarity which can be traced to him is in the handling of the bank of the river at the right and the bushes above it4 ,but this is much too powerfully realized for de ,koninck1 it has a force and breadth which the pupil never put forward4 ,this point can be observed by comparison with the ,national ,gallery picture1 which has a very similar foreground only much more restrainedly achieved4 ,again1 the qualities to be found in the roofs by the windmill on the left of the picture and the trees over them are such as are found in all ,rembrandt's work1 whether he is working in oil or with the etching needle4 ,further1 none of the finest works of ,philips de ,koninck have such an impressive and powerful opposition of sunlight and gloom as we have here4 ,he may be wonderfully fascinating in rendering the delicate silveriness of certain phases of atmospherical freshness but he is never soul-stirring1 which is a quality ,i claim for ,lady ,wantage's picture4 ,in the sky painting there is much affinity between this and the ,peel picture as regards the cloud cumuli1 but a reference to the ,landscape with ,tobias and the ,angel 7,no4 #gb7 in the ,national ,gallery will disclose an identity which demonstrates that the other similarity is only of such a character as would be found in the work of a very clever pupil assimilating his master's technique4 ,illustration3 ,,le ,,commencement ,d',,orage1 ,,variously ,,attributed ,,to ,,rembrandt ,,van ,,rijn ,,and ,,philips ,,de ,,koninck2 ,,in ,,the ,,collection ,,of ,,lady ,,wantage ,before leaving this picture it would be useful to draw attention to the parallel rendering of several details--the trees and the sunlight hill in the background4 ,now in the second period of ,rembrandt1 which is tentatively placed by students as lying between #afdj and #afdi1 much attention to landscape is a prominent characteristic4 ,particularly was this the case with regard to his work with the needle4 ,this culminated in the production of that most impressive of all his landscape etchings1 ,the ,three ,trees4 ,if that etching is compared with the present picture1 many points of similarity will be observed1 not only with regard to the extensive view on the left of that etching1 but with regard to its realization and general feeling1 beside which the art of de ,koninck appears but a triviality4 ,the ,three ,trees is dated #afdc1 and ,i am inclined to place this picture at about the same period1 or at any rate between #afdj and #afdc4 ,with this date the technique is in strict consonance4 ,philips de ,koninck we know was born in #afai1 so that at this period he would be twenty-one1 a very impressionable age1 and ,i would hazard the suggestion1 although the evidence is purely presumptive1 that not only was this landscape the forerunner of ,the ,three ,trees1 but that its production at the period when de ,koninck was probably a pupil of ,rembrandt1 or at any rate had but just emerged from his studio1 influenced the former to such an extent that it actually inspired his future landscapes1 the similar character of which is so well known4 ,hence the importance of ,le ,commencement d',orage for us4 ,yet another plea may be urged for the acceptance of the work as being by ,rembrandt4 ,it is an accepted fact1 that the etchings of ,hercules ,seghers had great influence on ,rembrandt4 ,the inventory of his effects made in #afef shows that he had in his possession six landscapes by ,seghers in addition to the copper of ,tobias and the ,angel1 which latter he reworked and it appears in ,rembrandt's work as the ,flight into ,egypt4 ,seghers1 as is well known1 was a lover of these vast ,dutch plains seen from a height1 as witness his flat ,dutch landscape seen from a height with water in the foreground1 and a flat ,dutch landscape with a winding river4 ,now ,seghers was born about #aeij and died somewhere about #afdj1 and it is fair to presume that at this latter date ,rembrandt came into possession of the plate of ,tobias and the ,angel4 ,this is the very period to which ,i attribute the production of ,le ,commencement d',orage1 and it is a noteworthy fact that prior to this date we have nothing akin to this and subsequent landscapes1 so that it is fair to presume that the art of ,seghers created the landscape art of ,rembrandt as exemplified by ,the ,three ,trees and subsequent etchings1 and through him the art of ,philips de ,koninck4 ,moreover the picture of ,tobias and the ,angel in the ,national ,gallery is directly executed under the influence of ,seghers1 and ,i have already drawn attention to the similarity between the building of the sky in this picture and that of ,lady ,wantage's4 ,in view of these considerations it would seem that the champions of ,philips de ,koninck must show more adequate reasons before robbing ,rembrandt of the authorship of this superb landscape4 ,,early ,,staffordshire ,,wares ,,illustrated ,,by ,,pieces ,,in ,,the ,,british ,,museum ,,written ,,by ,r4 ,l4 ,,hobson ,,article ,i ,in beginning a series of articles on ,staffordshire wares1 which are intended to sketch the history of those fascinating old pieces now so eagerly sought by the collector of pottery1 our first duty is to select a convenient starting point4 ,it is improbable that in a county so rich in materials as ,staffordshire the making of pottery has suffered any serious intermission since prehistoric times2 but ,i think we may safely assume that the collector1 as distinct from the antiquary1 will feel little interest in any of the productions of this district prior to the seventeenth century4 ,if we except ,gothic paving tiles1 a few of the better costrels or pilgrim's bottles1 and the mysterious #8poteries gracieuses de la reine ,elizabeth' 7which1 whatever they are1 no one thinks of claiming for ,staffordshire71 it may be said that for five centuries after the ,norman conquest the ceramic art of this country boasted nothing better than coarse pitchers1 gotches1 gourds1 and gorges of clumsy shape and uncouth ornament1 which appeal to few but the sternest antiquarians4 ,with the seventeenth century1 however1 begins a new period of development1 very gradual at first1 but full of interest4 ,to anyone who has recently visited the ,potteries1 and seen the great conglomerate of towns intersected by railways and tramlines1 with its forest of chimneys and the constantly burning kilns of numberless factories that supply the markets of the world1 it is difficult to picture the same district #cjj years ago1 wooded1 wild and picturesque4 ,the great towns were then represented by a few moorland hamlets1 the teeming factories by occasional #8hovels' and #8sun-kilns1' and the armies of workmen by the solitary potter1 who1 helped by one or two labourers or by his own household alone1 threw1 glazed and fired his weekly ovenload of crocks1 which his wife took to town on a donkey to exchange for the necessaries of life4 ,it is not a very promising picture from a collector's point of view2 and yet in the first few years of the seventeenth century and in circumstances little less primitive than those we have just described1 a number of pieces were made that are now eagerly sought after by persons of taste4 ,i need hardly say that it is not the common crocks made for the market or fair that have achieved this apotheosis4 ,the vessels with which we are at present concerned were1 we may be sure1 of the kind #8made for honour1' tours de force to celebrate special occasions1 and to be cherished among the heirlooms of the poor4 ,illustration3 ,fig4 ,i4--,slipware ,dish4 ,depth1 #af ins4 ,the ,pelican in her ,piety4 ,illustration3 ,fig4 ,,ii4--,tyg with ,incised ,ornament1 dated #afdj4 ,height1 #e ins4 ,illustration3 ,fig4 ,,iii4--,tyg with ,seven ,handles4 ,height1 #h ins4 ,illustration3 ,fig4 ,,iv4--,puzzle ,tyg with the ,sign of the ,mermaid4 ,height1 #g ins4 ,illustration3 ,fig4 ,v4--,tyg with ,streaked ,glaze4 ,height1 #aj ins4 ,illustration3 ,fig4 ,,vi4--,posset ,pot with ,stamped ,ornament4 ,height1 #aj ins4 ,illustration3 ,fig4 ,,vii4--,cradle of ,slipware1 dated #afia4 ,length1 #g ins4 ,illustration3 ,fig4 ,,viii4--,fuddling ,cup4 ,length4 #g ins4 ,for the right understanding of our subject1 it will be necessary to go into a few technical details gathered from the earliest notice 7in ,dr4 ,plot's #8,natural ,history of ,staffordshire1' #afhi7 of the industry1 and from the silent evidence of the pots themselves4 ,at ,burslem1 which even in ,plot's time was the #8greatest pottery' of the district1 only four kinds of clay were in use for the body of the wares3 bottle clay1 hard fireclay which was mixed with red blending clay to make black wares1 and a white clay1 so called because it produced a yellow ware1 which was the nearest approach to white then obtainable4 ,besides these there were three finer clays reserved for decorative purposes1 known as orange slip1 white slip1 and a red slip which burnt black4 ,slip1 it must be explained1 was a creamy fluid made of clay softened by water4 ,the glaze was produced by powdered lead ore dusted on to the ware4 ,for special pieces the ore was first calcined4 ,used in its simple form1 this powder1 when fired1 covered the ware with a transparent glass of a warm yellow tone1 which gave a rich reddish brown surface to a red body1 a yellow colour to white slip ornament1 and a similar augmentation to clays of other tints4 ,only two colouring oxides appear to have been used--manganese1 from which a colour was obtained varying according to its intensity from purplish brown to black1 and commonly used to streak or mottle the glaze1 and oxide of copper1 which produced a bright green effect4 ,the unsophisticated potter called the lead ore smithum and the manganese magnus4 ,a little ,latin went a long way in the district4 ,such were the simple materials that the seventeenth-century potter had at his disposal1 differing scarcely at all from those used by his mediaeval forerunners4 ,let us see what use he made of them1 when working at his best4 ,fig4 ,i shows an ornamental dish for a cottage dresser4 ,fig4 ,,ii is a type of drinking cup used on special occasions4 ,other not inelegant drinking vessels of the period are beaker-shaped1 or in the form of an elongated dice-box with two handles close together2 these are always in black ware4 ,another shape is seen in ,fig4 ,,iii4 ,the principal feature of most of these quaint tygs1 or loving-cups1 is their astonishing number of handles1 which range from two to as many as twelve4 ,it is supposed that the purpose of this equipment was that the cup might pass from hand to hand1 and each guest have a fresh portion of the rim to himself1 no doubt an excellent arrangement for the first time round6 ,not content with half a dozen or so of full-grown handles1 the potter frequently inserted between each of them a sort of rudimentary handle consisting of a looped strip of clay4 ,another variety of the tyg was called a posset pot1 and was usually distinguished by a spout4 ,the posset pot would seem to have been a family possession preserved with great respect1 and used only on special occasions1 such as ,christmas time4 ,it also suffered from a plethora of handles4 ,of any exact recipe for a posset ,i must plead ignorance1 but ,i fancy it as a compound of mulled ale with an indefinite something floating on the surface1 succulent1 and exceedingly popular4 ,there were other and still more fanciful drinking vessels besides these4 ,a fuddling cup is shown in ,fig4 ,,viii4 ,when it is realized that the six cups communicate with each other internally1 so that to empty one you must empty all1 the force of the name will be apparent4 ,any doubt as to the use of these formidable vessels is dispelled by the inscription on a similar piece1 ,fill me ful of sidar1 drink of me4 ,the puzzle jug is another playful variety4 ,fig4 ,,ix is an elaborate example from which it will be seen that the liquor must be extracted in some unusual way if the drinker wants to get his full measure1 and has any respect for his clothes4 ,the rim and handle are tubes1 communicating with the body of the jug1 through which the contents must be sucked from a spout in front of the rim1 in this case the bird's beak4 ,to complicate matters there are usually one or more concealed holes in the tubes which must be stopped by the fingers1 in addition to a false spout or two1 such as is seen on the side of the rim4 ,the puzzle jug is a joke of long standing4 ,specimens have been found which go back to the fourteenth century1 and the trick is not quite unknown at the present day4 ,no doubt their existence was prolonged by the far-seeing publican who appreciated the possibilities implied in the following doggerel that appears on one of them3-- ,gentlemen1 now try your skill4 ,i'll hold you sixpence1 if you will1 ,that you don't drink unless you spill4 ,illustration3 ,fig4 ,,ix4--,puzzle ,jug4 ,height1 #i ins4 ,illustration3 ,fig4 ,x4--,horn ,lantern of ,slipware4 ,illustration3 ,fig4 ,,xi4--,owl ,jug with ,combed ,feathers4 ,height1 #h ins4 ,illustration3 ,fig4 ,,xii4--,posset ,cup of ,slipware4 ,height1 #g ins4 ,another pleasant surprise was furnished by the toad mug1 in which the drinker as he neared the bottom discovered a well-modelled toad1 usually of red clay with white slip eyes4 ,fig4 ,,xi is an example of a rarer class4 ,the owl jug was made with a removable head which could be used as a cup4 ,it is1 however1 a disputed question whether these jugs are of ,staffordshire origin1 and it is hinted that they have a suspiciously close parallel in ,german pottery4 ,other special forms of a less bibulous kind are shown in ,fig4 ,,vii1 a model of a cradle which tells its own tale2 and ,fig4 ,x1 a horn lantern4 ,candlesticks1 handovens and condiment trays also occur4 ,we must now return for a moment to technicalities in order to understand the remaining feature of our wares1 their ornament4 ,the tyg1 jug1 cradle or piece of whatever form1 was sometimes left to depend for its popularity on its streaky purplish brown or glossy black glaze alone1 neither of them a recommendation to be despised2 or it was embellished with a scratched design1 a pattern impressed by wooden stamps1 or applied pads of clay moulded or stamped with rosettes1 formal ornament1 and occasionally with the human form4 ,i have seen a tyg with busts of ,king ,charles ,i disposed round its perimeter1 an unusually ambitious design for a potter of the period4 ,the handles were made a still more conspicuous feature by the addition of twists of coloured clay1 knobs and bosses4 ,another and a larger group were ornamented with the slips we spoke of above4 ,these were applied in various ways4 ,first as simple washes to give a light surface to a dark body or vice versa 7see ,figs4 ,,ix and ,,xii74 ,or again they were dropped or trailed on from a spouted vessel in quaint tracery1 dotted patterns1 or outlined designs4 ,as might be expected at this period1 the tulip more or less conventionalized was a favourite motive4 ,the process is best understood by taking an example4 ,fig4 ,,xii is of light buff ware3 the ornament on the upper part1 and the inscription and date1 ,,william ,,chaterly1 #afif1 were traced in black slip dotted with white2 the lower half was immersed in black slip1 and the pattern added in white2 the whole was then leaded and fired4 ,a third method consisted in dropping slip of one or more colours on the surface and working it about with a wire brush or leather comb until an effect similar to our graining or paper marbling was obtained4 ,wares so treated are called combed or marbled wares 7see ,figs4 ,,xi and ,,xiii74 ,this process1 seen on the tall bottle-shaped costrels attributed to the sixteenth century1 continued in its primitive form to the middle of the eighteenth century1 when it developed into the agate ware of ,whieldon and ,wedgwood and their contemporaries4 ,lastly1 there was graffiato ware1 in which a thick coating of slip was laid over a body of contrasting colour and the pattern scratched through so as to discover the body beneath 7see ,fig4 ,,viii74 ,this kind of ornament has been in use in all countries and from the earliest times4 ,it is seen at its best on ,italian pottery from the quattrocento onwards1 and the continuance of its ,italian name is a compliment to the masterpieces of that country4 ,illustration3 ,fig4 ,,xiii4--,tyg with ,trailed and ,combed ,slip4 ,inscribed ,ralph ,tumor1 #afh-4 ,height1 #d ins4 ,illustration3 ,fig4 ,,xiv4--,puzzle ,jug of ,slipware4 ,inscribed ,i4,b4 ,it remains to speak of dates and localities4 ,those of our wares that have no slip decoration can be traced back to the first years of the seventeenth century1 if not to ,elizabethan times4 ,they continued to the early part of the eighteenth century1 when they either disappeared or were improved out of recognition4 ,like all primitive wares1 they were manufactured all over the country1 and though it is certain that a large number of them were made in ,staffordshire1 it would be difficult to claim any particular piece for that district4 ,slip decoration1 which dates back to mediaeval times1 was equally universal4 ,indeed we know that a well-defined class of slip ware with stamped ornaments and patterns of dots and dashes was made at ,wrotham in ,kent from #afab-agag4 ,another group with a distinctive kind of scroll and fern ornament in thin white slip1 and inscriptions usually of ,puritanical tone1 was made in or near ,london from the middle of the sixteenth century4 ,a third kind is attributed with much probability to ,cockpit ,hill1 ,derby4 ,it is characterized by moulded patterns with raised outlines which contained the coloured slips much as the cloisons contain the enamels on cloisonne work4 ,but the best slipware of ,staffordshire1 as exemplified by ,figs4 ,i1 ,,xii1 and ,,xiv1 is unmistakable in style1 and yields to none in picturesque effect4 ,our earliest clue to its history was given by the simple legend scratched on the back of a dish similar to ,fig4 ,i1 ,,thomas ,,toft4 ,,tinkers ,,clough4 ,i ,,made ,,it41 #aff-4 ,tinker's ,clough is a lane between ,shelton and ,wedgwood's ,etruria4 ,on the strength of this modest confession the name ,toft ware has been applied by many writers to all slipwares of this class1 and even to slipware generally4 ,a number of other names1 sometimes with dates1 are found on these wares 7e4g4 ,ralph ,toft #afgf1 ,charles ,toft1 ,ralph ,turnor #afha1 ,robart 7sic7 ,shaw #afib71 many of them no doubt the names of potters1 others of those for whom the pots were made4 ,slipware1 though naturally superseded by the finer earthenwares of the eighteenth century1 is not yet extinct1 and may be seen occasionally at country fairs of the present day4 ,the question of ,staffordshire delft ware is too long to consider here4 ,it is a moot point if any such thing existed before the eighteenth century1 and it is certain that delft was never made there to any extent worth considering4 ,but this article would be incomplete if one omitted to give a few of the quaint inscriptions that are a feature of the various kinds of pots we have discussed4 ,they tell their own story and need no comment3-- ,the gift is small1 ,good will is all4 ,mary ,oumfaris your cup4 #afgh4 ,can this spell ,humphreys6 ,this for ,w4 ,f4 #afia4 ,the best is not to good for you4 #afig4 ,i4,b4 ,r4,f4 ,anne ,draper this cup ,i made for you and so no more4 ,i4,w4 #agjg4 ,come good wemen drink of the best ,ion my lady and all the rest4 ,brisk be to the med you desier as her love yow ma requare4 ,robert ,pool mad this cup ,with gud posset fil and ,the aposiopesis in the last is pregnant with meaning4 ,naturally after all these years good examples of old ,staffordshire wares are scarce1 and when they appear in the market they can only be bought at proportionately good prices1 owing to the eagerness with which they are sought by the collector4 ,and me judice they deserve all the attention they get4 ,there is something genuinely fascinating in their nave simplicity and their entire lack of all that is artificial or extraneous4 ,we do not1 of course1 pretend that for instance the use of slip originated in this country1 but the particular application of it that is so characteristic of the ,staffordshire wares is of purely native development4 ,these early pots are like the potters who made them and their friends who used them1 ,english to the backbone4 ,fig4 ,,xv4--,cup of ,slipware1 dated #agai4 ,,new ,,acquisitions ,,at ,,the ,,national ,,museums ,victoria and ,albert ,museum ,a ,mediaeval ,silver ,chalice from ,iceland ,the national collection of silversmiths' work at ,south ,kensington has lately been enriched by the acquisition of a silver chalice of exceptional beauty and interest1 which has reached this country1 by way of ,denmark1 with the history of having belonged formerly to the church of ,grundt1 a village in the north of ,iceland4 ,as will be seen from the illustration1 the chalice is of the early type in which the round contour prevails1 in hemispherical bowl1 bulb-shaped knop1 and circular foot4 ,the bowl is of fine workmanship1 fashioned with the hammer with admirable uniformity1 and finished with a high polish on the outside4 ,round its margin runs the leonine hexameter 7with some allowances7 ,,svmmitvr ,,hinc ,,nvnda ,,divini ,,sangvinis ,,vnda 7no doubt for #8sumitur hinc munda divini sanguinis unda '74#cd ,the lettering of the inscription1 of which a rubbing is shown1 is interesting1 apart from the beauty and freedom of its forms1 in helping to fix an approximate date for the object it adorns4 ,the knop1 separated from the bowl by a narrow indented necking with beaded edges1 is cast hollow1 pierced and chiselled with four compartments of foliage4 ,the leafage in each compartment is of a different design1 and in each springs from the turned-up ends of a circumscribing band stamped with a row of annulets 7see illustration74 ,the upper spandrels so formed are filled each with a small leaf2 the lower are blank4 ,the trumpet-shaped foot is finished round the margin with a bevel1 engraved with a rudimentary fret and turned out at the edge in a narrow rim4 ,at its junction with the knop it is enriched with a border of vertical leaves rising from a kind of nebuly band4 ,the workmanship of the foot is notably inferior to that of the bowl2 the hammermarks are plainly visible inside1 and outside no careful polishing has smoothed away the concentric markings of the turning tool which was used1 after the hammer1 on both bowl and foot4 ,it may perhaps be suggested that the inferior finish of the foot is evidence of its not having originally belonged to the bowl2 but the suggestion is discredited by the excellent proportion existing between the two1 and by the similarity of both to the corresponding parts of other examples about to be noticed4 ,it is more probable that a higher finish was imparted to the bowl in deference to its function as the receptacle of the consecrated wine4 ,to conclude the description1 the enriched portions1 that is to say1 the band of inscription round the bowl1 the knop with the parts adjacent1 and the bevel of the foot1 and these only1 are gilt1 by the old mercury process1 with a pale gold4 ,the measurements are3 height #d-ac_/af in4 7#abb cm471 diameter of bowl #c in4 7#ie cm471 diameter of foot #c-i_/af in4 7#i cm474 ,with the chalice is a paten of plain silver1 a slightly concave disc #e-a_/af in4 7#abi cm47 in diameter1 with a roughly-formed circular depression4 ,as this is of very rough make1 and has no appearance of being that which originally accompanied the chalice1 it need not be referred to further4 ,illustration3 ,a ,,scandinavian ,,chalice ,,of ,,the ,,early ,,thirteenth ,,century1 ,,with ,,details 7,,actual ,,size7 ,,of ,,inscription ,,and ,,decoration2 ,,in ,,the ,,victoria ,,and ,,albert ,,museum1 ,,south ,,kensington4 ,the shape of the chalice is sufficient1 by comparison with other examples1 to determine its date approximately4 ,it may be compared1 in respect of its hemispherical bowl1 its flattened globular knop1 and its trumpet-shaped foot with bevelled margin1 with a much larger and more ornate example in the church of the ,holy ,apostles at ,cologne1 shown by the character of its ornament to be of the early part of the thirteenth century4#ce ,while in the latter example1 however1 the bowl and knop are separated by a stem equal in length to at least half of the height of the knop1 in our chalice they are separated only by the narrow indented band with beaded edges already noticed4#cf ,a closer parallel1 though again on a larger scale1 is furnished by an example dated #abbb1 formerly in the ,heckscher collection1 and now in the possession of ,sir ,samuel ,montagu1 where all the main features referred to are reproduced1 and a much closer similarity in the spacing of bowl and knop is observable4#cg ,still more to the point1 however1 is a silver chalice found at ,sor1 in ,denmark1 in the year #ahbg1 with an episcopal ring1 in the grave of ,absalon1 bishop of ,lund 7died #abja74ch ,we have here an example from the latter part of the twelfth or the first year of the thirteenth century1 reproducing almost exactly the outlines of our chalice already described1 and in almost the same dimensions4 ,in the bishop's chalice the knop is plain1 and set off by a band of shallow fluting above and below2 but these differences of detail1 and even a somewhat wider separation of bowl and knop1 cannot veil the striking resemblance of type between the two4 ,the inscription with its combination of uncial and capital letters furnishes further evidence of date4 ,in general style1 as well as in its peculiarities of the use of both varieties of ,d1 the freely curved ,g1 and the ,a with bent cross-stroke1 it shows considerable affinity to the inscription on the ivory cross of ,gunhilda 7died #ajgf71 grand-niece of ,canute1 in the ,copenhagen ,museum4#ci ,the same peculiarities1 as well as the ,v with a circle on its sinister stroke1 are to be observed in the inscriptions on the altar frontal of ,lisbjerg1 in ,denmark1 assigned to the twelfth century4 ,the tendency towards curved forms1 however1 shown in the rounding of the interior of the capital ,d's and in the curving-in of the tails of these letters and of the ,r may be more closely matched1 in default of a ,scandinavian example1 in the inscriptions on the bronze font at ,hildesheim1 assigned to the second quarter of the thirteenth century4#dj ,at this date1 however1 the fully-developed ,lombardic character has so far prevailed over the roman capital that it is only by picking out letters here and there1 existing as survivals among their curved supplanters1 that such pure capital or transitional characters as form the staple of our inscription can be matched4 ,the foliage on the knop is in two of the groups of that conventional type which1 apparently in reality a debasement of the classical acanthus1 is employed in the decoration of the twelfth and thirteenth centuries as the leafage of the symbolical vine2 and the bud-shaped objects springing among the leaves in one compartment are clearly intended for such bunches of grapes as are similarly rendered in ironwork of the thirteenth century4 ,foliage of similar character1 rising in the same way from the curved ends of the circumscribing band1 may be observed on certain of the carved church doors of the twelfth century in ,norway1#da where such groups1 employed in rows side by side1 distinctly recall an enrichment of classical architecture4 ,it is less easy to speak confidently of another of the bunches of leaves1 which suggests the growth either of a trumpet-shaped lichen or possibly of an arum lily4 ,the single flat leaf with curled edges seems clearly the leaf of a water-plant4 ,perhaps it is not too fanciful to see in this and the vine foliage already noticed a reference to the two constituents of the sacramental element4 ,turning to the question of nationality1 it is to be remarked that the inscription and the lines enclosing it1 one above and two below1 are entirely engraved in that zigzag line1 reminding one of the mark of an assayer's tool1 which is an almost constant characteristic1 even till recent times1 of ,scandinavian silversmiths' work2 and the fret round the foot shows the same peculiarity4 ,it has already been said that the chalice comes to us with a tale of a distant but active centre of ,scandinavian art4 ,if it be doubted whether such highly developed work could have been produced in ,iceland at the date indicated it may be recalled that this remote island1 whose inhabitants anticipated by five centuries the discovery of ,columbus1 was at this time the home of a culture such as could hardly be boasted by continental ,scandinavia--a land1 indeed1 #8where1 long before the 8literary eras0 of ,england or ,germany1 a brilliant period of intellectual life produced and elaborated in its own distinct form of expression a literature superior to any north of the ,alps4'#db ,gathering the conclusions to which all indications point1 there seems every reason to regard this beautiful little chalice as an example of ,scandinavian work1 of a date not later than the early part of the thirteenth century1 produced1 it may well be1 in that farthest outpost of ,european culture whence already in the dark ages a hand was stretched out from the old world to the new4 ,h4 ,p4 ,mitchell4 ,the ,reid ,gift4--,,ii ,one of the most interesting of the ,italian manuscripts is a ,book of ,hours--,officium ,beatae ,virginis ,marine secundum consuetudinem ,romanae ,curiae--belonging to the early part of the sixteenth century1 and evidently made for a member of the famous ,bentivoglio family3 perhaps ,giovanni1 born in #aeje4 ,the ,bentivoglio arms appear on the first page2 on folio #da in two cartouches within the border are the words ,,ioannes1 ,,ben2 and on folio #aji1 in one cartouche similarly placed1 ,,io,,ben4 ,the writing of this volume is very good2 the more important initials are well drawn1 and pleasantly placed in architectural compartments decorated above and below with the characteristic ornament of the period4 ,indeed one would say that the composition and arrangement of the less ornate pages of the book are its best features4 ,there are twenty-two full-page illuminations1 each containing an elaborate initial1 within a rich border of brightly-coloured arabesque ornament1 generally in compartments4 ,the decoration is well drawn and distributed1 though the drawing of the figures in the initials1 and of the half-human grotesques in the borders1 leaves something to be desired4 ,an interesting and useful feature--though one by no means uncommon--is the use of jewellery to give relief to the arabesques4 ,from the calligraphic point of view only1 a tall folio of the four ,gospels1 with commentary 7,italian1 twelfth century71 is possibly the most important of the gift1 and should be especially useful to students4 ,the text is written in a large minuscule character1 beautifully spaced and proportioned1 occupying the centre of each page4 ,in either margin occur the notes in much smaller writing4 ,practically the whole decoration consists of initials in blue and red1 with here and there a rare display of bold but simple pen-drawn ornament and a few chapter headings of tall1 cramped lettering1 of which the initial has never been supplied4 ,a #8,thesaurus' of ,st4 ,cyril of ,alexandria is another valuable example of fine ,italian writing2 in this instance1 of the end of the fifteenth century in date4 ,a border and a few fine initials in gold1 blue1 pale red and green of cunningly contrived interlacements--in the case of the border further embellished with amorini1 birds1 etc4--are the only decorations of note4 ,this volume also includes a work by ,st4 ,john ,chrysostom1 and formerly belonged to the ,minutoli ,tegrimi family of ,lucca1 whose stamp defaces some of the pages4 ,a small ,book of ,hours is to be referred to the same period and locality as the latter2 it has1 however1 much more elaborate decoration2 the superposition of numerous beasts1 birds1 and insects on the interlacing scroll-work of the borders1 is1 though interesting1 by no means an improvement4 ,these animals are1 it must be admitted1 rendered with curious care2 while the two full-page miniatures adorning the volume1 as it stands1 are of quite a high order of merit4 ,they represent ,the ,annunciation and ,david killing ,goliath--a particularly spirited drawing1 with a beautiful little miniature of the ,man of ,sorrows in a cartouche on the page facing it2 four storied initials within borders also serve to mark the commencements of various offices4 ,the capitals1 in gold1 on these pages are very finely written4 ,the kalendar is complete1 and contains references to several local saints1 indicating ,umbria as the district for use in which it was made4 ,a ,missal belonging in date to the beginning of the fifteenth century1 is a good example of ,italian writing adorned with fine pen-drawn scrolls and storied initials treated in a broad1 simple style of colouring and foliage4 ,the pen-work1 interesting for its restraint and formality1 differs greatly in this respect from that of the more northern schools4 ,there are sixteen large storiated initials1 of which attention may be drawn to those on folios #bhc1 a ,monstrance displayed on an altar2 #bib1 the ,celebration of ,mass2 and a representation of the absolutions at the side of a dead man1 clothed and hooded in red and lying on a couch2 the prayer is read by a monk in a white habit1 attended by another similarly dressed who supports a tall cross which has lighted candles on either arm4 ,the kalendar is very full1 and has been corrected in a later handwriting in several places4 ,immediately following it1 in two pages of small script1 is the ,ordo ad faciendum aqu bndictam4 ,a small ,italian ,book of ,hours is archaeologically interesting because it is signed in a colophon on folio #bff4 #8,frater paulus de mediolano ords sc ,b'tholomei de hermineis sc'psit' 7late fifteenth century74 ,the name of this writer is believed to be unrecorded hitherto2 the script is thoroughly ,italian in character1 but the decoration has decided ,netherlandish tendencies4 ,several northern saints are inserted in the kalendar--by another hand--including ,st4 ,brandan4 ,in conclusion mention may be made of a small ,book of ,devotions with borders and miniatures of considerable merit and interest1 placed within architectural frames4 ,on the first page is a coat of arms1 which however has evidently been superimposed on an earlier design4 ,the writing is good and the initials well placed and coloured4 ,at the end on a tablet are the initials ,s4,h41 but these have not been identified4 ,the work is ,french1 probably southern1 and in date belongs to the first half of the sixteenth century4 ,the works mentioned in these notes are only a few of the large collection given by ,mr4 ,reid4 ,they are all now exhibited near the entrance to the ,national ,art ,library4 ,e4 ,f4 ,s4 ,the ,print ,room of the ,british ,museum ,the most interesting among recent additions to the ,print ,room are woodcuts1 both old and new4 ,a chiaroscuro by ,andreani1 after ,alessandro ,casolani of ,siena1 representing the ,piet1 or ,lamentation for ,christ1 is remarkable both for its great size--it measures nearly six feet by four--and for its rarity4 ,other impressions exist at ,bassano and ,berlin4 ,the figures1 ,st4 ,john supporting the dead ,saviour1 and a second group of three holy women in attendance on the ,virgin1 are nearly of the size of life1 and the wood-engraver evidently set himself the task of producing the closest possible facsimile of a large cartoon1 outlined in charcoal and washed with neutral tints4 ,he has succeeded very well1 and he was fortunate1 considering the date1 #aeib1 in obtaining so fine a composition on which to exert his skill4 ,the design has been cut throughout on three sets of blocks1 one for the black outline and two for tone4 ,the impression1 on many sheets of paper joined together1 is in good preservation1 but the lowest portion has perhaps been cut away1 for there is no trace of the inscription1 recorded by ,kolloff in his catalogue of ,andreani's works 7,no4 #ae71 that contains the dedication of the print to ,vincenzo ,gonzaga1 duke of ,mantua1 with the names of the artists and the date and place of publication4 ,andreani had worked hitherto at ,rome1 ,florence1 and ,siena4 ,it was to this dedication1 apparently1 and to his success in such an important print1 that he owed a summons to ,mantua1 his native city1 and a commission from the duke to reproduce in chiaroscuro ,mantegna's ,triumph of ,caesar4 ,another woodcut of smaller but still considerable dimensions 7#ci by #bh inches7 bears the address #8,gedruckt zu ,nrmberg ,bey hans ,wolff ,glaser1' cut upon the block in a tablet at the left lower corner4 ,glaser was a #8,briefmaler' or petty publisher1 printer1 and wood-engraver1 who was at work at ,nuremberg in the middle1 or third quarter1 of the sixteenth century4 ,his name is most familiar as the publisher of one of the late editions of the portrait of ,drer at the end of his life4 ,the present work represents the ,trinity1 with angels in adoration4 ,these angels are copied1 for the most part1 from ,drer' fine woodcut of #aeaa 7,b4 #abb71 but they have been sadly spoilt in the process of enlargement4 ,glaser's work is coarse throughout1 and remarkable only for the rarity which it shares with most early woodcuts of exceptional size4 ,a fine impression of the portrait of ,luther as an ,augustinian friar1 after ,cranach1 dated #aebj 7,p4 #aid71 has been well coloured by a contemporary hand4 ,a tablet at the bottom contains the undescribed ,latin inscription1 ,,effigies ,,doctoris ,,martini ,,lvtheri ,,avgvstiniani ,,wittenberg,,sis #aebj4 ,the ,holy ,dove is added at the top on a separate block1 which also completes the arch4 ,the portrait1 rare in the early1 original impressions1 hardly deserves to rank with the woodcuts drawn by ,cranach himself on the block2 it seems1 rather1 to be a good adaptation of an engraving on copper of the same year 7,p4 #h1 ,sch4 #g71 in which ,luther stands in front of a niche4 ,dr4 ,flechsig finds much fault with the engraving itself1 and will not allow it to be more than a copy of the other engraved portrait of ,luther 7,b4 #e1 ,sch4 #f71 with a plain background4 ,with this woodcut were purchased three interesting and undescribed etchings of knights arrayed for the tournament1 by the monogrammist ,c4 ,s41 a ,german artist of about #aeej4 ,a dainty little book1 without text1 but with the address1 ,a ,,lion ,,par ,,ian ,,de ,,tovrnes4 ,m4,d4 ,,lvi1 within a graceful arabesque border1 on the first page1 contains proofs of sixty blocks by wood-engravers of the ,lyons school1 printed throughout on the recto of the leaf4 #8,das gebet ,salomonis' 7,s4 ,grimm1 ,augsburg1 #aebc2 #hvo47 has a pretty border to the title1 and a woodcut1 ,moses receiving the ,tables of the ,law1 both by the fascinating illustrator known provisionally as #8,the ,master of the ,trostspiegel4' ,a more important illustrated book is #8,die ,legend des heyligen vatters ,francisci1' printed by ,hlzel at ,nuremberg in #aeab1 and profusely illustrated with woodcuts by ,wolf ,traut4 ,the fine copy recently purchased for the ,print ,room was formerly in the library of ,william ,morris4 ,another volume1 still more intimately associated with the author of #8,the ,earthly ,paradise1' is the gift of ,mr4 ,george ,young ,wardle1 a friend and associate of ,morris4 ,it contains a complete set1 one of a very small number in existence1 of proofs rubbed by hand from unpublished blocks1 designed by ,burne-,jones1 to illustrate the tale of #8,cupid and ,psyche4' ,the illustrations1 forty-four in number1 were drawn upon the block by ,mr4 ,wardle himself from the rough sketches of ,burne-,jones1 which are now at ,oxford4 ,morris1 in revolt against the methods of professional wood-engravers1 had a few blocks cut by amateurs1 chosen among his own friends1 and then took up the task himself and cut by far the larger number with his own hands4 ,to these illustrations are added some initials and decorative borders1 both designed and cut by ,morris4 ,the story of the projected edition has been told in #8,a ,note on the ,kelmscott ,press4' ,the scheme was abandoned about #ahgj4 ,the woodcuts1 accordingly1 belong to the period of ,english illustrations generally described as #8the sixties1' and are separated by a long interval from the later ,burne-,jones woodcuts1 including the ,chaucer series1 which were printed in the #8nineties1' at the ,kelmscott ,press4 ,they are as full of romance as anything that ,burne-,jones ever drew1 and the cutting1 inexperienced and occasionally faulty as it is1 often preserves the freshness of the original sketch as no mere hack engraver's work would have done4 ,it must not be forgotten1 however1 that the defects of the cutting1 in the opinion of ,morris and ,burne-,jones themselves1 were so serious as to make the publication of the blocks undesirable4 ,in addition to such rubbed proofs as those lately in ,mr4 ,wardle's possession1 a small number of proofs exist which were pulled at a later date in the printing-press1 and do more justice to the blocks4 ,c4 ,d4 ,,notes ,,on ,,various ,,works ,,of ,,art ,,two ,,alleged #8,,giorgiones' ,the ,leuchtenberg ,gallery at ,st4 ,petersburg has lately yielded up some of those treasures which it has long and jealously guarded4 ,in #aheb ,passavant published a catalogue raisonn of the pictures1 with illustrations in outline1 and to many this large volume has been the sole medium of introduction to the collection4 ,several of the originals have now found their way to ,london1 among them two which bear the great name of ,giorgione--an ,adoration of the ,shepherds1 and a ,madonna and ,child4 ,both appear in outline in ,passavant's book1 under the name of ,barbarelli1 the supposed cognomen of ,giorgione1 to which1 however1 as modern research has shown1 he is not entitled4#dc ,the ,madonna and ,child picture has now passed into the rich collection of ,mr4 ,george ,salting1 of which assuredly it will not be one of the least ornaments2 here moreover it will hang in company with another picture from the same hand1 each admirably illustrating two different phases of ,cariani's art4 ,for to ,cariani1 the ,bergamesque painter1 must be ascribed the authorship of this ,madonna and ,child1 which reveals him in a mood no less characteristic than does the fine ,portrait of one of the ,albani ,family1 which ,mr4 ,salting has generously placed on loan at the ,national ,gallery4 ,it would be a fitting complement to see the new ,cariani hung near the other1 if only to prove how charming an artist he can be at times1 and how far superior these examples are to the two which the nation actually possesses at ,trafalgar ,square4 ,like all artists not absolutely in the first rank1 ,cariani varies considerably in quality of workmanship2 indeed1 owing to the peculiar local characteristics of ,bergamesque art ,cariani is exceptionally protean in form1 appearing now in ,venetian guise1 now in ,brescian1 now in his own native awkwardness4 ,for by nature he was not gifted with great refinement1 or with a strong individuality1 and when the temporary influence of ,lotto1 or of ,palma ,vecchio1 or even of ,previtali1 was withdrawn1 he easily lapsed into a slovenliness which repels1 or into a tastelessness which betrays his provincial origin4 ,fortunately this is not the mood we feel in ,mr4 ,salting's ,madonna4 ,there is a homely strain indeed1 which makes the subject simply ,mother and ,child2 a conception which we find exactly paralleled in another charming work of his known as ,la ,vergine ,cucitrice1 or ,the ,sempstress ,madonna1 in the ,corsini ,gallery in ,rome 7see illustration74 ,but the homeliness of conception is in each case relieved by the exquisite setting2 the landscape background and especially the decorative foliage being treated with a rare feeling for beautiful effects4 ,girolamo dai ,libri's lemon trees and the leafy arbours of ,lotto and ,previtali do not make more charming bowers than do ,cariani's rose hedge and his hanging limes4 ,add1 moreover1 a certain fullness of form1 a softness of expression1 and a harmony of colour1 which can be traced to the direct influence of ,palma ,vecchio in ,venice1 and you have in ,mr4 ,salting's picture probably the most attractive ,madonna and ,child which ,cariani ever painted4 ,can there be better evidence of appreciation on the part of some bygone owner than that he considered it worthy of the great ,giorgione himself1 and that up to now it has borne this courtesy title8 ,illustration3 ,walker ,cockerell1 ,ph4,sc4 ,madonna and ,child by ,giovanni ,busi 7,cariani7 in the collection of ,mr4 ,george ,salting4 ,illustration3 ,photography by ,anderson ,,the ,,sempstress ,,madonna 7,,la ,,vergine ,,cucitrice7 ,,by ,,cariani2 ,,in ,,the ,,corsini ,,gallery1 ,,rome ,the second #8,giorgione' which comes from the ,leuchtenberg ,gallery is an ,adoration of the ,shepherds1 now in the possession of ,mr4 ,asher ,wertheimer1 by whose kind permission it is reproduced here4 ,no excuse need be offered for its publication in ,the ,burlington ,magazine1 inasmuch as it bears directly on one of the lesser problems in our ,national ,gallery1 where1 in the ,venetian ,room1 has hung for some years a similar painting ascribed to ,savoldo4 ,that this ascription is erroneous is admitted in the large illustrated edition of the catalogue1 published a year or two ago by ,sir ,edward ,poynter1 the director1 and it seems a pity to keep the old label with ,savoldo's name still attached to the frame4 ,the ,national ,gallery is a place of public resort1 and the public believes in the labels it reads2 for what does the public know of ,savoldo8 ,those1 however1 who have studied his work at ,venice1 ,milan1 ,verona1 and elsewhere know that our ,national ,gallery picture is only in a remote degree akin to him in style1 and anyone who will take the trouble to make a comparison with the ,magdalen in the same room 7which is a genuine example71 and also with the two pictures by him at ,hampton ,court1 will be able to convince himself that ,sir ,edward ,poynter is right in removing the ,brescian master's name from the catalogue1 and more wisely substituting #8,venetian ,school4' ,now comes the ,leuchtenberg picture1 a comparison with which proves that such likenesses exist as to exclude all theory of chance resemblance1 yet such differences also exist as to dispel any suspicion that the one may be a copy of the other4 ,in such cases a common original can usually be inferred1 a deduction which modern archaeologists habitually make in similar circumstances2 and rightly1 for a common idea1 or conception1 underlies the outward divergencies of detail1 so that when the highest common factor can be found we can reconstruct in idea what such an original must have been like4 ,now it is curious that ,giorgione's name is attached to the ,leuchtenberg picture1 for anyone at all familiar with ,venetian painting must see at a glance that the style proclaims a period at least a decade after his death in #aeaj4 ,it is more than probable that both this picture and that in the ,national ,gallery date from about #aecj or so4 ,giorgione cannot possibly have produced either the one or the other3 but is it altogether beyond possibility that some idea of his may have served as basis for later artists to work up8 ,strictly speaking1 neither picture is ,giorgionesque1 except by reflection1 for the dazzling personality of the young ,castelfrancan shed lustre even on the succeeding generation in ,venice4 ,in neither does the painting show much trace of that mysterious glamour which the master1 above all ,venetian painters1 knew how to impart4 ,yet in the romantic rendering of the subject1 and in the picturesque treatment of landscape1 we may trace an ultimate connexion with the art of ,giorgione4 ,in neither is the handling so unmistakably individual as to warrant a positive opinion as to authorship4 ,it is true that several competent judges profess to recognize the hand of ,calisto da ,lodi in the ,national ,gallery picture1#dd but further research is needed before certainty of judgement is reached2 and as to the ,leuchtenberg example--well1 it matters little whether ,beccaruzzi or some other imitator of better things be the author4 ,two separate painters have taken a common theme1 they have treated the group of ,st4 ,joseph and the two ,shepherds practically alike1 and have laid down the outlines of landscape and architecture in the same way4 ,each has shown his independence in the treatment of the ,madonna and ,child and in the minor accessories4 ,one of these details in the ,leuchtenberg picture shows the sort of man the painter was1 for he has calmly appropriated the idea of the boy angel playing at the trough1 a motive which ,titian first introduced in the world-famous ,sacred and ,profane ,love4 ,he seems also prone to introduce non-significant detail1 such as the dog 7very wooden1 by the way7 and the elaborate accessories of the ruined stable1 the architecture of which baffles analysis4 ,the ,magi also appear in procession1 thus distracting attention from the simple theme of the ,adoration of the ,shepherds4 ,yet as a colourist this painter is worthy of praise1 though not such a master of chiaroscuro as his fellow-artist of the ,national ,gallery4 ,we may say then that the ,leuchtenberg picture adds to the interest attaching to the other1 and raises the question whether some ,giorgionesque motive is not at the bottom of the composition4 ,herbert ,cook4 ,,two ,,italian ,,bas-,,reliefs ,,in ,,the ,,louvre ,the two bas-reliefs reproduced were not only known but also celebrated before they came to the ,louvre4 ,the first1 a bust and profile1 represents a juvenile figure1 almost feminine1 clothed in shining armour1 wearing a helmet decorated with a surprising dash and fantasy1 round which may be read this unexpected and rather unusual inscription3 #8,p4 ,scipioni4' ,it is not known under what circumstances this was acquired by ,m4 ,paul ,rattier1 an amateur of ,paris4 ,on his death he bequeathed it to the ,louvre with reserve of usufruct on behalf of his brother4 ,the latter has just died1 and the museum thus enters into absolute possession of the legacy4 ,in the various exhibitions where this bas-relief has been displayed it has not failed1 as may be imagined1 to attract the attention and excite the curiosity of students and critics4 ,as it recalls by the expression of the face a great number of ,leonardo's figures and1 in the decoration of the armour and the helmet1 motives frequent in the work of the master1 notably the celebrated warrior in the ,malcolm collection1 we think firstly and very naturally of ,leonardo da ,vinci4 ,we know1 too1 that he was a sculptor as well as a painter2 he himself says expressly in his treatise on painting that1 having practised the two arts with equal care1 he has a good foundation for pronouncing on the difficulties of both4 ,but we know of no authentic sculpture from his hand which could serve as a starting-point or as a means of comparison for the purpose of making a decisive attribution4 ,is the ,st4 ,john the ,baptist in the ,south ,kensington ,museum1 which came from the ,gigli ,campana collection1 really from his hand8 ,no one can prove it4 ,and of the busts of children and women which1 according to ,vasari1 he executed in clay 7#8,facendo nella sua giovanezza di terra alcune teste di femine che ridono1 che vanno formate per l' arte di gesso1 e parimente teste di putti che parevano usciti di mano d' un maestro'71 none have come down to us4 ,bode1 who was the first to pronounce the name of ,leonardo in connexion with the ,scipio of the ,rattier collection1 proposed1 afterwards1 that of his master ,verrochio4 ,the reasons which prompted him are as follows3 ,vasari has told us that ,verrochio had made #8due teste di metallo2 una d',alessandro ,magno in profilo2 l' altro d' un ,dario1 a suo capriccio1 pur di mezzo rilievo1 e ciascuno da per se1 variando l' un dall' altro ne cimieri1 nell armadura od in ogni cosa2 le quali amendue furono mandate dal magnifico ,lorenzo vecchio de' ,medici al re ,mattia ,corvino in ,ungharia1 con molte altre cose4444' ,why should not the ,scipio belong to the same series8 ,the ornamentation of the helmet1 the design of the streamers which decorate it1 especially the modelling of the mouth1 do they not recall other works of ,verrochio1 and notably the execution of the mouth of his ,david8 ,these arguments1 no matter on what authority we have them1 are not decisive4 ,courajod1 ,muntz1 ,muller-,walde1 and the latest historian of ,verrochio1 ,m4 ,mackowsky1 incline rather towards maintaining the name of ,leonardo da ,vinci or of his school4 ,all that can be said with certainty is1 that the sculptor who turned out this brilliant piece of work must have been a very skilful decorative artist1 and that he was evidently inspired by the achievements and the spirit of the master4 ,but it would be very rash to assert that the hand of ,leonardo himself worked this marble4 ,illustration3 ,,adoration ,,of ,,the ,,shepherds2 ,,venetian ,,school2 ,,from ,,the ,,leuchtenberg ,,collection ,illustration3 ,,adoration ,,of ,,the ,,shepherds1 ,,venetian ,,school2 ,,in ,,the ,,national ,,gallery ,illustration3 ,,bas-,,relief2 ,,school ,,of ,,leonardo ,,da ,,vinci2 ,,recently ,,added ,,to ,,the ,,louvre ,illustration3 ,,bas-,,relief ,,by ,,agostino ,,di ,,duccio2 ,,recently ,,added ,,to ,,the ,,louvre ,if ,there does not seem any possibility for doubt or difference of opinion with regard to the attribution of the other bas-relief which1 only a few days after the arrival of the ,scipio1 was acquired by the museum4 ,to him who has seen the interior decoration of the temple of ,rimini1 the front of ,san ,bernardino at ,perugia1 and the ,madonna of the ,opera di ,duomo at ,florence1 the name of ,agostino di ,duccio invincibly presents itself4 ,this bas-relief was found framed1 over an altar1 in the wall of a little church in the department of the ,oise1 a dependent of the commune of ,neuilly-sous-,clermont4 ,this rural church was originally the chapel belonging to the chateau of ,auvillers1 which belongs to the family of ,bonnires-de-,wierre4 ,one of the general officers of ,bonaparte's army was a member of this family1 and brought this precious bas-relief home with him 7the archives of the family might possibly reveal to us the place and the circumstances under which he found it71 and he placed it in the chapel belonging to the chateau4 ,it was thence that the ,louvre1 with the consent of the members of the family of ,bonnires and of the commune1 acquired it4 ,a former lamented head of the department of ,mediaeval and ,renaissance ,sculpture1 ,louis ,courajod1 published1 in #ahib1 in the ,gazette des ,beaux-,arts1 an account of this charming piece of sculpture1 and1 to put it out of the reach of any attempts that might be made by collectors or merchants1 he had it placed on the list of historical monuments4 ,events have proved that this was not an unnecessary precaution2 however1 the admission of this bas-relief into the ,louvre puts a stop to all competition4 ,andr ,michel4 ,,two ,,pictures ,,in ,,the ,,possession ,,of ,,messrs4 ,,dowdeswell ,these two remarkable and curious pictures appear to us likely to interest students of mediaeval painting4 ,they are painted on thin panels measuring #ab ins4 by #g ins4 ,the wood has first been covered with a rather coarse canvas1 over which the usual gesso ground has been laid2 directly on this1 and without the usual preparation of bole1 gold leaf was laid over the whole surface4 ,the gold is elaborately tooled in the halos and crowns4 ,the pictures are painted in tempera over the gold ground4 ,the handiwork is of exceptional fineness1 the hatchings being extremely minute1 and the whole is wrought to an enamelled surface of extreme beauty4 ,i can recall only one other work in which quite the same minuteness and perfection of surface quality are attained1 and that is the ,richard ,,ii diptych at ,wilton ,house1 which indeed surpasses the present examples4 ,unfortunately the tempera has not adhered perfectly to the gold1 and in many places only a trace of colour is left2 the faces are1 however1 for the most part intact4 ,this somewhat lengthy description of the methods employed in these pictures may not be without value in view of the attempt to determine the origin of these curious and unusual works4 ,many characteristics of the pictures seem to point to a ,siennese origin1 such1 for instance1 as the tooling of the halos1 which may be almost be matched in the works of ,ceccharelli and ,vanni2 the ,madonna's face seems like a vulgarized version of ,simone ,martini's type1 while the treatment of the hair by separate1 rather thick1 continuous1 and parallel lines of light is such as we find frequently in ,siennese art4 ,the seated figures in the ,dormition of the ,virgin1 again1 if not distinctly ,siennese are decidedly ,italian1 and are among the common properties of ,giotto's heirs4 ,italian1 again1 is the appearance of the inlaid woodwork of the bed-stand4 ,the use of a canvas basis for the gesso ground is1 too1 in ,italy1 a peculiarly ,siennese tradition1 though it is there only a late survival of what was probably a universal practice4 ,on the other hand the absence of a bole foundation for the gilding is quite unlike the practice of any ,italian painters4 ,again1 the types with their heavily modelled features1 their full round staring eyes and protruding noses1 seem to suggest a northern origin for these works4 ,no less distinctive is the colour4 ,the chief characteristic of this is the extraordinary brilliance and purity of the local tints1 combined with an absence of any feeling for a distinct colour scheme as opposed to the mere putting together of agreeable tints4 ,the main notes are an ultramarine of quite astounding intensity and saturation1 a pure deep rose1 and a bright green midway between apple and myrtle green4 ,the flesh is florid and full coloured without traces of a terra verte foundation being apparent4 ,these qualities of colour are such as we might expect from a miniaturist1 and other things point to the same conclusion2 first1 the extreme minuteness and the marvellous perfection of the workmanship1 then the crowding of the composition1 and the elegant but singularly unstructural disposition of the draperies4 ,finally1 one may surmise that no artist who was accustomed to work on a large scale would have made so elementary a blunder in space construction as our unknown master has in the ,adoration of the ,magi4 ,the ,madonna is clearly intended to be seated beneath the thatched roof1 yet the foremost support1 instead of coming down in front of her knees1 is placed behind her4 ,such a mistake would be possible1 however1 to an artist who was accustomed to the almost hieroglyphic symbolism of miniature painting4 ,taking all these points into consideration ,i think it most probable that we have here two of the rare and singularly beautiful works of the ,french school of painting of the fourteenth century4 ,this is made probable most of all by the colouring4 ,this intense ultramarine never occurs in ,italian work1 but is to be found in the paintings attributed to ,jean ,malouel in the ,louvre4 ,it indeed remained endemic in ,french art1 for we find it in many miniaturists1 and something not unlike it turns up again in the work of ,ingres4 ,there is1 moreover1 in the ,louvre a small picture1 ,no4 #iig1 representing the ,entombment1 in which not only does the same blue appear1 but united with the same deep rose and vivid myrtle green4 ,it has also the same rare perfection of surface quality1 the same even1 hard smalto4 ,this picture is no doubt rightly attributed to the ,french school of the end of the fourteenth century4 ,but neither this nor any other ,french picture in the ,louvre shows so strong an ,italian influence as our panels do1 and it is partly for their interest as yet another proof of the constant interchange of ideas between ,italy and the ,north about this period that we give them publicity4 ,of such intercourse there are1 of course1 already many proofs in the work of painters like ,enguerrand de ,charenton1 of ,fouquet1 and most remarkable of all in a miniature by ,pol de ,limbourg1 which is a free copy of a fresco by ,taddeo ,gaddi in ,santa ,croce at ,florence4 ,r4 ,e4 ,f4 ,a ,,marble ,,statue ,,by ,,germain ,,pilon ,born towards #aeae1 either at ,paris or ,lou1 and dying only in #aeij1 ,germain ,pilon lived through a momentous century in the history of ,france4 ,the native art1 so prolific during the two preceding centuries1 which commands our admiration to-day by its originality and simplicity1 was essentially ,french in feeling and execution1 but towards the close of the fifteenth century the all-powerful influence of the great ,italians manifested itself1 partly by the general spread of knowledge which noised abroad the fame of achievements in ,italy to which the civilized world was then paying homage1 and again by the migration of ,italian artists to adjacent countries1 which1 in the majority of cases1 received them with acclamation4 ,illustration3 ,,adoration ,,of ,,the ,,magi1 ,,and ,,dormition ,,of ,,the ,,blessed ,,virgin2 ,,probably ,,french ,,of ,,the ,,fourteenth ,,century ,illustration3 ,,la ,,charit1 ,,sculpture ,,in ,,marble1 ,,by ,,germain ,,pilon ,in one way this had a beneficial effect upon the productions of the northern countries1 for it incited a spirit of emulation laudable in the extreme1 but it was also the cause of a decline in native resourcefulness and originality due to an unduly thorough assimilation of ,italian methods and aims4 ,the result of this was a strange co-mingling of ,italian and native ideas and technique producing an eclecticism which robbed art somewhat of the virility apparent in the creations of the fourteenth and fifteenth centuries4 ,still1 side by side with this we have a growing tendency to tenderness and sympathetic treatment quite in keeping with the lofty aims of the sixteenth century1 which compensates to some extent for the loss of robustness and impetuous energy4 ,in such a condition did ,pilon find art in ,france1 when1 leaving his father1 also a sculptor1 with whom he had hitherto collaborated1 he came to ,paris about #aeej1 and here we find him1 in conjunction with ,pierre ,bontemps and ,ambrose ,perret1 at work upon the tomb of ,franois ,i1 which had been designed by ,philibert ,delorme4 ,after the designs of the latter ,pilon was employed from #aefj to #aefe upon the well-known tomb at ,saint-,denis of ,henri ,,ii and ,catherine de ,mdicis1 which must be counted amongst his most important achievements4 ,for the ,king and ,queen he executed about this time the fine group of ,les ,trois ,grces in the ,louvre1 which represents1 perhaps1 the culminating point of his genius1 and is manifestly superior both in elegance of contour and in technical qualities to ,les ,trois ,parques ascribed to him which has found a permanent resting place in the ,htel de ,cluny4 ,in ,les ,trois ,grces he presents to us the culmination of the ,french ,renaissance in sculpture2 the rhythm and balance of the composition is aided by the superb technique displayed in the modelling of the well-chosen figures1 and a further beauty is added by the grace with which they support the urn4 ,but quite equal to any single figure is the fine example of ,pilon's art which we illustrate this month by permission of ,mr4 ,e4 ,lowengard1 its present owner4 ,it represents as an emblematical figure of ,charity a tall and dignified woman holding a child to her breast with the right hand1 whilst the left1 with protecting care1 sustains another1 which is clinging to her mantle2 a third stands at her feet with a look of trustful assurance upon its upturned face4 ,the head of ,charity is crowned with laurel4 ,the drapery is entirely characteristic of ,pilon at his best2 while not unduly severe1 it does not err in being too florid1 a failing of ,pilon on many occasions4 ,moreover1 it fully illustrates the ,french master's profound knowledge of anatomy1 a study in which he easily outstripped most of his contemporaries4 ,it is open to question whether such an important and characteristic example of ,pilon's work has been seen in ,london before1 and its presence at the moment furnishes an admirable opportunity of studying the style of this master4 ,,lace ,,in ,,the ,,collection ,,of ,,mrs4 ,,alfred ,,morrison ,,at ,,fonthill ,the lace of ,mrs4 ,alfred ,morrison at ,fonthill ,house is of special interest among private collections4 ,mrs4 ,morrison has long interested herself in the exertions of ,m4 ,m4 ,lefbure1 the ,honiton revival by the late ,mrs4 ,treadwin of ,exeter1 and even the crochet work of ,ireland1 and has in many cases supplied designs1 or suggestions for design1 to these centres2 hence1 with her well-known collection of antique lace she has included the best of its modern derivatives and modern design4 ,among the specimens illustrated are3-- ,plate ,i3 7#a7 ,a curious example of a rare type of lace made in ,russia1 consisting of a scarf with arms worked upon either end4 ,this lace was made in the early part of the nineteenth century 7when needle-point was first introduced into ,moscow7 at a private lace school4 ,the design1 which is upon net1 and very unlike the characteristic ,russian vermiculate patterns with their oriental character and occasional colouring1 consists of a chain of jours enclosing coarse1 simple1 and prominent fillings similar to those of provincial pillow-laces of ,england and ,france1 and a sem of small sprigs4 ,although the workmanship is even throughout1 the drawing is so nave as to suggest that the lace-worker was unused to that type of lace4 ,there is a border of similar jours alternating with small leaves and sprays4 7#b7 ,gros point de ,venise4--,in the central strip of this lace very few brides have been introduced1 and only so far as is necessary for strength1 and those used are plain4 ,the bride work forms no essential part of the design1 the parts of the pattern being chiefly held together by being worked in contact with one another4 ,in the joined border1 which is of later date1 the work1 and especially the raised scallops1 is of a superior evenness and regularity4 ,short brides1 both plain and picotes1 connect the design1 which is closer and more florid1 and remarkable for the compact1 firm character which careful and precise workmanship has given to the piece1 as it were scolpito in rilievo4 7#c7 ,point de ,venise4--,two long strips 7#c inches wide7 of excellent and open scroll and floral design4 ,the brides which connect the design are decorated with small stars and whirls4 ,upon some of the raised borders are set small scallops1 or picots4 ,seventeenth century4 7#d7 ,alenon lappet1 a design of interlacing ribbons1 filled in with light modes1 enclosing a small ornament4 ,eighteenth century4 ,period1 ,louis ,,xv4 7#e7 ,modern ,irish ,needle-point lace1 brides picotes1 specially made and designed for ,mrs4 ,alfred ,morrison very much reduced4 ,nineteenth century4 ,plate ,,ii3 7#a7 ,brussels veil 7three sides of which are ornamented1 the fourth being plain71 containing floral devices made in pillow1 and applied to pillow-made mesh grounds4 ,the softness of the grounds1 the workmanship of the flowers1 of which the cordonnets have little or no relief1 the lightness of the fillings of the modes1 place these ,brussels points in a category quite distinct from any other lace4 ,the design is of light leafy festoons of roses and forget-me-nots4 ,in the corner is an urn-shaped ornament with lateral festoons4 ,the border has a scalloped edge4 ,throughout the veil are pillow renderings of various modes1 the rseau rosac1 star devices1 etc4 ,eighteenth century4 7#b7 ,honiton lace1 made by the late ,mrs4 ,treadwin of ,exeter1 from an old design4 ,the pattern is connected by small brides covered with a number of small picots4 7#c7 ,rose point brides 7,venetian71 of close workmanship1 in silk 7natural-coloured74 ,the free use of ornate picots clustering upon flying loops edging the scallops1 as well as upon the brides1 is noticeable4 ,the brides are thickly ornamented with stars and whirls4 ,this sort of lace is sometimes called point de neige1 probably on account of its snowy appearance4 ,the stems of the pattern are of light work1 and not strengthened on the edge by an outer cordonnet or button-hole stitched work4 ,seventeenth century4 ,a very similar specimen of ,venetian needle-point lace in silk is to be seen at the ,victoria and ,albert ,museum #hce-'fh4 ,it is also square and of similar size and date1 and is also remarkable for the series of scallops and picots upon the raised portions of the design4 ,the design of this specimen #8consists of a symmetrical distribution of floral forms grouped about an ornamental arrangement in the centre4' ,it was probably a #8pall' or covering for a chalice or sacramental cup4 ,though ,mrs4 ,morrison's specimen is said to be of ,jewish work1 and used in the synagogue to cover the law1 it is more probable that it is a #8pall1' like the above-mentioned example4 ,illustration3 ,plate ,i ,no4 #a ,no4 #b ,illustration3 ,no4 #c ,no4 #d ,no4 #e ,illustration3 ,,plate ,,ii ,no4 #a ,no4 #b ,no4 #c ,no4 #d ,illustration3 ,no4 #e ,no4 #f ,no4 #g ,illustration3 ,plate ,,iii ,no4 #c ,no4 #d ,no4 #b ,no4 #e ,illustration3 ,no4 #a 7#d7 ,drawn thread-work ,turkish84 7#e7 ,point de ,venise1 period ,louis ,,xiii4--,a conventional design somewhat resembling ,italian ,renaissance ironwork4 ,the pattern and some of the short brides which connect it are ornamented with picots1 giving lightness and variety to the work4 7#f7 ,irish crochet lace1 specially made for ,mrs4 ,alfred ,morrison1 adapted from the above design1 which it well reproduces4 ,an experiment in improving the spiritless and confused effect of ,irish crochet1 where conventional motifs are fitted together without any pre-arranged design4 ,in natural-coloured silk4 7#g7 ,imitation point d#8,alenon4--,the ground or rseau of this piece is a very wide-meshed knotted net of coarse thread4 ,a stiff and simple flower issuing from a horn or vase is set in the centre of a waved diamond-shaped compartment4 ,the flowers are filled in with small pieces of coarse linen1 and are appliqu to the net by stitches which hold the twisted thread outlines--the substitute for the cordonnet of button-hole stitches in the ,alenon it imitates--to the little bits of linen4 ,plate ,,iii3 7#a7 ,embroidered ,turkish drawn thread work4--,an eight-pointed star within the centre of which is a circle of drawn-work1 of which the threads are overcast with fine button-hole stitches4 7#b7 ,the old conventional cut-work of ,italy2 ,reticella1 with punto in aria vandykes attached4 ,reticella differs from cutwork in that1 though it also is worked on a linen foundation1 the linen has almost entirely disappeared4 ,the threads left as the framework of the design1 dividing it into square compartments1 are closely covered with stitches4 ,into these squares are introduced geometrical forms 7star-forms7 set in circles and enriched with patterns in solid needlework4 ,this lace is frequently called ,greek lace1 principally owing to the fact that a great deal was found during the occupation of the ,ionian islands by the ,english4 ,it is1 however1 undoubtedly ,italian in origin4 ,the lace is shown upon the linen on which it is made2 most specimens have been cut off for sale from the original linen ground4 ,the punto in aria vandykes developed from the reticella1 and are made with the same geometrical designs4 ,the pointed edge was worked on threads laid down in the required shape1 and the spaces filled in various designs4 ,brides picotes were sparingly added to connect the various portions of the pattern4 7#c7 ,venetian-made ,alenon 7,burano74--,a design of small sprays upon mixed grounds4 ,along the lower portion of the design runs a twisting ribbon enclosing various jours and diapered grounds4 ,the scalloped border shows blossom modes set upon a large hexagonal mesh picot1 alternating with a scalloped ribbon1 enclosing varieties of diaper-patterned grounds1 similar to those to be seen in the modes of ,venetian heavy point laces4 7#d7 ,venetian-made ,alenon1 design of palm leaves1 with straight-edged border of flowerets and leaves4 7#e7 ,alenon bordering lace1 eighteenth century4 ,period1 ,louis ,,xvi4--,under ,louis ,,xvi it became the fashion to multiply the number of flounces to dresses and to gather them into pleats1 or1 as it was termed1 to badiner them1 so that ornamental motifs1 more or less broken up or partially concealed by the pleats1 lost their significance and flow4 ,the spaces between the motifs1 therefore1 widened more and more1 until the design deteriorated into sems of small devices1 detached flowers1 pots1 larmes1 or1 as in the present design1 a dot set within a rosette4 ,instead1 also1 of wreaths1 ribands1 or festoons undulating from one side of the border to another1 we have a stiff rectilinear border of purely conventional design4 ,naturalistic patterns are not met with in lace of that period4 ,m4 ,jourdain4 ,,bibliography ,french ,engravers and ,draughtsmen of the ,eighteenth ,century4 ,by ,lady ,dilke4 ,george ,bell and ,sons4 ,the book published by ,lady ,dilke1 at the end of last year1 is one of the most complete and definite works on an important section of our artistic history that we ,french possess4 ,for we are marked by this rare characteristic1 that the qualities of our own distinguished men are most often revealed to us by foreigners4 ,while we have in our midst a number of specialist writers to instruct us in minute detail concerning the most trifling acts and deeds of a ,fleming or ,italian1 we lack historians who will take a general view of our national art4 ,it would seem that the ,frenchman who shall have written a book on the eighteenth century as full and thorough as ,lady ,dilke's is yet to be born4 ,from time to time men of great attainments have produced a monograph1 have described the work of a ,watteau or a ,lancret1 but this has always wanted the necessary general commentary1 the linking with general history1 the grouping of facts1 which lend so great an attraction to the works of ,lady ,dilke4 ,it affords me a two-fold pleasure to say this1 first because ,i profess a deep and very respectful sympathy for the author's person1 and secondly because ,i have always been greatly touched by the ,french side of her character4 ,lady ,dilke and ,i know the faults of our respective countrymen2 we speak of them when necessary2 but we also know our reciprocal good qualities and speak of these too4 ,lady ,dilke has written in praise of the school of the ,french ,minor ,masters of the eighteenth century with a conviction and an ardour of which we are very proud1 and ,i feel charged to express to her in this review our deep-felt gratitude4 ,the difference between ,england and ourselves is made manifest from the very first4 ,whereas with us a more or less florid1 amusing1 or1 let us say1 sensational narrative is in most cases sufficient to satisfy the ,french reader1 ,lady ,dilke's book1 although intended to be read by everybody1 does not fear to display an integral erudition4 ,this handsome and well-illustrated book1 while it gladdens the eyes of a person indifferent to these questions1 will interest profoundly the specialist and the scholar4 ,it contains not a line unsupported by at least one reference and often by many4 ,all that the contemporaries of our eighteenth-century artists have left concerning them1 all records of inventories and even judicial notes1 have been read and employed in their season by their kindly historian4 ,it is easy to read into the impartial1 nicely-turned1 but apparently impassive text a genuine woman's admiration for these feminine1 evasive and exquisite artists2 but the passion is restrained and displays itself only at the last4 ,when the author is occasionally obliged to lament certain rather gross errors1 she does so with filial moderation1 with that which a child might show towards its grandfather2 and we have learnt all1 we are able to deplore all1 while not one serious word of blame shall have fallen from the historian's pen4 ,lady ,dilke divides her work into eleven chapters1 each bearing the name of an art-lover or artist4 ,the first of these chapters is devoted to the ,comte de ,caylus and the great amateurs4 ,for1 though the collectors date very far back1 the #8amateur1' in the ,french and modern sense of the word1 came into being together with the speculations of ,law4 ,there is a singular and never-changing agreement between the rabid collector and the stock jobbing financier2 it is as though the man who had grown suddenly rich wished to find no less suddenly in his new palace the ancestral elegance of the man of quality4 ,lady ,dilke has selected the ,comte de ,caylus because he exercised an enormous influence upon the whole of the eighteenth century4 ,himself an engraver--though of no great merit--he was the cause that men and women of the world amused themselves with the pastime1 that ,madame de ,pompadour tried her hand at engraving1 and that1 trying her hand1 but with only slight success1 she favoured to an extreme degree the artist-engravers of her time4 ,the second chapter is devoted to those lovers of engravings1 the print-collectors ,mariette and ,basan1 who1 for the rest1 had no great affection for the artists of their time1 but who favoured the iconographic movement4 ,the typical ,french engraver of the eighteenth century is ,charles ,nicolas ,cochin1 who was known as the ,chevalier ,cochin4 ,cochin1 through his family1 his connexions and his works1 touches every section of society4 ,he belongs to the ,court1 to the nobility1 to the middle class4 ,his mother was a ,horthemels2 his sisters were ,mesdames ,tardieu and ,belle4 ,cochin was trained in the school of different masters2 he shows traces of ,watteau1 ,gillot1 ,chardin and ,detroy4 ,but he is above all himself2 his mind is composed of a thousand amiable1 witty1 and refined things2 his art is the very spirit of a nation2 and it is not too much to say that in him ,french art is summed up4 ,the men whom ,lady ,dilke studies in ,chapter ,,iv of her book1 the engravers ,drevet and ,daull1 are different people4 ,they descend from the great century2 they go back by easy degrees to ,louis ,,xiv and those famous artists1 ,audran1 ,nanteuil and ,edelinck4 ,but1 though they have style and even majesty1 they have neither the charm nor the grace of their contemporaries4 ,this is also1 to a certain extent1 the case with ,wille1 who came to ,france to learn and who borrowed from us only the solemn and majestic side of the great masters4 ,lady ,dilke studies in succession the ,laurent ,cars1 the ,le ,bas1 and1 lastly1 ,gravelot4 ,gravelot the author regards almost in the light of a fellow-countryman4 ,the greater part of his career was spent in ,london4 ,we know that1 in so far as this part is concerned1 the author is in possession of even still more varied and personal notes4 ,from ,gravelot to ,eisen1 from the 8,opera de ,flora0 to the 8,contes de ,lafontaine10 is an imperceptible transition4 ,and thus we come to the masters of the end of the century1 to ,moreau the younger in particular1 who presents its definite synthesis1 linked as he is to ,cochin by the brothers ,saint-,aubin1 the 8exquisite poets of the most charming decadence40 ,finally1 ,lady ,dilke speaks of the engravers in colours1 of those men1 such as ,demarteau1 ,debucourt1 and others1 who1 without eclipsing their ,english colleagues1 keep step with them4 ,and then we come to the relations of the engravers with the ,academy4 ,here1 what severity is shown6 ,on one occasion1 the engraver ,balechou1 who is a member of the ,academy1 engraves a full-length portrait of the ,king of ,poland1 ,augustus ,,iii4 ,he had promised not to pull a separate proof of it4 ,having done so in one single case--this proof is still preserved in the ,paris ,print-room--he was struck off the list of ,academicians4 ,it is impossible1 in a short review1 to set forth in detail the importance of a book of this kind4 ,we need this book in ,france1 and it is to be hoped that one of our publishers will issue a translation1 because it is a revelation to us4 ,the ,english publisher has undoubtedly produced a practical and easily-handled book1 but his reproductions are a little inferior in quality1 given the value of the work4 ,it would have been desirable that all the illustrations should have taken the form of heliogravures4 ,nevertheless1 and putting this little criticism on one side1 ,lady ,dilke's book is1 sincerely speaking1 the newest and most 8encyclopaedic0 work that we at present possess on the ,french draughtsmen and engravers of the eighteenth century4 ,henri ,bouchot4 ,the ,national ,portrait ,gallery4 ,edited by ,lionel ,cust1 ,m4,v4,o41 ,f4,s4,a4 ,cassell4 ,it was a happy thought of ,messrs4 ,cassell to issue an illustrated catalogue of the ,national ,portrait ,gallery similar to that of the ,national ,gallery4 ,the ,portrait ,gallery1 in spite of great difficulties in the matter of space and funds1 has become a place of which the nation may well be proud4 ,it already contains a series of ,british portraits which if not absolutely complete1 is at least representative1 sensibly arranged1 and catalogued with much more fullness and accuracy than some better endowed collections4 ,one or two possible improvements may suggest themselves to the outsider--the addition1 for instance1 of photographs 7we hear that some arrangement of this kind is actually contemplated7 or careful copies of unique portraits of famous men which can never leave their present owners4 ,the colleges of ,oxford and ,cambridge contain several pictures which would fill gaps in the ,gallery1 and other works in private hands are equally desirable4 ,nevertheless1 the ,national ,portrait ,gallery1 like the ,british ,museum1 has hitherto been so fortunate in its directors that there is no reason for regarding its future with serious anxiety4 ,nor can we be surprised that ,mr4 ,cust1 who has had so much to do with the well-being of the ,portrait ,gallery1 has edited its illustrated catalogue on thoroughly sound lines4 ,to precisians a chronological arrangement may seem to have disadvantages4 ,these disadvantages1 in our opinion1 are minimized by the addition of an index of portraits and an index of artists1 while the grouping together of men of the same generation1 family1 or profession1 has the enormous advantage of making the book a thing attractive both to the casual reader and to the student of history1 instead of a dry alphabetical list4 ,we have only one fault to find with the abbreviated biographies which ,mr4 ,cust supplies4 ,they are laudably impartial1 but the impartiality is sometimes carried to an extreme which places a second-rate man on the same level as a first-rate one4 ,as a rule1 a very wise discretion has been exercised in reproducing the pictures on a scale proportionate to their actual size and importance1 so that the defects which marred the kindred volumes on the ,national ,gallery have generally been avoided4 ,one or two exceptions may perhaps be noted4 ,we do not1 for instance1 think that justice is done to ,kneller's vivid portrait of the poet ,gay 7,no4 #fbb7 by a cut less than two inches in height and less than one and a half inches in breadth1 especially when ,mr4 ,sargent's portrait of ,coventry ,patmore is honoured by a full-page engraving4 ,the juxtaposition of the two portraits of ,sir ,william ,hamilton also is not a success4 ,the figure by ,david ,allan looks a giant compared with that painted by ,reynolds4 ,the photographing1 engraving1 and printing of the pictures have on the whole been so admirably done that we have no more fault to find with them than with the letterpress or the arrangement of the book4 ,we notice1 indeed1 that ,kneller is again unfortunate4 ,his portrait of ,john ,smith1 the mezzotint engraver 7,no4 #fii71 is one of his most masterly works1 showing a grip of character1 an artistic taste1 and a technical perfection for which in his ,court portraits we seek in vain4 ,in the reproduction the portrait loses all its spirit and all its quality4 ,on the other hand1 almost all the slight sketches and pencil drawings in the gallery come out excellently1 so that any occasional failure cannot be attributed to want of care or want of science4 ,perhaps1 considering its price1 the publishers might have bound the book more strongly1 even if they retained the limp cover which allows the book to open comfortably4 ,the present paper binding is too flimsy for a book that has to be used for reference1 and to send a work of reference to the binder often results in deprivation just when one needs the book most4 ,these1 after all1 are minor details4 ,as a whole1 the catalogue is a thoroughly sound piece of work1 and does credit to its editor1 publishers1 and printers 7if not to its binder71 and we have no doubt it will take its place by the ,dictionary of ,national ,biography on the shelves of all who are interested in the past history of the ,british race4 ,c4 ,j4 ,h4 ,isabella ,d',este1 ,marchioness of ,mantua1 #adgd-aeci4 ,a ,study of the ,renaissance4 ,by ,julia ,cartwright 7,mrs4 ,ady74 ,john ,murray4 #aijc4 ,there are three ways of writing history which rejoice all serious readers and students4 ,the first and best is1 alas1 rare1 for it requires constructive imagination based on sound scholarship4 ,it is the history which bestows upon the characters portrayed that quality which makes them live on in the reader's mind like great myths4 ,gibbon's #8,julian1' ,mommsen's #8,hannibal1' ,carlyle's #8,voltaire1' ,creighton's #8,pius ,,ii'--to take a very few instances chosen at random--live on in our imaginations like the heroes of romance1 like ,don ,quixote1 or ,julien ,sorel1 or the #8,egoist4' ,on the other hand1 there is the work of the mere archivist1 the conscientious finder and transcriber of documents1 who leaves the imaginative reconstruction of character entirely to the reader4 ,for this1 too1 the student cannot be too grateful4 ,and then there is the via media of the gifted compiler1 whose efforts are also welcome1 provided they are honest and careful1 and free from the taint of journalism4 ,it is this middle path that ,mrs4 ,ady is accustomed to take1 and always with peculiar success in her biographies of women4 ,those who have already enjoyed her #8,beatrice d',este' will be prepared for finding interest and pleasure in reading her account of that noble lady's even more accomplished and more famous sister1 ,isabella1 marchioness of ,mantua1 the leader for more than forty years of the most continuously brilliant and intellectual court in ,italy4 ,mrs4 ,ady does not claim originality of research1 but her task of weaving the documentary researches of others into a readable1 accurate1 and interesting account is extremely well done4 ,it is true that she has no great or genial gifts for the presentment of character1 but she knows at least how to describe it with the appropriate background of historical events and of court and family life4 ,she has better taste than to make of it a lurid tale1 as some popular writers would have done4 ,isabella is painted as the faithful and devoted wife and daughter and sister1 the careful and affectionate mother--nay1 even the doting grandmother--as well as the #8prima donna del mondo1' the ,muse of poets and humanists1 the patroness and friend of great artists1 the confidante of popes and emperors1 and the victim1 too1 of family and political tragedies4 ,for us in this place1 her interest lies chiefly in one aspect of her many activities--in her relations with the artists of her day4 ,her portrait was drawn by ,leonardo1 and painted by ,mantegna1 ,titian1 ,francia1 ,costa1 as well as by various artists of less importance1 such as ,maineri and ,buonsignori1 and her medal was cast in bronze by the sculptor ,cristoforo ,romano4 ,she was a passionate collector of beautiful things1 decorating her private apartment with pictures by ,mantegna1 ,costa1 and ,perugino1 and sending her emissaries over nearly the whole of ,italy to extort from dilatory or overworked painters the fulfilment of commissions she had given them1 getting now a ,nativity from ,giovanni ,bellini1 a ,magdalen and a ,st4 ,jerome from ,titian1 ,allegories from ,correggio1 portraits from ,francia1 and even from ,raphael himself4 ,she employed ,timoteo ,viti to make designs for her majolica dinner-service1 and most of the northern sculptors of note were at one time or another set to work for her4 ,lorenzo da ,pavia made her priceless viols and lutes of inlaid ivory and ebony1 and ,caradosso carved her a wonderful inkstand in ebony and silver1 while the most famous glass-blowers and jewellers of her time contributed their best efforts to her matchless collection4 ,but even dearer to her than contemporary art was the antique1 and she spared no pains or expense1 no wiles or selfishness1 to get into her possession every available antique statue or fragment that she heard of4 ,the collector's passion was on her1 and even her fine taste and that of her cultivated advisers did not always protect her from the collector's misfortunes4 ,in the light of recent revelations1 it is amusing to hear how she was taken in by the forgeries of a certain ,roman dealer who bore the splendid name of ,raphael of ,urbino1 and how this shifty precursor of many an ,italian #8antiquario' of to-day managed to get out of giving her back her money6 ,curiously enough1 ,isabella1 although a fast friend of the ,medicean popes and their relatives1 seems to have taken no interest at all in the art of ,florence1 except in ,michelangelo1 and in ,leonardo1 who came to her1 not from ,florence1 but from ,milan4 ,she sent to ,florence1 it is true1 for a picture1 but it was to ,perugino she wrote1 and not to any of the great ,florentine masters4 ,mrs4 ,ady has tried to trace carefully the present whereabouts of ,isabella's portraits and possessions1 but we miss in the index any assembling of her scattered remarks on this interesting subject4 ,the ,leonardo pastel sketch 7reproduced as frontispiece to ,vol4 ,i1 but wrongly described as red chalk7 is well known in the ,louvre2 one of the ,titians 7the one copied by ,rubens7 she identifies in the collection of ,m4 ,leopold ,goldschmid at ,paris1 while the other1 in ,vienna1 is reproduced as the frontispiece to the second volume4 ,as to the latter1 she says it was painted by ,titian after a portrait by ,francia1 itself not done from the life1 but from sketches and descriptions4 ,if this be indeed the one referred to1 ,titian has managed to give no hint of his obligation to the ,bolognese master4 ,the portrait by ,maineri1 a painter of ,parma1 the author suggests as being the same as that in ,mrs4 ,alfred ,morrison's collection1 exhibited at the ,burlington ,fine ,arts ,club in #ahid2 but she admits1 on the other hand1 that this portrait may be from the hand of ,beltraffio1 which indeed it clearly is4 ,although it has apparently not occurred to ,mrs4 ,ady1 is it not possible that the untraced portrait of ,isabella painted by ,costa1 was1 like so many of her treasures1 bought for ,charles ,i1 and that it is the ,portrait of a ,lady which now hangs in ,hampton ,court 7,no4 #bie78 ,the face resembles the one he painted as ,isabella's in the ,louvre ,allegory1 but1 on the other hand1 they are both so thoroughly ,costa in every detail that neither can be called real portraits in the modern sense of the word4 ,the objective photographic style of portraiture in vogue to-day was quite foreign to the habits of most ,renaissance painters1 who were satisfied1 once they had found a type that suited them1 to stick to it for everything--,madonnas1 portraits of ladies1 and allegorical figures1 indifferently4 ,perhaps the most vivid part of ,mrs4 ,ady's book is her description of ,isabella's experiences in that fatal sack of ,rome1 which1 as ,erasmus wrote to her friend ,sadoleto1 was #8not the ruin of one city1 but of the whole world4' ,barricaded in the ,palazzo ,colonna with three thousand distressed souls under her care1 ,isabella1 safe in the protection of her son1 ,ferrante1 one of the leaders of the imperial forces1 looked down from her windows with anguish upon the scenes of horror and vandalism enacted in the streets below4 ,her house was the only one in ,rome that escaped1 except the ,cancelleria1 which was occupied by ,cardinal ,colonna4 ,but except for the irreparable destruction of so many of the world's masterpieces of beauty1 this and many another interesting incident in ,isabella's career belong rather to history than to art4 ,m4 ,l4 ,frans ,hals4 ,by ,gerald ,s4 ,davies1 ,m4,a4 ,george ,bell and ,sons4 ,on comparing the number of monographs that have appeared on other than ,dutch artists with that of books in our possession treating of ,dutch painters1 we see that the latter have been allotted but a scanty measure in literature2 indeed1 one may go further and say that during the past twenty years1 excepting ,rembrandt and a few other great masters1 no extensive and comprehensive work has been written on the old ,dutch painters4 ,for this neglect a very well-founded reason exists3 the native art historians of the ,netherlands are still collecting materials1 and cannot as yet think of writing exhaustive books concerning their great masters2 for they are much too well aware of the vast gaps that are still to be found in their knowledge4 ,this is so in the case1 among others1 of ,frans ,hals1 and it will remain so for many years to come2 we must needs wait until all the records are accessible before being able to arrive at a definite knowledge of ,hals's personality4 ,mr4 ,davies has been deterred by no such considerations2 he not only1 with a ready pen1 describes ,hals's life and works1 but1 thanks to the spacious manner in which he conceives his subject1 finds occasion to indulge in digressions on old ,dutch conditions1 art and so forth1 which might undoubtedly possess an interest for ,english readers if they were correct1 but that1 unfortunately1 is far from being always the case4 ,after treating in his first two chapters of the #8,rise of a ,national ,art' and #8,holland and its ,art in the ,seventeenth ,century' the author collects the few known facts concerning ,hals's life in ,chapter ,,iii1 and endeavours to draw a conclusion touching his personality4 ,we quite admit that legend may have represented ,hals as being a more dissolute man than he actually was4 ,nevertheless1 one who ill-treated his wife as he did can really not have had any particularly aristocratic manners4 ,it would be better for us to say that we do not know enough about his life to be able to white-wash it of the few disagreeable facts that have been handed down to us4 ,there can be no doubt1 however1 that he was a ,bohemian1 as ,mr4 ,davies rightly characterizes him4 ,the following chapters are devoted entirely to ,hals's artistic career and works2 those preserved at ,haarlem of course occupying a great place4 ,the description of these is a lively one1 and is evidently based upon a repeated examination4 ,there are a good index1 bibliography1 useful indications such as the approximate dates of ,hals's life and of his principal paintings1 etc4 ,in a word1 the writer has industriously brought together all that he has been able to ascertain touching his subject from books and pictures4 ,but there is one matter in which ,mr4 ,davies has not succeeded1 and that is the producing of a critical work4 ,it is true that he himself expressly says this as regards the catalogue1#de but he constantly makes the same mistakes in the text itself4 ,this is an exceedingly dangerous standpoint2 for1 thanks to it1 so soon as one sets to work on a scientific basis1 one finds him1 for instance1 describing two pictures 7,illustrations ,nos4 #a and #ed7 as ,portraits of the ,painter which do not represent ,hals at all1 while1 again1 the ,portrait of ,admiral de ,ruyter 7,illustration ,no4 #ee7 is not a picture of that admiral4 ,in the same way1 the catalogue--which1 from the very nature of the standpoint of the writer1 is incomplete--contains childish mistakes1 which are due to a lack of adequate critical knowledge4 ,for to say of the ,hille ,bobbe with a young man smoking behind her1 merely that it is #8generally recognized as the work of ,f4 ,hals the son' surely denotes an excess of caution1 considering that it is established beyond all doubt that this picture was1 in fact1 painted by the son1 and therefore it ought not to have been included in the catalogue4 ,some of the paintings in ,english collections which we missed in the catalogue we were fortunate enough to find mentioned in the #8,list of ,pictures which have appeared 444 in the ,winter ,exhibitions 444 at ,burlington ,house1' which is inserted after the #8,list of ,works4' ,but these data are also1 we regret to say1 uncritical4 ,we also searched the catalogue in vain for the oldest dated portrait by ,frans ,hals1 namely1 that of ,scriverius1 dated #afac1 which forms part of the ,warneck ,collection in ,paris1 although it is mentioned by the author on pp4 #bg1 #bi1 #hd1 and #if of the text4 ,again1 we find no mention of the delightful ,portrait of a ,man#df in the ,van ,lynden collection1 at present lent to the ,mauritshuis at the ,hague1 nor of various other pieces4#dg ,as regards the drawings1 there is no doubt whatever that the drawing in the ,british ,museum is an original ,hals4 ,there are more of this sort1 and we are sorry not to find them mentioned in ,mr4 ,davies's book4 ,we must deliver ourselves of one or two further remarks1 not from any love of fault-finding1 but to remove mistaken ideas4 ,the picture mentioned on p4 #bb1 which is traditionally1 and by ,mr4 ,davies1 supposed to represent ,hals's workshop1 was painted by ,michiel ,sweerts1 and has nothing to do with ,hals's workshop4 ,nor is what the author observes touching ,hals's manner of painting 7p4 #abd7 quite correct4 ,hals slowly perfected his technique1 proceeding along a road which is quite easily traced4 ,it is true that he underpainted a considerable number of his pictures1 but there are also many1 very many indeed1 which he finished at once1 in the wet paint1 without the least underpainting4 ,one of the best examples of the latter is the ,portrait of a ,man1 in ,lord ,spencer's collection1 which is at present in the ,guildhall ,exhibition4 ,mr4 ,davies's book has been very handsomely printed and produced1 and is filled with mostly satisfactory illustrations4 ,it is to be regretted that the contents of the book are not more worthy of its format2 as a critical guide to the art of ,frans ,hals it is wholly untrustworthy4 ,w4 ,m4 ,,periodicals ,gazette ,des ,beaux ,arts4--,the ,april number opens with an article by ,m4 ,salomon ,reinach1 in which he brings to light a great unknown miniaturist whom he identifies with the painter ,simon ,marmion1 known as the author of the altarpiece of ,st4 ,bertin1 now in the castle of ,wied4 ,of this magnificent and little-known work the ,national ,gallery possesses two fragments representing a chorus of angels rejoicing at the birth of the saint and two angels carrying his soul up to heaven1 a strange and imaginative composition1 in which the ridge of a roof cutting into the base of the composition gives an effect of supernatural strangeness4 ,the manuscript in which the miniatures in question occur is in the ,imperial ,library at ,st4 ,petersburg1 and has remained till now unnoticed4 ,it is in the main the ,french compilation entitled the #8,grandes ,chroniques de ,saint-,denys1' but the history is continued with extracts from various historians to the beginning of the reign of ,charles ,v4 ,it contains fifteen full-page miniatures which are of quite extraordinary merit1 and which may be by ,simon ,marmion4 ,the smaller miniatures are by another hand1 and are distinctly inferior4 ,the most interesting of the miniatures is the title-page representing ,fillastre1 ,abbot of ,st4 ,bertin1 offering the ,grandes ,chroniques to ,philippe le ,bon of ,burgundy1 by whose side stands the aged ,chancellor ,rollin2 behind stand three figures1 among which ,m4 ,reinach recognizes the youthful ,charles the ,bold and the ,grand ,btard4 ,the heads are admirably rendered1 and show that ,marmion1 if it be indeed he1 must be reckoned as one of the great masters of portraiture of a school in which portraiture attained to the utmost perfection4 ,the landscapes are1 however1 scarcely less remarkable4 ,they do not1 of course1 rise quite to the height of imaginative realism shown in the ,hubert van ,eyck miniatures published by ,m4 ,durrieu1 but they are conceived in a similar vein and executed with absolute mastery4 ,if ,m4 ,reinach's conjecture is correct1 and it rests on a number of subsidiary proofs besides the likeness of style to the ,wied altarpiece1 he has done a great service in bringing to light the work of a great artist whose reputation as a miniaturist was such that his name was coupled with that of ,fouquet in the eulogies of contemporary poets4 ,marmion was born at ,amiens about #adbj4 ,in #aded he was at ,lille employed by the ,duke of ,burgundy1 but he seems to have worked chiefly at ,valenciennes4 ,his style shows the influence of the ,van ,eycks1 and still more of ,van der ,weyden4 ,but there is1 we think1 in his manner of composition1 and in the freedom of his fancy1 something which distinguishes him from the pure ,flemish painters1 something which is due to his ,french origin and early training4 ,the next article by ,m4 ,casimir ,stryienski is concerned with ,french art of a very different kind4 ,there exist a number of catalogues of the early exhibitions of the ,salon1 illustrated throughout with minute sketches by ,gabriel de ,st4 ,aubin4 ,the author has had the idea of reconstructing by the aid of one of these catalogues the ,salon of #agfa1 and discussing the subsequent history of the various works4 ,many of these are quite lost1 and survive only in ,st4 ,aubin's marvellous sketches4 ,delicate as ,st4 ,aubin's more serious work is1 as a tour de force nothing could equal the dexterity of these minute notes4 ,between two lines of the catalogue he will insert a whole row of sketches1 in which not only the composition but some suggestion of the chiaroscuro of the originals is given4 ,many of the works of ,vien1 ,j4 ,b4 ,m4 ,pierre1 ,vanloo1 and ,hall make a more pleasing impression when interpreted thus than the originals can have done4 ,m4 ,andr ,michel1 who carries on the work inaugurated by the genius of ,courajod1 commences a series of articles on the acquisitions made by his department of the ,louvre4 ,the finest of these came from ,courajod's collection1 and include a wooden crucifix of the twelfth century1 in which we can trace the first germs of the new sentiment for life and dramatic expressiveness working in the old hieratic formula4 ,the exquisite statue of a man of the thirteenth century1 also in wood1 shows the new art arrived already at perfect command of the means of expression1 but still restrained by a reminiscence of earlier schematic treatment4 ,this and the stone statue of ,st4 ,genevive show ,french sculpture at a point which it has never surpassed4 ,the fifteenth and sixteenth century sculptures which have been added to the national collection1 though of great beauty1 have nothing of the supreme sense of design of the earlier work4 ,m4 ,f4 de ,mely publishes two sarcophagi with figures in relief discovered at ,carthage4 ,in spite of ,greek and ,egyptian influences the author considers that at least one of the figures1 that of the priestess1 bears the impress of a special racial type1 and he considers that this and the ,elche head taken together give us an idea of a distinctively ,punic ideal type4 ,m4 ,pierre ,gusman describes1 without adding anything very new1 the ,villa ,madama1 and ,m4 ,andr ,pascal begins an account of the eighteenth century sculptor ,pierre ,julien4 ,in the ,may number ,monsieur ,gaston ,migeon1 who has done much towards the classification of ,mahommedan copper work1 writes on the ,exhibition of ,mahommedan ,art recently held at the ,union ,centrale des ,arts ,dcoratifs in the ,pavillon de ,marson4 ,several remarkable specimens of copper work are reproduced1 perhaps the most interesting being that lent by ,m4 ,sarre which is supposed to date from the first years of the ,hegira1 and to be of ,sassanian workmanship4 ,some fourteenth-century ,persian velvets and tissues of singularly fine and naturalistic design are also figured1 as well as two splendid ,indo-,persian miniatures from the collection of ,m4 ,bing4 ,in his second and concluding article on the acquisition of the department of sculpture in the ,louvre1 ,m4 ,andr ,michel describes a remarkable polychrome wooden statue of the beginning of the sixteenth century belonging to the ,franconian school4 ,in this the author finds the influence of ,albert ,drer4 ,it is certainly a more deliberate and scientific work of art than the majority of ,franconian sculptures of the period4 ,several works by ,houdon1 ,deseine and ,clodion are also described and reproduced4 ,the prints of the ,dutuit ,collection are described in a brilliant and humorous article by ,m4 ,henri ,bouchot1 in which he concerns himself more with the collector than the collection1 which is in fact rather remarkable for the number of prints of ascertained pedigree than for its artistic character4 ,m4 ,pascal completes in this number his study of ,pierre ,julien4 ,jahrbuch ,der ,kunsthistorischen ,sammlungen des ,allerhchsten ,kaiserhauses4 ,band ,,xxiii1 ,heft #e4--,the present fascicule is devoted entirely to researches by ,herr ,julius von ,schlosser on #8,artistic ,tradition in the late ,middle ,ages4' ,under this title the author brings together several separate researches2 the connexion between them lies in their illustration of the contrast between mediaeval art with its direct visual symbolizing of ideas and the ,renaissance and modern habits of actual imitation of natural forms4 ,the first of his researches is concerned with a large illuminated parchment1 too large to have formed part of a book and probably meant to be framed and hung on a wall4 ,it depicts in the centre the ,nativity1 around which1 in a large number of medallions enclosed in late ,gothic scrollwork1 are represented the various analogies by which the immaculate conception was rendered credible4 ,it is an early example of the #8,defensorium inviolatae virginitatis beatae ,mariae1' in which the miracle is rendered plausible by a record of all the miraculous things in nature4 ,the origin and propagation of this popular form of doctrinal exegesis is discussed4 ,the author of the #8,defensorium1' ,franciscus of ,retz1 was a ,dominican1 and professed theology in the ,university of ,vienna from #ache to #adaa4 ,the earliest illustrated version is the manuscript of ,frater ,antonius of ,tegernsee of #adei1 and the work was published as a block-book as early as #adgj4 ,the best-known is ,eysenhut's block-book of #adga1 of which the ,british ,museum possesses a copy4 ,in the early sixteenth century it was published also in a ,french translation at ,rouen1 but it was most popular in ,bavaria and ,austria4 ,the parchment picture of the ,vienna ,hofmuseum1 which forms the subject of these researches1 is1 the author considers1 by an ,austrian artist of the latter half of the fifteenth century4 ,of greater artistic merit are the small folding tablets of the ,vienna ,hofmuseum1 in which are depicted a series of men and animals which served as patterns for artists4 ,there are1 for instance1 the heads of ,christ1 the ,virgin1 and ,st4 ,john1 in poses which show that they would serve for a ,crucifixion2 there is the ,veronica1 and a number of varied types which experience and tradition showed were likely to be useful to an artist4 ,it is certainly a striking example of the essentially practical methods of artistic production at a time when painting was an actual necessity1 and when1 therefore1 the picture was of more importance than the artist's personality4 ,this work belongs to about the year #adjj4 ,another artist's pattern-book discussed by ,herr von ,schlosser1 though this has already been published in part1 is that used by the miniaturists of a ,rhenish monastery1 now in the ,hofbibliothek at ,vienna4 ,this contains1 besides initials and borders1 the traditional receipts for various animals both real and fabulous4 ,this the author compares with ,villars de ,honnecourt's famous sketch-book and the similar pattern-book of ,stephen of ,urach in ,munich4 ,villars de ,honnecourt1 however earlier in date1 had indeed much more than a merely practical aim in view4 ,he had already begun those researches into the laws of proportion and harmony in natural form which later on absorbed ,leonardo da ,vinci and ,drer4 ,herr von ,schlosser aptly concludes this part of his researches by a reproduction of an ,attic vase in ,berlin1 on which is represented the workshop of a vase maker with the pattern receipts for gods and animals hanging on the wall4 ,finally1 in an appendix1 ,herr von ,schlosser discusses ,giusto of ,padua's frescoes of the virtues in the ,eremitani at ,padua1 which have recently been relieved in part of their covering of whitewash4 ,he reproduces the two best preserved figures4 ,here again the question is of the rle played by a traditional pattern-book1 for there exist similar representations of the virtues in manuscripts at ,florence and ,vienna1 while recently ,signor ,venturi has acquired for the national collection at ,rome another version1 which he considers is ,giusto of ,padua's own sketch-book and the model for the frescoes4 ,herr von ,schlosser shows1 we think conclusively1 that this is of later origin by a belated ,giottesque of the early fifteenth century1 while he brings forward as the original of the whole series a ,,ms4 at ,chantilly by ,bartolommeo de' ,bartoli1 executed in all probability between #acec and #acef in ,bologna4 ,repertorium fr ,kunstwissenschaft4 #aijc4 ,part ,,ii4--,constantin ,winterberg continues his minute analysis of ,albert ,drer's theory of the proportions of the figure4 ,in this article he deals with the second book1 and shows how ,drer freed himself increasingly from the traditional mediaeval canon and sought to establish his theory on inductive lines4 ,mr4 ,campbell ,dodgson publishes a transcript of ,david de ,necker's preface to the ,landsknechts1 from which it appears that the original drawings were by ,hans ,burkmair1 ,christopher ,amberger1 and ,jrg ,breu1 and were engraved by ,jost de ,necker1 ,david's father4 ,this settles a much-disputed point1 and shows that ,beham1 to whom a number of the originals were ascribed1 must be excluded altogether4 ,count ,luigi ,manzoni writes on the stained glass in ,perugia in the quattrocento1 and in particular on the great window in ,s4 ,domenico1 which he ascribes in part to ,fra ,bartolommeo di ,pietro ,accomandati1 who appears to have worked in stained glass already in the fourteenth century at a time when most ,italian towns were forced to employ foreigners for such work4 ,the greater part of the window was executed1 according to the author1 in the second half of the fifteenth century1 and by the painter ,benedetto ,bonfigli4 ,in this number ,dr4 ,friedlnder concludes his notices of the ,bruges ,exhibition4 ,he deals with ,albert ,cornelis1 an artist who was first recognized by ,mr4 ,james ,weale1 and with ,jan ,provost1 with regard to whom he follows ,m4 ,g4 ,hulin4 ,he agrees therefore in giving to the artist1 ,mr4 ,sutton-,nelthorpe's ,legend of ,st4 ,francis4 ,more surprising is his suggestion that the ,madonna1 lent by ,madame ,andr under the name of ,van ,eyck1 which was reproduced in the ,april number of ,the ,burlington ,magazine1 is a youthful work of ,jan ,provost4 ,with regard to ,jan van ,eeckele1 the author maintains a sceptical attitude4 ,he supposes the signature ,j4,v4,e4 attached to certain works to be forgeries intended for ,jan ,van ,eyck4 ,after discussing the works of the later ,flemish and ,dutch artists1 ,dr4 ,friedlnder discourses on the works which are not of purely ,flemish origin4 ,among them the most interesting was the so-called ,antonello da ,messina1 lent by ,baron d',albenas1 representing the ,piet4 ,this1 following ,m4 ,hulin1 ,dr4 ,friedlnder gives to a ,french artist1 and dates about #adgj4 ,the mixture of ,italian and ,flemish influence in this work is1 we think1 of quite a different kind from that found in ,french works of the period4 ,rassegna d',arte4 -- ,to the ,april number ,m4 ,george le ,brun contributes an enthusiastic1 though by no means exaggerated1 appreciation of the elder ,breughel1 #8the only artist of his time who knew how to withstand the enchantments of the ,italian masters1' though he too travelled in ,italy4 ,signor ,enrico ,cavilia calls attention to the imposing ruins of the basilica at ,squillace which he ascribes to about the year #fjj4 ,if this is accurate it becomes1 after ,st4 ,abbondio at ,como1 the earliest example of a basilica in the form of a ,latin cross4 ,this important example of early ,christian architecture has been little noticed hitherto4 ,signor ,rivoira1 for example1 makes no mention of it4 ,a small piece of stuff with a woven pattern of figures1 rabbits1 birds1 and ornamental intreccie1 which was found at ,modena in #aijj1 forms the subject of an article by ,isabella ,errera4 ,this has hitherto been supposed to be of ,byzantine workmanship1 but the author by comparison with other pieces of similar design and workmanship ascribes it to ,arab workmen under ,byzantine influence4 ,in the ,may number ,signor ,paoletti publishes an ancona 7insufficiently reproduced7 by ,jacobello ,bonomo4 ,this ancona in its original carved frame is dated #ache1 and is important as showing how early the traditional form of the ancona as it appears in the works of the ,muranese school was fixed4 ,this indeed differs but slightly from the altarpieces of ,antonio da ,murano in ,sta4 ,zaccharia at ,venice1 which are dated nearly half a century later4 ,signor ,ricci continues to elucidate the little-known ,giovanni ,francesco da ,rimini1 an artist of the ,romagna influenced by ,benedetto ,bonfigli1 and through him deriving many motives which recall the work of ,filippo ,lippi4 ,these are specially noticeable in the ,baptism belonging to ,signor ,blumenstihl at ,rome4 ,the other picture1 which he attributes to this mediocre but agreeable painter1 is a ,madonna adoring the ,infant ,saviour which is ,no4 #bee of the ,bologna ,gallery4 ,signor ,augusto ,bellini ,pietri discourses on the frescoes of ,s4 ,piero a ,grado which were brought to light in #ahhe at ,cavalcaselle's instigation4 ,cavalcaselle himself judged of them as feeble productions of the early ,pisan school which might be connected with the name of ,giunta ,pisano4 ,he failed to see traces of true ,byzantine influence4 ,signor ,pietri's view practically coincides with this1 except that he considers them of much greater artistic significance and as indicating the dawn of the new ,italian spirit1 the beginnings of a dramatic and expressive art as opposed to the hieratic and purely architectonic character of the ,byzantine4 ,signor ,ricci calls attention to an interesting portrait of ,luca ,pacioli acquired by the ,naples ,gallery with a ,cartellino bearing the inscription ,,jaco4 ,,bar4 ,,vigennis4 #adie4 ,if vigennis is a corruption of ventenne1 and if ,jaco4 ,bar4 stands for ,jacopo de ,barbari1 it brings that artist's birth down to a much later period than has hitherto been assumed4 ,unfortunately ,signor ,ricci does not indicate how far the painting in question conforms to the manner of ,jacopo de ,barbari's known works4 ,signor ,ferrari announces the installation of the new museum at ,piacenza1 and describes its two chief treasures1 the ,christ at the ,column by ,antonello da ,messina and the tondo 7poorly reproduced71 which is ascribed1 somewhat rashly we think1 to ,botticelli himself4 ,onze ,kunst contains two articles by ,max ,rooses2 in one he describes the ,pacully collection in ,paris1 which has recently come into the market1 and1 propos of the picture of a young woman writing1 by the ,master of the half-figures1 which was exhibited at ,bruges1 makes a suggestion that possibly the half-figure pictures were executed by ,jan ,matsys when he was absent from the ,netherlands1 and may have come into connexion with ,clouet's school in ,france4 ,the colour scheme and scale of modelling of ,jan ,matsys's signed ,lucretia is1 we should have thought1 quite distinct from that of the half-figure pictures4 ,in the second article the author makes known a ,rubens belonging to the ,countess ,constantin de ,bousies4 ,the picture is of a satyr pressing grapes into a cup held by a young satyr2 in the foreground a tigress is suckling her young4 ,m4 ,rooses declares this to be the original of the similar picture at ,dresden4 ,ateneum4 ,helsingfors4-,no4 #a contains an article on mediaeval art in ,finland with illustrations of sculptures of the fourteenth and fifteenth centuries1 which shows how closely the types of early ,french and ,german ,gothic sculptures were followed4 ,the ,st4 ,margaret from ,vemo has almost the grace and ease of movement and the large disposition of draperies of the best ,french work of the end of the thirteenth century4 ,the later work indicates more clearly ,german influence4 ,osvald ,siren publishes two ,florentine ,madonna reliefs1 at present in ,sweden4 ,one is a stucco copy of a relief by ,desiderio1 lately in the possession of ,mrs4 ,pepys ,cockerell4 ,the ,revue de l',art contains some illustrations from the ,pacully collection1 and the record by ,m4 ,paul ,vitry of an interesting discovery1 an almost contemporary copy of a lost portrait of the ,comte de ,dunois1 the original probably being by ,jean ,fouquet4 ,l',art1 for ,april1 contains a number of reproductions of mediaeval works by royal and titled amateurs1 an article on the ,museum of ,tapestry at the ,gobelins factory1 one on ,horace ,vernet as a caricaturist1 and one on the exhibition of the ,socit ,national des ,beaux-,arts1 remarkable for its violent and ill-judged attack on ,rodin1 propos of the fact that he is not exhibiting this year4 ,the ,architectural ,review1 ,may1 is mostly devoted to contemporary architecture1 but contains the second part of ,mr4 ,lethaby's article on #8,how ,exeter ,cathedral was ,built1' with many illuminating remarks on mediaeval methods of work2 not the least interesting is the suggestion that when columns of ,purbeck marble were ordered from ,corfe1 the designs of mouldings and sections were left to the ,corfe masons4 ,r4 ,e4 ,f4 ,zeitschrift fr ,bcherfreunde1 ,april1 #aijc4--,the first number of the seventh annual volume of this periodical opens with a detailed account by ,h4 ,a4 ,l4 ,degener of the ,john ,rylands ,library at ,manchester4 ,the building is described and the history of its foundation related4 ,the biography of ,john ,rylands himself is followed by an interesting account of the founders of the ,althorp collection1 now incorporated1 through the munificence of ,mrs4 ,rylands1 with the other contents of the palatial building at ,manchester4 ,the purchase of the ,crawford collection of ,,mss4 by ,mrs4 ,rylands is duly recorded1 and a good summary is given of the most important treasures of the library in the way of block-books and incunabula1 with special attention to the books from early ,english presses4 ,the article is illustrated with sketches of the building and facsimiles of rare specimens of printing4 ,an article follows on the contemporary book-decorator1 ,hugo ,hoppener1 whose pseudonym is ,fidus4 ,his work is unknown in this country1 and such specimens as are given do not inspire us with any desire for a closer acquaintance with it4 ,modern printing in ,russia is described by ,p4 ,ettinger1 and there is a review of two important facsimiles of block-books recently published by ,heitz1 and edited by ,professor ,w4 ,l4 ,schreiber1 the #8,twelve ,sibyls1' at ,st4 ,gallen1 and the edition of the #8,biblia ,pauperum1' in fifty leaves1 at ,paris4 ,a specimen of each facsimile accompanies the review4 ,c4 ,d4 ,,correspondence ,,professor ,,langton ,,douglas ,,and ,,documentary ,,evidence4 ,sir1 ,professor ,douglas's long and elaborate reply to my note is no doubt interesting2 but it seems as if he considers the subject of more vital importance than ,i do2 and ,i fancy most readers of ,the ,burlington ,magazine will agree with me so far4 ,it is scarcely necessary to point out the personal turn to which his arguments veer2 but ,i am unregenerate enough to draw attention to the fact that1 in spite of much circumlocution1 he brings out none that really prove me wrong in my contentions4 ,i do not deny the talents of either ,signor ,centofanti or ,signor ,donati 7of the works of the former and the friendship of the latter ,i have reason to speak most highly72 but their names alone scarcely carry conviction to the ordinary ,english reader4 ,i must repeat that ,i do not consider that ,professor ,douglas's assertions with regard to ,sodoma will bear close examination4 ,the explanation of this in detail would take too long here2 but ,i hope some day to have an opportunity of going fully into the subject of that artist's name and family4 ,that ,beccafumi was very frequently designated as #8,mecharino1' or #8,mecarino1' is beyond dispute1 and the statements here brought forward are certainly not sufficient to account for the entire omission of this important fact from ,professor ,douglas's work4 ,with regard to ,matteo's ,massacre of the ,innocents1 ,i can only suggest to anyone interested in the subject to go and look at the picture1 signature1 and original document1 and then form his own opinion4 ,on both these points the reader cannot do better than compare the statements here set forth with those in the #8,history of ,siena4' ,i need say no more2 but1 in conclusion1 ,i cannot resist remarking how great was my astonishment to find that until last ,april ,professor ,douglas1 in spite of all his studies at ,siena1 was not aware that the ,archivio dei ,contratti of that city 7,archivio ,notarile ,provinciale7--referred to continually by ,milanesi and others1 and containing many important documents 7including two wills of ,francesco ,tolomei1 in the second of which ,matteo's picture is not mentioned7--is an absolutely different institution from its younger1 and admittedly more imposing and interesting1 rival--the ,archivio di ,stato1 is under different control1 and is even a cause of jealousy4 ,surely1 when preparing to overthrow the consensus of opinion of a number of competent predecessors1 it is scarcely safe to trust implicitly to copies1 and a search for this original will would have saved that situation anyhow4 ,had ,i not received this information from the writer's own lips1 ,i could not have believed it possible4 ,for the historian of ,siena to admit ignorance of the separate existence and constitution of this important storehouse seems to me to be more damaging to his reputation for accuracy than any points of detail upon which differences of opinion can arise4 ,robert ,h4 ,hobart ,cust4 ,,the ,,authorship ,,of ,a ,,madonna ,,by ,,solario ,sir1 ,the ,madonna by ,solario which you reproduce in your number for ,may is a picture by no means unknown in art literature4 ,it is reproduced on ,plate ,,xxxvii of ,rosini's #8,storia della ,pittura ,italiana1' and as ,no4 #bi;bis1 ,,iis4 in ,muxell's #8,catalogue of the ,leuchtenberg ,collection1' and such well-known critics as ,waagen1 ,rumohr1 ,hettner1 and ,crowe and ,cavalcaselle have spoken of it4 ,the last-named writers unhesitatingly ascribe the picture in question to ,andrea ,solario of ,milan1 declaring the signature a coarse forgery4 ,rosini1 who seems to have known all about the picture1 says3--#8,could we trust this signature--,antonius da ,solario ,venetus f--there would be no doubt regarding the home of this artist4 ,but are we bound to have a blind faith in a signature1 when we happen to know the history of the picture1 and how it passed through the hands of restorers and dealers before it was sold to the collection where it now hangs8 ,experience has taught me to entertain very serious doubts4'#dh ,i share these doubts1 for ,i cannot hesitate a moment in ascribing this very charming ,madonna to ,andrea ,solario4 ,mr4 ,roger ,fry in his admirable note on this picture mentions the points of likeness which it has with the ,brera ,madonna and ,saints1 dated #adie4 ,there happens to be another work even closer to this one1 and in my opinion certainly by ,solario1 although not attributed to him4#di ,it belongs to ,dr4 ,j4 ,p4 ,richter1 and represents the ,madonna adoring the ,holy ,child4 ,so ,venetian are its colour1 tone1 and feeling1 that more than one good critic has attempted to find its author in ,venice2 but so singularly like are the ovals1 so identical the eyes and mouths of the ,virgins in ,dr4 ,richter's and in ,mr4 ,wertheimer's pictures1 that they could not have been painted by different hands4 ,a ,madonna belonging to ,signor ,crespi of ,milan1 never1 that ,i am aware1 ascribed to another than ,solario1 although of later date1 again betrays identity of hand1 in the landscape at least1 with ,mr4 ,wertheimer's painting4 ,but ,mr4 ,fry1 who1 if any one1 has a right to an opinion1 admits the possibility that the signature is genuine2 in which case ,mr4 ,wertheimer's picture would be by a painter famous in ,neapolitan art-mythology1 who is supposed to have executed the frescoes in the cloister of ,sanseverino at ,naples4 ,mr4 ,fry1 with a candour by no means common among recent writers on art1 tells us that he is not acquainted with these frescoes4 ,i happen to know them well1 and ,i can assure ,mr4 ,fry that these paintings and ,mr4 ,wertheimer's ,madonna have nothing in common4 ,the latter1 like all of ,solario's works1 even the most ,venetian1 displays many characteristics of an art substantially ,milanese1 while the frescoes contain no element of the kind4 ,the principal author of the series 7he freely employed assistants7 seems to have been a ,sicilian educated under ,antonello1 ,gentile ,bellini1 and ,carpaccio4 ,in his wanderings up and down the peninsula his fancy seems to have been taken by ,pintoricchio's landscape--a taste for which ,carpaccio's romantic scenery had doubtless prepared him4 ,no other influences are visible in his work1 neither ,lombard1 nor ,ferrarese1 nor ,florentine4 ,i am amazed that paintings so obviously ,venetian should have remained so long unrecognized for what they are4 ,i would gladly say more of the author of these frescoes 7there is not a little to be said71 but ,i must now hasten to answer the question that may be asked3 ,but what if the inscription is ancient8 ,even then ,mr4 ,wertheimer's picture does not cease to be ,andrea ,solario4 ,the inscription may in fact never have been intended for a signature1 but for a label4 ,soon after it was painted this picture may have fallen into the hands of a person who1 like so many of us to-day when addressing a letter1 confused the ,christian name of the painter with one resembling it1 and1 wishing to make sure that he did not forget it altogether1 had it inscribed according to his inaccurate recollection upon the panel1 with the addition of the fact that the picture was painted in ,venice--for that is all that the word ,venetus need mean here4 ,or if it does mean more1 this more would tend to establish the value of connoisseurship4 ,it was on internal evidence alone that ,i came to the conclusion1 published in my #8,lorenzo ,lotto' some nine years ago1 that ,solario must have made a long enough sojourn at ,venice to have become deeply imbued with the ideas of ,alvise ,vivarini3 and now ,mr4 ,wertheimer's picture1 if the inscription be ancient1 would confirm this hypothesis to the extent of proving that ,solario remained long enough in ,venice to be considered a ,venetian1 just as ,lotto1 for instance1 owing to a residence of two or three years at ,treviso1 was called a ,trevisan4 ,bernhard ,berenson4 ,illustration3 ,walker ,cockerell ,ph4 ,sc4 ,lady ,betty ,hamilton by ,sir ,joshua ,reynolds1 in the collection of the ,earl of ,normanton4 ,,pictures ,,in ,,the ,,collection ,,of ,,sir ,,hubert ,,parry1 ,,at ,,highnam ,,court1 ,,near ,,gloucester ,,written ,,by ,,roger ,,fry ,,article ,i4--,,italian ,,pictures ,,of ,,the ,,fourteenth ,,century ,last summer1 by the courtesy of ,sir ,hubert ,parry1 ,i was enabled to visit ,highnam ,court in company with ,mr4 ,berenson4 ,it was intended that we should collaborate in the work of bringing to the notice of students some of the very remarkable ,italian paintings in this collection4 ,owing to ill health and the pressure of other work ,mr4 ,berenson has not been able to do what he had hoped4 ,under these circumstances ,i shall confine myself to a brief account of these pictures in the hope that at some future date ,mr4 ,berenson will again take the subject in hand and draw from these examples those more definite conclusions which his far wider knowledge of ,italian art would justify4 ,in justice to him ,i must add that1 except where expressly stated1 he is not responsible for the ideas here put forward4 ,a few words on the collection in general may be appropriate2 for1 no less than the house1 the garden1 and all its surroundings1 the collection at ,highnam bears the impress of a very remarkable personality1 that of ,thomas ,gambier ,parry1 the father of the present owner4 ,on leaving the university1 in #ahch1 ,parry bought the ,highnam estate1 near ,gloucester1 which became thenceforward his home4 ,but the duties of a country squire1 though undertaken with unusual energy and benevolence1 did not absorb his entire activities4 ,his enthusiastic love of ,italian art led him to travel frequently1 and to devote himself to the hope of acclimatizing in ,england the art of fresco wall-decoration4 ,realizing the unsuitability to our climate of the true ,italian method of fresco painting1 he made many researches in technique1 which led to the discovery of the method of spirit fresco1 which is best known in ,england from ,sir ,frederick ,leighton's two examples in the ,victoria and ,albert ,museum4 ,but ,parry was not only an inventor2 he himself practised the art with considerable success4 ,the church which he built in his park for the village of ,highnam is decorated internally by him2 the paintings of ,st4 ,andrew's chapel in ,gloucester cathedral1 and of the roof of ,tewkesbury abbey1 are also due to him4 ,but perhaps the best known is his decoration of the wooden roof of the nave in ,ely cathedral1 which must certainly be counted as one of the few really successful modern attempts to recapture the spirit of mediaeval decorative design4 ,all these works were executed by him without payment1 and largely at his own expense4 ,we are1 however1 not concerned here with ,parry as an artist1 but as a connoisseur1 and the collection at ,highnam shows that in this he was as original1 as independent of the fashions of his day1 and of as fine a taste as in his other capacities4 ,for1 at the time when the ,highnam collection was made it was not yet a title to social distinction to have one's walls decorated with ,italian primitives4 ,the works of the trecento are not even now estimated at their real value1 and it is in the specimens of trecento and early quattrocento painting that the ,highnam collection is most remarkable4 ,hence1 if we take the works in chronological order1 we begin at once with a picture which is in its way unique1 the ,nativity and ,adoration 7,plate ,i74 ,the singularity of this is that we have here a panel painted in tempera1 belonging at the latest to the early years of the fourteenth century1 which is not only untouched1 but in complete preservation1 and which for brilliance and intensity of colour and the perfection of its enamel-like smalto can scarcely be surpassed by works of the succeeding century4 ,it is a small panel in which the figures are drawn with miniature-like precision4 ,the prevailing tone is the pale brown in which the rocky landscape is rendered4 ,it is almost of the colour and surface quality of boxwood or tarnished ivory4 ,upon this the plants and trees1 still treated with the elementary symbolism of ,byzantine art1 are relieved in vivid black green2 while the chief notes in the draperies--which are hatched with gold1 according to the ,byzantine tradition--are an intense blue green and a very positive transparent pink1 with rarer touches of scarlet and celadon green4 ,the effect of this colour scheme is very unusual1 and recalls at once the well-known altarpiece of ,st4 ,cecilia in the corridor of the ,uffizi4 ,two other altarpieces1 by the same master1 who is best known from his frescoes in the upper church at ,assisi1 have been recently discovered by ,mr4 ,herbert ,horne in the neighbourhood of ,florence1 and in these also a similar colour scheme is observable4#ej ,that the ,highnam panel is a contemporary work1 and1 like those1 marks the first germs of a distinctively ,italian tradition1 is apparent1 but the tempting conclusion that it is by the same remarkable painter is not altogether borne out by the forms4 ,for the master of the ,st4 ,cecilia altarpiece1 though he was ,giotto's contemporary1 shows an independent development out of the older tradition4 ,only in the ,assisi frescoes is he influenced1 and that in a secondary and superficial way1 by ,giotto2 whereas this panel1 which from its composition and the use of gold hatchings on the draperies we may assign to an early period of the movement1 bears already decided traces of the style of ,giotto4 ,whereas in the master of the ,st4 ,cecilia altarpiece we note the peculiarity of small heads1 elongated figures1 fine-drawn features1 and spider-like extremities2 above all a sense of elegance1 almost of affectation1 which connects his work more with the decadent classic tradition than with the new ideas of ,giovanni ,pisano and ,giotto2 here we have already1 more rounded forms1 and more solid relief1 while the poses are of a kind which allow of re-entering lines1 gathering the form together in a self-centred mass4 ,particularly noteworthy in this respect is the group at the bottom of the composition1 where the influence of forms discovered by ,giovanni ,pisano in bas-relief is clearly apparent4 ,there are comparatively few extant works of art which exemplify this precise movement in the development of the ,italian from the early ,christian style1 but among them the closest analogy to our picture may be found in the panels at ,munich1 ,nos4 #igi and #ihj1 in which a number of scenes are united in a single panel1 though not as here in a single composition4 ,we have in them a similar mixture of ,byzantine tradition as seen in the gold hatchings on the draperies1 similar large and rather heavy masks1 similar deep shadows in the eye orbits1 while the corners of the mouth are marked by similar round dots4 ,indeed the angel to ,christ's left in the ,last judgement of the ,munich panels is almost the exact counterpart of the angel immediately above the ,christ in the ,highnam ,adoration4 ,these ,munich panels are considered by ,mr4 ,berenson to be early works by ,giotto4 ,is it possible that we have in the ,highnam picture yet another early work by the same hand1 and in incomparably better preservation8 ,besides the general likeness of style to the ,munich pictures1 there are certain characteristics which would point to such a conclusion2 perhaps the most striking is the drawing of the hands4 ,thus the pose of the ,madonna's hand with the two first fingers outstretched1 the others clenched1 is a peculiarity constant in ,giotto4 ,another characteristic trait is the tendency to bring the fingers of the opened hand to a point1 as in the right hand of the third king4 ,illustration3 ,,nativity ,,and ,,adoration3 ,,school ,,of ,,cimabue ,,in ,,the ,,collection ,,of ,,sir ,,hubert ,,parry ,illustration3 ,,altar-,,piece ,,in ,,five ,,parts1 ,,by ,,bernardo ,,daddi ,,in ,,the ,,collection ,,of ,,sir ,,hubert ,,parry ,illustration3 ,,coronation ,,of ,,our ,,lady1 ,,by ,,agnolo ,,gaddi2 ,,in ,,the ,,collection ,,of ,,sir ,,hubert ,,parry ,illustration3 ,photo ,alinari ,,coronation ,,of ,,our ,,lady1 ,by ,,taddeo ,,gaddi2 ,,part ,,of ,,an ,,altar-,,piece ,,in ,,santa ,,croce1 ,,florence ,on the other hand we must point out that the ,munich pictures1 in spite of the roughness of their execution1 indicate a richer imagination1 a greater energy of dramatic presentment1 than can be claimed for the ,highnam piece4 ,there is nothing in the latter which can compare1 for instance1 with the inexpressible tenderness with which the ,virgin contemplates the ,child in the ,munich picture4 ,in our picture1 the attempt to infuse life into the older formula is evident1 but the persons of the drama still remain somewhat coldly self-absorbed and aloof2 that flash of mutual interaction and sympathy which both ,giovanni ,pisano and ,giotto realized so intensely is still lacking4 ,in the present state of our knowledge1 which leaves open so many unsuspected possibilities1 it is1 perhaps1 unsafe to go further2 but at least this can be said1 that we have here no ,giottesque work in the ordinary sense of the word1 which might be more appropriately termed ,gaddesque1 but a work executed either by ,giotto himself1 or more probably by some contemporaneous artist who was elaborating at the same time with him the new idea2 or if by a pupil1 one who came under his influence at a very early date1 before ,giotto's own style was fully matured4 ,certainly this work has none of the academic qualities of the followers who1 like ,taddeo ,gaddi1 accepted the formul of ,giotto's later style2 it has in it1 like ,giotto's own work1 the spring and vitality which come with the germination of a new and fruitful conception4 ,and among the works of this fascinating period of ,italian painting1 we know of none which surpass this in the polished perfection of the technique nor in the marvellous preservation of its surface4 ,the next important picture 7,plate ,,ii71 keeping to the chronological order1 is one of the most magnificent of the many noble altarpieces which have come down to us from the fourteenth century4 ,even in ,florence itself it would be hard to find an altarpiece in which the religious sentiment of the time is expressed in more imposing forms1 or in which the decoration is more sumptuous and the execution more refined4 ,it is1 moreover1 in wonderful preservation1 and the pale flat tints of pure heliotrope1 dull scarlet and blue1 and white flushed with pink1 relieved upon a background of elaborately stamped gold1 produce an effect of brilliance and variety toned to a perfect harmony which the artists of ,florence rarely surpassed4 ,indeed1 in the pallor and brilliance of the colour scheme1 as also in the atmospheric tonality and the absence of vigorous relief in the figures1 we are reminded of ,sienese art4 ,the forms1 however1 are essentially ,florentine4 ,the inscription at the base leaves us in no doubt about the author of this masterpiece2 it runs3 ,,anno ,,dni ,,mcccxlviii ,,bernardvs ,,pinxit ,,me ,,quem ,,florentie 7sic7 ,,finsit4 ,the original notion that this ,bernardo was the same as ,nardo the elder brother of ,orcagna has been exposed by ,milanesi1 to whose researches we owe all that is known of ,bernardo da ,firenze or ,bernardo ,daddi1 whose chef d'uvre is the ,highnam altarpiece4 ,bernardo ,daddi was almost overlooked by ,vasari1 who makes him1 by an anachronism of more than half a century1 a pupil of ,spinello ,aretino2 nor did ,crowe and ,cavalcaselle realize his importance in their #8,history of ,painting4' ,milanesi has1 however1 discovered many facts about ,daddi1 who1 though inferior in the vitality and freshness of his imagination to ,giottino1 was perhaps a finer artist than any other of the immediate successors of ,giotto4 ,certainly ,taddeo ,gaddi1 who somehow came to be regarded as the capo scuola1 has left nothing comparable to this as regards the variety and self-consistency of the types1 the nobility of the design and spacing of the figures1 or the research for beauty in the execution4 ,even in the ,crucifixion1 though it is only a variation of ,giotto's inventions1 there survives1 in spite of a tendency to a more sentimental treatment1 something of the great master's dramatic feeling4 ,there is much here1 moreover1 that seems already to suggest ,orcagna1 and ,daddi may perhaps be regarded as the connecting link between him and ,giotto4 ,what is known of the life of ,daddi may be found at length in ,milanesi's commentary to ,vasari's life of ,stefano ,fiorentino and ,ugolino ,sanese4 ,milanesi champions eloquently the cause of this great but curiously neglected artist--that his pleading has not been altogether successful may be due in part to the fact that he endeavours to establish ,daddi's authorship of the frescoes of the ,triumph of ,death1 in the camposanto at ,pisa4 ,the improbability of such a view will be apparent to anyone who compares them with the ,highnam altarpiece4 ,daddi1 who was born at the close of the thirteenth century1 died either in #acdh according to ,crowe and ,cavalcaselle1 or in #acej according to ,milanesi4 ,this picture must therefore be one of his latest1 as it is also one of his finest works4 ,it came originally from the church of ,st4 ,george at ,ruballa1 whence it passed into the ,bromley collection4 ,it is referred to as being in that collection by ,crowe and ,cavalcaselle1 and is mentioned as being in ,england by ,milanesi4 ,to a considerably later period of the fourteenth century belongs the ,coronation of the ,virgin 7,plate ,,iii71 which is ascribed in the catalogue to ,giotto4 ,it is1 however1 clearly a fine work by the last great ,giottesque master of ,florence1 ,agnolo ,gaddi1 whose characteristic qualities and defects are here admirably displayed4 ,the weak lines of the boneless fingers with their rounded ends1 the long thin noses imperfectly articulated with the mask1 and the want of life and character in the figures1 betray the facile exponent of a stock formula which made but small demands upon the artist's observation or his feeling for reality4 ,it was1 indeed1 due to the cleverness and1 if we are to believe ,vasari1 the commercial astuteness of the ,gaddi family that ,giotto's style was crystallized into so lifeless a system of design4 ,but ,agnolo1 though he inherited too much from his father1 was more of an artist4 ,where1 as at ,sta4 ,croce1 he depicts a stirring narrative1 his line1 at other times mechanical and slow1 becomes alert and expressive of at least the more obvious dramatic effects1 while at all times he shows a refined taste and originality as a decorator in the more limited sense of the word4 ,judged as an imaginative rendering of a supreme event1 this picture is certainly cold and inadequate1 but as a piece of elaborate decoration it is charmingly designed and brilliantly executed4 ,the brocade hanging1 which reminds one of ,orcagna's school1 is painted with the utmost skill2 on a ground of brilliant orange red1 the symmetrical pattern of birds and flowers is relieved in intensest blue and gold4 ,the draperies and flesh are for the most part in that beautiful pale key which ,agnolo affected2 the opposition of pale grey1 blue1 and saffron yellow1 with stronger notes of mauve and pink1 forms one of those complex and sumptuous harmonies of colour which were unfortunately abandoned by the artists of the succeeding century4 ,the general likeness of this to ,taddeo ,gaddi's version of the same subject in the sacristy of ,sta4 ,croce 7,plate ,,iii7 7there attributed to ,giotto7 is apparent4 ,agnolo has even repeated1 though in a modified form1 the peculiar double sleeve which is not unfrequent in ,taddeo's pictures4 ,the influence of ,orcagna is1 however1 to be seen in the more rectilinear folds and the attempt at structural design in the draperies4 ,illustration3 ,,adoration ,,of ,,the ,,magi1 ,,by ,,lorenzo ,,monaco2 ,,in ,,the ,,collection ,,of ,,sir ,,hubert ,,parry ,illustration3 ,,the ,,visitation1 ,,by ,,lorenzo ,,monaco2 ,,in ,,the ,,collection ,,of ,,sir ,,hubert ,,parry ,illustration3 ,,madonna ,,and ,,child1 ,,with ,,angels1 ,,by ,a ,,florentine ,,painter ,,of ,,the ,,early ,,fifteenth ,,century ,,in ,,the ,,collection ,,of ,,sir ,,hubert ,,parry ,illustration3 ,,triptych1 ,,by ,,the ,,same ,,painter2 ,,in ,,the ,,uffizi1 ,,florence ,we come next to an artist who was probably at one time ,agnolo ,gaddi's pupil4 ,the two little predella pieces representing the ,visitation and the ,adoration of the ,magi 7,plate ,,iv7 are not only among the most charming pieces of the collection1 but they are among the best works of an artist whose sense of beauty was almost of the highest order--,lorenzo ,monaco4 ,the melodious rhythm of his long-drawn interlacing lines1 the sweetness and lucidity of his design1 are here beautifully apparent4 ,his peculiar treatment of drapery would seem to indicate that the miniature paintings of northern ,europe1 particularly of ,french workmanship1 were not without their influence on him4 ,but here1 though the main ideas of design are essentially gothic1 there is much that already foreshadows the art of the fifteenth century4 ,how much of ,fra ,angelico there already is in the tenderly expressive gesture of the ,virgin's hands as she raises ,st4 ,elizabeth from her knees1 while the movement of the right leg and the peculiar disposition of the drapery which it causes are favourite motives with the pupil4 ,angelico1 indeed1 had but little to add to this exquisite interpretation of the subject4 ,how much1 too1 of ,fra ,filippo ,lippi's genre feeling is already hinted at in the figure leaning against the doorpost--how much of his romance in the woodland background6 ,lorenzo ,monaco's importance as the inspirer of the new ideas of the quattrocento perhaps deserves more recognition4 ,the ,adoration is a variation upon the theme of a predella piece by ,lorenzo in the ,raczynski gallery at ,berlin2 but the differences between this1 which we must assume to be a late work1 and the ,berlin picture are remarkable4 ,the head of the second king in particular is so different from ,lorenzo's usual type1 so near to what ,masolino or the young ,masaccio might have done1 that one wonders whether some pupil1 already advancing beyond his master in the new direction1 may not have had a hand in it4 ,if these works by ,lorenzo ,monaco show the emergence from the gothic formula of a new spirit1 our next picture 7,plate ,v7 is on the contrary a curious case of retardation4 ,the general effect of this picture is decidedly ,giottesque2 the colour scheme is still of the gay and variegated kind that occurs in works of the trecento4 ,the crimson robes with yellow high lights1 the indigo blues and apple greens1 all belong to the ,giottesque tradition2 but1 none the less1 this picture was probably executed at a period when the more original artists had already established the new ideas of fifteenth-century art4 ,the master who executed this was clearly a reactionary who clung to the old1 convenient receipts for the fabrication of handsomely decorated altarpieces4 ,his works are not uncommon in and around ,florence1 and may be easily recognized by the peculiar alert expression of the eyes and the gaiety and piquancy of his faces4 ,one of his pictures in the corridor of the ,uffizi is reproduced here 7,plate ,v72 another is in ,fiesole cathedral4 ,the artist shows some evidence of the influence of ,lorenzo ,monaco1 though this is more apparent in the draperies of the ,uffizi picture than in the ,highnam ,madonna4 ,the latter seems in essentials to be rather a continuation of the purely ,florentine ,giottesque tradition of the end of the fourteenth century1 and is probably a somewhat earlier work4 ,whoever our artist may be1 his work scarcely rises above the level of tasteful and accomplished craftsmanship1 and his chief interest is as an example of one phase of the work of the period of transition to the style of the quattrocento4 ,one is apt to forget that long after ,masaccio and ,castagno had realized in paint the new plastic ideas of ,donatello1 the older firms of ecclesiastical furnishers went on contentedly in the earlier manner1 which was1 in fact1 better adapted to the requirements of the altarpiece4 ,even in the next generation ,neri di ,bicci only made a sufficient pretence to structural draughtsmanship and modelling to pass muster among his contemporaries4 ,,mussulman ,,manuscripts ,,and ,,miniatures ,,as ,,illustrated ,,in ,,the ,,recent ,,exhibition ,,at ,,paris ,,written ,,by ,e4 ,,blochet ,,part ,i ,the exhibition of ,mussulman art held during the months of ,may and ,june in the ,pavillon de ,marsan at ,paris afforded an opportunity such as is rarely given of studying the art of the ,mussulman nations4 ,the objects brought together included some fine examples of their various classes1 and most of them1 coming as they did from private collections1 had not before been seen by the public4 ,the art of miniature-painting is one of those in which the ,mussulmans have excelled1 especially the ,persians and the ,turks1 who1 since the appearance upon the world's scene of the hordes of ,jenghis ,khan1 have lived by ,iranian culture and civilization4 ,also it is one of the least known1 for we have to go in search of specimens of this art to the manuscripts in which they are scattered without order and1 at least at first sight1 without logic4 ,moreover1 as will presently be seen1 only a very restricted few of these paintings are signed and dated1 so that it is only by external considerations that we can succeed in identifying a period and a country of origin4 ,the ,mussulman religion has always been shy of encouraging the art of painting2 in fact1 the tradition of ,islam formally forbids it4 ,this absolute prohibition was borrowed by ,mohammed from the ,jews1 and he also reckoned upon establishing a distinction between his ,faithful1 of whom he wished to make a nation of iconoclasts1 and the ,byzantine ,christians and ,mazdean ,persians1 who decorated their palaces with carvings and their books with paintings4 ,he who draws a human figure1 or even a representation of any kind of animal1 says the ,sunna1 shall give it his soul at the ,day of ,judgement1 and thus perish amid the torments of hell4 ,fortunately for the history of art1 the ,mussulmans did not observe this prohibition more strictly than did ,solomon that of the ,bible1 when he introduced figures of animals into the ,temple2 but it did not fail to weigh heavily upon the artistic development of a whole world1 and it forced the latter to confine itself vaguely to geometrical decoration1 while systematically renouncing statuary and figured representations1 which enabled ,greek art to attain its full splendour4 ,passing through the galleries of the ,pavillon de ,marsan1 one was struck by the smallness of the space occupied by figured representations among the number of objects there brought together4 ,here and there1 at very rare intervals1 one found a few bronzes representing animals2 while as for the carpets1 the accoutrements1 the copper vessels1 the glass lamps1 it was only exceptionally that they bore anything but inscriptions in large neskhi letters1 taken from verses of the ,koran or from the traditions attributed to the prophet ,mohammed4 ,nor did any but a certain number of ,persian manuscripts contain other than those commonplace decorations which we find throughout the ,islam world1 from the ,hispano-,arab monuments of ,seville and ,granada to the mosques raised by the descendants of ,timur ,bey in the countries that form the frontier of ,chinese ,turkestan4 ,the impression of a person seeing once1 and a little quickly1 an exhibition1 however limited1 of ,mussulman paintings1 is that all these miniatures are so many isolated artistic fancies1 scarcely connected one with the other1 and that the painters who have executed them have confined themselves to following the whims of their imagination1 without troubling to know what had been done before them1 or to inquire into the workmanship of artists contemporary with themselves4 ,illustration3 ,,miniature ,,from ,,the ,,makamat ,,of ,,hariri2 ,,arab ,,ms4 ,,belonging ,,to ,m4 ,,charles ,,schefer ,illustration3 ,,miniature ,,from ,,ms4 ,,of ,,the ,,astronomical ,,treatise ,,of ,,abd-,,er-,,rahman ,,el-,,sufi2 ,,in ,,the ,,national ,,library ,,of ,,france ,this is an inevitable impression1 but a radically false one1 as a careful and prolonged examination of the documents easily enables us to see4 ,on the contrary1 the world of ,islam produced schools of which each had its own methods and types4 ,by comparing manuscripts of the same date and origin1 one perceives that1 without exception1 they present the same pictures1 and that1 moreover1 those pictures are very nearly identical4 ,they offer hardly the smallest variations in detail1 while in workmanship and in the general plan of the composition they are strictly alike4 ,it is thus that1 in all the #8,books of the ,kings' illustrated in ,persia during the time of the ,sefevan kings1 we find the same scenes treated in identical fashion1 with more or less finish1 according to the price of the book2 in the same way1 all the manuscripts of the life of the famous ,sufis of ,sultan ,husein ,mirza contain identical paintings1 which are hardly differentiated one from the other and which are evidently replicas of a common original1 drawn and painted by an artist of talent1 the head of a school4 ,no illuminated ,arab manuscript is known of an earlier date than the thirteenth century1 and the reason of this is simple4 ,so long as the caliphate of ,bagdad was sufficiently powerful1 or1 at least1 preserved sufficient moral authority1 to cause the ,mussulman law to be respected in its integrity1 none dared to violate one of the strictest injunctions of the ,sunna4 ,the artists1 both in the ,persian world and among the ,mussulmans of ,syria and ,egypt1 waited for the day of the final decadence of the spiritual power before venturing to transgress the formal prohibition against the reproduction1 by any process whatever1 of the human figure1 or even of animal forms4 ,arab books adorned with pictures 7of indifferent merit7 appeared first in the empire of the ,aiyubite sultans descended from ,saladin4 ,this innovation raised a storm among the ulemas and men of law1 who looked upon it as an abomination2 but the ,aiyubite sovereigns1 although loudly proclaiming themselves the stoutest defenders of the ,caliph of ,bagdad1 were but little interested to know whether a thing was orthodox or not4 ,had not ,saladin built in the very heart of ,cairo a college for the ,bathenians1 whose doctrines1 a hundred times anathematized by the ,abbasside caliphs1 tended to prove that there existed neither ,allah nor ,mohammed1 and that the only possible divinity was the prime mover1 the first hypostasis1 the absolute ,one of the ,neoplatonists8 ,the ,aiyubites troubled themselves so little about the prohibition against reproducing the human figure that they had coins struck in ,syria bearing on the obverse the head of the ,byzantine ,christ and on the reverse the usual inscriptions in the ,arab tongue4 ,saladin even went so far--and this is the acme of heterodoxy--as to plan a marriage between his brother ,melik ,adel and the sister of ,richard ,cur-de-,lion1 ,king of ,england4 ,the ,mussulman artists would have been very wrong not to have taken it at their ease under the reign of such liberal princes2 and therefore1 beginning with the extreme end of the twelfth century1 we behold the first appearance of illuminated ,arab manuscripts4 ,these ,arab manuscripts adorned with paintings are of the greatest rarity1 and are not generally distinguished for their execution4 ,they are curious documents1 worthy of preservation because of their rarity1 rather than real works of art1 and the painters who illuminated them were never very careful with their work4 ,they betrayed an almost complete lack of imagination and invention1 and confined themselves to copying as best they could the illuminated pictures in the manuscripts at their disposal1 that is to say the ,byzantine manuscripts1 in ,egypt and ,syria3 as for the ,mussulmans of the ,maghreb and the ,yemen1 it never occurred to their minds that it was possible to adorn a book with pictures4 ,the greater number of the pictures in ,arab manuscripts are copied from ,byzantine manuscripts of the eighth to the eleventh century1 and the limners1 not knowing what they were copying1 often surrounded the heads of their figures with the golden haloes of the saints of the ,greek ,church4 ,there are only very few ,arab manuscripts the pictures of which rise above the conventional commonplace level1 although they always display very evident traces of ,byzantine influence4 ,the most important of these manuscripts is a copy of the ,makmt 7#8assemblies1' or sances7 of ,harr1 which belongs to ,m4 ,charles ,schefer4 ,a very curious painting from this manuscript1 which was copied in ,mesopotamia in the year #abcg1 is reproduced in the present article4 ,it shows a troop of horsemen in the army of the ,abbasside caliph1 carrying the black silk standard of the ,abbas family and sounding enormous trumpets4 ,this picture1 which is far from possessing the merit of the miniatures that adorn the ,persian manuscripts1 presents to us1 in a life-like manner1 a scene which must have been frequent in the streets of ,bagdad and ,damascus2 the costumes and the harness of the horses are absolutely correct and correspond in every respect with the descriptions of apparel to be found at random in the ,arab historians4 ,one fact which goes to show that ,arab art1 at least in ,syria1 assumed a considerable development at that time is that we possess two other manuscripts of these sances of ,harr less fine than the one in question1 but illuminated by artists who evidently belong to the same school4 ,these painters of the ,aiyubite period considered that ,byzantine art1 itself very limited and restricted almost exclusively to religious painting1 did not offer a large enough variety of models1 and they looked around them for others4 ,these were so rare that our artists were sometimes content to reproduce ,egyptian stel1 or to draw their inspiration from the statues of ,pharaohs or divinities which they encountered at every step on ,egyptian soil1 copying to the best of their ability the hieroglyphic characters which they found on those monuments and of which they understood not a word4 ,in short1 painting never existed on ,arab manuscripts save by way of exception and in a sporadic state2 and yet the ,arab artists suffered from no lack of subjects for illustration4 ,what an inexhaustible mine the #8,thousand ,nights and a ,night' would have supplied1 and the heroic romances of #8,antarah1 of ,sultan ,zahir ,bibars1 or the #8,history of the ,heroes of ,islamism' 7,siret el-mujhidin76 ,a few ,arab manuscripts copied in ,persia are adorned with paintings1 generally of indifferent merit1 but it is very evident that these do not belong to ,arab art properly so called1 and that they must be included among the productions of ,iranian art4 ,the only ornamentation of the ,arab manuscripts consists of the illumination of the titles and the first pages of the text4 ,they are not so fine as those done in ,persia1 although we find copies of the ,koran1 written on parchment1 richly illuminated with gilded designs4 ,but this ornamentation1 reduced to a very small number of colours and with broken lines1 is heavy and overladen with gildings3 the ,persians were more sober and showed that they had less taste for tinsel4 ,illustration3 ,,miniature ,,from #8,,the ,,book ,,of ,,kings1' ,a ,,persian ,,ms4 ,,of #aeff2 ,,in ,,the ,,collection ,,of ,,baron ,,edouard ,,de ,,rothschild ,the artistic history of ,persia begins with the ,achmenian kings1 that is to say in the fifth century before ,christ1 a very recent date compared with the antiquity of the ancient ,assyrian and ,chaldean empires4 ,like all the countries of ,hither ,asia1 the ,persia of the ,achmenians was tributary to the ,babylonian ,empire1 and the monuments of ,persepolis and ,murghab are obviously copied from those of the valley of the ,euphrates1 while showing signs of a strong ,hellenic influence4 ,in fact1 the influence of ,greece in ,persia began long before the conquest by ,alexander1 and the subjects of the ,great ,kings had happily lightened the heavy architecture and ponderous sculpture of ,babylon by taking their inspiration from the methods of the artists of ,hellas4 ,it is thus that the ,apadana of ,persepolis1 the ,apadana of ,esther and ,xerxes1 is a compromise between the oldest works of ,assyrian art and the most grandiose specimens of ,greek architecture1 between the ,palace of ,sargon1 which it suggests by the elevation of its immense walls and its heavy friezes1 and the ,parthenon1 in which we find the colonnade of the ,persian edifice1 which the architecture of the ,euphrates valley always ignored4 ,the casings in many-coloured bricks which adorn the ,apadana were borrowed by the ,persians from ,chaldean1 or rather ,assyrian art2 and the frieze of the ,archers has its prototype in the glazed-brick low-reliefs of the ,dur-,sarkayan4 ,the workmanship of those polychromatic casings has changed very little in the course of the ages1 and the methods employed by the brick-makers who1 in the sixteenth century1 adorned the splendid mosques of the ,sefevan kings at ,ardabil and ,veramin with sky-blue and pale-green mosaics were almost identical with those of the artists of the time of ,sargon and ,nebuchadnezzar4 ,the ,greek influence attained its height in ,iran after the conquest by ,alexander1 under the reign of the ,arsacidan princes who assumed the title of ,philhellenes on their coinage4 ,the ,ssnians1 while endeavouring to bring about a reaction against that influence which had several times threatened to deprive ,iran of all its autonomy1 were unable1 at least at the commencement of their dynasty1 to dispense with the aid of the ,greek artists1 and the inscriptions of the early kings of that dynasty are accompanied by a ,greek translation4 ,the art and methods of construction of the period of the ,ssnian kings were perpetuated long after the ,mussulman conquest2 and the ogival doorways of the ,timurid mosques of ,samarcand or of the mosques of the ,sefevan shahs recall1 although with a much less imposing aspect1 the gigantic ogive1 the ,ivn1 to-day half-ruined1 of the ,palace of the ,ssnians at ,ctesiphon1 which1 according to the ,islam tradition1 was rent in two during the night in which ,mohammed came into the world4 ,the ,mussulman architects who built the powerful citadels which stayed the onrush of the crusaders in ,syria also derived their inspiration from the ,ssnian tradition1 and it was thus that the gothic style made its way into the art of the east and ended by supplanting the ,roman style4 ,if the influence of ,greek art was considerable in ,ancient ,persia1 it was null in ,persian art according to ,islam2 for there was scarcely any point of contact between the ,byzantine world in its decline and ,persia subjugated by the arms of the caliphs and separated from the west by ,syria and the provinces that formed the ,seljukian empire of ,asia ,minor4 ,nevertheless there exist a few rare specimens of ,persian painting of the end of the thirteenth century which recall in a positive fashion the methods of ,hellenic art2 but there is no doubt that the works which they serve to illustrate are merely translations of ,arab originals written in ,syria and containing miniatures imitated from ,byzantine types4 ,the ,persian limners confined themselves to reproducing those paintings at the same time that the ,arab works were being translated into the ,persian language1 and we must beware of seeing in this the trace of any post-,islamic influence of ,byzantine art4 ,the three great schools of painting in ,persia succeed one another without interruption and1 encroaching one on the other from the beginning of the thirteenth century to the early years of the eighteenth century1 correspond with the three great dominations which held sway over ,iran during this period of nearly five centuries3 the ,mongolians1 the ,timurids and the ,sefevans4 ,books adorned with paintings1 in fact1 make their first appearance with the dynasty of the ,mongolian sovereigns1 whose ancestor1 ,hulagu1 was sent to conquer ,persia by the ,emperor of ,china1 ,manchu4 ,although the dynasties which had made themselves independent in ,persia1 up to the ,seljukians1 had taken matters easily with the ,abbasside caliphate1 it is no less true that they were deeply attached to ,islamism and that men hesitated under their dominion openly to transgress the prescription of the religious law4 ,the ,mongolian sovereigns1 at least the first1 did not profess ,islamism and even greatly preferred ,christianity to the ,mussulman religion1 although not themselves ,christians4 ,some of them1 such as ,hulagu1 had ,christian wives1 and they often protected the ,christians to the detriment of the votaries of ,mohammed4 ,we know from the narrative of the missionaries who were sent on embassy to the court of the ,grand ,khan of ,cathay--,jean du ,plan de ,carpin1 ,guillaume de ,ruysbroeck and others--that the ,mongols made very coarse representations of their divinity ,itoga and of other spirits of an inferior order4 ,like all the primitives1 they greatly loved to see themselves pictured in paintings1 and the manuscripts which date from the time of the ,mongolian sovereigns of ,persia are filled with portraits of the ,khans1 different nobles accompanied by their wives and engaged in drinking fermented mare's milk in cups of ,chinese porcelain4 ,the ,mongols1 when they issued from their steppes bent upon the conquest of the world1 were certainly the most ignorant people conceivable1 for which reason they were surrounded by ,chinese secretaries1 interpreters1 engineers and bureaucrats1 without whom they would have been helpless4 ,all this yellow flood swept down upon ,persia and there settled as in a conquered country1 introducing numbers of ,turkish words into the language and1 into art1 not the formulas of the ,turks and ,mongols1 because these had none1 but those of the ,celestial empire4 ,it is certain that the ,chinese artists whom the ,mongols had brought with them to ,persia understood the technicalities of painting infinitely better than did the ,iranians1 even as the ,chinese accountants could easily have given lessons to all the financial clerks of the ,smnids or ,seljukians4 ,and so the ,persian painters sat at the feet of the ,chinese and eventually came to create an art which was very different from that of the ,celestial empire1 but which nevertheless displays many characteristics of ,chinese painting4 ,in any case1 it is certain that the miniatures which adorn the ,persian manuscripts from the time of the ,mongols have no connexion whatever with what is known to us of the art of the ,ssnidans1 or with the descriptions given by ,mas#8d of pictures which he had seen at ,persepolis in a book and by the unknown author of a chronicle entitled the #8,sum of ,histories4' ,the manuscripts illuminated in ,persia and in the regions that depended upon her during the ,mongolian period 7#abeh-acce7 are very numerous and all present the same characteristics3 the artists who illuminated them drew1 above all1 battle-scenes1 sieges of fortresses1 bloody contests1 or else banquets1 for the ,mongols were1 according to the account of travellers1 great quaffers of strong liquors4 ,these pictures1 however1 are rarely so well executed as those which belong to the school of the ,timurids and the ,sefevans3 the ,mongols were people who were not hard to please2 they wished before all things to be served quickly2 and with them quantity easily took the place of quality4 ,it may be remarked that the manuscripts executed at that time contain a very considerable number of paintings2 but1 though these paintings possess a great documentary interest1 they have but a feeble interest from the artistic point of view4 ,some of them are merely wash-drawings in uniform tints rather than paintings in the proper sense of the word4 ,illustration3 ,,miniature ,,from #8,,the ,,book ,,of ,,kings1' ,a ,,persian ,,ms1 ,,of #aeff2 ,,in ,,the ,,collection ,,of ,,baron ,,edouard ,,de ,,rothschild ,the schools of painting of the ,mongolian period did not last long in ,persia1 and it would seem as though1 from the moment when the descendants of ,hulagu became converted to ,islamism1 people in ,persia began to look with an evil eye upon picture-books and those who painted them4 ,moreover1 the ,mongolian dynasty gave way amid so great a chaos and such infinite disorder that the ,persians had too many other things to occupy their minds to allow them to think of illustrating their #8,books of the ,kings' or the ,gulistn of the ,sheikh ,sa#8d4 ,we still find in the great ,european libraries a few manuscripts illuminated for the ,djelairids or the ,mozafferids2 but the political instability of ,iran was at that time so great that two copies of the same work are sometimes dedicated to two successive sovereigns4 ,the accession of ,timur ,bey put an end to this anarchy1 which1 for that matter1 was to begin again a century later1 and the reign of his successor1 ,shah-,rokh1 was a period of peace such as ,persia had not known since long4 ,under the reign of this pacific prince1 who waged no war until driven to extremes by his kinsmen1 there was executed1 at ,herat1 one of the most splendid specimens of ,iranian painting1 the manuscript of the #8,ascension of ,mohammed to ,heaven4' ,illuminated books belonging to the ,timurid school of ,persia and ,turkestan are not excessively rare1 and we must look among them to find the master-pieces of ,persian painting4 ,a certain number of these volumes come from the libraries of the ,timurids1 principally from that of ,herat1 where ,sultan ,husain ,mirza had collected a magnificent library1 which has now completely disappeared4 ,these ,timurid sovereigns1 including those who reigned in the east of ,persia and in ,transoxiana after the death of ,tamerlane 7,timur ,bey7 as well as those who went to seek their fortune in ,hindustan1 were great lovers of works of art and of fine literature4 ,at ,samarcand1 they raised the splendid mosques1 now ruined1 which were the ornament of the ,righistan--the ,tilla-kari1 ,bibi-khanum and ,guri-,mir--whose gutted cupolas1 all enamelled with many-coloured bricks1 still excite the admiration of archologists4 ,timur ,bey1 whom the pamphlet of ,ibn-,arabshah did not a little to represent as a vulgar toper1 delighted in reading the ,ghazels of ,hfiz and the #8,romance of ,alexander' of ,nizm4 ,some of his writings are master-pieces of ,turco-,oriental literature1 and the unauthenticity of his ,memoirs has never been absolutely proved4 ,his grandson1 ,ulugh ,beg1 was the ,alfonso ,x of the east1 and the astronomical tables which he drew up with the aid of the most celebrated cosmographers form one of the most important works of ,oriental mathematics4 ,sultan ,husain ibn ,bakara lived in his capital of ,herat surrounded by the most famous writers of his time--#8,al ,shr his ,vizir1 the illustrious ,sf ,jm1 ,khwnd-,amr the historian--and his collection of biographies of ,mussulman saints is one of the master-pieces of elegant prose produced by ,persian literature4 ,the ,emperor ,babar1 who1 when the ,timurid empire was definitely ruined in ,persia1 went away to conquer ,hindustan1 has left a sober and severe history of his long campaigns which recalls ,caesar's #8,commentaries4' ,in the midst of their intrigues and of the crimes which they did not hesitate to commit to obtain possession of the throne1 his descendants1 the ,grand ,moguls of ,delhi1 never lost their passion for works of art4 ,the ,emperor ,shah-,jahan1 who1 in order to assume the crown1 had revolted against his father and killed off all his brothers1 found time1 on the very day of his accession1 to inscribe his ex-libris on a magnificent copy of one of the six poems of ,jm2 it is true that this volume was a family record1 and that it had been copied for his ancestor1 the sovereign of ,herat1 ,sultan ,husain ,mirza4 ,the ,timurids of ,hindustan retained this passion for fine books until the worst days of their history4 ,copies bearing the seal of ,mohammed ,shah or of ,ferrukh ,siyyar are not at all rare1 and ,shah ,alem ,,ii enriched the library of the ,grand ,moguls even at the time when he was being torn between the ,english1 the ,mahrattas and the ,french1 and when his empire was on the point of passing under a foreign dominion4 ,the influence of ,chinese art is even more marked in the paintings of the ,timurid school of ,khorassan than in those of the ,mongols of ,persia1 and it is open to us to ask ourselves whether they were executed by ,persians trained in the school of the ,chinese1 or by ,chinese striving to produce something in the ,persian taste4 ,if a doubt be permissible in the case of the manuscript of the #8,ascension of ,mohammed1' none such can be entertained concerning a manuscript which was copied at ,samarcand for ,sultan ,mirza ,ulugh ,beg and which contains the ,arab text of an astronomical treatise famous in the ,east1 that of #8,abd ur-,rahmn el-,sf4 ,one of the pictures adorning this magnificent manuscript is reproduced in the present article1 and it is easy to see1 even in the absence of colour1 that the drawing shows an evident ,chinese influence4 ,the lightness of the outlines and of the painting1 reduced to a few tints of ,chinese ink in the shadows and a few threads of colour1 reminds one in an extraordinary manner of the methods of the ,japanese artists4 ,this same characteristic occurs also1 although in a less pronounced degree1 in the miniatures on the manuscript of the #8,ascension of ,mohammed'2 but the heads of the chimera on which the ,prophet is mounted and of the angels recall the chubby faces on certain paintings or certain ivories of the ,far ,east4 ,we know from an undoubted source that the ,timurids of ,turkestan and ,eastern ,persia were pleased to make calls upon the artists of the ,celestial empire1 and that one of those sultans had set up at the gates of ,samarcand a ,trianon in ,chinese porcelain which had been brought in sections1 with every piece numbered1 to the ,athens of ,turkestan4 ,it is therefore no matter for surprise that we should find in the paintings of many manuscripts which formed the libraries of ,herat and ,samarcand traces of so deep and so protracted an influence4 ,these miniatures are always infinitely better executed than are those of the ,mongolian school1 and we feel that they appeal to men of a different and more refined form of culture than the cavalry leaders who organized the bold raids across the ,asiatic continent4 ,they represent fewer scenes of carnage and1 above all1 fewer horsemen barbed and iron-clad to their eyes than fill the paintings of the ,mongolian manuscripts4 ,the sultans of ,turkestan made war upon one another in order to steal the others' crowns1 but they did not do so as brutes greedy of slaughter and scenes of bloodshed3 often warfare was their only means of living and of defending themselves against the incessant attacks of their rapacious kinsmen4 ,the transition from the school of ,turkestan at the time of the princes of the ,house of ,timur to the third great school of painting in ,persia1 that of the ,sefevans1 was not so clearly defined as that which separates the ,mongolian from the ,timurid school4 ,there was1 towards the end of the fifteenth century1 a certain period during which the ,persian artists endeavoured to produce something new1 while retaining1 in a great measure1 the method of the miniature-painters of ,turkestan4 ,to this transition period belongs the manuscript of the #8,book of the ,kings1' the property of ,m4 de ,rothschild1 of which two reproductions will be found in these pages1 and also the miniature representing a hunting-scene which is taken from a splendid manuscript1 dated #aebg1 from the divan of ,mr #8,al ,shr ,nav'1 ,vizir to the ,timurid ,sultan ,husain ,mirza4 ,obviously the master-pieces of ,mussulman painting are to be sought among the miniatures executed at ,herat and ,samarcand in the fifteenth century2 but this does not prevent the miniatures painted in ,western ,persia under the reign of the ,sefevis 7fifteenth to seventeenth century7 from being splendid works of art4 ,the number of illuminated manuscripts dating from this period is relatively large4 ,this does not imply that there were many more painted in ,persia under ,shah ,abbas than during the time of the ,timurids1 but simply that1 being more modern1 there were fewer of them lost4 7,to ,be continued47 ,illustration3 ,,hunting ,,scene2 ,,miniature ,,from ,a ,,persian ,,ms4 ,,dated #aebg2 ,,in ,,the ,,national ,,library ,,of ,,france ,illustration3 ,plate ,i ,walker ,cockerell ,ph4 ,sc4 ,the ,election ,cup belonging to ,winchester ,college4 ,,the ,,plate ,,of ,,winchester ,,college ,,written ,,by ,,percy ,,macquoid1 ,r4,i4 ,there is an undefinable feeling of romance and sentiment that forcibly strikes even the most callous who visit ,winchester ,college4 ,founded by ,william of ,wykeham in #acic for the purpose of providing free education for the sons of those who could not otherwise have afforded it1 as well as a means of supplying the country with an enlightened priesthood1 it remains to-day the oldest and one of the greatest of ,england's public schools4 ,the royal licence to found the college1 granted by ,richard ,,ii1 empowers ,wykeham to #8acquire the site and build a hall or college to the honour and glory of ,god and our ,lady1 and to settle in it a warden and seventy scholars who should study grammar within its halls and to grant them a charter4' ,this first building took six years to complete1 and the sum of #a4jad #hs4 #c;d4 was spent upon its construction1 a sum that would represent about #bj1jjj according to the present value of money4 ,as ,winchester was at one time the capital of ,england1 many kings made it their chief seat of residence1 and many important parliaments were held there1 and it was no doubt from this traditional importance that reigning sovereigns1 and the highest dignitaries of ,church and ,state1 continually paid visits to the college4 ,it would be otherwise difficult to account for the very large amount of ecclesiastical plate and precious vestments1 in addition to the great quantity of secular plate1 that was at different times in the possession of the college4 ,the number of rose-water basins with ewers and spoons enumerated in one inventory alone proves that the entertainments must have been of a highly important nature4 ,the earliest record of a royal gift in plate is of #addi1 when ,henry ,,vi gave a tabernacle of gold1 ,margaret of ,anjou about the same time presenting a pair of silver-gilt basins1 weighing #aad oz41 with the enamelled arms of ,england on one and those of ,france on the other4 ,before this date ,king ,henry had paid many visits to the college1 being desirous of gaining information on the subject of its working rules and statutes1 in order to apply the same to the two similar institutions he was about to found4 ,another visit was on the occasion of his marriage1 when it is stated in one of the records that the wine and beer for the entertainment of the royal suite cost two shillings and fourpence1 a sum that does not appear excessive for court refreshments4 ,doubtless it was in return for the information and hospitality received that he produced the tabernacle and basins4 ,the only recorded visit of ,henry's successor1 ,edward ,,iv1 was in #adfi1 when he was sufficiently impressed by the school to lend a live lion for the edification of the boys1 but he does not appear to have made any presentation of plate2 nor is there record of any particular interest taken in the college by either ,richard ,,iii or ,henry ,,vii4 ,during the next reign--which might with justice be called the reign of terror so far as gothic plate was concerned--,thomas ,cromwell1 representing the king as vicegerent and vicar-general1 paid a formal visit to the college4 ,perhaps the authorities1 scenting the coming storm1 thought that the presentation to him of a standing salt from the college plate chest might prove a politic precaution2 for in the records this entry occurs3 #8,sol4 pro reparacione unius salsarii dat4 ,mro ,cromwell secretario ,dni ,regis pro favore suo habendo in causis ,collegii vs4 xd4' ,a few weeks later1 when the king was at ,wolvesey ,castle1 two oxen1 ten sheep1 and twelve capons were sent to him and graciously accepted4 ,whether on account of the gift of the salt to ,cromwell1 or of the offering of sheep and chickens1 ,henry ,,viii spared the college plate2 his indulgence in this respect is proved when it is seen1 from the following inventory taken in #aebe of the secular college plate1 how great the temptation must have been3-- ,oz4 ,six silver goblets1 one silver-gilt cover1 the gift of ,dr4 ,young #hb ,three silver-gilt cups1 with one silver-gilt cover1 the gift of ,mr4 ,ashborne #hd ,a silver standing cup with gilt lid1 the gift of ,roger ,mapull #bi ,do41 the gift of ,dr4 ,lavender #bf ,do41 the gift of ,dr4 ,mayhew #ba ,do41 the gift of ,clyff1 ,fromond's chaplain #ah ,two silver-gilt cups and covers1 called the ,rose pieces #cf ,a great silver cup with gilt cover1 the gift of ,andrew ,hulse #ff ,two silver standing cups1 with gilt covers1 the gift of ,mr4 ,ashborne #df ,a silver standing cup with cover1 three hounds at its foot #ba ,a silver standing cup with cover and an eagle on it #bf ,a silver-gilt cup called #8le spice dyssh1' enamelled #ab ,three silver cups with one cover1 the gift of ,warden ,cleve #aah ,a silver cup and cover #af ,three silver cups and one cover1 marked #8,t' and #8,a' on the bottom #bc ,a silver basin with the founder's arms #eb ,a silver ewer with a hare on its top #af ,a silver basin and ewer with the founder's arms1 the gift of ,warden ,cleve #aae ,a silver basin and ewer with the founder's arms1 the gift of ,warden ,cleve #aac ,a silver basin1 the gift of ,hugh ,sugar #dc ,a silver basin and ewer #ec ,two silver pots #dd ,two silver salts and one silver cover #cf ,four silver salts and one silver cover #fd ,three silver-gilt spoons #e ,twelve silver spoons with #8pinnacles' #ad ,twelve silver spoons1 six marked #8,margarett1' six marked #8,batt' #af ,twelve silver spoons with a mayden's hedde #ae ,eleven silver spoons marked with a lion #aa ,fourteen silver spoons with a diamond #h ,twenty-four silver spoons1 eighteen with an acorn and six with pinnacles #be ,three silver spoons with a diamond #b ,twelve silver spoons with round #ah ,twelve silver spoons with a diamond #i ,fifteen silver spoons #ac ,a nutt with a blue knoppe and cover4 ,a nutt and cover with three stags at its foot4 ,a nutt and cover with silver knoppe4 ,a nutt with a cover and a round knoppe4 ,a nutt and cover marked #8,b4' ,six nutts and five covers4 ,there is also an inventory of what was given to the college chapel by ,wykeham and other benefactors1 consisting of silver plate and gilt #c1hib oz41 gold plate and articles in gold #ia oz41 which ,henry ,,viii must have found even more difficult to resist4 ,out of the amount of gothic plate mentioned in these two inventories but one piece remains2 this is the so-called #8,election ,cup' illustrated on ,plate ,i4 ,the death of ,henry ,,viii in #aedg relieved the college from the threatened danger of dissolution1 but not from the sequestration of its plate2 the blow fell in the sixth and seventh year of ,edward ,,vi1 when the plate was seized1 together with all the plate and other ornaments belonging to the #8cathedrall churche and other parishes and chapells within the said cytie of ,winchester4' ,the different #8parcells' are minutely described in the indenture that forms a receipt1 and beautiful #8parcells' they must have been4 ,the college was honoured by a visit from ,queen ,mary on the occasion of her marriage with ,philip1 which took place in ,winchester cathedral in #aeed1 and it received small gifts of alms from the royal couple2 but neither ,mary nor ,elizabeth attempted to make good the confiscation of plate that had taken place during their brother's reign4 ,however1 in #aefe the college began once more to accumulate plate1 and amongst other things bought a #8pousshe-pot for wine4' ,some few of these purchases and presentations are still in existence1 and are given in the illustrations1 but the greater part disappeared in various ways during the seventeenth century4 ,as an instalment towards replacing this1 ,dr4 ,nicolas1 a warden1 presented in #ahfa a large silver-gilt bowl and two silver-gilt salvers1 and that others were prompted to follow his example is proved by the fine specimens of ,charles ,,ii silver still in possession of the college4 ,at the beginning of the next century ,dr4 ,burton became head-master1 and consolidated the branch of the school known as commoners4 ,as many of these pupils were of noble birth1 a special and well-appointed table was kept for their use1 and much of the older plate was in #agdj condemned to the melting-pot in order to provide the necessary silver forks1 spoons1 etc41 for the use of these fashionable young gentlemen4 ,it was ,dr4 ,burton's practice to accept gifts of portraits and plate from his pupils in place of what was termed #8leaving money'2 on his death he bequeathed the portraits to the college1 but not the presentation plate1 some of which still exists as the property of his descendants1 and was exhibited at the ,fine ,arts ,society last winter4 ,illustration3 ,plate ,,ii ,,parcel ,,gilt ,,rose-,,water ,,dish ,,and ,,ewer1 ,,with ,,top ,,of ,,the ,,cover ,,of ,,the ,,ewer1 ,,belonging ,,to ,,winchester ,,college ,illustration3 ,,plate ,,iii ,,sweetmeat ,,dish ,,and ,,gilt ,,standing-,,salt ,,belonging ,,to ,,winchester ,,college ,illustration3 ,,gilt ,,cup ,,with ,,cover ,,belonging ,,to ,,winchester ,,college ,from the slight records from which it is possible to gain information1 and for which ,i am much indebted to ,mr4 ,t4 ,f4 ,kirby 7the bursar7 and ,mr4 ,m4 ,j4 ,rendall1 it is very evident that at one time ,winchester ,college was unusually rich in plate1 and it is most interesting to have brought to light the few beautiful specimens that still remain1 for not only were silver lovers unaware of its existence1 but the college authorities had little notion of the rarity and value of their pieces4 ,they are all in an extraordinarily fine state of preservation1 and have not suffered in any way from repairing or regilding4 ,it is a source of comfort that1 belonging to such an institution as ,winchester ,college1 they are beyond the reach of the ,american millionaire1 and will receive all proper care from the authorities4 ,as the plate is so little known1 ,i have thought it best to describe each important piece in catalogue form4 ,plate ,i4--,silver-gilt cup with cover1 called #8,the ,election ,cup'2 height1 #ag ins42 diameter1 #f ins42 weight1 #fi oz4 #i dwt4 ,the bowl1 which resembles in shape the ,anathema and ,leigh cups1 is moveable1 and attaches to the stem by a double socket and flange2 it is embossed with decorated and graduated escallops on a matted ground4 ,the stem is of channelled and truncated form1 finishing in palm-like points where it meets the bowl and foot1 which is similar in decoration to the rest of the cup4 ,the base is edged by an open scrolled moulding formed of leaves surmounted by a ladder moulding1 finishing in a very bold and unusually tall cresting4 ,the cover to this remarkable cup is of cupola shape1 rising to a slender shaft fashioned like the stem and necked by a cinque-foil2 this supports a ,tudor crown1 the cap showing a surface once filled in with enamel2 the finials and bands belonging to the crown are missing4 ,the cover is embossed in the same manner as the bowl1 and bordered with the same moulding and tall cresting as the base1 pierced in both cases to hold precious stones1 which are now replaced by coloured glass4 ,the cup is in remarkable preservation1 and has its original gilding4 ,it has no hall-marks1 but is1 without doubt1 ,english1 circa #aebj2 the boldness of the cresting and workmanship1 together with the shape of the bowl1 exactly coincides with the few contemporary ,english pieces in existence4 ,it was presented by ,warden ,more in #aebc1 and is the sole remaining piece from the wonderful store of gothic plate once possessed by the college4 ,plate ,,ii4--,a rose-water dish1 parcel gilt1 #af ins4 in diameter2 weight1 #dh oz4 ,,ii dwt42 hall-mark1 ,london #aefb2 maker's mark1 a unicorn's head in a shield4 ,the border of the dish1 which is gilt1 and #b ins4 in width1 is engraved with panels of strapwork and arabesques1 enclosing the words1 in ,lombardic lettering1 ,,radolphus ,,henslowe ,ao ,,dni #aefc ,,cui ,,deus ,,retribuat ,,in ,,ill ,,die ,,hanc ,,pelvim ,,cum ,,suo ,,gutturnio ,,de ,,novo ,,fecit4 ,the centre is composed of one boss raised on another enclosing a print bearing the ,wykeham arms enamelled in their tinctures2 argent two chevronels sable1 between three roses gules1 barbed and seeded proper within a garb4 ,round the lower base runs the legend1 also in ,lombardic lettering1 ,,maners ,,maket ,,man ,,quothe ,,wyllyam ,,wykeham4 ,the face of this boss is decorated with baskets of fruit and trophies of arms in repouss1 gilt on a matted ground2 the bason of the dish is of plain silver4 ,the companion ewer1 with cover 7height1 #h ins42 weight1 #dg oz4 #aa dwt41 and with marks the same as dish71 is of unusually beautiful proportions4 ,the cover1 of depressed form1 is surmounted by a rosace finial containing the ,wykeham arms in enamel2 the rest of the cover is embossed with baskets of fruit and trophies of arms4 ,the body of the ewer is cylindrical1 and this1 as well as the narrow spout1 is decorated at the top and centre with gilt bands of scrolled arabesques1 enclosing engraved medallions of heads in the foreign taste4 ,the stem is fluted1 and the foot covered with a repouss of a lion's mask and human heads in cartouches between bunches of fruit1 and is edged with reeded and ovolo mouldings4 ,the billet is formed of two masks in profile enclosing a bunch of leaves1 and the graceful bow handle is engraved down the back with panels of arabesques4 ,this beautiful dish and ewer much resemble those belonging to ,lord ,newton1 of ,lyme1 exhibited in #aijb at the ,burlington ,fine ,arts ,club1 and possess all the characteristics of the finest ,elizabethan work4 ,both dish and ewer are in perfect preservation1 and have the original parcel gilding4 ,plate ,i,i,ia4--,sweetmeat dish of tazza shape2 diameter1 #g ins42 height1 #e ins42 weight1 #ae oz4 #i dwt42 hall-mark1 ,london #aeid4 ,the bowl is engraved on the inside1 with two bands of strapwork enclosing panels of arabesque design2 the centre is of similar decoration surrounded by a double strap4 ,the stem is plain save for an embossed ring indented with dotted lines1 the same decoration being repeated on the foot between a double strap1 and connected to the stem by a ladder moulding4 ,the piece is singularly simple in its ornamentation1 and it should be observed how much of its beauty is dependent on the perfection of the plain line engraving4 ,these dishes were used for sweetmeats and handed to the guests2 the tazza form was taken from the ,italian and ,french dishes that were so much in vogue in those countries during the sixteenth century4 ,plate ,i,i,ib4--,small standing salt1 gilt2 height1 #d ins42 weight1 #ae oz4 #i dwt42 hallmark1 ,london #aeif4 ,it is in the form of a hexagonal plinth2 the panels forming the sides are filled with an upright design of foliated arabesques in low relief on a matted ground1 divided at the angles by a plain ribbed moulding1 connected at the top and base by a fine ladder moulding between two fillets2 the top and base coincide in design1 and are composed of a slight ogee embossed with a lea moulding of ,persian origin4 ,the simple repetition of design throughout this little standing salt constitutes its charm1 each space being most admirably filled4 ,the cover to this salt is1 unfortunately1 missing2 it would probably have been of cupola shape1 bearing a vase finial surmounted by a little figure4 ,plate ,i,i,ic4--,cup with cover1 gilt2 height1 #aa ins42 diameter of bowl1 #i ins42 both hall-marked ,london #afhb2 maker's mark1 #8,r4 ,l4' in a shield over a fleur-de-luce2 weight1 #aah oz4 #ae dwt4 ,the cup1 which stands on a base in4 in height1 is of porringer shape1 decorated with a surbase of upright and repouss acanthus1 alternating with plain leaves in lower relief2 above this in fine line engraving are the ,poulett arms within a mantling of acanthus1 and the inscription1 #8,ex dono prnobilis ,caroli ,dmi ,marchionis ,winton1' etc4 ,the scroll handles are cast solid1 and terminate in animals' heads4 ,illustration3 ,plate ,,iv a b ,,rose ,,water ,,dish ,,and ,,ewer1 ,,and ,,small ,,gilt ,,standing ,,cup ,,and ,,cover ,,belonging ,,to ,,winchester ,,college ,illustration3 ,plate ,v c b a ,,two ,,tankards ,,and ,,standing ,,salt ,,belonging ,,to ,,winchester ,,college ,the cover is of flattened form and plain except for a central enrichment of acanthus in a spiral design1 and finishes in an open-worked knop of the same leaves4 ,the condition of this unusually large porringer cup is surprising4 ,it has the original gilding1 and the sharp yet round modelling of the ornament shows to what perfection this form of decoration was carried4 ,the rapid deterioration of this acanthus design in ,william ,,iii's reign goes far towards explaining the reason for its lasting such a short period4 ,the acanthus scrolled handles are a little small for the otherwise perfect proportions of this very remarkable cup4 ,plate ,i,va4--,rose-water dish2 diameter1 #ag ins42 weight1 #fc oz42 no hall mark2 maker's mark1 monogram ,c4 ,r4 in a shield2 date1 circa #afac4 ,the dish is quite plain1 with an engraved line on the edge4 ,the arms per pale of ,winchester ,college and the donor are engraved on the centre boss1 round which runs the inscription1 #8,ex dono ,georgii ,rives ,sacr ,theologi ,doct4 huius ,collegii socii deinde ,novi ,coll4 custodis in usum quotidianum ,vicecustodis istius ,coll4 prope ,winton ,anno ,domini #afac4' ,the companion ewer of same date1 with same maker's mark2 height1 #g ins42 diameter1 #d ins42 weight1 #bc oz4 #aj dwt4 ,this is also perfectly plain1 with wide bow handle and long curved spout2 the foot is of trumpet shape spreading to a plain stepped base4 ,both dish and ewer are good examples of the plain plate that was slowly coming into fashion in this country during the early part of the seventeenth century4 ,plate ,i,vb4--,small standing cup and cover1 gilt2 height1 #ad4 ins42 hall-mark1 ,london #afcb2 maker's mark1 ,p4 ,c4 over a rose in a shield4 ,the bowl of the cup is matted with a broad plain border at the lip1 round which runs the inscription1 #8,ex dono ,hugonis ,barker leg ,doctoris olim huius ,collegii ,scholaris ac ,consanguinei fundatoris eiusdem ,collegii ac eo nomine in numer ,scholari eiusdem admissi4' ,below this in a circle are engraved the arms of the donor4 ,the stem is of baluster shape usual to the cups of this period1 and plain save for a matting on the knop1 and where it joins the foot there is a repouss ornament of small leaves2 the base is composed of simple mouldings4 ,the cover is of cupola shape with a wide brim2 the surface is decorated with a matted ground1 and the whole is surmounted by a plain finial of vase-shaped form4 ,this plain plate with a granulated or matted surface was much made in the north of ,germany1 ,denmark1 and ,sweden1 and was probably introduced into this country through the influence of ,anne of ,denmark1 the queen of ,james ,i4 ,plate ,va4--,tankard and cover2 height1 #g ins42 weight1 #cd oz4 #aa dwt42 marks1 ,london #afad2 maker's mark1 ,o4 ,s41 with pellets in a shield4 ,this early ,jacobean tankard is plain throughout and of globular or tankard form4 ,round the neck runs a band on which is engraved #8,facile contemnit omnia qui semper cogitat se esse moriturum4' ,as an additional emphasis of this sad but true remark1 the billet of the cover is formed of a human skull holding a scroll between its teeth1 and on the body of the tankard is engraved the arms of the donor with the inscription1 #8,ex dono ,johanis ,bolney quond de sanguine fundatoris ,jstius ,collegii ,st4 ,marie ,winton ,a dmni #afad4' ,the handle is depressed in the bow and finishes in a square whistle end4 ,tankards or flagons of this shape are extremely rare1 and owe the origin of their form to the stoneware jug of ,tudor days4 ,plate ,vb4--,standing salt2 height1 #f ins42 diameter1 #i ins4 at top1 q ins4 at base2 weight1 #dg oz4 #e dwt42 marks1 ,london #affd2 maker's mark undecipherable4 ,the salt is plain1 cylindrical1 and of ,x form2 the three short curved arms that spring from the slightly convex top were intended to hold a napkin to protect the salt1 or1 as is to be seen in pictures of the time1 for the support of a small dish for olives or caviare4 ,on the fine trumpet sweep of the base are engraved the arms of ,wykeham and of the donor within feather mantling1 and the inscription1 #8,legatum ,mri ,michaelis ,bold ,m4 ,art ,collegij ,btae ,mariae ,winton4' ,the edge is finished in a simple half-round and step moulding4 ,plate ,vc4--,tankard with lid1 parcel gilt2 height1 #f ins42 weight1 #be oz4 #i dwt42 marks1 ,london #afdi4 ,the tankard is cylindrical and straight-sided1 hooped and staved in imitation of a barrel2 the lid is quite flat1 and engraved with the arms of the see within a garter2 the billet is of half skull type1 and the curious short handle is of rectangular and irregular form4 ,the barrel decoration at this date 7the first year of the ,commonwealth7 is unusual to find1 although the fashion was much adopted towards the end of the same century4 ,the parcel gilding is original4 ,plate ,v,ia4--,steeple cup and cover1 gilt2 total height1 #ai ins42 height of cup1 #ab ins42 weight1 #ch oz4 #e dwt42 marks1 ,london #afae2 maker's mark1 ,t4 ,f4 in monogram in a shield4 ,the cover is surmounted by a perforated spire of graceful proportions1 supported on three brackets of female form4 ,the cover and cup are decorated with scrolled acanthus and fruit in low relief and fine line engraving2 the stem is of the composite character usual to these cups1 and bears the last traces of ,renaissance influence4 ,the cup1 although in excellent preservation1 has been regilt4 ,there are many steeple cups of this type in existence1 but few are so happy in their proportions as this specimen4 ,plate ,v,ib4--,tall standing cup or hanap with cover4 ,total height1 #bd ins42 cup without cover1 #ag ins42 diameter1 #h ins42 weight1 #abd oz4 #ag dwt42 marks1 ,london #afhj2 maker's mark1 ,t4 ,c4 with a fish and a fleur de luce in a shield4 ,the bowl of this very tall standing cup is plain in shape1 ornamented with a surbase of upright acanthus1 above which runs an embossed laurelled band2 above and below this band are the following inscriptions in ,greek and ,latin3-- ,siv ,poculum ,charitatis ,in ,usum ,collegij ,btae ,mariae ,winton prop ,winton ,the stem is of ordinary baluster shape1 engraved and chased with laurelling and acanthus4 ,the base and cover resemble each other in their decoration1 and the latter ends in a mushroom-shaped finial1 from which spring two arms supporting a heart4 ,this form of standing cup was universal from #afdj to #afij1 and1 though deficient in artistic construction1 possesses interest as being the last recognized design of loving cup mounted on to a tall stem4 ,plate ,,vii4--,ecclesiastical plate belonging to the college chapel4 ,two chalices with covers1 gilt2 marks1 ,london #afaa2 maker's mark1 ,r4 ,p4 in a shield over a fleur de luce4 ,these are perfectly plain and of the type that was usual during the first years of the seventeenth century4 ,the two tall flagons are of tankard shape1 gilt2 marks1 ,london #afbg2 maker's mark1 ,r4 ,s4 over a heart4 ,these tankards are of a shape that was common to both ecclesiastical and secular use1 the entasis of the drum1 on which are engraved the arms of the donor per pale with those of the college1 gives great elegance to its tall and plain columnar form1 and the mouldings to the petticoat base are unusually sharp and well proportioned4 ,the large alms dish is gilt2 width1 #ag ins42 marks1 ,london #afha2 maker's mark illegible4 ,the dish is plain1 but edged with a reeded moulding2 on the border is engraved an inscription set in feather mantling between the arms of ,wykeham and those of the donor4 ,there are many other pieces of ecclesiastical and secular plate belonging to the college for which there is not space here4 ,these consist of chalices1 patens1 salvers1 porringers and tankards1 which1 although of great merit1 are not of corresponding interest to the pieces represented in the illustrations4 ,illustration3 ,,plate ,,vi a b ,,steeple-,,cup ,,and ,,hanap ,,belonging ,,to ,,winchester ,,college ,illustration3 ,,plate ,,vii ,,ecclesiastical ,,plate ,,belonging ,,to ,,winchester ,,college ,a ,,newly ,,discovered #8,,libro ,,di ,,ricordi' ,,of ,,alesso ,,baldovinetti ,,written ,,by ,,herbert ,p4 ,,horne ,,part ,,ii ,by a strange coincidence those paintings in the #8,cappella ,maggiore' of ,santa ,trinita to which the entries in ,alesso's #8,ricordi1 ,libro ,b1' refer1 have alone been preserved of all the frescoes once in the chapel1 with the exception of some fragments of the lunettes on the lateral walls4 ,the last but one of these entries records the purchase of cinnabar for the wings of the seraphim on the soffit of the arch opening into the #8,crociera4'#ea ,the first entry in #8,libro ,b' is dated ,march #i1 #adgj-a2 but according to an abstract of an entry in #8,libro ,a1' ,alesso #8received the commission to paint the 8,cappella ,maggiore0 of ,santa ,trinita from ,bongianni ,gianfigliazzi1 for #bjj gold ducats1 on ,july #a1 #adga1 and undertook to finish the work within the period of five to seven years4'#eb ,the latter date1 no doubt1 was that of the execution of the #8writing1' subscribed by the hand of ,misser ,bongianni1 which ,alesso held1 and to which he refers in the #8ricordo' on the first page of #8,libro ,b4' ,in the interval between these two dates the painter began the cartoons for the figures of the prophets and the other ornaments of the vault4 ,on ,april #bh1 #adga1 he bought #8#af quires of coarse paper 7carta da straccia7 in royal folio1 at #e soldi the quire1 for making the 8spolverizzi0 of the prophets and the other 8spolverizzi0 that occur in the said vault4' ,the #8spolverizzi' properly were the outlines pounced upon the plaster1 by means of the pricked cartoon2 but here1 by a figure of speech1 ,alesso clearly intends the cartoons themselves4 ,the more usual method of transferring a cartoon was to trace the outlines1 by means of a metal style1 on to the fresh plaster1 as ,vasari recommends4#ec ,pricked cartoons seem to have been more commonly employed in the case of embroideries and #8drappi4'#ed ,having in the meantime purchased certain colours for the work1 ,alesso1 at length1 on ,august #bi1 #adga1 paid various sums for moving the boxes containing his colours1 etc41 into chapel1 and for the purchase of brushes and pipkins in preparation for the actual painting of the vault4 ,there are two entries of that date3 the first records that he bought #8from ,bernardino di ,ventura1 the pencil-maker1 #eh pencils of minever1 between coarse and fine1 one with another1 great and small1' costing1 lire #a soldi #ab2 the second1 that he spent1 #8between new pipkins and small pots1 and hogs'-hair and pack thread for making pencils of hogs'-hair1 and for the carriage of chests and trestles for the work of painting the said chapel1 lire #c soldi #e4' ,alesso1 however1 does not appear to have proceeded very far with the actual painting of the vault until the following spring2 for on ,april #ab1 #adgb1 he records that he bought #8five pounds of azzurro della ,magnia 7namely1 biadetto7 for making the bed under the fine blue1 and this ,i bought from ,lorenzo di ,piero1 the painter1 in ,borgo ,sant',apostoli1 at the price of #e soldi the ounce4'#ee ,this #8biadetto' was probably identical with the #8sbiadato' mentioned by ,cennini1 in a passage in which he says1 that #8a blue like sbiadato1 and very similar to azzurro della ,magnia1' may be made with indigo and white1 #8biacca' or #8bianco sangiovanni4'#ef ,alesso would seem to have painted a fresco the blue backgrounds behind the figures of the prophets on the vault with this #8biadetto1' using it as a #8bed' for the fine azzurro della ,magnia1 which he afterward applied a secco4#eg ,it cost one-fifth1 or even less1 of the genuine azzurro della ,magnia1 and1 no doubt1 resembled it in colour4 ,the genuine azzurro della ,magnia seems to have been not easily obtainable in ,florence2 and ,alesso is generally careful to record how he came by his purchases4 ,on ,march #g1 #adgj-a1 according to the first entry in #8,libro ,b1' he bought #8#b pounds #i ounces of azzurro di ,magnia from ,cardinale del ,bulletta1 at the price of #bf soldi the ounce'2 and on the #abth of the same month1 #d pounds #b ounces1 at #cc soldi the ounce4 ,on ,april #ca1 #adga1 he bought #a pound #g ounces1 #8from a ,german1 in a bladder1' at #ca soldi the ounce4 #8,on #be day of ,september1 #adgb1' records ,alesso1 #8,i bought #b pounds of azzurro di ,magnia from ,giovanni d',andrea1 glazier1 at the price of #be soldi the ounce2 he said it belonged to a gossip of his1 a courier1 who brought it from ,venice3 the said ,giovanni wanted #d soldi to go drinking with4' ,this ,giovanni d',andrea was the glazier who1 in partnership with ,il ,lastra1 had executed the window of the #8,cappella ,maggiore' of ,santa ,trinita1 from ,alesso's design4 ,finally1 on ,january #ac1 #adgb-c1 ,alesso bought #b pounds #aj ounces1 #8from a ,pole1' at #bj soldi the ounce2 #8a clear1 beautiful1 finely-ground blue1' he adds with satisfaction4 ,at that time the painter was about to begin the lunettes on the lateral walls of the chapel4 ,cennini calls azzurro della ,magnia #8a natural colour that is found in and around silver lodes4' #8,much1' he adds1 #8is obtained in ,germany ,la ,magnia1 whence its name1 and also in the country about ,siena4'#eh ,milanesi1 in the notes to his edition of ,cennini1 says that this blue was an oxide of cobalt2 but ,mrs4 ,herringham1 with more probability1 identifies the colour with blue carbonate of copper1 commonly called blue verditer3 in the same way1 she identifies #8verde azzurro1' which ,cennini says was made artificially from #8azzurro della ,magnia1' with green verditer1 which is also a carbonate of copper4#ei ,alesso records in #8,libro ,b1' that1 on ,march #bj1 #adgj-a1 he bought #f pounds of #8verde azzurro1' at #ad soldi the ounce4 ,it is worthy of remark that in a work of the importance of these frescoes1 executed for so wealthy a patron as ,messer ,bongianni ,gianfigliazzi1 ,alesso should not have used ultramarine1 but a blue which cost but a twentieth part of that #8noble1 beautiful1 and most perfect beyond all colours4'#fj ,according to the entries cited above1 ,alesso bought his azzurro della ,magnia at prices varying from #bj soldi to #cc soldi the ounce4 ,few other colours are specified by name in these #8,ricordi4' ,on ,may #bd1 #adga1 ,alesso purchased #d pounds #e ounces of yellow1 namely1 #8arzicha1' at #ac soldi the ounce4 ,cennini calls #8arzica' a colour chemically produced and little used1 but more at ,florence than elsewhere4 ,he adds that it perishes on exposure to the air1 and is not good for walls1 but mixed with a little azzurro della ,magnia and giallorino it makes a beautiful green4#fa ,mrs4 ,herringham suggests that #8arzica' may be massicot1 called azarcon in ,spain4#fb ,on ,september #a1 #adga1 ,alesso bought #e ounces of fine lake at #ad soldi the ounce4 ,the colour was probably used for the purple robe of the ,david4 ,lastly1 on ,september #ad1 #adgb1 he bought #8#h ounces of fine cinnabar to make the cherubim of the arch before the said chapel1' at #b soldi #h danari the ounce4 ,this was the vermilion for the wings of the seraphim1 which still remain on the soffit on the arch4 ,by ,june #adgb the painting of the vault had so far advanced that ,alesso began to buy the gold for the ornaments4 ,on ,june #ac he bought from ,domenico1 the gold-beater1 #a1gjj pieces of fine gold #8laid upon tin-foil1' for lire #fa2 on ,june #ae1 from ,giovanni1 the gold-beater1 called ,il ,rosso1 #ejj pieces1 also on foil1 for lire #ah2 on ,june #bc1 #d1jjj pieces of fine gold1 at #c lire #d soldi the hundred1 from a ,genoese2 and on ,june #bh1 #hf sheets of yellow foil1 on which to lay the gold1 for lire #h4 ,lastly1 on ,july #i1 #adgb1 he bought #8#h pounds of liquid varnish1 to apply them upon the vault1 namely1 the ornaments of fine gold4' ,in all this ,alesso appears to have followed the method set forth by ,cennini1 in cap4 #ii of his #8,trattato4'#fc ,but one other entry in these #8,ricordi' calls for any remark3 on ,july #bd1 #adga1 ,alesso #8bought four pounds of linseed oil at the price of #d soldi the pound4' ,what purpose was this oil intended to serve8 ,was it for some oil #8tempera'8 ,vasari1 speaking of these paintings of ,santa ,trinita1 says that #8,alesso laid them in a fresco1 and afterwards finished them a secco1 tempering the colours with yolk of egg1 mixed with liquid varnish made over the fire'2 he adds that ,alesso #8thought that this tempera would protect the paintings against damp2 but it was of so strong a nature that where it has been applied freely the work has in many places flaked away1 and so1 whereas he thought to have found a rare and most beautiful secret1 he remained deceived by his opinion4'#fd ,without attempting to discuss the nature of the #8tempera' which is here described1 ,i may recall the fact that ,domenico ,veneziano1 who was undoubtedly ,alesso's master1 is celebrated by ,vasari on account of #8the new method which he employed of colouring in oil'2 and the books of the hospital of ,santa ,maria ,nuova record payments for very considerable quantities of linseed oil which that master used for the lost paintings in the #8,cappella ,maggiore' of ,sant' ,egidio4#fe ,domenico1 no doubt1 possessed the secret of some improvement upon the old method of painting in oil on walls1 which ,cennino ,cennini1 who describes it at length in the #8,libro dell' ,arte1' cap4 lxxxix4-cap4 xciv41 says #8was much in use among the ,germans4' ,alesso1 as ,i have said1 originally undertook1 on ,july #a1 #adga1 to paint the #8,cappella ,maggiore' of ,santa ,trinita for #bjj gold florins1 and to finish the work within a period of five to seven years4 ,it was not1 however1 until ,january #ai1 #adif-ig1 after an interval of more than twenty-five years1 that the total amount to be paid him for finished work was estimated by ,cosimo ,rosselli1 ,benozzo ,gozzoli1 ,pietro ,perugino and ,filippino ,lippi at #a1jjj gold florins4#ff ,in other words1 ,alesso had spent upon the work five times the minimum period originally stipulated for its completion1 and he was awarded five times the original sum for which he had undertaken to complete the chapel4 ,two causes appear to have contributed to this delay4 ,the one was that ,alesso's method of laying-in his paintings a fresco1 and finishing them a secco1 admitted of endless elaboration1 and a consequent expenditure of time1 which pure fresco painting did not admit of4 ,the other was1 that shortly after receiving the commission for the chapel ,alesso appears to have turned his attention to reviving the art of mosaic1 which had almost died out in ,florence4 ,we first hear of ,alesso working in mosaic in #adha1 in which year he restored the figures on the faade of ,san ,miniato a ,monte4#fg ,in #adhc he was appointed by the consuls of the ,arte de' ,mercanti to restore the mosaics in the tribune of the baptistery of ,san ,giovanni1 #8there being no one1 in all the dominion and jurisdiction of ,florence1 but he1 who then understood that art'3 in consideration of which the consuls resolved to convey to him1 #8for the term of his natural life1 such real property as would yield #cj florins yearly1 upon the condition that he bound himself1 so long as he lived1 to repair and restore the mosaics of ,san ,giovanni4'#fh ,in accordance with this resolution two houses in the ,piazza di ,san ,giovanni1 belonging to the ,arte de' ,mercanti1 were assigned to ,alesso on ,february #bf1 #adhc-d1fi and by two instruments of the same date1 engrossed by the notary1 ,ser ,giovanni di ,jacopo de' ,migliorelli1 ,alesso re-leased the two houses to the persons who were already in possession of them at the date of the assignment4 ,these instruments are printed1 for the first time1 in the appendix to this article4#gj ,the decoration of the #8,cappella ,maggiore' of ,santa ,trinita1 and the restoration of the mosaics in the baptistery of ,san ,giovanni and ,san ,miniato a ,monte1 appear to have almost entirely engrossed the last thirty years of ,alesso's life4 ,during that time we hear of no work of importance undertaken by him1 with the exception of the lost altar-piece of ,sant' ,ambrogio1 which he began in #adgj4 ,messer ,bongianni ,gianfigliazzi died on ,november #g1 #adhd1 and was buried in his chapel at ,santa ,trinita1 long before ,alesso had brought its frescoes to a conclusion4#ga ,the work1 however1 was continued at the instance of his son1 ,jacopo ,gianfigliazzi2 and ,stefano ,rosselli records in his #8,sepoltuario ,fiorentino1' that at the time he was writing1 c4 #afeg1 the basement of ,alesso's altar-piece in the #8,cappella ,maggiore' of ,santa ,trinita bore the inscription3 #8,jacobus ,gianfigliazzius ,bongiannis ,equitis ,filius1 sua erga ,deum ,pietate4'#gb ,of the paintings that once decorated the walls of this chapel we possess but some partial and imperfect accounts4 ,vasari1 to whom we chiefly owe the meagre notices which are extant1 says that they consisted of #8stories from the ,old ,testament4' ,alesso1 he says1 #8drew many portraits from the life2 and in the story of the aforesaid chapel of ,santa ,trinita1 in which he represented the ,queen of ,sheba going to hear the wisdom of ,solomon1 he drew ,lorenzo de' ,medici1 the ,magnificent1 who was father of ,pope ,leo ,x1 and ,lorenzo dalla ,volpaia1 a most excellent master of dials1 and a great astrologer4' #8,in another story which is opposite to this1 ,alesso drew ,luigi ,guicciardini the elder1 ,luca ,pitti1 ,diotisalvi ,neroni1 ,giuliano de' ,medici1 father of ,pope ,clement ,,vii2 and next to the stone pilaster of the arch opening into the church ,gherardo ,gianfigliazzi the elder1 and ,messer ,bongianni1 knight1 wearing a blue habit and a collar round his neck1 together with ,jacopo and ,giovanni of the same family4 ,near to these last are ,filippo ,strozzi and ,messer ,paolo dal ,pozzo ,toscanelli1 astrologer4'#gc ,what the subject of this latter story may have been1 we do not now know4 ,according to ,giovanni ,cinelli1 in his edition of the #8,bellezze di ,firenze1' published in #afgg1 the other story of the ,queen of ,sheba was on the left wall of the chapel1 #8dal ,corno del ,vangelo4' ,cinelli1 after quoting this passage from ,vasari1 adds that #8in the angle of the choir1 on the left side1 there is painted a ,cain in the act of striking his brother ,abel1 a figure which is very admirable in its attitude1 and which expresses in its countenance the malice and hatred which ,cain bore in his heart towards his brother3 and it is greatly esteemed by the connoisseurs2 so much so1 that when the cardinal of the serene house of ,este came to ,florence and visited this church1 he desired to see and consider with attention so fine a painting4'#gd ,illustration3 ,photograph by ,alinari ,,the ,,paintings ,,of ,,abraham1 ,,noah1 ,,moses1 ,,and ,,david ,,by ,,alesso ,,baldovinetti ,,on ,,the ,,vault ,,of ,,the ,,cappella ,,maggiore ,,of ,,santa ,,trinita ,,at ,,florence ,already1 when ,vasari wrote in #aefh1 the frescoes in the #8,cappella ,maggiore' of ,santa ,trinita #8had begun to flake away in many places4'#ge ,the last writer to allude to their indifferent condition is ,giuseppe ,richa1 who speaks of them as #8not a little consumed and spoiled by time4'#gf ,that was in #agee2 five years later1 in #agfj1 ,alesso's #8stories' were ruthlessly destroyed or covered with whitewash1 and the walls of the chapel decorated with #8stucchi' in the taste of the time4#gg ,during the recent restoration of the church1 in #ahij-g1 the paintings of the four patriarchs on the vault of the chapel1 the seraphim on the soffit of the vault1 and the fragments of the lunettes on the lateral walls of the chapel1 were found under the whitewash1 and restored by ,signor ,dario ,chini4 ,plate ,,iii4 ,the vault itself is divided into four triangular compartments by the intersecting ribs of the vault1 which spring from the four corbels at the angles of the chapel4 ,in the compartment above the window of the chapel is a seated figure of ,noah1 in an ample cloak of dark green1 worn over an under-dress of a reddish colour4 ,he holds some object which is now undecipherable in his right hand2 and beside him1 on the left1 is placed the ark4 ,in the compartment above the left wall of the chapel is a seated figure of ,abraham clad in a yellow robe lined with green1 over an under-dress of vermilion4 ,in his right hand he holds the sacrificial knife1 and at his feet kneels his son ,isaac1 bound and clad in white4 ,in the compartment above the right wall is a seated figure of ,moses1 holding the two tables of the ,law in his hands4 ,the robe1 which falls over the knees of the figure1 is vermilion in colour1 and the underdress appears to have been a dark leaf-green4 ,in the compartment above the arch is a seated figure of ,david playing upon a psaltery with three sound-holes4 ,he is attired in a purple mantle lined with green1 which almost entirely envelops his figure4 ,the purple of this robe is now much perished4 ,all these four figures are relieved against blue backgrounds1 broken by rays of gold which appear to proceed from the figures2 and all the four compartments are surrounded by borders of fruit and flowers upon a vermilion ground4 ,the ribs of the vault are painted with green foliage intertwined with a running ribbon1 and the keystone of the vault is blazoned with the arms of the ,gianfigliazzi3 or1 a lion rampant azure4 ,on the soffit of the arch opening into the chapel is painted1 on a blue ground1 the series of seraphim with vermilion wings1 to which allusion has already been made4 ,in the lunette on the left wall1 immediately below the figure of ,abraham1 in the vault1 are the remains of a #8story' of the #8sacrifice of ,isaac4' ,in the upper part of the picture1 on some rising and rocky ground1 ,abraham is seen turned towards the right1 and kneeling before an altar4 ,this figure is in large part almost obliterated1 and the figure of the angel who appears to him in the sky1 and that of ,isaac upon the altar1 can now scarcely be made out4 ,on the right of the painting1 however1 there may still be seen a tree boldly designed against the sky1 recalling certain passages in ,alesso's painting of the ,nativity in the atrium of the ,annunziata at ,florence4 ,the lower part of this lunette has entirely perished4 ,in the lunette on the opposite wall1 below the figure of the patriarch1 in the vault1 is a #8story' of #8,moses receiving the tables of the ,law on ,mount ,sinai4' ,the upper portion of this painting alone remains in a ruined condition4 ,on the top of the mount ,moses kneels1 turned to the left4 ,the figure is much damaged2 and that of ,god the ,father1 who appears to him out of the heavens1 has almost entirely disappeared4 ,the bare mountain-top is broken by patches of herbage1 and around it may still be seen some cypresses1 with other foliage4 ,below each of these lunettes1 on the lateral walls of the chapel1 appear to have been two other stories2 but the subject of only one of them has been recorded 7as ,i have said7 by ,vasari1 namely1 the visit of the ,queen of ,sheba to ,king ,solomon1 which appears to have been on the left wall of the chapel4 ,the story of ,cain killing his brother ,abel1 recorded by ,cinelli1 was probably on the altar-wall beside the window1 in the left-hand corner4 ,in the figures on the vault1 ,alesso attains to a nobility of design1 and a largeness of manner1 which he does not again reach in any extant work of his4 ,that extreme research for form1 which so largely spoils our enjoyment of the altar-piece which he painted for this chapel1 does not detract1 at all in the same degree1 from the severe beauty of these figures2 for they possess a charm both of conception and design which is little distinctive of ,alesso's later manner1 though akin to a certain grace and sweetness in some of his earliest works4 ,the attitudes of these #8prophets old' are very grandly imagined1 especially that of the ,david1 who looks up as he touches his psaltery with a gesture that expresses a spiritual ecstasy1 with an admirable fineness and reticence4 ,indeed1 these figures are represented with a truth of character1 and a refinement of feeling1 for which we vainly look in similar works by his more famous1 and more obviously gifted1 pupil1 ,domenico ,ghirlandaio2 such as the vaults of the #8,cappella ,maggiore' of ,santa ,maria ,novella1 and of the ,sassetti chapel in ,santa ,trinita4 ,to judge from these figures of the four patriarchs1 the destruction of the #8stories' which were below them cannot sufficiently be deplored2 the reputation of few ,florentine masters depended so largely on a single work as ,alesso's did upon this chapel of the ,gianfigliazzi4 ,one other fragment of the #8stories' which once decorated the walls of this chapel has come down to us4 ,giuseppe ,richa1 in his #8,notizie ,istoriche delle ,chiese ,fiorentine1' after mentioning the various portraits to be found in these paintings1 adds3 #8all these figures are named by the writers of the life of ,alesso2 but they do not allude to the portrait of a young man in the angle of the choir1 on the epistle side1 who is represented in a red habit1 with a green cap on his head1 and a white handkerchief in his hands2 and this is ,alesso ,baldovinetti1 who portrayed himself as he was1 when a young man2 and he1 also1 drew there the portrait of ,guido ,baldovinetti1 who was the man most gifted and renowned at that time in his illustrious family4'#gh ,domenico ,maria ,manni1 in the notes to his edition of #8,baldinucci1' published a few years after ,richa's work had appeared1 cites a certain #8,memoriale' of ,francesco di ,giovanni di ,guido ,baldovinetti1 written in the year #aeac4 ,according to this #8,memoriale' 7from which1 no doubt1 ,richa derived his notice of the portrait in question7 ,alesso portrayed on the walls of the #8,cappella ,maggiore' of ,santa ,trinita1 among many other noble citizens1 #8,guido ,baldovinetti1 and1 last of all1 himself1 wearing a cioppone of faded rose1 and a handkerchief in his hand4'#gi ,among the pictures which ,morelli bequeathed to the ,accademia ,carrara1 at ,bergamo1 is a fragment of a fresco1 ,no4 #bc1 containing the head of a man4 ,it has been cut to a round measuring #j4bc centm4 in diameter4 ,according to an inscription on the back of the painting it is a portrait of ,alesso ,baldovinetti1 painted by himself and taken from an angle of the choir of ,santa ,trinita in ,florence4#hj ,there can be little doubt that this is the head to which ,francesco ,baldovinetti referred in his #8,memoriale1' and that it was cut from the walls of ,santa ,trinita when ,alesso's paintings were destroyed in #agfj2 but whether it is a portrait of the painter is a question which ,i must not here attempt to discuss4 ,illustration3 ,a ,,group ,,of ,,three1 ,,by ,,jan ,,miense ,,molenaer2 ,,in ,,the ,,collection ,,of ,,mr4 ,,edgar ,,speyer 7,see ,the ,burlington ,magazine for ,june #aijc1 page #eb7 ,,the ,,dutch ,,exhibition ,,at ,,the ,,guildhall ,,article ,,ii4--,,the ,,modern ,,painters ,the collection of works of modern ,dutch painters at the ,guildhall is much more representative than that of the old masters1 and is likely to be a revelation to those visitors who know only the few1 and in many cases inadequate1 examples of modern ,dutch works which have been seen from time to time in ,london4 ,in only one previous instance1 that of the ,glasgow exhibition1 has such a representative collection of modern ,dutch painters been brought together in this country4 ,the chief interest of the collection is to be found in the works of the three brothers ,maris and of ,israels1 for these painters are the leaders of the school1 and the rest1 though not without individualities of their own in technique and treatment1 are followers4 ,joseph ,israels is represented at the ,guildhall chiefly by works of his later period1 which are far better known in ,england than are the pictures in his earlier manner1 which can be studied best at ,amsterdam2 these latter are distinguished by precision and detail rather than by the subtler and more sympathetic treatment of his mature work4 ,the largest canvas of ,israels shown is ,the ,shipwrecked ,fisherman 7#aa71 which1 though impressive and well balanced1 has a certain stagey effect4 ,there are several tricks of technique1 such as the parallel clouds and sky1 which1 however1 add not a little strength to the general effect4 ,far superior to this picture is ,the ,cottage ,madonna 7#ad71 a vigorous painting of a woman with a child in a characteristically ,dutch cottage interior4 ,this fine work can hardly be considered a typical example of ,israels1 not indeed because it falls short of his other achievements1 but rather for the opposite reason4 ,it is a wonderful piece of sympathetic painting1 full of feeling and pathos1 and without those eccentricities which are apparent in such of his pictures as ,a ,jewish ,wedding 7#ie71 interesting as being the last picture which he has painted1 and therefore reproduced here for this reason1 but lacking in the opinion of the present writer the surpassing merits which many claim for it4 ,it has become so much the mode to praise equally all the work of a particular painter or a particular school1 that the sense of proportion and the power of discrimination have almost become extinct and criticism has been undermined4 ,no painter of the modern ,dutch school is more unequal than ,israels1 except perhaps ,mauve2 and one feels that if he has almost risen to the level of a great master in ,the ,cottage ,madonna1 and perhaps in ,a ,ray of ,sunshine 7#g7 and ,the ,new ,flower 7#hb71 there is a particular group of works at the ,guildhall which are sustained in estimation by the repute of greater achievements4 ,the case of ,jacob ,maris is quite otherwise4 ,the whole of his work is upon essentially legitimate lines1 and inspires a feeling that he never produced a picture from a less than worthy motive4 ,his pictures are full of the softness and delicacy of the ,dutch atmosphere1 and most people would consider it incredible that none of them were painted out-of-doors4 ,yet the present writer has been assured by one of ,maris's intimate friends that this was the case2 when a particular view or picture struck him he was accustomed to stand with his hands in his pockets1 and the picture was painted entirely from memory in his studio4 ,yet his works miss no essential truth4 ,this stage was not reached without much experimentalizing and profound study4 ,jacob ,maris began with a scrupulous striving after finish1 which would do credit to any of the little masters of ,holland of the seventeenth century4 ,take for example ,the ,weary ,watchers 7#ij71 painted in #ahfi1 in which the child is painted with the finish of a ,metzu1 and the cat approaching the cradle with the minuteness of a ,mieris4 ,it is a long jump from this picture to ,a ,windmill1 ,moonlight 7#abe71 the last work which he finished2 but under the surface of the latter1 in spite of the apparent dash1 we perceive not one whit less regard for essential truth4 ,there are three or four canvases at the ,guildhall which display ,maris in his very finest mood4 ,many will1 perhaps1 consider that the finest of all1 at least as regards brush work1 is ,gathering ,seaweed 7#dd74 ,the sky with its immense grey white clouds1 through breaks in which glimpses of blue beyond are discernible1 is the chief factor in the picture4 ,this is in every respect one of ,maris's finest works1 and he has never exceeded the delicious silveriness of sea and sky and the sense of moisture in the breeze which he here gives us2 his rendering of the wet flat sand on which stand the horse and cart of the seaweed gatherers has been equalled only by ,bonington4 ,of somewhat similar character is the beautiful little ,storm ,cloud 7#hj71 into which he has infused much the same feeling2 but another phase of ,maris is shown in the wonderful ,bridge 7#ib71 which deservedly occupies a place of honour on the walls of the ,guildhall gallery4 ,across a typical ,dutch canal is thrown a wooden bridge1 under which1 away along the placid canal1 can be seen a distant quay abutted with houses2 little red-tiled houses fill the extreme left and right of the picture4 ,it is a simple motive which in strict accordance with the principles of the painters of ,holland demonstrates the innate beauty of the commonplace4 ,quite equal to this1 both for intensity of feeling and realization1 is the ,river and ,windmill 7#aja7 on the side wall2 the sense of stillness and calm which pervades this work is typical of the tranquillity of a mind whose sole delight was in nature and its portrayal4 ,the artist is equally successful in a very different way in the bold and powerful ,dutch ,town 7#dc71 which seems to be a freely adapted view of ,amsterdam4 ,this is one of his latest works1 and was painted in #ahih4 ,there is a delicate shimmer on the water with its lazy craft1 and the ill-defined buildings are developed in an atmosphere shrouded by haze and darkened by smoke4 ,these two works should be compared with ,the ,ferry ,boat 7#ha71 painted in #ahgj1 which owes something to ,van ,goyen and ,soloman ,ruysdael2 to his appreciation of the qualities of his predecessors1 and his study of their art1 ,maris's own achievements must in great measure be attributed4 ,it is always unsafe to prophesy1 but it is almost safe to say that ,jacob ,maris's reputation will last4 ,the representation at the ,guildhall of ,willem ,maris is much less worthy1 and a better series of his works could surely have been obtained2 but in one small panel1 ,springtime 7#cg71 we have the best qualities of his art1 and it may be doubted whether in the representation of the delicate and poetical charm of spring ,willem ,maris is surpassed even by ,daubigny1 except in a very few pictures4 ,the trees awaken from their winter slumber and put forth in velvety green the leaves which hardly more than tinge the brownness of trunk and branch4 ,the stream swollen with the recent rain affords refreshing drink to the cattle which have just emerged from the copse on the right4 ,the meadow1 with its carpet of tender green bordered by a row of pollard willows1 recedes until it meets the sky line4 ,light clouds float over the blue sky and betoken weather fair but fickle4 ,when one turns from these two kindred spirits to their brother ,matthew ,maris one is struck by the contrast4 ,for ,matthew lifts us at once from things earthly into a spiritual atmosphere2 everything that he touches he envelops in mysticism and poetry4 ,yet perhaps his work is more difficult of appreciation2 he appeals to a more exclusive circle4 ,yet what magic contour of line1 what exquisite rhythm1 what consummate balance of composition1 we find in it4 ,the ,outskirts of a ,town 7#ci71 for instance1 enveloped in a bewitching gloom1 commends itself to the artist and student1 though not to the lover of pyrotechnics4 ,that fine canvas entitled ,montmartre 7#dj7 is another example of the same idealistic treatment4 ,among examples of his work which particularly puzzle the public are such efforts as ,a ,study 7#eh7 and ,a ,lady and ,goats 7#ei71 the latter an idyl inadequately described by its prosy title4 ,but perhaps the essence of his art is to be found in ,the ,butterflies 7#fb7 and ,l',enfant ,couche 7#gj71 which for typical presentment and delicacy of colour are among his finest achievements4 ,illustration3 ,,the ,,archives ,,at ,,veere1 ,,by ,,jan ,,bosboom2 ,,in ,,the ,,collection ,,of ,,mr4 ,j4 ,c4 ,j4 ,,drucker ,illustration3 ,a ,,jewish ,,wedding1 ,,by ,,joseph ,,israels2 ,,in ,,the ,,collection ,,of ,,mr4 ,j4 ,c4 ,j4 ,,drucker ,illustration3 ,a ,,fantasy1 ,,by ,,matthew ,,maris2 ,,in ,,the ,,collection ,,of ,,madame ,,van ,,wisselingh ,illustration3 ,,the ,,new ,,flower1 ,,by ,,joseph ,,israels2 ,,in ,,the ,,collection ,,of ,,mr4 ,j4 ,,staats ,,forbes ,illustration3 ,,watering ,,horses1 ,,by ,,anton ,,mauve2 ,,in ,,the ,,collection ,,of ,,mr4 ,j4 ,c4 ,j4 ,,drucker ,illustration3 ,,the ,,canal ,,bridge1 ,,by ,,jacob ,,maris2 ,,in ,,the ,,possession ,,of ,,messrs4 ,,thomas ,,agnew ,,and ,,sons ,illustration3 ,a ,,windmill1 ,,moonlight1 ,,by ,,jacob ,,maris2 ,,in ,,the ,,collection ,,of ,,mr4 ,j4 ,c4 ,j4 ,,drucker ,illustration3 ,,the ,,butterflies1 ,,by ,,matthew ,,maris2 ,,in ,,the ,,collection ,,of ,,mr4 ,,william ,,burrell ,we are back once more upon the earth when we come to ,anton ,mauve1 of whose works there are no less than twenty-one examples in the ,guildhall exhibition4 ,with the exception of ,joseph ,israels1 he is the most unequal painter of modern ,holland2 there are occasions when he comes near to equalling ,jacob ,maris at least in atmospherical effect1 and yet at other times he sinks into a mere technical repetition of his better self4 ,of his best phase we could not have better illustrations than ,the ,hay ,cart 7#b7 and ,driving in the ,dunes 7#d74 ,in both there is the same feeling for truth1 the same adaptation of technique to the necessities of the occasion4 ,watering ,horses 7#ig7 is another fine work1 resplendent with harmonies of green and grey1 and showing the same feeling for natural phenomena4 ,after such work as that of the brothers ,maris1 and ,mauve1 and occasionally ,israels1 one is inevitably disappointed with ,mesdag4 ,mesdag misses the mark not because of any deficiencies in technique1 but because his works lack that essential quality of landscape painting--atmosphere4 ,the consequence is that we never lose sight of the paint2 it is paint everywhere4 ,this is all the more to be regretted since he is a good draughtsman1 and his scheme of colour is often satisfactory and truthful2 moreover he has a profound knowledge of composition4 ,yet with all these qualities he generally fails4 ,we do not want a sunset sky full of prismatic glow1 nor a sea shimmering with opalescent tints1 if we cannot feel that it is a real sky and a real sea1 and that something other than paint fills up the intervening space4 ,mesdag's deficiency is emphasized in the two pictures shown in the present exhibition1 ,a ,stormy ,sunset 7#bh7 and ,a ,threatening ,sky 7#ed71 which give us nothing but the mere physical features of the scene1 and leave us with an undefinable yearning for something for which we look in vain4 ,the other men whose work is represented for the most part owe what is best in their art to the greater lights of their school4 ,of such is the work of ,thophile de ,bock1 of which ,evening 7#ag7 is an example of a plagiarism on the school of #ahcj1 intermingled with a ,dutch sentiment which renders it difficult to say with certainty whether it should be classified as ,french or ,dutch in sentiment4 ,that ,bock has originality when it is brought into play is amply demonstrated in ,an ,avenue in ,holland 7#id74 ,the sunlit road with its strongly painted trees conveys an admirable idea of summer heat and foliage1 in which the artist boldly achieves his aim without any aid but his own sheer force4 ,such a work shows powers which are never brought into full play when he attempts to see with other eyes4 ,apart from landscape there is but little of interest in the exhibition4 ,an exception1 however1 must be made in favour of the fine canvas by ,christopher ,bisschop1 ,prayer ,disturbed 7#bi71 which is a strong and powerful piece of painting1 and also intensely sympathetic in realization4 ,two other canvases are worthy of mention1 that by ,albert ,neuhuys1 ,near the ,cradle 7#if71 a fine representation of a cottage interior painted with incisive truth and directness1 and ,bosboom's ,archives at ,veere 7#abh71 an excellent example of the interiors to which he devoted himself2 it has the spaciousness and grace characteristic of the work of a painter than whom no modern artist has shown a keener appreciation of the artistic possibilities of ancient buildings4 ,,the ,,seals ,,of ,,the ,,brussels ,,gilds#ha ,,written ,,by ,r4 ,,petrucci ,,monsieur ,g4 ,,des ,,marez1 professor at the university and keeper of the records of the city of ,brussels1 has drawn attention lately to three seals which appeared to him to be worthy of special study4 ,these consist1 first1 of the matrix of the seal of the ,gild of ,barbers in the fifteenth century1 which forms part of the sigillographical collection of the ,muses ,royaux du ,cinquantenaire2 secondly1 of the silver matrix of the seal of the ,gild of ,butchers in the sixteenth century1 preserved in the archives of the city of ,brussels2 thirdly and lastly1 of the matrix of the seal of the ,gild of ,bakers1 in the private collection of ,m4 ,charles ,lefbure3 this last belongs1 like the first1 to the fifteenth century4 ,now the ,brussels gilds were never called upon to seal deeds1 a fact of which ,m4 ,des ,marez was the better aware as he had just obtained a gold medal from the ,royal ,academy of ,belgium for an important study1 which is at this moment in the press1 on the organization of labour in ,brussels during the fifteenth century4 ,were the three existing matrices therefore false8 ,and1 if they did in reality date from the period to which everything contributed to ascribe them1 how was their presence to be explained8 ,those were the questions which ,m4 ,des ,marez set himself to adjudge and upon which he has succeeded in throwing a brilliant light4 ,thanks to ,m4 ,des ,marez' kindness1 ,i have been able to take cognizance of his work and of the seals upon which it bears4 ,m4 ,des ,marez' study will not be published until the end of ,august or ,september next1 when it will appear in the annals of the ,archaeological ,society4 ,my readers will therefore be the first to find here set forth the solution of an important historical and archaeological question4 ,the juridical incompetence of the ,brussels trading corporations is indisputable4 ,in the second half of the thirteenth century1 the artisans began to lay down the outlines of a corporate movement4 ,this led to a privilege obtained from ,duke ,john by the patricians invested with power1 by which the craftsmen were subjected to their authority4 ,the gilds were dependent upon the town council for all that concerned the making of their rules and regulations2 at most1 they enjoyed the right of presenting drafts for the approval and sanction of the aldermen2 they were not able to sell1 pledge or mortgage2 and1 although their wardens were invested with certain police functions1 their jurisdiction was nevertheless extremely limited4 ,difficult cases were submitted to the judgement of the aldermen1 and in no case could the wardens of their own initiative proceed to a forced execution upon the persons or goods of delinquents4 ,the gild was unable to issue any act directly1 and therefore the use of a seal1 the attributive mark of jurisdiction1 is inexplicable4 ,even the ,drapers' ,gild was without it1 although this gild constituted a powerful administrative and jurisdictive machinery by the side of the aldermen1 of whom1 at the time of its splendour1 it was even independent4 ,it issued acts1 which the trading corporations were not able to do1 and made regulations1 far and near1 for all those having to do with the woollen manufactures or cloth-making4 ,the absence of a collective seal is to be explained1 in this case1 by the use made by the deacons of their personal seals1 a use proved by documents in which it is explicitly mentioned4 ,it was not until #afih that the ,drapers' ,gild ordered a collective seal to be made4 ,the matrix of this seal is lost1 but there remains an impression of it affixed to one side of the very sheet containing the text of the resolution relating to it1 which document is preserved in the archives of the kingdom1 where ,i have been able to consult it4 ,the engraving of this seal is very poor4 ,in a circular field is ,st4 ,michael1 clad in a ,roman breast-plate1 his legs cased in buskins4 ,his forehead is surmounted by a cross1 and his wings are unfolded4 ,he brandishes a sword in his right hand4 ,lucifer lies felled at his feet4 ,st4 ,michael is seizing one of the demon's horns with his hand4 ,lucifer raises his right hand with a defending gesture2 his left arm is brought back against his body4 ,he wears short wings1 one of which covers a part of the saint's arm4 ,his lower limbs end in claws2 a long tail is twined between his legs4 ,the impression is made on a paper pulp which was previously moistened4 ,above this was laid a cut-out leaf of thin paper1 on which the matrix of the seal was pressed with force4 ,the paper shows stains of mould2 the reliefs are weak and difficult to distinguish2 to reproduce them by photography is almost impossible4 ,these circumstances1 added to the fact that this piece has absolutely no artistic value1 account for the absence of a reproduction in these pages4 ,between the two circular fillets that run around the above figures is this inscription3 ,,sigil ,,decanor ,,et ,,octojudicum ,,gild ,,bruxellensis4 7,sigillum decanorum et octojudicium gild bruxellensis47 ,the text of the resolution says that the seal shall be inscribed with the words3 ,sigillum collegii decanorum1 etc4 ,the engraver could not find room for the word collegii1 and was obliged to omit it4 ,this is why a note added to the text of the resolution of ,december #d1 ordering the execution of the seal1 declares that a true impression of the seal is affixed on the other side and corrects the text by suppressing the word collegii4 ,i may also mention that1 whereas the seal shows the spelling ,,gild1 the text preserves the old mediaeval spelling ,,gilde4 ,we find1 therefore1 that one alone of the corporations1 the ,drapers' ,gild1 which was the most powerful1 did unquestionably possess a seal1 but at a late date1 at the end of the seventeenth century4 ,this innovation is due1 on the one hand1 to modifications introduced into the expedition of the acts1 involving the abolition of the single or double parchment label separate from the sheet itself and bearing the seal2 on the other1 to the fact that the deacons abandoned the use of their personal seals1 which served as a signature in the middle ages1 for the customary employment of a manuscript signature4 ,the personal seals of the deacons having been abandoned1 it became necessary to have recourse to a collective seal4 ,it is certain1 therefore1 that the juridical conditions under which the trading corporations were constituted give rise to very grave doubts as to the authenticity of the seals of the gilds4 ,if we add the fact that the records contain no sealed document proceeding from any of the ,brussels gilds1 we shall feel greatly tempted to lend to these doubts the force of certainty4 ,however1 an examination of the three matrices of seals which are here for the first time reproduced scarcely permits us to believe in their falseness4 ,let me briefly analyse each of these three pieces4 ,illustration3 ,,seal ,,of ,,the ,,gild ,,of ,,barbers ,the matrix of the seal of the ,barbers' ,gild is in the sigillographical collection of the ,muses ,royaux du ,cinquantenaire4 ,two figures are standing on a circular ground2 they represent ,st4 ,cosmas and ,st4 ,damian1 the patrons of barber-surgeons4 ,they are dressed in the costume of the fifteenth century4 ,the right figure1 clad in a tunic that comes down to mid-leg1 carries in its left hand a mortar exactly similar to the mortars that were still in use in ,flanders in the last century4 ,in its right hand1 it holds an instrument that might be either a pestle or a lancet2 it is a long1 thin instrument1 spreading slightly at one end4 ,its right arm is bent1 and from the wrist hangs a sort of case shaped like a purse1 with an open clasp4 ,this figure symbolizes the barber4 ,by its side is a shield bearing a pair of open scissors1 with an instrument in pale that appears identical with that which the figure holds in its right hand4 ,the figure on the left is clad in a long robe adorned with a wide collar1 which seems to point to a profession superior to that of the mere barber3 this is a surgeon4 ,in his right hand1 he holds a round phial with a long1 bell-mouthed neck4 ,his left hand is folded over his breast2 the extended fore-finger points to the phial4 ,from his wrist hangs a bag or purse-shaped case1 with open clasp4 ,by his side is the escutcheon of the city of ,brussels1 which1 in the fifteenth century1 was a plain red shield4 ,the two figures are standing on a grassy mound4 ,in the upper half of the circumference of the seal we see a device that reads3 ,s4 barbitonsor in brx4 ,this seal is the only one of the three that bears a ,latin device1 a fact quite in keeping with the learned profession of the surgeons and barbers4 ,illustration3 ,,seal ,,of ,,the ,,gild ,,of ,,bakers ,the matrix of the seal of the ,bakers' ,gild is now in the private collection of ,m4 ,charles ,lefbure4 ,on the ground of the seal we see ,st4 ,aubert1 ,bishop of ,cambrai1 the patron of the ,brussels bakers1 clad in his pontifical vestments1 with the mitre on his head4 ,with his right hand he is giving the benediction2 in his left he holds a peel1 the shovel used for thrusting bread into the oven4 ,the figure rises at half-length from behind a wide shield on which are represented1 saltierwise1 a peel1 with two round loaves laid upon the blade1 and a bar for raking the cinders4 ,the circular inscription is in ,flemish1 it reads3 ,s4 d's ambachts der beckers in brussel 7#8,seal of the ,gild of the ,bakers in ,brussels'74 ,the seal displays all the characteristics of the fifteenth century4 ,illustration3 ,,seal ,,of ,,the ,,gild ,,of ,,butchers4 ,the matrix of the seal of the ,butchers' ,gild is in silver4 ,it is kept in the archives of the city of ,brussels4 ,its date must be carried back to the early sixteenth century2 it is very beautifully engraved4 ,st4 ,michael fells the dragon1 represented as a shaggy monster with a bull's head1 which seizes the saint's left leg in one of its claws2 in the other1 it clutches the escutcheon1 which it bites in the lower corner4 ,the saint is clad in armour4 ,in his right hand1 he brandishes his sword2 with his left1 he holds the escutcheon1 which he uses as a buckler4 ,on the shield figure the heads of three animals3 an ox1 a calf and a sheep4 ,the exergue bears the device in ,flemish3 ,s4 ,,tsvleeshouwers ,a,,bacht ,,in ,,bruessel 7#8,seal of the ,butchers' ,gild in ,brussels'74 ,m4 ,des ,marez connects the making of these seals with the great impulse towards emancipation that stirred the trading corporations in the fifteenth century4 ,in the second half of that century1 the protests of the magistrates are constantly multiplying1 and the trades seem to be progressing towards complete independence4 ,on the accession of ,mary of ,burgundy1 a violent popular agitation wrested from the young princess the privilege of ,june #d1 #adgg1 which hallowed the triumph of democracy4 ,but this victory lasted only a little while2 and1 in #adhj1 ,maximilian of ,austria restored the old constitution of #adba4 ,the execution of the seals must1 therefore1 be ascribed to this emancipatory movement and1 doubtless1 to that short period of three years during which the gilds1 as sovereign masters1 were called upon to seal their acts4 ,it is to be presumed that1 if any acts were sealed1 these were very rare and were probably destroyed2 and it is also very possible that1 after the matrices had been engraved1 the reaction set in almost immediately and that they were never used4 ,this concerns the seals of the ,barbers' and ,bakers' ,gilds4 ,that of the butchers must be attributed to the beginning of the sixteenth century4 ,the gild had1 since #adej1 claimed a privileged situation consecrating the hereditary principle3 none could be a butcher who was not sprung from butchers4 ,this privilege1 granted by ,philip the ,good1 kindled a quarrel between the butchers and the town which sometimes led to bloodshed and which lasted for seventy years4 ,in or about #aeaf1 ,charles ,v put an end to this state of things by perpetuating the privilege4 ,the date of the execution of the seal corresponds with this victory for the gild4 ,but the butchers were stopped in their too independent courses and were made to continue to recognize the authority of the town council in all that concerned the making of their rules and regulations and the management of their interests4 ,i have shown how constitutional history and sigillography have together enabled ,m4 ,des ,marez to solve a question debated to this day by proving the genuineness of the seals of the ,brussels gilds4 ,the question involved a two-fold problem1 historical and archaeological4 ,the interest attaching to it will be understood when ,i add that seals of gilds are exceedingly rare in ,belgium4 ,hardly any are known to exist except for ,bruges1 ,saint-,trond1 ,hasselt1 ,maastricht1 ,lige and ,ardenbourg4 ,almost all the tradesmen were subject to the authority of the town magistrates4 ,the seals of the ,brussels gilds survive as eloquent witnesses of a temporary triumph in their struggle for independence4 ,,new ,,acquisitions ,,at ,,the ,,national ,,museums ,british ,engraving at the ,victoria and ,albert ,museum ,the exhibition of ,british engraving which has been arranged at the ,victoria and ,albert ,museum is of considerable interest and importance4 ,moreover1 it is timely2 for the trend of fashion in engravings has of late been in a direction so limited1 that the need was very apparent of a corrective to a popular point of view by no means entirely warranted by the facts4 ,the cult of the colour-print and mezzotint has been pursued beyond all reasonable bounds4 ,in the hands of able merchants and indiscriminating patrons it has reached a mere absurdity--expressed in market values4 ,the whole matter has got out of scale2 and the most serious criticism that could be launched against the present exhibition--that it tried to cover a field too wide--is fully met by the absolute desirability of reminding the ,british public that there were line engravings of some importance2 that aquatint had been used with results of no little value2 that etching was not a lost art1 and that mezzotints of subjects other than those devoted to portraits of pretty women were by no means ignoble4 ,the art of line engraving was but tardily settled in this country1 for some doubtful reason1 not until well-nigh a century after it had reached a pitch of high perfection on the continent4 ,its tangible beginnings are represented at ,south ,kensington by the superb title-page of the #8,anatomy' of ,thomas ,gemini 7#aede74 ,but the work of ,william ,rogers is the first of importance by a native-born artist4 ,by him1 we have the superb portrait of ,queen ,elizabeth1 lent by his ,majesty the ,king from the collection at ,windsor2 and three plates from ,segar's #8,honor ,military and ,ciuill1' ,sir ,thomas ,docwra1 ,godfreydus ,adelmar1 and ,alphonsus ,rex ,castiliensis4 ,these very fairly represent the strongly individual talent of ,rogers1 who used a most expressive line with care and economy2 and in his employment of the dot for the modelling of faces1 foreshadowed the invention of stipple by more than a hundred years4 ,the method of ,thomas ,coxon is not represented in the exhibition2 but that of ,elstracke1 a ,flemish contemporary has full justice done to it by the fine ,prince ,charles1 as well as other prints from the ,king's collection4 ,his ,majesty has also contributed most of the best examples of the severe and dry manner of the ,de ,passe family1 who had an influence so great on ,british line engraving2 but whose technique1 however able1 seems to lack something1 and to have destroyed the decorative qualities which were already apparent in the earlier group4 ,an interesting comparison may be made between the ,queen ,elizabeth of ,crispin de ,passe and that of ,rogers mentioned before4 ,of the engravers of the later part of the seventeenth century1 mention need only be made of the fact that ,faithorne the elder1 ,david ,loggan1 ,sherwin1 and ,white1 all receive ample justice in the exhibition2 and this means that under their names will be found some of the finest prints exhibited in any branch of engraving4 ,the line engraving of the eighteenth century developed for the best in subjects other than portraiture4 ,thus we have the strong work of that turbulent spirit1 ,sir ,robert ,strange1 devoted mainly to the translation of paintings by the great masters2 and that of ,william ,woollett and his school to landscape1 especially after ,claude4 ,woollett is well represented by four plates attributed entirely to him1 and by two in which ,ellis and ,vivares avowedly collaborated4 ,but of the first it must be said that a note in ,dance's #8,portraits' expressly states that ,thomas ,hearne1 the water-colour artist1 who was apprenticed to ,woollett1 #8etched' the ,roman ,edifices in ,ruins4 ,the working proof exhibited at ,kensington 7,no4 #adf7 is1 if this is true1 in great part the work of ,hearne4 ,we have little space on this occasion for more than the merest summary of the contents of the gallery2 an adequate notice of which would indeed require at least a whole number of this magazine4 ,it is only possible therefore1 in passing from the subject of line engraving1 to draw special attention to ,mr4 ,rawlinson's splendid loan of specimens of the fine school fostered especially by ,j4 ,m4 ,w4 ,turner2 to the numerous proofs of the delicate work produced by the book illustrators of about the same period2 and to the interesting and unique examples of working and finished proofs of the ,landseer school--portions of a collection which came to the ,national ,art ,library by the generosity of ,mr4 ,sheepshanks--in its way1 probably unrivalled4 ,illustration3 ,,queen ,,elizabeth2 ,,line ,,engraving ,,by ,,william ,,rogers2 ,,in ,,the ,,collection ,,of ,,his ,,majesty ,,the ,,king ,illustration3 ,,roman ,,edifices ,,in ,,ruins2 ,,line ,,engraving ,,by ,,thomas ,,hearne ,,and ,,william ,,woollett1 ,,after ,,claude2 ,,working ,,proof2 ,,in ,,the ,,victoria ,,and ,,albert ,,museum ,there is little to say1 in this place1 on the subject of the mezzotints4 ,his ,majesty has lent a magnificent impression of ,the ,great ,executioner1 by ,prince ,rupert1 after ,spagnoletto2 a print which strikes one as perhaps in its vigour and splendid painter-like qualities the finest in the gallery4 ,the rest of the mezzotints are generally well known1 though to the credit of the exhibition it must be said that the preponderance of the fashionable1 if insipid class1 is not overwhelming4 ,the ,wards are hardly as good as they might be2 especially in view of the large amount of space given to ,charles ,turner4 ,but ,the ,water ,mill by the latter1 after ,sir ,a4 ,w4 ,callcott1 makes one very charitable towards him4 ,it is certainly one of the finest examples of the value of mezzotint as a method of rendering landscape4 ,mr4 ,rawlinson1 again1 lends some valuable examples of the #8,liber ,studiorum' which are carefully and instructively catalogued4 ,among the modern work1 that of ,mr4 ,frank ,short holds1 of course1 the first place1 for he is one of the very few living mezzotinters who can be said to take rank with the best of the old men in technique4 ,the pretty art of stipple receives due attention2 and so do the colour-prints1 of which the best are1 it is good to find1 the property of the museum4 ,the art of etching is well shown from ,hollar1 the group of imitators of ,rembrandt in the eighteenth century1 the ,norwich school1 and ,wilkie and ,geddes in the nineteenth1 down to the etching clubs and our own times4 ,most of this work is well known1 for etching has been better served in the matter of literature than any of its sister arts3 and it is the only one which has real life at the present day4 ,a most important complement to the exhibited prints is furnished by a series of technical cases1 containing complete sets of all tools and materials used in each of the various methods of engraving and etching2 as well as examples of all the intermediate stages of working them4 ,these were arranged by ,mr4 ,frank ,short and ,miss ,c4 ,m4 ,pott1 and their descriptive notes in the catalogue make it a really useful little manual of technique for the amateur4 ,it only remains to add that the illustration of ,rogers's ,queen ,elizabeth is reproduced by the gracious permission of his ,majesty the ,king1 who has also allowed a photogravure to be made of ,the ,great ,executioner1 by ,prince ,rupert1 which will appear as a supplement to the next number of ,the ,burlington ,magazine4 ,the other illustrations are from the collection of prints in the ,victoria and ,albert ,museum4 ,edward ,f4 ,strange4 ,british ,museum ,department of ,british and ,mediaeval ,antiquities ,among the additions to the department of ,british and mediaeval antiquities during the past half year are several objects of exceptional interest4 ,in the ceramic section1 a large two-handled vase of ,florentine maiolica of the fifteenth century1 with heraldic lions upon the sides1 forms a worthy pendant to the magnificent vase of the same fabric acquired last year2 while the series of oriental wares has been enriched by a writing-stand1 or stand for flowers1 of the twelfth or thirteenth century1 ornamented with animals of archaic style in relief1 and attributed to a factory in the neighbourhood of ,aleppo4 ,the acquisitions to the collection of glass exhibited in the same room include an enamelled ,german drinking-glass of the late sixteenth century1 a very good example of its kind4 ,in the mediaeval room the most notable additions will be found in the series of ivory carvings4 ,here the place of honour belongs to the beautiful head of a tau cross in morse ivory1 dating from the eleventh century1 recently discovered in the vicarage garden of ,alcester1 ,warwickshire1 which will be fully described next month in these pages4 ,secondly1 there is a small but important group of ivories formerly in the possession of the ,rev4 ,walter ,sneyd1 of ,keele ,hall1 and exhibited in the art treasures exhibition at ,manchester in #aheg1 and at ,south ,kensington in #ahfb4 ,although few of the pieces composing this group are of high artistic merit1 they are valuable as illustrations of the development of ivory carving during the early middle ages1 a period which needed fuller representation in the museum collections4 ,the most remarkable is an oval pyx of the form favoured between the fourth and seventh centuries1 especially in ,egypt and ,syria4 ,its interest lies in the fact that it appears to be a ,carlovingian imitation of a ,syrian original dating from perhaps two centuries earlier4 ,it differs essentially in style from the other examples which have been preserved1 and the heavy1 large-headed figures1 with their long1 retorted fingers1 find their nearest parallels in the miniatures of ,carlovingian ,,mss4 ,then there is a ,byzantine panel1 apparently by the same hand as a plaque acquired by the museum at the ,ashburnham sale in #aija4 ,this plaque was let into the cover of a thirteenth-century ,,ms4 of the romance of #8,parceval le ,galois1' but originally belonged to a casket ornamented with scenes from the history of ,joseph1 two large panels from which have been for many years in the ,berlin museum4 ,it is satisfactory now to record the acquisition from the ,sneyd collection of yet another example marked by the same individuality of style1 and perhaps once forming a part of the same composition4 ,another small piece of ,byzantine work not without charm is a panel from the lid of a casket of the ninth century1 with figures probably from one of the classical scenes so popular during the iconoclastic period4 ,finally there are two long panels with seated apostles1 ,rhenish work of the twelfth century1 and a smaller panel with the ,flagellation1 of similar attribution and date4 ,an interesting accession in the sphere of prehistoric industrial art is a remarkably large bronze spear-head1 inlaid at the base of the blade with gold studs1 a fine example of the skill and taste of the metal-workers of ,britain towards the close of the bronze age4 ,o4 ,m4 ,d4 ,illustration3 ,,the ,,water ,,mill1 ,,mezzotint ,,by ,c4 ,,turner ,,after ,,sir ,a4 ,w4 ,e4 ,,calcott1 ,r4,a42 ,,in ,,the ,,victoria ,,and ,,albert ,,museum ,illustration3 ,,the ,h,,tel ,,de ,,ville ,,at ,,louvain2 ,,coloured ,,aquatint ,,by ,j4 ,c4 ,,stadler1 ,,after ,s4 ,,prout2 ,,in ,,the ,,victoria ,,and ,,albert ,,museum ,the ,print ,room of the ,british ,museum ,the ,department has acquired by purchase an extremely interesting and important addition to the collection of ,chinese paintings4 ,this is a long roll1 containing scenes of court life and amusements in the first century ,a4,d4 ,pan ,chao1 a female historian of that era1 is among the figures represented4 ,it is painted in colours on brown silk2 green1 purple1 and a tawny yellow have been used1 but have more or less sunk1 so that the general impression is that of a painting in vermilion and black1 the two pigments which have stood best4 ,the actual workmanship1 especially the modulation of the brush-line1 is of extraordinary beauty and power1 and can only be that of a great master4 ,there seems no reason to doubt that we have in this roll an authentic work by ,ku ,k#8ai-chih 7#8,ko-gai-shi' in ,japanese pronunciation71 a very famous artist of the fourth and fifth centuries ,a4,d41 to whom it has always been attributed1 though the signature and inscriptions are probably of later date4 ,annexed to the roll is a eulogy of the painter in the handwriting of ,ch#8ien ,lung1 the emperor who received ,lord ,macartney's embassy in #agic2 and following this is an admirable and delicate ink-landscape by an eighteenth-century painter4 ,the importance of a picture by ,ku ,k#8ai-chih will be realized when we consider that of the art of the ,t#8ang dynasty 7#fjj to #ijj ,a4,d47 hardly a vestige remains1 while relics of the later ,sung period are extremely rare4 ,nothing so ancient exists in ,japan1 the country where for a thousand years the early paintings of ,china have been collected with ardour and preserved with veneration4 ,a full account of this and some other important examples of ,chinese painting will shortly be given in this magazine4 ,l4 ,b4 ,,note ,,on ,,the ,,life ,,of ,,bernard ,,van ,,orley ,bernard van ,orley is generally said to have been the second son--third child--of ,valentine van ,orley by his first wife1 ,margaret van ,pynbroeck1 whom he married ,may #ac1 #adij4 ,he is further stated to have left ,brussels in #aeji for ,rome1 and to have studied in the school of ,raphael1 becoming a great favourite with his master4 ,it seems impossible to reconcile these statements with certain facts which are established beyond doubt by authentic documents4 ,in #aead ,bernard was settled as a master-painter at ,brussels1 and had already gained a certain reputation1 for the confraternity of the ,holy ,cross at ,furnes in #aeae sent a delegate to ,brussels to ask him to furnish a design for the altar-piece of their chapel4 ,bernard must therefore have at that time attained the age of #cj1hb which would put back the date of his birth to #adhd-e4 ,and unless there is some error in the date--,may #d1 #aejd--of the procuration published by ,a4 ,wauters 7#8,bernard van ,orley1' ,bruxelles1 #ahha1 p4 #gj71 his birth must have taken place before ,may #adgi1 as no minor could give a procuration or power of attorney to another to dispose of property4 ,children at that time only attained their majority at the age of #be4 ,if born in #adgi ,bernard may well have become a free master or gone to ,rome in #aeji4 ,i suspect that he was not the son of ,valentine and ,margaret van ,pynbroeck1 but of some other ,valentine1 perhaps the uncle4 ,i know of no document giving the name of his mother4 ,w4 ,h4 ,james ,weale4 ,,the ,,collection ,,of ,,pictures ,,of ,,the ,,earl ,,of ,,normanton1 ,,at ,,somerley1 ,,hampshire ,,written ,,by ,,max ,,roldit ,,article ,i4--,,pictures ,,by ,,sir ,,joshua ,,reynolds ,in almost every corner of these islands there is to be found hidden away amongst the trees or proudly standing on the summit of a hill one of those imposing ancestral homesteads which the ,british aristocracy have erected at various times ever since the ,norman conquest4 ,from the feudal castle of gothic architecture to the modern mansion replete with every comfort and household invention of the nineteenth century every style is represented4 ,these buildings are geographical landmarks in the country1 and nearly all are also landmarks in the artistic topography of ,great ,britain4 ,succeeding generations of owners have accumulated treasures which1 severely guarded by family settlements1 can only be dislodged under special conditions4 ,in not a few instances the ancient furniture thus preserved1 the objects of art and especially the pictures1 the latter usually grouped round a nucleus of family portraits of successive periods1 would rival many a public collection for the perfection of the examples1 their artistic and monetary worth1 and even their actual number4 ,the more therefore is it to be regretted that they are so rarely accessible to the artist1 the student1 the public at large4 ,a small percentage is1 it is true1 to be seen at the admirable loan exhibitions organized yearly at ,burlington ,house and the ,guildhall1 and also from time to time in galleries governed by private enterprise2 but these artistic feasts are all too rare1 and even were the owners of fine works of art always willing to lend their property1 which is not invariably the case1 it would be impossible for all the objects worthy of being shown to pass in this way before the gaze of a single generation4 ,many are the masterpieces in this country which have not moved from their resting place for scores of years and which are1 except to a privileged few1 as completely unknown and invisible as the immensely distant stars which astronomers contemplate through their most powerful lens4 ,the collection of pictures at ,somerley1 the ,earl of ,normanton's beautiful seat near ,ringwood in ,hampshire1 is one of those of whose very existence only a small minority is aware4 ,the mansion1 of late ,georgian style1 stands on the banks of the ,avon in the midst of a park and estate extending over #i1jjj acres1 and is visited by only a small number of persons annually besides ,lord ,normanton's immediate entourage4 ,with a very few exceptions1 the entire collection was formed between the years #ahbj and #ahfh by ,welbore ,ellis1 second ,earl of ,normanton1 and grandfather of the present peer4 ,born in #aggh1 he succeeded to the title in #ahji1 married ,diana1 eldest daughter of the eleventh ,earl of ,pembroke1 in #ahaf1 and died in his ninetieth year in #ahfh1 leaving as a record of his taste and artistic knowledge the wonderful gallery of paintings which is the subject of this study4 ,the collection is composed chiefly of pictures of the eighteenth-century ,english school1 including works by ,reynolds1 ,gainsborough1 ,hogarth1 ,hoppner1 ,romney1 ,lawrence1 ,morland1 ,bonington1 ,nasmyth and ,crome2 it contains also pictures by some ,flemish and ,dutch masters of the seventeenth century1 ,rubens1 ,van ,dyck and ,teniers1 ,paul ,potter1 ,van de ,capelle1 ,aart van der ,neer1 ,wouwerman and ,willem van de ,velde2 ,guardi and ,canaletto represent the ,italian2 ,murillo represents the ,spanish school2 whilst ,greuze is the only ,french artist who has found a place at ,somerley4 ,the most striking feature of the collection is to be found in the predominance of works by ,sir ,joshua ,reynolds1 evidently the favourite painter of the second ,lord ,normanton1 who acquired no fewer than twenty-six examples from his brush4 ,for the sake of clearness and convenience1 a description of the ,normanton collection may be divided into three sections1 namely3-- ,i4 ,the works by ,sir ,joshua ,reynolds4 ,,ii4 ,the works by ,british painters other than ,sir ,joshua ,reynolds4 ,,iii4 ,the works by painters of the foreign schools4 ,illustration3 ,,miss ,,murray1 ,,of ,,kirkcudbright1 ,,by ,,sir ,,joshua ,,reynolds2 ,,in ,,the ,,collection ,,of ,,the ,,earl ,,of ,,normanton4 ,illustration3 ,,charity ,,faith ,,hope ,,the ,,three ,,theological ,,virtues2 ,,from ,,the ,,paintings ,,by ,,sir ,,joshua ,,reynolds ,,for ,,the ,,window ,,at ,,new ,,college1 ,,oxford2 ,,in ,,the ,,collection ,,of ,,the ,,earl ,,of ,,normanton ,the group of paintings by ,sir ,joshua ,reynolds is unparalleled in any other collection public or private all the world over2 both by the number and the excellence of the examples1 it is absolutely unique1 and it would be well-nigh impossible at the present day for even a multi-millionaire to bring together a rival gathering of this one painter's productions4 ,all through his career as a collector1 ,lord ,normanton continued to acquire examples of ,sir ,joshua's work1 but his most important single purchase was made as early as #ahba at the sale of the pictures of the ,marchioness of ,thomond1 held at ,christie's on ,may #ah and #ai of that year4 ,the ,marchioness of ,thomond was no other than ,mary ,palmer1 daughter of ,sir ,joshua's elder sister1 and sister to pretty #8,offy' ,palmer1 afterwards ,mrs4 ,gwatkin1 whom her uncle so often used as a model for his fancy pictures1 notably for the ,strawberry ,girl4 ,when ,sir ,joshua died in #agib1 he left the bulk of his property to his niece1 ,mary ,palmer2 she inherited nearly #ajj1jjj besides a number of pictures and other works of art2 the same year she married the fifth ,earl of ,inchiquin1 subsequently created ,marquess of ,thomond4 ,after her death in #ahba1 her pictures were sold at ,christie's1 and that occasion may be said to mark the foundation of the ,normanton collection4 ,lady ,thomond's sale included1 besides many works by old masters1 a large number of pictures and sketches by her illustrious uncle2 and here ,lord ,normanton secured for less than #c1jjj the wonderful series of seven decorative panels which have ever remained the chief ornament of his collection1 and for which in recent years fabulous sums have been offered and refused4 ,they represent the three theological virtues1 ,faith1 ,hope1 and ,charity1 and the four cardinal virtues1 ,temperance1 ,prudence1 ,justice1 and ,fortitude4 ,they are the original designs executed by ,sir ,joshua ,reynolds for the window at ,new ,college1 ,oxford1 and afterwards copied on glass by ,jarvis4 ,ever since his school days at ,westminster1 ,lord ,normanton had known and admired these pictures at ,lady ,thomond's4 ,on the day of the sale1 in answer to a suggestion of the auctioneer that the entire set should be sold together1 the company present1 which included the ,dukes of ,devonshire and ,northumberland1 ,lords ,egremont1 ,grosvenor1 ,bridgewater1 ,fitzwilliam1 ,dudley and ,ward1 and ,harewood1 ,sir ,charles ,long on behalf of the king1 and many other well-known picture buyers1 decided that the ,virtues should be offered separately4 ,the ,charity was put up first1 and its purchase at #a1ajj guineas by ,lord ,normanton1 then a young man1 created no small sensation4 ,lord ,dudley and ,ward eagerly competed for the ,fortitude1 for which his mother had sat to ,sir ,joshua1 but that as well as the other six succumbed to ,lord ,normanton's bidding4 ,seven years later an offer of twice the purchase price was made for them on behalf of the king1 and again some few years afterwards the ,national ,gallery tried in vain to tempt ,lord ,normanton with three times the original sum4 ,as to the designs themselves1 it had been the painter's original intention to make them drawings or cartoons2 but he soon found it would be easier for him to paint them in oils1 so long had he been used to the brush and the palette4 #8,jarvis1 the painter on glass1' he said1 #8will have a better original to copy1 and ,i suppose persons hereafter may be found to purchase my paintings4' ,in this he was1 however1 disappointed1 since the ,virtues were still in his possession at his death4 ,in a letter written about #aggh1 ,sir ,joshua details the general plan for the ,oxford window4 #8,supposing this scheme to take place1 my idea is to paint1 in the great space in the centre1 ,christ in the ,manger1 on the principle that ,correggio has done it1 in the famous picture called the ,notte2 making all the light proceed from ,christ4 ,these tricks of the art1 as they may be called1 seem to be more properly adapted to glass-painting than any other kind4 ,this middle space will be filled with the ,virgin1 ,christ1 ,joseph and angels2 the two smaller spaces on each side ,i shall fill with the shepherds coming to worship2 and the seven divisions below with the figures of ,faith1 ,hope1 ,charity and the four cardinal virtues2 which will make a proper rustic base or foundation for the support of the ,christian ,religion4444' ,the large central picture of the ,nativity1 measuring ten feet by eighteen1 was sold by the artist to the ,duke of ,rutland for the then unprecedented price of #a1bjj guineas4 ,it was unfortunately destroyed in the fire at ,belvoir in #ahaf4 ,a powerful sketch of this subject on a small scale is1 however1 to be found at ,somerley4 ,the seven ,virtues1 which now hang side by side in the magnificent gallery built by the second ,earl of ,normanton1 each measure #f ft4 #aa in4 in height by #b ft4 #i in4 in width1 except the central panel1 ,faith1 which is taller and narrower than the others1 namely1 #h ft4 by #b ft4 #e in4 ,charity is represented by a group of a woman clasping three children in her protecting arms1 whilst all the rest contain but a single allegorical figure1 with the special attributes consecrated by tradition4 ,the most noteworthy feature of the entire series1 and that which first strikes the onlooker1 is its thoroughly and unmistakably ,english character4 ,no straining after classicism1 no copying or imitation of the ,italians are to be found in this the most successful work of decoration ever painted by a ,british artist4 ,in the ,nativity1 ,reynolds was accused of a too servile imitation of ,correggio1 but certainly no such reproach can apply to the seven ,virtues4 ,in the conception or the execution1 in the drawing or the colour1 in the types of his models or the arrangement of the draperies1 nowhere is a trace discernible of any foreign element4 ,reynolds represented the ,virtues under the features of the lovely and refined ,english ladies whom he was accustomed to paint2 the draperies in which they are clothed are dresses of the eighteenth century1 simplified no doubt1 and chastened1 but sometimes scarcely altered1 as in the case of ,temperance and ,prudence4 ,he thus avoided the cold conventionality usually so apparent in allegorical paintings1 whilst losing nothing in dignity or impressiveness2 if one misses the spiritual elevation of the ,italians1 there is a corresponding gain in humanity1 and that indefinable quality1 charm4 ,illustration3 ,,temperance ,,prudence ,,two ,,of ,,the ,,cardinal ,,virtues ,,from ,,sir ,,joshua ,,reynolds',s ,,paintings ,,for ,,the ,,window ,,at ,,new ,,college1 ,,oxford1 ,,in ,,the ,,collection ,,of ,,the ,,earl ,,of ,,normanton ,illustration3 ,,fortitude ,,justice ,,two ,,of ,,the ,,cardinal ,,virtues2 ,,from ,,the ,,paintings ,,by ,,sir ,,joshua ,,reynolds ,,for ,,the ,,window ,,at ,,new ,,college1 ,,oxford2 ,,in ,,the ,,collection ,,of ,,the ,,earl ,,of ,,normanton ,faith is represented by the figure of a girl with a face of exquisite innocence and sweetness1 expressive also of deep suffering and infinite resignation4 ,her plain white pilgrim's robe is partly covered by a loose brown drapery falling around her in simple heavy folds2 with her left hand she holds a tall wooden cross1 the upper part of which is strongly outlined against the divine illumination which brightens the clouds above her2 her right hand is uplifted towards heaven in an attitude of invocation4 ,hope is the least successful panel of the series4 ,clad in dull green draperies with a brown scarf flowing from her shoulders1 she stands in a somewhat awkward position1 her hands uplifted and her face averted towards the light which pours upon her through the clouds4 ,charity can1 on the contrary1 rank with the finest of ,sir ,joshua's pictures2 his model in this instance was ,mrs4 ,sheridan1 the lovely wife of the author of #8,school for ,scandal1' who had also sat to him for the figure of the ,virgin in the ,nativity4 ,on her breast nestles a half-naked infant whom she lovingly supports with her left hand1 whilst with the other she clasps in a close embrace two more children1 a young girl and a curly-headed boy1 who have run to her for protection2 with an expression of rare tenderness and pity she gazes down upon her little charges4 ,this picture is painted with exceptional power2 the contrasts of light and shade are rendered with a perfection almost reminiscent of ,rembrandt1 whilst the composition is both strong and graceful4 ,the two beautiful young women in whom ,reynolds has impersonated ,temperance and ,prudence are clothed in white dresses of eighteenth-century design1 bordered in the case of the second with a narrow gold braid4 ,mrs4 ,elizabeth ,palmer1 wife of the artist's nephew1 the ,dean of ,cashel1 was the model for ,prudence2 she gazes thoughtfully into a mirror which she holds in her right hand2 in the left she has an arrow round which an adder is entwined4 ,temperance is pouring water from a golden jug into a golden cup4 ,in the two last panels1 the figures stand full face to the spectator2 the features of ,justice are shaded by the balance which she raises to the level of her head2 her loose robe1 held by a girdle at the waist1 is rose-coloured1 and her right hand rests on the hilt of a naked sword4 ,fortitude 7,lady ,dudley and ,ward7 is the traditional figure of ,britannia1 a plumed helmet upon her noble head1 a small golden breast-plate decorating her white robe1 around which a dark red mantle is draped2 the head of the watchful lion crouching at her feet is shown in the right-hand corner4 ,several other works by ,sir ,joshua were acquired by ,lord ,normanton besides the seven ,virtues at ,lady ,thomond's sale1 including the expressive half-length portrait of himself1 painted in #agfi1 in his robes of president of the ,royal ,academy1 his right hand resting on a book4 ,the delightful portrait of ,elizabeth1 daughter of ,sir ,joshua's friend ,topham ,beauclerk and his beautiful wife ,lady ,diana1 represented as ,spenser's ,una with the lion crouching at her side1 came from the same source and cost only thirty-seven guineas4 ,elizabeth ,beauclerk married in #aghg the ,earl of ,pembroke and was the mother of ,diana1 ,lady ,normanton1 wife of the collector4 ,sir ,joshua painted her about the year #aggh and showed her in a perfectly simple white frock1 childishly sitting on her heels upon the ground4 ,her hair falls loosely over her shoulders and her expression is one of thoughtful innocence4 ,the foliage and landscape behind her are treated with great breadth and power2 the more delicate parts of the picture1 such as the face and hands1 are on the contrary very smoothly painted2 the marked difference in texture is explained by the fact that at this period ,sir ,joshua used a mixture of wax and ,venice turpentine as a vehicle for the heads1 and wax alone for other portions of his pictures where he wished to produce thicker impastos4 ,the picture described in ,lady ,thomond's catalogue as ,a ,girl seated on her heels embracing a favourite ,kitten1 for which ,lord ,normanton gave #bie guineas1 is one of several of the same delightful subject done by ,sir ,joshua and usually known as ,felina4 ,it was painted in #aghg1 and although ,offy ,palmer was by that time a grown-up young woman1 it is her features when a child which her uncle has once more used4 ,witty and graceful1 this picture bears witness to ,sir ,joshua's supremacy as a limner of children4 ,no one more than he succeeded in reproducing their quaint and charmingly awkward attitudes1 and it would be difficult to find even in his works anything more delicious than this little dark-eyed damsel fondling her unhappy pet almost to the point of suffocation4 ,the face is painted with great delicacy and a clearness of complexion unusual in ,sir ,joshua's pictures2 the background of foliage is unfortunately severely cracked1 owing to an excessive use of treacherous bitumen4 ,miss ,falconer 7afterwards the ,hon4 ,mrs4 ,stanhope7 as ,contemplation was also included in the ,marchioness of ,thomond's collection1 but was not bought at her sale by ,lord ,normanton4 ,it was knocked down on that occasion for #ajj guineas to a dealer1 from whom it passed into the possession of ,mr4 ,john ,allnutt1 of ,clapham ,common1 and it was only many years later that it was transferred into the ,somerley collection of which it now forms part4 ,the beautiful lady whom the painter has here represented1 in a moonlit landscape1 seated on a bank in a pensive attitude1 was a well-known figure in the society of her day1 where her high spirits and light-hearted gaiety made her a general favourite2 the appearance of this portrait1 so contrary to her character1 excited no little comment at the time4 ,in charm of expression and unaffected grace of pose this portrait is a truly delightful production4 ,an interesting fact concerning it is that it is one of the few portraits by ,reynolds painted on a panel2 the artist1 who1 as is well known1 was for ever making new experiments in the mediums he employed1 selected on this occasion an old ,japanese panel1 and the reverse of the picture is to this day decorated with a still-life in bold relief1 brilliant in colouring and of no mean artistic merit4 ,in three life-size full-length portraits of young girls which hang in ,lord ,normanton's gallery1 it is instructive to compare the artist's method of treatment of a similar subject at different periods of his career4 ,these pictures are those of ,lady ,betty ,hamilton1 painted in #ageh1 of ,miss ,murray of ,kirkcudbright1 #agfe1 and that1 some twenty years later in date1 known for lack of a better title as ,the ,little ,gardener4 ,in the first there is a richness of colour and a wealth of detail not to be found in either of the two others2 the influence of ,reynolds's master1 ,hudson1 is still clearly discernible1 and the warmth and brilliance of the colouring must be traced to the immediate effects of the artist's recent travels in ,italy1 where the gorgeous tones of the ,venetians had filled him with a boundless admiration4 ,in the two earlier portraits there is a simple artlessness of pose in striking contrast with the affected and self-conscious attitude of ,the ,little ,gardener1 whilst the latter is far broader and more spontaneous in technique4 ,the portrait of ,lady ,betty ,hamilton1 afterwards ,countess of ,derby1 is unsurpassed by any work of ,sir ,joshua at this early period1 and it may also be counted among the best of his child portraits4 ,in a low-cut dress of plum-coloured embroidered silk1 her wide skirt reaching to the ground1 she sits on a bank in a garden2 she has a white muslin pinafore bordered with lace1 and her hands rest on her lap holding a bunch of vari-coloured flowers4 ,the flesh-tints are somewhat faded1 but the dreamy blue eyes and rosebud mouth expressive of happy childhood's ignorance of evil and suffering1 are a delight to look upon4 ,she was a daughter of the ,duke of ,hamilton1 and became the first wife of the twelfth ,earl of ,derby1 who1 after divorcing her1 married ,miss ,farren the celebrated actress4 ,in #aggg ,reynolds painted another portrait of her as ,countess of ,derby1 a whole-length which was engraved by ,william ,dickinson2 this picture has1 however1 disappeared1 probably destroyed by her husband after his divorce4 ,little ,miss ,murray of ,kirkcudbright in a plain white dress with a black silk scarf thrown over her head and shoulders and funny blue shoes1 stands in a landscape1 her hands loosely crossed in front of her4 ,by her side sits a curious woolly white dog with black spots on its face1 which has no appearance of life1 and shows how inferior in this respect ,sir ,joshua was to ,gainsborough1 who stands with ,velasquez among the greatest dog painters of the world4 ,the landscape in this picture is of quite unusual excellence1 and with the fine breezy sky forms an effective and pleasing background to the figure of the blue-eyed little ,scotch girl4 ,who was the sitter for the portrait called ,the ,little ,gardener1 it seems at the present time impossible to discover2 it shows a pretty young girl sitting dreamily on a bank at the edge of a wood2 she wears a white dress with a crimson sash1 and with her right hand she loosely holds a straw bonnet decorated with pink ribbons4 ,illustration3 ,,the ,,little ,,gardener1 ,,by ,,sir ,,joshua ,,reynolds2 ,,in ,,the ,,collection ,,of ,,the ,,earl ,,of ,,normanton ,illustration3 ,,portrait ,,of ,,george1 ,,third ,,duke ,,of ,,marlborough1 ,,by ,,sir ,,joshua ,,reynolds2 ,,in ,,the ,,collection ,,of ,,the ,,earl ,,of ,,normanton ,there is at ,somerley only one male portrait of great importance by ,sir ,joshua ,reynolds4 ,this represents ,george1 third ,duke of ,marlborough1 and is a magnificent three-quarter length portrait4 ,the duke wears a rich coat of brown embroidered silk and a mantle of crimson velvet bordered with white fur thrown over his right shoulder2 his left arm rests upon a column1 and the upper portion of the body is outlined against a beautiful sky background4 ,the pose is evidently inspired by ,van ,dyck1 and the portrait lacks none of the dignity and elegance of the older master4 ,an almost exactly similar painting is in the possession of the ,earl of ,pembroke1 in which however the duke's dark dress is replaced by one of white embroidered satin4 ,some dozen portraits of the usual half-length format 7about #cj in4 by #be in47 are contained in the ,normanton collection1 and not a few of them are of superlative quality4 ,among the most pleasing is that of the ,misses ,horneck1 as original as it is graceful in composition2 many failures have resulted from the attempt thus to group two life-size heads in so small a space1 but ,sir ,joshua has here admirably succeeded in avoiding stiffness and crowding while preserving perfect pictorial unity4 ,painted in a light key about the year #agge1 this picture is in a wonderful state of preservation1 having retained all its freshness of tone and delicacy of modelling4 ,an unfinished sketch of the same subject1 slightly larger in size1 belongs to ,sir ,henry ,bunbury1 a descendant of the elder sister's husband1 the caricaturist1 ,henry ,william ,bunbury4 ,mrs4 ,bunbury 7,catharine ,horneck71 who is seen on the right of the group1 was ,goldsmith's #8,little ,comedy1' whilst her sister ,mary1 afterwards ,mrs4 ,gwyn1 is celebrated by him as #8,the ,jessamy ,bride4' ,the excellent though slightly faded portrait of ,miss ,anne ,liddell was bought by the second ,lord ,normanton at ,christie's in ,may1 #ahfg1 at the sale of ,mr4 ,h4 ,a4 ,j4 ,munro1 of ,novar1 for #bbe guineas4 ,miss ,liddell1 who is represented in a black low-cut dress and black cloak trimmed with white fur1 holding some flowers in her right hand1 was a daughter of ,lord ,ravensworth2 she became ,duchess of ,grafton1 and after divorcing in #agfi married the ,earl of ,upper ,ossory4 ,the pair of heads of the ,earl and ,countess of ,pembroke1 painted within the last years of the artist's life1 cost ,lord ,normanton only #cj guineas in #ahbg4 ,lord and ,lady ,pembroke were the parents of ,diana1 ,lady ,normanton1 and the countess is the same lady whom ,sir ,joshua represented some years previously as ,una with the lion2 she wears her peeress's robes of crimson and ermine over a white low-necked dress1 and the earl is in uniform of red and gold4 ,it is interesting to find side by side with these examples of the end of the painter's career the picture of ,a ,boy ,reading1 which is inscribed #8#agdg1 ,ja ,reynolds pinxit ,nov4' and which is one of the earliest known works of the artist1 when he was only twenty-three years of age4 ,it is said to be a portrait of himself1 but this is by no means certain1 although the boy's features bear a certain resemblance to those of ,sir ,joshua4 ,with hair falling over his shoulders1 and arms leaning on a table1 he reads from a large book which he holds open with both hands2 four more books lie on the table beside him4 ,it is related that on seeing this picture after an interval of many years ,sir ,joshua remarked that he had made but little progress since he painted it4 ,although this observation must not be taken too literally1 there is no doubt that even at this early period he exhibited uncommon mastery of his art4 ,to an early period also1 probably between #agee and #agfj1 the portrait of ,lady ,charlotte ,johnstone1 daughter of the first ,earl of ,halifax1 and that of ,mrs4 ,russell1 daughter of ,mr4 ,flountia ,vassall1 are shown to belong by the marked attention paid to detail1 by a certain tightness of drawing1 and also by the faded flesh-tints due to ,reynolds's excessive use at this time of brilliant but unstable carmine4 ,both are painted in profile1 wearing rich dresses of similar pattern1 with pearls in their ears and round their throat4 ,probably a little later in date is the very decorative and somewhat ,french-looking portrait of ,miss ,meux 7engraved as ,miss ,muse72 she wears a ,louis ,,xv costume1 the bodice all tucks and frills1 and a flat gipsy straw hat trimmed with pink ribbons2 she has two rows of pearls round her throat1 and the muslin gimp which covers her breast is spotted with little pink rosettes4 ,this is no doubt the picture which ,lord ,normanton bought for #ace gns4 at the ,novar sale in #ahfg1 and which was then said to be a portrait of ,fanny ,reynolds 7,sir ,joshua's sister74 ,another beautiful half-length picture is that of the actress ,mrs4 ,quarrington1 as ,st4 ,agnes1 in a brown dress over which hangs a dark green mantle4 ,she holds a lamb in her arms and a palm branch in her left hand2 the pathetic face1 surrounded by her loose locks of hair1 is upturned in an attitude of prayer4 ,nor must mention be omitted of a pretty and powerful octagonal study of a little girl's head with pearls in her hair1 the shoulders covered with a light white drapery4 ,the oval portrait of ,mrs4 ,inchbald is catalogued in more than one volume of recent date as a work by ,sir ,joshua2 it is1 however1 hard and unconvincing1 and the flesh and black dress are too weakly painted not to leave a doubt in one's mind whether it is not rather the production of one of ,reynolds's pupils1 most probably ,northcote4 ,it is difficult also to admit the portrait of ,admiral ,barrington to be entirely from the master's hand2 there is a similar portrait by him in ,greenwich ,hospital1 and it is known that six replicas were made at the time in ,sir ,joshua's studio2 this is one of them1 and1 although painted under his supervision1 it is probable that his own brush took but little part in the work4 ,possibly a replica of the famous picture in the ,chamberlayne collection1 but also more probably the work of a contemporary copyist1 is the ,lady ,hamilton as a ,bacchante1 a subject rendered familiar by numerous engravings1 notably ,bartolozzi's beautiful colour-print4 ,no doubt whatever is possible in the case of ,the ,little ,archer1 the figure of a boy lying full length in a landscape2 here the methods of ,sir ,joshua are palpably imitated1 but the poor drawing and the ugly obtrusiveness of the boy's white stockings preclude any possibility of the master having in any way contributed to its painting4 ,a number of acknowledged copies of pictures by ,sir ,joshua ,reynolds are also to be found at ,somerley1 and some are not devoid of merit4 ,among the best may be mentioned ,mrs4 ,siddons as the ,tragic ,muse1 painted by the ,duchess of ,buckingham1 from the original now at ,grosvenor ,house1 of which a genuine replica hangs at ,dulwich2 also ,mrs4 ,gwyn in ,persian costume1 a good contemporary reproduction of the picture which belongs to ,mr4 ,w4 ,w4 ,astor4 ,it would be difficult to exaggerate the importance of this group of pictures by ,sir ,joshua ,reynolds2 the genius of the ,royal ,academy's first president is displayed at ,somerley in its every phase1 and each period of his career is represented by one or more works of the highest artistic value2 there1 he can be studied as it is impossible to study him elsewhere1 at the same time that a comparison can be made with masterpieces of other great ,english painters which hang in ,lord ,normanton's magnificent gallery4 ,illustration3 ,,study ,,of ,a ,,little ,,girl1 ,,by ,,sir ,,joshua ,,reynolds2 ,,in ,,the ,,collection ,,of ,,the ,,earl ,,of ,,normanton ,illustration3 ,,the ,,misses ,,horneck1 ,,by ,,sir ,,joshua ,,reynolds2 ,,in ,,the ,,collection ,,of ,,the ,,earl ,,of ,,normanton ,illustration3 ,,high ,,warp ,,tapestry1 ,,louis ,,xiv ,,visiting ,,the ,,royal ,,furniture ,,manufactory ,,at ,,the ,,gobelins1 ,,after ,,charles ,,le ,,brun4 ,,louvre ,,french ,,furniture ,,of ,,the ,,seventeenth ,,and ,,eighteenth ,,centuries#hc ,,written ,,by ,,mile ,,molinier ,,article ,,ii4--,,the ,,louis ,,xiv ,,style--7continued7 ,,the ,,gobelins ,it would certainly be unfair to consider ,louis ,,xiv and espeacially ,colbert1 from the point of view of the part played of the royal manufactory of crown furniture at the ,gobelins1 as being merely unconscious instruments4 ,there is no doubt that a formal act of will on their part entered into this creation4 ,but1 once having done this justice1 especially to ,colbert1 we are bound to remark1 if we would wish to take a sane view of events1 that an institution of this kind was1 at the moment when it was established in ,france1 the result of a series of previous efforts1 all turned in the same direction2 was the result also of a general movement of centralization which was to be one of the sources of weakness1 of the system of government adopted in ,france4 ,the founding of the academy of painting and sculpture had completed the organization of art in the great sense2 the founding of the manufactory of the ,gobelins was destined to bring about the centralization of the minor arts and to strike a blow at the old edifice of the rules of the corporations4 ,we must make no mistake3 from the artistic point of view1 the monarchy largely began the salutary work of emancipation which the ,french ,revolution was to complete1 and we may well be surprised that right-minded persons should discover a source of weakness and decadence in the modifications introduced into the life of the workshops4 ,to be logical we should have to blame the monarchy itself1 which1 nearly #aej years before the ,revolution1 began1 by a devious course it is true1 to take away all force from restrictive laws1 from rules and regulations which already seemed out of date at the end of the middle ages4 ,it will be seen that1 though the complete abolition of the rules of the corporations did1 in certain cases1 become a cause of confusion1 we should do wrong to look upon it as the sole cause of the degeneration in artistic feeling in the minor arts at the commencement of the nineteenth century4 ,the suppression of the corporations under the ,revolution was as inevitable an event as was under ,louis ,,xiv the establishment of official artistic workshops4 ,the whole lay in the manner of setting to work to decree those two measures4 ,to second his views1 ,colbert was fortunate enough to have at hand an exceptional man1 one who was at the same time an organizer and an artist1 two qualities rarely united in one and the same brain2 and he also had the good sense to select him in spite of appearances4 ,he did more1 for after selecting him he left him the most complete liberty4 ,and yet ,charles ,le ,brun might have passed as suspect in the minds of both the king and ,colbert4 ,born in ,paris on ,february #bd1 #afai1 ,charles ,le ,brun was the son of ,nicholas ,le ,brun1 a sculptor4 ,his first masters were ,perrier1 a ,burgundian painter1 and ,simon ,vouet2 and it was doubtless through ,vouet's intermediary that he became acquainted with the ,chancellor ,sguier1 in whom he was later to find a firm friend and a constant protector4 ,some works executed for the ,cardinal de ,richelieu earned for him the title of painter to the king in #afch4 ,in #afdb1 he accompanied ,nicolas ,poussin to ,rome and was admitted as a master-painter into the corporation4 ,he returned to ,paris in #afdf1 received the title of valet de chambre to the king1 and married ,suzanne ,butay1 a painter's daughter4 ,a law-suit between the wardens of the ,gild of ,painters and the king's painters1 the so-called #8patent painters1' suddenly made ,le ,brun conspicuous1 and1 after the favourable decision pronounced by the parliament1 with the support of ,sguier he contributed not a little towards the definite foundation of the academy of painting 7#afdh74 ,but1 while fighting strenuously for the principles of his art1 ,le ,brun neglected no opportunity of practising it1 and executed for a number of ,paris mansions a series of large decorative compositions1 for which he had acquired the taste in ,italy4 ,the houses of ,bertrand de la ,bazinire1 treasurer of the pargne2 of ,marshal d',aumont2 of the ,chevalier de ,jars2 of ,inselin1 treasurer of the ,chambre aux ,deniers2 of ,lambert de ,thorigny1 president of the ,chambre des ,comptes1 were decorated by him in turns4 ,in the last of these mansions he painted the ,galerie d',hercule1 which still exists1 and the sight of which eventually determined the ,superintendent ,fouquet to send for ,le ,brun to ,vaux 7#afeg74 ,here1 in the sumptuous residence of ,vaux1 of which ,fouquet was to have the enjoyment for so short a while1 ,le ,brun displayed his full powers4 ,he not only painted or designed such compositions as the ,apothose d',hercule1 the ,triomphe de la ,fidlit1 ,l',aurore1 ,le ,sommeil1 the ,palais du ,soleil1 but he also directed the sculptors1 ornament workers and silversmiths1 the tapestry workers and embroiderers1 and managed the manufactory of high-warp tapestry established by ,fouquet at ,maincy4 ,he supplied so large a number of models and cartoons for tapestry1 that many of his compositions could be executed only much later at the manufactory of the ,gobelins2 the ,chasses de ,mlagre1 ,mars et ,venus1 ,jupiter allait par la chvre ,amalthe1 five pieces representing the history of ,constantine1 the ,muses1 all bear witness to the prodigious fertility of an artist who1 like the great ,italians of the ,renaissance1 was lavish in production while developing his admirable administrative qualities4 ,if these gigantic works at the ,chteau de ,vaux had not succeeded in earning for him the esteem of ,mazarin and of the queen-mother1 ,anne of ,austria1 and also in drawing the attention of the king 7for ,le ,brun was the organizer of the great ftes given by the ,superintendent in #afei71 it might have happened that our artist would have incurred the same disgrace as his patron4 ,very fortunately this was not so2 for once talent was able to silence envy1 and ,le ,brun was admirably served by circumstances4 ,in #affj1 the king ordered a large picture of him1 ,alexandre pntrant dans la tente de ,darius1 and the city of ,paris instructed him to erect a triumphal arch on the ,place ,dauphine for the entry into ,paris of ,louis ,,xiv and his queen1 ,maria ,theresa4 ,in #affa he entered into relations with ,colbert2 in #affb he received the much-coveted title of #8first painter to the king4' ,we see1 therefore1 that his connexion with ,fouquet--and it does not seem that ,le ,brun was ever placed in the painful situation of having to deny the man who had enabled him to make his mark--so far from harming him1 had1 on the contrary1 done him good service4 ,perhaps the king1 at the same time that ,colbert began to suspect his exceptional powers as an organizer and administrator1 recognized in ,le ,brun one of those men who were to be so useful to his thirst for stately glory and royal pomp4 ,illustration3 ,,gobelin ,,tapestry1 ,,psyche',s ,,bath1 ,,by ,,le ,,lorrain2 ,,end ,,of ,,louis ,,xiv2 ,,in ,,the ,,louvre ,illustration3 ,,section ,,of ,,the ,,border ,,of ,,the ,,same ,,tapestry ,illustration3 ,a ,,marquetry ,,bureau ,,by ,,andr ,,charles ,,boule ,,in ,,the ,,palace ,,of ,,fontainebleau ,illustration3 ,a ,,book ,,case ,,by ,,andr ,,charles ,,boule ,one last circumstance enabled ,le ,brun to make himself absolutely indispensable to the king's glory4 ,on ,february #f1 #affa1 the first floor of the small gallery of the ,louvre was almost totally destroyed by fire4 ,our artist was commissioned to renew its decoration2 he made of this a monument to the glory of ,apollo1 the god of the sun1 a delicate attention which enabled him to indulge in more or less delicate allusions with his brush to the king himself4 ,all the works--which1 for that matter1 were never finished under ,louis ,,xiv3 the works at the other royal residences1 and particularly at ,versailles1 thrust the ,galerie d',apollon into the background--were directed solely by ,le ,brun3 he got together a little army of sculptors and decorators1 among whom we recall the names of ,gaspard and ,balthazar de ,marsy1 ,franois ,girardon1 ,thomas ,regnauldin1 ,monnoyer1 the brothers ,lemoyne and ,ballin1 whose fortunes were thenceforth closely linked with those of the first painter to the king4 ,the letters patent of ,louis ,,xiv instituting the #8royal manufactory of crown furniture' are dated ,november #affg1 but they sanction a state of things that existed as far back as #affc4 ,i shall analyse briefly this deed of foundation1 most of whose dispositions it is very important for us to know1 showing as they do how the machinery of administration was capable of being simplified in the seventeenth century4 ,let me here remind my readers that the name of #8,gobelins1' which to-day serves to designate the tapestries issuing from the famous manufactory1 dates back to the fifteenth century4 ,at that time a dyer called ,jean ,gobelin1 a native of ,rheims1 settled on the banks of the little river ,bivre4 ,his trade prospered so well that his name was given to his house and workshop1 near to which came to live ,marc de ,comano and ,franois de la ,planche1 the ,flemish upholsterers installed in ,paris by ,henry ,,iv4 ,in #affb ,colbert joined the old house of the ,gobelins to the workshops of the descendants of ,comano and ,la ,planche2 and on these premises was installed the new manufactory which was destined to perpetuate the memory of the name of the humble dyer of the fifteenth century4 7,to be continued47 ,,the ,,exhibition ,,of ,,greek ,,art ,,at ,,the ,,burlington ,,fine ,,arts ,,club ,,written ,,by ,,cecil ,,smith #8,every man of taste will congratulate himself that ,england is the seat and the refuge of the arts2 and that so many genuine remains of ancient sculpture are present in our cabinets4' ,so wrote ,james ,dallaway at the beginning of last century1 and1 although some may think that the arts have now somewhat altered their habits1 there is no doubt that this country still remains pre-eminent in the wealth of its private collections of ,greek antiquities4 ,if proof were needed1 this admirable little collection would afford it4 ,when the scheme was first mooted of a ,greek exhibition at the ,burlington ,club1 a moderate scepticism was not altogether unnatural4 ,the former attempt in #ahhh had not been exactly an enthusiastic success1 and somehow the club itself appeared to be a somewhat stern soil for so tender a plant4 ,a society of dilettanti1 with grave and reverend opinions upon every conceivable form of bigotry and virtue1 might be expected either to adopt an attitude of cold aloofness or to overlay its offspring with excessive and even 7may one whisper it87 injudicious appreciation4 ,but we never know where a blessing may light1 and1 if one may judge from the assiduous attention the exhibition has received1 not only from the sternest critics of the club1 but from the smart ladies of at least two capitals1 a new era has dawned for ,greek art2 if it only lasts long enough1 intrepid explorers will be found invading ,bloomsbury1 and the ,british ,museum will cease to offer cool solitudes for the peaceful reflection of the philosopher and student4 ,for the general public who have little time or inclination for long museum galleries1 this sort of exhibition has much to recommend it2 the intelligent public likes to have its culture prescribed for it in tabloid form--a small dose1 unmistakably potent1 which can be easily digested between meals4 ,to this form of requirement the ,burlington ,club is admirably adapted3 a single room1 with just enough space for arranging a few good things4 ,mrs4 ,strong and her committee are so much to be congratulated that it seems ungracious to grumble2 but personally ,i should have preferred to turn out about half of the less fine objects4 ,it was difficult1 no doubt2 the susceptibilities of lenders are not lightly to be trifled with2 but ,greek art1 more than most things1 needs plenty of breathing space1 and the exhibition would have gained by a judicious depletion4 ,i think it was ,m4 ,piot who used to carry always in his waistcoat pocket a few of the choicest ,greek coins 7those being the most portable forms of the best art71 as he said1 #8to correct his eye'2 that was undoubtedly a true instinct4 ,when all is said and done1 ,greek art will always serve as an admirable corrective--within its limits of course1 for painting is obviously excluded--and that is at least some comfort in these impressionist days1 when new creeds lie about like leaves in ,vallombrosa4 ,i overheard one day a visitor to this exhibition angrily resenting the suggestion that ,greek art at its best could be compared for a moment with the master works of the middle ages4 ,it is a large question1 which there is no space here to argue1 only ,i do not think it is so easily dismissed as the hasty critic supposed4 ,i should even be prepared to stand by some of the objects here exhibited4 ,after all1 it is in many cases the same plant growing up under differing conditions of time and circumstance4 ,some day perhaps the club may be persuaded to try the experiment of showing side by side some of the finest parallel achievements of antiquity and the three centuries of mediaeval ,europe4 ,illustration3 ,,plate ,i ,,fragment ,,of ,,the ,,frieze ,,of ,,the ,,parthenon1 ,,belonging ,,to ,,mr ,t4 ,d4 ,,botterell ,illustration3 ,,plate ,,ii ,,bust ,,of ,,aphrodite1 ,,probably ,,by ,,praxiteles2 ,,in ,,the ,,collection ,,of ,,the ,,lord ,,leconfield ,illustration3 ,,plate ,,iii ,,head ,,of ,a ,,mourning ,,woman1 ,,belonging ,,to ,,mr4 ,,claude ,,ponsonby ,,head ,,of ,a ,,youth1 ,,belonging ,,to ,,sir ,,edgar ,,vincent1 ,k4,c4,m4,g41 ,m4,p4 ,and ,i am not sure that the plan might not be adopted with advantage in museums1 of having a small room1 like the tribuna at ,florence for instance1 with a florilegium of the best things of all dates2 it would be both physically and mentally a boon to many a weary wayfarer4 ,the most obvious point of comparison with the classical is the work of the classicists of north-east ,italy1 who1 already at the end of the trecento1 were beginning a formal but intelligent study of the antique4 ,it would be instructive to see works of ,donatello and ,john of ,bologna side by side with their ,greek counterparts2 a ,syracusan decadrachm of ,kimon or ,euainetos beside a medal of ,pisanello or ,sperandio4 ,one bronze in the ,burlington ,club especially seems to challenge this comparison--the big mounted warrior 7,no4 #ec71 which at first sight suggests a kind of glorified gothic aquamanile4 ,a reviewer in the ,athenaeum points out the #8research for elegance which already characterizes this figure1' and which he considers to mark the essential difference between the ,greeks and their successors4 #8,whereas the ,greek1' he says1 #8feels most keenly the planes1 to the northern and ,italian artists it is the ridges that count4' ,this seems to me to be a plausible generalization from imperfectly perceived facts4 ,the world-old contrast of the ideal and the real naturally went on in ,greek art as it has gone on in every other art2 but less among the ,greeks1 because for most of their history they steadily withstood realism2 they believed and acted upon ,shakespeare's #8,nature is made better by no mean1 but nature makes that mean4' ,at a late period realism became too strong for them1 and the ,pergamene school was the beginning of the end4 ,surely the broad contrasting of planes is not the characteristic of a race1 but of a stage of development4 ,obviously the sculptor in marble or wood is bound to set out by blocking out his figure in broad planes3 relative development shows itself in the amount of skill which the artist exhibits in graduating and refining these planes into each other4 ,early ,greek art shows this particularly1 because it derived largely from ,egyptian traditions1 and was long in breaking loose from set canons4 ,but it is none the less true of all sculpture in which an historical development can be traced4 ,the history of ,italian sculpture down to ,michael ,angelo is so much under classical influence that its evolution may almost be said to be an index of its information regarding ,greek art4 ,michael ,angelo unfortunately corresponds to the ,pergamene stage4 ,already1 before his day1 the great ,italian medallists had shown in their medal work what is probably1 outside of classical times1 the nearest approach to the best ,greek relief1 and they worked largely on ,greek lines4 ,it is not by coincidence alone that the helmeted knight on the well-known medal of ,ludovico ,gonzaga naturally suggests an analogy to the bronze now exhibited4 ,in both cases the simple effect is attained by a judicious elimination1 by contrasted planes1 and by a skilful co-ordination into an harmonious whole4 ,this bronze is said to have been found at ,grumentum1 in ,lucania1 a city which1 as its name and its geographical position show1 was never a ,greek colony1 though latterly a town of some importance4 ,probably it found its way there in the course of ,corinthian traffic3 the long-bodied horse1 the unusual subject of a helmeted horseman1 the treatment of mane and tail1 are all characteristic rather of the ,corinthian art of the sixth century ,b4,c42 and we know how active the ,corinthian colonists were at that period in south ,italy4 ,the same characteristic treatment is seen in the splendid bronze head from ,chatsworth 7,no4 #h74 ,it is an ,apollo rather over life size1 belonging to that interesting transitional stage which immediately precedes the ,parthenon4 ,in this case1 however1 the archaism is partly conscious2 the artist realizes the maxim peu de moyens1 beaucoup d'effet1 and uses it to advantage4 ,the type chosen is that of a strong virile athlete1 with hair still long1 but just budding into manhood1 the 7#8bully boy'71 as ,furtwngler points out1 of an epigram on a contemporary statue of him by ,onatas4 ,what a contrast this to the soft and dreamy ,sauroktonos of the succeeding century3 with its almost architectural symmetry1 its vigorous subordination of all search for detail to general effect1 and its mathematical balance of large lines and large planes1 it seems to stand as a visible protest against weakness and effeminacy4 ,as ,emerson puts it1 this one head might be the indemnification for populations of pygmies or weaklings4 ,the step from this to the ,parthenon is short in point of years1 but is artistically an interval which is strongly defined1 for within its limit ,greek sculpture has entered into its birthright4 ,this stage is nobly represented in the exhibition by the fragment from a slab of the north frieze of the ,parthenon1 reproduced in ,plate ,i4 ,broken away probably at the time of the ,venetian bombardment1 it seems to have been acquired in ,athens by ,stuart1 who sent it to ,smyrna2 a few years ago it was dug up beside a rockery in a garden in ,essex2 what its movements were between ,smyrna and ,essex is matter for conjecture4 ,a former owner of the ,essex property was a ,mr4 ,astle1 who was a trustee of the ,british ,museum1 and may be supposed to have had an interest in antiquities3 habent sua fata1 these flotsam relics of antiquity3 this is not the only marble in the exhibition which has been excavated on ,english soil4 ,the head 7,no4 #bd71 which early in the seventeenth century belonged to the famous ,arundel collection1 was recently dug up by a navvy in ,london close to the ,temple1 on the site that was once part of the ,arundel house garden4 ,the surface of the ,parthenon fragment has suffered1 of course1 but not so grievously as might be expected4 ,it gives the head of one of the mounted knights of the north frieze1 and the horse's head of the figure immediately following him4 ,the youth is from northern ,greece1 probably from one of the ,thracian colonies of ,athens1 as his ,thracian headdress of foxskin 7the alopeke7 shows4 ,that his horse is in movement even the fragment makes clear by the light tresses of hair blown backward beneath his cap1 of which the heavy tail is itself curved outward by the motion2 but his eyes are intently set on his forward path1 and the firm and straight yet supple poise of neck and torso bespeak his #8magic horsemanship4' ,the figure behind him 7preserved in the ,british ,museum71 a squadron commander or marshal1 turns partly round in his seat1 checking his horse1 apparently to give an order to his section2 with the suddenness of the action the horse's mouth is wrenched open and his head thrown back1 the plaited forelock swings upward1 and every muscle is tense2 the motive is a subtle variation on the theme represented by the splendid horse's head of ,selene or ,night in the eastern pediment1 but with this principal difference1 that while this horse is answering to its rider's curb1 the ,selene horse is probably starting back of its own accord1 in alarm at taking the downward plunge4 ,now that this beautiful fragment has found its way to ,london1 is it too much to hope that it may make one more journey--and that its last--to ,bloomsbury1 and rejoin the slab to which it fits8 ,illustration3 ,,plate ,,iv--,,bronzes ,,small ,,bronzes3 ,,handle ,,of ,,amphora ,,belonging ,,to ,,mr4 ,,wyndham ,,cook2 ,,mask ,,of ,,sea ,,deity ,,belonging ,,to ,,mr4 ,,george ,,salting2 ,,plaque ,,belonging ,,to ,,mr4 ,h ,,wallis ,,aphrodite ,,with ,,torch1 ,,belonging ,,to ,,mr4 ,j4 ,e4 ,,taylor ,,sick ,,man1 ,,belonging ,,to ,,mr4 ,,wyndham ,,cook ,,seilenos ,,crouching1 ,,belonging ,,to ,,mr4 ,j4 ,e4 ,,taylor ,,nude ,,aphrodite1 ,,belonging ,,to ,,mr4 ,,charles ,,loeser ,illustration3 ,,plate ,v ,,repouss ,,mirror-,,cover2 ,,in ,,the ,,collection ,,of ,,mr4 ,j4 ,e4 ,,taylor ,from ,pheidias it is natural to turn to that other sculptor who shared with him the glory of the latter part of the fifth century4 ,polykleitos1 the leader of the ,argive school1 did for the physical ideal what ,pheidias had done for the religious4 ,his earliest recorded work1 the statue of a boy-boxer crowning himself with a wreath1 set up at ,olympia about #ddj ,b4,c41 has been identified in four different replicas1 of which one is the head belonging to ,sir ,edgar ,vincent 7,no4 #de71 shown on ,plate ,,iii4 ,the statue-base itself was found at ,olympia in #ahgg1 still bearing its dedicatory inscription1 and with marks showing that the figure was of bronze4 ,from a marble copy to a bronze original1 and that of an artist whose bronze technique was by many considered pre-eminent in antiquity1 is a far cry1 but even in this head we may see some faint reflection of the genius of ,polykleitos4 ,the curved surfaces definitely meet and intersect instead of merging almost insensibly into one another1 as happens in marble work4 ,in this respect an admirable contrast is offered by the famous head of ,aphrodite1 belonging to ,lord ,leconfield1 on ,plate ,,ii4 ,this head1 which is in the catalogue 7,no4 #bb7 boldly described as #8an original by ,praxiteles1' in acceptation of a suggestion originally due to ,payne ,knight1 and later adopted by ,furtwngler1 is undoubtedly the most beautiful ,aphrodite head in this artist's style which has come down to us4 ,a comparison of it with that of the ,olympian ,hermes and with the copies of the ,knidian ,aphrodite makes this identification at least highly probable4 ,the hair is apparently roughly finished and almost sketchy1 but offers an admirable contrast to the highly polished surface of the flesh1 and even without the colour which certainly once covered it is magically successful in its rendering of texture4 ,the high triangular forehead-space1 which gives distinction to the type and value to the setting of the eyes1 is almost identical with the forehead of the ,knidian ,aphrodite1 and also that of the ,knidian ,demeter1 a statue certainly under strong ,praxitelean influence3 the slight projection over the brows1 the so-called #8bar of ,michael ,angelo1' which is so marked a feature in the ,hermes1 is introduced here with extraordinary delicacy of effect4 ,it is no wonder that ,lucian singled out for praise in the ,aphrodite of ,praxiteles #8the beautiful line of her forehead and brow1 and her melting eye1 full of joy and of pleasure4' ,the eyes indeed are especially characteristic2 their narrow opening in proportion to the length 7yeux brids71 the slight projection of the lower lid1 which gives an indescribable softness to the shadow beneath it1 the almost imperceptible transition at the outer corner both of eye and mouth1 are all traits which belong to ,praxiteles alone4 ,the oval contour is skilfully redeemed from formality by the dimple in the chin1 just as the columnar neck is softened by the soft fold midway4 ,for beneath all the refinement1 which might easily become voluptuous1 there is withal a physical dignity of form which bespeaks the goddess1 #8che muove il sole e l' altre stelle4' ,the artist #8keeps the two vases1 one of aether and one of pigment1 at his side1 and invariably uses both4' ,in the presence of this masterpiece it is difficult to share the admiration which the catalogue bestows on the ,head of a ,girl from ,chios 7,no4 #dd74 ,the intention of the sculptor was obviously to reproduce a ,praxitelean type2 but whatever this head may once have been1 the entire surface has been so rubbed down that it now looks like a model in partly melted loaf sugar4 ,under these circumstances any close study of the details is fruitless1 but the characteristic features1 especially the mouth1 are so weakly conceived that it probably looks as pretty now1 half hidden under a #8baldacchino1' as ever it did2 its prettiness indeed seems to be its highest claim to notice4#hd ,the head belonging to ,mr4 ,claude ,ponsonby on ,plate ,,iii has lately been claimed as ,lysippean by ,m4 ,salomon ,reinach4 ,unfortunately we know very little of the characteristic treatment of the features by ,lysippos2 we know that he was essentially a worker in bronze1 that he introduced a more natural treatment of the hair and an animation of facial expression1 and that this last qualification naturally led him into portraiture4 ,the general outline of the eye cavities1 and the form and modelling of the forehead1 closely resemble those of the ,alexander portrait in the ,british ,museum2 and the rendering of the hair has a certain naturalism which is also found in the ,alexander3 moreover there is a tragic intensity in the almost haggard eyes and parted lips which1 together with the loosened tresses and the drapery covering the back of the head1 certainly mark the head as the portrait of a mourning woman4 ,further than this perhaps we cannot go2 but it is worth noting that ,tatian mentions the portrait of a woman 7the ,praxilla7 by ,lysippos1 which we may presume to have been something like this4 ,michaelis suggests that it may have belonged to #8the statue of a mourning woman which may have served as the decoration of some sepulchral monument4' ,this is probably not far from the truth2 at any rate the head seems to stand midway between the conventionalized portraits of the ,athenian stelae and the more realistic portraiture of the ,hellenistic age1 well represented in the exhibition by the busts of ,menander 7,no4 #bf7 and the presumed ,hipponax 7,no4 #bg74 ,the genre side of ,hellenistic art is well represented in the exhibition by the large bronze statuette of ,eros1 a dexterous figure of a winged laughing boy rushing forward through space with outspread wings and right foot just touching the ground2 ,mrs4 ,strong justly points to the motive as an ultimate evolution from that of the ,nike of ,samothrace1 wherein the weight of the body seems partly supported by the foot and partly by the spread wings1 which serve as a counterpoise to the structure4 ,it is quite in consonance with ,hellenistic sentiment that the love-god should be shown as the victor in the sacred torch race1 the ,lampadephoria --,eros the unconquerable1 the 1 invades the palaestra and beats the athlete at his own game4 ,when ,i first saw this charming figure 7it was in a room at the ,charing ,cross ,hotel1 on his first arrival here7 the then owner told me the circumstances of his discovery4 ,not far south of ,vesuvius the river ,sirmio finds its way to the sea2 at a spot on the ,pompeii side which probably in antiquity marked a ferry or ford1 this statuette with other things was excavated4 ,the presumption is that the hapless owner1 fleeing from the eruption with his treasure under his arm1 was overtaken here1 possibly while waiting for the ferry-boat4 ,it is a tragic little history1 all the more touching somehow on account of the subject which the figure represents4 ,in its collection of smaller bronzes the exhibition is particularly rich4 ,a small selection is here given in ,plate ,,iv4 ,the archaic period is represented by the little crouching or1 more probably1 dancing ,seilenos 7,no4 #cd71 the wild animalistic sprite of the woods1 half bearded man and half horse1 as ,ionic art depicted him2 by the amphora handle 7,no4 #ib7 in the form of a youth bent backwards below two panthers which rested on the lip of the vase2 and by the charming little ,aphrodite 7,no4 #bj7 whose formal drapery and pose1 combined with a refinement of delicate modelling1 are together characteristic of the springtime of ,greek art4 ,with her may be contrasted the tiny nude ,aphrodite 7,no4 #aa7 to which an ancient admirer has presented a necklace1 bracelet1 and anklet in gold1 probably1 as ,mrs4 ,strong suggest1 an adaptation of a famous statue by ,praxiteles4 ,on ,plate ,v is a fine example of the repouss mirror-covers which seem to have belonged exclusively to the fourth and third centuries ,b4,c4 ,the nearly full-grown ,eros with long wings is characteristic rather of the earlier stage2 otherwise the subject1 in which he assists a lady or his mother at her toilet1 is a favourite one for this class of representation4 ,an unusual form of mirror support is ,mr4 ,wallis's plaque 7,no4 #fb71 which has the design cut out jour1 as beautiful in its pale blue patina as it is in the dexterous adaptation of the composition to the space which it has to fill4 ,the owner suggests that the reclining winged boy is ,hypnos rather than ,eros2 if so1 it is an unusual rendering of the god of sleep4 ,illustration3 ,,plate ,,vi 7a7 7b7 7c7 7d7 7e7 7a7 ,,caryatid ,,figure2 7b7 ,,woman ,,leaning ,,on ,,pedestal1 ,,belonging ,,to ,,mr4 ,j4 ,e4 ,,taylor2 7c7 ,,doll1 ,,belonging ,,to ,,mrs4 ,,mitchell2 7d7 ,,woman ,,with ,a ,,fan1 ,,belonging ,,to ,,mr4 ,,james ,,knowles2 7e7 ,,the ,,young ,,dionysos1 ,,belonging ,,to ,,mr4 ,j4 ,e4 ,,taylor ,,terracottas ,illustration3 ,,plate ,,vii ,,krater ,,belonging ,,to ,,harrow ,,school 7a7 7b7 7a7 ,,kylix ,,signed ,,by ,,tleson1 ,,and 7b7 ,,plate ,,signed ,,by ,,epiktetos2 ,,in ,,the ,,collection ,,of ,,the ,,marquess ,,of ,,northampton ,the ,alexandrine period is represented on ,plate ,,iv by ,mr4 ,salting's fine mask of a sea deity 7,no4 #aac7 with inlaid eyes and marine emblems skilfully worked in1 suggestive of the grotesque masks of ,pompeian and cinquecento ,italian art2 and by ,mr4 ,wyndham ,cook's puzzling seated statuette of an emaciated man 7,no4 #ej74 ,this figure has usually been described as a pathological study1 a votive offering to ,asklepios from a sick person4 ,the careful workmanship1 however1 and the fact that it is inscribed with the name of the personage represented seem to militate against this view2 moreover the figure does not seem to represent actual suffering so much as austerity4 ,the excessive emaciation1 the pose1 and the fixed abstracted expression appear to me to indicate rather ecstasy1 the of the mystic1 the ,pythagorean anchorite who1 like the ,brahmin1 has learnt by mortification of the flesh to project his soul into the unseen4 ,we know the interest that ,alexander took in the ,indian yogins1 and that he had intended to bring one of them1 ,kalanos1 back with him to ,greece4 ,it is not improbable that other ,greeks may have taken up the idea3 and it is significant that this bronze was found at ,alexander's own city of ,pella and bears a ,macedonian name4 ,if this be so1 it adds an extraordinary and unique interest to the little bronze4 ,the group of terracotta statuettes on ,plate ,,vi are chosen as characteristic types of different forms of this charming art4 ,the little doll 7,no4 #bd7 made1 perhaps1 in imitation of a ,persephone figure1 but intended to have movable limbs1 and the ,caryatid figure 7,no4 #bf7 belong to the fifth century2 the latter is remarkable for its strongly ,pheidian character of type and drapery1 and is certainly of ,attic work nearly contemporary with the ,parthenon4 ,the young ,dionysos 7,no4 #g7 and the two girls 7,nos4 #c and #aj7 are good instances of the peculiarly modern sentiment which pervaded the art as well as the literature of the ,hellenistic age4 ,these figures are the bric--brac of antiquity2 the far-away ancestors of ,dresden1 and ,saxe1 and ,watteau1 with some of their coquetry and none of their artificiality4 ,before leaving the terracottas it is necessary to mention the large head of ,zeus 7,no4 #df7 which has been added since the exhibition opened2 ,professor ,furtwngler and ,mrs4 ,strong consider this head to be #8a ,greek work of the great period of ,pheidias4' ,it is particularly unpleasant to me to find myself differing entirely from their view2 after close and repeated examination ,i am bound to say that it seems to me to belong to a well-known class of terracottas which are now generally agreed to be of modern origin4 ,of the collection of vases there is only space here to include three typical specimens 7,plate ,,vii72 these are the kylix signed by the artist ,tleson 7,no4 #af71 with a charming drawing of two goats rearing up and butting one another above a floral ornament2 a good example of the skill with which the ,greek artist pressed into his service as pure decoration a common scene of daily life2 the plate 7,no4 #gi71 signed by ,epiktetos1 with its humorous ride-a-cock-horse subject1 the precursor of the ,parthenon horseman riding on his own fighting-cock2 and the krater from ,harrow ,school 7,no4 #dd71 with its masterly composition of the hero ,kaineus overwhelmed by the ,centaurs4 ,in its strong firm line1 and spirited composition1 which is yet kept in subordination to the decorative effect of the vase as a whole1 this work stands out instinct with the combination of strength and self-control which are the leading characteristics of the best works of ,hellenic art4 ,i have already occupied so much space that the very important series of engraved gems and coins must remain almost unnoticed1 and this is a pity because outside the great museums we are not likely ever to see such a series again assembled4 ,the beautiful drawings of ,greece by ,cockerell1 the wandering artist-scholar1 one of the great builders of ,english artistic repute in the ,levant1 these too must be left with a bare mention4 ,but this fact in itself speaks for the high standard attained by the exhibition1 on which ,mrs4 ,strong and the club are much to be congratulated4 ,,bibliography ,pintoricchio3 ,his ,life1 ,work1 and ,time4 ,by ,corrado ,ricci4 ,translated by ,florence ,simmons4 ,william ,heinemann1 #aijb4 ,the publication by ,mr4 ,heinemann of a large1 costly1 and elaborately illustrated book upon ,pintoricchio is evidence that this long-neglected ,umbrian painter is growing in popularity4 ,effaced for more than two and a half centuries by the dazzling radiance of his younger contemporary's fame1 ,pintoricchio's individuality1 first appreciated by ,rumohr1 began clearly to stand out again only when ,morelli demonstrated that he was the author of two frescoes in the ,sixtine chapel4 ,even then he borrowed his lustre from working where ,michelangelo left his masterpieces1 and from having1 as ,morelli pointed out1 influenced ,raphael4 ,it remained for the anarchical taste of recent years to exalt him into an important #8,master' on his own account4 ,the occasion was offered by the reopening in #ahig of the ,borgia apartments1 which he decorated2 for although the popes may have lost their power to immortalize themselves by feats of statesmanship1 the ambition to signalize their pontificates by the patronage of art appears not wholly to have died out4 ,leo ,,xiii in restoring and opening to the public the magnificent suite of rooms where1 in the service of ,alexander ,,vi1 ,pintoricchio toiled to make a monument to his patron1 was no less the maker of an artistic reputation than his ,renaissance predecessors--with the significant difference1 however1 that he conferred a posthumous fame1 a succs d'archologie1 instead of the renown that came from the commission to rebuild and decorate that city of cities which has now passed from under the papal sway4 ,but1 unless the lay world had been independently attuned to ,pintoricchio's art1 papal patronage would not have carried his renown far4 ,but modern art is just at a point where ,pintoricchio is really more sympathetic than the masters of the great style1 for in the break-up of artistic tradition and the decline of classical taste the decorator of to-day is thrown back upon parading the mere materials of his art1 upon bright colour and relief1 upon sumptuousness1 and the startling and attractive4 ,he has1 in fact1 dedicated himself to ornamentation--for we must not debase the word decoration6 ,and of ornamentation1 of the sumptuous1 the attractive1 the gay and the ingenious1 ,pintoricchio was a master4 ,the gorgeousness of the ,borgia apartments delude even critics who ought to distinguish more subtly1 into praising them as art4 ,it is so difficult to be stern with the attractive6 ,and so ,pintoricchio1 becoming popular1 needed a handsome book to reveal him further to his ,english admirers2 and for them1 being ,english1 a volume of mere illustrations1 like the ,french tome of ,m4 ,boyer d',agen1 did not suffice4 ,there must be the flavour of pedantry1 of ,morellianism1 of research into origins1 without omitting the necessary historical setting4 ,and so the publisher commissioned the valiant ,dr4 ,ricci1 head of the great gallery of the ,brera1 to prepare such a work1 knowing well that he could not entrust it to more skilful and conscientious hands4 ,but1 contrary to the ,biblical story1 instead of blessing ,israel the emissary of ,balak was unable to keep his tongue from curses6 ,dr4 ,ricci's taste was too cultivated1 his experience of great art too profound1 to permit him to raise the chosen painter to the altar prepared for him1 and the publisher was thus constrained to write a short #8,note' explaining that1 in spite of what the author says1 ,pintoricchio really is a great artist1 standing only just below #8the three or four supreme masters'--close1 that is to say1 to ,raphael1 ,michelangelo1 ,leonardo1 and ,giorgione6 ,turning1 however1 to ,dr4 ,ricci's estimate1 we find it absolutely sane and just3--#8,pintoricchio 444 was more attracted by the external splendours of art than by its sentiment 444 is wholly destitute of passion 444 and shows but little research in the matter of expression4' ,and instead of joining in the unreserved praise accorded to him in the publisher's #8,note' as a #8master of decoration1' he1 on the contrary1 criticizes his artist's gaudiness and his lack of composition1 and utters a protest1 particularly welcome at the present moment1 against the use of raised ornament in decorative painting4 ,indeed1 while ,morelli's account of ,pintoricchio leaves the reader with a general sense that he was to be preferred to his master ,perugino1 ,dr4 ,ricci nowhere loses his sense of proportion1 nowhere unduly exalts the subject of his work1 and the resulting impression of his long book is to place ,pintoricchio in a just relation to the artists of his time3 attractive1 sweet1 agreeable1 #8exuberant and instinctively elegant1' but almost never entering into rivalry with any master who possessed1 in however small a degree1 any of the specifically artistic qualities4 ,his treatment1 indeed1 of ,pintoricchio's greatest work1 the frescoes of the cathedral library of ,siena1 scarcely does justice to the real artistic merits of the decorative scheme4 ,as these works so far surpass the frescoes of the ,borgia apartments1 the impression they give of #8gaiety and well-being1' which ,dr4 ,ricci barely touches on1 might well have been amplified4 ,but one is grateful to him for pronouncing himself so clearly against the current notion that the young ,raphael assisted ,pintoricchio in these frescoes1 instead of mystifying us with the usual non-committal generalities on this subject2 and also for ranging himself so openly with ,morelli and against ,signor ,venturi in refusing the absurd ascription of ,gentile ,bellini's drawings to ,pintoricchio4 ,he calls attention to a phrase in ,gentile's will which speaks of drawings of his in ,rome1 thus amply accounting for the introduction of figures similar to those in ,gentile's sketches into the ,roman frescoes of the ,umbrian painter so notoriously given to pilfering4 ,singularly full and complete is ,dr4 ,ricci's list of ,pintoricchio's works2 indeed1 the fault lies just in this6 ,while we thank him for sparing no pains to look up every possible work of his painter1 we must reproach him with being too liberal in questions of authenticity4 ,it is particularly among what ,dr4 ,ricci considers the early works that we find him too generous4 ,it is in my opinion quite impossible that ,pintoricchio should have executed the ,presentation at ,torre d' ,andrea1 which shows so many of the characteristics of that 7deservedly7 little known painter1 ,antonio da ,viterbo#he1 while the copy at ,siena of the central figures in the great ancona of #adih at ,perugia cannot of course be1 as he supposes1 an early work1 and seems to me too crude and flaccid to be by him at any period of his career4 ,the early ,madonna in the ,bufalini collection at ,citt di ,castello ,i cannot clearly remember1 but the ruined ,madonna with the infant ,john in the duomo of that town could certainly never have been touched by ,pintoricchio's own hand1 and ,lord ,crawford's ,madonna and ,angels at ,wigan is too cold and hard for him1 and indeed seems to be the work of some ,romagnol imitator of ,pintoricchio1 whose youthful hand was trained under the benumbing influence of ,palmezzano4 ,i regret that ,i cannot quite follow our author in his chronology of ,pintoricchio's works1 for the clear arrangement of which at the end of his book he nevertheless earns our gratitude4 ,the assumption that the ,ara ,coeli frescoes were painted after those in the ,sixtine chapel seems to me to confuse ,dr4 ,ricci's view of the chronology from the start4 ,to my eyes they are clearly earlier works1 although ,i know that ,morelli here for once agreed with ,crowe and ,cavalcaselle1 and dated them as late as #adif4 ,but the whole question is by no means clear1 and ,i confess to being unable to discover in ,dr4 ,ricci's book the exact criteria he uses to determine the date of a particular work4 ,the ,sienese tondo which he calls early seems to me definitely to belong to the period after #aejj1 and the two ,madonnas at ,spello do not convince me that they are early1 or even that they are of the same date4 ,dr4 ,ricci professes himself not quite convinced of the adequacy of internal evidence2 nevertheless1 like all unbelievers1 he constantly takes refuge in it1 but not consistently1 and it is this uncertainty of method which1 perhaps more than anything else1 prevents our following his conclusions with intelligent sympathy4 ,and this one regrets the more1 because with the broad lines of his book1 and1 above all1 with his estimate of ,pintoricchio1 one has such hearty sympathy4 ,a word of protest must be added about the strange translation and about certain carelessness apparent in the book-making4 #8,coetanean' is an odd word to meet on the first page1 and surely ,dr4 ,ricci never spoke of the #8coast of ,subasio'6 #8,s4 ,bernardine1' or1 worse still1 #8,san ,bernardine1' is not a happy way of anglicizing the name of the ,sienese saint1 nor is #8,cybo' an improvement upon the usual form4 #8,enea' recurs in an irritating manner1 where every cultivated ,english person expects ,aeneas2 for1 since ,bishop ,creighton's sympathetic account1 #8,aeneas ,silvius1' whether as humanist or pope1 has become a familiar name4 ,just here1 by the way1 ,i may express my surprise that among ,dr4 ,ricci's historical references for ,pope ,alexander ,,vi 7p4 #hg7 he did not place ,creighton's account1 the best in ,english1 or perhaps in any language4 ,the subject of the first coloured plate is misnamed #8,s4 ,bernardino1' although in the text correctly described as ,st4 ,louis of ,toulouse4 ,and this leads me to protest against cheap colour reproductions of this kind4 ,the feeblest1 young-lady water-colour sketch after ,pintoricchio could not resemble him less than these coarse1 smeared1 falsely-tinted reproductions4 ,they are worse than useless2 they are hideously misleading4 ,the other illustrations of the book1 however1 are copious and accurate1 and we cannot be too grateful for the reproduction of so many of the pictures in private collections1 photographs of which it is often almost impossible for the student to procure4 ,m4 ,l4 ,ancient ,coffers and ,cupboards4 ,by ,fred ,roe4 ,methuen ,co4 ,mr4 ,fred ,roe's book of ancient coffers and cupboards must surely be the first of many such monographs4 ,to-day the process block has made it possible to illustrate with ease the most elaborate details of the work of the ancient craftsmen1 and within the covers of a book we may bear home our museum to be pored over at leisure4 ,and here we have the chosen pieces of many museums1 many churches1 and many collectors' hoards1 in a form which makes them as useful to the new craftsmen as to the antiquary4 ,it is true that ,mr4 ,roe has not given us process work alone4 ,although such illustrations as those of the famous chest of the twelve knights at the ,cluny and the ,st4 ,george chest at ,south ,kensington leave nothing to be desired1 ,mr4 ,roe does not allow it to be forgotten that he can use a pencil with effect4 ,his drawings1 although they have nothing of the tight and ,t-squared manner familiar in architects' drawings of old pieces1 yet give a pleasant impression of truth and trustworthiness1 and err not on the side of that dangerous cleverness which so often persuaded that great man ,m4 ,viollet le ,duc to translate ornament and detail from every scratch and stain of his model4 ,with a volume of the ,mobilier ,franais at hand ,mr4 ,roe may be at issue with the ,frenchman on a definite point4 ,here we have the great armoire of ,noyon as presented spick and span in the coloured drawing of ,m4 ,viollet le ,duc1 and here we have it also from the pencil of ,mr4 ,roe4 ,to our mind ,mr4 ,roe seems the more trustworthy interpreter1 but one or other is at fault4 ,on the first of the eight doors of the armoire ,mr4 ,roe gives us a figure of the ,virgin in a sweeping robe1 holding the ,child in her arms4 ,m4 ,viollet le ,duc1 with abundant detail1 gives us the same door with a bare-legged ,st4 ,john ,baptist in his camel's hair1 supporting in his arms a lamb4 ,it is no disparagement to ,mr4 ,roe's written commentary to say that the early history of the chest is told clearly enough by his well-arranged series of drawings and photographs4 ,we owe him thanks that he has avoided the temptation which would persuade the writer upon any side of ,english archaeology to gallop through his subject from ,stonehenge to the great exhibition within the covers of a single book4 ,here we have the history of the mediaeval chest1 from the thirteenth-century examples with which we must perforce begin1 to the end of the ,gothic work in the fifteen hundreds4 ,there ,mr4 ,roe stays1 and for the story of the ,elizabeth and seventeenth-century chests1 which are still in such plenty amongst us1 we may wait in good content for ,mr4 ,roe's future work4 ,to those who are familiar with inventories1 and wills1 and such-like documents of the intimate life of our ancestors1 the picture of the ancient ,english home rises up furnished with a bed1 a brass pot1 and a chest2 for these good things came ever foremost amongst the few household goods of folk of the middling sort4 ,it would be difficult to say where the collector might lay his hand nowadays upon the woodwork of a mediaeval bed2 the brass pots have for the most part served their day and gone back to the foundry furnace2 but the oaken chest remains here and there in the countryside for a most curious and venerable relic4 ,we can hardly doubt that the familiar chest was from the beginning cunningly decorated2 but accurate knowledge begins with the thirteenth century1 with vast fronts of one or more broad beams set longways between two broad uprights4 ,for ornament we have suggestions of arch-work simply indicated with chiselled lines and roundels of tracery4 ,the ends are solidly framed with massive timbers4 ,of painted chests a notable example remains at ,newport in ,essex1 and this ,mr4 ,roe shows us in its colours4 ,the inside of the lid when upreared shows like a painted reredos with a rood1 the ,virgin and ,st4 ,john1 and ,st4 ,peter and ,st4 ,paul1 each within a painted archway of reds and greens4 ,twelve shields appear upon the chest1 but on these remains no trace of the painted bearings which would have told us the story of the piece4 ,below the twelve shields1 fessewise across the front of the chest runs a most singular ornament1 a broad band of open tracery cast in pewter4 ,the thirteenth century closes with the richly ornamented chest-fronts which endure for the rest of the medieval period4 ,the long chest in ,saltwood church is assigned by ,mr4 ,roe to the century-end4 ,the front is covered with tracery work with deep mullions1 the broad uprights at the ends being filled with winged dragons in square panels4 ,to this century-end belongs also that most famous and glorious chest which is the pride of the ,muse ,cluny1 along whose mullioned front stand twelve knights with shields and ailettes of their arms2 and here again we feel that1 although the lighting of ,mr4 ,roe's photograph was unfortunate1 our modern illustrations must take the place of ,viollet le ,duc's too highly wrought drawings4 ,throughout the fourteenth century we find in ,england the traditional window tracery along the chest front1 and the dragons or beasts in squared compartments of the broad uprights4 ,from ,hultoft1 in ,lincolnshire1 we have in a late fourteenth-century chest an early example of a panelled and buttressed piece1 in which pierced and cut-out tracery has been applied to a flush front4 ,a lid painted inside with shields of arms belongs to a chest formerly in the ,chancery court of ,durham1 and1 apart from its beauty1 claims our interest by the fact that the first shield is that of the ,aungerviles1 of whom came ,richard of ,bury1 bishop of ,durham1 and author of the #8,philobiblon1' one of those few mediaeval books which yet find readers4 ,concerning this shield1 we may remark that ,mr4 ,roe's #8,gules1 a cinquefoil or 7or argent7 ermine pierced 7of the field87' is not a very lucid piece of blazonry4 ,between the shields a dragon meets with a centaur-like figure in yellow hood and red kilt #8running a tilt1' as ,mr4 ,roe somewhat loosely phrases it1 but really playing with the sword and buckler4 ,forty-five years ago this chest was still in the ,chancery court2 if we ask why it is now in the hands of an #8eminent antiquary1' we should have for answer a familiar story of the ignorance and wanton folly of our half-civilized ,english official classes4 ,a sad side of ,mr4 ,roe's narrative is the recurrent exclamation at the fact that a church chest1 perfect in the days of ,parker1 ,cotman1 or ,shaw1 is now staved in1 or clumsily restored4 ,this in such cases where the chest has been suffered to remain4 ,the ,wittersham chest does not seem to have stayed at ,wittersham long after its beauties had been published to the world in a #8,dictionary of ,architecture1' and the fact that the nameless connoisseur who removed it took with him the ancient parish stocks as well leaves ,wittersham without the means of dealing with the offence of those who should have been its custodians4 ,parker engraves a famous chest at ,guestling1 of which but one panel remained when the present rector came to ,guestling1 and even this poor relic has gone the way of the rest4 ,it would be well if the thief were the one enemy of such treasures--in that case the nation might come to its own some day2 but the church stove1 even in our own time1 has crackled with fuel for the loss of which our descendants will curse their pig-hearted ancestry4 ,of the most interesting type1 which ,mr4 ,roe1 who shuns the ,english word chest1 is pleased to call a #8tilting coffer1' we are afforded a valuable set of pictures4 ,it is good to see that perhaps the finest panel of ,st4 ,george and his dragon and ,dame ,cleodolinde is in our own national collection at ,south ,kensington4 ,the barbarously fine chest at ,ypres will stand to all who know it for a familiar example4 ,mr4 ,roe1 being possessed with the idea that these figured chests are ,english in design and working1 is persuaded that the ,ypres chest may have been abandoned by the ,english army which sieged ,ypres in #achc2 but we may confess that we find no notably ,english feeling in this chest or its fellows4 ,to follow the story of the gothic chest to its running to seed in the sixteenth century were to encroach upon the office of ,mr4 ,roe's excellent monograph4 ,mr4 ,roe's work is clear and to the point4 ,we feel that he has not only drawn and photographed1 but handled and rummaged the chests of which he tells us4 ,he is cunning in hinges and locks1 and forgeries of respectable standing and the mis-datings of long tradition do not entangle him4 ,it may perhaps be said of his terminology that he attaches too definite and settled a meaning to the words which he chooses to apply to various forms of the objects of his study4 ,the definition of a coffer as #8a box of great strength for the keeping and transport of weighty articles1 having its front formed by a single panel1' as distinct from a hutch1 #8a household coffer of a rough description1' strikes us as too assured and exact4 ,a more serious blemish arises from ,mr4 ,roe's apparent belief that from the character of the work upon a chest one may easily guess whether its first home were in church or hall4 ,the familiar window tracery of many chest-fronts spells for him plainly church or monastery4 ,by the same token ,mr4 ,roe would have us set down for a churchman every fourteenth-century man who wore #8,poules windowes' cut in his shoe leather1 and the knights and dragons of many miserere-seats would show him that the first place of their setting-up was in the castle hall4 ,another odd fancy of ,mr4 ,roe's persuades him that the #8civil wars1' apparently those of the king and commonwealth1 account for the loss of many pieces of ,english gothic furniture4 ,such a fancy does not argue an intimate knowledge of the history of the seventeenth-century struggles1 than which no wars have been waged with less sacking and burning2 and ,mr4 ,roe1 as his last words show1 knows full well that the fellest enemies of our mediaeval relics flourished in the nineteenth century in the close and the rectory1 sat at high tables of old foundations1 and even came to good credit as scholars and antiquaries4 ,there are honoured names amongst us to-day whose bearers have done deeds of destruction to which ,merciful ,strickalthrow or ,corporal ,humgudgeon would not have set their hands4 ,o4 ,b4 ,a ,guide to ,siena3 ,history and ,art4 ,by ,william ,heywood and ,lucy ,olcott4 ,enrico ,torrini1 ,siena1 #aijc4 ,certainly it never rains but it pours4 ,siena1 so long without any adequate guide to her intensely interesting history and art1 has suddenly broken out into quite a literature to herself4 ,scarcely has the controversy over the respective merits1 or the reverse1 of ,professor ,langton ,douglas's #8,history' and ,mr4 ,gardner's #8,story' ceased to rouse our interest before a third guide appears in the field1 which to our mind is infinitely the best of the three4 ,less pretentious and less costly1 it contains in its smaller compass a mass of information in a readable form that is within the comprehension of the dullest1 and yet worthy of the careful perusal of the most critical4 ,both ,mr4 ,heywood and ,miss ,olcott live in and love ,siena1 so that their several parts are not only written con amore1 but on carefully studied data4 ,the history is written with a swing that carries one along1 and yet leaves one at the end with a clear idea of what ,siena was at her best4 ,mr4 ,heywood's charm of style--as might be expected from his former work--is very great4 ,it is easier1 more lucid1 and1 without being any the less expressive or forcible1 is wholly free from the few blemishes that might be objected to in his previous essays4 ,no one understands better than he the complications and kaleidoscopic changes that occurred with so much abruptness in the government of the republic4 ,therefore we have the more occasion to be grateful to him for having set the main facts of her story before us1 unhampered by superfluous digressions and comments4 ,once only he pauses to give eloquent expression to his admiration for that much-misunderstood and much-abused body1 the ,nove1 whose rule 7#abib-acee7 was the longest and most prosperous of all the various combinations that held sway in ,siena4 ,they are usually represented as ruthless tyrants1 and generally detested and hateful2 whereas there can be no question that their firm1 autocratic rule1 if severe and sometimes cruel1 held in check alike arrogant noble and turbulent demagogue1 and that under their guidance ,siena reached the highest point of her prosperity1 internal and external4 ,at home flourished the arts of peace as they never did again1 and abroad her fame was ,european1 her merchants were respected1 and her produce in demand throughout the civilized world4 ,with the fall of the ,nove fell ,siena4 ,their hold over the reins of government lasted sixty-three years2--no other body again held them so long until she finally sank into the position of a subject city4 ,mr4 ,heywood's notices as to the saints and writers of ,siena are all too brief1 and we would like to hear more from him about them1 but space clearly forbids3 and1 as he points out1 readers may turn to his other works for much that is perforce left unrelated here4 ,we can only regret one note 7on p4 #fh71 which we feel must have been inadvertent on his part1 and certain expressions in the bibliographical notice1 to which we refer presently4 ,miss ,olcott's section1 being1 we believe1 her first literary work1 deserves an unusually high meed of praise4 ,one may not always agree with her attributions1 and her judgement on painters that she does not like is severe and not always quite just2--for example1 her attitude towards ,sodoma and ,beccafumi1 respectively1 will not be endorsed by all her readers2--still1 she has so evidently studied her subject with thoroughness and care1 working under the best direction1 and weighing her facts with so much patience and real insight1 that one can scarcely praise this first essay of hers too highly4 ,her attitude towards the native ,sienese artists of the fourteenth and fifteenth centuries is so truly devotional that1 even if it blinds her to the beauties and merits of later workers1 it disarms severe criticism4 ,she points out very truly--and in this respect she follows the same line as ,mr4 ,heywood in his history--that the art of ,siena never rose again after the middle of the fourteenth century 7i4e41 contemporarily with the fall of the ,nove7 to the point that it then attained4 ,the various foreign influences that eventually came into the state wrought fine achievements1 but native talent was never again what it had been in the days of ,duccio1 ,simone ,martini1 and their immediate successors4 ,it is1 however1 true that in the following century very great artists did arise1 in whose praise the authoress is specially eloquent4 ,that she has great reason1 the lovely works of such men as ,matteo di ,giovanni1 ,neroccio di ,landi1 ,lorenzo di ,pietro 7,vecchietta71 and ,giovanni di ,stefano 7,sassetta7 amply testify to those who have eyes to see4 ,to ,neroccio and ,vecchietta1 moreover1 she draws further notice1 since1 like so many artists of their day1 they were both sculptors and painters1 and obtained more than ordinary success in either of the greater arts4 ,thus panel1 bronze1 and marble1 when touched by them1 produce effects of exquisite charm in gracious line and lovely expression that are unsurpassed and unsurpassable4 ,we feel no doubt that to walk through the city in ,miss ,olcott's company will be a pleasure1 which student and traveller cannot fail to appreciate4 ,that small mistakes as to fact have occasionally crept in was of course unavoidable2 but for practical purposes they are unimportant4 ,she has managed to avoid the dullness of a mere record of facts1 though her notes are full of practically useful side-information2 while1 on the other hand1 she has not fallen into that temptation to dogmatize1 so difficult to escape from when dealing with a specialized school of painting like that of ,siena4 ,student and traveller alike have much reason to be grateful for the work2 mainly on account of its directness and simplicity2 though also for the valuable footnotes supplied by both authors4 ,the bibliographical lists are of great interest1 but we cannot refrain from remarking that the notice as to books to be avoided is1 to say the least of it1 in doubtful taste4 ,we understand the irritation caused by such books as those specified to writers who have studied the subject carefully1 and we recognize fully the incalculable mischief done by the inaccuracies of the modern catchpenny magazine contributor2 but we cannot but think so long and virulent an attack1 however justly deserved1 quite unsuitable within the pages of a guide book4 ,we suggest that in a future edition these pages might be omitted1 as being the only serious blemish to a book on which authors and publisher may be very heartily congratulated4 ,r4 ,h4 ,h4 ,c4 ,yacoub ,artin ,pasha3 ,contribution l'tude du ,blason en ,orient4 ,londres 7,b4 ,quaritch71 #aijb4 ,the prospectus issued by the publisher of this work contained the extraordinary statement that #8,e4 ,t4 ,rogers ,bey1 in his contributions to the subject1 established beyond doubt that coats of arms and armorial bearings were introduced into ,europe by the crusaders in imitation of the practice of the eastern princes whom they had encountered in the field of battle4' ,it would surprise no one acquainted with the vexed question of heraldic #8origins' to know that he did nothing of the kind4 ,what he did advance was that #8444 les avis sont partags sur la question de savoir si les ,croiss ont puls en ,orient les notions de cet art blazon ou s'il est exclusivement d'origine europenne4 ,les arguments en faveur de son origine orientale me paraissent les mieux fonds1 car ils sont soutenus par des donnes historiques4 ,un esprit militaire et mme chevaleresque existait parmi les ,musulmans de l',arabie1 de la ,syrie et de l'gypte1 longtemps avant la formation de nos ordres de templiers et de chevaliers2 et il est fort probable que cet esprit guerrier s'est communiqu par l'entremise des ,venitiens et des ,gnois et repandu peu peu en ,europe mme avant la premire croisade4' ,we do not hesitate to say that beyond this string of theory there is nothing in the forty-nine pages of ,rogers ,bey's #8,le ,blason chez les ,princes ,musulmans de l'gypte et de la ,syrie' 7,bulletin de l',institut gyptien1 #ahhj7 offering proof of the derivation of ,european armory from the east4 ,all this we quote in extenso because ,artin ,pasha's work is1 he states1 to be regarded as the sequel to ,rogers ,bey's memoir1 and because1 where he touches the origin of western heraldry1 his remarks are likewise mere unfounded assertion4 ,neither does his knowledge of ,european arms appear to be of the most accurate order2 he states that ,louis ,,ix of ,france was the first to adopt the fleur de lys1 when in fact the seal of that monarch's father1 ,louis ,,viii1 bears a shield sem de lys1 bearings which may be traced back to the mantle and shoes worn by ,philip ,augustus at his #8sacre' in #aagi1 similarly sown with fleurs de lys4 ,needless to say1 the correctness of no theory concerning the origin of ,european blazon is demonstrable1 and it is to be regretted that the author did not steer clear of it altogether4 ,as an account of ,moslem blazon and of the emblems found upon ,arabic glass1 pottery1 sculpture1 coins1 metal-work and arms1 ,artin ,pasha's work1 in spite of such blemishes1 will be of great value to archaeologists and collectors4 ,the author has been at pains to obtain as complete a series as possible of the strange insignia frequently figuring upon these works of art4 ,his plan is to discuss the bearings such as the fleur de lys1 lion1 fish1 eagle1 cup1 dice1 horns1 the so-called hieroglyphic signs1 the sword and sabre1 crescent1 cross1 dagger1 separately1 each with its history1 and a catalogue of extant examples4 ,of these over three hundred are reproduced1 many in colour1 from ,egypt and the continental and ,london museums4 ,unfortunately many are unidentified1 and it seems to us that it would have increased the value of the book if approximate dates had been assigned to the objects decorated with such insignia as remain for the present in this category4 ,the constitution of mameluke society1 to which the majority of mediaeval armigerous ,egyptians belonged1 is the great obstacle to a systematic identification or study of their heraldry1 if heraldry it can be called4 ,the cases in which insignia are known to have been inherited are so few1 says the author1 that one cannot affirm that hereditary blazon generally existed in ,egypt1 though in the case of the emirs he concludes for the existence of transmission from father to son2 admittance to the mameluke body was closed1 apparently1 to their legal offspring1 and in the majority of cases their insignia denoted official or court rank and changed with it4 ,artin ,pasha gives also a great deal of information concerning the emblems used by other oriental nations1 though his arguments seem occasionally to bring within the net heraldic purely conventionalized animal or vegetable forms1 attributing to much merely symbolical or ornamental material a character unwarranted by the strict significance of the term blazon4 ,a4 ,v4 de ,p4 ,jules ,helbig4 ,la ,peinture au pays de ,lige et sur les bords de la ,meuse4 xiv and #eaj pp41 #cj phototypes1 and numerous cuts4 ,lige1 #aijc4 #ab by #h inches4 #aes4 ,this1 the second and much enlarged edition of a volume published thirty years ago and long out of print1 contains the fruits of the author's researches1 not only at ,lige and in the ,mosan towns1 but also in many museums and private collections4 ,in the first fifty pages he has brought together all the documentary evidence as to the introduction and progress of art in the principality1 illustrating the same by reproductions of the paintings on the mutilated shrine of ,saint ,odilia at ,kerniel1 of miniatures from manuscripts in the ,british ,museum1 the ,royal ,library at ,brussels1 etc41 and of the exquisite storied embroideries on the antependium from the church of ,saint ,martin at ,lige1 now in the ,industrial ,art ,museum at ,brussels4 ,in the next three chapters the author treats of the ,benedictine artists of ,lige1 of the ,mosan contemporaries of the ,van ,eycks1 and of the paintings executed in the fifteenth century1 of which so little has escaped destruction4 ,as to the painters who flourished in the sixteenth century there is fuller information1 though there yet remains much to be done before the history of ,joachim ,patenir and ,henry ,bles can be cleared up and their works classified4 ,of ,lambert ,lombard and his pupils and followers the author gives us a full account1 and from their time onwards to the end of the eighteenth century this volume contains a thoroughly complete history of the painters who flourished in the district and of the paintings they executed4 ,we congratulate the author on the termination of this work1 which1 with the volume on sculpture and the plastic arts published by him in #ahij1 constitutes a very satisfactory and well-illustrated history of art in the principality of ,lige4 ,w4 ,h4 ,j4 ,w4 ,,periodicals ,jahrbuch der kniglich preussischen ,kunstsammlungen1 #aijc1 #b4 ,heft4--,the article of most general interest in the current number is that by ,drs4 ,ludwig and ,bode on the picture of the ,resurrection recently acquired by the ,berlin gallery from ,count ,roncalli of ,bergamo4 ,the assumption that this is by ,giovanni ,bellini himself rests on the following evidence3 ,the church of ,st4 ,michael1 on the cemetery island of ,venice1 was so ruined in #adfi that the abbot of the ,camaldulensian house to which it belonged began to rebuild it4 ,in the year #adge the patrician ,marco ,zorzi1 of the ,bertucci family1 obtained permission to build and furnish a family chapel in the church4 ,the chapel was dedicated to the ,virgin1 but in his mother's will1 dated #adgi1 it is already referred to as the chapel of the ,resurrection4 ,then follows the testimony of later writers4 ,sansovino1 #aeha1 describing the church1 says1 #8,la risurrezzione a olio fu del medisimo ,gian ,bellino4' ,ridolfi1 #afdh1 describes the picture fully1 and attributes it to ,bellini4 ,boschini1 #affd1 calls it a ,cima1 an attribution which clung to the picture in ,st4 ,michael's till #ahaj1 when it disappeared4 ,it will be noted that there is hitherto no proof that the ,roncalli picture stood once in the chapel in question4 ,that a composition of this kind by ,bellini existed was already to be guessed from various motives copied in other pictures4 ,the question remains whether this is the identical picture1 and not1 as has been hitherto thought1 a late version by ,basaiti1 ,previtali or ,bartolommeo ,veneto4 ,on the other hand it is noted that ,ridolfi's account of the picture is so minute that one may assume that the ,roncalli picture is either the actual one that stood in ,zorzi's chapel or an exact copy4 ,the problem therefore resolves itself into the question of whether the existing picture is a copy or not4 ,drs4 ,ludwig and ,bode are agreed that it is an original1 and in spite of some curious points which do not precisely agree with any other existing ,bellini we think they are right4 ,the picture with which it has most affinity is the ,transfiguration at ,naples1 to which for various reasons we may assign a date just a year or two previous to #adgh1 the date of this work4 ,if this is correct the likeness to ,basaiti1 ,cima and ,bartolommeo ,veneto is to be explained by the fact that this work exercised a profound influence on the rising generation of ,venetian painters4 ,it is to be noted also that we have here already the peculiar honeycombed rock formation which the ,vicentine painters1 ,montagna in particular1 afterwards employed4 ,whatever be the final verdict as to the authorship of the work1 the authorities of the ,berlin gallery are to be congratulated upon having secured one of the most imaginative compositions in the whole range of ,venetian art4--,r4 ,e4 ,f4 ,dr4 ,bode writes on the work of ,hercules ,segers1 whose pictures1 long forgotten or ascribed to other masters1 ,rembrandt1 ,van ,goyen1 or ,vermeer of ,haarlem1 have recently been rediscovered1 mainly through the insight of ,dr4 ,bode himself4 ,the ,berlin gallery has possessed since #ahgd the only signed picture hitherto known2 another signed work is now in the possession of ,dr4 ,hofstede de ,groot4 ,these two1 a second landscape lately acquired by the ,berlin gallery1 and a picture exhibited in ,london in #aija under the name of ,vermeer1 but now the property of ,herr ,simon1 are reproduced4 ,other pictures discussed in the text are a landscape ascribed to ,rembrandt in the ,uffizi and another1 also under ,rembrandt's name1 in the ,national ,gallery of ,scotland4 ,a great part of the article is devoted to the etchings1 the true starting-point of all our knowledge of ,segers4 ,about sixty of these are known1 of which the ,amsterdam cabinet has fifty1 while very few other collections possess any considerable number4 ,several admirable facsimiles in colour accompany the article1 and the interesting announcement is made that a publication of the entire work of ,segers is contemplated1 under the editorship of ,prof4 ,jaro ,springer4 ,almost all the etchings are landscapes1 generally printed in colour on a prepared ground1 and often finished by the artist with the brush4 ,dr4 ,bode discusses the question whether the wild mountain scenery depicted in most of them was invented by the artist or true to nature1 and decides for the latter alternative4 ,a great curiosity is the etching in colours of the ,lamentation for ,christ1 copied by ,segers from a wood-cut by ,hans ,baldung4 ,an excellent reproduction is given of the impression recently acquired by the ,berlin cabinet4 ,dr4 ,bode does not mention the fact that an impression was already known in the collection of ,king ,frederick ,augustus ,,ii at ,dresden1 where it passed for a drawing by ,baldung till its true character was discerned some years ago by ,prof4 ,lehrs4 ,c4 ,d4 ,l',arte4 ,parts ,i-,,iv4 #aijc4--,the publication of ,l',arte1 suspended owing to a strike at ,rome1 has been resumed1 and we have received the first four parts for the current year4 ,signor ,venturi appears to have finally discovered the authorship of the small bronze doors which close the reliquary containing ,st4 ,peter's keys in ,s4 ,pietro in ,vincoli4 ,these1 which have been variously praised as ,pollajuolo's and disparaged as ,filarete's1 are really not ,florentine at all1 but by the ,milanese ,caradosso1 working doubtless under ,florentine influence4 ,there are two replicas of the two bas reliefs on the doors in question4 ,both1 though alike in the general composition1 are curiously modified in some essential particulars which render the subjects unintelligible4 ,one of these replicas is in the ,louvre1 where it is attributed to the ,florentine school2 the other1 in the ,victoria and ,albert ,museum1 is more rashly ascribed to ,lorenzo ,ghiberti1 to whose style it does not conform at all4 ,m4 ,marcel ,reymond solves satisfactorily a puzzling question connected with the tomb of ,onofrio ,strozzi in the church of ,sta4 ,trinit in ,florence4 ,this has been ascribed on documentary evidence to ,piero di ,niccol1 who was supposed to have executed it in #adah4 ,in #adbc ,piero di ,niccol executed at ,venice the essentially gothic monument of ,doge ,mocenigo1 while ,donatello himself only arrived at a conception like that of the ,strozzi tomb in his monument of ,giovanni de' ,medici in #adbi4 ,on stylistic grounds there can be no doubt that the ,strozzi tomb is nearly a decade later than the ,medici tomb1 and yet the documentary evidence has been hitherto allowed as authoritative4 ,on closer examination1 however1 this appears to be quite inconclusive2 it is a warning of the necessity for re-examining documents in the light of the evidence afforded by style4 ,the ,strozzi tomb may be safely considered to be no earlier than the close of the fourth decade of the century4 ,it is either1 ,m4 ,reymond thinks1 by ,donatello himself1 or by some sculptor who carried out a design by him4 ,the remains of ,pisan domination in ,sardinia are the subject of researches by ,signor ,dionigi ,scano1 who has had the good fortune to discover at ,oristano a signed statue by ,nino ,pisano1 together with a number of bas reliefs in which he traces ,pisan influence4 ,the very crude architectural settings of most of these1 however1 betray a strain of northern influence4 ,far finer than these are the thirteenth-century lion-head door handles in bronze which he reproduces4 ,dr4 ,seidlitz returns to the question of ,zenale and ,buttinone propos of ,signor ,malaguzzi ,valeri's interesting book on ,lombard painters4 ,he points out the impossibility of supposing1 as ,signor ,valeri does1 that the ,castelbarco altarpiece in the ,brera belongs to the fifties4 ,the supposed #e of the date must be a mutilated #h4 ,in the main1 however1 he appears to have come independently to similar conclusions about the respective shares of ,buttinone and ,zenale in the great ,treviglio altarpiece4 ,he calls attention to the important picture by ,zenale 7the ,circumcision7 in the ,louvre overlooked by the ,italian writer1 but by far the most interesting suggestion that he makes is that the strangely imaginative composition of the ,adoration in the ,ambrosian ,library which ,morelli described as an early ,bramantino is by ,buttinone himself4 ,it must be admitted that in no other work does that artist display a freedom and originality of invention comparable to this1 but the likenesses to his peculiarly uncouth style are certainly striking4 ,we should like to call attention to the fact that most of these ideas were suggested some years ago by ,mr4 ,herbert ,cook in his catalogue to the ,lombard exhibition at the ,burlington ,fine ,arts ,club4 ,both ,dr4 ,seidlitz and ,signor ,valeri are acquainted with this work1 but neither has had the courtesy to make full acknowledgement of ,mr4 ,cook's priority4 ,signor ,francesco ,la ,grassa-,patti writes on the works of the ,della ,robbia in ,sicily4 ,the full-length ,madonna at ,trapani he attributes to ,andrea1 though the coarse vigorous forms suggest ,giovanni while still working in his father's style as more likely4 ,the work is described as ,giovanni's by ,miss ,cruttwell4 ,the second is a tondo at ,messina 7,sta4 ,maria della ,scala7 which ,miss ,cruttwell describes as a school piece4 ,this also is attributed by ,signor ,grassa-,patti to ,andrea1 while the one work for which ,andrea's authorship might be claimed1 the ,madonna del ,cuscino at ,palermo1 is called a school piece4 ,a fourth work is the ,adoration in the church of ,s4 ,niccol lo ,gurgo at ,palermo4 ,this ,m4 ,reymond considers to be one of many replicas of the motive4 ,the author makes no mention of ,miss ,cruttwell's exhaustive researches1 although1 with the exception of the last1 all these works have been fully and critically treated by her4 ,signor ,gino ,fogolari describes some wooden sculptures of the twelfth century at ,carsoli and ,alatri4 ,those at the latter place comprise a magnificent ,madonna and ,child1 one of the finest specimens of the type which was usual in ,italian sculpture of this period1 and twelve has reliefs of the doors which originally closed the ,madonna's shrine4 ,these are of interest as still possessing some of the original colouring and for their similarity in technique to the ivory work of the period4 ,dr4 ,romualdi describes an admirable plan which has been formed for making a complete catalogue raisonn of all publications on the history of ,italian art4 ,the scheme is to treat the subject by means of regional committees1 whose work will be united and revised by central committees at ,florence and ,rome4 ,the importance of such a catalogue in a subject of which the literature has become so unwieldy cannot be overrated3 the scheme deserves every encouragement4 ,signor ,venturi replies at length to ,dr4 ,julius von ,schlosser's views concerning the sketch-book attributed to ,giusto of ,padua in the ,national ,gallery of ,engravings at ,rome1 maintaining the correctness of his original attribution4 ,among the #8miscellanea' there are descriptions of a fourteenth-century pastoral staff in the cathedral at ,treviso1 which ,signor ,biscaro attributes to a ,venetian goldsmith4 ,he seems scarcely to explain the peculiarly ,french character of most of the forms4 ,signor ,venturi gives a description with a collotype reproduction of the newly-discovered ,jacopo di ,barbari at ,naples4 ,it is evidently a striking picture in which the influence of ,antonello da ,messina strongly predominates4 ,the two men represented in it are ,luca ,pacioli1 the celebrated mathematician1 and the artist himself1 whose apparent age agrees with that indicated by the inscription1 namely1 twenty years4 ,this1 since the picture bears the date #adie1 throws a new light on ,barbari's position in ,venetian art4 ,signor ,venturi also reproduces a drawing in the ,piancastelli collection at ,rome1 which appears to be the original work by ,timoteo ,viti of which the head in the ,taylorian at ,oxford1 hitherto thought to be an original1 is a replica4 ,if the reproductions are to be trusted1 there can be no doubt about the superiority of the ,roman drawing4 ,signor ,toesca attributes the coarse picture of the ,coronation of the ,virgin in the ,naples gallery 7there ascribed to ,matteo di ,giovanni7 to ,christoforo ,scacco4 ,he also reproduces an ,antoniazzo ,romano in the dept of the ,uffizi4 ,signor ,venturi maintains in a vehement but unconvincing argument his former opinion that the ,resurrection which the ,berlin gallery acquired recently from ,count ,roncalli at ,bergamo is not by ,giovanni ,bellini1 but by ,bartolommeo ,veneto4 ,signor ,p4 ,d',achiardi publishes a picture which is in the house of the cathedral chaplains at ,pisa which has hitherto been supposed to be merely a school piece of ,benozzi ,gozzoli's atelier1 but which a recent restoration has shown to be worthy of the master4 ,it is dated #adgj1 and is therefore one of the earliest of his ,pisan works4 ,signor ,manceri adduces a document which shows that ,pietro di ,bontate1 who was supposed to have assisted ,laurana in his works at ,palermo1 was not an artist but a stonemason4 ,gazette des ,beaux ,arts1 ,june4--,m4 ,henri ,cochin begins1 in #8,some reflections on the ,salons1' a delightful article which is none the worse for containing very little about the pictures and a good deal of general speculation about the aims which modern art has proposed to itself4 ,he regrets that the present moment is one in which the public has to some extent lost confidence in its own omniscience1 and that the artists are without any clearly formulated ideals to arouse their devotion or hatred4 ,owing to the activity of ,m4 ,paul ,meurice1 ,paris is going to have yet another museum1 that of ,victor ,hugo4 ,in what was once the poet's house in the ,place ,royale1 there have been collected and arranged all kinds of records and mementos of the poet-politician's career4 ,not the least important of these are the pen-and-ink drawings in which he often made the first record of scenes1 elaborated afterwards in prose or verse4 ,it is to these slight but by no means insignificant performances that ,m4 ,emile ,berteaux devotes a serious study4 ,there was1 in fact1 a time when ,victor ,hugo nearly turned artist2 he got so far as to master the processes of etching and to produce one successful plate4 ,but he realized the danger of this parergon interfering with his real work and never repeated the experiment4 ,nevertheless1 to the end of his life he noted ideas or striking effects in pen-drawings of astonishing force and brilliance1 on which he smudged a melodramatic chiaroscuro with a finger dipped in ink or coffee4 ,the results cannot be treated as great works of art1 but none the less every one of them proclaims the man of genius2 nor are they unimportant for the understanding of ,victor ,hugo's development1 since the sombre mood of his later poems was already foreshadowed in these hasty improvisations4 ,m4 ,moreau-,nlaton describes the genesis of one of ,corot's late works1 the view of ,sin-le-noble1 now forming part of the ,thomy-,thiry bequest to the ,louvre4 ,m4 ,denis ,roche begins an account of ,dmitri ,grigorvitch ,lvitski1 a little-known ,russian portraitist of the eighteenth century1 whose works have decided merit4 ,a certain influence of contemporary ,venetian art is apparent in his composition1 but for the most part he was formed under the influence of ,french artists like ,tocqu1 whom the ,empress ,elizabeth invited to ,russia in the middle of the century4 ,the portrait of ,diderot by ,lvitski1 which is reproduced here1 shows that his feeling for character was keener than the average run of ,west ,european painters of his time4 ,it is comparable to a ,chardin rather than any of the more mannered masters of the day4 ,rassegna d',arte1 ,june4--,signor ,carlo ,gamba describes two works of art in the royal villa of ,castello2 one1 a ,florentine picture 7a ,nativity7 of about #adfj1 in which the influence of ,baldovinetti is most apparent2 the other a polychrome stucco attributed to ,agostino di ,duccio4 ,the composition is undoubtedly his1 but the type of face is longer and more accented than is usual with that master4 ,signor ,antonio ,gobbo points out the great differences between the ancient methods of mosaic work and those which obtain in the modern factories at ,venice and elsewhere4 ,he insists rightly on the necessity of doing the mosaic in situ1 instead of reversed on a cartoon1 on the desirability of a restricted colour-scheme and of a less mechanically even fabrication of the tesserae4 ,it is interesting to have explained thus the extreme discomfort one experiences in front of most modern mosaics4 ,signor ,annoni describes some remains of fifteenth-century work in the northern suburb of ,milan1 the most interesting being a fresco which he attributes to ,borgognone at ,garignano4 ,signor ,antonio della ,rovere endeavours to prove by ,morellian methods that a feeble and late sixteenth-century ,venetian picture1 representing ,st4 ,jerome1 is by none other than ,giorgione4 ,as he relies for his proof on the attribution to ,giorgione of the ,three ,ages in the ,pitti1 and a well-known ,torbido in the ,venice academy1 his extraordinary result is not entirely the fault of the method he employs4 ,the ,antonello da ,messina of ,christ at the ,column in the museum at ,piacenza is reproduced in this number4 ,it is evidently a work of the highest importance for our knowledge of this great and still scarcely understood master4 ,in conception and execution alike it surpasses all the numerous works by ,solario and others that it inspired4 ,the ,architectural ,review1 ,june1 contains an account of ,orvieto cathedral by ,mr4 ,langton ,douglas4 ,he effectively disparages ,commendatore ,fumi's theory that the original design for the church which follows the plan of a ,roman basilica was by ,arnolfo di ,cambio1 and attributes it to #8some mediocre master of the conservative ,roman school4' ,with regard to the faade and the importance of ,lorenzo ,maitano's work at ,orvieto he is in accordance with ,burckhardt and ,bode4 ,he has done a real service to students in reproducing the two beautiful designs of the faade by the great ,sienese master4 ,in discussing the sculptures of the faade he shows excellent reasons for assuming1 as was already done by ,burckhardt and ,bode1 that ,maitano was the master sculptor4 ,we are rather surprised to find him however admitting ,m4 ,marcel ,reymond's contention that ,andrea da ,pontedera also had a hand in the work1 though at a much earlier date than that writer supposed4 ,the work1 we think1 is throughout thinner1 slighter1 and of a more facile elegance than the known works of ,andrea ,pisano4 ,mr4 ,langton ,douglas tends to exaggerate the indifference of previous writers to ,sienese sculpture3 the list of works which he gives1 with the remark that they have #8entirely escaped the notice of ,m4 ,reymond and other writers upon ,tuscan sculpture1' is more completely given in ,bode's #8,italienische ,plastik'4 ,for the rest the ,architectural ,review is devoted to contemporary works1 among which we may call attention to ,mr4 ,gilbert ,scott's remarkable designs for the ,liverpool ,cathedral competition4 ,we may hope that even now it is not too late for the committee to revise their verdict and give us the chance of seeing the execution of a really vital and original gothic design4 ,the ,may number of the ,emporium 7,bergamo7 which did not reach us in time for our last issue contains an interesting account by ,signor ,frizzoni of the ,tadini gallery at ,lovere4 ,the gallery which1 with the immense modern palace that contains it1 was left to the remote little town of ,lovere by ,count ,tadini1 has1 it must be admitted1 a very small proportion of notable works1 but since ,signor ,frizzoni has rearranged it1 its value for the lover of art is considerably enhanced4 ,it is no longer necessary to wander through innumerable seventeenth-century copies in order to pick out the few works that demand serious attention4 ,and these few are indeed of such excellence that no one need regret the time spent in coasting up the winding shores of the ,lake of ,iseo in order to visit it4 ,by far the most remarkable of these is the incomparable ,jacopo ,bellini of the ,madonna and ,child1 perhaps the finest existing work of this rare master4 ,besides this there is ,bordone's greatest masterpiece1 a ,madonna and ,child enthroned with ,,ss4 ,christopher and ,george below--a work of almost ,giorgionesque splendour1 though it is needless to say more florid in taste and more agitated in line4 ,the curtain suspended behind by flying putti reminds one for a moment of ,lotto's ,s4 ,bernardino altarpiece4 ,another fine picture is the portrait of a knight by ,parmigiano1 while in a picture which the catalogue describes as #8un bellissimo quadro di ,pietro ,perugino1' it is possible to recognize the forms of an early ,veronese master1 probably ,domenico ,morone himself4 ,we can only hope that the trustees of the ,tadini bequest will carry out ,signor ,frizzoni's suggestion and have this picture1 which has suffered from clumsy repainting1 restored so far as possible to its original condition4 ,an early ,venetian picture1 falsely signed ,cornelio ,fiore1 and attributed1 quite rightly we think1 to ,lorenzo ,veneziano by the author1 and a crudely-painted ,piet1 signed by ,girolamo da ,treviso1 are other original works4 ,r4 ,e4 ,f4 ,,books ,,received ,aubrey ,beardsley4 ,by ,a4 ,e4 ,gallatin4 ,godfrey ,a4 ,s4 ,wieners1 ,new ,york2 ,elkin ,mathews1 ,london4 #bjs4 net4 ,the ,arts in ,early ,england4 ,by ,g4 ,baldwin ,brown4 ,murray4 ,two ,volumes4 #afs4 each net4 ,chinese ,porcelain 7,vol4 ,,ii474 ,by ,w4 ,g4 ,gulland4 ,chapman and ,hall4 #ajs4 #f;d4 ,the ,history of ,johnny ,quae ,genus4 ,by ,thomas ,rowlandson4 7,reprint47 ,methuen4 #cs4 #f;d ,the ,tour of ,dr4 ,syntax4 ,by ,thomas ,rowlandson4 7,reprint47 ,methuen4 #cs4 #f;d4 ,illustrations of the ,book of ,job4 ,by ,william ,blake4 7,reprint47 ,methuen4 #cs4 #f;d4 ,memoirs of the ,life of ,john ,mytton4 ,by ,nimrod4 7,reprint47 ,methuen4 #cs4 #f;d4 ,stradanus te ,florence4 ,by ,j4 ,a4 ,orbaan4 ,nijgh and ,van ,ditman1 ,rotterdam1 #cs4 #f;d4 ,l'tude du ,blason en ,orient4 ,by ,jacoub ,artin ,pacha4 ,quaritch4 #c #cs4 ,the ,vision of ,dante 7,cary's translation74 ,newnes4 #cs4 #f;d4 ,tintoretto4 ,by ,j4 ,b4 ,s4 ,holborn4 ,bell ,son4 #es4 7,great ,masters ,series74 ,history of the ,pewterers' ,company4 ,two ,vols4 ,by ,c4 ,welch4 ,blades1 ,east1 and ,blades4 ,the ,norfolk ,broads4 ,by ,w4 ,a4 ,dutt4 ,methuen4 #bas4 ,catalogue of ,engraved ,portraits4 ,myers and ,rogers4 ,il ,duomo di ,san ,giovanni4 ,by ,mospignotti4 ,alinari 7,florence47 #e lire4 ,fra ,filippo ,lippi4 ,by ,j4 ,b4 ,supino4 ,alinari4 #aj lire4 ,la ,pittura ,veneziana4 ,by ,p4 ,molmenti4 ,alinari4 #aj lire4 ,the ,world's ,children4 ,by ,mortimer ,menpes4 ,a4 and ,c4 ,black4 #bjs4 ,l',epope ,flamande4 ,by ,eugne ,baie4 ,j4 ,lebgue et ,cie 7,brussels74 #c4ej f4 ,the ,works of ,ruskin1 ,vol4 ,,iii4 7,library ,edition47 ,g4 ,allen4 #bas4 ,dante's ,divine ,comedy4 ,by ,leigh ,hunt4 ,newnes4 #bs4 #f;d4 ,the ,shakespeare ,country ,illustrated4 ,newnes4 #cs4 ,peintres de ,jadis et d',aujourd'hui4 ,perrin et ,cie 7,paris74 #f francs4 ,repertorium fr ,kunstwissenschaft4 ,berlin4 ,academy ,notes4 ,wells ,gardner ,co4 #as4 ,royal ,academy ,pictures4 ,cassel4 #gs4 #f;d4 ber ,otto ,oseiner4 ,by ,johannes ,guthman4 ,hiersemann 7,leipzig74 ,catalogue of ,japanese ,wood ,carvings1 etc41 in the ,boston ,museum of ,fine ,arts4 ,,magazines4 ,gazette des ,beaux ,arts4 ,durendal 7,brussels74 ,onze ,kunst 7,amsterdam and ,antwerp74 ,l',art 7,paris74 ,la ,presse ,universelle 7,antwerp74 ,l',arte 7,rome74 ,rassegna d',arte4 ,the ,architectural ,review ,a ,,new ,,mezzotint ,we have received from ,messrs4 ,p4 and ,d4 ,colnaghi ,co4 an impression of a mezzotint by ,mr4 ,h4 ,scott ,bridgwater after ,raeburn's portrait of ,mrs4 ,home ,drummond of ,blair ,drummond1 which they have just published4 ,raeburn loses nothing in ,mr4 ,bridgwater's translation1 indeed the mezzotint has greater merit as a work of art than the original picture2 we have seen no modern engraving in mezzotint which we can regard as its equal4 ,mr4 ,bridgwater has produced a work worthy to rank with the best mezzotint engraving of the eighteenth century--with the work even of such a master of the art as ,j4 ,r4 ,smith2 and this portrait of ,mrs4 ,drummond is very much superior to some of the eighteenth-century mezzotints for which absurd prices are being paid by people who regard everything that comes from the eighteenth century with indiscriminating admiration4 ,we do not believe that anyone of taste and judgement1 who was not blinded by the eighteenth-century glamour1 could seriously maintain that any mezzotint of ,valentine ,green's is to be compared as a work of art with ,mr4 ,bridgwater's latest work4 ,we have little enough to boast of in modern artistic production2 let us at least recognize good work when we meet with it2 the best work of modern artists has been done in black and white1 and most of the modern works of art that are really worth collecting are drawings or etchings2 to these we can now add some mezzotints1 among which ,mr4 ,bridgwater's ,mrs4 ,drummond is perhaps the most notable4 ,the issue is restricted to #cej impressions1 all artist's proofs4 ,,correspondence ,,mr4 ,,julius ,,wernher',s ,,titian ,sir1 ,one of your subscribers in ,venice has drawn my attention to an article in your magazine 7,april number1 p4 #ahe71 written by ,mr4 ,herbert ,cook1 and illustrating a magnificent portrait by ,titian1 in the possession of ,mr4 ,julius ,wernher4 ,your subscriber tells me that similarly insufficiently described ,italian portraits are not uncommon in ,english private collections1 though1 of course1 not through the fault of the collectors1 as it is impossible to obtain sufficient information from printed books only4 ,we here in ,venice are naturally better off1 and the public and private archives and the manuscripts in the libraries offer much material to one who is experienced to handle it1 and yield in most cases sufficient information4 ,so your subscriber has asked me to show in the case of this ,giacomo ,doria what we can achieve here4 ,to the student of palaeography it is not a matter of opinion1 but of certainty1 that the inscription reads3 ,giacomo ,doria quondam ,agostini1 that means ,giacomo ,doria1 son of the late ,agostino4 ,the dress is not the habit of an ,augustinian friar4 ,in the famous concert by ,giorgione1 in the ,palazzo ,pitti1 the ecclesiastic playing the clavi-cembalo is an ,augustinian2 he is clean shaven1 has the large tonsure1 and wears a mozetta4 ,it is impossible to decide by looking at the reproduction alone whether ,giacomo wears ,venetian or ,genoese dress1 everything being entirely black4 ,according to ,crollalanza's #8,dizionario storico-blasonico1' there were two families of the name of ,doria--one in ,genoa1 and one in the ,veneto4 ,mr4 ,cook has not been able to decide to which branch ,giacomo belonged4 ,now ,signor ,comm4 ,carlo dei ,conti ,bullo1 at ,venice1 has a private archive containing many important documents concerning the history of the town of ,chioggia4 ,these documents show that the war between ,venice and ,genoa1 called the war of ,chioggia1 led to the settlement of several important ,genoese families in ,chioggia4 ,amongst these are mentioned the ,bonivento1 the ,cibo1 the ,gandolfo and the ,doria4 ,the ,chioggia branch of the ,doria family still exists2 its present head is ,signor ,giovanni ,battista ,doria1 a draughtsman in the ,genio ,civile in ,venice4 ,this gentleman has in his possession a genealogical tree1 compiled and signed by two canons of the cathedral of ,chioggia1 which proves his descent from ,victor1 son of ,giovanni1 born in the year #adhj1 and founder of the ,chioggia branch4 ,but in this tree no ,giacomo di ,agostino occurs4 ,now ,signor ,doria has another tree1 although not a signed one1 which shows how ,victor di ,giovanni is attached to the main trunk of the family in ,genoa4 ,in this tree the looked-for ,giacomo di ,agostino occurs2 he is therefore a ,genoese and not a ,venetian4 ,we give here the interesting part of this tree3 ,opicino ,doria4 ,bartolomeo1 #acgh4 ,giovanni1 #acih4 ,domenico ,bartolomeo1 #addb4 ---------------------------------------- - ,giovanni4 ,agostino1 #adff4 ,giacomo 7linea estinta74 ------------------ ---------------------- ,bartolo4 ,vettor1 ,nicol1 ,giacomo4 ,giov4 ,battista4 #adhj1 ,chioggia4 ,doge1 #aebh4 ,chioggia4 ------------------------ ,agostino1 ,nicol1 ,doge1 #aegi ,doge1 #aegi4 ,we see from this tree that ,giacomo was a man of eminence1 a brother of a doge1 and the father of two doges of the republic of ,genoa4 ,his personality is of particular interest to the ,germans1 as his nearest relations play an important part in ,schiller's great tragedy1 #8,the ,conspiracy of ,fiesco4' ,his cousins ,vettor and ,nicol settled in ,chioggia1 and1 probably on the occasion of a visit to his relatives1 ,titian painted his portrait4 ,signor ,doria is not certain as to the signification of the dates occurring in this tree1 probably they mean the year of birth4 ,mr4 ,cook puts the portrait about the year #aebc1 but ,i am afraid it will have to be put to a considerably later date4 ,this is all we can do in ,venice2 for further information about ,giacomo one would have to search the documents in the archives of ,genoa4 ,curiously enough1 ,mr4 ,cook has not a word to say about the arms which one can faintly recognize in the upper left-hand corner of the reproduction4 ,i give below the arms of the ,genoese ,dorias1 and those of the ,dorias of ,chioggia4 ,from what ,i am able to make out1 the arms represented on the picture are the ,genoese arms4 ,i shall be happy to search for arms occurring on ,italian portraits in ,english collections1 and collect information about the persons represented1 if printed books fail to give the necessary help4 ,yours truly1 ,giovanni ,de ,pellegrini4 ,studio ,araldico1 ,campo ,san ,maurizio1 ,venice4 ,illustration3 #a #b #c #d ,no4 #a is the shield of the ,dorias of ,genoa1 taken from #8,il ,annuario della ,nobilt ,italiana4' ,nos4 #b1 #c1 #d are shields of the ,dorias of ,chioggia2 ,no4 #b is carved on a house in the calle di ,s4 ,nicol at ,chioggia2 ,no4 #c is carved in the town hall of ,chioggia and on a house on the ,canal ,lombardo2 ,no4 #d is carved in marble on a chimney of the casa ,doria at ,s4 ,andrea4 ,all three shields are given in the ,ravagnan ,,ms4 belonging to the municipality of ,chioggia4 ,illustration3 ,walker ,cockerell ,ph4 ,sc4 ,the ,great ,executioner1 from the mezzotint by ,prince ,rupert after ,spagnoletto1 in the collection of ,his ,majesty the ,king4 ,,the ,,lowestoft ,,porcelain ,,factory1 ,,and ,,the ,,chinese ,,porcelain ,,made ,,for ,,the ,,european ,,market ,,during ,,the ,,eighteenth ,,century#hf ,,written ,,by ,l4 ,,solon ,mr4 ,w4 ,chaffers is responsible for the spread of a theory regarding the ,lowestoft factory and its productions1 which1 after it had been provisionally endorsed by the majority of collectors1 turned out to be one of the worst mystifications recorded in ceramic history4 ,it must be conceded1 in mitigation of the offence1 that seldom had such a crop of apparently admissible evidence turned up to substantiate an ill-grounded belief4 ,on a visit that the author of #8,marks and ,monograms1' in quest of information1 paid to the town of ,lowestoft1 he came across numerous pieces of porcelain of very distinctive character1 bearing the crest or initials of the old families in which they had long been preserved1 and all of which were said by their possessors to have been made in the local factory that existed at one time4 ,he concluded1 naturally enough1 that he was on the way to the discovery of a most important and so far unsuspected centre of production--a too-hasty conclusion that a prejudiced course of investigation1 unfortunately1 came to strengthen4 ,the ware that he soon felt himself warranted to call #8,lowestoft porcelain' bore1 it is true1 decorations of ,european design1 but was no other than the inferior oriental china that the ,east ,india companies threw wholesale upon the market during the eighteenth century4 ,in building up his lame theory ,chaffers had neglected to take into consideration a few points of primary importance4 ,all the ancient inhabitants of the town who could remember anything of the extinct factory agreed in saying that it was a small place1 with only one biscuit oven and one enamelling kiln1 and that at the best of times the number of persons it employed did not exceed seventy4 ,now1 if the inquirer had not willingly lost sight of the fact that the very same kind of porcelain as that of which he was endeavouring to localize the origin was commonly found in every country which had had commercial intercourse with the east1 not only in ,europe1 but also in ,america--where ,boston and ,salem were the centres of a large importation trade--and that many ancient families inhabiting the sea-port towns of those countries boast the possession of tea or dinner services of similar china1 emblazoned with the arms or inscribed with the initials of an ancestor who had obtained them from the ,east ,indies2 if he had not conveniently forgotten that odd specimens of the ware are found in every collection and curiosity shop at home and abroad1 then he might have suspected that such a colossal supply could only have come from a manufacturing centre of amazing magnitude1 and not from a small factory at work for a few years on the coast of ,england4 ,he also failed to observe that the paste of the china was manifestly of oriental character1 and that there is no record of hard porcelain having ever been made at ,lowestoft4 ,on the other hand1 a coarse kind of soft china1 usually painted in underglaze blue1 has been traced as the undeniable product of the ,lowestoft factory1 and a sufficient number of examples of that class can now be produced to dispel any doubt as to the precise description of the ware that was made there1 and to put an end to all controversy4 ,to the facility that the situation of ,lowestoft offered for trading with ,holland by way of ,yarmouth must be attributed the existence of a petty company of merchants who joined to the importation of ,delft-faence the manufacture1 on a small scale1 of a pottery of the same description4 ,white and blue faence pieces1 inscribed with local names and dated as early as #agee1 seem to indicate that the pottery-works were in operation about that time4 ,the making of soft china was added shortly afterwards4 ,a heap of discarded plaster moulds was unearthed from the site of the old works in #aijb2 it included moulds for embossed sauce-boats and plain globular teapots2 upon one of these latter1 the date #agfb was incised in the plaster4 ,the globular tea-pot made in that mould is reproduced on the accompanying plate4 ,in the same year a queer1 nine-sided ink-pot was manufactured2 it bears a pseudo-,chinese ornamentation in underglaze blue1 with the monogram #8,r4,b4 #agfb4' ,robert ,browne1 for whom the piece was painted and inscribed1 was the head of the firm till #agga4 ,this unimpeachable testimony of the true style of the ,lowestoft fabrication is now in the possession of ,mr4 ,arthur ,crisps1 in whose collection are preserved six other ink-pots of the same shape1 together with many other genuine pieces1 decorated in the same manner1 and bearing dates ranging from #agfb to #aghb4 ,among these may be mentioned a tea service which has the name #8,elizath ,buckle1' and the date #agfh1 painted in blue4 ,it was executed by ,robert ,allen1 a nephew of the worthy dame1 who was still serving his apprenticeship1 but in after times became the manager of the works4 ,also a number of small articles bearing the words #8,a trifle from ,lowestoft' or #8,a trifle from ,yarmouth4' ,none of these specimens have anything in common with the so-called ,lowestoft china4 ,a family tradition discloses the way in which porcelain making was introduced at ,lowestoft4 ,it is reported that ,robert ,browne1 anxious to master a process unknown to him and from which he expected great results1 repaired to ,london disguised as a workman1 and in that capacity took employment in one of the china factories1 either ,bow or ,chelsea4 ,the discipline of former years had somewhat relaxed in these establishments1 and he had no difficulty in worming out from one of the foremen1 in exchange for adequate remuneration1 the secret of the mixture1 with instructions about practical manipulations4 ,the object he had in view appears to have been most easily attained2 scarcely three weeks had elapsed when he returned to his own works1 provided with sufficient information to start china-making at once1 without calling any outsider to his assistance4 ,it is needless to observe that what he learned in this manner did not put him in the position of producing hard porcelain1 and that he could not have made any on this basis4 ,as it stands now the history of the ,lowestoft works is a short one to tell4 ,a better knowledge of the exact nature of the owners' business might have been obtained from an examination of the papers and account books of the old firm2 they may or may not be still in existence2 at any rate1 their contents have never been investigated4 ,we know very little besides the fact that fritt porcelain was made for the first time in #agfb1 and that the factory was closed in #ahjc4 ,this article will1 however1 have fulfilled its purpose if it establishes1 once for all1 not so much what was the true ,lowestoft ware1 but what it was not4 ,one may well wonder how it came to pass that the name of the obscure ,lowestoft factory could ever have been mentioned in connection with a particular ware which1 in every country where the unmistakable specimens of it are met with in large quantities1 is recognized as being of oriental provenance4 ,as no conjecture has so far been advanced in answer to that query ,i will venture to present a not improbable solution of the problem4 ,illustration3 ,,lowestoft ,,porcelain ,,teapot ,,of ,,soft ,,paste ,,in ,,the ,,collection ,,of ,,mr4 ,,george ,,harding ,illustration3 ,,small ,,plate ,,painted ,,in ,,underglaze ,,blue1 ,,with ,a ,,view ,,of ,,lowestoft ,,church ,,franks ,,coll4 ,b4,m4 ,illustration3 ,,hard ,,porcelain ,,teapot1 ,,made ,,and ,,decorated ,,in ,,china1 ,,but ,,marked #8,,allen1 ,,lowestoft'2 ,,in ,,the ,,victoria ,,and ,,albert ,,museum ,that they never manufactured such a porcelain at ,lowestoft has no longer to be demonstrated2 it remains to be proved that they sold it1 and that the misconception as to its origin arose from no other cause4 ,we must remember1 in the first instance1 that the proprietors of the works were also ship-owners1 conducting a small trade with ,holland4 ,they exported ,english clays and raw materials for the use of the ,delft potters1 and brought back1 in return1 articles of ,dutch faence1 often painted with names and inscriptions1 for which they accepted commissions from private customers4 ,we know1 next1 that ,rotterdam was the centre of the mighty commerce carried on between ,holland and ,china4 ,it may1 then1 be fairly assumed that while engaged in the trade of common ,delft ware1 they conceived the idea of entering into communication with the wholesale importers of ,chinese porcelain from whom they could purchase large supplies1 and establishing in ,england a highly-remunerative branch of business by underselling the ,east ,india company4 ,it was customary with the ,dutch firms to send over to their foreign settlements shapes and designs obtained from ,european sources1 to be reproduced by native hands4 ,models from ,dresden1 ,svres1 and even from ,leeds or the ,staffordshire potteries1 were constantly copied in oriental porcelain4 ,the ,lowestoft people did what all other merchants had done before them1 and through the same channel forwarded to ,china the designs of coats-of-arms1 ,english mottoes1 and initials that were to be painted on the porcelain they had undertaken to supply4 ,in the ,henry ,willett collection is an armorial plate decorated in the usual ,indo-,european style1 and inscribed1 at the back1 with its certificate of origin3 ,,canton ,,in ,,china #bdth ,jan4 #agia4 ,commissions of that kind were received from the leading families of the neighbourhood and duly executed2 hence the number of local patronymics that ,chaffers noticed on the porcelain in the possession of many inhabitants of the town1 who honestly believed that it had been made by the very men from whom it had been purchased4 ,in #aggj the business had taken sufficient extension to induce the partners to open a warehouse in ,queen ,street1 ,cheapside4 ,their agent1 ,clark ,dunford1 inserted in the ,london papers an announcement in which he advertised #8a large selection of ,lowestoft china4' ,we possess no information as to what may have been the exact description of the goods advertised under that name1 but we may safely surmise that it was something superior to #8,a trifle from ,lowestoft' or any of the articles we know to have been the staple production of the works4 ,it seems that a more attractive exhibition might have been formed in the show-room by a stock of ,chinese porcelain imported by the ,lowestoft company4 ,i feel convinced that conclusive proofs of this elucidation of the ,lowestoft puzzle will one day come to light2 in the meantime1 it cannot be denied that it is strongly supported by the following facts3 ,it is recorded1 on good authority1 that the ruin of the company was caused by the wreck of one of their vessels carrying a cargo of porcelain1 and the burning1 by the ,french army1 of the warehouse they had established at ,rotterdam4 ,the idea that the enormous amount of ware required to load a vessel and to fill a large warehouse in ,rotterdam1 not to speak of the one in ,london1 could have been supplied by a one-oven factory1 is too ludicrous to be entertained for one moment1 and it may be dismissed without further comment4 ,it has been suggested that the ,lowestoft painters may have decorated ware imported from ,china in the white4 ,by reason of the ubiquity of the porcelain decorated in the accredited style1 and the small number of hands employed at the factory1 such a suggestion is equally untenable4 ,a hard porcelain teapot1 unmistakably painted by a ,chinese hand1 which is marked #8,allen1 ,lowestoft1' is reproduced on the opposite page4 ,robert ,allen was manager of the works up to the last4 ,when they closed he set up a small china shop in the town1 decorating himself part of the articles he sold4 ,his supply was drawn from various sources1 including oriental4 ,far from being deceived by such misleading testimonies1 we may only infer from this tea-pot that the dealer was wont to affix his name to all that passed through his hands1 even upon such pieces as had been decorated abroad4 ,this curious specimen is now in the ,victoria and ,albert museum4 ,the so-called ,lowestoft style is characterized by sprays and garlands of flowers1 in which two peculiar pink and purple colours play a conspicuous part1 and by scalloped borders of the scale or trellis patterns4 ,similar designs appear on the early china and earthenware of ,staffordshire4 ,the last partisans of the ,chaffers theory--for all the offshoots of the mystification have not yet been fully eradicated--believe that such pieces afford irrefutable examples of the ,lowestoft original production4 ,this is an error that must be discarded with the others4 ,to imitate ,chinese decoration has always been the golden rule of the ,english potter2 just as he had reproduced the fine ,nankin porcelain1 he also copied the quasi-,european ware manufactured for exportation by the ,east ,india company1 and this all the more readily that it could be easily and cheaply produced4 ,the well-known scale borders and the sprays of pink and purple roses occur frequently on the early china of ,minton1 ,spode and other makers4 ,these designs were obviously taken from the ,chinese importations1 and did not originate in the ,potteries any more than they originated at ,lowestoft4 ,from the few authenticated specimens that have come under the collector's notice we gather that the paste of the genuine ,lowestoft porcelain is coarse1 semi-opaque1 and of a dingy white2 the glaze is speckled with bubbles and minute black spots1 which denote a rather imperfect manufacture4 ,it is poorly decorated1 and under these conditions we understand that it was not preciously preserved in the households2 at all events1 it has now become very rare4 ,no mark was ever used at the factory1 and the specific character of the ware is not sufficiently pronounced to allow us to use such undoubted examples as we possess as a means of identifying those which may have escaped destruction4 ,illustration3 ,,portrait ,,of ,,the ,,empress ,,isabella ,,by ,,tiziano ,,vecellio2 ,,in ,,the ,,prado ,,museum1 ,,madrid4 ,,titian',s ,,portrait ,,of ,,the ,,empress ,,isabella ,,written ,,by ,,georg ,,gronau#hg ,about the middle of the year #aedc1 somewhere between ,june #bj and #be1 a meeting of ,paul ,,iii and ,charles ,v was arranged at ,busseto between ,parma and ,cremona with a view to the settlement of the political differences outstanding at that date4 ,in the train of the pope came ,titian1 who on every occasion when the emperor set foot on ,italian soil took the opportunity of paying his addresses to the monarch4 ,on this occasion1 too1 the emperor had a commission for him2 ,titian was instructed to paint a portrait of the dead empress4 ,from ,aretino's letters--which1 apart from their personal fascination which no reader of them is able to resist1 are second to none as a source of information on the life of the great painter--a few further details of the incident are to be gleaned1 for some days later ,aretino1 in the company of ,duke ,guidobaldo of ,urbino and of the ,venetian ambassadors1 met the emperor near ,peschiera in the course of his journey to ,germany4 ,it was one of the red letter days in ,messer ,pietro's life1 and1 fulfilled with vain-glory1 he was never tired of talking of the marked consideration wherewith1 if his chronicle is to be trusted1 the emperor received him4 ,on this occasion1 when portraiture became the topic of conversation1 ,charles referred to the portrait of his wife that he had given to ,titian at ,busseto1 and told ,aretino to tell his godfather that it was a very good likeness1 though the work of a painter of small merit4#hh ,from ,aretino's letters we glean further particulars4 ,in ,october #aedd he addresses a letter to the emperor wherein he extols the completed picture in such high-flown phrases as to baffle translation4#hi #8,in defiance of ,death1 he has called her back to life by the inspiration of his colours1 so that ,god possesses her for the first1 ,charles for the second time4' ,although his words sound as if he were speaking of a finished picture1 ,titian1 it would appear1 did not dispatch the picture to the emperor until about a year later4 ,in ,october #aede he informed the monarch that he had handed the two portraits at which he had been working with all the diligence of which he was capable1 over to ,mendoza to be forwarded4#ij ,a few months later he was writing again from ,rome1 whither he had gone at the bidding of the ,farnesi1 to say that he had delivered his own portrait of the empress1 #8together with the other which had been given to me to copy1' to ,don ,diego4#ia ,and he adds3 #8,if ,i hear that it finds favour ,i shall feel the greatest satisfaction2 but in the contrary event1 ,i should prefer to improve it in such a manner as to content your majesty if our ,lord ,god vouchsafes me to be able to come to bring a picture of ,venus by me1' etc4 ,a little more than two years later ,titian arrived at ,augsburg at the summons of the emperor1 who on this occasion wished once again to see himself portrayed by his favourite painter1 this time as the conqueror of the ,protestant princes1 uplifted and on horseback4 ,it involved a long sojourn4 ,towards the end of it1 on ,september #a1 #aedh1 ,titian wrote to ,granvella to explain his prospects to him1 and in this letter enumerates the pictures he had done for the emperor1 among them #8,the empress alone and the one of the emperor and empress4' ,here a little difficulty arises4 ,has ,titian then painted a single portrait of the empress on two occasions1 one between #aedc and #aede1 the other in #aedh8 ,or1 on the other hand1 is the work referred to in this letter one and the same with the earlier portrait1 and did ,titian1 as a matter of fact1 work it up again8 ,it is impossible to speak with any degree of certainty1 but as the ,spanish inventories always speak of one portrait only we may assume that the latter hypothesis is the more likely to be correct4 ,while the double portrait has been lost1 the picture of the empress has found a place in that incomparable collection of ,titian's works which the ,prado gallery in ,madrid comprises4 ,it is one of ,titian's most important works2 perhaps1 indeed1 it takes the first place among his portraits of women4 ,never is his taste more exquisite than here4 ,its courtly splendour strikes one as a matter of course4 ,in the midst of glorious colour--red and white--the pale1 somewhat colourless face stands out framed by its fair reddish hair2 the hand clasps a breviary4 ,a window to the right opens on a landscape scene1 one of those glimpses of ,nature such as ,titian had the secret of conjuring up with his brush with such incomparable art4 ,no one looking at the picture would ever be able to suspect how it was painted2 that its painter had never seen his model with his own eyes4 ,it was no uncommon thing1 by the way1 for ,titian to paint the portraits of people whom he did not even know by sight4 ,he was proud of his skill of being able to recognize the characteristic traits of a man or woman even from another artist's work4#ib ,we can1 however1 only realize the work of genius for which this portrait of ,isabella stands when we compare it with the picture with which the emperor had furnished him1 that portrait by #8a painter of small merit4' ,the picture itself has1 it is true1 been wholly lost1 but a copy of it has recently come to light in ,florence1 and is reproduced in these pages for the first time4 ,that we are not mistaken in assuming it to be a replica of the original from which ,titian worked will be proved by the complete coincidence of all the principal characteristics of the picture in ,madrid with the one before us4 ,in the ,florentine picture the empress is wearing a black robe with white puffed sleeves1 a great deal of jewelry1 and is holding a spray of foliage in her hand4 ,the picture is1 for the most part1 sombre in tone1 and the face stands out most effectively in its pallor4 ,it has that diaphanous whiteness noticeable in anmic people4 ,the dull reddish hair frames it heavily4 ,the background is a grey green2 in a niche1 over which a dull red curtain is draped1 the symbol of the exalted rank of the sitter1 the imperial crown1 is represented4 ,to judge from its style this picture dates back to a ,flemish master1 though1 with the somewhat scanty inherent evidence available1 it is impossible to suggest the name of any particular artist4 ,the picture originates from ,bologna1 where it was in the possession of the ,pepoli family4 ,that in itself is interesting1 for we know that ,isabella's sister1 ,beatrice1 duchess of ,savoy1 had taken up her quarters in the ,pepoli palace during the rejoicings in #aecj in celebration of ,charles ,v's coronation1 and that it was the scene of a brilliant ball which the emperor honoured with his presence4 ,it would be well within the bounds of possibility1 therefore1 that the portrait of the empress1 who had been prevented 7she had been confined a short time previously7 from coming to ,bologna1 had passed into possession of the ,pepoli as a present at first hand1 either from the emperor or from the duchess4 ,a replica1 with a few trivial distinctions1 of the picture is entered in the inventory of the house of ,farnese 7about #afhj74 ,in this the left hand is resting on the back of the chair4#ic ,illustration3 ,,copy ,,of ,,the ,,portrait ,,of ,,the ,,empress ,,isabella ,,from ,,which ,,titian ,,painted ,,the ,,portrait ,,now ,,in ,,the ,,prado ,,gallery1 ,,madrid2 ,,in ,a ,,private ,,collection ,,at ,,florence ,the ,florentine picture has undoubtedly a conspicuous iconographic importance as the most authentic portrait of the woman who shared the throne of ,charles ,v4 ,at the same time1 its value from the standpoint of the history of art is immeasurably greater1 inasmuch as it affords us a most interesting insight into ,titian's methods4 ,this picture should be compared with the painting in ,madrid1 their points of variance carefully considered with the question why the master omitted this or added that4 ,it is as though in this picture we were watching him at work with our very eyes4 ,especially noteworthy is the fact that the imperial crown is not repeated4 ,an artist whose work lacks character needs a symbol as an outward and visible sign-post4 ,one1 on the contrary1 who knows how to express dignity in the bearing of his sitter1 can dispense with these commonplaces4 ,titian was1 of course1 compelled to adopt the outline of the features1 the colouring of the complexion and of the hair4 ,he even adopted the pose in its main outlines4 ,on the other hand he changed the colour of the dress and the pose of the hands2 the pose of the ,florentine picture is conventional and meaningless4 ,by adding the book of hours he gains a signal detail of characterization1 for the empress was very devout4 ,if in the ,flemish picture there is a certain note of contrast brought out by the sombre dress and the costly jewels1 in ,titian's picture these ornaments blend with the costly draperies1 glowing in the richest colours which robe the empress here4 ,more important still is the fact that the antithesis is toned down thereby1 and something of life comes into the pale face by reason of the warm red robe1 while in the other it has a cold and lifeless tone1 intensified by the dead black garment4 ,and here the little glimpse of landscape which ,titian introduces in the right-hand half of the picture gains a special significance of its own4 ,it deflects the eye a little1 well-nigh without arousing one's consciousness that it is so doing2 it adds a nuance of restfulness and colour that has as subtle and pleasing an effect as that of a ,gobelin1 although the landscape is convincingly realistic1 instinct with that realism that comprises in its quintessence all the elements of colour and of form1 and yet is the abstraction of the characteristics of a definite locality4 ,this1 comparatively speaking1 small patch 7considered as a patch of colour within the picture as a whole7 prevents the figure from standing out in too hard relief from the dim-lit background and adds that very essential element of atmosphere to give life to the picture4 ,it is worth noting that not until a1 comparatively speaking1 later period did ,titian make use of a landscape background4 ,all his earlier portraits show a neutral tone for the background4 ,one finds it for the first time1 in so far as the number of ,titian's paintings known to us at present justifies an expression of opinion1 in the portrait of the duchess of ,urbino of #aecg4 ,thenceforward ,titian made very frequent use of this subtle and life-giving device of his art4 ,the portrait of ,count ,porcia in the ,brera gallery in ,milan1 the little ,strozzi in ,berlin1 the picture of ,charles ,v in ,munich are examples of it4 ,here the element which henceforward is inseparable from courtly portraiture is created4 ,rubens and ,vandyke1 above all1 follow in the footsteps of the ,venetian1 whose influence might be traced down to modern times4 ,put the ,flemish portrait by the side of ,titian's2 it is1 we see1 the self-same picture in its main outlines1 and yet with what fundamental distinctions4 ,on the one hand the work of a #8trifling brush' 7the emperor's own words1 according to ,aretino7 and on the other the conscious feat of a prince of painters4 ,nothing within the scope of artistic consideration can afford so much incitement and pleasure as to force one's way into the work of the really great4 ,for what they did is not merely a delight to the beholder2 it remains an enduring exemplar for the worker4 ,from this sole instance it becomes manifest how a thing insignificant in itself may suffice to force the fruits of genius4 ,thus an ,italian novel gives birth to one of ,shakespeare's dramas1 thus the puppet play of ,doctor ,faust to ,goethe's sublimest work4 ,a ,,newly ,,discovered ,,portrait ,,drawing ,,by ,d,,rer ,,written ,,by ,,campbell ,,dodgson ,the ,british museum1 thanks to a timely hint from a friend1 has recently acquired a portrait drawing of considerable interest and unknown to students of the present generation4 ,it represents a middle-aged woman1 plain-featured and of a short1 thick-set figure1 seated1 with clasped hands1 drawn in three-quarter face and looking to the left4 ,the sitter is plainly dressed1 without a trace of ornament on the materials of her clothing2 she wears a ring on the first finger of her left hand1 and the artist has sketched very slightly a double or triple chain with pendants hanging from her neck and reaching across her bodice nearly to the waist4 ,the portrait1 which measures #af by #ab ins4 7#db by #cae centimetres71 is lightly drawn in black chalk on a green prepared ground4 ,the watermark of the paper is the large high crown surmounted by a cross 7,hausmann1 ,no4 #d74 ,a border line1 which can be traced round three sides of the drawing1 near the edge1 is clearly a modern addition1 being drawn with lead pencil4 ,the portrait itself has entirely escaped retouching1 and the whole sheet is in good preservation1 except in a few places where the surface has been rubbed or stained2 a severe crease across the lower right-hand corner of the paper has caused the prepared surface to crack4 ,in the left-hand lower corner is the collector's mark of ,sir ,thomas ,lawrence1 ,fagan1 #ejg 7#a71 stamped blind1 and in the corresponding corner to the right is the initial ,c1 also stamped blind1 which belonged1 according to ,fagan 7,no4 #gb71 to ,captain ,william ,coningham4 ,the ,lawrence stamp1 in this form1 was affixed to the drawings by ,samuel ,woodburn after he had purchased them in #ahce4 ,coningham1 too1 had dealings with ,woodburn2 it may be conjectured that he purchased the present drawing from that dealer1 and that it was included in the collection of drawings by old masters which ,coningham sold to ,messrs4 ,colnaghi in #ahdf4 ,that would account for the absence of any mention of this drawing in the catalogue of the ,woodburn sale in ,june #ahfj1 when the bulk of the ,lawrence drawings were finally dispersed4 ,the drawing had been for a long period in private hands prior to its purchase by the trustees of the ,british museum in ,july of the present year1 and had not appeared in the sale-room4 ,after so much has been said about externals1 it is time to look more closely at the drawing itself1 which can only be reproduced1 at present1 on a greatly reduced scale1 though it is hoped that an opportunity may present itself later on of issuing a full-sized reproduction in facsimile4 ,illustration3 ,,london ,,stereo ,,co4 ,,portrait ,,of ,a ,,lady1 ,,by ,,albrecht ,d,,rer2 ,,in ,,the ,,british ,,museum ,i have said nothing1 so far1 about the authorship of the drawing4 ,the name of ,holbein had been mentioned1 but from the moment in which ,i first set eyes on it ,i had scarcely a doubt that the draughtsman was ,drer4 ,no other artist of that date1 so far as ,i remember1 drew portraits in chalk on a green ground4 ,no suspicion of forgery or fraud could be seriously entertained1 and any momentary hesitation suggested by the formation of the eyes1 the weak drawing of the left hand 7an undeniable blemish71 or the lack of energy in the shading of the costume1 was soon dispelled by comparison with other drawings by ,drer on a similar scale and also on green paper1 the authenticity of which has never been questioned4 ,the impression suggested by the technique of the drawing itself was confirmed by an examination of the inscription and date1 which are written in indian ink1 and are indisputably genuine4 ,every letter is characteristic of ,drer's handwriting2 the inscription may be compared especially with the long note of the same date on a drawing in the ,vienna ,hofmuseum 7,lippmann1 #dbc71 in which ,drer has recorded a curious dream that he had in the early summer of #aebe4 ,the figures of the date agree closely with those on the ,vienna drawing1 and still more strikingly with those on a drawing in ,mr4 ,heseltine's collection 7,lippmann1 #agb71 the portrait of a young lady in a hat1 with a dog on her lap1 not signed1 but dated #aebe1 also in indian ink4 ,mr4 ,heseltine's portrait is that of a much more attractive person2 it is also more carefully finished than the drawing which has recently come to light3 but the two have much in common1 even to the weak drawing of the left hand and the curious break in the outline of the upper eyelid of the left eye4 ,the pose of the two figures is the same2 the treatment of the clothes1 both in outline and in shading1 is curiously similar4 ,the new portrait may also be compared with two large drawings on green paper already in the ,british museum3 the portrait of ,drer's wife1 seriously damaged1 of #aebb 7,lippmann1 #bia71 and the much more finished and masterly likeness of ,henry ,parker1 ,lord ,morley 7,lippmann1 #hg71 drawn on the occasion of his visit to ,nuremberg in #aebcid as a special envoy sent to confer the order of the ,garter on the ,archduke ,ferdinand4 ,the ground of the latter drawing is of a bluer tint1 but the green of ,mr4 ,heseltine's drawing and of the portrait of ,agnes ,drer is almost identical with that of the new drawing in the ,british museum4 ,the next question which arose when the authorship of the drawing was established to my own1 and1 ,i may add1 to ,mr4 ,colvin's satisfaction1 was the interpretation of the line of ,drer's handwriting1 #8#aebe ,casmirs schwestr fraw margret4' ,no ,casimir was known to me among the circle of ,drer's friends or patrons1 but ,i was not long in finding a solution which seems to meet all the requirements of the case4 ,the name ,casimir at once suggested the royal house of ,poland2 a reference to the first work on ,polish history that lay at hand provided me with the name of a connexion of that family whose residence was not far away from ,nuremberg4 ,this was ,casimir1 margrave of ,culmbach 7#adha-aebg71 eldest son of the ,margrave ,frederick of ,brandenburg-,ansbach and ,bayreuth 7#adfj-aecf7 by his marriage with ,sophia1 daughter of ,casimir ,,iii of ,poland4 ,frederick1 being of feeble intellect1 was deposed in #aeae by his sons and confined in the castle of ,plassenburg2 ,casimir thereupon ruled over the greater part of the ,franconian possessions of the house of ,hohenzollern4 ,he was a soldier with mediaeval ideas1 and a steadfast ,catholic1 in opposition to his brother ,george of ,bayreuth1 who favoured the reformers2 he died on ,september #ba1 #aebg1 at ,ofen1 while holding a high command under ,ferdinand in the ,hungarian war1 and was buried1 like most of his family1 in the abbey church at ,heilsbronn4 ,the name of his eldest sister was ,margaret2 she was born in ,january #adhc1 and died1 unmarried1 in #aecb4 ,i suggest1 then1 that this prince and princess1 both living in #aebe1 are the ,casimir and ,margaret of ,drer's note4 ,the portrait may well be that of a woman of forty-two1 though we might guess her to be older4 ,there is nothing unusual in the title #8,frau ,margret' being applied to a lady of princely rank2 we may compare the titles #8the ,lady ,mary1' #8the ,lady ,elizabeth1' by which the princesses of our own royal house of ,tudor were known at the same period4 ,i can discover no other portrait of ,margaret of ,brandenburg-,ansbach1 except as one of a group of the daughters of the ,margravine ,sophia on a wing of an altarpiece at ,heilsbronn#ie2 here1 however1 the kneeling princesses are all painted to one pattern1 and at so early an age that no comparison of the features is possible4 ,drer's note is thus the only ground for believing that the newly acquired portrait is that of a ,hohenzollern princess4 ,i was not previously aware that ,drer had enjoyed the patronage of any member of that illustrious family1 but ,i ascertained in the course of the present investigation that there is reason to think that he had had direct relations with the ,margrave ,casimir himself4 ,dr4 ,julius ,meyer#if describes a lost votive picture by ,drer1 which represented the body of our ,saviour being anointed for burial1 with ,susanna1 wife of ,casimir1 kneeling in adoration1 and ,casimir himself standing at her right hand4 ,the picture is only known by a full description in a ,,ms4 inventory written in #agfh by its then owner1 ,hofrath ,christian ,friedrich von ,knebel 7#agbh-ahje71 at ,ansbach4 ,it was signed and dated #aeah in gold4 ,it was painted1 therefore1 in the year of ,casimir's marriage with ,susanna 7#aejb-aedc71 daughter of ,duke ,albert ,,iii of ,bavaria by his marriage with ,kunigunda of ,austria1 sister of the ,emperor ,maximilian ,i4 ,susanna is described by ,knebel as #8,drer's great protectress'2 it is reasonable to suppose1 at any rate1 that the close relations in which he stood at this time with the emperor1 her uncle1 may have led to his appointment to paint the portrait of the niece4 ,i cannot resist the conjecture--it is hardly more--that the portrait in ,mr4 ,heseltine's collection was done at the same time1 and represents another member of the ,margrave ,casimir's family1 in all probability his wife1 ,susanna of ,bavaria4 ,the lady cannot be another of his sisters1 the youngest of whom1 ,barbara1 was at this time thirty1 while the only other survivors1 ,sophia and ,anna1 were forty and thirty-eight respectively1 and already married4#ig ,susanna1 on the other hand1 was twenty-three1 and the portrait may well stand for a lady of that age4 ,she appears to have been fond of dogs1 for a large dog lay before her in ,knebel's picture4 ,medals of the years #aebb1 #aebe and #aebg respectively1 containing portraits of this princess1 are reproduced in #8,schaumnzen des ,hauses ,hohenzollern1' ,berlin1 #aija 7,nos4 #ebb-ebd74 ,no4 #ebd1 in which she is represented in a wide hat1 in three-quarter face to the right1 agrees best with ,drer's drawing1 but the features are far less pleasing1 and ,drer was not wont to flatter his sitters4 ,in #aebh1 a year after ,casimir's death1 his widow married ,otto ,heinrich1 of ,neuburg1 count 7afterwards elector7 palatine4 ,two medals of the year #aebi1 by ,peter ,fltner and ,hans ,daucher1 representing ,susanna in profile1 are preserved in the ,munich and ,vienna cabinets respectively4#ih ,both are superior as works of art to the earlier portraits reproduced among the ,hohenzollern medals1 and they tend1 ,i think1 to confirm1 if not to prove1 my hypothesis4 ,mr4 ,heseltine's drawing formerly had an inscription which doubtless gave the name of the person represented4 ,unfortunately some vandal has cut the paper down1 and his scissors have only left the extreme ends of two letters1 which may be seen above the date1 #aebe1 written1 exactly as on the ,british museum drawing1 with indian ink4 ,dr4 ,lippmann1 in his note on ,no4 #agb1 suggests that the lady was an ,englishwoman and the drawing a counterpart to the portrait of ,morley4 ,this entirely gratuitous assumption compels him to suppose that the date was added by a later hand1 and that the drawing was really made a few years earlier than #aebe4 ,the authentic inscription and date on the portrait of #8,fraw ,margret' dispose1 ,i think1 of that suggestion4 ,the new portrait1 though not one of the finest class of ,drer drawings1 is a welcome addition to the ,london collection1 which is already unusually rich in large portrait-heads of the master's later years4 ,illustration3 ,,london ,,stereo ,,co4 ,,portrait ,,of ,a ,,lady1 ,,by ,,albrecht ,d,,rer2 ,,in ,,the ,,collection ,,of ,,mr4 ,j4 ,p4 ,,heseltine ,,later ,,nineteenth-,,century ,,book ,,illustrations ,,written ,,by ,,joseph ,,pennell ,,article ,i ,throughout the history of art1 or rather the history of collecting1 there has always been1 in conjunction with the desire to collect1 a hesitancy in collecting just those things which are ever with us and about which we know the most4 ,though tremendously characteristic of our age1 this hesitancy is by no means confined to it4 ,the ,japanese print was ever despised in ,japan1 and still is1 except from its pecuniary point of view1 by that grossly over-rated1 so-called clever people1 who only learned to appreciate their own prints when taught to by the despised western barbarian2 the etching of ,rembrandt1 until the dealer discovered its value1 could mostly be obtained for a song2 the mezzotint1 when it was published1 filled the place of the photograph1 brought only a guinea1 or so1 though the near-as-possible counterfeit now is announced to be sold as a rarity in limited editions at the price of the original2 the etching of ,meryon1 valued to-day as much for the paper it is printed on as for what is printed on the paper1 was sold by the artist for a few francs1 in several cases quite its full value--all these things and endless more are the sport of the collector4 ,and yet it has always seemed to me extraordinary that the collector1 who prizes works of the graphic arts mainly for their rarity1 has never collected those which really are rare4 ,it is inconceivable1 it is astonishing and unbelievable1 that the art of the nineteenth century1 the art of illustration1 has been so neglected that the original drawings1 though they have been always with us1 have never yet been properly prized1 appreciated1 catalogued and collected4 ,i know that old drawings are collected1 but the collector's interest in them to a great extent dates only from yesterday1 and even now their price does not equal that of prints from them1 of which there may be dozens1 or1 in fact1 nobody knows how many examples in existence4 ,but ,i also know that1 within the last hundred years1 drawings1 illustrations1 have been made in ,england and ,america that will rank with any1 ever made anywhere1 in any age1 and that these works of art are absolutely ignored4 ,and they are ignored simply because they have not been collected1 because in this country the ,british museum cannot purchase the work of living ,british artists1 and often it is during the lifetime of the artist only that they can be secured1 because in ,france there is no place to exhibit drawings save in a corner of the ,luxembourg2 the rest the ,french government possesses are buried in the ,cabinet des estampes4 ,theoretically1 the rule of the ,british museum may be a good one2 it may be thought a safeguard against as terrible a hodge-podge as that presented on the walls of the art gallery at ,south ,kensington4 ,to some of us1 however1 a remedy suggests itself--change or modify the rule1 and1 under intelligent direction1 there is no reason why collections as fine as those in ,dresden and ,berlin should not be easily obtained even in ,england4 ,the consequence of this neglect1 both deliberate and enforced on the part of the ,british government1 has been that here dealers and collectors1 connoisseurs and amateurs1 have avoided original drawings almost altogether4 ,artists alone have cared for them1 have collected them1 and still own almost all that are best worth having4#ii ,but now that the best examples have been collected1 or have become impossible to collect1 ,i see signs vaguely of an appreciation4 ,i do not for a moment think this is due to any artistic awakening or any sudden recognition of a genuine form of art--the art1 as ,i have always described it1 and as it will be known in the future1 of the nineteenth century4 ,the real cause is to be found rather in the desire for some new thing4 ,personally1 ,i care very little what is bringing the change about2 ,i am merely delighted to know that it is coming1#ajj for ,i have been preaching the beauty of this work for many years1 though1 ,i admit1 in a wilderness of paint1 prints1 pots and postage stamps4 ,when it does come1 the possessors of these drawings will find that they own1 not only things of beauty1 but wonderful examples of an individual form of expression which owes its existence altogether to the last century4 ,i do not mean to suggest that illustration is a modern form of art2 it is as old as the world4 ,i do not mean to say that1 in their way1 the works of the artists of the ,renaissance are not glorious2 ,i do not mean to say that the works of the eighteenth century are not superb1 after their fashion2 what ,i do mean is1 that not until the nineteenth century in ,england1 with ,blake and with ,bewick1 did illustration become a separate1 independent and individual branch of the fine arts4 ,the reasons are simple--the appearance of artists who loved and respected their profession1 and the improvement and development of technical and mechanical processes4 ,blake wished to show his art in his own publications4 ,there was nothing new in this2 ,drer had done it centuries before4 ,but ,blake confined himself virtually to illustration2 with ,drer1 it was only one of his many means of expression4 ,bewick may or may not have learned to adapt the technique of steel engraving to wood from ,papillon2 that is a detail for the historian4 ,what he did do1 and what ,papillon did not1 was to impose the new method successfully on the world4 ,not only did ,bewick produce his series of nature books1 the forerunners of the present fad for that sort of thing1 but he invented a school and a scientific manner of work which conquered the world4 ,i have traced already the development of ,english book-illustration1 showing how it spread from ,england to ,france and to ,germany1 and how1 as it progressed through these countries1 artists appeared to work for it--great artists in illustration but in nothing else1 ,meissonier and ,menzel4 ,i have elsewhere shown how1 though these artists were ready to draw upon the wood block1 they had to send to ,england for engravers to engrave their designs2 ,i have shown how the pupils and the methods of ,bewick were spread all over ,europe3 but while this was happening the art was languishing in ,england4 ,lithography and cheapness had commenced to stifle it4 ,education and the personal benefactor1 the curses of this country1 were sitting on it4 ,the equivalent in that day to the county council1 ,i doubt not1 had it by the throat4 ,it is true that ,william ,harvey1 ,linnell1 and a few others carried on1 as best they could1 the traditions of ,bewick4 ,but through the mid-century1 ,turner and his steel engravers struggled with the lithographers1 ,harding1 ,prout and ,lewis1 only that all alike might be undermined by ,knight's penny something or other1 and that horror1 as it then was1 ,the ,illustrated ,london ,news1 always catering for the people1 and the people damn any form of art4 ,illustration3 ,,plate ,i ,,from #8,,gil ,,blas' #ahcf1 ,,drawn ,,by ,i4 ,,gigoux1 ,,engraver ,,unknown ,illustration3 ,,the ,,round ,,table1 ,,from #8,,geschichte ,,friedrichs ,,des ,,grossen1' #ahdj ,a4 ,,menzel1 ,,del4 ,e4 ,,knutchmar1 ,,sc4 ,illustration3 ,,plate ,,ii ,,original ,,drawing ,,by ,w4 ,,westall ,illustration3 ,,from #8,,northcote',s ,,fables1' #ahbh1 ,,drawn ,,by ,,harvey1 ,,engraved ,,by ,,jackson ,illustration3 ,,original ,,drawing ,,by ,,bartolozzi ,illustration3 ,,original ,,drawing ,,by ,,courbould ,but1 with the appearance in ,germany1 in #ahdj1 of ,menzel's #8,geschichte ,friedrichs des ,grossen1' and its appropriation in #ahde1 by the ingenious ,mr4 ,bohn--,i wonder what he paid for the blocks--a new era dawned in ,england4 ,and just one word about this book4 ,it contains #ejj illustrations by ,adolf ,menzel1 and1 says the advertisement1 #8in the execution of the cuts both ,french and ,british artists 7engravers7 have been engaged4' ,but it so happened that they were all discarded by the artist for ,german engravers whom he himself trained4 ,the #ejj illustrations were drawn by ,adolf ,menzel on the wood1 and his trials and tribulations are well known to all who have studied the history of illustration4 ,five hundred drawings in one book1 all done on little wood blocks4 ,why1 even this is enough to ruin anybody in our day1 when it is an honour to be devoid of technical ability and physical capacity for work4 ,but then we live in a time when incompetence1 laziness and anmic imbecility are1 in this country indispensible credentials to fame4 ,this book of ,menzel's1 which has never been surpassed as an example of reproductive wood engraving1 was seen by the ,dalziels and shown to1 at any rate1 ,keene1 ,rossetti1 ,sir ,john ,gilbert and1 most likely1 ,millais4 ,if some of the lesser but more precious illustrators then at work refused to look at it--well1 the loss was their own1 and it is probably one of the reasons why so little afterwards was ever heard of them4 ,some ten years later1 in ,france1 where ever since the thirties the romanticists had been illustrating1 notably ,curmer's edition of #8,paul et ,virginie' 7#ahch71 while ,jean ,gigoux in his #8,gil ,blas' 7#ahcf7 had made an everlasting reputation1 there appeared ,meissonier's edition of the #8,contes ,rmois' 7#aheh71 by which1 and not by his sensational dealings in paint with millionaires1 his name will be remembered4 ,and then ,england woke up again4 ,the first ,english book which shows any evidence of a revival in art1 an attempt to escape from the be-,knighted1 be-illustrated traditions1 was ,william ,allinham's #8,music ,master1' which contains nine illustrations3 seven by ,arthur ,hughes1 one by ,rossetti--,the ,maids of ,elfen ,mere1 which appears really to have made a sensation--and one by ,millais4 ,it was published in #ahee4 ,the ,english edition of ,menzel's #8,fredrick' came out in #ahde4 ,it should not be forgotten that there had been a strong saving remnant all along from the time of ,bewick4 ,northcote's #8,fables' appeared in #ahbh1 #8embellished' by #bhj drawings1 ascribed by ,northcote1 but really by ,harvey1 #8most excellently drawn on the wood and prepared for the engraver by ,mr4 ,william ,harvey1 and improved by his skill'--even ,northcote himself admitted this in one edition4 ,the #8,voyage of ,columbus1' undated and unsigned1 illustrated by ,stothard1 was possibly still earlier4 ,then there was the #8,solace of ,song' 7#ahcg72 there was ,lane's memorable edition of the #8,arabian ,nights1' illustrated also by ,harvey 7#ahci72 and there were certain other volumes2 but one is not now making a bibliography4 ,however1 it was with the #8,music ,master' 7#ahee7 that the great change came4 ,in #aheg ,moxon issued his edition of ,tennyson1 the only book which is well known4 ,it is extraordionary how little good work there is in it1 but this little is of the utmost importance1 for it includes the monumental ,rossettis and ,holman ,hunts1 and a few beautiful ,millais4 ,even more extraordinary is the proof given not long ago of the public's indifference to great illustration1 for when1 recently1 just these few fine illustrations1 together with the poems to which they refer1 were reprinted1 accompanied not only by the artists' original studies for them1 but by a most interesting essay by ,mr4 ,holman ,hunt1 one of the illustrators1 this new edition fell perfectly flat4 ,this is not very creditable to the intelligence of the ,british collector1 but it is a fact4#aja ,by #ahei1 the movement1 with the starting of ,once a ,week1 got into full swing1 and we are in the golden age of illustration1 the most striking1 the most original phase of ,british art4 ,from this time onward1 for ten years1 the publishers of this country issued a series of books and magazines that have never been approached1 and when the present tendencies in art are considered1 it is fairly safe to add will never again be approached in ,england4 ,then1 artists sought to put the best of themselves into illustration on the wood block4 ,then1 engravers endeavoured to engrave these illustrations as well as they possibly could1 and though all of us have been forced regretfully to admit that the methods were abominable1 the drawing being cut all to pieces before it could be printed1 and the artist having no redress1 the published results were often astonishingly good4 ,then the printer took a pride in doing his work as well as he knew how4 ,and though it might be1 and often was1 bad1 it was the best of which he was capable1 and it was frequently much better than what is done to-day4 ,then1 the publisher regarded himself as a shopkeeper1 whose business was merely to put his name on the books and to sell them1 and he was content to do this and nothing more4 ,sometimes he succeeded1 sometimes he failed4 ,now1 not only does he sit at the receipt of custom1 but he dominates the whole4 ,he tells you what the public wants according to his ideas1 and the length of his purse1 and his travellers' opinions4 ,and as in nine cases out of ten1 despite these authorities1 he is supremely ignorant of the work which he farms out1 and as cheapness and vulgarity are his only gods1 and as paper has come down and process has come in1 it is not surprising that ,english book-illustration should be just where it is to-day4 ,there are1 of course1 exceptions to this rule among the publishers4 ,they are few1 indeed4 ,but they know their position1 and it would be discouraging to the rest to name them4 ,but1 the collector may ask1 what in all this defence of book-illustration is there for me8 ,as ,i have pointed out1 the illustrations1 at any rate up to #ahfe1 were all drawn on the wood block1 and were all cut to pieces in the engraving4 ,there remain1 therefore1 only a very few and rare originals that for some reason or other were not engraved4 ,there also remain in many cases studies for these illustrations4 ,for example1 the ,british museum has been lately showing an illustration1 so-called1 by ,sir ,j4 ,e4 ,millais1 for his #8,parables1' published first in ,good ,words1 and then in a separate volume by the ,dalziels 7#ahfd74 ,this is not the illustration really1 but a study for it4 ,it may safely be assumed that no original drawings for book-illustration prior to #ahfe exist1 unless they are simply drawings made on the wood for a book and never engraved1 when they are not book-illustrations at all--that is1 illustrations which have been used in a book--or unless they are drawings of some sort made for the steel-engraver or the lithographer1 which were copied or translated by the engraver4 ,for example1 ,turner's illustrations to ,rogers' #8,poems' exist as most commonplace water-colours in the cellars of the ,national gallery4 ,turner and ,goodall between them made a great work of art out of the #8,datur ,hora ,quieti1' but there is no original of this at all save the trifling water-colour suggestion4 ,some of the artists1 however1 were in the habit of making studies in pen-and-ink1 or wash1 or pencil1 on paper1 of the exact size of the future engraving1 and containing all the details of the design1 which was afterwards redrawn on the wood block4 ,mr4 ,sandys did this in very many cases1 and in some he even made large versions of the drawings1 especially for the #8,amor ,mundi1' which is owned by ,lord ,battersea4 ,in his case1 too1 one or two of his drawings1 ,i know1 never were engraved4 ,one which ,i owned1 and which is now in the ,adelaide museum1 ,australia1 ,the ,spirit of the ,storm1 was unfinished1 and a second1 done for ,good ,words or ,once a ,week1 for years kicked round in a drawer in the office of ,swain1 the engraver1 until ,i found it1 when it was engraved and published in ,the ,hobby ,horse2 the reason for this long neglect being that it had been considered too strong by the prurient-minded publisher of that time4 ,illustration3 ,,plate ,,iii ,,original ,,drawing ,,by ,,stothard ,illustration3 ,,original ,,unengraved ,,illustration ,,by ,,an ,,unknown ,,artist ,illustration3 ,,original ,,drawing ,,by ,,george ,,barrett ,illustration3 ,,plate ,,iv ,,rossetti1 ,,del4 ,,dalziels1 ,,sc4 ,,the ,,maids ,,of ,,elfin ,,mere1 ,,from ,,allingham',s ,,music ,,master1 #ahee ,illustration3 ,,drawn ,,by ,s4 ,,palmer1 ,,engraved ,,by ,w4 ,t4 ,,green1 ,,from #8,,sacred ,,allegories1' #ahef ,after about #ahfe1 or rather before1 for the books were published in that year1 some of the drawings for the illustrated editions of ,dalziel's #8,arabian ,nights1 #ahfe1' and #8,goldsmith1 #ahfe1' were regarded by the engravers as so remarkable that they had photographs made from these drawings on the wood1 and then1 by the newly-discovered art of photographing on to wood1 the photographs were transferred on to other wood blocks1 and the originals on the wood preserved4 ,several are to be seen in the art gallery at ,south ,kensington4 ,the ,british museum possesses a few1 and so do the ,adelaide and ,melbourne museums in ,australia4 ,mr4 ,harold ,hartley1 ,mr4 ,fairfax ,murray1 ,mrs4 ,c4 ,e4 ,davis1 ,boyd ,houghton's sister1 and1 ,i believe1 ,mr4 ,heseltine1 are among other owners of these rare drawings1 either on wood or paper4 ,but the number is really very small4 ,there is also a series of drawings for ,dalziel's #8,bible ,gallery1' commissioned by the ,dalziels as early as #ahfc1 as far as ,i can gather from ,messrs4 ,dalziel's own records1 which are not too satisfactory4 ,most of the drawings in this series1 however1 were made on paper1 though some by ,mr4 ,watts and ,sir ,edward ,poynter were on the wood1 and uncut1 and may be seen at ,south ,kensington4 ,messrs4 ,dalziel1 finding what a marvellous collection of illustrations they had obtained1 wisely did nothing but commission artists to make more1 and the work was not brought out until #ahhj1 when the drawings were all photographed on to the wood before engraving1 and thus preserved4 ,where most of them are to-day ,i do not know4 ,as separate illustrations and great works of art1 ,i was the first to call attention to them as far back as #ahhi4 ,those by ,lord ,leighton are now regarded as his masterpieces1 and there are very fine examples of ,ford ,madox ,brown1 and ,watts1 and ,sir ,edward ,poynter1 who has never done better work4 ,from all but the artistic standpoint the book was a failure4 ,these1 then1 with rare unengraved examples which are bound to turn up1 constitute all the original drawings for book-illustration reproduced by wood engraving which will ever be found1 and they are mostly owned by museums4 ,i must point out1 however1 that forgeries1 both in the way of shameless copies of the originals1 or prints worked over with pen-and-ink1 and wash1 and even colour--the artists themselves did this sometimes2 ,pinwell certainly did--and palpable imitations1 have all1 within a short time1 been submitted to me4 ,but1 ,i should imagine1 of all these finished drawings done upon the wood for reproduction before #ahfe1 there are not a hundred1 probably not fifty1 that will ever come into the sale room4 ,of course1 a great find may some day be made in a publisher's office1 or an artist's portfolio4 ,but ,i doubt it4 ,note on the ,illustrations4--,these are mostly included merely to show the sort of drawings the artists made for the engraver and lithographer1 who either translated them on to the plate or stone or had an intermediary to do this for them4 ,the first1 by ,stothard1 is in sepia1 and a design1 ,i know not for what book1 but evidently a headpiece or initial which would have been cleaned up by the engraver4 ,the second1 by ,bartolozzi1 a cul de lampe in washes of indian ink1 is very pretty1 and the engraver probably would follow it exactly1 though he would lose some of the freedom4 ,the others on the same page1 by ,westall and ,courbould1 are very typical1 and represent the ,british style of illustration for novels and stories at the beginning of the last century1 and very perfectly they represent it1 and that is the best ,i can say for them4 ,the ,westall1 in wash and pen 7indian ink71 is slightly touched with colour on the woman's dress1 and may have been engraved on metal and printed in two or more tints4 ,the other is in simple black-and-white4 ,the landscapes are very characteristic2 the upper1 of the stolid1 solid1 ,british water-colourist1 who was determined at all costs to be ,british1 and usually forgot he was an artist4 ,and the other1 by ,barrett1 is typical of the later work when ,turner had made himself felt with the #8,liber1' or did ,turner steal from ,barrett8 ,any way1 ,barrett is seen at his best in this very charming sepia drawing1 evidently for an illustration1 while the #8,liber' drawings at the ,national gallery show ,turner as an illustrator at his worst and his best4 ,the methods of the two artists are absolutely identical2 washes1 little work with pen1 and much scraping and scratching with the knife4 ,as for the engravings1 one is from ,northcote's #8,fables1' #ahbh1 and shows the perfection of the minute work of ,harvey and ,jackson4 ,yet there is the feeling1 somehow1 of a big landscape in the print1 and the engraving is extraordinary1 putting to shame much of the modern so-called bold1 but really blundering and ignorant1 work on wood4 ,the printing also is excellent in ,northcote's volumes4 ,they were printed by ,j4 ,johnson1 and the excellent blacks the printer of to-day would1 even with all his improved appliances1 have difficulty in equalling4 ,the printing is much better than that in the ,french book1 #8,gil ,blas1' by ,everat 7,paulin1 #ahcf71 in which the ink is dull and grey1 but in every other way the ,gigoux shows the wide difference in aims there was between the leading ,english and ,french artists of that day3 ,harvey1 all refinement2 ,gigoux1 all force1 directness and go4 ,both these engravers seem to have rendered the originals well4 ,what the artists thought is another story4 ,the ,gigoux also proves that ,daniel ,vierge worked out rather than invented his style4 ,the next two illustrations are from ,curmer's #8,paul et ,virginie1' #ahch1 which is usually regarded1 as ,curmer wished it1 a #8monument typographic' to the glory of the artists who illustrated it1 is admitted to be the most important ,french illustrated book of the period1 and to it all the better remembered ,frenchmen of the time contributed something4 ,among the artists are ,isabey1 ,paul ,huet1 ,jacque1 ,johannot1 ,franais1 ,meissonier1 ,steinhell2 the engravers were ,poiret1 ,lavoignat1 ,best1 ,brvire1 ,frenchmen2 ,bentworth1 the ,german2 but ,orin ,smith1 ,branston1 ,mary ,ann ,williams and her brothers1 ,english1 did the greater part of the work3 a magnificent1 artistic union1 more practical in many ways than visits of kings and the patter of papers4 ,the book was printed1 and extraordinarily well printed1 by ,everat4 ,the appearance of ,turner as an illustrator changed things much4 ,the #8,solace of ,song1' published by ,seeley1 #ahcg1 illustrated by ,harvey1 and engraved by ,w4 ,t4 ,green and others1 is simply metal engraving on wood1 and is astonishing as an example of what can be done4 ,the final outcome is seen in the print from #8,sacred ,allegories1' by the ,rev4 ,w4 ,adams 7,rimingtons1 #ahef71 one chapter of which1 #8,the ,distant ,hills1' is illustrated by ,samuel ,palmer and also engraved by ,green4 ,this is1 of its sort1 probably the most perfect example of ,english book illustration4 ,but in ,germany the greatest progress had been made under ,menzel1 and his #8,frederick1' from which the print1 ,the ,round ,table1 is taken1 is simply magnificent4 ,it was engraved by ,krutchmar1 #ahdj1 and from it sprang modern illustration1 as ,i have said1 in ,england4 ,the first evidence is to be found in ,rossetti's ,maids of ,elfen ,mere in ,allingham's #8,music ,master1' #ahee4 ,in #aheh came the #8,contes ,rmois1' ,levy1 illustrated by ,meissonier1 the perfection of ,french work1 and the beginning and end of his reputation1 as well as the most amazing proof of the genius of ,lavoignat as a wood-engraver4 ,after this the art of illustration began to flourish in ,england1 and in a year or two the most superb work was being done4 ,illustration3 ,,plate ,v ,,meissonnier1 ,,del4 ,,lagornal1 ,,sc4 ,,from #8,,les ,,contes ,,remois1' #aheh ,illustration3 ,,jacque1 ,,from ,,curmer',s #8,,paul ,,et ,,virginie1' ,,engraved ,,by ,,mary ,,ann ,,williams1 #ahch ,illustration3 ,e4 ,,isabey1 ,,del4 ,,bagg1 ,,sc4 ,,from #8,,paul ,,et ,,virginie' ,,andrea ,,vanni ,,written ,,by ,f4 ,,mason ,,perkins ,although the name of ,andrea ,vanni is by no means unfamiliar to the student of ,sienese painting1 it is doubtful whether its mention ever calls up to any but a few the image of a definite artistic personality4 ,what fame ,andrea now has rests more upon tradition than upon acquaintance with his art4 ,he was born in #accc1 or thereabouts4 ,an active participant in the popular uprising of #acfh1 which resulted in the expulsion of the nobles and the foundation of the new government of the reformatori1 he played1 during the twenty years that followed1 a busy and not unimportant part in the affairs of the ,sienese republic1 leaving behind him a lengthy and honourable record of the various offices which he held4 ,in later years a friend and warm admirer of his great townswoman ,caterina ,benincasa1 he was the recipient of much good counsel from that gentle saint1 in the shape of certain letters which have perhaps done more than all his political achievements to keep alive the memory of his name4 ,but it is not with ,andrea the diplomat1 or ,andrea the devotee1 that we are here concerned4 ,those who would know him better in these characters need only examine the pages of ,milanesi1 of ,banchi and ,borghesi1 and of ,st4 ,catherine's letters4 ,andrea has left behind him documents of a very different nature1 and of a far deeper interest1 than any of mere lettered parchment1 and documents by no means so rare as has generally been supposed4 ,with all his diplomatic and official celebrity1 he was primarily an artist--perhaps not a great one in the superlative usage of the word1 but sufficiently interesting to warrant an attempt to revive his memory as a painter by giving back to him a number of works which1 in his native town and elsewhere1 pass to-day under other1 and sometimes greater1 names4 ,the works upon which ,vanni's reputation as a painter has hitherto rested are only three in number1 and are all in his native town3--a well-known portrait of ,st4 ,catherine1 in the church of ,s4 ,domenico2 a very little known polyptych1 in the church of ,s4 ,stefano2 and a fragmentary ,crucifixion1 once in the church of the ,alborino1 now in the ,istituto delle ,belle ,arti4 ,of these three works1 whose common authorship is evident1 the altarpiece in ,s4 ,stefano and the ,crucifixion in the ,belle ,arti are given to ,andrea on sufficiently reliable documentary grounds2 the likeness of ,st4 ,catherine1 on the strength of a tradition of several centuries4 ,despite its historical interest1 and its great decorative design1 this portrait-fresco1 in its present state1 can help us to but a slight idea of its author's general style1 and for this purpose the unimportant and somewhat coarsely-painted fragment in the ,belle ,arti can help us but little more4 ,but the great polyptych of ,s4 ,stefano is happily a very different and vastly more important work1 and of a nature to give us a satisfactory conception of ,andrea's manner at the time in which it was executed4 ,a glance at this huge painting1 or the accompanying reproduction1 reveals at once that ,vanni belonged to that same group of late trecento painters of which ,bartolo di ,fredi is the best known representative4 ,like the work of that master1 it shows the influence both of ,simone ,martini and of the ,lorenzetti4 ,but it displays the qualities of a strongly-marked individuality as well4 ,let us examine it in detail1 commencing with the central and most important panel of the ,virgin and the ,child4 ,that which1 apart from the colour1 strikes us immediately and most forcibly1 is the peculiar silhouette-like character of the design4 ,the great figure of the ,madonna is thrown out like a dark1 clear-cut pattern against the golden background of her throne4 ,except for the face and hands1 there is little1 if any1 attempt at modelling or chiaroscuro4 ,the whole effect is flat to a degree1 reminding us somewhat of the coloured prints of ,japan1 with their sharply-defined outlines and broad fields of colour4 ,in this feeling for flat design1 ,andrea gives witness to his being a follower--if an extreme one--of ,simone's methods4 ,but he has little or none of ,simone's subtle contours and undulating flow of line4 ,the drapery of ,andrea's ,virgin is severely simple--there is a remarkable economy of line and fold1 reminding us in this rather of ,ambrogio ,lorenzetti than of ,simone4 ,her stiff1 upright pose1 again1 has none of the tender grace of ,simone's ,madonnas and saints1 and is more akin to that of ,ambrogio's statelier figures4 ,in facial type ,andrea's ,virgin is1 however1 distinctly his own4 ,the large rounded cranium1 the narrow eyes and small half-covered iris1 the delicately drawn mouth1 the firm but not obtrusive chin1 go to make up a set of features not easily forgotten4 ,the ,christ-,child1 again1 reveals decidedly the influence of ,simone's models1 and finds its prototype in the ,child of ,simone's great fresco of the ,majestas in the ,palazzo della ,signoria1 as well as in other works by him1 by his close follower ,lippo ,memmi1 and by their school4 ,turning now to the other figures1 we note in the ,baptist a striking similarity1 even in the smallest details1 to ,simone's figures of that saint at ,pisa and at ,altenburg1 of which it is evidently a free copy4 ,the ,st4 ,bartholomew shows like influences in a less degree4 ,the figures of ,,ss4 ,james and ,stephen are more ,vanni's own--the head of the latter being a free repetition of the ,virgin's4 ,the ,annunciation is severely vigorous and individual1 the dark figure of the ,virgin again showing1 very clearly1 ,andrea's love of the silhouette4 ,the side figures of saints1 and the evangelists in the pinnacles1 reveal a slightly stronger sense of modelling and characterization1 and remind us of ,bartolo di ,fredi and ,luca di ,tomm4 ,the colour throughout is bright and clear1 laid out in broad and simple masses1 with a parsimonious use of shading and a lavish use of gold4 ,if ,tizio's notices of this altarpiece be correct--and there is no reason to doubt that they are so1 especially as the style of the work itself supports rather than contradicts them--it was painted in or about #adjj4 ,it is1 therefore1 the production of a man already verging on his seventieth year1 and must represent the later1 if not the last1 development of ,vanni's style4 ,as we have already noted1 it has a family likeness to the work of ,bartolo di ,fredi and others of his school4 ,still1 despite all superficial or general resemblances1 these two painters are widely different in style and spirit4 ,in pure grace and charm1 ,bartolo leaves ,vanni far behind him4 ,andrea's work again1 at least as we here see it1 has none of the softly-graded colour1 the delicate modelling1 the freer line1 the careful technical finish of detail--none of the bibelot quality in fact--of ,bartolo's at its best4 ,but1 for all that1 it convinces us that his was the deeper1 grander soul4 ,for mere prettiness or elaborate technical refinement he displays little sympathy or care4 ,directness and simplicity of expression1 staid dignity and great seriousness of purpose--these seem the salient characteristics of his nature1 as we read it in his art2 nor do they disagree with the conception which the written records convey to us of the man4 ,illustration3 ,,polyptych ,,by ,,andrea ,,vanni ,,in ,,the ,,church ,,of ,,san ,,stefano1 ,,siena ,illustration3 ,,annunciation1 ,,by ,,andrea ,,vanni1 ,,in ,s4 ,,pietro ,,ovile1 ,,siena ,illustration3 ,,virgin ,,and ,,child1 ,,from ,,the ,,altar-,,piece ,,by ,,andrea ,,vanni ,,in ,s4 ,,francesco1 ,,siena ,taking this altarpiece1 then1 as a fairly characteristic example of ,vanni's mature style1 ,i shall bring before the reader's notice a series of works1 at present under other names1 one and all of which share with it1 in a greater or a less degree1 all the peculiarities which ,i have already pointed out1 as well as others to which ,i have not yet drawn attention4 ,not the least among these works1 in size and in importance1 is a picture of the ,enthroned ,virgin and ,child1 popularly known as the ,madonna degli ,infermi1 in the church of ,s4 ,francesco at ,siena4 ,those who have once seen this strangely impressive painting will not be likely to forget it4 ,the colossal ,virgin is seated upright on her throne1 majestic and solemnly hieratic1 the grave-visaged ,child supported on her arm4 ,there is something enigmatic1 mysterious1 superhuman1 in the commanding grandeur of the figures1 which the photographic reproduction#ajb can but partially convey4 ,they remind us of some of the works of early ,byzantine art1 in their strange impassiveness and impersonality1 far rather than of those of late fourteenth-century ,siena4 ,the panel has been cut down1 and evidently once formed but part of an even more imposing whole4 ,the flesh parts have darkened as if by smoke1 and now have the colour of mahogany2 the glazings and the surface coatings have entirely disappeared4 ,the picture is traditionally attributed to ,pietro ,lorenzetti1 but there can be no question as to its real author4 ,let us compare it with the central panel of the ,s4 ,stefano polyptych4 ,even in its present damaged state1 the analogies which it offers to that painting are so apparent that it is more than surprising some passing critic1 or even some local art-historian1 has not long ago given it back to its true painter1 striking and important picture as it is4 ,the similarities between the two ,madonnas seem hardly to require comment4 ,the same clearly-outlined figure1 the same sedate pose1 the same dark mantle with its golden border and broad and simple folds1 the same head1 eyes1 nose1 and mouth1 the same hands--to dwell longer on these points would be merely to waste words4 ,here we have1 beyond a doubt1 another work of ,andrea ,vanni1 belonging to the same period as1 and sharing all the characteristics of1 the ,s4 ,stefano polyptych--only in a severer and grander vein4 ,as if in support of our conclusions1 ,tizio tells us that at about the same time ,andrea painted his great picture for ,s4 ,stefano he executed still another similar work for the friars minor of ,s4 ,francesco4 ,doubtless this present panel once formed part of the work to which he refers1 nor would it be stretching a point too far to say that its present half-ruined condition is probably due to damage suffered during the disastrous conflagration which1 in #afee1 wrecked the great building wherein it stood and destroyed so many of its treasures4 ,but this1 to my mind1 is not the only work by ,vanni still to be seen in this same restored church of ,s4 ,francesco4 ,in the last chapel of the north transept is an imposing fresco of the ,virgin seated with the ,child in an elaborate architectural throne4 ,it is generally attributed to ,ambrogio ,lorenzetti1 and has been published with his name4 ,as it now stands1 this fresco has been almost entirely renewed1 but enough of its original spirit still remains to afford the practised eye some slight idea of its primitive state4 ,the incised outlines are still virtually unchanged1 and the forms of the figure and the broad folds of the drapery have preserved1 to a great extent1 their original character4 ,as is usually the case1 the faces have undergone the greatest transformation1 yet even here the original features have not been entirely lost4 ,quite enough remains1 in fact1 to convince me that in this case also we are in the presence of what was once an important work of ,andrea ,vanni4 ,the entire figure of the ,virgin1 the peculiarly marked outline1 the dignified position1 the oval head1 the narrow eyes1 and the straight nose1 the characteristic and tell-tale folds of the voluminous mantle1 their peculiar arrangement about the feet1 the long wrist and hand1 still pierce through the modern covering of repaint1 clearly revealing the touch of ,vanni's brush4 ,in far better condition1 and far easier of identification1 is the half-length panel of the ,virgin and ,child--evidently once part of a larger work1 but now cut down to fit an oval frame--in the chapel of the ,,ss4 ,chiodi in ,siena4 ,this picture1 usually given to ,barna1 was surmised1 but only surmised1 by ,crowe and ,cavalcaselle1 to be a possible work of ,vanni4 ,the reasons for their hesitation are rather difficult to find1 and they were certainly correct in their conjecture1 for the work is as evidently by ,vanni as is the great ,madonna of ,s4 ,francesco4 ,but here we have our painter in a very different1 far gentler1 almost playful1 strain4 ,as usual1 the ,virgin is seated sedately upright on her throne1 clad in the conventional dark mantle1 fastened1 as in the fresco of ,s4 ,francesco1 by a splendid golden clasp4 ,the head and face are the same in shape and features as in the other panels2 the expression less serious and solemn4 ,the ,child is pleasing in type and action4 ,with one hand to ,his mouth1 ,he presses with the other ,his ,mother's bared breast as ,he looks half shyly towards the spectator4 ,here again there is none of the hieratic solemnity of the ,s4 ,francesco panel4 ,the colour--apart from the repainted mantle--is warmer1 and the modelling of the flesh parts softer1 than in the picture of ,s4 ,stefano1 but the forms and details are the same4 ,somewhat similar in spirit to this last-named work are two other panels1 one in the church of ,s4 ,spirito1 the other in ,s4 ,giovanni in ,pantaneto1 better known as ,s4 ,giovannino della ,staffa4 ,the first of these is a full-length figure of the ,virgin holding in her arms the ,christ-,child1 who plays with a bird4 ,at the foot of the throne kneels a diminutive figure of the donor1 cap in hand4 ,the ,virgin sits in the upright position common to all the pictures we have so far examined2 she has the same bend of the head1 the same stereotyped set of features4 ,the architecture and perspective of the throne are the same as in the picture of the ,,ss4 ,chiodi and the fresco in ,s4 ,francesco4 ,the ,child is not unpleasing in action and expression4 ,the figure of the ,virgin has suffered considerably from repaint1 the mantle being in great part quite new4 ,the original colour is bright and gay1 but the execution is less careful than in most of ,vanni's works1 and would lead us to place this panel in the last years of his activity1 when his brush had lost some of the freshness of its touch1 were it not for the energetically1 and at the same time carefully1 executed little figure of the kneeling donor1 damaged and darkened but still intact--a remarkable piece of early portraiture1 finely characterized4 ,judging from the shape of this panel1 it also once formed part of a triptych or polyptych4 ,the ,madonna of ,s4 ,giovanni has suffered far more from restoration1 the figure of the ,christ-,child being here almost entirely repainted4 ,the still pleasing ,virgin displays ,vanni's usual type1 and differs but slightly from the ,madonna in ,s4 ,spirito1 although originally it may have been a more carefully executed figure4 ,still another picture1 a charming little ,annunciation1 in the possession of ,count ,fabio ,chigi at ,siena1 also clearly shows ,andrea's hand3 it is very careful in execution and graceful in movement--far more free in this respect than the similar but severer treatment of the subject in the polyptych at ,s4 ,stefano4 ,the types are ,vanni's usual ones1 the colour is quiet and subdued4#ajc ,but finer in quality and in a better state of preservation than any of these works1 is a little picture of the ,virgin and ,child belonging to ,mr4 ,bernhard ,berenson1 at ,florence4 ,that it is by ,vanni needs no urging on my part--a moment's comparison of the accompanying reproduction with any of the paintings which we have already examined is sufficient to prove this very obvious fact4 ,it would be hard to imagine a more characteristic and at the same time a more charming example of his work4 ,yet in some ways it differs considerably from the paintings we have so far studied1 especially in its more painstaking and finished execution1 and in its light golden tone of colour1 so very unlike that of such works as the ,madonnas of ,s4 ,spirito and the ,,ss4 ,chiodi4 ,although not without the dignity which ,vanni never fails to give her1 the ,virgin in ,mr4 ,berenson's picture is less sedately grave than in the panels at ,s4 ,francesco and ,s4 ,stefano--the ,child less grown-up and solemn4 ,both1 again1 are in ,vanni's softer1 more gentle mood4 ,belonging to ,mr4 ,berenson also1 we have another panel by ,andrea1 painted in a very different style and spirit4 ,it represents the ,deposition from the ,cross1 and must have been part of a predella to an altarpiece4 ,derived from ,ambrogio ,lorenzetti's treatment of this sublime theme1 it yet is more restrained1 more intellectual1 and more clearly arranged4 ,illustration3 ,,london ,,stereo ,,co4 ,,madonna ,,and ,,child ,,by ,,andrea ,,vanni ,,in ,,the ,,collection ,,of ,,mr4 ,,bernhard ,,berenson ,illustration3 ,,details ,,of ,,the ,,annunciation ,,by ,,andrea ,,vanni ,,in ,s4 ,,pietro ,,ovile1 ,,siena ,the famous portrait of ,st4 ,catherine which ,i have already mentioned1 and which is too well known to require description1 and the ,crucifixion in the ,belle ,arti--a fragment of a larger work painted in #acif--would bring this particular list of ,vanni's works to a temporary close1#ajd were it not for still another painting1 perhaps even more interesting than any of these1 which to my mind must also be classed with them4 ,in the church of ,s4 ,pietro ,ovile1 at ,siena1 we find a beautiful free copy of ,simone ,martini's famous ,annunciation1 now in the ,uffizi gallery4 ,this picture has aroused the admiration of numberless tourists and the curiosity of more than one writer on ,siena's art4 ,apart from its traditional attribution to ,simone and ,lippo ,memmi themselves1 it has undergone a series of widely different baptisms at a variety of hands2 from a trecento it has become a quattrocento painting1 and so back again4 ,it has long been my conviction1 as it has been that of no less an authority on ,sienese painting than ,mr4 ,berenson before me1 that this picture is a work of ,andrea ,vanni4 ,i am quite well aware of the surprise which this sudden attribution will cause to many1 as ,i am also of the difficulties in proving my point with the limited and unsatisfactory aid which photographs afford4 ,in an article supported only by photographic reproductions1 that most important of all arguments1 quality1 and1 as in this case1 the hardly less convincing one of colour1 must in great part be laid aside4 ,nevertheless1 there remains1 in this particular instance1 so much that can be demonstrated by photographic evidence in support of ,vanni's claims1 that ,i shall make the attempt4 ,of the history of the ,annunciation now in ,s4 ,pietro1 nothing appears to be known4 ,as it now exists it stands no longer above an altar1 but is let into the wall of the church4 ,in shape and size it was evidently once quite similar to ,simone's original1 but it has since been cut down and shortened at the sides and bottom4 ,the three panels which now surmount it have nothing to do with the picture itself1 and are the work of two different painters of the quattrocento--the ,crucifixion is probably by ,giovanni di ,paolo2 the two figures of ,st4 ,peter and ,st4 ,paul by ,matteo di ,giovanni1 as we see him in the remains of the altarpiece at ,borgo ,s4 ,sepolcro1 which once contained1 as its central panel1 ,piero dei ,francesci's ,baptism of ,christ1 now in ,london4 ,they were probably placed in their present position at a relatively recent date4 ,as to its condition1 the picture has evidently not always enjoyed the care that is now given it1 for it is considerably damaged and darkened4 ,the hand of the restorer has not been absent1 alas6 and there are1 unfortunately1 visible traces of his brush in the heads and hands1 and in the ,virgin's draperies4 ,that we have here a copy1 and in some ways a fairly close one1 of ,simone's famous picture1 is obvious2 that it was painted directly from ,simone's original1 which was at that time in the cathedral of ,siena1 is no less certain2 that it was painted by an artist who was throughout seeking to overcome the peculiarities of his own somewhat strongly marked style1 and that he was but partially successful in so doing1 is also apparent4 ,let us examine the work more closely1 and in its separate parts1 commencing with the figure of the ,virgin4 ,it shows but little of the ease of movement and grace of line to be found in ,simone's original4 ,the high-waisted figure2 the stiff1 upright1 almost rigid1 position2 the line of the shoulders and the knees2 the peculiar poise of the head2 the straight-falling folds of the drapery and the line of the mantle as it catches the arm in its downward flow3 all are points which find their counterpart in the works of ,vanni1 and in those of no other painter4 ,here1 also1 we have the same simple1 strongly-marked outlines1 the same dark field of colour relieved1 pattern-like and comparatively flat1 against the lighter background4 ,although the blue of the ,virgin's mantle has darkened considerably1 it is still apparent that her figure was always fairly innocent of modelling--far more so in fact than that of ,simone's ,virgin4 ,for ,simone1 with all his love of outlined pattern1 does not stop at this--his contour1 however clear and distinct1 is far more flowing1 far more subtle--his mass is far less flat and unrelieved4 ,although the painter of the ,s4 ,pietro copy has tried more or less faithfully to copy the arrangement of ,simone's drapery1 he has done it1 perhaps despite himself1 in his own way4 ,the folds in the copy have an entirely different character from that which they possess in the original2 they are precisely what we might imagine ,vanni doing in an attempt to be particularly graceful4 ,but if all these points in the drapery and figure remind us so unmistakably of ,vanni's style1 we discover in the ,virgin's head even closer affinities with that master's other works4 ,the same well-rounded cranium and oval face2 the same narrow eyes1 with the small half-covered iris and high-arched brows2 the same long straight nose 7still clearly recognizable as ,vanni's1 despite scaling and later retouching72 the identical mouth2 the same inclination of the head and its peculiar setting on the neck2 the same chin2 the same long1 slender hands3 all are to be found in one or other of the works we have already mentioned1 and especially in ,mr4 ,berenson's ,madonna4 ,here we have1 also1 ,vanni's love of gold brocade in the ,virgin's under garment and in the hangings of the throne4 ,the figure of the angel is no less characteristic4 ,the drapery is here incontestably ,vannesque in its peculiar1 not over-graceful1 folds4 ,here1 again1 is the clear outline1 the slight modelling1 and the sparing use of chiaroscuro1 the same treatment of the draperies1 the long hands and thin arms1 as in all ,vanni's other works4 ,the outline of the face1 chin1 and neck has been damaged and gone over1 and the peculiar1 straggling1 dark-brown curls are a later addition1 and contrast strongly with the lighter golden hair behind them4 ,apart from these slight changes1 the head1 although a would-be copy of ,simone#8s1 shares ,vanni's characteristic features4 ,the cherubs about the ,holy ,spirit already point to the end of the trecento4 ,the roman lettering of the inscriptions we find used likewise on the scroll held by the ,christ-,child in ,mr4 ,berenson's picture4 ,so much for material resemblances1 of which the reader may gather some idea by means of the accompanying illustrations4 ,and now a word as to the colour of the work4 ,its striking resemblance1 in this respect1 to the ,madonna of ,mr4 ,berenson's collection1 will not fail to carry conviction where there may before have existed only persuasion4 ,in the general quality of technique1 and more especially in the remarkable golden tone of colour and the peculiar treatment of the flesh1 the two works are strangely alike1 and cannot help but do away with any final doubts as to their community of authorship4 ,illustration3 ,,annunciation1 ,,by ,,andrea ,,vanni1 ,,in ,,the ,,collection ,,of ,,count ,,fabio ,,chigi1 ,,siena ,illustration3 ,,annunciation1 ,,by ,,simone ,,martini1 ,,in ,,the ,,uffizi ,,gallery1 ,,florence ,in the preceding pages ,i have tried to prove--the reader can best judge with what success--,vanni's claims to the authorship of a certain group of pictures1 so closely related in style1 quality1 and spirit1 as clearly to belong to the same period of his activity as that which produced the polyptych of ,s4 ,stefano4 ,as we know1 this period was one of a comparatively old age4 ,yet it would seem as if ,andrea had turned1 during the later years of his life1 with a renewed activity1 to the practice of his art1 after the busy public career of his prime4 ,judging from the scarcity of documents of an official nature connected with his name after #achd1 it would seem that1 somewhere about that year1 he retired from active participation in political affairs and devoted himself wholly to his painting4 ,that he was inactive as an artist1 however1 during all his earlier years1 is not to be believed4 ,we have1 in fact1 a line of documents to prove that this was not the case4 ,still1 these written records help us very little in the tracing of his earlier artistic development4 ,evidently in origin a pupil of the school of ,lippo ,memmi1 ,i should place in the period of his ascendance a somewhat hard and gaudy1 but not uninteresting1 triptych1 representing ,st4 ,michael between ,st4 ,anthony the abbot and the ,baptist1 ,no4 #fg of the ,siena gallery4 ,this work1 which is in a remarkable state of preservation1 is attributed to ,lippo ,memmi himself1 and clearly shows the characteristics of his school4 ,there is much in the figures which bears a close similarity to ,andrea's later types4 ,another panel--a ,virgin and ,child in the priest's house1 next to ,s4 ,pietro ,ovile--having close affinity to ,simone and ,lippo ,memmi in technical treatment1 in colour1 and even in style1 seems to presage in a far more definite manner the works of ,vanni which we now know1 and already shares many of his peculiar characteristics in detail4 ,but1 apart from these two paintings1 ,i can call to mind no works of these early years which ,i can with any confidence give to him4 ,the first notice of ,andrea as a painter is one of #acec1 in which year he was associated with ,bartolo di ,fredi1 whether as partner or assistant is not quite clear4 ,the last records of his activity are dated #adjj4 ,milanesi1 upon some unnamed authority1 gives the probable date of his death as #adad4 ,it would prolong this article unduly if the questions of ,vanni's influence upon ,sienese art1 and of his possible pupils and apparent successors1 were entered into with the fullness which the subject demands4 ,we must limit ourselves here to a brief mention of the closest of the followers of ,vanni in those later years in which chiefly we have been studying him1 a painter less known even than himself1 ,paolo di ,giovanni ,fei4 ,an apparently early work by him1 the ,madonna del ,rosario of ,s4 ,domenico1 suggests that he was actually the pupil of ,vanni4 ,by him1 also1 are three pictures in the ,siena gallery1 one in the chapel of ,s4 ,bernardino just outside the ,porta ,camollia1 another in the ,saraceni collection1 and yet another in the ,minutolo chapel of ,naples cathedral4 ,,early ,,painters ,,of ,,the ,,netherlands ,,as ,,illustrated ,,by ,,the ,,bruges ,,exhibition ,,of #aijb ,,written ,,by ,w4 ,h4 ,,james ,,weale ,,article ,v ,gerard ,david worked in ,bruges from the commencement of #adhd until his death1 ,august #ac1 #aebc1 yet he does not appear to have taken a single apprentice during all that period1 at least the register of the gild of ,st4 ,luke contains no entry of any such4 ,it is1 however1 certain that he had several assistants2 one of these1 ,adrian ,isenbrant1 ,i was able to rescue from oblivion in #ahfe4 ,he came to ,bruges in #aeaj1 was admitted as free master into the gild on ,november #bi1 and continued working there for more than forty years1 until his death in ,july #aeea4 ,he acquired a reputation for skill in painting the nude and the human countenance1 and executed many pictures for ,spain1 which as a rule he sent by ,antwerp to ,bilbao4 ,although no document has as yet been discovered connecting his name with any particular picture1 yet there is hardly any doubt that he is the author of a number of works certainly painted in ,bruges between #aeaj and #aeea1 the figures in which are remarkable for their careful execution and sweetness of expression1 characteristics attributed to the works of ,isenbrant by old writers4 ,several of these works are still in ,spain1 others have been brought from the ,peninsula within the last fifty years4 ,of these ,i purpose to treat later on2 at present ,i shall confine my remarks to the works included in the exhibition4 ,the most important of these is a large diptych given to the church of ,our ,lady at ,bruges by ,barbara ,le ,maire1 widow of ,george ,van de ,velde1 a wealthy cloth merchant1 who had held many offices in the communal council4 ,the dexter panel 7#agh7 represents the ,blessed ,virgin seated with clasped hands1 overwhelmed with grief1 in a niche of ,renascence architecture4 ,around her1 set in architectural framework1 are seven little pictures representing the seven dolours2 in some of these are motives borrowed from the engravings of ,martin ,schongauer and ,albert ,drer4 ,the sinister panel 7#agi71 which disappeared from the church about #ahcb1 came into the possession of the duke of ,arenberg1 who in #ahgd sold it to the ,brussels museum4 ,on the face are pictured ,george ,van de ,velde in the costume of a brother of the confraternity of the holy ,blood1 and his wife1 protected by their baptismal patrons1 and accompanied by their nine sons and eight daughters1 all kneeling in prayer4 ,the subject on the dexter panel is repeated on the reverse of this in grisaille but with differences1 so that whether the diptych was shut or open1 on festivals or ferias1 the figure of the sorrowful ,mother1 to whom the widow ,van de ,velde was very devoted--multum affectata--was always exposed to the veneration of the faithful4 ,george ,van de ,velde died on ,april #bh1 #aebh2 his second son1 ,john1 who in the picture wears a surplice1 was ordained priest and said his first mass in the church of ,our ,lady in #aecj-ca1 about which date his mother presented the picture4 ,the ,blessed ,virgin and ,child seated in a landscape with ,,ss4 ,katherine1 ,barbara1 ,dorothy1 ,margaret and ,agnes 7#ade71 lent by ,count ,arco-,valley1 is a charming early composition1 of which there is a weak repetition in the academy of ,st4 ,luke at ,rome4 ,the prototype of this picture is doubtless the dexter panel of the diptych painted by ,memlinc for ,john ,du ,celier1 now in the ,louvre at ,paris1 whilst variations are in the gallery at ,munich1 at ,geneva1 and at ,buckingham ,palace4 ,a triptych lent by ,m4 ,lotman1 of ,berne 7#agg71 represents the ,blessed ,virgin and ,child and two angels playing a mandoline and a harp2 and on the exterior1 ,st4 ,jerome praying before a crucifix4 ,the carpet here is from the same model as that under the ,virgin's feet in #ade4 ,illustration3 ,,st4 ,,luke1 ,,by ,,adrian ,,isenbrant2 ,,in ,,the ,,possession ,,of ,,messrs4 ,p4 ,,and ,d4 ,,colnaghi ,illustration3 ,,triptych3 ,,the ,,blessed ,,virgin ,,and ,,child ,,with ,,two ,,angels1 ,,by ,,adrian ,,isenbrant2 ,,in ,,the ,,collection ,,of ,,monsieur ,,lotman ,illustration3 ,,the ,,vision ,,of ,,saint ,,ildephonsus1 ,,by ,,adrian ,,isenbrant ,,in ,,the ,,collection ,,of ,,the ,,earl ,,of ,,northbrook ,a panel 7#ahc7 belonging to the earl of ,northbrook represents the ,blessed ,virgin and ,child enthroned1 in a garden1 beneath a canopy1 to which is attached a cloth of honour2 the donor and his wife and family kneel at the sides2 the background is formed by a stone wall1 on which two peacocks and a pea-hen are sunning themselves4 ,the head of our ,lady has been restored4 ,two shutters of a triptych 7#ahj71 lent by ,mr4 ,r4 von ,kaufmann1 represent a donor and his wife with their children protected by ,st4 ,john the ,evangelist and ,st4 ,barbara7874 ,the donors on these shutters are1 though a few years older1 strikingly like those in #ahc4 ,but in the earlier picture the man1 aged thirty-four1 is represented with one son and one daughter1 both dead when the picture was painted1 while behind his wife1 aged thirty-three1 kneel a boy of nine and a girl of five4 ,the man in #ahj is represented with one son dead1 and his wife with three daughters1 one of whom was dead4 ,the vision of ,st4 ,ildephonsus1 bishop of ,toledo 7#aea71 belonging to ,lord ,northbrook1 is in every respect a very remarkable work2 the composition unusually good1 the colouring rich and harmonious4 ,the saint1 kneeling on the foot-pace of an altar on the north side of a large church of picturesque architecture1 looks up with outstretched arms at the ,blessed ,virgin1 who1 attended by three lovely angels1 is about to vest him with a chasuble4 ,behind him kneel three monks1 two looking up at the heavenly apparition1 the third absorbed in prayer4 ,in the background a procession of chanting monks1 followed by a pious crowd of lay folk1 winds its way round the choir4 ,the figures of all are most carefully executed1 and are remarkable for the delicacy of their modelling and sweetness of expression4#aje ,another brightly coloured picture 7#aeb71 also belonging to ,lord ,northbrook1 represents the ,blessed ,virgin seated on a stone throne adorned with rams' heads1 holding the divine ,child1 who has his left arm round her neck and is caressing her chin4 ,the ,virgin's face has little character1 but the ,child's expression is very pleasing4 ,st4 ,mary ,magdalene in the desert1 kneeling before a large crucifix held by an angel 7#ahb71 from the ,de ,somze collection1 is a remarkable work1 with a landscape background with peculiar rocks4 ,a panel with a half-length figure of ,st4 ,luke holding a portrait of the ,blessed ,virgin and ,child 7#ahg71 lent by ,messrs4 ,p4 and ,d4 ,colnaghi1 is a fine work1 the evangelist being probably the master's own portrait4 ,a triptych belonging to the cathedral of ,bruges 7#ahd7 represents in the centre the ,presentation in the ,temple with the kneeling figure of an ,augustinian nun of the ,le ,gros family1 probably the granddaughter of ,philip ,wielant and ,joan van ,halewyn1 whose portraits on the shutters1 as remarked by ,m4 ,g4 ,hulin1 are evidently not painted from life4 ,the triptych1 which probably came from one of the ,augustinian convents suppressed at the end of the eighteenth century1 was1 with many others now preserved in the cathedral1 presented to it by ,m4 van ,huerne4 ,a panel 7#ahe7 lent by ,m4 ,sedelmeyer1 with full-length figures of ,st4 ,andrew1 ,st4 ,michael1 and ,st4 ,francis in the foreground1 with a representation of ,calvary in the upper portion1 is a late work1 the ,calvary closely resembling that in the diptych of our ,lady of seven dolours4 ,the exhibition included several other works either copies or painted under the influence of ,isenbrant4 ,two other masters who flourished in ,bruges about this time1 and who were restored to history by me1 one in #ahfj and the other in #ahfc1 were each represented by one authentic work4 ,john ,prevost1 a native of ,mons in ,hainault1 was born c4 #adfb4 ,it is not known where he learned his art or to whom he was apprenticed4 ,he visited ,antwerp in #adic and was admitted as free-master into the gild of ,st4 ,luke1 but shortly after removed to ,bruges1 where he bought the right of citizenship and settled definitely4 ,he also purchased the freedom of the town of ,valenciennes in #adih1 in which year1 if not previously1 he married ,joan de ,quaroube1 a well-to-do elderly lady1 who1 after twenty-five years of wedded life1 had in #adhi been left a widow by the celebrated painter and miniaturist ,simon ,marmion4 ,she died in #aejf4 ,prevost1 who married again three times1 died in ,january #aebi4 ,the only picture proved by documentary evidence to be by him is the ,last ,judgement 7#afg71 painted in #aebe for the town hall1 lent by the museum where it is now kept4 ,an earlier representation of the same subject1 said to have been painted by him for the ,dominicans of ,bruges 7#afi71 was lent by ,viscount de ,ruffo ,bonneval4 ,a third1 lent by ,mr4 ,e4 ,f4 ,weber 7#afh71 attributed to him by ,m4 ,hulin1#ajf appears to me to be the work of an imitator4 ,it is not only inferior in drawing and execution1 but the treatment of the subject--the risen are bringing account books which the angels are verifying--is childish4 ,m4 ,hulin enumerates eleven other pictures as being certainly1 and three more as possibly1 by ,prevost4 ,four of these were in the exhibition 7#aji1 #aeg1 #ahi1 and #cdb72 a fifth1 the ,blessed ,virgin and ,child in an aureole surrounded by angels1 with the prophets and sibyls1 at ,st4 ,petersburg1 which he believes to be the picture painted in #aebd for the altar of ,st4 ,daniel in the church of ,st4 ,donatian at ,bruges4 ,the other six are ,,ss4 ,antony of ,padua and ,bonaventure1 in the ,brussels gallery2 an ,adoration of the ,magi1 at ,berlin2 the ,blessed ,virgin and ,child1 in the ,national gallery 7,no4 #gac1 attributed to ,mostaert72 another with ,,ss4 ,benedict and ,bernard1 at ,windsor castle2 another with a carthusian1 exhibited as by ,isenbrant at the ,burlington club in #ahib2 and a ,virgin and ,child1 at ,carlsruhe1 where it is attributed to ,gossart4 ,the three which he thinks may be attributed to him are the heads of ,christ and the ,blessed ,virgin 7#aic and #aid71 and the charming picture of ,st4 ,francis renouncing the world 7#aej71 belonging to ,mr4 ,sutton ,nelthorpe4 ,few indeed are those who write on the early masters who can resist the temptation of attributing to them a goodly list of works4 ,much may be learnt when1 as in the present case1 serious arguments are started which can be discussed1 and no harm can result so long as the attributions are not accepted as certainties by museum authorities4 ,the other master1 ,albert ,cornelis1 who died in #aecb1 is still only known by one remarkable picture 7#agj71 the ,coronation of the ,b4 ,virgin4 ,a painting of the ,mater dolorosa 7#aje71 formerly in the church of the ,austin friars1 lent by the cathedral1 is said to be a copy of a miraculous picture in the church of ,ara caeli at ,rome1 of which other copies were formerly at ,abbenbroek and ,romerswale in ,zealand1 and a third1 if not one of these two1 is now in the gallery at ,munich4 ,the copy exhibited was traditionally attributed to ,john van ,eyck1 and the cipher in the corner1 supposed to be his1 was adduced as a proof4 ,this cipher1 retouched by the restorer who re-gilt the background1 is certainly that used as a signature by ,john van ,eecke or van ,eeckele1 a painter who settled in ,bruges and was admitted as free-master into the gild of ,st4 ,luke in ,september #aecd1 and worked there until his death in ,november #aefa4 ,a panel lent by the museum of ,tournay 7#ajf71 representing the vision of ,st4 ,bernard with other episodes in the life of that saint in the landscape background1 is an original work of the master signed with his cipher4 ,a panel 7#bej7 lent by the ,black ,sisters represents ,st4 ,nicolas of ,tolentino1 and on the exterior an ,austin friar1 ,roger ,de ,jonghe 7born #adhb1 died #aegi71 kneeling at a prayer desk on which is an open book4 ,illustration3 ,,portrait ,,of ,,roger ,,de ,,jonghe1 ,,austin ,,friar1 ,,reverse ,,of ,a ,,panel ,,of ,a ,,triptych1 ,,by ,,an ,,unknown ,,painter2 ,,belonging ,,to ,,the ,s,,urs ,,noires ,,at ,,bruges ,illustration3 ,,episodes ,,in ,,the ,,life ,,of ,,st4 ,,bernard1 ,,by ,,john ,,van ,,eecke2 ,,in ,,the ,,tournai ,,museum ,,the ,,geographical ,,distribution ,,of ,,the ,,first ,,folio ,,shakespeare ,,written ,,by ,,frank ,,rinder ,on ,november #h1 #afbc1 ,edward ,blount and ,isaac ,jaggard obtained the licence of the ,stationers' company for the publication1 in the first folio edition of ,shakespeare's comedies and tragedies1 of sixteen plays1 not before printed4 ,some #bfe years later the late ,mr4 ,bernard ,quaritch1 in cataloguing a good copy of the completed work1 directed attention to the fact that1 based on the then value of the quartos1 the twenty ,shakespearian plays actually printed for the first time in the folio of #afbc--;for as many were included--would1 as first editions1 have a money-worth of from #c1ejj to #d1jjj4 ,all question of the quartos apart1 however1 a fine copy of the book1 originally procurable for #a1 might now realize from #b1jjj to #c1jjj2 indeed1 the mean between these two sums is said to have been privately offered for a particularly well-known example4 ,no printed book1 apart from about a dozen monuments of typography from fifteenth-century presses1 has fetched so much at auction as the #a1gbj realized at ,christie's in #aija for the ,dormer-,hunter first folio1 now in the possession of ,mr4 ,charles ,scribner of ,new ,york1 albeit a few weeks previously #a1dge was the amount paid on behalf of a transatlantic collector for the scarcer ,bunyan's #8,pilgrim's ,progress1' in first edition1 said to have been issued at #as4 #f;d4 ,that there was ample warrant for the publication of a new facsimile is acknowledged on all hands2 and the folio recently produced by the ,clarendon press has failed in few respects only to satisfy the most exigent of connoisseurs4 ,the hypercritical observe that the plate-mark measures no more than #ab-aa_/af in4 by #g in41 as against #ac1 in4 by #h in41 the actual size of the pages of the duke of ,devonshire's copy at ,chatsworth1 on which the facsimile is based4 ,on the whole1 however1 the volume has been cordially welcomed1 and that welcome is merited4 ,interest and value are enhanced1 of course1 by the scholarly introduction and the census of known extant copies from the pen of ,mr4 ,sidney ,lee4 ,under his guidance we are enabled to take a bird's-eye view of all relevant facts pertaining to the volume #8which constitutes the greatest contribution yet made to ,english literature4' ,oversights and inaccuracies must of necessity have crept into the census1 for ,mr4 ,lee has been compelled to rely to a considerable extent1 of course1 on information supplied to him by owners and others4 ,but who would have been prepared to undertake a like task1 who would have been able to carry it to a more successful issue8 ,mr4 ,lee conjectures that the edition of the first folio consisted of #fjj copies1 of which not far short of one-third1 in varying states1 probably still exist4 ,in #afaf and #afdg respectively there appeared the collected works of ,ben ,jonson and of ,beaumont and ,fletcher1 each issued1 he thinks1 in about the same number of copies and at the same price of #a4 ,at the sale of ,sir ,kenelm ,digby's library in ,april #afhj the ,beaumont and ,fletcher volume fetched #acs4 #f;d42 the ,ben ,jonson1 with the folio of #afdj added1 #ags4 #f;d4 ,as most collectors are aware1 the earliest record of the sale by auction of a first folio ,shakespeare is of that in the library of ,sir ,william and the ,hon4 ,henry ,coventry1 dispersed in the ,haymarket by ,w4 ,cooper on ,may #ai1 #afhg2 but1 unfortunately1 there is no mention of the sum realized4 ,mr4 ,lee states that the first priced record belongs to #agef1 when the ,martin ,folkes example1 now in the ,rylands library1 was sold to ,george ,steevens for #c guineas4 ,on the other hand1 it has been affirmed that in an anonymous collection of books dispersed in #afhg-h a first folio fetched no more than #ads4 ,it is felt that in one direction ,mr4 ,sidney ,lee might with advantage have taken a further step4 ,he has gathered together the material necessary for making1 not only a geographical analysis of the copies traced1 but an analysis which shall show1 too1 the approximate condition of those to be found here or there4 ,of the #fjj copies conjectured to have been printed in #afbc1 ,mr4 ,lee mentions the present owners of #add1 leaving the possessors of #ad41 whose particulars do not agree with those of any others1 untraced4 ,the total of #afj1 including the two copies named in the postscript1 is made up by mention of an example stated to have been lost in the ,s4,s4 ,arctic1 #ahed1 and of that said to have been destroyed in the ,chicago fire of #ahga4 ,in order to understand the table that follows1 it is necessary in the first place to transcribe details of the four main classifications into which ,mr4 ,lee divides the copies he has traced3-- ,,class ,i4-7,,perfect ,,copies74 ,division4 ,a4 ,i4-,,xiv4 ,good1 un-restored condition #ad ,b4 ,,xv4-,,xli4 ,good condition1 but with occasional leaves either supplied from another copy of the first folio or repaired1 i4e41 mended1 mounted1 or inlaid #bg ,c4 ,,xlii41 ,,xliii4 ,good condition1 with leaves occasionally supplied from later folios #b -- #dc ,,class ,,ii4-7,,imperfect74 ,division4 ,a4 ,,xliv4-,,liv4 ,good condition1 but with a few pages missing1 and occasionally other slight defects #aa ,b4 ,,lv4-,,cv4 and ,fair condition1 but with fly-leaf and ,,lxxviia4 occasionally other leaves missing1 or supplied either from later folios or in facsimile #eb ,c4 ,,cvi4-,,cxxii4 ,moderate condition1 with most of preliminary and other missing leaves in facsimile or from later folios #ag -- #hj ,,class ,,iii4--7,,still ,,more ,,imperfect74 ,division4 ,a4 ,,cxxiii4-,,cxl4 ,defective1 numerous leaves in various and ,,cxxxiva4 sections missing1 or made up in facsimile or from later folios #ai ,b4 ,,cxli4-,,cxlvi4 ,fragmentary #f -- #be ,,class ,,iv4 ,,cxlvii4-,,clvi4 ,copies otherwise unclassed owing to lack of full description #aj ,copies alleged to have been destroyed #b -- #ab --- ,total #afj ,the accompanying table is an attempt to show at a glance the geographical distribution of the copies named by ,mr4 ,lee4 ,his estimate of condition has been scrupulously followed1 even with regard to the first folio in the royal library at ,berlin4 ,in the ,vossische ,zeitung of ,february #aj1 and in ,the ,times of the following day1 there appeared a statement to the effect that a careless or malicious reader had mutilated this ,berlin copy1 which was bought of ,joseph ,lilly in #aheh and presented by the then prince-regent1 afterwards ,emperor ,william ,i41 to the royal library1 and that the whole of the #8,comedy of ,errors' had been cut out4 ,i communicated with the director of the library on this subject1 and he courteously informs me that the statement1 happily1 is based on a misapprehension4 ,the folio of #afbc is in the same condition as when presented forty-five years ago2 on the other hand1 the facsimile of #ahjf has been robbed of eight leaves1 including those on which the #8,comedy of ,errors' is printed4 ,as to distribution1 ,i have assumed that the five copies sold in the ,united ,states during the past few years have there remained2 of the three examples which occurred at ,sotheby's in #aijb ,i chance to know that one has gone to ,america1 another is still in ,london2 while since ,january copies ,,lxxviiia1 ,,lxxx1 and ,,lxxxvi have been sold at auction and are entered under #8,london1 private owners4' ,it is worthy of remark that the three first folios in ,british colonies are presentations from public-spirited men3 those at ,capetown and ,auckland are the gift of ,sir ,george ,grey2 that at ,sydney of ,sir ,richard ,tangye4 ---------------------------------------- ----------------------------- ,,class ,i4 ,,division ,a ,b ,c ,public ,private,public ,private,public ,private ,insti- ,owners ,insti- ,owners ,insti- ,owners tutions tutions tutions ---------------------------------------- ------------------------ ,england3-- ,london #b #b #b #d -- -- ,universities3-- ,oxford -- -- -- -- #a -- ,cambridge #b -- -- -- -- -- ,northern ,counties3-- ,northumberland -- -- -- -- -- -- ,durham -- -- -- -- -- -- ,lancashire -- #a -- #b -- -- ,yorkshire -- -- -- -- -- -- ,midland ,counties3-- ,lincolnshire -- -- -- -- -- -- ,nottinghamshire -- -- -- -- -- -- ,derbyshire -- -- -- #a -- -- ,cheshire -- -- -- -- -- -- ,shropshire -- -- -- -- -- -- ,staffordshire -- -- -- -- -- -- ,leicestershire -- -- -- #a -- -- ,norfolk -- -- -- -- -- -- ,cambridgeshire -- -- -- -- -- -- ,northamptonshire -- #a -- -- -- -- ,warwickshire -- -- #a -- -- -- ,worcestershire -- -- -- -- -- -- ,gloucestershire -- -- -- #a -- -- ,buckinghamshire -- -- -- -- -- -- ,berkshire -- -- -- -- -- -- ,southern ,counties3-- ,sussex -- -- -- #a -- -- ,hampshire -- #a -- -- -- -- ,wiltshire -- -- -- -- -- -- ,devonshire -- -- -- -- -- -- ,cornwall -- -- -- -- -- -- ,,wales 7,crickhowell1 -- -- -- -- -- -- ,newport7 ,,scotland 7,glasgow1 -- #a -- -- -- -- ,abernethy7 ,,ireland 7,dublin7 -- -- -- -- -- -- ,,continent3-- ,germany 7,berlin7 -- -- -- -- -- -- ,italy 7,padua7 -- -- -- -- -- -- ,,british ,,colonies3-- ,sydney -- -- -- -- -- -- ,auckland -- -- -- -- -- -- ,capetown -- -- -- -- -- -- ,,united ,,states #b #b #d #aj #a -- ,untraced -- -- -- -- -- -- ---------------------------------------- -- #f #h #g #bj #b -- ---------------------------------------- ------------------------ ---------------------------------------- ----------------------------- ,,class ,,ii4 ,,division ,a ,b ,c ,public ,private,public ,private,public ,private ,insti- ,owners ,insti- ,owners ,insti- ,owners tutions tutions tutions ---------------------------------------- ------------------------ ,england3-- ,london #b #a #b #h #a #a ,universities3-- ,oxford #a -- #b -- -- -- ,cambridge -- -- #a -- -- -- ,northern ,counties3-- ,northumberland -- -- -- #a -- -- ,durham #a -- -- -- -- -- ,lancashire #b -- #a -- -- -- ,yorkshire -- -- -- #b -- -- ,midland ,counties3-- ,lincolnshire -- -- -- #a -- -- ,nottinghamshire -- -- -- #b -- -- ,derbyshire -- -- -- #a -- -- ,cheshire -- -- -- -- -- #a ,shropshire -- -- -- -- -- -- ,staffordshire -- -- -- -- -- -- ,leicestershire -- -- -- -- -- -- ,norfolk -- -- -- #a -- #a ,cambridgeshire -- -- -- #a -- #a ,northamptonshire -- -- -- #b -- #a ,warwickshire -- #a #a #a #a -- ,worcestershire -- -- -- #b -- -- ,gloucestershire -- -- -- #a -- #a ,buckinghamshire -- -- #a #a -- -- ,berkshire -- -- -- #a -- -- ,southern ,counties3-- ,sussex -- -- -- -- -- #a ,hampshire -- -- -- -- -- -- ,wiltshire -- #a -- #a -- -- ,devonshire -- -- -- -- -- -- ,cornwall -- -- -- -- -- -- ,,wales 7,crickhowell1 -- -- -- #a -- -- ,newport7 ,,scotland 7,glasgow1 -- -- #a -- -- -- ,abernethy7 ,,ireland 7,dublin7 -- -- #a -- -- -- ,,continent3-- ,germany 7,berlin7 -- -- #a -- -- -- ,italy 7,padua7 -- -- #a -- -- -- ,,british ,,colonies3-- ,sydney -- -- #a -- -- -- ,auckland -- -- -- -- -- -- ,capetown -- -- -- -- -- -- ,,united ,,states -- #a -- #aa #b #e ,untraced -- #a -- -- -- -- ---------------------------------------- -- #f #e #ad #ch #d #ac ---------------------------------------- ------------------------ ---------------------------------------- ---------------------------- ,,class ,,iii4 ,,class ,,iv4 ,,division ,a ,b ,public ,private,public ,private,public ,private ,insti- ,owners ,insti- ,owners ,insti- ,owners tutions tutions tutions ---------------------------------------- ------------------------ ,england3-- ,london -- #d #b -- -- #a ,universities3-- ,oxford -- -- -- -- -- -- ,cambridge -- -- -- -- -- -- ,northern ,counties3-- ,northumberland -- -- -- -- -- -- ,durham -- -- -- -- -- -- ,lancashire -- -- -- -- -- -- ,yorkshire -- #a -- -- -- -- ,midland ,counties3-- ,lincolnshire -- -- -- -- -- -- ,nottinghamshire -- -- -- -- -- -- ,derbyshire -- -- -- -- -- -- ,cheshire -- -- -- -- -- -- ,shropshire -- #a -- -- -- -- ,staffordshire -- -- -- -- #a -- ,leicestershire -- -- -- -- -- -- ,norfolk -- -- -- -- -- -- ,cambridgeshire -- -- -- -- -- -- ,northamptonshire -- -- -- -- -- -- ,warwickshire -- -- -- #a -- -- ,worcestershire -- -- -- -- -- -- ,gloucestershire -- #a -- -- -- -- ,buckinghamshire -- -- -- #a -- -- ,berkshire -- #a -- -- -- -- ,southern ,counties3-- ,sussex -- #a -- -- -- -- ,hampshire -- -- -- -- -- -- ,wiltshire -- -- -- -- -- -- ,devonshire #a #a -- -- -- -- ,cornwall -- #a -- -- -- -- ,,wales 7,crickhowell1 -- #a -- -- -- -- ,newport7 ,,scotland 7,glasgow1 -- #a -- -- -- -- ,abernethy7 ,,ireland 7,dublin7 -- -- -- -- -- -- ,,continent3-- ,germany 7,berlin7 -- -- -- -- -- -- ,italy 7,padua7 -- -- -- -- -- -- ,,british ,,colonies3-- ,sydney -- -- -- -- -- -- ,auckland -- -- -- -- #a -- ,capetown -- -- -- -- #a -- ,,united ,,states -- #d #a #a -- #b ,untraced -- #a -- -- -- #d ---------------------------------------- -- #a #ah #d #b #b #h ---------------------------------------- ------------------------ ---------------------------------------- ---------------------------- ,,total4 ---------------------------------------- ------ ,public ,private ,distribution of ,copies4 ,insti- ,owners tutions ---------------------------------------- ------------------------- ,england3-- ,london #ab #ba ,london #cc ,universities3-- ,oxford #d -- ,universities #g ,cambridge #c -- ,northern ,counties3-- ,northumberland -- #a ,durham #a -- ,northern ,counties #ab ,lancashire #c #d ,yorkshire -- #c ,midland ,counties3-- ,lincolnshire -- #a ,nottinghamshire -- #b ,derbyshire -- #b ,cheshire -- #a ,shropshire -- #a ,staffordshire -- #a ,leicestershire -- #a ,norfolk -- #b ,midland ,counties #cd ,cambridgeshire -- #b ,northamptonshire -- #d ,warwickshire #d #b ,worcestershire -- #b ,gloucestershire -- #d ,buckinghamshire #a #b ,berkshire -- #b ,southern ,counties3-- ,sussex -- #c ,hampshire -- #a ,wiltshire -- #a ,southern ,counties #i ,devonshire #a #a ,cornwall -- #a ----- ,,england #ie ,,wales 7,crickhowell1 -- #b ,wales #b ,newport7 ,,scotland 7,glasgow1 #a #b ,scotland #c ,abernethy7 ,,ireland 7,dublin7 #a -- ,ireland #a ----- ,,british ,,isles #aja ,,continent3-- ,germany 7,berlin7 #a -- ,continent #b ,italy 7,padua7 #a -- ----- ,,europe #ajc ,,british ,,colonies3-- ,sydney #a -- ,auckland #a -- ,,british ,,colonies #c ,capetown #a -- ,,united ,,states #aj #cf ,,united ,,states #df ,untraced -- #f ,untraced #f -------------- ----- #a #ah #aeh ---------------------------------------- ------------------------ ,,recent ,,acquisitions ,,at ,,the ,,louvre ,three ,italian ,albarelli ,for some time past ,italian fifteenth-century maiolica has been much sought after1 and very justly2 it would appear1 however1 that1 so far1 it is more admired than understood4 ,without doubt several works have been devoted to this subject4 ,but if we attempt to divide it up into several groups1 the various classifications seem neither very clear nor very definitive4 ,the three druggists' jars which have just been acquired by the ,louvre will help in a certain degree to fix the date and to determine the centre of activity of one of the factories which we are trying to reconstitute at the present moment--a factory which ,mr4 ,fraschetti has made his special study 7in ,l' ,arte1 #ahih71 as also ,mr4 ,stettiner has done4#ajg ,articles from this factory are characterized by a decoration of long1 large leaves1 curving back at the end1 half white and half painted1 the veining only being indicated on the back side2 these leaves are intermingled with a peculiar style of decoration1 in which the eyes of peacocks' feathers are presented together with large1 round1 blue and yellow flowers1 standing out from a background of slender blue scroll-pattern4 ,the principal pieces of this ware have been found at ,rome4 ,they are notably the druggists' jars of the hospital of ,st4 ,john ,lateran1 those of the apothecary ,bruti1 near the bridge of ,s4 ,angelo1 the paving tiles in one of the chapels of the church of ,s4 ,maria del ,popolo1 and those in the church of ,s4 ,maria della ,verit at ,viterbo4#ajh ,from this fact it has been concluded that this factory1 which sprang more or less directly from ,faenza1 and which produced a great deal1 must have been situated in ,rome2 and it has been proposed to call it1 at least provisionally1 the ,roman factory4 ,the three albarelli in the ,louvre belong1 as the accompanying figures will show1 to this class1 for they are all decorated on one side with the large peculiar leaves4 ,the most important of these jars1 from an artistic point of view1 bears on the front side the bust of a beardless man1 which will at once recall similar figures on the ,viterbo pavement4 ,before the face waves a streamer1#aji upon which the maker 7who was evidently very illiterate7 has traced an inscription1 which does not seem to convey any meaning whatever3--,,ar ,,ierin ,,ri ,n ,e ,i ,r ,e4 ,the two other jars are1 truth to tell1 but very mediocre specimens1 but they are of great interest to the archaeologist1 for they are decorated with armorial shields which furnish us with some very useful information4 ,on one of these shields are quartered the arms of ,aragon and ,jerusalem2 on the other are the same arms parti per pale with those of ,milan4 ,these armorial bearings#aaj 7very distinct though slightly simplified by the maker1 as is generally the case7 tell us for whom these jars were manufactured2 they belonged1 in fact1 to ,alfonzo ,,ii of ,aragon1 king of ,naples and ,sicily1 who reigned one year 7from #adid to #adie7 and died in the latter year at the age of forty-seven4 ,he married in #adfe ,hippolyta ,maria ,sforza 7daughter of ,francesco ,sforza ,i1 duke of ,milan1 and ,bianca-,maria ,visconti71 who died at ,naples in #adhd4aaa ,these albarelli1 which bear the coats-of-arms of the king and queen1 must have been made between #adfe and #adhd1 or at the latest before #adie4 ,illustration3 ,,three ,,italian ,,albarelli ,,of ,,the ,,fourteenth ,,century1 ,,recently ,,added ,,to ,,the ,,louvre ,illustration3 ,,landscapes ,,by ,,solomon ,,ruysdael1 ,,recently ,,added ,,to ,,the ,,louvre ,therefore they were made for a ,neapolitan prince1 and1 furthermore1 they come from ,palermo4#aab ,this would agree very well with the hypothesis of ,messrs4 ,fraschetti and ,stettiner1 according to whom all the pieces in this style would be of ,roman origin4 ,it would seem natural indeed that ,neapolitan sovereigns should address themselves to a factory in ,rome which was much nearer than those in ,faenza or ,florence4 ,but1 on the other hand1 it must not be forgotten that1 even before the end of the fifteenth century1 fanciers sent their orders to very distant factories1 and also that the centres of ceramic industry were much more numerous in those days than is generally supposed4 ,j4 ,j4 ,marquet de ,vasselot4 ,pictures ,the latest acquisitions consist1 in the first place1 of two large landscapes by ,salomon van ,ruysdael4 ,the photographs reproduced avoid the necessity of a detailed description4 ,one of them is from a collection at ,montpellier1 the other from an ,austrian collection4 ,they both present large views of nature1 very peaceful and very simple1 banks of wide and sluggish rivers such as the first generation of the ,dutch seventeenth-century landscape men loved to depict4 ,the museum at ,rotterdam possesses a picture by this same van ,ruysdael2 and we know that his contemporary1 ,jan van ,goyen1 who was his rival rather than his master1 also took a special delight in painting the environs of that city on the banks of the ,maas1 with its great sheet of water spread calmly and majestically under the sky laden with grey or copper-coloured clouds4 ,do we find ourselves here in the same environs of ,dordrecht8 ,probably2 although it is impossible to assert this absolutely4 ,one thing is certain1 which is that the workmanship of these two pictures very closely approaches that of the other paintings attributed by modern critics to the uncle of the great ,jacob van ,ruysdael1 as it does that of many other landscapes of that period4 ,although they do not descend to the almost monochrome appearance of certain van ,goyens1 brown and yellowish tones predominate1 and a certain and rather monotonous uniformity stands revealed1 notably in the clump of trees that forms the centre of one of the two compositions4 ,but the moist and cloudy skies are filled with light3 one1 in the landscape with the two towers1 has gaps through which appears a pale blue1 with rosy streaks in the direction of the horizon2 the other is a little greyer and sadder4 ,a whole crowd of figures1 all standing out clearly against the background1 fills the bank and the river itself1 on which barges are carrying herds and shepherds from one side of the river to the other4 ,a group of horsemen of quality1 in the landscape with the church1 reminds us very closely of those which we see in the ,halt at the ,rijksmuseum in ,amsterdam4 ,this last picture is dated #affj4 ,but it is much more complicated in composition and more compact in execution than are our two landscapes at the ,louvre4 ,the latter seem to belong to a less advanced period of the artist's career1 and are doubtless nearer the ,pesth landscape 7#afca71 the first that is known to us after the artist's registry on the roll of the gild of ,st4 ,luke at ,haarlem4 ,in any case1 these are two very fine museum-pieces1 and most worthily represent the earlier of the two ,ruysdaels at the ,louvre1 where as yet he was hardly represented at all1 beside those unquestionable master-pieces of his nephew1 the ,dykes1 the ,thicket1 and the landscape known as the ,coup de soleil4 ,as for the ,french picture which is also newly hung1 this is the portrait of a woman1 signed #8,l4 ,tocqu1 #agic4' ,it was exhibited at the ,salon of the same year1 and represents a certain ,dame ,danger1 a perfectly unknown lady4 ,it was1 therefore1 no iconographic interest that drew the attention of the keepers of the ,louvre to this portrait1 but rather the intrinsic charm of this very intimate and searching picture of a woman of the fashionable middle-class of the eighteenth century and the merit of its very simple and harmonious execution4 ,jean ,louis ,tocqu was already abundantly represented at the ,louvre1 but chiefly by those official portraits of artist-academicians1 of princes and princesses1 which made his fortune1 which sent him as far abroad as ,sweden1 ,russia and ,denmark1 but which perhaps charm us less to-day than do those simple and discreet figures which make the society of the eighteenth century itself live once more before our eyes4 ,this picture has been hung not far from the supposed portrait of ,madame de ,graffigny and from that of a man unknown1 by the same artist1 and these three figures of unknown persons1 to whom we cannot help ascribing a wealth of wit and intelligence1 form a charming trio together4 ,the new-comer is engaged in parfilage or #8unravelling4' ,this occupation was greatly in fashion at the time2 it formed an easy work which kept the fingers busy without interfering with conversation4 ,the gold threads were separated from the silks of some piece of lace-work or embroidery and rolled on a special shuttle 7we have preserved some that are marvels of delicate carving74 ,neither the eyes nor the mind needed to be kept fixed on this light labour1 as we see in the present case1 where the lady1 who is no longer in her first youth under her powdered hair1 but who still wears a seductively young appearance1 looks up at her visitor or interlocutor with a calm and gentle gaze4 ,she wears a grey fur cloak over a vieux-rose skirt2 and the whole forms with the blues of the sofa on which she is seated a rare and delicate harmony which is one of the principal qualities of this picture4 ,paul ,vitry4 ,illustration3 ,,portrait ,,of ,,dame ,,danger1 ,,by ,,louis ,,tocqu2 ,,recently ,,added ,,to ,,the ,,louvre ,the ,cover of a ,koursi ,in #aijb1 the ,louvre acquired from a ,french collector residing in ,cairo a piece of ,arabic copper incrusted with gold and silver1 the beauty and rarity of which deserve every attention4 ,this piece is the lid or cover of a koursi1 used sometimes as a stool on which the candlesticks are placed in a mosque1 sometimes as a box to contain the ,koran4 ,to prove the rarity of this object ,i need only mention that no more than two such stools and one box of metal incrusted with gold and silver are known4 ,these two famous objects bear the names of the ,sultans ,kalaoun and ,mohammed el ,nasser1 and are preserved at the museum of ,arabic art in ,cairo4 ,the koursi cover acquired by the ,louvre is hexagonal in shape1 but must originally have been circular1 and formed a plate engraved and incrusted with silver about the middle of the thirteenth century4 ,this hypothesis is confirmed by an examination of the reverse side1 which allows of an engraved decoration that would not have been necessary in a real koursi top fixed to the body of the article itself4 ,the centre1 consisting of a rose with various designs1 and the surrounding frieze1 containing an interrupted inscription1 give a name--,al ,ganb--and the following indication3 #8,belonging to ,malik al ,nasir4' ,this title was common to several sultans in ,egypt in the thirteenth and fourteenth centuries1 and does not convey an exact indication of the period4 ,the inscription is interrupted by six medallions4 ,their shape and the pointed arabesques in which they terminate seem characteristic of the thirteenth century4 ,later1 in the fourteenth century1 the plate must have been turned and cut out into a hexagon intended to serve as a koursi cover4 ,the engraved decoration then added to it is executed with the greatest vigour and clearness1 and is rich in incrustations in gold and silver4 ,in the centre is a long inscription with radiating letters giving the customary titles of the contemporary sultan1 the sacred names of ,god1 the great1 the sole1 the glorious4 ,this fine radiating inscription is peculiar1 through its character and the decorative importance of the letters1 to the art of the ,egyptian engravers on copper of the fourteenth century4 ,gaston ,migeon4 ,illustration3 ,,lid ,,of ,,an ,,arabic ,,koursi ,,of ,,the ,,fourteenth ,,century2 ,,recently ,,added ,,to ,,the ,,louvre ,,on ,,oriental ,,carpets ,,article ,,iv ,,the ,,lotus ,,and ,,the ,,tree ,,of ,,life ,that the art of weaving textile fabrics was known and practised among the earliest civilized nations of the world appears to be beyond dispute4 ,primarily no doubt the need for some form of clothing 7slight probably in a hot country7 and for floor coverings which should afford a protection against scorpions and other venomous creatures and for sleeping mats called forth the production of cloths woven from reeds and grasses and from the fibres of large-leaved plants4 ,soon1 however1 the possibility of using the wool of goats and sheep and camels must have impressed itself on the minds of primitive weavers1 and from this to the production of textiles proper was but a short and easy step in natural development4 ,it is probable that a considerable time may have elapsed between the first production of woven fabrics and the time when the artistic need became felt for enhancing their appearance by the employment of colouring matters4 ,the mind of the primitive manufacturer became no doubt gradually attuned to this necessity by the slow development of a natural desire to brighten the gloomy aspect of his darkened homes4 7,in this regard it will be borne in mind that an essential feature of all oriental interiors has ever been the exclusion1 so far as may be1 of the scorching glare of the sun's rays47 ,the primitive houses of the earliest settled peoples were doubtless built of mud1 as are those of their descendants to-day1 and it would be difficult to imagine anything less attractive than the interior of an ,upper ,egypt1 or ,nubian or ,mesopotamian house 7which is to-day the exact counterpart of those we find on the paintings and bas-reliefs which have come down to us from the oldest times71 with mud walls1 mud floor1 mud roof1 all of a uniform dingy brown1 and without furniture of any kind to relieve the eye4 ,it is probable that the early weaver was in the habit of dyeing his woven products in some uniform colour for a considerable time before it occurred to him that richer effects might be produced by colouring his yarns in different tints previous to their employment on the loom4 ,having got so far it did not take very long before his manual dexterity had so far attained the level of his artistic aspirations as to impel him to seek models for the complicated designs he sought to introduce into his work4 ,for these models1 as for their colouring1 he naturally turned to those forms which were constantly before his eyes in everyday life4 ,illustration ,and among these most prominent no doubt was the lotus1 which in one form or the other is invariably found to hold a prominent place in the centre or border of an oriental carpet4 ,probably the artistic weaver copied the numerous forms of the lotus long before he attached any symbolism to the plant itself1 and merely because the flowing lines and sweeping curves of the plant appealed to his eye4 ,other tree and plant forms there were no doubt that commended themselves to him1 and these1 too1 he sought to introduce into his designs2 but the predominance of the lotus over all other forms early asserted itself and has maintained its position ever since4 ,at what period the profound and mystic symbolism of the lotus became generally recognized among the peoples to whom it was a familiar object must ever remain a matter of controversy and of speculation4 ,professor ,goodyear1 who has written an elaborate treatise on #8,the ,grammar of the ,lotus1' regards this form of classic and ancient ornamentation as a development of sun worship4 ,his theory briefly deals with the development of the sun symbols from the lotus by a series of complicated and ingenious evolutions4 ,the lotus1 according to him1 was a fetish of immemorial antiquity1 which has been worshipped in many countries from ,japan to ,gibraltar4 ,he claims that it is the symbol of life1 immortality1 renaissance1 resurrection and fecundity4 ,he describes the three forms of lotus3 the blue and the white1 which differ but little save in colour1 and the rose lotus1 which is really not a lotus at all botanically speaking1 and is not a native of ,egypt but of ,india4 ,illustration ,this lotus 7the rose7 is still cultivated in ,china as a food plant1 and it is believed that it was brought to ,egypt from ,india by ,alexander the ,great for that purpose2 but that it was regarded by the ,egyptians as a national symbol there is1 in the opinion of ,professor ,goodyear1 no sufficient evidence to show4 ,that the lotus was early regarded as a religious symbol in ,india and ,china is generally held4 ,it is1 of course1 the sacred flower of the ,buddhists4 #8,when ,buddha was born1' says ,moor in his #8,hindu ,pantheon1' #8a lotus bloomed where he first touched the ground2 he stepped seven steps northward1 and a lotus marked each foot-fall4' ,the ,buddhist prayer often quoted begins3 #8,o ,god1 the jewel of the lotus1' or #8,o holy jewel in the lotus1 be it so4' ,in the ,hindu theogony the lotus floating on the water is an emblem of the world1 and the whole plant of the earth and its two principles of fecundation4 ,edwin ,arnold1 in #8,the ,light of ,asia1' says3 #8,aum ,mani pdme hm1' of which the literal translation is1 #8,all hail to the jewel in the flower of the lotus4' ,he continues3 #8,the sunrise comes1' #8,the dew-drop slips1' #8,into the shining sea4' ,brahmans consider the sun to be the emblem or image of their great deities1 jointly or individually1 i4e4 ,brahma the supreme one1 who alone exists really and absolutely4 ,the legend goes that ,brahma1 according to a generally received system founded on a doctrine of the ,vaishnavas1 sprang on a lotus from the navel of ,vishnu1 who is the personification of the sun1 to bid all worlds exist4 ,professor ,goodyear maintains that the symbolism of the lotus1 which is referred most frequently by modern writers to its phallic and generative or to its funereal and mortuary bearings1 is based upon well-proved but not generally recognized solar significance4 ,the easiest way to demonstrate this is by an appeal to the acknowledged fact that the ,egyptian idea of the resurrection and of a future life was connected with the worship of the creative and reproductive forces of nature1 which were conceived and worshipped as solar in character and origin4 ,it is the supposed passage of the sun at night through a lower world during its return to the dawn of a following day which makes ,osiris 7the sun at night7 the god of the lower world and of the dead1 for which reason he is represented as a mummy4 ,as the god of resurrection1 the special and emphatic character of ,osiris1 he represents the creative power of the sun god2 and thus the lotus1 as the attribute of ,osiris1 is at once a symbol of the sun of resurrection1 and of creative force and power4 ,illustration3 ,a ,,tabriz ,,carpet1 ,,with ,a ,,deep ,,red ,,field ,,and ,,blue ,,border1 ,,the ,,medallion ,,illustrating ,,the ,,tree ,,of ,,life ,,and ,,lotus ,,flower ,,from ,,the ,,collection ,,of ,,messrs4 ,,gillow ,professor ,goodyear further contends that the lotus1 which he holds1 as has been said1 to be the keynote of decoration1 is identical with the tree of life1 or rather that the accepted tree of life is really a variant of the lotus in one form or the other of its many aspects4 ,he objects to the theory that the date palm1 the palmetta1 or the papyrus is invariably the tree of life1 as is held by several writers4 ,the weakness of the theory regarding the soma tree or hom 7date-palm7 as the tree of life is not only the weakness of the palm theory1 which is that no transitional forms between the palmetta and palm can be shown in ,assyrian art and that they are not known to have grown there1 because it is not to be denied that the sacred tree of ,assyria#aac was the palm1 but it is a pure hypothesis to suppose that all were soma trees4 ,illustration ,the ,assyrian tree of life1 he holds1 was really an artificial form of the lotus1 which plant was as well known in ,assyria as in ,india4 ,sir ,george ,birdwood1 who gives a lengthy list of trees held sacred in one part or another of the east1 is more or less emphatic as to the hom or soma1 which he says is the date-palm1 being the tree of life4 ,he allows1 however1 that on ,yarkand rugs the tree of life is represented by a pomegranate tree4 ,as against this1 ,sayce1 in one of the ,hibbert lectures1 as quoted by ,goodyear1 says that1 #8the cedar tree is identified with the tree of life1' and #8the palm is possibly later4' ,the palm1 he adds1 is undoubtedly a symbol on ,assyrian and ,chaldean cylinders1 as illustrated in ,layard's #8,culte du ,methra1' but ,goodyear does not think that ,layard's text would give much support to the theory of ornamental palm symbolism in ,assyria4 ,count ,goblet d',alviella1 in his work on #8,la ,migration des ,symboles1' bears out ,goodyear and ,sayce1 and1 to some extent1 even ,birdwood1 as to the locality where the tree of life had its origin2 but albeit he describes what he holds to be its early representation1 he does not attempt to establish a theory as to what was the tree originally typified4 ,the sacred tree1 he says1 is one of the earliest historic symbols 7note he does not call it the tree of life7 and had its origin in ,mesopotamia2 it passed thence to ,india1 where it was used by ,buddhists and ,brahmans1 and thence again to the ,phoenicians1 and from ,asia ,minor to ,greece4 ,from ,persia it was introduced to the ,byzantines1 and found its way in early ,christian times into ,christian symbolism in ,sicily1 ,italy1 and even in the west of ,france4 ,the earliest type1 he claims1 was a tree of complex and ornate pattern1 having on either side of it a monster who faced each the other4 ,these had the forms of winged bulls or of griffins4 ,illustration ,another type1 which was that of the semi-human or human priests and kings1 followed the same route into ,china and ,india and eastern ,asia1 and being found in the ancient ,mexican and ,maga codices1 is held by ,goblet d',alviella as a part of the evidence which he cites in support of his theory of a pre-,columbian communication between the old world and the new4 ,as opposed to ,sir ,george ,birdwood's theory that the soma or hom is a date-palm1 it may be pointed out that other authorities who are not less entitled to speak on the subject declare the soma of the ,vedas#aad and the hom of the ,zendavesta#aae to be the ,sarcostemma viminale1 a leafless asclepiad with white flowers in terminal umbels which appear during the rains in the ,dekhan4 ,the flower obtains its name apparently from the fact that it is gathered by moonlight 7presumably the full moon71 the sanskrit word for the moon being soma4 ,its conveyance home in carts drawn by rams is accompanied by ceremonials4 ,a fermented liquor is obtained from the flower by mixing its juice1 which has been strained through a sieve of goats' hair1 with a preparation of barley and clarified butter or ghee4 ,this beer or wine is used at religious festivals2 it may be said that according to ,hindu superstition the gods of their system can do nothing without having been previously stimulated with soma4 ,in the second hymn of the ,rigveda occurs this passage3 #8,approach1 ,o ,wayu2 be visible2 this ,soma juice has been prepared for thee2 approach1 drink1 hear our invocation4' ,many indeed are the allusions made in religious ceremonials to the invigorating power and even intoxicating qualities of the soma1 as to which ,windischmann suggests that the plant was identical with the gogard tree1 which has the quality of #8enlightening the eyes' and which he compares with ,ampelus1 the vine of ,bacchus4 ,this same beverage is used at their meals by the ,muhammedan ,rishis in ,kashmir1 who abstain from animal food and from marriage4 ,it may be said that ,soma1 as well as being the name of a tree1 to which it may afterwards well have been given1 is in the ,hindo mythology the name of the son of ,rishi ,atri by his wife ,anasuga 7he is also said to be the son of ,dharma and ,prabhakara74 ,he married the twenty-seven daughters of ,daksha 7which are the twenty-seven lunar asterisms74 ,he also carried off ,tara the wife of ,brihaspati1 who bore him a son and named him ,buddha4 ,this ,buddha is regarded as being the parent of the lunar race4 ,thus are we inevitably brought back to ,buddha and ,buddhistic emblems and to the long-vanished origins from which those emblems were derived4 ,the lotus1 none have disputed1 is the oldest known attribute of ,buddhist symbolism1 but is it not equally certain that the lotus existed in remote ages long antecedent to the dawn of ,buddhism8 ,here then is matter which makes for the support of ,professor ,goodyear's ingenious theory4 ,he takes the sepals of the lotus in their natural form1 he shows how they have been twisted and exaggerated into spirals and volutes1 which1 being squared on their passage through the ,ionic style of architecture1 formed at length what is known as the meander1 ,greek fret or key pattern1 which being doubled produces the svastika4 ,the svastika therefore1 which every authority has acknowledged to be the most ancient expression of symbolism1 as it is also the earliest form of ornamentation known to the world1 should in accordance with this be regarded as identical with the lotus symbol in one of its many phases4 ,the previous articles of this series appeared in ,the ,burlington ,magazine for ,march1 ,may1 and ,june4 ,illustration3 ,,the ,,sor ,,chalice ,,notes ,,on ,,various ,,works ,,of ,,art ,,the ,,sor ,,chalice ,in the notice of a mediaeval chalice from ,iceland in the ,june number of this ,magazine 7p4 #gj71 mention was made1 by way of comparison1 of the silver chalice found in #ahbg at ,sor1 ,denmark1 in the grave of ,absalon1 bishop of ,lund1 who died in the year #abja4 ,a view of this exceptionally interesting specimen of early ,scandinavian work1 still preserved in the church of ,sor1 is shown in the accompanying illustration4#aaf ,the character of the chalice1 as revealed by the photograph1 confirms the close relationship existing between it and the example which was the subject of the notice alluded to4 ,the bowl nearly hemispherical in shape1 the flattened globular knop1 and the trumpet-shaped foot with bevelled margin finishing in a narrow turned-out edge1 are the salient features of each alike4 ,a point of distinction not quite so apparent in the engraving which was referred to#aag is the somewhat greater width in proportion to height of the ,sor chalice1 giving a rather more spreading shape of bowl and foot4 ,the bowl1 too1 is seen to have less of the tendency towards a straightening of the contour at its upper part1 which1 in the example from ,iceland1 seems to give a hint of the coming change of shape1 an indication which suggests the lapse of a certain interval between their dates4 ,the necking between the knop and bowl1 on the other hand1 is now shown to be of very similar proportions in both4 ,this necking 7called by ,theophilus the #8ring'7 and the band below the knop are enriched with shallow fluting1 somewhat hidden by the shadow in the photograph2 the foot appears to have suffered injury from crushing4 ,certain features1 such as the fully-expanded knop with enrichment above and below1 and the fairly substantial character of the work apparent in the thickness at the edge of the foot1 support the belief that the subject of the present illustration is an actual mass-chalice4#aah ,whether made for service at the altar or merely for mortuary use the chalice is equally valuable as an example of the shape arrived at in ,scandinavia in or before the year #abja4 ,h4 ,p4 ,mitchell4 ,,the ,,oaken ,,chest ,,of ,,ypres ,this chest of massive oak belongs to the office of archives at ,ypres4 ,it is perhaps the most curious and characteristic example of a kind familiar to antiquaries4 ,in the middle panel1 cut deep into the oak1 ,st4 ,george charges stoutly at the dragon1 whose throat is stricken through with the lance4 ,st4 ,george's head has a basnet1 whose point ends in a socket with a feather stuck in it4 ,this basnet has the camail and roundels over the ears4 ,over his hawberk the saint wears a short coat with long sleeves1 wide and slittered at the edges4 ,the saddle1 with its great rolled guards for the legs1 is noteworthy4 ,the dragon is no writhing worm under the horse-hoofs1 but a fearsome thing like to a mad bull-calf1 a thing begotten of bull and serpent4 ,behind the monster stands ,dame ,cleodolinde1 daintily lifting her skirt and no whit uneasy for the hurtling of horse and dragon4 ,behind her are the town walls1 with towers and halls above them4 ,out of frilled clouds over ,st4 ,george's head a divine arm is thrust1 in a loose sleeve1 with two fingers blessing the lance-thrust4 ,in the broad uprights at the chest-end a gentleman and a lady in full round sleeves stand between pillars4 ,above them are battlements1 and above the battlements mullioned windows4 ,the broad lock of this chest remains1 a lock of most interesting form4 ,the whole chest was once painted in colours1 traces of which remain here and there4 ,when the fashion of the dresses and arms have been reckoned over1 and something allowed for craft tradition1 the chest would seem to be of the early years of the fifteenth century1 although it came to the famous exhibition of #aijb at ,bruges most absurdly labelled and catalogued as of the thirteenth4 ,a ,,burgundian ,,chest ,this great chest1 which was shown at ,bruges in #aijb1 is a noble example of the ,burgundian school of wood-carving1 its ornament offering sharp contrast with the ,english manner4 ,the four panels of the front and three of the uprights are filled with rich carving of traceries and arabesques1 but the chisel has stayed at the framework1 and the chest1 for all the richness of its ornament1 loses nothing of its massive and sturdy appearance4 ,the end panels are plain1 and the plain cover is slightly arched in remembrance of the waggon tops of the earlier coffers4 ,the first panel has a little shield of ,st4 ,peter's keys1 with the pope's triple crown very large above it4 ,the second has the emperor's shield of the eagle with two necks surmounted by an open crown4 ,another crowned shield bears the famous badge of ,burgundy1 the steel1 or strike-a-light1 with its flint and sparks4 ,the fourth panel has neither crown nor shield1 but the tracery shapes itself into three fleurs-de-lys1 which1 although they be not upon a shield1 may stand for the king of ,france4 ,thus the four panels show pope1 emperor1 duke and king4 ,on the broad upright in the middle is a crown above a tiny shield charged with a single fleur-de-lys4 ,it will be seen that the armorial decoration is poorly-conceived stuff to be set upon these rich panels4 ,especially is this feebleness manifest in the starveling fowl of the emperor's shield4 ,the chest is of the latter half of the fifteenth century4 ,it is the property of the #8hospices civils' of ,aalst4 ,o4 ,b4 ,a ,,new ,,fount ,,of ,,greek ,,type ,the ,greek type of which a specimen is shown on page #cei is based on the celebrated ,alcal fount of #aead4 ,this was cut by order of ,cardinal ,ximenes for use in the ,new ,testament of the great ,complutensian polyglot ,bible1 and is usually supposed1 though there is no direct evidence1 to owe its form to an ancient manuscript which was sent to ,spain by ,leo ,x from the ,vatican library to serve as the basis for the text of the ,new ,testament in that work4 ,the printer1 ,arnaldo ,guillen de ,brocar1 asserts in his preface that the type was designed to do special honour to the original language of the ,gospels4 ,the present type is adapted from this ,alcal fount with little alteration1 as far as the lower case is concerned1 the chief change beyond an increase in size being as follows4 ,the ,new ,testament of #aead was printed with no accents except the acute1 and the body of the type was adjusted to this condition4 ,but when ,guillen came to print other books 7the #8,chrysoloras' of the same year1 the undated #8,hero and ,leander1' and one or two others71 he found it necessary to provide a complete set of accents1 and as the body of the type was not high enough to give room for the tallest of these1 he was compelled1 in order to avoid recasting the whole fount1 to hang these over the line above by means of what are called kerns4 ,the result of this is that while the page produces a very fine solid effect1 the lines are too close to each other for comfort in reading4 ,this has been avoided in the new type by taking the tallest combination as the standard of height1 and thus increasing the whites between the lines1 with a corresponding increase of readableness4 ,but the ,alcal type had only one capital letter1 a 1 and it has been necessary to design the whole of the capitals for the new type1 as no good models were available4 ,the capitals have in fact always been the weakest point in ,greek types4 ,the points and other minor features are also new4 ,the punches have been cut for ,mr4 ,robert ,proctor by ,mr4 ,e4 ,p4 ,prince1 who cut the punches for the ,kelmscott1 ,doves1 and other special founts1 from drawings prepared by ,messrs4 ,walker and ,cockerell1 and the type has been cast on a double-pica body by ,messrs4 ,miller and ,richard1 of ,edinburgh1 the vowels and accents being made separately1 and contrived by means of overhangs to combine into a single sort4 ,it is proposed to use this1 which will be called the ,otter type1 for the production of books representative of ,greek literature of all periods1 ancient1 mediaeval1 and modern4 ,they will be printed by a hand-press on special hand-made paper in red and black1 and no effort will be spared to give1 in most cases for the first time since the invention of printing1 a form worthy of them to the masterpieces of the greatest classical literature of the world4 ,the first volume1 which will probably appear in the autumn of this year1 is to be the #8,oresteia' of ,aeschylus1 a quarto of some #bej pages4 1 1 1 4 1 4 1 1 1 4 1 1 4 1 1 1 4 4 1 4 1 1 1 1 1 1 1 4 ,illustration3 ,,mr4 ,,robert ,,proctor',s #8,,otter' ,,type ,,portrait ,,of ,a ,,lady ,,by ,,rembrandt ,the important and interesting portrait by ,rembrandt which is here reproduced has justly been given a place of honour among the works of that master now being shown in the exhibition of portraits by old masters at the ,hague2 indeed1 in the opinion of many good critics it is one of the greatest attractions at the ,kunstkring4 ,since permission was given to us by ,messrs4 ,dowdeswell to reproduce the picture1 it has passed out of their hands into those of ,mr4 ,hage1 a ,dutch collector1 by whom it has been lent to the ,hague exhibition2 it was formerly in the collection of ,sir ,matthew ,wilson4 ,the panel1 which is #cj by #bc inches1 was painted in the same year as ,the ,anatomy ,lesson1 when ,rembrandt was only twenty-six years old1 and belongs1 therefore1 to his earliest period2 that this is the case is proved by the signature on the right of the picture1 #8,r4 ,h4 ,l4 van ,rijn #afcb4' ,the identity of the lady who is the subject of the portrait has not yet been established1 and beyond the fact stated on the picture itself that she was thirty-nine at the time it was painted we know nothing about her4 ,it is unnecessary to expatiate on the merits of the picture1 which speaks for itself even in the reproduction4 ,the oil painting by ,daubigny and the pastel by ,lhermitte1 of which we publish reproductions by kind permission of ,mr4 ,john ,balli1 are good examples of the work of the two ,french artists4 ,they are among the pictures which have recently been exhibited at ,mr4 ,mc,lean's gallery for the benefit of that excellent institution1 the artists' benevolent fund4 ,illustration3 ,,polychrome ,,chest ,,belonging ,,to ,,the ,,office ,,of ,,archive ,,at ,,ypres ,illustration3 ,a ,,burgundian ,,chest ,,of ,,the ,,fifteenth ,,century ,,belonging ,,to ,,the ,,hospices ,,civiles ,,at ,,aalst ,illustration3 ,,portrait ,,by ,,rembrandt ,,van ,,rijn2 ,,in ,,the ,,collection ,,of ,,mr4 ,j4 ,,hage ,illustration3 ,,on ,,the ,,seine1 ,,by ,,charles-,,fran,,ois ,,daubigny2 ,,in ,,the ,,collection ,,of ,,mr4 ,,john ,,balli ,illustration3 ,,le ,p,,cheur1 ,,by ,l,,on ,,lhermitte2 ,,in ,,the ,,collection ,,of ,,mr4 ,,john ,,balli ,,bibliography ,the ,ambassadors ,unriddled4 ,by ,w4 ,f4 ,dickes4 ,london3 ,cassells4 ,mr4 ,dickes has been ill-advised to repeat and amplify1 as he has done in this volume1 a theory concerning ,holbein's picture of ,the ,ambassadors of which all competent students recognized the futility when it was first broached in ,the ,magazine of ,art a dozen years ago4 ,since then the subject and history of the picture have been completely elucidated by ,miss ,mary ,hervey in a book published in #ahie4 ,her work is a model of patient1 sagacious and fortunate industry4 ,no links of any consequence are wanting in the chain of evidence1 internal and external1 by which she has made it certain that the portraits in the picture are those of two leading ,french diplomatists of the time1 the one a man of the sword and the other of the robe1 viz43 ,jean de ,dinteville1 bailly of ,troyes1 and his friend1 ,george de ,selve1 bishop of ,lavaur2 that the picture was painted by ,holbein in ,london when the two friends were here together in the spring of #aecc2 and that it is the identical work described in three perfectly authentic documents of the mid-seventeenth century as having been preserved down to that date at ,polisy1 the seat of the ,dinteville family in ,champagne4 ,the traditional name of the picture in the eighteenth century1 ,the ,ambassadors1 is thus completely justified4 ,of one ambassador1 ,m4 de ,selve1 tradition had also quite rightly preserved the name2 while of the other1 ,jean de ,dinteville1 the name had been lost2 and the name ,d',avaux1 which belonged to a diplomatic family of a later generation1 had been substituted mistakenly4 ,it is the pleasure of ,mr4 ,dickes to ignore these proofs1 and to assert a rival theory for which there is not a shadow either of antecedent likelihood or of genuine evidence1 while it is flatly at variance with tradition4 ,his work1 the result of no small industry and application of a blundering kind1 is a pathetic example of the fate which awaits an untrained inquirer who has become possessed by an ide fixe and insists on burrowing with obstinate blindness in a hopelessly wrong direction4 ,kindness would suggest that such a performance should be ignored2 but as its illusory air of candour and research has actually misled some unwary critics1 let it be dealt with here as briefly and gently as the case admits4 ,the theory of ,mr4 ,dickes is that the picture represents the two ,german brothers1 ,otto ,henry and ,philip1 counts palatine of the ,rhine1 who had their residence at ,neuburg and were known as dukes of ,neuburg1 and that it was painted in celebration of a treaty of ,nuremberg concluded between the ,catholic and ,protestant princes of ,germany in #aecb4 ,the road by which the author has arrived at this conclusion is somewhat as follows3 ,a conspicuous feature in the picture is a lute with a broken string4 ,in ,alciati's famous book of ,emblems1 of which the first extant edition was published at ,augsburg in #aeca 7though some of the emblems had previously been in circulation1 most probably in manuscript71 a lute is the symbol of a treaty4 ,or rather it is the symbol of a particular group of treaties1 ,foedera ,italorum2 in all probability the league of ,cognac1 which in #afbf united the princes of ,italy with ,france and ,england against the emperor4 ,a set of ,latin verses accompanies the emblem1 and declares1 among other things1 that if a single string should be ill-stretched or broken1 all power of pleasing will depart out of the instrument and its excellent music will become jangled4 ,obviously1 therefore1 if the lute with the broken string in ,holbein's picture has anything to do with ,alciati and his emblems at all1 it must signify a treaty broken and not a treaty made and confirmed4 ,mr4 ,dickes shuts his eyes to this root fact of the case1 and builds all his argument on the patently false supposition that it is the emblem of a treaty signed and valid4 ,having further1 on no reasonable grounds whatever1 satisfied himself that the picture represents two brothers of whom one is ,catholic and the other ,protestant1 he hunts up his history of the ,reformation1 and learns about the treaty of ,nuremberg and the concern in it of the two brothers1 ,counts ,otto ,henry and ,philip4 ,from that moment it becomes a fixed dogma with him that these are the persons represented1 and all facts and evidences have to be pulled about like putty in order to prove it4 ,thus the inscriptions on the picture1 which are perfectly genuine1 declare that ,holbein painted it in #aecc1 and that at that date the age of the lay personage in short cloak1 sword and dagger was twenty-nine1 and of the clerical or legal personage in square cap and velvet gown1 twenty-five4 ,these indications absolutely fit alike the date of ,dinteville's mission1 that of ,selve's visit1 and those of ,dinteville's birth and ,selve's birth4 ,but they are hopelessly out for ,counts ,otto ,henry and ,philip4 ,so it costs ,mr4 ,dickes nothing to declare the inscription with the artist's name and the date a forgery2 when in fact it has been proved unquestionably genuine by the test of the same caretul processes which cleared away the dirt and accretions of time from other details in the work4 ,agreeing that the picture was painted in #aecc 7for which there is no evidence at all except this same impeached inscription71 ,mr4 ,dickes then assumes the arbitrary date #aecb 7that of the signature of his ,nuremberg treaty7 from which to calculate the ages of the sitters4 ,even so he cannot get them right1 ,otto ,henry having been born in #aejb and ,philip in #aejc4 ,the former thus still remains one year and the latter five years too old2 so that in the case of ,philip the figure #be has to be declared1 again without a shadow of foundation1 to have been altered4 ,once more1 the lay ambassador in the ordinary court dress of the time1 short cloak1 sword and dagger and tasselled belt1 wears the badge of the ,french order of ,st4 ,michael1 thus confirming the tradition and the probability that he was a ,frenchman4 ,this would be fatal to ,mr4 ,dickes's theory1 so it has to be made out that the badge is not that of the famous order at all4 ,for this ,mr4 ,dickes has no better proof than that it is not identical with the same order as figured about a century later in ,favyn's #8,thtre d',honneur et de ,chevalerie4' ,but there was no mechanical uniformity in the badge of the order as worn by its members1 and still less in its representation by artists supplying their portraits4 ,all students of ,french sixteenth-century portraiture1 whether painted or engraved1 can easily recall a dozen or a score of variations in the badge2 while no such student could have a moment's doubt that ,holbein's sitter1 whatever else he was or was not1 is declared by this badge to be a knight of the order4 ,this is again one of the cardinal facts by which an inquirer must be guided1 and to contradict it as ,mr4 ,dickes does is merely idle4 ,again1 ,miss ,hervey discovered in a ,paris curiosity shop in #ahie1 and presented to the ,national gallery1 a docketed seventeenth-century document on parchment fully describing the picture and its contents4 ,mr4 ,dickes at the time attacked the authenticity of this document in detail1 on grounds which to any trained paleographer are ridiculous4 ,in his book he does not reprint his arguments1 but in an innocently impertinent dedication to the trustees of the ,national gallery coolly puts it aside as #8supposititious4' ,in point of fact it has no flaw whatever except that it is destructive of his theory4 ,but worse3 ,miss ,hervey1 whose methods are as sound and scrupulous as those of ,mr4 ,dickes are the reverse1 also found in the library of the ,french ,institute two other documents of the seventeenth century minutely confirming the contents of the first3 these are papers of the ,godefroy family relating to a correspondence between themselves and ,nicholas ,camusat1 the well-known antiquary of ,troyes1 who had made it his business to collect historical and archaeological traditions concerning his native town and its distinguished families1 including that of ,dinteville4 ,these documents are too irrefutable to be contested3 ,mr4 ,dickes therefore placidly ignores them4 ,in like manner1 in trying to show1 what his theory requires1 that the picture was painted not in ,london but in ,germany1 he ignores ,miss ,hervey's proof that the pavement is copied strictly from one still extant in ,westminster abbey4 ,as a point on his side1 he quotes as having been painted by ,holbein at ,basle in #aecc a picture of a ,wheel of ,fortune #8in the collection of the duke of ,westminster4' ,the picture he means belongs in fact to the duke of ,devonshire1 and was painted by ,hans ,schufelein2 whose monogram and mark of a shovel have been tampered with but are still clearly discernible1 and whose style is quite unlike that of ,holbein4 ,one more instance may suffice for the illustration of this gentleman's incredible method of dealing with the evidences which substantiate the real meaning and contents of the picture4 ,among the instruments on the table symbolical of the arts to which these two cultivated and liberal young diplomatists were devoted1 is a small hand globe1 which has been identified as copied1 with the addition of a certain number of place-names1 from that published by ,schner at ,nuremberg in #aebc4 ,on this globe the name of ,nuremberg appears conspicuously1 as of course is natural1 since that was its place of publication4 ,mr4 ,dickes at once reads this as an evidence for his theory that the picture is meant to celebrate the peace of ,nuremberg4 ,among the place-names added by the painter to those which were inserted by the cartographer are three of ,german provinces1 four of ,spanish provinces1 five of ,french provinces1 and three of ,french towns1 ,paris1 ,lyons and ,bayonne1 besides one which is that of ,dinteville's own village and fief in ,champagne1 ,polisy 7the s a little broken by a crack in the panel74 ,these additions are exactly what might have been expected to be dictated by a ,french diplomatist engaged in the combinations of his country at the time with ,spain and ,italy1 while the insertion of ,polisy is of course a final link in the proof that the lay ambassador is no other than ,dinteville4 ,this insertion is promptly and without a shadow of reason declared by ,mr4 ,dickes an eighteenth-century forgery4 ,now for an instance of the kind of evidence with which this critic tries to support his own theory4 ,dinteville in the picture wears a girdle with a rich tassel hanging at the front4 ,so do a number of great gentlemen in portraits of this time2 as for instance the well-known ,earl of ,surrey at ,hampton ,court1 and the sitter in the famous portrait of ,morett in the gallery at ,dresden4 ,but ,mr4 ,dickes thinks it a great point for his argument that a tassel 7though one1 as he does not mention1 of other colours7 was among the quarterings in the arms of his counts palatine4 ,so he not only ignores its habitual use in the fashions of the day2 he maintains that the ,dresden picture1 in which the sitter also wears the tassel1 is another and later portrait of the same ,count ,otto ,henry1 and that it was painted not by ,holbein but long after ,holbein's death by ,christoph ,amberger4 ,the suggestion is merely preposterous3 the ,dresden picture is not only by ,holbein1 but one of the very finest and the most central of his works1 of far finer artistic quality1 indeed1 than our ,national gallery picture2 and the features have no resemblance to those of ,dinteville 7,mr4 ,dickes's ,otto ,henry7 in the ,london picture except in the mere fashion of the hair and beard4 ,moreover1 the identity of the sitter in the ,dresden picture as another ,french ambassador to ,england1 ,charles de ,soliers1 sieur de ,morette1 has lately been put out of the possibility of doubt by the discovery of a fine contemporary medallion portrait of the same sitter1 in boxwood1 with his name and titles in full and on the back his device of a seaport1 a horse1 and a dolphin4 ,but why pursue the ungrateful subject farther8 ,mr4 ,dickes's book bristles on every page with similar absurdities of statement and of inference4 ,fortunately1 for any qualified and careful reader1 he sometimes provides an antidote against his own theories by himself furnishing the obvious means of their refutation4 ,nothing1 for instance1 could be more grotesque than the collection of different and totally unlike portraits which he has picked out of various galleries in ,europe1 and would persuade us to accept as all representing the valiant ,count ,philip1 the defender of ,vienna4 ,the mere possibility of his taking all these1 together with the ,french cleric in ,the ,ambassadors1 for one and the same person1 would seem to argue him form-blind in the same degree as the whole tenour of his book unfortunately argues him fact-blind and evidence-proof4 ,s4 ,c4 ,un des ,peintres peu connus de ,l'cole ,flamande de transition4 ,jean ,gossart de ,maubeuge1 sa vie et son uvre1 d'aprs les dernires recherches et des documents indits4 ,par ,maurice ,gossart4 #adg pp41 #b engravings1 and #ab phototypes4 ,lille1 #aijc4 ,being at ,veere some years ago1 and finding that ,i had a few hours at my disposal before the members of the gild of ,st4 ,thomas and ,st4 ,luke could arrive1 ,i bethought me of the local archives1 which ,i fancied would probably contain documents throwing light on the history and works of ,gossart4 ,i found the archives in confusion1 and was not so fortunate as to discover anything4 ,i had hoped on taking up the present volume to find that the author had been more fortunate1 but1 alas1 it contains no mention of these archives1 which probably still await the visit of someone with leisure and patience to devote to their examination4 ,it is a pity that ,m4 ,gossart has not been able to undertake this2 still we must be thankful for what he has done4 ,any attempt to clear up the history of an artist of note1 especially of one to whom many works are attributed1 is deserving of praise and encouragement4 ,the settling of the date of ,gossart's visit to ,italy with ,philip of ,burgundy and of his death are two important additions to our knowledge4 ,john ,gossart1 son of ,simon1 a bookbinder1 was born at ,maubeuge about #adgb4 ,it is not known when or to whom he was apprenticed1 or where he worked prior to #aejc1 in which year he was admitted as free master into the gild of ,st4 ,luke at ,antwerp4 ,in #aejh he went to ,rome with his patron1 ,philip of ,burgundy1 admiral of ,flanders1 who was sent by the ,archduchess ,margaret on an embassy to ,pope ,julius ,,ii4 ,starting from ,mechlin on ,october #bf1 #aejh1 they visited ,verona and ,florence on their way to the ,eternal ,city1 where1 after the return of ,philip1 ,gossart remained copying antique works of art for him until ,july #aeji1 when he set out for the ,netherlands1 arriving at ,middleburg in ,november4 ,he remained in the service of ,philip until the death of that prince in #aebd1 and then entered that of ,adolphus of ,burgundy1 marquis of ,veere1 with whom he remained until his death in #aecc4 ,so far good1 and had the author stopped here we should have had no fault to find with him1 but he has endeavoured to draw up a list of ,gossart's paintings1 a task for which he is evidently little fitted4 ,not only has he omitted several important works1 such as the early picture in the ,prado gallery1 but he has included others which bear no resemblance to those painted by ,gossart1 or which never pretended to be other than copies1 being honestly signed by the copyist #8,malbodius inventor'2 he has enumerated pictures as being now in private collections which were dispersed more than fifty years ago1 and has described the same picture twice over 7pp4 #ff and #fh7 under different titles1 having apparently copied out or translated any notices he has come across1 and this with very little care1 as his pages not only swarm with errors of spelling but also of fact1 such as the monstrous absurdity that ,gossart 7p4 #fc7 painted the portrait of #8,van den ,rust1 ,carmlite1 qui recueillit ,memlinc la bataille de ,nancy4' ,w4 ,h4 ,j4 ,w4 ,old ,english ,masters4 ,engraved by ,timothy ,cole4 ,macmillan4 ,this hook contains some of ,mr4 ,timothy ,cole's most accomplished work4 ,the preface certainly does not exaggerate his merits when it says that no other engraver of the day could transpose into the medium of wood engraving so much of the spirit and even of the actual quality of the original pictures4 ,whether1 as is also claimed1 his engravings are of more value as records and reminiscences of the paintings than good photogravures we doubt4 ,for any purposes of study photographic processes with all their drawbacks are essential4 ,but there is much to be said for interpretative engraving when it reaches so high a point of excellence as ,mr4 ,cole's4 ,for when we look at a photograph or a photogravure1 however good1 we enjoy1 not the thing before our eyes1 but the vision of the original1 which1 even if we have never seen it1 we imaginatively construct4 ,our enjoyment is at one remove from our actual sensations1 but when we look at one of ,mr4 ,cole's finer pieces we get an immediate pleasure from the discriminating and appreciative tact of the translator1 from the rare mastery of a difficult medium which he shows1 and this pleasure is superadded to a very vivid sense of the beauty of the original4 ,moreover1 in certain instances1 his power of suggesting luminous and transparent depth of colour or of hinting at subtle gradations of tone goes almost beyond the reach of photographic reproduction4 ,it is not a little surprising that in a medium so precise as wood engraving ,mr4 ,cole's most distinctive excellence lies not in his rendering of design of definite form so much as in his power of giving atmospheric suffusion and infinitely subtle gradations of tone and of suggesting colour4 ,there are1 indeed1 not a few cases where the form is too much lost1 where the searched-out design of the original disappears in a vague penumbra2 many cases1 too1 where the contour is unduly wavering and shapeless3 on the other hand1 where the chiaroscuro is most subtle1 where the gradations would seem to defy any analysis into lines and dots1 ,mr4 ,cole surpasses himself4 ,the face of ,gainsborough's ,mrs4 ,graham is quite marvellous in this respect1 while for atmospheric quality it would be impossible to surpass the ,wilsons4 ,with ,reynolds he is less successful4 ,romney's ,parson's ,daughter is another excellent engraving2 and here again it is the evasive liquid brush stroke which he understands so perfectly4 ,raeburn's ,lord ,newton1 in which similar qualities predominate1 is again admirably rendered4 ,we doubt whether this method of reproducing works of art will be continued in the future1 nor do we particularly desire it4 ,the finest qualities of wood engraving as an independent art are really contradictory to such methods as are necessary for the faithful transcription of oil painting1 but the ,american school of wood engraving will nevertheless be remembered for the perfect attainment of its best aims in ,mr4 ,cole's work4 ,r4 ,e4 ,f4 ,,periodicals4 ,gazette des ,beaux ,arts1 ,july4--,la ,sculpture beige et les influences franaises4 ,by ,m4 ,raymond ,kchlin4--,the author endeavours to show that the realistic tendencies hitherto supposed to be indigenous in ,flemish art from its commencement did not in reality declare themselves till the end of the fourteenth and beginning of the fifteenth centuries4 ,in the twelfth century ,german influence predominated at all events in ,mosan art1 but was succeeded in the thirteenth and fourteenth centuries by the decisive influence of ,french figure sculpture4 ,belgian art was at this period informed by the same idealistic and generalizing tendencies as the ,french school from which it derived4 ,m4 ,kchlin makes his point good by a number of interesting examples1 but in his anxiety to proclaim ,french influence he minimizes the distinctions between the two schools1 the shorter proportions1 the blunter and more angular modelling of the ,belgian sculptors4 ,if the effigy of ,blanche of ,castile which came from ,tournai to ,st4 ,denys is really--as ,m4 ,pit supposes--a work of the thirteenth century1 it shows that already the ,flemings were beginning that angular and cutting treatment of the folds of drapery which is associated with the realistic art of the late fourteenth and fifteenth centuries1 and which the ,french did not accept till a much later date4 ,quelques rflexions sur les ,salons4 7,second1 concluding article47 ,by ,m4 ,henry ,cochin4--,this is as brilliantly and fascinatingly written as the first article1 and is1 like it1 pleasantly discursive4 ,m4 ,cochin discusses with stimulating suggestiveness the theory that every work of art is a symbol1 a sign in a universal language1 a token corresponding with spiritual and mental values4 ,he proceeds to elaborate the very tenable thesis that all portraiture is caricature1 and justly praises in this connection ,m4 ,weber's satiric comedies4 ,his remarks on the #8modern style1' as the ,french call it1 or #8l'art nouveau' as we1 with a laudable desire to assign to the disease a foreign origin1 term it1 deserve to be quoted3 #8,le temps est venu1 je pense1 de prononcer le ,de profundis et les dernires prires sur le soi-disant modern style1 tre abortif et adultrin1 qui porte un nom ,anglais1 mail est n vraiment en ,allemagne1 qui n'est pas moderne puisqu'il parat dj surann et court la province--qui de plus n'est pas un style1 comme it serait aise de le dmontrer4' ,un ,manuscrit de ,philippe le ,bon4 7,second ,article47 ,by ,m4 ,s4 ,reinach4--,the author continues his description of these remarkable miniatures and gives still further proof1 drawn from the types and gestures of the horses1 for supposing that its author is none other than ,simon ,marmion1 of whose picture at ,wied he gives three illustrations4 ,it is certain that the likenesses to the early ,dutch school1 particularly to ,dirk ,bouts1 are common both to ,simon ,marmion and the miniaturist4 ,while he is discussing ,simon ,marmion1 we hope ,m4 ,reinach will take account of the picture of ,st4 ,michael attributed to the ,flemish school at ,hertford ,house 7,no4 #ebh71 which bears1 we think1 the impress of his style4 ,the idea had already occurred independently to ,mr4 ,claude ,phillips4 ,we hope that ,m4 ,reinach will be able to secure rather better reproductions of the succeeding miniatures in his forthcoming article4 ,le ,salon de #agfa4 7,second article47 ,by ,m4 ,casimir ,stryienski4--,by the aid of the minute and brilliant sketches with which ,gabriel de ,saint-,aubin annotated his catalogues1 the author continues to trace the history of the pictures which figured in this salon4 ,the most interesting of those here discussed is ,chardin's ,benedicite1 a second replica of one of those in the ,louvre4 ,in this version the artist extended his canvas laterally to take in another figure which he succeeded in relating admirably with the original group4 ,the purpose of this change was to make his picture a companion piece to a ,teniers4 ,the central composition was frequently repeated by contemporary copyists and imitators4 ,tradition franaise et muses d'art antique4 ,by ,m4 ,georges ,toudouze4 --,an eloquent appeal for the vulgarization of art1 in the proper sense of the word1 by making the arrangement of specimens more intelligible and interesting to the unlearned and by adding to fragmentary figures explanatory models of the whole figure or composition4 ,rassegna d',arte4--,le feste artistiche da ,milano4--,an account of the inauguration of the gallery of art in the castle at ,milan1 and of the new rooms at the ,brera4 ,the history of what the public spirit and intelligence of the ,milanese has accomplished1 both in the castle and the ,brera1 may well make us envy the energy of the decadent ,latin races4 ,to take the ,brera3 in the last four years1 under the able direction of ,signor ,ricci1 the ,brera has been entirely remodelled2 the sixteen galleries have been increased to thirty-five1 in which the pictures are displayed according to their affinities of time and place2 the frescoes by ,luini from the chapel of ,s4 ,giuseppe in the della ,pace have been placed on a vault expressly adapted to them2 while among the new acquisitions1 mentioning only the more important ones1 we find eight frescoes by ,bramante1 four panels by ,gentile du ,fabriano1 one by ,benozzo ,gozzoli1 several pieces by ,lazzaro ,bastiani1 ,butinone1 ,beltraffio1 ,solario1 ,cosimo ,tura1 and a magnificent ,cima4 ,in addition to this1 that most desirable adjunct to all places intended for the study of art1 a large and representative collection of photographs1 has been installed4 ,we fear that in spite of our greater wealth the last four years' acquisitions by the ,national gallery would show poorly compared with the work accomplished in this provincial town in ,italy4 ,butinone and ,zenale3 a reply by ,malaguzzi ,valeri to the criticisms of ,herr ,seidlitz1 of which we gave an abstract last month4 ,in this he maintains the validity of the date #ade-- for the altarpiece in the ,brera1 and brings in as evidence for its possibility ,foppa's ,crucifixion at ,bergamo of #adef1 which he describes as showing a similar squarcionesque influence4 ,we should have said that the influence was rather that of ,jacopo ,bellini1 and that the squarcionesque element found its way later into ,lombard art and lingered on even when ,leonardo was in the city4 ,della ,robbia at ,marseilles3 two school pieces1 one of which is catalogued by ,miss ,cruttwell1 are figured and described by ,signor ,rossi4 ,la ,rocella di ,squillace3 ,dr4 ,groeschel replies to the article by ,signor ,caviglia in the ,april number1 in which this was referred to the sixth century4 ,the author says that the naves were covered with ogival vaults1 and that the church cannot antedate the end of the eleventh century4 ,miscellaneous ,articles3 ,don ,guido ,cagnola1 who is well known for his efforts in the preservation of works of art1 writes to protest against the disfigurement and obliteration of pictures and frescoes by ecclesiastical authorities4 ,an article signed ,piceller describes vividly the battle of ,san ,egidio and the capture of ,malatesta2 the description is fitted to the picture by ,ucello in the ,national gallery4 ,this is evidence of how little attention is paid abroad to the work of ,english historians of art1 for ,mr4 ,horne1 in the ,monthly ,review for ,october #aija1 once and for all disposed of the theory that ,ucello's picture represents this battle4 ,with admirable patience and minute research1 he proved point by point that it represents the rout of ,san ,romano in which ,niccolo da ,tolentino defeated the ,sienese under ,bernardino della ,carda in #adcb4 ,his article leaves the matter no longer open to such vague guesses4 ,among various items of news we learn that a school piece of the ,della ,robbia which stood in the oratory of the ,annunziata at ,legri has been stolen1 or rather broken to pieces and the greater part taken away4 ,la ,revue de l',art ,ancien et ,moderne4--,the ,july number is devoted almost exclusively to modern art4 ,an article on the discoveries at ,antinoe by ,mons4 ,gayet describes some very remarkable ,byzantine textiles1 on which are symbols of a mixed ,greco-,roman and ,egyptian character1 such as the ,venus-,isis4 ,the form1 however1 appears to be decadent ,alexandrine ,greek4 ,architectural ,review4--,contains an article by ,mr4 ,a4 ,c4 ,champneys on ,iona1 with many excellent reproductions4 ,the author's careful analysis of the building and the historical evidence seems only to show the hopeless uncertainty of any theories which would connect the existing buildings with the sites of ,st4 ,columba's original monastic foundations4 ,nor is the architectural history of the cathedral itself much clearer4 ,the curious habit of the later builders of imitating older forms makes the determination of dates exceedingly difficult4 ,the appeal made by ,the ,burlington ,magazine for the preservation of ,clifford's ,inn is taken up in an editorial article1 and ,mr4 ,lethaby protests1 we fear in vain1 against the proposed destruction of the beautiful eighteenth-century bridge over the ,exe1 at ,exeter4 ,repertorium fr ,kunstwissenschaft4--,die ,gotteshuser von ,meran1 der ,alten ,hauptstadt des ,landes ,tirol4 ,by ,franz ,jacop ,schmitt4 ,an analysis of the architectural features of the churches of ,meran and the neighbourhood1 with the result1 which the author describes as hocherfreulich1 of finding that ,german gothic forms crossed the border line between the ecclesiastical provinces of ,mayence and ,aquileja1 and arc found in parts of ,tyrol where ,italian was the spoken language4 ,the result is interesting2 the patriotic fervour with which the author hails it is to be deprecated in writing the history of art4 ,due ,strambotti inediti per ,antonio ,vinciguerra e un ignoto ritratto di ,vettor ,carpaccio4 ,by ,arduino ,colasanti4 ,the author publishes two octaves by an unknown poetaster of the end of the quattrocento4 ,in one written about #aejb he describes a portrait of ,antonio ,vinciguerra1 called il ,cronico1 by ,carpaccio4 ,the portrait1 like others by the same hand of which we have records1 has disappeared4 ,ueber die ,proportionsgesetze1 etc4 ,by ,constantin ,winterburg4 ,a third instalment of this minute analysis of the types of proportion established by ,drer1 and of the changes in his point of view between the first and second book4 ,die ,allegorie des ,leben und ,todes in der ,gemldegalerie des ,germanischen ,museums4 ,by ,ludwig ,lorenz4 ,an account of the picture in two parts of the above subject1 ,no4 #ace in the ,nuremberg museum4 ,the author finds in this remarkable work1 which was originally ascribed to the mysterious ,gerard van der ,meire1 the characteristics of the ,meister des ,hausbuches1 an artist of the middle ,rhenish school1 known hitherto only by his engravings4 ,zur ,geschichte der ,plastik ,schlesiens von #aeej-agbj4 ,by ,berthold ,haendcke4 ,the author praises highly the renaissance sculpture of ,silesia1 and finds in the best work the influence of ,italian1 and1 to some extent1 ,flemish models1 but rejects with some fervour the idea of foreign workmanship4 ,r4 ,e4 ,f4 ,,foreign ,,correspondence ,,notes ,,from ,,france#aai ,exhibition of ,french ,primitives ,the splendid exhibition at ,bruges1 of which ,mr4 ,w4 ,h4 ,james ,weale is writing for the readers of ,the ,burlington ,magazine with that eminent proficiency for which he is so widely known1 has had an unexpected effect and has become the decisive cause of the realization of a plan dear to numbers of ,french art-lovers4 ,i refer to an exhibition of ,french primitives4 ,the origin of the talent of the van ,eycks has long preoccupied the minds of art-historians4 ,m4 ,p4 ,durrieu said lately1 in the ,gazette des ,beaux-,arts3 #8,the prodigious talent of the van ,eycks seems to be revealed suddenly1 like a sort of brilliant meteor1 which bursts forth and dazzles men's eyes4 ,it presents a peculiarly attractive problem4' ,the ,bruges exhibition has given a fresh impulse to the study of the question4 ,on the other hand1 it has brought home to us the injustice of the profound neglect into which we had allowed our old ,french masters to fall1 while the renown of the primitives of ,flanders and ,italy was increasing year by year4 ,lastly1 certain works attributed to the ,flemish artists1 some of which even figured in this way in the ,bruges exhibition1 had called for a more careful examination1 which led eventually to ,french attributions4 ,the question was really pertinent4 ,i have spoken of #8profound neglect4' ,the expression is not strictly accurate4 ,m4 ,paul ,vitry1 of the ,louvre1 published lately a remarkable pamphlet in which he resuscitated a whole collection of ,french works on our old fifteenth-century painters4 ,he quoted the studies of ,vallet de ,viriville1 of the ,marquis de ,laborde1 of ,messrs4 de ,grandmaison1 ,bouchot1 ,leprieur1 ,durrieu1 ,salmon1 ,benot1 ,salomon ,reinach1 etc4 ,it is nevertheless true that an undeserved ostracism and an unjustifiable ignorance still weigh down upon the ,french primitives4 ,every art-lover will applaud the happy initiative of ,m4 ,henri ,bouchot1 the distinguished keeper of prints at the national library1 who has undertaken to restore to our painters of the middle ages and the ,renaissance the glorious place which they have the right to occupy in the history of art4 ,without seeking in the least to detract from the value of the ,flemish primitives1 it is nevertheless well to recall the close connexion that exists between their work and that of our limners of the thirteenth and fourteenth centuries1 whose reputation at that time was worldwide4 ,is it not likely that the latter were the masters and leaders of the former8 ,the artistic centre of the world in the fourteenth century was the court of the ,valois4 ,we owe the prodigious output of works of art that forms the pride of the fourteenth and fifteenth centuries to those ,maecenases who are known as ,philip ,,vi1 ,john ,,ii1 ,charles ,v1 to the dukes of ,berry1 ,anjou and ,burgundy4 ,m4 ,bouchot has thought that it would be interesting to show de visu how great was the influence upon the destinies of art of all those master-pieces conceived and executed for princes so ,french in their taste and language4 ,would it not be interesting to prove that the van ,eycks were the heirs of the ,limbourg-,malouels1 who worked in ,france for the duke of ,berry1 and that such ,flemings as ,broderlam were inspired by ,jacquemart de ,hesdin and ,andr ,beauneveu1 themselves the successors of our old ,parisian miniature painter1 ,pucelle8 ,thanks to ,m4 ,henri ,bouchot1 who knows this period of our national art better than any of his contemporaries1 the exhibition of ,french primitives has issued from the conception stage and entered into the domain of active life4 ,it will be held in #aijd4 ,the ,french government has given its best support4 ,the exhibition is organized under the honorary presidency of the minister of public instruction and the honorary vice-presidency of the director of fine arts and the director of higher education1 and it will have for its acting president ,m4 ,aynard1 member of the ,institute1 and for its vice-presidents ,m4 ,georges ,berger1 president of the ,union centrale des ,arts dcoratifs1 and ,m4 ,robert de ,lasteyrie1 member of the ,institute1 professor at the cole des ,chartes4 ,the members of the managing committee are ,m4 ,lopold ,delisle of the ,institute1 administrator of the national library2 ,m4 ,kaempfen1 director of the national museums2 ,m4 ,pascal1 of the ,institute1 in- spector-general of civil buildings4 ,the members of the council of organization are1 for painting1 ,m4 ,georges ,lafenestre1 of the ,institute2 for miniatures1 ,m4 ,henri ,omont1 of the ,institute2 for tapestries1 ,m4 ,maurice ,fenaille2 for enamels1 ,m4 ,e4 ,saglio1 of the ,institute4 ,the general secretary is ,m4 ,henri ,bouchot1 keeper of the print-room and a member of the consultative committee of ,the ,burlington ,magazine1 assisted by ,m4 ,p4 ,a4 ,lemoisne4 ,the treasurer is ,m4 ,t4 ,mortreuil1 treasurer-general of the national library1 assisted by ,m4 ,p4 ,lacombe4 ,there will doubtless be three exhibitions3 one at the ,louvre1 which will include the primitives of that museum and those of ,cluny2 the second at the national library1 consisting of the rich collection of miniatures in the print-room4 ,the third exhibition1 the place of which is not yet definitely fixed1 will comprise the works lent by the provincial museums and by private collectors4 ,these will be very numerous and very fine1 to judge by the many kind offers which ,m4 ,henri ,bouchot has already received4 ,i can only repeat the words of ,m4 ,paul ,vitry and hope with him that all those who set store by the glory of ,french art and of art pure and simple will make a point of supporting #8the ,bouchot plan' and giving it1 at the exhibition of ,french primitives1 #8the benefit of their knowledge and of their good will4' ,g4 de ,rorthays4 ,rouen4 ,to those who know the grand portal of the cathedral of ,rouen1 resplendent with sculptural wealth1 a master-piece of the sixteenth century in all its magnificence1 the work of its complete restoration1 which is now being pursued1 will appear enormous4 ,thanks to the support of the state1 of the city of ,rouen and of the diocesan administration1 this work will be entirely finished within a few years4 ,it is already1 in fact1 well forward4 ,during the last three well-filled years1 they have restored1 on either side of the central portion1 a whole row of little gables and fourteenth-century niches1 in which old statues1 kept in reserve in the ,tour de ,beurre and the ,cour d',albane1 have been replaced4 ,they have also completely reconstructed and re-erected two large stone pyramids1 #af m4 in height1 which had not been rebuilt since the terrible hurricane which in #afcb1 in a few hours1 overthrew most of the steeples and spires of the ,rouen churches4 ,these works were followed by the complete restoration of the large central gable1 against which the extremity of the roofing of the nave rests1 and by the entire repair of the great open gallery1 dating to the end of the fifteenth century4 ,at the same time one of the great buttresses flanking the main front was removed4 ,they were erected in our own time1 when1 after the fire of #ahbb1 the new metal spire was constructed by the architect ,alavoine4 ,this buttress1 the carving of which had never been executed1 and which had remained corroded1 has been replaced by a large fourteenth-century buttress4 ,there remains another1 which will also be entirely replaced4 ,these different works completing the restoration of the upper portions of the portal have allowed an important part of the tall scaffolding that concealed it to be removed4 ,there still remains to be restored the whole of the lower portion of the portal1 notably the great gable1 very much fretted and sunk1 which at present supports the clock2 the great arch of the rose-window and the rose itself2 and1 lastly1 the covings1 embellished with innumerable small statues1 sheltered under canopies1 that form the chief portal itself4 ,it is to be hoped that they will be able to put back all those delicious little figures of which a large number were broken down by the ,protestants3 they will probably succeed in doing so1 for the credit placed at the disposal of the restoring architect1 ,m4 ,sauvageot1 is about to be increased by a sum of #fjj1jjj fr41 bequeathed to the archbishop for the express object of being employed exclusively on this work of restitution in the cathedral1 by ,m4 ,gosselin1 an architect who had long collaborated in the work of the cathedral church4 ,several works have been carried out in the archbishop's palace itself4 ,for instance1 they have been engaged on the restoration of a gallery1 on the east side overlooking the garden1 which was built during the ,renaissance by one of the ,cardinals d',amboise1 at the same time as a pretty fountain in marble1 the memory of which has been preserved by ,jacques ,le ,lieur1 who drew it for his #8,livre des fontaines4' ,this gallery1 supported by columns1 is to be restored to its original form4 ,during the excavations necessitated by the construction of an important building in the rue ,grand ,pont the eminent archaeologist ,m4 ,lon de ,vesly1 corresponding member of the ministry of public instruction1 brought to light1 at a depth of #e m41 numerous fragments of red earthen ,samos bowls1 handsomely decorated4 ,i will mention the following among the objects discovered3 the bottom of a basin1 in red earth1 #abj m4 in diameter1 with the inscription1 ,,scotns3 ,scotnus 7,see #8,corpus inscriptionum latinarum1' ,vol4 ,,xii1 p4 #geh4 ,scotnus1 ,vase found at ,nmes and in the ,saint-,germain museum74 ,another bottom of a dish1 #aea m41 with the inscription ,,onesm 3 ,onesimus ,ca ,annus4 ,,canni ,this is a mark of ,arezzo read by ,m4 ,seymour de ,ricci 7,see the #8,corpus inscript41' ,vol4 ,,xiii1 part #c1 p4 #ie74 ,the bottom of a lecythus1 #dj m41 with1 on a rectangular seal1 the mark ,,cacasim4 ,fragments of a large amphora4 ,on the rim1 near the sinus1 from right to left1 ,,sex ,,valect3 ,sextus ,valenus fecit1 with a cartouche with a rectangular border and circles4 ,other discoveries included an antefix of a somewhat rare character1 seeing that the ,saint-,germain museum does not contain a similar one4 ,it is decorated with the figure of a child1 full-face1 with puffed cheeks1 and forms the stem of a palm-leaf4 ,this is evidently the copy of a type of antefix that came from ,italy or ,greece4 ,among the remains found in the excavation were also found many bones of cattle1 of the ,sus scrofa1 or wild-sow1 and vestiges of stakes1 of which an array had already been discovered previously1 which might suggest the existence of a lacustrine settlement in the neighbourhood of the ,seine4 ,in the course of the excavations executed on the site of the ,haute ,vieille ,tour1 where stood the original palace of the dukes of ,normandy1 there were found1 beside important vestiges of military fortifications1 a little bottle1 in black earth1 of ,roman origin2 various bones1 including numerous horns of the cervus elephas2 and two fifteenth-century tokens4 ,one of these is #jbf m4 in diameter1 and bears on the obverse a caravel1 on the reverse a lozenged shield charged with four fleurs-de-lys4 ,it is said to resemble the ,english noble4 ,the other measures #jcb m4 ,this is a ,french token1 imitated from the coinage of ,dauphin1 a dolphin quartered with fleurs-de-lys4 ,a silver half-crown of ,louis ,,xv1 dated #agda1 was also found1 as was a token of ,german make of the eighteenth century1 bearing on the obverse a quartered shield and on the reverse the legend ,,cvique ,,svvm1 and the date #agja4 ,georges ,dubosc4 ,,from ,,belgium#abj ,ghent ,the staircase which at present gives access to the crypt in the cathedral of ,st4 ,bavo at ,ghent is to disappear in consequence of the installation of the ,heilig ,graf in the place at which it starts4 ,in view of the artistic and archaeological importance of this vast crypt1 it will now be approached1 as1 for that matter1 the greater number of crypts were approached1 by two staircases4 ,with this object1 the two primitive staircases will simply be reinstated in their original positions4 ,the restoration of these primitive entrances is desirable from another point of view3 it will allow of the immediate rebuilding of the lower portions of the columns1 which were rashly cut away1 in the eighteenth century1 for the installation of large marble slabs4 ,all the columns in the choir have undergone the same dangerous mutilation2 their bases have been slashed into1 to a great depth1 right and left4 ,so long ago as #aijj1 the royal commission on monuments declared that it was necessary to take thought of this position of affairs1 which was capable1 at a given moment1 of compromising the very existence of the building4 ,in the crypt1 two large funeral monuments have been discovered4 ,they are in marble1 and belong to the ,renaissance period2 they were originally in one of the chapels in the circumference of the choir1 whence they were removed to make room for some works of restoration4 ,these funeral monuments will be placed against the walls of the south-east entrance of the church4 ,lastly1 the commission has requested the governor of the province to instruct the committee of correspondents to draw up an inventory of the objects of art housed in the cathedral crypt and to state1 as far as possible1 the origin of these works1 several of which appear to present a real artistic importance4 ,nieuport ,the work of restoration of the fine church of ,nieuport is being actively carried out4 ,in consequence of certain demolitions effected since an earlier inspection1 it has been ascertained that the cross-vaulting of the transept was originally in wood1 as were all the other vaults of the building4 ,a portion of the wooden ribs is still in position1 as is also the case with the remains of the shingle roofing4 ,all doubt being now resolved1 this vault will be reinstated in wood4 ,in the wall of the south transept1 a primitive window has been laid bare4 ,it was built up at the time of a general alteration of the edifice and replaced by a larger bay4 ,the window will be restored to its first state4 ,the removal of the covering of the south transept has shown that the ridge of that portion of the monument is higher by about #ej cm4 than that of the adjacent roofings4 ,as no alteration has taken place in this part1 the actual height of the roofing and of the south gable will be maintained4 ,pains have been taken to restore the primitive buttresses of the south nave1 beside the choir1 of which the old sites have been found4 ,r4 ,petrucci4 ,,from ,,berlin#aba ,within the last few months the picture gallery of ,berlin has had the opportunity of making some very fortunate purchases which supplement the collection of pictures of the northern schools in a way that is particularly desirable4 ,the acquisition of the large picture by ,hugo van der ,goes was an event for the ,berlin gallery1 one of those purchases which may suffice to reconcile an acquisitive curator with the chances of a restless profession for another year or two4 ,of the pictures of older ,german masters the gallery had the opportunity of buying two striking works4 ,the ,rest on the ,flight of the year #aejd1 always acknowledged as ,lucas ,cranach's best picture1 passed from the hands of ,frau ,fiedler of ,munich1 the widow of its last owner1 into the possession of the ,berlin gallery4 ,the picture1 enamel-like in painting and in excellent preservation1 was formerly in the ,schiarra gallery in ,rome4 ,further1 they succeeded in acquiring one of the few authentic panels of ,martin ,schongauer1 a painting of moderate dimensions1 very near akin to the ,mnich1 and still more to the ,vienna ,madonna pictures4 ,of particular charm is the sunny bright landscape in the background4 ,the gallery hitherto lacked a great religious painting by ,rubens2 this default is now very happily atoned by the acquisition of the ,conversion of ,paul4 ,the picture1 that dates from about the time of the great religious pictures of ,antwerp1 reveals stress of emotion and very penetrating harsh illumination4 ,of the recently acquired ,italian pictures only one deserves comment here2 but this is a master work--the ,resurrection of ,christ1 by ,giovanni ,bellini1 of the earlier period of the master4 ,i4 ,s4 ,,from ,,vienna#aba ,to-day ,vienna has its modern gallery4 ,the old possessions of the municipal art gallery and of the academy of the graphic arts furnished the foundations for this new institution1 and the works acquired of late years in behalf of the state and of the province of ,lower ,austria supplement this nucleus in such a way as to give us to-day a fairly comprehensive review of the evolution of art in ,austria since the year #ahdh4 ,some #bjj well-chosen paintings adorn the old and venerable apartments of the ,lower ,belvedere--in the palace1 that is to say1 which ,prince ,eugene of ,savoy commissioned ,lucas von ,hildebrand 7#affh-agde7 to build for him4 ,some few masters1 such as ,rudolf von ,alt1 ,hans ,makart1 ,ferdinand ,georg ,waldmller1 who have carried their names and the fame of their art far beyond the boundaries of their native land1 are represented by a considerable number of their works4 ,other ornaments of the ,vienna school1 such as ,moriz ,schwind1 ,joseph ,danhauser1 ,joseph ,fhrich1 ,e4 ,jacob ,schindler1 are unfortunately by no means represented in proportion to the claims of their art or fame4 ,whether in these cases mistakes in selection--for the storehouse still contains great treasures--or actual dearth of the works of the one or the other was the cause we are not in a position to decide4 ,in any case the authorities of the new museum of the town of ,vienna1 whither on its completion the modern gallery is to migrate1 have their work cut out here to make good all the mistakes that have been committed in their time1 and to restore the monuments of eminent men which have slipped somewhat into the background of the temple of fame to their proper places4 ,the right wing of the palace is devoted to foreign artists4 ,germany is represented by ,klinger1 ,bcklin1 ,stuck1 ,uhde1 ,achenbach2 ,italy by ,segantini2 ,france by ,monet1 ,rolt and ,dagnan-,bouveret2 ,england and the ,netherlands by ,alma ,tadema2 and ,spain by ,zuloaga4 ,j4 ,m4 ,,letter ,,to ,,the ,,editor ,to the ,editor of ,the ,burlington ,magazine4 ,dear ,sir1 ,in your ,july number1 ,mr4 ,cecil ,smith states that the head of a girl1 from ,chios1 recently exhibited in the ,burlington ,fine ,arts club1 is rubbed down ruinously over the entire surface4 ,a microscopic examination of the piece in various lights will convince him1 or anyone open to conviction1 that his statement is plainly contrary to fact4 ,seldom is seen a marble with greater freshness of surface4 ,that the original modelling is evanescent--or1 as he may care to call it1 #8rubbed down'--is obvious1 even to me2 but the whole effect1 good or bad1 depends on that evanescence1 which is found repeatedly in works which aim at ,praxitelean effects4 ,mr4 ,smith having given you his estimate of the head as a work of art1 allow me to quote the judgement of another man1 ,auguste ,rodin1 almost equally eminent4 ,when questioned by an interviewer concerning his impressions of ,london during his recent visit1 he is reported to have answered3 #8,this time ,i have been most fortunate1 for ,i have seen at the ,burlington ,fine ,arts club an antique head of great beauty4 ,it is life itself4 ,it embodies all that is beautiful1 life itself1 beauty itself4 ,it is admirable6 ,those parted lips6 ,i am not a man of letters1 hence ,i am unable to describe this truly great work of art4 ,i feel1 but ,i cannot find the words to express what ,i feel4 ,it is a ,venus4 ,i cannot tell you how interesting that ,venus is to me4 ,it is a flower1 a perfect gem4 ,perfect to such a degree that it is 8aussi droutante que la nature elle-mme60 ,it defies description4' ,the interviewer thought ,m4 ,rodin was speaking of the ,petworth ,aphrodite1 but a few inquiries will enable ,mr4 ,smith to find out the truth of the matter1 if it is worth his while4 ,thus it appears that about a model in partly-melted loaf-sugar there may be as diverse opinions as concerning the tone of a cracked bell4 ,i am1 ,sir1 ,your obedient servant1 ,john ,marshall4 ,july #bh1 #aijc4 ,,appendix ,documents ,referred to in ,mr4 ,herbert ,horne's ,articles on ,a newly discovered #8,libro ,di ,ricordi' of ,alesso ,baldovinetti1 pp4 #bb and #afg ,,doc4 ,i4 ,firenze3 ,archivio di ,santa ,maria ,nuova2 ,libri di ,san ,paolo4 #8,testimentj' dal #acii1 al #aebf4 ,segnato ,b4 ,inscribed on the original fly-leaf1 after the index which has been added to the volume3--#8,questo libro edello spedale de efratj pinzocherj del terzo ordine di sancto francescho echiamasj quaderno dj testamentj4' fol4 #af recto4 ,alexo di baldouinecto baldouinettj a facto ogi questo dj #bc dimaro #adii donatione allospedale nostro djtuttj esua beni mobili immobilj dopo lasua uita con incharico che lospedale habia alimentare lamea sua serua imentre che uiuera rogato ,ser piero djleonardo dauinci notaio fiorentino sotto dj decto djsopra4 ,mori ,alexo adjultimo dagosto #adii soterossi in sancto loreno nella sua sepultura lospedale rimase hereda desua benj che iddjo gliabia perdonato esua pecatj4 ,printed by ,milanesi in his notes to ,vasari1 ed4 ,sansoni1 ,vol4 ,,ii1 p4 #eig2 and again more correctly by ,dr4 ,pierotti in his preface to the #8,ricordi di ,alesso ,baldovinetti1' ,lucca1 #ahfh1 p4 #f4 ,the document is here given textually from the original4 ,,doc4 ,,ii4 ,firenze3 ,r4 ,archivio di ,stato4 ,rogiti di ,ser ,piero di ,antonio di ,ser ,piero da ,vinci4 ,protocollo dal #bh ,marzo #adie1 al #bc ,marzo #adih-i4 ,segnato ,p #cef4 fol4 #eec recto4 #adih ,item postea dictis anno indictione et die xvij mensis ottobris predictis actum florentie inpopolo sanctj stephanj abbatie florentine presentibus testibus etc4 ser antonio niccholaj deemporio et ser lionardo bartholomej tuccj notariis publicis florentinis4 ,sidenote3 ,renuntiatio4 ,cum sit quod ,alexus filius olim baldouinj alexij debaldouinetis ciuis florentinus et de popolo sanctj laurentij de florentia ex titulo et causa donationis interuiuos et inreuocabiliter _/ dederit et donauerit hospitalj pinzocherorum tertij ordinis sanctj franciscj _/ alias vocato lospedale disampagholo _/ et pauperibus xpi jndicto hospitalj pro tempore existentibus licet absentibus et venerabilj viro domino antonio ser niccholaj guidj priorj hospitalario et gubernatorj dictj hospitalis ibidem presentj et pro dicto hospitalj recipientj _/ omnia sua bona mobilia et immobilia presentia et futura _/ et ubicumque posita et existentia et sub quibuscumque eorum vocabulis et confinibus et omnia et quecumque eius jura nomina et actiones et tam presentia quam futura _/ et eidem donatorj quomodolibet pertinentia et expectantia et seu compatitura etc4 _/ reseruato sibj donatorj omnium suprascriptorum bonorum et jurium ut supra donatorum vsis et vsufructis toto tempore eius vite naturalis _/ ut de ipsa donatio ne constat manu mej notarij jnfrascriptj sub die xvj mensis martij annj proximj preteritj ,mcccclxxxxvij seu alio veriorj tempore _/ ,vnde hodie hac presente suprascripta die dictus alexus _/ ex aliquibus iustis et rationabilibus causis motus _/ animum suum ut asserint mouentibus et ex eius mera libera et spontanea voluntate _/ et non per aliquem juris uel factj errorem etc4 et omnj modo etc4 _/ dicto vsuj et vsufructuj sibj in suprascripta donatione reseruato expresse renuntiauit etc4 et dictum vsum et vsufructum libere remisit et relapsauit dicto hospitalj et pauperibus xpi degentibus jn dicto hospitalj _/ licet absentibus et mihj notario jnfrascripto vt publice persone recipientj et acceptantj pro dicto hospitalj et hospitalario et pauperibus xpi etc4 que omnia et singula etc4 promisit etc4 attendere et obseruare etc4 et contra non facere etc4 sub pena duplj eius quod pro tempore poteretur et lixesset in que pena etc4 obligans etc4 renuntians etc4 cuj pro guarantigia etc4 rogantes etc4 ,,doc4 ,,iii4 ,firenze3 ,r4 ,archivio di ,stato4 ,arch4 del ,arte di ,medici e ,speziali4 ,no4 #bdg4 ,libro dei ,morti1 ,segnato ,d1 dal #aj ,gennaio #adhi-ij1 al #ca ,luglio #aeje4 fol4 #acc tergo4 ,agosto #adii ,alesso baldouinettj ,adj #bi ,ro in so loro4 ,,doc4 ,,iv4 ,firenze3 ,r4 ,archivio di ,stato4 ,quartiere1 ,santa ,maria ,novella2 ,gonfalone1 ,vipera2 ,portate #adgj1 ,no4 verde #aif4 fol4 #i recto4 quartiere ,s maria novella ,ge vipera ,alesso di baldouinetto dalesso baldouinettj delpopolo disannto ,apostolo djfirenze ,sustannza ,nonna nulla djsutannza ,incharichj 99 4444 al #fi ,tenncho una chaxa apigione dachosimo dj ,ge ,lo do in 4444 lennzzi istouigliaio fuori della conto di porta afaennzanelpopolo djsalorenzo e chosimo dipiero pacho djetta chaxa djpicione fiorinj #e lenzi perdetto lanno fiorinj #aad -- pigone ,alesso sopra detto deta dannj ---- #dj ,soma laprima facca fiorinj -- ,chonposto perdeliberazione degluficalj in soldj iiij ,roghato ser nicholo ferrini notaro fiorinj -- soldj iiij 99 ,the first part of this marginal note is no longer legible4 ,lacuna in original4 ,printed in part by ,j4 ,gaye in his 8,carteggio d',artisti10 ,firenze1 #ahci ,vol4 ,i1 p4 #bbd1 ,no xci4 ,,doc4 ,v4 ,firenze3 ,r4 ,archivio di ,stato4 ,quartiere1 ,santa ,maria ,novella2 ,gonfalone1 ,vipera2 ,portate #adhj1 ,no verde #ajjh1 fol4 #da recto4 ,quartiere di ,sa ,ma novella ge della ,vipera4 ,alesso dibaldouinetto dalesso baldouinettj dipintore del popolo di ,san appostolo difirenze ebbe dicatasto #adgj soldj #d ,ebbe disesto lire j picciolj ,sustantia ,vn pezzo diterra ,lauoratia distaiora #ab ,al #ie jndetto nome acorda o circha posta nel popolo ,ge ano #ba per di,sancta maria aquinto comune ,rendita difiorinj disesto luogho detto via mozza ,confinj #b #af #f apo ebenj di,sancta maria maggiore difirenze asecondo ,giovannj di giorgio aldobrandinj atertio ebenj delle monache dela munistero di ,san giovannj vangiolista vuolgharemente detto fauenza a ,pagholo dinannj dacholannata fiorinj #dj soldj #g 4 #b ,vno pezzo diterra ,lauoratia distaiora #g o ,al #ie jndetto nome circha acorda posta in detto ,ge ano #ba per popolo di,sancta maria aqui valuta difiorinj nto jndetto ,comune disesto ,luogho detto #bg -- -- amorucj ,confinj apo leredj di ,sanctj di simone ambrogi asecondo et tertio ,leredj didomenicho dimichele pescionj a ,le ,rede di bancho ,righattiere ,lequalj dettj dua pezzj diterra sono per parte difondo dotale dima daria donna didetto ,alesso ,carte per mano diser piero da,vincj ,sotto gliannj #adgi vna ,ladetta terra aficto ,lucha della ,vacchio danne per detto ficto ,lanno istaia ,grano istaia #bb fiorinj #bg soldj -- #fg #g #b ,bocche ,alesso baldouinettj detto dannj #fj dipintore ,ma daria sua donna dannj #de ,mea sua fanticella dannj #ac ,incharichj ,vna chasa posta nel popolo di,sancto ,lorenzo difirenze nella via dello ariento al chanto deghorj confinj dapo via asecon do et tertio ,leonardo dimeo disalj a ,messer domenicho marteglj ,laquale one apigione dachosimo ,lenzj bocteghaio fuorj della porta afaenza pagho ,lanno fiorinj viij di suggiello chome apparisce scripta dimano didetto chosimo fol4 #da tergo4 ,somma lesustanze fiorinj #fg #g #b ,abattj per #e perco fiorinj #c #g #d ,auanzaglj fiorinj #fd a #g perco fanno it ,ra fiorinj iiijo soldj #i danarj #f aoro ,abattj perpigione di chasa lire #df lanno ,manchaglj per teste soldj diecj di fiorinj larghj soldj #aj ,tochaglj fiorinj -- lire #b #j #j ,another copy of this ,denunzia1 written in the same hand1 occurs in the ,campione del ,monte2 ,quartiere1 ,santa ,maria ,novella2 ,gonfalone1 ,vipera2 #adhj2 ,no4 #ed1 fol4 #ei4 ,a portion of this second copy is facsimiled in ,g4 ,milanesi's #8,scrittura di ,artisti ,italiani' 7,sec4 ,,xiv-,,xvii71 ,florence1 #ahgf1 ,vol4 ,i1 ,no4 #gd4 ,in the text which accompanies this plate1 it is erroneously stated that the facsimile was taken from the foregoing copy4 ,in the copy printed above1 the official marginalia on the left margin of the document are no longer legible4 ,in the second copy1 in the ,campione del ,monte1 they run thus4 ,against the first parcel of land1 under the heading #8,sustantia'3--#8,dal #fi nichio c4 #ffh dachonto dj ,rede di charlo ,ridolfi per ,rendita dj fiorinj #b4af4f dasoma dj fiorinj #dd soldj #e di,rendita sic4' ,against the second parcel of land1 under the same heading3--#8,dal #fi ,go ,lo co c4 #icj da chonto disantj disimone anbruogj per valuta dj fiorinj #bg4' ,it appears from the docket of this second copy1 on fol4 #gb tergo1 #8,recho alesso al #bh di,go1' that the return in question was lodged with the officials by ,alesso himself on ,june #bh1 #adhj4 ,j4 ,gaye1 in his #8,carteggio d',artisti1' ,firenze1 #ahci1 ,vol4 ,i1 p4 #bbd1 cites this #8,denunzia'2 and erroneously alludes to ,mea1 as the daughter of ,alesso4 ,,doc4 ,,vi4 ,firenze3 ,r4 ,archivio di ,stato4 ,quartiere1 ,santa ,maria ,novella2 ,gonfalone1 ,unicorno2 ,portate #adih1 ,no verde #ff1 ,no #ba1 fol4 #ei recto4 ,quartiere dj sancta ma na ,go vipera ,alesso dibaldouinetto dalesso baldouinettj disse lagrauezza sua in dicto alesso ,inchamerata dellanno #adha indetto ,alesso ,schala habito nelpopolo disanlorenzo djfirenze ,sustanze danseglj per ,vmpezzo diterra lauoratia posta nelpopolo laueduta disancta ma aquinto djstaiora #ab daprimo cho degliuficalj nfina ebeni disancta ma magiore dj firenze a pezzi ditera ijo ,giouanni digiorgio aldobrandinj a iijo per piu per ,lemonache di faenza a iiijo ,pagolo dinanni ,rendita1 dacholonnato ,vmpezzo diterra lauoratia distaiora #g difiorinj posta nelpopolo disancta ma aqo confini the quattro soldj dapo lerede dj santi disimone ambrogi ijo terzo le nove danarj rede didomenicho dimatteo dimichele pescionj a iiijo iij disugo4 lerede dibancho rigattiere edetti pezzi diterra lauora lucha dj domenicho di biagio dalauacchio etielle afitto dame edammi lanno difitto staj xxij digrano edetti dua pezzi diterra sono per parte difondo dotale di ma daria mia donna ,rogato ser piero dauinci notaro alpalagio delpodestad ifirenze sotto lanno 4 4 4 4 499 ,grano staj xxij fiorinj #d #i #c danseglj per ,vmpezzo diterra vigniata distaiora al #cb in laueduta chome xj epanora tre chomperai danoferi benedetto di di sopra per dipierozzo dinofri chalzaiuolo posta pa gholo piu pezzi ditera nelpopolo disancto martino grassj ge per ,rendita asesto logho detto acqua ritrosa chiaue ,no4 #fc difiorinj otto ,confini dapo via ijo rede dizanobi per soldj djcotto pasquinj iijo batista uernacci iiijo fiorinj danarj iij saluestro digiouanni schiattesi lauora #h #ah #c disug ladetta uiga lucha didomenicho dalauacchio epagolo dogni chose cioe folla amia mano la detta uignia euignia vecchia rende lanno da #af a #ah barili diuino chosto lostaioro lire xxiij dipicciolj ,comperala perterra danofri dipierozzo sopradecto ,rogato ser piero danto da uinci notaro alpalagio delpodista difirenze ,vino ,barilj #ah fiorinj #h #ah #c ,incharichi ,vna chasa chonsua uochaboli cchonfini posta alchanto dighori popolo disancto lorenzo difircnze laqual chasa sie dichosimo dipiero lenzi bottegaio allaporta afaenza ,confini che dapo via ijo terzo rede dilionardo djmeo disali iiijo ,jaco maringho tiratoiaio ,edella detta chasa nepago lanno djpigione lire #df dj picciolj a decto chosimo ,edeldetto chosimo pagha pesoborghe nelquartiero disanta ma na popolo di san ,lo dentro dafaenza4 fol4 #ei tergo4 dasegli per ,adi #bf dj febraio #adhc michonsigniorono laueduta echonsolj dellarte demerchatantj degluificallj lapigione di dua botteghe ,rogato ser ,rendita dj giouannj migliorellj loro notaro fiorinj poste insulle piazza disangiouannj uentidua ,laprima bottega sie cholla chasa disugo djsopra nella quale chasa abita ma piera donna che fu dj rinierj chaualchantj ,epaga lanno djpigione lire #de lanno di picciolj ,enella bottega djsotto adecta chasa habita filippo djrinierj banditore epagliaiuolo prestatore dichauaglj epaga lanno djpigione lire #fe djpicciolj ,confini dapo via ijo gherardo djgherardo chasinj iijo larte demerchatantj iiijo pagolo dipina doro speziale fiorinj #bb -- -- daseglj per ,vna bottegha laquale e nelnumero delle laueduta chome due botteghe sopradette laquale habita disopra per filippo dj saluestro sellaio ,epaga lanno ,rendita1 djpigione lire #dd dipicciolj difiorinj confini dapo via ijo laporta otto soldj dellopera disangiouannj iijo larte sediccj demerchatantj iiijo larte detta disugo lequal botteghe epigione manno chonsigniato per mio mestero pagamento del musaicho dj sangiouannj che jo o racchoncio rifatto erischiarato ,eanchora o affare ilfregio dj fuora ,eanchora quando accadessi djracchonciare decto musaicho sono ubrigato aogni loro richiesta ,queste botteghe e ilpagamento delmio magistero eessercitio et trafficho lapigione diqueste botteghe sie ilmio ghuadagnio delmio trafficho chede stuccho euetrj esmaltj eferrj chonchio lauoro fiorinj #h #af -- fol4 #fj recto4 ,sonma lentrata dela prima faccja di questa schritta fiorinj tredicj soldj sette danarj vjo disugo chefanno fiorinj larghj digrossj fiorinj undjccj soldj dua danarj xj ,tochaglj didecima fiorinj uno soldj dua danarj iiijo larghj ,sonmma lasechonda faccja diquesta schritta fiorinj trenta soldj sedjccj disugo chefanno fiorinj larghj digrossj fiorinj uenticinque soldj xiij danarj iiij ,tochaglj didecima fiorinj dua soldj undjccj danarj iiij larghj chefanno intuto didecima colle partite disopra into fiorinj tre soldj tredjccj danarj viijo larghj fiorinj #c #ac #h ,adj #bh djgennaio #aejd abattesi soldj #b danarj #i larghj per tantj itj inconto djgiouannj ambruogi unicorno c4 #dcj fiorinj #c #aj #aa larghj ,adj detto abattesi soldj #ad danarj #aj larghj posti aconto diser pagolo damerigo trianj c4 #bjh fiorinj #b #af jo larghj ,addj #ag didicenbre #aeef fiorinj #d 4 #i posti a sa ,colonba monacha ,ge detto perstta no #cjc fiorinj #d #i -- 99 ,lacuna in original4 ,it appears from the dockets on a great number of the #8,portate' of #adih1 that they were actually returned between ,march and ,may1 #adie4 ,,doc4 ,,vii4 ,libro di ,ricordi d',alesso ,baldovinetti1 segnato ,a4 fol4 #a recto4 #8,al nome di ,dio1 e della sua ,madre vergine ,maria1 e di tutta la corte del paradiso1 che mi dieno gratie di fare qui in questo libro el buono principio e la buona fine4 ,ammen4' #8,in questo libro scriverr tutti mie ricordi1 e debitori e creditori2 el quale libro d',alesso di ,baldovinetto d',alesso ,baldovinetti1 cominciato a d #aj di ,diciembre #addi2 segnato ,a4' fol4 #d tergo4 #8#adfe4 ,lionardo di ,bartolommeo1 detto ,lastra1 e con ,giovanni di ,andrea vetraio deono dare a d #ad di ,febbraio lire cento venti1 e qua' denari sono per dipintura d'una finestra posta nella cappella maggiore di ,s4 ,trinita1 la quale finestra ha fatta fare ,bongianni di ,bongianni ,gianfigliazzi a detto ,lastra1 e con ,giovanni maestri di finestre di vetro3 ed io ,alesso l'ho disegnata e dipinta loro per soldi quaranta al braccio quadro2 intendendosi l'occhio di sopra in detta somma e misura con detta finestra4 ,l4 #abj4' fol4 #g recto4 #adgj1 #aa ,aprile4 ,toglie a dipingere la tavola della cappella maggiore di ,s4 ,trinita da ,bongiovanni di ,bongiovanni ,gianfigliazzi1 nella quale ha a essere una ,trinit con due santi da lato1 con angioli1 ,s4 ,benedetto e ,s4 ,giovanni ,gualberto4 ,la dette finita il d #h ,febbraio #adga2 e n'ebbe dal ,gianfigliazzi in pagamento fiorini #hi larghi d'oro4 fol4 #g recto4 #adga1 #a ,luglio4 ,toglie a dipingere la cappella maggiore di ,s4 ,trinita da ,bongiovanni ,gianfigliazzi per ducati #bjj d'oro larghi1 da finirsi in tempo di cinque anni a #g4 ,printed by ,g4 ,pierotti1 in the #8,ricordi di ,alesso ,baldovinetti1 ,pittore ,fiorentino del secolo xv1 ,lucca1 ,tipografia ,landi1 #ahfh1' pp4 #i1 #ab1 and #ad4 ,,doc4 ,,viii4 ,firenze3 ,archivio di ,santa ,maria ,nuova2 ,libri di ,san ,paolo4 ,filza labelled #8,libri ,diversi1' containing a number of miscellaneous account books relating to the hospital4 ,a small upright book of #dg leaves of paper1 bound in a parchment cover1 inscribed3 ,,richordi fol4 #a recto4 #adgj ,in questo quaderno faro richordo ditutte lespese faro nellachappella maggiore dj ,santa trinita cioe _/ oro _/ azurro uerde lacha congnj altrj cholorj espese cheachadranno indetta chappella echosi siano rimasi dachordo 8 io e meserbongiannj gianfigliazi aloghatore epadrone didetta chappella chome appare per una scritta soscritta dj sua mano laquale io tengho4 fol4 #b recto4 #adgj chonperaj addj #i di marzo anno detto libre #b eoncie #i dazurro dimangnia da chardinale delbulletta per pregio dj soldj #bf loncia fu azurro sottile lire #db soldj #ah ,e addj #ab dimarzo anno detto chonperaj libre #d eoncie due emmezo dazzurro dimangnia per pregio dj soldj 4 #cc 4 loncia lire #hc soldj #f ,e addj uentj dimarzo chonperaj libre 4 #f 4 dj uerdazzuro per pregio dj soldj #ad loncia lire #ej soldj #h ,e addj 4#be4 dimarzo chonperaj libre 4 #bf 4 dj pju cholorj chostorno tuttj insieme lire 4 #bh 4 cioe lire ventotto lire #bh soldj -- danarj -- ,e adj #bh daprile anno detto chonperaj sedicj quadernj djfoglj realj dastraccio per soldj 4 #e 4 elquaderno per fare glispoluerezj de profetj e altrj spoluerezi achaggiono in detta volta lire #d soldj -- danarj -- ,e adj 4 #ca 4 daprile anno detto chonperaj libra vna eoncie #g dazurro djmangna dauno tedescho in una vescicha per pregio dj soldj #ca loncia lire #bi soldj #i danarj -- fol4 #b tergo4 #adga ,e addj #bd dimaggio anno detto chonperaj libre #d eoncie #e dj digiallo sic cioe arzicha per detta chappella per pregio dj dj sic soldj 4 #ac 4 loncia lire #cd soldj #i ,e addj4 #bd4 diluglio chonperaj libre quatro dolio djseme dilio per pregio dj soldj #d lalibra lire -- soldj #af ,e addj4 #bi4 daghosto chonperaj dabernardjno djuentura chefa epenneglj penneglj 4 #eh 4 divaio tra grossj esottilj luno perlaltro grandj eppicholj lire j soldj #ab ,e adj #bi daghosto spesi tra uaseglj nuouj epentolinj esetole espagho per farpenneglj dj setole epportatura dj chassette echapre perasercitio dj detta chappella lire #c soldj #e ,e addj primo dj settenbre anno detto chonperaj oncie cinque dj lacha fine per pregio dj soldj #ad loncia intutto lire #c soldj #ao ,e addj #be disettenbre detto anno detto chonperaj libre due dazzurro djmangnia dagionannj dandrea uetraio per pregio di soldj 4 #be 4 loncia disse era dunsuo chonpare chorriere ,lauea rechato da uinegia voile detto giouannj soldj #d perandare abbere lire #cj soldj #d fol4 #c recto4 #adgb ,e addj #ab daprile anno detto chonperaj libre _/ cinque _/ dazurro dj mangnia cioe biadetto per fare elletto sotto lazurra fine el quale chonperaj da lorenzo dipiero djpintore inborghosantappostolo per pregio dj soldj #e loncia lire #ae soldj -- ,e addj #ac digiungnio anno detto chonperaj dadomenicho battjloro pezi mille setteciento doro fine indue uolte laprima fu cinqueciento lasechonda melle dugiento messo insollo stangnio per pregio di lire sesantuna lire #fa soldj -- ,e addj #ae digiungnio chonperaj dagiouannj battiloro detto rosso pezzi cinqueciento doro fine messo insullo stangnio per pregio di lire djciotto lire #ah soldj -- ,e addj #bc dj giungnio anno detto chonperaj pezzj _/ quatro _/ mila doro fine per pregio dj lire tre e soldj quatro el cientinaio dauno gienouese cioe oro battuto aggienoua lire #abh soldj -- ,e addj #bh di giungnio anno detto chonperaj fogli ottantasej di stangnio giallo per metteruj suso loro intutto chosto lire #h soldj -- ,e addj #i di lulglio chonperaj libre otto diuernicie liquida per appichare loro insulla uolta cioe gliornamentj doro fine lire #c soldj #d fol4 #c tergo4 #adgb ,e addj #ad di settenbre anno detto chonperaj oncie otto dj cinabro fine per fare echerubinj dellarcho dinanzi didetta chappella per pregio dj soldj #b e danarj otto loncia lire #a soldj #a danarj #d ,e addj #ac dj giennaio anno detto chonperaj libre #b eoncie diecj dazzurro dimangnia dauno polacco per pregio dj soldj uentj loncia azurro chiaro bello sottile lire #cd soldj -- ,in a later hand3 ,seghuitasj per fare ,richordj per lospedale di pizichora del terzo ordjne dj san franchesco iscritto per giouanj diser antonio vianizzj4 ,the remainder of the book is filled with accounts relating to the hospital of ,s4 ,paolo4 ,since ,i discovered this #8,libro di ,ricordi' last autumn1 in the #8archivio' of ,s4 ,maria ,nuova1 its contents1 so far as they relate to ,alesso1 have been printed1 no doubt1 inadvertently1 though not without some errors1 in the third number of the ,miscellanea d' ,arte1 ,firenze1 ,marzo1 #aijc1 p4 #ej1 by ,signor ,piero ,bagnesi-,bellincini1 the keeper of the #8archivio1' to whom ,i happened to mention my find4 ,,doc4 ,,ix4 ,firenze3 ,r4 ,archivio di ,stato4 ,conventi soppressi1 ,no4 grosso #hi1 ,santa ,trinita1 ,no4 #ace4 ,libro cartaceo scritto circa la met del secolo xvii1 da ,d4 ,averardo ,niccolini1 ,abate di ,santa ,trinita2 contenente notizie della ,chiesa e ,monasterio di ,ripoli1 e della ,chiesa e ,convento di ,santa ,trinita4 ,without pagination4 ,annotazioni e ricordi per la ,chiesa di ,s4 ,trinita4 ,cappa ,maggiore della ,,ssma ,trinita de ,gianfigliazzi #acga4 ,nella fabrica et edifizio della ,cappa ,maggiore si legge in una carta pecora#abb che l'anno #acga4 l',ab4 di quel tempo4444#abc al popo di ,s4 ,trinita che fabricasse la ,cappella ,maggiore di da ,chiesa e questo intermine di tre mesi1 e passati qti4444#abc dato principio atal fabrica la concederebbe a chi la uolesi fabricare4 #adfc4 ,si cominci da fabrica ma molto adagio1 poiche l'anno #adfc si legge che era mezza fabricata1 si come erano anco molte altre ,cappelle1 e tutto auueniva per mancamento di danaro2 la doue per darli fine l',abb4 congreg in ,chiesa tutt' il popolo1 ouero la maggior parte1 per dare questa ,cappa perche essendo mancati i danari per tirarla innanzi1 la famiglia che l'aueua lipotesse dar l'ultima mano1 cosi it di #d di ,febbraio dello stesso anno a uiva uoce del popo f concessa a meser ,bongianni di ,bongianni ,gianfigliazzi1 e aquelli che fossero dell sua linea4 ,questa famiglia aueua gi la ,cappa di ,s4 ,donato#abd posta in detta ,chiesa la pa canto alla 4444#abc uerso it coro1 a questa aueuano gl' ,oblighi come di sotto si dir2 ,onde ottenuta cheebbe ,bongianni tal ,cappa la fin1 e la fece ,alesso dipignere da ,alesso ,baldouinetti1 di cui mano 4444#abc1 ,baldo- come anco 4444#abc doue effigiata la ,,ssma ,trinita1 e uninetti l',altare 4444#abc situata sotto la finestra inuetriata del ,pittore4 ,coro1 e in questra ,cappa fatto la sepolta cui portorno l'ossa dei loro antenati4 ,sidenote3 ,inuetriate della ,chiesa 4444 ,ricordo ancora come l'inuetriata della ,cappella maggiore della ,chiesa di ,sa ,trinita di ,firenze essendo tutta guasta1 rotta e rattoppata1 in maniera che non rendeua lume alcuno1 se non doue non era rete3 it medesimo ,rmo ,padre ,d4 ,damiano ,generale della ,congregazione di ,vallombrosa molte uolte uedendo il bisogno1 ne haueua trattato e pregato il ,sigr ,orazio1 et il ,sigr ,luca ,gianfigliazzi1 che la uolessino rifare tutta di nuovo1 et accio si pregassino uolere fare da spesa promesse1 che la ,fabbrica di ,sa ,trinita di ,firenze hauerebbe in parte concorso per la somma di scudi #cj #ce4 ,alla fine al tempo del ,p4,d4 ,florio,d ,sili ,abe di ,sa ,trinita1 e soprastante alla da fabbrica l'anno #afaf1 si deliberorno metterui mano1 e per dare loro aiuto ci oblig fare l'inuetriata dell' occhio di sopra con quelle due ali1 rassettarli ferramenti1 che vibisognauano1 e fare li ,ponti che u'andauono1 e cos al nome del ,sigre ,iddio si dette fine alla da ,inuetriata del mese di ,giugno #afaf4 e per la nostra parte si spese in tutto 4444,d come it tutto apparisce all' ,libro della ,fabbrica di ,sa ,trinita ,segt ,c4 a 4444#abe ,libro ,ricordi ,segt ,,af4 c4 #afg4 ,,doc4 ,x4 ,firenze3 ,r4 ,archivio di ,stato4 ,sezione della ,deputazione della ,nobilit e ,cittadinanza4 ,miscellanea4 ,la copia di mano di ,g4 ,b4 ,dei4 ,nel nome di ,dio--,a d #ai di ,gennajo #adif 7st4 c41 #adig74 ,noi ,benozo di ,lese dipintore1 e ,piero di ,cristofano da ,chastel della ,pieve dipintore1 e ,filippo di fra ,filippo dipintore1 e ,choximo di ,lorenzo ,rosselli dipintore1 eletti da ,alesso di ,baldovinetto ,baldovinetti dipintore a vedere e giudichare e por pregio1 per vighore d'una scritta1 la quale detto ,alesso con ,m4 ,bongianni de' ,gianfigliazzi e sua eredi1 a una chappella fatta di pittura in ,santa ,trinita di ,firenze1 cio la ,cappella ,maggiore di detta chiesa4 ,la quale veduta1 tutt' insieme d'accordo1 isaminato tutte le spese di calcina1 azzurro1 oro e tutti altri colori1 ponti e ogni altra cosa1 con sua faticha1 giudichiamo che di tutto el sopradetto ,alesso debbi avere fiorini mille larghi d'oro in oro1 cio fior4 #ajjjl4 d'o4 in o4 ,e per chiarezza di detto giudicio e della verit1 ,io ,choxinto di ,lorenzo sopradetto fatto questa scritta di mia propria mano questo sopradetto d1 e tanto giudicho2 e qui da pi si soscriveranno da pi di loro propria mano essere contenti a quanto di sopra scritto1 e tanto tanto sic giudichare4 ,io ,benozzo di ,lese dipintore sono stato a giudichare la sopradetta chappella2 e a quanto di sopra si contiene sono stato contento1 e per fede di questa verita fatto questi versi di mia propria mano1 anno e mese e d detto di sopra4 ,io ,piero ,perugino penctore sono istacto a giudichare la sopradicta chappella2 et a quanto de sopra se conctiene1 e sono istacto conctecto1 e per fede de questa virict one facta questa de mia propia mano queste dine sopradicto4 ,io ,filippo di ,filippo dipintore sopradetto fui presente cogl' infrascritti maestri a giudichare la detta chappella1 e chos confermo e giudicho1 e per fede della verit offatto questi versi di mia propia mano1 ogi questo d sopradetto4 ,printed in #8,alcuni ,documenti ,artistici non mai stampati4 #aded-aefe4' ,firenze1 ,le ,monnier1 #ahee1per cura di ,zanobi ,bicchierai1 per le nozze ,farinola--,vaj4 ,,doc4 ,,xi4 ,firenze3 ,r4 ,archivio di ,stato4 ,rogiti di ,ser ,giovanni di ,jacopo di ,piero dei ,migliorelli4 ,protocollo dal #adha1 al #adhd-e4 ,segto ,m4 #efe4 fol4 #ahf recto4 ,in dei nomine amen4 ,anno dominj nostrj yu xpj abeius salutifera incarnatione millesimo quadringentesimo ottuagesimo tertio ,jndictione secunda die vigesima sexta mensis februarij ,actum florentie in populo sancte marie delfiore presentibus francesco andree ncrij de vetteris et ,stefano compagnj sellario populj sancte marie delfiore testibus c4 ,allessus olim baldouinettj de baldouinettis locauit ad pensionem ,allesandro andree delfede sellario populj sanctj laurentij deflorentia ibidem presentj et conducentj per se suis heredibus ,vnam apothecam ad vsum sellarij et in qua per plures annos fecit dictam artem sellarij ut magister dictus allesander cum domo super dictam apotecam positam florentie in dicto populo sancte marie delfiore cuj apo via aij bona opere sancti ,johannis batiste deflorentia aiijo gherardj casinj aiiijo dectj gherardj casinj infra predictos confines c4 protempore et termine quinque annorum ,jnitiatorum die quarta mensis ,januarij proxime preteritj #adhc et vt sequitur finiendorum c4 promittens non facere aliquem contractum inprejudicium presentis locationis c4 ,ex aduerso dictus allexander promixit dicto allesso dictam apothecam domum tenere prodicto allesso et proalio non confiteri c4 et dictis bonis vtj aro bonj virj pensionarij c4 et in fine dictj temporis dicto allesso libere dicta bona vacua expedita relapsare c4 ,et soluere qualibet anno dictorum quinque annorum libras centum uigintj otto solidos #c danarios #h florenorum parvorum soluendo desexmensibus insexmenses prout tangit pro rata c4 ,cum pacto expresso c4 quod si durante dicto tempore dictus allessus decesserit depresentj seculo quod tunc eo casu secuta morte dictj allessj immediate sit finita presens locatio c4 ,que omnia dicte partes promixerunt obseruare c4 subpena florenorum centum aurj largorum c4 que c4 qua c4 nihillominus c4 proquibus obligaverunt c4 ,renumptiantes c4 quibus pro guarantigia c4 ,rogantes c4 ,item postea dictis anno ,jndictione die et loco presentibus ,johanne xpoferj vocato chattagnini barbitonsore populi sancti laurentij de florentia et ,michaele domenici filippi sellario populi sancti felicis in piaza deflorentia testibus4 ,suprascriptus allessus de baldovinettus locauit ad pensionem filippo siluestrj sellario ibidem presentj et conducentj cum licentia consensu dictj dictj sic siluestrj ibidem presentis eodem filippo licentiam et consensum dantes et prestantes c4 et pro se suis heredibus ,vnam apothecam ad vsum sellarij positam florentie in populo sancte marie delfiore cuj apo via aijo iijo iiijo bona opere sancte sic ,johannis batiste deflorentia infra predictos confines pro tempore et termine quinque annorum proxime futurorum ,jnitiatorum die quarta mensis ,januarij proxime preteritj ut sequitur finiendorum c4 promittens c4 ,ex aduerso dictus filippus cum dicta licentia consensu promixit dicto allesso tenere pro dicto allesso dictam apothecam et pro alio non confiterj c4 ipsa apotheca vtj aro bonj viri c4 et infine dictj temporis ipsam relapsare c4 ,et dare soluere qualibet anno dictorum quinque annorum libras quadragenta quatuor florenorum parvorum soluendo desexmensibus insexmenses prout tangit pro rata c4 ,cum pacto quod sidictus allessus durante dicto tempore decesserit depresentj seculo quod tunc eo casu immediate secuta morte dictj allessj presens locatio sit finita c4 ,que omnia suprascritta dicte partes promixerunt obseruare c4 subpena florenorum centum aurj largorum c4 que c4 qua c4 ,nihillominus c4 pro quibus obligaverunt c4 ,renumptiantes c4 quibus proguarantigia c4 ,rogantes c4 ,,doc4 ,,xii4 ,firenze3 ,r4 ,archivio di ,stato2 ,arch4 della ,grascia1 ,no4 #e1 ,libro ,primo ,nero de' ,mortj1 dal #a1i ,dicembre #adeg1 al #aa ,ottobre #aejf4 fol4 #a tergo4 ,mcccco lxxxiiijo4 ,messer ,bongiannj djbongiannj ,gianfilgliazzj ,riposto insanta ,trinita era dediecj djbalia adj #g dinovembre4 ,,doc4 ,,xiii4 ,firenze3 ,biblioteca ,nazionale2 ,codice ,magliabechiano1 ,,xxvi1 #bb1 #bc1 #bd4 7,,ii1 ,,iv1 #ecd1 #ece1 #ecf47 #8,sepoltuario ,fiorentino ouuero ,descrizione delle ,chiese1 ,cappelle e ,sepolture1 ,loro ,armi et #8,inscrizioni1 della ,citt di ,fire e suoi ,contorni1 fatta da ,stefano ,rosselli1 ,l' ,anno #afeg4'' ,vol4 ,,ii1 fol4 #hfj recto4 ,la ,cappella ,maggiore di questa ,chiesa1 insieme con it ,coro1 ed altare di essa1 della nobil ,famiglia de' ,gianfigliazzi1 e f conceduta dagli ,operai1 dal ,popolo1 e dall' ,abbate1 a messer ,bongianni di ,bongianni ,gianfigliazzi1 a #ad di ,febbraio #adfc2 come per rogo di ,ser ,pierozzo ,cerbini notaio ,fiorentino appare2 si uede l',arme loro in piu luoghi4 ,leone azzuro1 campo d'oro4 ,questa ,cappella dipinta fresco di mano d',alesso ,baldouinetti1 e u sono ritratti al naturale molte ,persone ,illustri de' suoi ,tempi 444 ,la ,tauola di questa ,cappella anticamente era di mano di ,giouanni ,cimabue ,famoso ,pittore ne' suoi ,tempi1 e ne f leuata per dar luogo quella d' ,alesso ,baldouinetti1 the ancora si uede affissa al muro del ,coro sotto le finestre uetriate dirittura dell' ,altar' grande4 ,nell' imbasamento della qual ,tauola dicono essere ,scritte queste parole3 ,jacobus ,gianfigliazzius ,bongiannis ,equitis ,filius1 sua erga ,deum ,pietate4 ,,doc4 ,,xiv4 ,firenze3 ,r4 ,archivio di ,stato2 ,rogiti di ,ser ,piero di ,antonio di ,ser ,piero da ,vinci1 ,protocollo di ,testamenti1 dal #aded1 al #aejc4 ,segnato ,p4 #ceg4 ,inserto #co1 ,no4 #agb1 fol4 #cfj recto4 ,first ,will of #8,jacobus filius olim ,magnificj militis dominj buongiovannj bongiannis de gianfiglazis4' ,dated ,july #bd1 #adig4 ,a will of #f pages1 directing among other things #8sepulturam uero suj corporis quando de hac presente vita migrarj contigerit elegit et deputauit jn ecclesio sanctis trinitatis deflorentia insepulcro patris sitam ,jncappella maiorj dicte ecclesie4' ,the notices of ,alesso collected shortly after his death by a member of his family1 ,francesco ,baldovinetti1 though cited by ,domenico ,maria ,manni1 in the footnotes to his edition of ,baldinucci1#abf and more recently1 by the various commentators of ,vasari1 have never been printed at length4 ,i cannot more fitly bring these notices of ,alesso to a conclusion than by giving them textually for the first time from the original manuscript4 ,,doc4 ,,xv4 ,firenze3 ,biblioteca ,nazionale2 ,codice ,baldovinetti1 ,no #bdd1 #8,memoriale' di ,francesco ,baldovinetti4 fol4 #a recto4 #aabg ,begins ,qvesto elmemoriale per me fatto echonposto francjescho digouannj djghujdo difranco dimesser niccholo dalesso di borghino delbiecho dimesser baldovinetto diborghongnone baldovinettj gia degiudj djciesj degliabati efigiouannj c44 fol4 #b recto4 ,introductory note1 in which the writer states that he has compiled the contents of the volume #8insu molte ischriptture antiche in chasa nostra e fuorj diquella1' adding1 #8edochomincjato djtto ljbro addj ventj cinque dj febrajo #aeac1 in firenze in inchasa mia in borgho santto appostolo 444 e finillo quasi tutto inmesj qvattro1 cioe dechasi della chasa nostra'3 i4e41 the notices in the earlier part of the book1 relating to the family of the ,baldovinetti4 ,the latter portion contains a chronicle of events in ,florence1 continued in a later hand1 to the end of the sixteenth century4 fol4 #cg recto4 ,sidenote3 ,pittore4 #b ,alesso dj baldovinetto dalesso diborghino delbiecho dimesser ,baldovinetto dj ,borghongnone ,baldovinettj morj nel #adif velcircha deta dannj #hj ellascjo sua reds lospedale dj san pagholo djfirenze edjredo lachasa sua debaldovinettj esotterrato sotto levolte disanlorenzo elluj fe djtto avello benche daque djchasa era tenuto bastardo nientte djmancho assuo tenpo fu debuonj djpintorj djtalia4 ,a ,in margin3 ,la sepoltura posta a mano destra canto quella di ,cosimo ,pater ,patriae e di ,piero medici suo figlio1 et ,chiusino di ,pietra l',arme del ,leone basso rilieuo nel marmo bianco assai ben fatto e ni si legge la seguente ,inscrizione ,s ,baldouinettj ,alesij de ,baldouinettis1 et suor3 ,descend3 #adhj4 #c ,ristjaro tutto it musaicho delcjelo djsangouannj lanno #adij incircha chennebe granpremjo dachonsolj demerchatantj eprovisione mentre chevisse #d djpinse amesser bongiannj gianfigliazzi lachappella magiore dj santa trinita che ghrande edjfitjo ove eritrasse moltj nobilj cjpttadjnj eritrassevj ghuido baldovinettj esse medesimo a drieto atuttj chonuncjoppone rose secche indosso evno fazoletto inmano ebbene gran premio ,a ,adi #ae ,settenbre #agfj4 ,lunedi ,queste ,pitture furono leuate affatto1 per esser quasi consumate dal tempo4 ,in margin3 ,il ,ritratto d',alesso ,pittore lo feci copiare sopra una ,tela grande al naturale e si tiene in casa nostra4 #e djpinse laltare maggiore disanta maria nuova elacappella dove esiritrasse chonuno saeppolo overo vno dardo inmano evna gornnea indosso #f djpinse echjostrj djsanbenedetto fuorj djfirenze ,a era ,monast4 de ,frati ,camald2 che f rouinato l' anno #aebi4 djpinse quella nunzjata enella chortte deservj cioe nativita che drieto alaltare della nunzjata acchorda euna vergine ,maria insulchantto decharnnesecchj ,interpolated djpinse vna tavoletta daltare alentrate in santa maria novella amanritta de tre magj chedjchono essj bella chosa4 ,a ,in margin3 ,la detta ,tavoletta fu colorita da ,sandro ,botticello che uisse nel tempo dj ,alesso e fu miglior maestro dj luj4 edipinse una uergine ,maria insulchantto decharnneseccho4 ,interpolated a second time by error4 #g djpinse latavola delaltare disanpiero inchalicharza nostro4 ,a ,questa non u piu1 ne si sa comj fosse leuata4 djpinse nechjostrj djsanta chrocje vnchristo chebatuto alla cholonna4 djpinse mestato djtto ciertte natjvita choncjpttadjnj qvando siscjende leschale delpalagio della singnoria che sono dua tavole sopro alla chateratta e ja piu su4 djpinse indjmoltj altrj luoghj ealsuo tenpo non cjera ilmeglio maestro edjmusaicho non cjera aluj chelluj chello sapessj fare efecje assaj djscjepolj equello delghrillandaja peruno cheffu siperfetto maestro fusuo discjepolo4 #abh ,alesso ,fece il mosaico che si uede nel mezzo della ,facciata di fuori con diuerse ,figure della ,chiesa di ,s4 ,miniato almonte1 si come li mosaicj de ,corettj sopra le ,porte laterali nella ,chiesa di ,s4 ,giouanni del ,battesimo #agdd4 ,queste ,pitture oggi apena pi si distinguono1 per essere logore dal tempo1 et altre sono state tolte uia4 ,since writing the first part of this article1 my friend ,dr4 ,a4 ,warburg1 whose name is known to all students of ,florentine art1 has kindly communicated to me a copy of a series of additional notices to1 and annotations upon1 the foregoing passages from the #8,memoriale' of ,francesco ,baldovinetti4 ,the copy in question is in a modern ,italian hand1 written apparently some thirty years ago2 and it is bound up with a copy of ,dr4 ,pierrotti's #8,ricordi di ,alesso ,baldovinetti1' which came from the library of the late ,eugene ,mntz4 ,there is no indication in this copy of the source whence these additional notices were derived1 but it is clear from internal evidence that they were collected by a member of the ,baldovinetti family1 c4 #agej2 and ,i suspect that they were copied from the voluminous genealogical collections of ,giovanni ,baldovinetti1 which1 with other manuscripts once belonging to that family1 are now preserved in the national library at ,florence4 ,after citing1 with some omissions1 the foregoing passages from the #8,memoriale' of ,francesco ,baldovinetti1 the writer of these additional notices proceeds as follows3-- ,da ,libri di partiti1 provisioni1 e deliberazioni de ,consoli dell' ,arte de ,mercatanti si ricavano le seguenti notizie4 #h #adha4 ,alesso di ,baldovinetto piglia a racconciare it mosaico guasto nella ,facciata della ,chiesa di ,s4 ,miniato al monte sopra la porta per fiorini #bc a tutte sue spese4 #i #adha4 ,il ,mosaico della ,cappella di ,s4 ,gio4 ,batista si rasseti1 e si spenda fiorini #ajj4 ,alesso ,baldovinetti lo rassetta in detto anno per fiorini #hj4 ,domenico cel ,grillandaio rivede et approva la suddetta rassettatura4 ,il mosaico fatto sopra la porta di ,s4 ,gio4 che incontro a ,s4 ,maria del ,fiore si paga ad ,alesso di ,baldovinetto ,baldovinetti fiorini #ci4 #aj ,alesso ,baldovinetti piglia a rifare it mosaico guasto della ,tribuna grande di ,s4 ,gio4 ,batista1 essendo solo in tutto l',imperio1 e ,giurisdizione ,fiorentina che allora sapesse tale arte1 fu eletto per questo da ,consoli de ,mercanti1 e f deliberato da essi di darli a godere durante sua vita tanti beni che rendino fiorini #cj l' anno1 con che egli sia tenuto fino che vive rassettare1 rischiarare1 e fare quanto bisogna1 e mantenere it detto mosaico4 #aa ,s'avverta1 che non trovandosi dal nostro scrittore fatta menzione del ,ritratto di ,alesso ,baldovinetti pittore1 suo ,congiunto e ,contemporaneo1 che dal ,vasari1 dal ,borghini1 dal ,baldinucci1 e dagli altri scrittori delle di ,lui opere si vuole essere stato dipinto da ,domenico del ,grillandaio1 et a canto a se stesso nel ,coro di ,s4 ,maria ,novella2 ne facendosi altres menzione da questi scrittori de i due ritratti d',alesso annoverati nel nostro memoriale1 e dipinti da se stesso nelle ,cappelle maggiori di ,s4 ,trinita1 e di ,s4 ,maria ,nuova1 si d luogo ad un' altra opinione1 forse la piu sicura1 cio che quel ritratto destinato da citati ,autori per quello di ,alesso ,baldovinetti sia di ,tomaso1 di ,currado1 di ,goro1 padre di ,domenico del ,grillandaio1 e da esso ritratto a canto a se stesso1 et in mezzo ad altro suo ,fratello1 che fu pure pittore1 che l' aiut1 e compi le di lui opere rimaste imperfette doppo la morte di esso ,domenico2 et in prova di ci si adduce una copia delle ,figure dipinte nel coro suddetto di ,s4 ,maria ,novella fatta in ,acquerello sopra la ,carta d'ordine di ,vincenzio di ,piero ,tornaquinci uno de ,compadroni d'esso ,coro e ,cappella magre con la dichiarazione di ciascuna figura fattavi nell' anno #aefa da ,benedetto di ,luca ,landucci ,speziale ,uomo d' et grave d' #hi anni1 che asser aver conosciuti vivi tutti coloro ritratti al naturale nelle predette ,istorie2 e parlando di quella ,figura1 che li accennati ,autori dicono rappresentare ,alesso ,baldovinetti pittore1 segnta in detta ,copia di ,no #b vi si legge il 444,a nome de padre di ,domenico del ,grillandaio4 ,descendenza d' ,alesso ,baldovinetto ,pittore4 -- ,messer ,baldovinetto1 di ,bogognone1 di ,ugo1 di ,giuda1 f ,console del ,comune di ,firenze l' anno #abji1 e da esso f preso it ,casato de' ,baldovinetti4 -- ,bieco4 -- ,borghino f de' ,priori dell' ,arti nell' #abih4 #acjd4 ,maria di ,cecco d',alesso ,mannelli sua moglie4 -- ,francesco f ,gonf4 di ,giustizia l' anno l' an #accj1 de' ,priori #acbc4 #bg4 #ca4 #cd4 #ch4 #da4 #dg ,lisa di 444,a1 e ,nanna1 di ,guglielmo1 di ,bardo ,altoviti1 furono sue moglie4 -- ,alesso1 ebbe 444#abi ,capponi4 ,simona di ,niccol da ,soli1 ,filippa di ,vannuccio ,arrighi furono sue mogli--,questi ,arrighi d',empoli4 -- ,baldovinetto prese nel #adbf ,agnola1 d' ,antonio1 di ,gio4 da ,gagliano degli ,ubaldini4 #ab -- ,alesso nato #adbe f celebre ,pittore et ,artefice di mosaico4 #ab -- ,giovacchino suo fratello mori a ,sermoneta nel ,regno di ,napoli4 #ac #adfe4 #ae ,xbre4 ,alesso di ,baldovinetto di ,alesso 7ch' il nostro pittore7 rifiut eredit del detto ,baldovinetto suo padre morto ab intestato ,ser ,bartolommeo di ,ser ,guido ,guidi notaro ,florentino rog4 ,annotazioni in margine4 #aacj ,l' ,originale con altri libri mosi del medo ,autore si conserva appresso di noi suoi discendenti l' anno #agej nelle nostre antiche ,case di ,borgo ,,ss4 ,apostoli in ,firenze nelle quali scrisse li detti ,libri4 #b ,alesso nacque anno #adbe1 morto l' anno #adii4 in et di anni #gd4 ,alesso ,pittore morto #bi ,agosto #adii f sepolto in ,s4 ,lorenzo4 ,lib4 de' morti nell' ,ufizio dell' ,arte de med4 e speziali4 ,la ,sepoltura d' ,alesso ,pittore torna apunto vicino la ,cappella de' ,lotteringhi della ,stufa che la prima in ,cornu ,epistole dell' ,altar magre v' it ,chiusino ovato di pietra1 et un quadretto di marmo bianco alto e largo circa di braccio con la suddetta arme a basso rilievo assai ben fatta e la segte ,inscrizione3 ,s4 ,,baldovinetti ,,alesii ,,de ,,baldovinetti,s ,,et ,,svor,,vm ,,mcccclxxx4 ,a di #af ,settembre #agci4 ,la lecca di questa sepolt4 fu chiusa da noi4 #c ,questa ristiaraze fu fatta l' anno #adhc4 come si vede da segti partiti4 #d ,,ii suddetto ,ritratto d' ,alesso nella ,cappella de' ,gianfigliazzi f da me scrittore fatto copiare in un ,quadro a ,olio l' anno #agcj1 e messo nelle nostre antiche ,case de' ,baldovinetti poste in ,borgo ,,ss4 ,apostoli1 insieme con gli altri ,ritratti degli ,uomini illustri della nostra ,famiglia4 #e ,questa ,pittura non si vede pi per essere stata rifatta di nuovo la ,chiesa4 #f ,questo ,monastero di ,monaci ,camald4 che era posto circa un miglio fuori della ,porta a ,pinti di ,firenze f gettato a terra l' anno #aebi con altri simili per l' imminente ,assedio di ,firenze fatto dall' ,armi di ,clemente #go ,pont4 de' ,medici1 e di ,carlo ,v ,imperat4 #g ,questa ,chiesa che torna di l da ,pratolino d' antico ,jus ,padronato della ,famiglia de' ,baldovinetti1 e la suda ,tavola pi non si vede4 #h ,delib4 dal #adgg al #ha ac4 #aib4 ,specchio dal #adbi al #ic4 ,ricordi dal #adha al #ie4 ,delib4 dal #adhb al #hi al #ie4 ,queste ,provisioni etc4 sono registrate nel ,codice ,b4,c4 #adee in ,archio ,strozzi1 e di li ricopiate in una filza di spogli attenti alla ,chiesa di ,s4 ,gio4 ,batta appresso il ,dot4 ,francesco ,gori ,cappellano di essa c4 #aii4 #bai4 #bba4 et oggi ,proposto4 ,l' anno #agci4 ,f rifatto di nuovo it pavimento del ,cimitero sotto la ,chiesa di ,s4 ,lorenzo1 et il di #af ,settbe di detto anno lo scrittore fece riturare con i mattoni la ,bocca di detta sepoltura1 come che atteneva ad un ,ramo spento di nostra ,famiglia1 et a noi non abbisogna1 ma lo feci perch non fusse venduta ad altri1 vi per rimasta l' antica arme nostra con l' inscrizione incisa in marmo1 che qui dietro si legge4 #aj #adhc4 ,delib4 dall' #adhb al #hd4 #aa ,la detta copia originale fatta sopra la ,carta in acquerello1 si trova appresso di me scrittore comprata per 8 soldi #cf sopra d' un muricciolo l' anno #agce1 et un altra simile si trova appresso ,gio4 ,antonio1 e fratelli del ,senator ,caio ,gaetano ,tornaquinci nello loro moderne case in ,borgo degli ,albizzi1 et ambidue le dette ,copie sono tirate sopra due ,tavole1 vedendosi in piedi d' esse copie un' alberino d' alcuni rami de' ,tornaquinci con le notizie appartenenti a medesimi1 scrittesi di mano del predetto ,vincenzio1 che ne dovette fare pi copie con distribuirle a quei ,capi di sua ,famiglia1 che allora vegliava divisa in pi ,consorterie1 e ,rami4 ,nel sepolt3 antico m4s4 in ,cartapec3 del anno #adfc nel ,capitolo di ,s4 ,lorenzo c4 #d4 t1 si legge la seguente memoria4 ,alesso di ,baldovinetto1 d' ,alesso ,baldovinetti1 et sua ,descendenti la #bc sepultura1 come segue l' ordine nel primo filare della ,croce con ,arme d' un ,lione rampante d' oro in ,campo rosso con fregio d' oro intorno allo scudo segnata al ,bastardello della muraglia c4 #edh1 ,nro #ij4 #ab ,ambidue morti senza figli4 #ac ,da un ,libro di ,ricordanze nello ,spedale de ,convalescenti in ,s4 ,paolo4 ,it is significant that two of the three errors which we are now able to detect in the foregoing passages from the #8,memoriale' of ,francesco ,baldovinetti1 should consist in the attribution to ,alesso of the paintings by ,domenico ,veneziano1 once in the tabernacle at the ,canto de' ,carnesecchi1 and the fresco of #8,christ at the ,column' by ,andrea da ,castagno10 formerly in the cloister of ,s4 ,croce3 for ,alesso was undoubtedly the pupil of ,domenico1 as his early works prove2 and the assistant of ,andrea1 as he himself states in his #8,ricordi4' ,of the paintings which ,alesso is here stated to have executed in the cloister of the monastery of ,s4 ,benedetto al ,mugnone1 beyond the ,porta a ,pinti1 near to where is now the ,barriera della ,querce1 at ,florence1 no other notices have come down to us4 ,here1 again1 it is significant that ,vasari records that at ,s4 ,benedetto were works by the hand of ,andrea da ,castagno1 both #8in a cloister1 and in the church'#aca2 but it must be remembered that the monastery had long been destroyed at the time ,vasari wrote2 and that he himself had never seen the cloister in question4 ,the patronage of the church of ,s4 ,piero in ,calicarza was already1 at the beginning of the fourteenth century1 in the possession of the ,baldovinetti1 who also owned the #8torre1' or fortified villa1 called ,la ,rocca ,perduta1 which stood near the church4 ,it is probable that the ,baldovinetti had possessed this property from very early times4 ,it lies but a few miles from ,fiesole1 on the hills above the further side of the valley of the ,mugnone1 beyond the ,medicean villa of ,pratolino4 ,according to ,ugolino ,verino's ,latin poem1 #8,de ,illustratione ,urbis ,florentiae1'#acb the ,baldovinetti had their origin in ,fiesole1 during ,roman times3 #8,baldovinetti ,domus antiquissima1 primus ,incola ,romanus ,fesulani montis habetur4' ,of the church of ,s4 ,piero in ,calicarza1 ,i find the following notices in another manuscript which came from their house in ,borgo ,sant' ,apostoli4 ,firenze3 ,biblioteca ,nazionale2 ,codici ,baldovinetti1 ,no #cg1 #8,memoriale di ,messer ,niccol d' ,alesso di ,borghino ,baldovinetti1 dal #aced at #acia4' fol4 #ca tergo4 ,the pagination does not run in order4 ,to left1 a rough drawing1 in pen and ink1 of a castellated house and tower1 inscribed #8torre dacalicarza detta larocha perdvta4' ,to right1 a similar drawing of a church and campanile1 inscribed #8,sco ,piero1' and below the date1 #8,mccclxxxiiijo4' ,below this drawing is written1 in the hand of ,giovanni di ,niccol ,baldovinetti1 as appears from a signed note in the same volume3 ,l' anno #agee4 ,f gettata a terra la ,chiesa1 gi da qualche tempo interdetta dal ,curato di ,s4 ,iacopo in ,pratolino a cuj unita senza che da noj ,patroni si sia data alcuna permissione4 ,la ,rocca da lungo tempo f disfatta1 et in oggi resta solo in piedj la ,torre che da noj non si possiede4 ,below on a slip of paper attached to the same folio is written3 #agcd4 ,ricordo fatto da me ,gio4 di ,poggio di ,niccol di messer ,gio4 d' ,iacopo ,baldovinetti1 come essendorni passato quest' anno sud4 di maggio uedere nostra antica ,chiesa di ,s4 ,piero ,calicarza trouai esser questa posta in cima d' un piccolo ,colle1 e non esserui pi ,campanile1 et in distanza di pochi passi esserui in piedi la torre fortissima1 goduta di presente 7non s perche7 dal ,g4 ,d4 de ,medici con li suoj ,beni di ,pratolino1 ma non gi il recinto delle muraglie attorno d' essa torre1 che qui delineate si uedono1 le quali si osseruano rasate1 uedendosi per li fondamenti al pari del terreno4 memoriale ,l' ,altar magre di dta ,chiesa1 che in oggi l' unico di franco d' essa h una tauola dipinta in tela assai moderna1 ne ,baldo- potei sapere1 che cosa sia stata di quella ui dipinse uinetti4 ,alesso ,baldouinetti nostro ,pittore antico1 se pure non la dipinse fresco sul muro1 che per l'antichit1 sia andata male1 e perli resarcimenti della ,chiesa sia stata guasta4 ,in oltre trouai che la mensa dell' medo ,altare fatta di ,sassi murati seccho1 ne u' apparisce alcuno ,contraregno1 che ui siano murate le #b reliquie di ,s4 ,bartolomeo1 e di ,s4 ,alesso1 che nel memoriale di franco ,baldouinetti a c4444#acc si f menzione1 si come in questo medo ,libro di messer ,niccol ,baldovinetti1 che le' don alla predta ,chiesa4 #agcd4 ,lasciai di queste ,reliquie ricordo al ,rettore della meda ,chiesa1 acci ne fecesse magre diligenza1 se pure si potessero ritrouare che molto lo desidererej ,gloria di ,dio1 et onore de #b santi1 alle quali ,reliquie sifarebbe fare una decorosa ,custodia per esporle al culto publico4 ,l' anno #ageb4 la nostra ,chiesa di ,s4 ,piero a ,caligarza per esser ridotto in cattiuo stato1 f demolita fino a fondamenti dal ,rettore di ,s4 ,jacopo in ,pratolino1 cuj unit1 tutto segui senza saputa dj noj ,compadroni4 ,one passage in the #8,memoriale' of ,francesco ,baldovinetti has been passed over in silence by all the writers who have cited that document1 from ,domenico ,maria ,manni onwards4 ,it is that in which it is stated that ,alesso made the tomb for himself at ,s4 ,lorenzo1 in which he was buried1 #8because those of his own house held him to be a bastard4' ,this would explain why ,alesso1 as the writer of the additional notices records1 renounced on ,december #ae1 #adfe1 his right of inheritance to the estate of his father who had died intestate1 and why he afterwards disinherited his family1 and left his property to the hospital of ,s4 ,paolo4 ,the #8rogiti' for the year #adfe1 of the notary1 ,ser ,bartolommeo di ,ser ,guido ,guidi1 who engrossed the instrument by which ,alesso renounced his right of inheritance in that year1 have not been preserved among the notarial archives1 in the ,archivio di ,stato1 of ,florence4 ,,general ,,index ,,to ,,volume ,,ii ,aalst1 ,hospices civiles of1 ,burgundian ,chest owned by1 #ceh ,abbasside caliphs1 effect on art of their orthodoxy1 #ace1 #adj ,abd ur-,rahmn el ,sfi1 famous astronomical treatise of1 fine ,,ms4 containing1 ,chinese influence shown in illuminations of1 #add ,absalon1 bishop of ,lund1 ,silver ,chalice found in his grave at ,sor1 ,denmark1 #ceg ,academy of ,st4 ,luke1 ,rome1 replica of painting by ,isenbrant in1 #cbf ,academy of ,painting1 ,france1 #bbi ,le ,brun's share in the foundation of1 #bcj ,acanthus design on plate1 #afa1 #afb ,accademia ,carrara1 ,bergamo1 part of a fresco in1 said to be the portrait of ,a4 ,baldovinetti1 #agd ,achmenian ,kings of ,persia1 commencement of art history of ,persia in their period1 #acf ,adelaide ,museum1 drawings on wood for illustrations to ,dalziel's #8,arabian ,nights1' owned by1 #cje others1 #bic note ,agate ware1 evolution of1 from ,staffordshire marbled ware1 #fh ,agni1 the ,fire ,god1 and the ,svastika1 #dc story of1 as told in the #8,veda1' #dd ,aiyubite sultans1 effect on ,arab art of their lax orthodoxy1 #ace ,albarelli1 ,three ,italian1 recently acquired by the ,louvre1 use1 decoration1 armorial bearings on1 owner of1 provenance1 #cch ,alcal fount of type1 made in #aead41 its uses1 origin1 and modern type based on1 #ceh ,alexander the ,great1 coins of1 ,wilson's discovery of the ,svastika on1 #dg conquest of ,persia by1 not the first introduction of ,greek art influence1 #acf interest of1 in ,indian yogins1 #bee supposed introduction by1 of the ,rose ,lotus into ,egypt1 #cej ,alfonzo ,,ii4 of ,aragon1 ,king of ,naples and ,sicily1 his reign1 wives1 etc41 albarelli once owned by1 now in the ,louvre1 #cch #8,al ,ganb1' name inscribed on the ,koursi ,cover in the ,louvre1 #cdd ,allen1 ,robert1 manager of the ,lowestoft ,porcelain factory1 hard porcelain teapot1 ,chinese1 marked with his name1 #bgg maker of the #8,buckle' tea service of genuine ,lowestoft ware1 #agfh41 7,crisps71 #bgb ,allnutt1 ,j41 second private owner of painting by ,sir ,j4 ,reynolds1 ,portrait of ,miss ,falconer as ,contemplation1 #beg ,altarpieces3-- by ,alesso ,baldovinetti1 ,trinity with two ,saints1 for ,s4 ,trinit1 ,florence 7illustrated71 #cb4 conventional methods of decoration for1 early xv4 cent41 #aca by ,g4 ,david1 painted for ,r4 ,de ,visch ,van der ,capelle1 now in the ,national ,gallery1 #cf by unknown artist1 ,flemish school1 painted for the ,gild of ,,ss4 ,mary ,magdalene1 ,katherine and ,barbara1 compared with one by ,g4 ,david1 #ci ,ambras ,castle1 ,archduke ,ferdinand's famous ,museum and ,library at1 #ab ,america1 ,u4,s41 ,oriental china1 crested and initialed in1 ,,xviii4 cent 1 #bga ,ampelus1 the vine of ,bacchus1 compared with ,soma1 and the gogard plant1 #ced ,amsterdam1 earlier work of ,josef ,israels to be seen at1 #agf2 paintings by ,jan ,vermeer in ,six collection at1 #ee ,anasuga1 wife of ,rishi ,atri1 #ced ,ancient ,buildings1 ,protection of1 ,clifford's ,inn and the1 #c ,andrea ,vanni1 ,f4 ,mason ,perkins1 #cji ,angelico1 ,fra1 influence of1 on ,lorenzo ,monaco1 #aca ,anna1 sister of ,casimir1 ,margrave of ,culmbach1 #bij ,anne of ,austria1 ,queen of ,france1 patron of ,le ,brun1 #bcj ,anne of ,denmark1 ,queen of ,england1 #afa ,ansbach1 see von ,knebel of ,antwerp1 visit of ,j4 ,prevost to1 #adic41 #cca ,apadana1 the1 of ,persepolis1 composite character of its art1 #acg ,apollo1 statue of1 by ,onatas1 ,furtwngler cited on1 #bdd ,arabia1 ,arabic1 ,arabian ,art and ,artists of3-- ,koursi ,cover1 copper1 gold and silver encrusted1 acquired by the ,louvre1 ,g4 ,migeon1 #cdd ,,mss41 copies of the ,koran1 inferiority of the ornamentation of1 #acf date of the first illuminated1 character of the decoration1 ,byzantine and other influence evident in1 #ace-f limit of the ornamentation in1 #acf the most important1 ,mkamt of ,harr1 7,c4 ,schefer71 and other copies1 #acf ,aragon1 7see ,alfonzo ,,ii4 of71 arms of1 with those of ,jerusalem and of ,milan1 on ,italian ,albarelli1 7,louvre71 #cch ,arani and the ,svastika1 ,vedic story concerning1 #dd ,archives of the city of ,brussels1 matrix of the ,seal of the ,gild of ,butchers in1 #aij1 #aib of the ,confraternity of the ,holy ,blood cited on the authenticity of a painting attributed to ,g4 ,david1 owned by that body1 shown at ,bruges1 #aijb41 #ci1 #dj ,archivio di ,stato1 ,florence1 documents relating to ,baldovinetti1 now and formerly in1 #bb1 #bc of ,s4 ,maria ,nuova1 the ,baldovinetti #8ricordo' once in1 #bb1 #bg ,arctic1 ss41 first folio ,shakespeare said to have been lost in1 #ahed41 #ccf ,ardabil and ,veramin1 mosques of the ,sefevan kings at1 mosaics on1 #aci ,ardeshir ,babekan1 7see ,artaxerxes71 history of1 #dg ,aretino1 ,pietro1 cited on the ,portrait of the ,empress ,isabella by ,titian1 #bha ,spinello1 #abe ,arezzo1 painted glass window designed by ,a4 ,baldovinetti for the church of ,s4 ,agostino at1 non-extant1 #ca ,armenia1 the ,arsacidan ,kings of1 date of their reign1 #dg ,armorial ,bearings of the city of ,brussels1 ,,xv4 cent41 #aib on ,italian ,albarelli now on the ,louvre1 #cch of the ,saint-,vallier family as shown in ,,ms4 #faf of ,gaston ,phoebus1 #aa ,arnold1 ,sir ,edwin1 cited on the ,lotus1 #cej ,arsaces ,artabanus the ,fifth1 of ,armenia1 fate of1 #dg ,arsacidan1 ,parthian ,kings of ,armenia1 history of1 #dd1 #dg successors of ,alexander the ,great1 ,greek influence on ,persian art during rule of1 #aci ,art1 see ,greek ,art1 etc41 ,notes on ,works of ,notes on ,various ,works of1 #gh ,works of1 belonging to ,dealers1 ,the ,publication of1 #e ,artaxerxes1 7synonymous with ,ardeshir71 overthrow of ,parthian dynasty by1 #dg ,arte de' ,mercanti1 ,florence1 employers of ,baldovinetti to restore mosaics in ,s4 ,giovanni1 their mode of payment1 #bc1 #agj ,artemis1 meaning of ,svastika sign on1 #dc ,aryans1 ,svastika probably communicated from ,hittites to1 #dg ,aryan symbol1 ,svastika the oldest known1 #dc ,ashburnham ,library1 two copies of ,gaston ,phoebus formerly in1 one 7,,ms4 ,app4 #agi 71 interesting owing to addition of a hitherto unknown ,treatise on hawking and birds1 bought by ,w4 ,a4 ,baillie-,grohman at the fourth ,ashburnham ,sale1 #ahii41 #ba ,assisi1 upper church of1 ,frescoes in1 by unknown artist1 school of ,cimabue1 #aah ,assyria1 sacred tree of1 #cec and note the ,svastika in1 #dd1 #dg ,astarte1 meaning of the ,svastika sign on1 #dc1 #dg ,auckland1 ,n4,z41 first folio ,shakespeare at1 and its donor1 #ccf ,augsburg1 ,titian's stay at1 to paint the ,emperor ,charles ,v41 #bha ,austria1 see ,anne of1 ,maximilian1 ,vienna regulations for the protection of ancient buildings in1 #d ,auvilliers1 ,france1 ,bas-relief from church of1 ,virgin1 ,child1 ,saint1 and ,angels1 now in the ,louvre1 probably by ,a4 di ,duccio1 #hi ,azzurro della ,magnia1 a blue1 used by ,a4 ,baldovinetti1 various writers cited on1 #afg-h ,baal1 the ,svastika supposed emblem of1 #dc ,babar1 ,emperor1 invader of ,india1 his history of his own campaigns1 #adc ,babylon1 influence of ,greek art on its sculpture1 etc41 #acf-g ,babylonia1 the ,svastika in1 #dd1 #dg ,bacchus represented on the ,labarum by the ,cross1 #dg-h ,backgrounds2 of illuminations of ,,ms4 #faf of ,gaston ,phoebus chiefly diapered in conventional way1 #aa of paintings by ,cariani1 #gh by ,g4 ,david1 the ,square of ,st4 ,john at ,bruges shown in ,judgement of ,cambyses1 #cf in portraits by ,titian1 landscapes1 #bhb1 sign of comparatively late date1 #bhe ,bakers1 ,barbers1 ,butchers and ,drapers1 see ,gilds of ,baldovinetti1 ,alesso1 7,luca d' ,alesso71 ,a ,newly-,discovered #8,libro di ,ricordi' of1 ,h4 ,p4 ,horne1 #bb ,appendix giving ,documents referred to1 #cgg commission from ,bongianni ,gianfigliazzi to paint the ,cappella ,maggiore of ,s4 ,trinit1 #afg colours used by1 #bg1 #afg-i his famous pupil1 ,ghirlandajo1 #agd his methods of fresco-painting1 #afi ,altarpiece for ,s4 ,trinit1 ,florence1 ,trinity with two ,saints1 now in the ,florentine ,academy1 #cb ,painted glass ,windows designed by1 existing and otherwise1 #ca work of1 in ,mosaic1 #bd date of his death1 #bb1 #bd paintings by1 frescoes on walls of ,cappella ,maggiore1 of ,s4 ,trinit1 ,florence1 subjects of1 and portraits in1 ,vasari cited on1 #agj his own portrait in his frescoes1 ,richa cited on1 #agd early decay of these frescoes1 ruthless destruction and recent restoration of1 #agc description of1 #agc-d portrait of ,francesco di ,giovanni di ,guido in1 #agd ,balfour1 views of1 regarding origin of name of ,tirthakar sect in ,thibet1 #dd ,ballin1 employed by ,le ,brun1 #bce ,banchi and ,borghesi1 authorities on ,vanni as diplomat1 etc41 #cji ,barbara1 sister of ,casimir1 ,margrave of ,culmbach1 #bij ,barbarelli1 once the supposed cognomen of ,giorgione1 #gh ,barker1 ,dr4 ,hugh1 ,standing ,cup and ,cover presented by1 to ,winchester ,college1 #afa ,barna1 painting attributed to1 7ascribed by ,perkins to ,vanni71 ,panel1 ,virgin and ,child1 half-length1 7,chapel of ,,ss4 ,chiodi1 ,siena71 #cae-f ,barrett1 ,g41 drawing by1 for illustration1 apparent influence of ,turner shown by1 #cje-f ,bartolozzi1 ,f41 engraver of ,portrait of ,lady ,hamilton as a ,bacchante1 7,normanton71 ascribed to ,sir ,j4 ,reynolds1 #bbd wash-drawing in indian ink by1 for an illustration1 #cje ,bas-reliefs3-- by 7probably7 ,duccio1 ,agostino di1 ,virgin and ,child with ,saint and ,angels1 from a rural ,french church1 7,louvre71 #hi ,greek1 slab from frieze of ,parthenon1 ,head of a ,knight and of a ,horse1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bdd ,two ,italian1 in the ,louvre1 ,a4 ,michel1 #hd ,a ,warrior1 by ,leonardo da ,vinci 7,malcolm collection71 its analogies1 #hd ,bastard1 ,count1 resemblance between foliage and scroll reproductions in his work and ,foucquet's illuminations in ,,ms4 #faf of ,gaston ,phoebus1 #aa ,bathenians1 the1 heterodox ,mussulmans1 their tenets as affecting art1 #ace ,battersea and ,overstrand1 ,lord1 drawing by ,sandys owned by1 large version of ,amor ,mundi1 #cjj ,bavaria 7see ,prince ,rupert1 and ,susanna of71 ,duke ,albert ,,iii4 of1 his wife and daughter1 #bij regulations for protection of ancient buildings in1 #d ,bayreuth1 ,george of1 reforming tendencies of1 #bhi ,beauclerk1 ,elizabeth1 afterwards ,countess of ,pembroke1 mother of the second ,countess of ,normanton1 ,portrait of1 by ,sir ,j4 ,reynolds1 as ,una with the ,lion1 7,normanton71 #bag1 later portrait1 head only1 #bbc ,topham1 his wife and daughter1 portraits of the latter by ,sir ,j4 ,reynolds1 #bag1 #bbc ,beaumont and ,fletcher1 collected works of1 published #afdg 1 size of edition and cost per copy then and in #afhj41 ,lee cited on1 #cce ,belgium1 7see ,ypres ,chest7 ,notes from3--,ghent and ,nieuport1 architectural works in progress at1 ,r4 ,petrucci1 #cge rarity of seals of ,gilds in1 reasons for this1 #aic regulations for the protection of ancient monuments in1 #d1 #e ,benincasa1 ,caterina1 see ,s4 ,catherine of ,siena ,berchem1 painting signed by1 but attributed to ,cyp1 7q4 v471 ,guildhall #aijc41 ,head of a ,cow1 #ei ,berenson1 ,b41 ,the ,authorship of a ,madonna by ,solario1 letter1 #aad paintings by ,andrea ,vanni owned by1 ,deposition from the ,cross1 #cba ,virgin and ,child1 #caf paintings by ,vanni pointed out by1 #cba note paintings at ,munich1 panels1 ,last ,judgement1 etc41 attributed by1 to ,giotto1 #aah ,bergamo1 see ,accademia ,carrara ,berkheyde1 ,gerrit1 painting attributed to1 ,guildhall1 #aijc41 ,rising in a ,dutch ,town1 #fj ,berlin1 7see ,raczynski gallery71 fine collection of drawings in1 #bic first folio ,shakespeare at1 provenance of1 and alleged mutilation of1 #ccf paintings by ,jan ,vermeer in gallery at1 #ce ,portrait of ,strozzi by ,titian in gallery at1 7small71 #bhe ,notes from1 ,pictures acquired by the gallery1 #cge ,bewick1 ,t41 one of the initiators of illustration as an art in ,england1 #bid ,biadetto1 or sbiadata1 see ,azzurro della ,magnia ,bibliography and ,reviews3-- #8,the ,ambassadors ,unriddled1' ,dickes1 #cfg #8,ancient ,coffers and ,cupboards1' ,roe1 #beh ,books and ,magazines ,received1 #bff-g #8,contribution a l'tude du ,blason en ,orient1' ,artin ,pasha1 #bfa #8,frans ,hals1' ,davies1 #ajg #8,french ,engravers and ,draughtsmen of the #ahth ,century1' ,lady ,dilke1 reviewed by ,h4 ,bouchot1 #ajd #8,guide to ,siena3 ,history and ,art1' ,w4 ,heywood and ,lucy ,olcott1 #bfj #8,isabella d',este1 ,marchioness of ,mantua1' ,julia ,cartwright1 7,mrs4 ,ady71 #ajf #8,the ,national ,portrait ,gallery1' ,cust1 #aje #8,la ,peinture an ,pays de ,lige et sur les bords de la ,meuse1' ,helbig1 #bfb #8,pintoricchio3 ,his ,life1 ,work1 and ,time1' ,ricci1 7trs4 ,florence ,simmons71 #bef #8,un des ,peintres peu connus de l',ecole ,flamande de ,transition1 ,jean ,gossart1 sa vie et son uvre1' ,maurice ,gossart1 #cfi ,periodicals3-- ,architectural ,review1 #aac1 #bff1 #cgb ,ateneum1 7,helsingfors71 #aab ,emporium1 7,bergamo71 #bff ,gazette des ,beaux-,arts1 #aji1 #bfe1 #cgj ,jahrbuch der ,kniglich ,preussischen ,kunstsammlungen1 #aijc41 #b4 ,heft1 #bfb ,jahrbuch der ,kunsthistorischen ,sammlungen des ,allerhchsten ,kaiserhausen1 #aaj ,l',art1 #aab ,l' ,arte1 ,parts ,i-,,iv1 #bfc ,onze ,kunst1 #aab ,rassegna d',arte1 #aaa1 #bfe1 #cgj ,repertorium fur ,kunstwissenschaft1 #aaa1 #cgb ,revue de l',art ,ancien et ,moderne1 #aab1 #cgb ,zeitschrift fr ,bcherfreunde1 #aac ,bibliothque ,nationale1 ,paris1 several copies of ,gaston ,phoebus and ,,ms4 #faf in1 #aa1 #af ,bici1 ,neri di1 his mediocre acquirements1 #aca ,bivre river1 site of the ,gobelins on1 #bce ,bilbao1 paintings by ,isenbrant exported to1 #cbf ,biographies of ,mussulman saints by ,sultan ,husain ibn ,bikara1 a masterpiece of ,persian literature1 #adc ,birdwood1 ,sir ,g41 cited on the ,tree conventionalized as the ,tree of ,life1 #cec ,birmingham ,museum1 drawings owned by1 how chosen1 #bic note ,bisschop1 ,christopher1 painting by1 shown at ,guildhall1 #aijc41 ,prayer ,disturbed1 #ahi ,black ,sisters1 ,bruges1 paintings owned by1 artist unknown1 panel1 ,s4 ,nicolas of ,tolentino1 and ,roger de ,jonghe1 ,austin friar1 7,bruges1 #aijb471 #ccb ,blake1 ,w41 one of the initiators of illustration as an art in ,england1 #bid ,blochet1 ,e41 ,mussulman ,manuscripts and ,miniatures as illustrated in the recent ,exhibition at ,paris1 ,i41 #acb ,blount1 ,e4 and ,j4 ,jaggard1 publishers of the #afbc4 edition of the first folio ,shakespeare1 #cce ,blue 7see ,azzurro7 ultramarine1 intensity of1 in painting by ,jean ,malouel1 not found in ,italian work1 #ij #8,boccaccio1' illuminated by ,foucquet for ,e4 ,chevalier1 #aa ,boels1 ,l41 paintings by1 ascribed to ,memlinc1 various owners1 #ce ,bold1 ,michael1 ,standing ,salt bequeathed by1 to ,winchester ,college1 #afa-b ,bolney1 ,john1 ,tankard and cover of rare shape presented by1 to ,winchester ,college1 #afa ,bologna1 associations of1 with the ,empress ,isabella1 #bhb ,bonington1 ,r4 ,p41 as a painter of wet sand1 #agh ,bontemps1 ,pierre1 ,french sculptor1 work of1 on the ,tomb of ,franois ,i41 #ie ,book ,illustrations1 ,later ,nineteenth ,century1 ,j4 ,pennell1 ,i41 #bic ,books of ,hours1 illuminated by ,foucquet for ,e4 ,chevalier1 and for the ,duchess of ,cleves1 #aa #8,books of the ,kings1' ,persian ,,mss41 ,sefevan dynasty1 repetitive decorations of1 #ace of the subsequent transition period 7de ,rothschild71 #add ,borgo di ,s4 ,sepolcro1 ,altarpiece at1 artists of1 and fate of central panel1 #cba ,bosboom1 ,jan1 painting by1 shown at ,guildhall1 #aijc41 ,archives at ,veere1 #ahi ,boston and ,salem1 ,u4,s4,a41 crested and initialed porcelain imported to1 from the ,east in the ,,xviii4 cent41 #bga ,botticelli1 ,s41 ,medicean cameo in painting by1 at ,frankfort1 7,portrait of ,lucretia ,tornabuoni71 also occurring in painting by ,g4 ,david1 #cf ,bouchot1 ,h41 ,french ,engravers and ,draughtsmen of the ,eighteenth ,century1 7,lady ,dilke71 review1 #ajd ,bourbon1 ,conntable de1 conspiracy of1 with ,charles ,v4 of ,germany1 #ab ,bouts1 ,dirk1 #ce1 ,gerard ,david possibly a pupil of1 at ,louvain1 #cf ,bow or ,chelsea china factories1 source of ,browne's skill in porcelain-making at ,lowestoft1 #bgb ,brabant1 ,john1 ,duke of1 privileges accorded to1 by the patricians of ,brussels1 #aij ,brahma1 the ,svastika supposed emblem of1 #dc ,brahmin views and use of the ,lotus1 #cej1 #cec ,brandenburg-,ansbach and ,bayreuth1 ,frederick1 ,margrave of1 his daughter ,margaret the ,lady of the portrait by ,drer1 recently acquired by the ,british ,museum1 #bhi ,brera ,gallery1 ,milan1 ,portrait of ,count ,porcia by ,titian in1 #bhe ,brz1 ,jacques de1 and his wife1 indirect connexion of1 with ,gaston ,phoebus1 #aa ,brick-casings1 many-coloured1 at ,apadana1 prototypes of1 #aci1 the same at ,samarcand1 #adc ,brihaspati1 his wife ,tara and her son1 #ced ,british ,engraving1 ,exhibition of1 at the ,v4 and ,a4 ,museum1 #aid ,british ,museum3-- ,british and ,mediaeval ,antiquities ,department1 new acquisitions1 #aii drawings on wood for illustrations to ,dalziel's #8,arabian ,nights1' etc41 owned by1 #cje ,early ,staffordshire ,pottery ,ware in1 #fd et seq4 ,print ,room1 new acquisitions1 #bjj2 ,portrait ,drawing of a ,lady1 by ,drer1 #bhf woodcuts1 #ge rule of1 against purchasing work of living artists1 some effects of1 #bic ,bromley ,collection1 ,altarpiece in five parts by ,b4 ,daddi1 formerly in1 7,parry71 #abf ,bronze age1 the ,svastika in use among peoples of1 #dg ,bronzes1 ,greek 7shown at the ,burlington ,fine ,arts ,club ,exhibition73-- ,amphora ,handle1 ,aphrodite1 7#b71 various owners1 archaic character of1 #bej ,head of ,apollo1 7,devonshire71 #bdc ,mask of ,sea-deity1 7,salting71 #bej ,mounted ,warrior1 the #8,athenum' cited on1 its probable provenance1 #bdc ,plaque or pierced mirror-support1 with ,reclining winged boy1 7,wallis71 #bej ,repouss mirror-cover1 ,eros at a lady's toilet1 #bej ,statuettes1 ,eros1 history of1 #bej seated and emaciated man1 7,wyndham ,cook7 source of1 #bee ,seilenos1 #bej ,brouwer1 ,adriaen1 painting ascribed to1 ,guildhall1 #aijc41 ,interior with ,figures1 possible painter of1 #ef ,brown1 ,ford ,madox1 drawing by for illustrations to ,dalziel's #8,bible ,gallery1' #cje ,browne1 ,robert1 head of the ,lowestoft porcelain factory till #agga41 nine-sided ink-pot bearing his monogram1 7,crisps71 #bgb how he gained his knowledge of the trade1 ib4 ,bruges 7see ,early ,painters of the ,netherlands71 association of ,john ,prevost1 painter1 with1 #ccb ,cathedral of ,st4 ,donatian at1 paintings by ,g4 ,david formerly in1 now in the ,national ,gallery1 #cf ,exhibition of #aijb41 ,the ,early ,painters of the ,netherlands as illustrated by1 ,w4 ,h4 ,j4 ,weale1 #ce1 #cbf faades of houses in1 owned by the ,municipality1 #e ,gild of ,st4 ,john at1 a gild of miniaturists1 connexion of ,gerard ,david with1 #dj great foreign artists of1 #ce-f ,museum1 paintings by ,gerard ,david1 ,judgement of ,cambyses1 two pictures1 7one illustrated71 #cf by ,j4 ,prevost1 ,last ,judgement1 7,bruges1 #aijb471 #ccb and other ,belgian towns in which seals of gilds exist1 #aic ,brushwork of ,frans ,hals1 unsurpassed excellence of1 #eb ,brussels1 association with1 of ,bernard van ,orley1 painter1 #bje city of1 armorial bearings of1 ,,xv4 cent41 #aib ,gilds of1 sketch of their history1 lack of juridical powers1 question of authenticity of their seals1 lack of documents sealed by1 probable reasons for existence of seal matrices1 #aij et seq4 ,museum1 paintings in1 shown at ,bruges1 #aijb41 one attributed to ,memlinc1 ,passion of ,st4 ,sebastian1 #ce one now attributed to ,g4 ,david1 formerly ascribed to ,j4 van ,eyck1 #ci one by ,a4 ,isenbrant1 ,diptych1 ,our ,lady of ,sorrows1 #cbf ,buckingham1 ,duchess of1 painting by1 copy of ,portrait of ,mrs4 ,siddons as the ,tragic ,muse1 by ,sir ,j4 ,reynolds1 7,westminster71 in the ,normanton collection1 #bbd #8,buckle' tea service of genuine ,lowestoft porcelain1 made by ,r4 ,allen1 #agfh41 7,crisps71 #bgb ,buddha1 birth of1 the ,lotus as associated with1 #cej the ,svastika in footprints of1 on ,indian mountains1 #dc ,buddhist sacred flower1 the ,lotus1 #cej1 #cec ,buigne 7or ,vigne71 ,gace de la1 parts of ,gaston ,phoebus borrowed from1 #ae ,building7s71 see ,ancient ,buildings ,bulletta1 ,cardinale del1 colours bought from1 by ,baldovinetti1 #afh ,bunbury1 ,henry ,william1 caricaturist1 ,portrait of his ,wife when ,miss ,horneck1 by ,sir ,j4 ,reynolds1 7,normanton71 and sketch1 7,bunbury71 #bbc ,bunyan's #8,pilgrim's ,progress1' high price paid for scarce edition of1 in #aija41 #cce ,buonarroti1 ,michael ,angelo1 see ,michael ,angelo ,burgoigne1 ,phelippes de ,france1 ,duc de1 original ,gaston ,phoebus dedicated to1 #h ,burgundian ,chest1 shown at ,bruges1 #aijb41 7,hospices civiles1 ,aalst71 #ceh ,burgundy1 ,mary of1 and the trades of ,brussels1 #aib ,burlington ,fine ,arts ,club3-- ,the ,exhibition of ,greek ,art at the1 ,c4 ,smith1 #bcf ,bas-reliefs1 ,fragment of the ,frieze of the ,parthenon1 7,t4 ,d4 ,botterell71 #bcf ,bronzes1 ,amphora ,handle1 7,wyndham ,cook71 ,mask of ,sea-deity1 7,g4 ,salting71 ,plaque1 7,h4 ,wallis71 #bde ,bronzes1 statuettes1 ,aphrodite1 ,nude1 7,c4 ,loeser71 ,aphrodite with ,torch1 7,j4 ,e4 ,taylor71 #bej ,sick ,man1 7,wyndham ,cook71 #bde ,seilenos ,crouching1 7,j4 ,e4 ,taylor71 #bej ,ceramics1 ,krater1 7,harrow ,school71 ,kylix signed ,tleson1 and ,plate signed ,epiktetos1 7,marquess of ,northampton71 #bec ,metal work1 ,mirror-cover1 ,repouss1 7,j4 ,e4 ,taylor71 #bdg ,sculpture1 ,bust of ,aphrodite1 probably by ,praxiteles 7,lord ,leconfield71 #bci ,head of a ,mourning ,woman1 7,c4 ,ponsonby71 ,head of a ,youth 7,sir ,e4 ,vincent71 #bda ,terra-cottas1 ,caryatid ,figure1 7,j4 ,e4 ,taylor71 ,doll1 7,mrs4 ,mitchell71 ,woman ,leaning on ,pedestal1 7,j4 ,e4 ,taylor71 ,woman with ,fan1 7,j4 ,knowles71 ,the ,young ,dionysos1 7,j4 ,e4 ,taylor71 #bea ,plate of ,dr4 ,burton1 headmaster of ,winchester ,college1 circ4 #agdj41 shown at1 #aijb41 #aee other plate exhibited1 #aef ,burnouf on the derivation of the ,suavastika1 #dd ,burslem pottery processes1 ,,xvii4 cent41 ,plot cited on1 #ff ,burton1 ,dr41 headmaster1 plate accrued and re-cast by1 ,winchester ,college1 #aee ,butay1 ,suzanne1 wife of ,c4 ,le ,brun1 #bcj ,byzantine art1 traces of1 in ,nativity and ,adoration1 7,parry71 #aah ,christians1 art of1 #acb1 influence of1 on ,mussulman art1 #ace1 #aci ,cagnolo1 ,don ,guido1 cited on a fresco by ,vanni at ,orvieto1 #cba note ,cairo1 ,college of the ,bathenians at1 built by ,saladin1 #ace ,cairo ,museum1 famous ,koursis at1 #cdc ,canto de' ,gori1 ,florence1 ,baldovinetti's hired house at1 #bc ,cape ,town1 first folio ,shakespeare at1 and its donor1 #ccf ,cariani1 paintings by1 formerly attributed to ,barbarelli 7or ,giorgione71 ex ,leuchtenberg collection3 ,adoration of the ,shepherds1 and ,madonna and ,child1 #gh et seq4 ,la ,vergine ,cucitrice1 7,corsini ,gallery1 ,rome71 illustrated1 #gh ,carpaccio1 resemblance to1 of some of ,gerard ,david's work1 #cf ,carpets1 see ,oriental ,carpets ,carthage1 the ,svastika introduced into1 by travellers to ,phoenicia1 #dg ,cartoons for frescoes1 methods of transferring to the plaster1 #afg ,cashel1 ,dr4 ,palmer1 ,dean of1 nephew of ,sir ,j4 ,reynolds1 his wife the model for ,reynolds's painting of ,prudence1 #bag ,casimir ,,iii41 ,king of ,poland1 #bhi ,castagno1 influence of ,donatello on1 #aca ,cathay1 ,grand ,khan of1 reports of missionaries to1 on ,mongol sacred drawings1 #adj ,catherine de' ,medici1 ,queen of ,france1 her tomb and its sculptor1 #ie ,ceccharelli1 features of work by1 #hi ,cedar1 the1 as the ,tree of ,life1 #cec ,cennini1 ,cennino1 cited on ,,xv4 cent4 methods of the #8maestri di finestre' in ,florence1 #ca cited on various artists' colours1 #afh-i ,ceramics3-- and glass recently acquired by the ,british ,museum1 #aii-bjj ,early ,staffordshire ,ware1 illustrated by ,pieces in the ,british ,museum1 ,r4 ,l4 ,hobson1 #fd ,greek1 ,burlington ,fine ,arts ,club3 ,vases1 and ,plate1 ,krater 7,harrow ,school71 ,kylix by ,tleson1 plate by ,epiktetos1 #bee ,lowestoft ,porcelain ,factory1 ,the1 and the ,chinese ,porcelain made for the ,european ,market in the ,seventeenth ,century1 ,l4 ,solon1 #bga ,samian bowls found during excavations at ,rouen1 #cgd ,three ,italian ,albarelli1 recently acquired by the ,louvre1 ,j4 ,j4 ,marquet de ,vasselot1 #cch ,cerbini1 ,ser ,pierozzo1 engrosser of the patronage deed of the ,cappella ,maggiore di ,s4 ,trinit1 ,florence1 #bh ,chaffers1 ,w41 author of #8,marks and ,monograms1' his erroneous theory regarding ,lowestoft porcelain1 #bga1 #bgg1 #bgh ,chaldeans1 the ,svastika in use among the1 #dg ,chalices1 ,mediaeval ,silver from ,iceland in the ,victoria and ,albert ,museum1 ,h4 ,p4 ,mitchell1 #gj ,the ,sor ,chalice1 7from ,denmark71 ,h4 ,p4 ,mitchell1 #ceg ,chamberlayne ,collection1 painting by ,sir ,j4 ,reynolds in1 ,lady ,hamilton as a ,bacchante1 copy1 ,normanton collection1 #bbd ,chantilly1 library of the ,duc d',aumale at1 copy4 of ,gaston ,phoebus in1 #ae ,charles ,,ii41 silver plate of his reign owned by ,winchester ,college1 #aee ,charles ,v41 ,emperor of ,germany1 and the butchers of ,brussels1 #aic coronation festivities of1 at ,bologna1 possible connection of ,titian's portrait of the ,empress ,isabella with1 #bhb landsknechte of1 at the battle of ,pavia1 #h1 #ab portraits of1 by ,titian referred to1 #bha one at ,munich with landscape background1 #bhe ,portrait of the ,empress ,isabella1 by ,titian1 commisioned by1 #bha ,charles ,,vii4 of ,france and his daughter ,charlotte1 #aa1 #ab ,chests3-- ,burgundian1 shown at ,bruges1 #aijb41 7,hospices civiles1 ,aalst71 #cfh ,oaken1 of ,ypres1 #ceg ,chevalier1 ,estienne1 ,treasurer of ,charles ,,vii4 of ,france1 #8,book of ,hours' and #8,boccaccio' illuminated for1 by ,j4 ,foucquet1 #aa ,chicago1 first folio ,shakespeare said to have been destroyed at1 in the fire of #ahga41 #ccf ,ch'ien ,lung1 ,emperor of ,china1 handwriting of1 on roll acquired by the ,print ,room1 ,british ,museum1 #bje ,chigi1 ,count ,fabio1 ,siena1 painting by ,andrea ,vanni1 owned by1 ,annunciation1 #caf ,china1 7see ,manchu1 ,emperor of71 the rose-lotus used for food in1 #cej use of the ,svastika in1 #dc ,chinese characters ,c4 h4 e41 renewal and perpetuity of life signified by1 #dd influence on ,persian art1 #adj1 #adc-d paintings recently acquired by the ,print ,room1 ,british ,museum1 #bjj ,porcelain made for the ,european ,market during the ,eighteenth ,century1 ,the ,lowestoft ,porcelain ,factory and1 ,l4 ,solon1 #bga ,chini1 ,dario1 restorer of ,baldovinetti's frescoes1 #agc ,christian symbolism1 the ,tree of ,life in1 #cec ,christie's1 notable persons present at1 during the ,thomond sale1 #ahba41 #baa #8,chrysoloras1' printed by ,guillen1 result of use of accents in1 #ceh-fj #8,cicerone1' the1 cited on a painting by ,a4 ,vanni at ,siena1 #caf note ,cinelli1 ,giovanni1 cited on the subjects of ,baldovinetti's frescoes and their excellence1 #agj ,clarendon ,press1 facsimile of the first folio ,shakespeare1 and its original1 #cce ,cleves1 ,duchess ,marie of1 #8,book of ,hours' made for1 by ,j4 ,foucquet1 #aa ,clifford's ,inn1 and the ,protection of ,ancient ,buildings1 editorial1 #c ,cluny1 ,htel de1 ,paris1 ,group of ,les ,trois ,parques in1 by ,g4 ,pilon1 #ie ,cnoop1 ,cornelia1 wife of ,gerard ,david1 paintings by1 ,triptych 7of miniatures71 7,colnaghi71 #dj ,cockerell1 drawings by1 of ,greece1 shown at ,burlington ,fine ,arts ,club ,exhibition1 #bee ,cockpit ,hill1 ,derby1 slipware of1 #fh ,codde1 ,pieter1 and other painters1 greatly resembling ,palamedes in style and subject1 #ef1 work by ,pot1 at ,hampton ,court1 formerly attributed to1 ib4 ,coins of the ,aiyubite 7heterodox7 ,sultans1 mixed devices on1 #ace of the ,arsacidae1 ,greek influence manifest in1 #aci ,colbert1 minister of ,louis ,,xiv4 of ,france1 and the ,gobelins manufactory1 #bbi-ce his choice of ,le ,brun as organiser1 #bbi1 #bcj ,collection1 ,the1 of ,pictures of the ,earl of ,normanton1 at ,somerley1 ,hampshire1 ,m4 ,roldit2 ,i4 ,pictures by ,sir ,joshua ,reynolds1 #bjf ,collection1 ,the1 of ,pictures of ,sir ,hubert ,parry1 at ,highnam ,court1 near ,gloucester1 ,r4 ,fry2 ,i4 ,italian ,pictures of the ,fourteenth ,century1 #aag ,colnaghi1 ,sir ,d41 author of #8,dictionary of ,florentine painters1' #bg ,colour1 intensity of1 in ,,xv4 cent4 ,florentine painted windows1 #ca in two pictures1 probably ,french1 ,,xiv4 cent41 7,dowdeswell71 #ij ,colouring matter used in ,burslem pottery-making1 ,,xvii4 cent41 #ff ,colours employed by ,alesso di ,baldovinetti1 #afg-i ,comparative ,exhibition of ,greek and ,mediaeval art1 suggested by ,c4 ,smith1 #bcf1 #bdc ,complutensian ,polyglot ,bible1 type cut for1 7the ,alcal fount71 #ceh ,confraternity of the ,holy ,cross1 ,furnes1 ,altarpiece commissioned by1 from ,bernard van ,orley1 #bje ,coningham1 ,capt4 ,w41 his collection of drawings by old masters sold to ,colnaghi1 #ahdf41 possible inclusion in1 of the ,drer portrait1 recently acquired by ,british ,museum1 #bhf ,cook1 ,h41 ,two ,alleged #8,giorgiones1' #gh ,copper ,koursi ,cover1 ,arabic1 gold- and silver-encrusted1 acquired by the ,louvre1 ,g4 ,migeon1 #cdd ,corinthian ,art1 ,,vi4 cent4 ,b4,c41 characteristics of1 #bdc ,cornelis1 ,albert1 painting by1 the only known work of1 ,coronation of the ,virgin1 7,bruges1 #aijb471 #ccb ,correspondence1 7see also ,foreign do471 #aac1 #bfg1 #cgf ,corsini ,gallery1 ,rome1 painting by ,cariani in ,la ,vergine ,cucitrice1 #gh ,courajod1 ,louis4 7the late71 security assured by1 to the ,bas-relief probably by ,duccio1 7,louvre71 #hi and others1 views of1 on the artist of the ,p4 ,scipioni ,bas-relief1 #hd ,courbould1 black-and-white drawing by1 for an illustration1 #cje ,coventry1 ,sir ,w41 and the ,hon4 ,henry1 first sale by auction of a first folio ,shakespeare1 at sale of the library of1 #afhg41 price unknown1 #cce ,coxon1 ,thomas1 engraver1 no work by1 shown at ,v4 and ,a4 ,museum ,exhibition1 #aid ,crisps1 ,a41 specimens of genuine ,lowestoft-made #8,lowestoft china' owned by1 #bgb ,cromwell1 ,thomas1 visit of1 to ,winchester ,college1 #adi ,cross1 the1 origin and symbolism of1 #dg ,crowe and ,cavalcaselle1 cited on ,bernardo ,daddi1 #abe1 #abf on ,titian's paintings1 #bha1 #bhb notes on a painting by ,a4 ,vanni1 usually attributed to ,barna1 #caf ,ctesiphon1 ,ivn of1 the ,palace of1 gigantic oval of1 tradition concerning1 #aci ,culmbach1 ,casimir1 ,margrave of1 his family1 and the ,portrait of a ,lady1 by ,drer1 recently acquired by the ,british ,museum1 #bhi lost portrait of his wife by the same1 #bij conjectured identity of ,portrait of a 7,young7 ,lady1 7,heseltine71 with this lady1 ib4 ,cunningham1 views of1 regarding origin of name of ,tirthakar sect in ,thibet1 #dd ,cups1 see ,silver ,plate ,curmer's edition of #8,paul et ,virginie1' and its illustrators1 #bii1 #cjf ,cust1 ,r4 ,h4 ,h41 ,professor ,langton ,douglas and ,documentary ,evidence1 letter1 #aac ,cyp1 ,a41 characteristics of his work1 #ei painting attributed to1 ,guildhall1 #aijc41 signed ,berchem1 ,head of a ,cow1 #ei painting by1 ,guildhall1 #aijc41 ,herdsman and ,woman tending ,cattle1 #ei ,cyprus1 the ,svastika introduced into1 by travellers to ,phoenicia1 #dg ,daddi1 ,bernardo1 birth and death dates of1 #abf painting by1 ,altarpiece in five parts 7,parry71 #abe provenance of1 #abf ,daksha1 the twenty-seven daughters of1 their symbolism1 #ced ,dallaway1 ,james1 cited on ,england as #8the seat and refuge of the arts1' #bcf d',alviella1 ,count ,goblet1 see ,goblet d',alviella ,dalziel's #8,arabian ,nights' and #8,goldsmith1' #ahfe41 preservation and present ownership of original drawings on the wood for1 #cje #8,bible ,gallery1' drawings on wood for1 by ,watts1 ,poynter1 etc4 7,v4 and ,a4 ,m471 #cje d',andrea1 ,giovanni1 glazier of ,florence1 #afh ,daria1 wife of ,baldovinetti1 #bc ,date-palm1 hom1 or ,soma-tree1 sometimes supposed to be the ,tree of ,life1 #cej1 #cec ,daubigny1 ,c4-,f41 as a painter of the ,spring1 #agg painting by1 ,on the ,seine 7,balli71 #cfj ,daucher1 ,hans1 ,medal by1 with portrait of ,susanna of ,bavaria 7,vienna ,gallery71 #bij d',aumont1 ,marshal1 house of1 decorated by ,le ,brun1 #bcj ,davenport in #8,aphrodisiaco' supporting ,higgins' view on origin of official name for ,governor of ,thibet1 #dd ,david1 ,gerard1 painter of ,bruges1 notes on his history and works1 #cf paintings by1 ,adoration of the ,magi1 formerly attributed to ,j4 van ,eyck1 owned by ,brussels ,museum1 shown at ,bruges1 #aijb41 #ci2 ,altarpiece in the ,national ,gallery1 and 7part of a7 ,triptych1 #cf2 ,triptych1 ,baptism of ,christ1 shown at ,bruges1 #aijb41 #cf2 ,b4,v4,m4 with ,child1 ,virgin ,saints1 and ,angels1 ,rouen ,museum1 shown at ,bruges1 #aijb41 7illustrated71 #cf1 #ci2 ,judgement of ,cambyses1 two pictures1 in ,bruges ,museum 7one illustrated71 #cf2 miniatures1 and by his wife ,c4 ,cnoop1 where preserved 7some illustrated71 #dj2 parts of a ,triptych1 7,j4 ,simon of ,berlin71 shown at ,bruges1 #aijb41 #ci panels1 part of an ,altarpiece1 7,lady ,wantage71 #ci ,triptych1 ,st4 ,anne1 the ,b4 ,v4 ,m 4 and ,child with ,saints1 7,m4 de ,somze71 shown at ,bruges1 #aijb41 #ci ,transfiguration1 7,church of ,our ,lady1 ,bruges71 shown at ,bruges1 #aijb41 #dj paintings possibly attributable to1 variously owned1 some shown at ,bruges1 #aijb41 #ci-dj period of his painting in ,bruges1 #cbf dates1 limiting known period of production of1 #ci ,davis1 ,mrs4 ,c4 ,e41 drawings on wood owned by1 #cje ,dealers1 ,the ,publication of ,works of ,art belonging to1 editorial1 #e de ,bock1 ,thophile1 characteristics of his work1 #ahi painting by1 shown at ,guildhall1 #aijc41 ,an ,avenue in ,holland1 #ahi de ,brz1 ,jacques1 see ,brz1 ,jacques de de ,brocar1 ,arnaldo ,guillen1 printer of the ,complutensian ,bible and other books1 #ceh de ,calonne1 ,m41 former owner of a painting attributed 7erroneously7 to ,rembrandt1 ,portrait of the ,artist 7,guildhall1 #aijc471 #eb de ,carpin1 ,jean du ,plan1 missionary to the ,grand ,khan1 cited on ,mongol sacred pictures1 #adj de ,charenton1 ,enguerrand1 painter1 influence of ,italian ideas on1 #ij de ,comano1 ,marc1 and ,franois de la ,planche1 ,flemish upholsterers1 brought to ,paris by ,henri ,,iv41 #bce de ,foix1 see ,foix de ,iode1 plate by1 of the picture from which ,titian painted his ,portrait of the ,empress ,isabella1 #bhb note de ,keyser1 ,thomas1 painting by1 ,portrait of a ,gentleman 7,guildhall1 #aijc471 and characteristics of his art1 #ee de ,koninck1 ,philips1 characteristics of his painting1 #ei painting1 now ascribed to1 7,guildhall1 #aijc471 his masterpiece1 attributed to ,rembrandt1 ,commencement d',orage1 7,lady ,wantage71 #fj et seq4 de ,koninck1 ,s41 painting probably by1 ,head of a ,man1 usually attributed to ,rembrandt1 7,guildhall1 #aijc471 #eb de la ,bazinire1 ,bertrand1 house of1 decorated by ,le ,brun1 #bcj de la ,planche1 ,f41 see de ,comano and ,delft1 see ,van der ,neer ,delft-faence1 trade of ,holland in ,english clays for1 #bgg and in the manufactured article1 with ,lowestoft1 #bgb ,delhi1 the ,grand ,moguls of1 their love for art1 #adc de ,limbourg1 ,pol1 miniature by1 a copy of a fresco by ,t4 ,gaddi at ,florence1 #ij della ,robbia1 ,andrea1 ornaments of the loggia of the ,spedale di ,s4 ,paolo1 ,florence1 by1 #bc de ,marsy1 ,gaspard and ,balthazar1 employed under ,le ,brun1 #bce de' ,medici1 ,giuliano1 in ,baldovinetti's frescoes1 #agj ,lorenzo1 the ,magnificent1 in ,baldovinetti's frescoes1 #agj ,demeter1 meaning of the ,svastika sign on1 #dc de' ,migliorelli1 ,giovanni di ,jacopo1 notary of ,florence1 #agj ,denmark 7see ,anne of71 regulations for the protection of ancient buildings in1 #d1 #e ,sor ,chalice 7found in grave of ,bishop ,absalon71 ,h4 ,p4 ,mitchell1 #ceg #8,denunzie' of ,baldovinetti1 details of his affairs given by1 #bc ,de ,passe1 ,crispin1 engraver1 portrait of ,queen ,elizabeth by1 ,v4 and ,a4 ,museum ,exhibition 7,h4,m4 the ,king71 #aid family1 prints by1 ,v4 and ,a4 ,museum ,exhibition 7,h4,m4 the ,king71 #aid de ,pellegrini1 ,g41 ,mr4 ,julius ,wernher's ,titian 7,portrait of ,giacomo ,doria71 7letter71 #bfg ,de ,poitiers1 see ,poitiers1 ,diane1 ,jean1 and ,marie de de ,quaroube1 ,joan1 widow of ,simon ,marmion1 first wife of ,john ,prevost1 painter1 #ccb ,derby1 ,countess of1 see ,hamilton1 ,lady ,betty twelfth ,earl of1 his two wives1 #bah de ,richelieu1 ,cardinal1 works done for1 by ,le ,brun1 his resultant appointment1 #bbi-cj de ,roias1 ,francis1 ,dominican ,breviary owned by1--its artist1 #ci de ,rorthays1 ,vicomte ,g41 ,notes from ,france1 ,exhibition of ,french ,primitives1 to be held #aijd41 #cgc de ,rothschild1 ,baron ,edouard1 ,persian ,,ms4 late ,,xv4 cent4 owned by1 #add de ,ruffo ,bonneval1 ,viscount1 painting by ,j4 ,prevost owned by1 ,last ,judgement 7,bruges1 #aijb471 #ccb de ,ruysbroeck1 ,guillaume1 missionary to the ,grand ,khan1 cited on ,mongol sacred pictures1 #adj ,des ,marez1 ,g41 keeper of the records of ,brussels1 and the ,gilds' ,seals discovered by him1 #aij et seq4 de ,somze ,collection1 painting by ,gerard ,david in1 ,triptych1 ,st4 ,anne1 the ,b4,v4,m4 and ,child with ,saints1 7,bruges1 #aijb471 #ci painting by ,isenbrant ex1 ,s4 ,mary ,magdalene in the ,desert 7,bruges1 #aijb471 #cca de ,thorigny1 ,lambert1 decorations in house of1 by ,le ,brun1 results to the painter1 #bcj de ,vasselot1 ,j4 ,j4 ,marquet1 ,three ,italian ,albarelli1 recently acquired by the ,louvre1 #cch ,devonshire1 ,duke of1 disappearance of copy of ,gaston ,phoebus from his library1 #ba owner of a first folio ,shakespeare1 original of the ,clarendon ,press facsimile1 #cce de ,vos1 ,cornelis1 painting by1 ,guildhall1 #aijc41 ,portrait of ,ambrogio ,marchese di ,spinola1 #ee ,dharma and ,prabhakara1 parents of ,rishi ,atri according to some legends1 #ced ,dibdin's ,decameron1 description of lost copy of ,gaston ,phoebus in1 #ba ,dickinson1 ,w41 engraver of lost ,portrait of the ,countess of ,derby by ,sir ,j4 ,reynolds1 #bah ,digby1 ,sir ,kenelm1 prices realized for the works of ,ben ,jonson and ,beaumont and ,fletcher at the sale of his library1 #afhj41 #cce ,dodgson1 ,campbell1 ,a ,newly ,discovered ,portrait-drawing by ,drer1 #bhf ,dogs1 excellence of ,gainsborough and ,velasquez as painters of1 #bah ,domenico1 gold-beater of ,florence1 #afi ,donatello and his followers1 #aca ,dordrecht1 associations of1 with ,cyp1 #ei ,dormer-,hunter first folio ,shakespeare1 price paid for1 #aija41 7,c4 ,scribner1 ,new ,york71 #cce ,douglas1 ,professor ,langton1 and ,documentary ,evidence1 letter1 ,r4 ,h4 ,h4 ,cust1 #aac ,drawings3-- by ,cockerell1 ,greek ,landscapes1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bee by ,drer1 ,a41 on green paper1 ,portraits1 of a ,lady1 of his ,wife1 of ,lord ,morley 7,b4,m471 of a ,young ,lady 7,heseltine71 #bhg one in the ,vienna ,hof ,museum1 deductions from as to authenticity of ,portrait recently acquired by the ,british ,museum1 #bhi ,drawing1 ,a ,newly ,discovered ,portrait--1 by ,drer1 ,c4 ,dodson1 #bhf for illustrations4 see ,later ,nineteenth-century ,illustrations and under artists' names ,dresden ,gallery1 tine collection of drawings at1 #bic paintings by ,jan ,vermeer in1 #ee ,druggists' jars1 or ,albarelli and similar ware1 principal pieces of1 and their source1 #cch ,dubosc1 ,georges1 ,notes from ,rouen1 #cgd ,duccio1 ,agostino di1 sculptor1 ,bas-relief 7probably7 by ,virgin and ,child with ,saint and ,angels1 7,louvre71 #hi other works of1 ib4 ,du ,celier1 ,john1 ,diptych painted for1 by ,memlinc1 7,louvre71 prototype of one by ,isenbrant1 #cbf picture painted for1 by ,memlinc1 ,sacra ,conversazione1 now in the ,louvre1 #ci ,dudley and ,ward1 ,lady1 portrait of1 by ,sir ,j4 ,reynolds1 as ,fortitude1 clad as ,britannia 7,normanton71 #baa1 #bag ,dulwich ,college gallery1 painting by ,sir ,j4 ,reynolds in1 replica of ,portrait of ,mrs4 ,siddons as the ,tragic ,muse1 #bbd ,dumontier1 views of1 on the ,svastika as development of ,chinese characters ,c4 h4 e41 #dd ,dunford1 ,clark1 ,london agent of the ,lowestoft ,porcelain ,factory1 #aggj41 #bgg ,drer1 ,agnes1 wife of ,albrecht1 ,portrait of1 by her husband 7,b4,m471 #bhi ,drer1 ,albrecht4 ,a ,newly ,discovered ,portrait-,drawing by1 ,c4 ,dodgson1 #bhf drawings by1 on green paper1 ,portrait of a ,lady1 ,portrait of his ,wife1 and ,portrait of ,lord ,morley 7,b4,m471 #bhf-i ,portrait of a ,young ,lady 7,heseltine71 #bhg provenance and authenticity of the first drawing1 #bhf-i one1 with notes on a dream 7,vienna ,hof ,museum71 deductions from1 as to authenticity of ,portrait recently acquired by the ,british ,museum1 #bhi painting by1 lost votive picture1 with portraits of the ,margrave of ,culmbach and his wife1 #bij ,dur-,sarkayan1 glazed-brick ,bas-reliefs of1 #aci ,dutch ,exhibition1 ,the1 at the ,guildhall2 ,i4 ,the ,old ,masters1 #ea ,,ii4 ,the ,modern ,painters1 #agg painters1 modern1 representative collection of1 at ,glasgow ,exhibition1 #agg painters to whom the picture by ,hendrik ,pot1 at ,hampton ,court1 has been successively attributed1 #ef ,duyster1 ,willem ,cornelisz1 and other painters greatly resembling ,palamedes in method and subject1 #ef ,early ,french ,printers of ,gaston ,phoebus1 #h ,early ,painters1 ,the1 of the ,netherlands1 as illustrated by the ,bruges ,exhibition of #aijb41 ,w4 ,h4 ,j4 ,weale1 #ce1 #cbf ,early ,staffordshire ,ware1 illustrated by pieces in the ,british ,museum1 ,r4 ,l4 ,hobson1 #fd ,editorial ,articles3-- ,clifford's ,inn and the ,protection of ,ancient ,buildings1 #c ,the ,publication of ,works of ,art belonging to ,dealers1 #e ,edward ,,iv41 visit of and loan of live lion by1 to ,winchester ,college1 #adi ,edward ,,vi41 sequestration of ,winchester ,college plate in the reign of1 #aej ,egypt1 7see ,cairo71 and the ,lotus1 #cej ,egyptian influence on ,arab ,illuminations1 #acf and ,nubian houses1 dreariness of1 #cdi ,elstracke1 ,renold1 ,flemish engraver1 prints by1 shown at ,v4 and ,a4 ,museum ,exhibition2 ,prince ,charles1 etc4 7,h4,m4 the ,king71 #aid ,ely cathedral1 paintings on roof of nave of1 by ,t4 ,g4 ,parry1 #aag ,empress ,isabella1 the1 ,titian's ,portrait of1 ,g4 ,gronau1 #bha ,england 7see ,british71 pre-eminence of1 in private collections of ,greek antiquities1 #bcf ,english engravers employed on ,curmer's #8,paul et ,virginie1' #cjf potters1 copyists of ,chinese decoration1 #bgh ,engraving1 see ,british ,engraving ,engraving7s71 shown at the ,v4 and ,a4 ,museum ,exhibition1 by de ,passe1 ,crispin1 ,portrait of ,queen ,elizabeth 7,h4,m4 the ,king71 #aid others by members of the same family1 ib4 by ,elstracke1 ,r41 ,prince ,charles1 etc4 7,h4,m4 the ,king71 #aid by ,gemini1 ,thomas1 #aid ,landseer1 school of1 7,sheepshanks collection71 #aii by ,rogers1 ,william1 the first important ,british engraver1 ,portraits1 ,alphonso1 ,king of ,castile1 ,godfrey ,aldelmar1 ,queen ,elizabeth1 7,h4,m4 the ,king71 and ,sir ,t4 ,docwra1 #aid by ,woollett1 ,w41 and his school of ,engravers1 plate by and by his pupil1 ,roman ,edifices in ,ruins1 after ,claude1 and other plates1 #aid-i ,epiktetos1 plate signed by1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bee ,escurial1 ,spain1 loss of the original of ,gaston ,phoebus from1 #ahji41 #h ,esther1 ,queen1 the ,apadana of1 and its art1 #aci ,etching7s73-- by ,rembrandt1 ,the ,three ,trees1 compared with the painting1 ,le ,commencement d',orage1 #fc at the ,v4 and ,a4 ,museum ,exhibition of ,british ,engraving1 #aii ,europe1 7see ,northern ,europe71 the ,tree of ,life in the ,symbolism of1 #cec ,everat1 printer of ,curmer's edition of #8,paul et ,virginie1' etc41 #cjf ,exhibition7s71 see ,british ,engraving1 ,bruges1 ,glasgow1 ,guildhall1 ,hague1 ,mussulman ,art1 etc4 of ,french ,primitives1 to be held #aijd41 ,g4 de ,rorthays1 #cgc ,the1 of ,greek ,art1 at the ,burlington ,fine ,arts ,club1 ,c4 ,smith1 #bcf ,fabritius1 ,karel1 possibly the painter of ,ruth and ,naomi1 attributed to ,rembrandt1 ,guildhall1 #aijc41 #eb ,faenza1 ,ceramic ware of1 #cch1 #cdc ,fa-hiau1 7a doctor of reason71 cited on the ,tao-sse of ,china1 #dg ,faithorne and other ,engravers1 latter ,,xvii4 cent41 fine work by1 shown at the ,v4 and ,a4 ,museum ,exhibition1 #aid ,falconer1 ,miss1 7,hon4 ,mrs4 ,stanhope71 ,portrait of1 by ,sir ,j4 ,reynolds1 as ,contemplation1 7,normanton71 #bag ,family names of painters1 importance of writing them correctly1 #ccb note ,farnese family1 patrons of ,titian1 #bha once owners of the painting from which he painted his ,portrait of the ,empress ,isabella1 #bhb ,farren1 ,miss1 actress1 afterwards ,countess of ,derby1 #bah ,fei1 ,paolo di ,giovanni1 a pupil of ,andrea ,vanni1 painting by1 ,madonna del ,rosario1 7,s4 ,domenico71 other paintings and their locations1 #cbe ,ferdinand1 ,archduke1 ,duke of ,tyrol1 ,codex ,,ms4 #faf of ,gaston ,phoebus presented to1 by ,bishop ,bernard of ,trent1 #ab ,lord ,morley's visit to1 with the order of the ,garter1 #aebc41 and ,drer's portrait of the latter1 #bhi ,ferrukh ,siyyar1 books owned by1 #adc ,fiesole ,cathedral1 painting by unknown artist1 ,florentine school1 early ,,xv4 cent41 in1 #aca ,finest ,hunting ,,ms4 ,extant1 the1 ,w4 ,a4 ,baillie-,grohman1 #h ,first ,folio ,shakespeare1 the1 ,the ,geographical ,distribution of1 ,f4 ,rinder1 #cce ,flanders1 see ,early ,flemish ,painters1 and ,elstracke ,flemish ,school1 artist unknown1 painting by1 shown at ,bruges1 #aijb41 ,panel1 ,s4 ,nicolas of ,tolentino1 and ,roger do ,jonghe1 ,austin ,friar1 7,black ,sisters1 ,bruges71 #ccb ,flemish upholsterers brought to ,paris by ,henri ,,iv41 #bce ,florence1 see ,baldovinetti1 ,opera di ,duomo1 ,s4 ,croce1 ,s4 ,trinit1 ,spedale di ,s4 ,paolo1 etc4 ,ceramic wares of1 #cdc ,florentine ,academy1 painting by ,a4 ,baldovinetti in1 ,altarpiece1 7formerly in ,s4 ,trinita71 ,trinity with two ,saints1 #cb ,florentine painters1 works of1 in the ,parry collection1 #aag et seq4 ,fltner1 ,p41 ,medal by1 with portrait of ,susanna of ,bavaria1 7,munich71 #bij ,foix1 ,agnes de1 daughter of ,philip ,,iii4 of ,navarre1 wife of ,gaston de ,foix1 #aa ,gaston de1 7,gaston ,,iii4 of ,barn and ,foix1 surnamed ,phoebus71 patron of ,froissart1 author of the #8,livre de ,chasse' known as ,gaston ,phoebus1 #h characteristics of1 as shown by his book1 #af made ,lieutenant de ,roi in ,languedoc and ,saxony1 #h marriage of1 with ,agnes daughter of ,philip ,,iii of ,navarre1 #aa his nicknames for his secretaries1 #h his remorse for the murder of his son1 #ae ,fonthill1 ,mrs4 ,alfred ,morrison's collection of ,lace at1 #ie ,foreign ,correspondence1 #cgc ,notes from ,belgium1 ,ghent and ,nieuport1 architectural works in progress at1 ,r4 ,petrucci1 #cge from ,berlin1 ,pictures acquired by the ,gallery1 #cge from ,france1 ,exhibition of ,french ,primitives1 7to be held #aijd471 ,g4 de ,rorthays1 #cgc repairs to the cathedral etc41 and ,samian bowls1 coins1 etc41 found during excavations at ,rouen1 ,g4 ,dubose1 #cgd from ,vienna1 ,pictures in the new ,modern ,gallery1 #cge ,foucquet1 ,jean1 valet-painter to ,charles ,,vii4 of ,france1 #aa ,boccaccio and ,book of ,hours executed by1 for ,e4 ,chevalier1 and ,book of ,hours for the ,duchess of ,cleves1 ib4 illuminations in ,,ms4 #faf of ,gaston ,phoebus attributed to and other illuminated ,,mss4 executed by1 ib4 influence of ,italian ideas on1 #ij ,fouquet1 ,superintendent to ,louis ,,xiv41 patron of ,le ,brun1 #bcj his ftes of #afei41 organized by ,le ,brun1 ib4 ,france1 7see ,louvre1 ,st4 ,denis1 ,paris1 etc47 ,drawings in1 storage and exhibition of1 #bic ,french and ,english illustrators of the early ,,xix4 cent41 different aims of1 #cjf ,german and ,english engravers employed on ,curmer's #8,paul et ,virginie1' #cjf illustrators working in1 #ahcf4 et seq41 #bii ,notes from3-- ,exhibition of ,french ,primitives 7to be held #aijd741 ,g4 de ,rorthays1 #cgc ,rouen1 repairs to the ,cathedral1 etc41 and ,samian bowls1 coins1 etc41 found during other excavations at1 ,g4 ,dubosc1 #cgd regulations for the protection of ancient buildings in1 #d1 #e tendency to centralization in1 temp4 ,louis ,,xiv41 #bbi ,francesci1 ,piero dei1 painting by1 central panel of ,altarpiece1 ,borgo ,s4 ,sepolcro1 ,baptism of ,christ1 7,london71 #cba ,francis ,i4 of ,france and ,diane de ,poitiers1 #ab ,tomb of1 designed by ,p4 ,delorme1 executed by ,bontemps1 ,perret1 and ,pilon1 #ie ,franciscan administration of the ,spedale di ,s4 ,paolo1 ,florence1 #bc-d ,frankfort1 ,stdel ,institute at1 painting by ,botticelli in1 details identical with those in a painting by ,g4 ,david1 in ,bruges ,museum1 #cf ,fraschetti1 and ,stettiner1 studies of1 on ,albarelli1 see ,albarelli ,fredi1 ,bartolo di1 a pupil or partner of ,vanni1 #cba influence shown in paintings by1 #cji ,french ,art of the ,,xiv4 cent41 ,italian influence discernible in1 #ij ,furniture of the ,seventeenth and ,eighteenth ,centuries2 ,e4 ,molinier2 ,,ii4 ,the ,louis ,,xiv4 style3 ,the ,gobelins1 #bbi paintings probably ,,xiv4 cent41 artists unknown1 ,adoration of the ,magi and ,dormition of the ,b4,v4,m4 7,dowdeswell71 #hi ,primitive painters1 ,exhibition of1 to be held #aijd41 ,g4 de ,rorthays1 #cgc ,revolution1 suppression of the trade corporations under1 #bbi ,frescoes by ,a4 ,baldovinetti in the ,cappella ,maggiore1 ,s4 ,trinit1 ,florence1 subjects of1 and portraits amongst1 ,vasari cited on1 #agj early decay1 ruthless destruction and recent restoration of1 #agc methods of transferring cartoons for1 to plaster1 #afg at ,pisa1 attributed by ,milanesi to ,daddi1 ,triumph of ,death1 #abf ,fresco-painting7s7 by ,sir ,f4 ,leighton1 7,v4 and ,a4 ,m471 #aag ,parry's researches into and practice of the art of1 #aag ,friedlnder1 ,dr41 cited on the ,annunciation attributed to ,memlinc1 7,prince ,radziwill71 ,bruges1 #aijb41 #ce views of1 on the ,adoration of the ,magi attributed to ,g4 ,david1 shown at ,bruges1 #aijb41 #ci and on a ,holy ,family so attributed1 #dj ,fry1 ,r41 ,pictures in the ,collection of ,sir ,hubert ,parry1 at ,highnam ,court1 near ,gloucester2 ,i4 ,italian ,pictures of the ,fourteenth ,century1 #aag ,furniture1 ,french1 of the ,seventeenth and ,eighteenth centuries1 ,e4 ,molinier2 ,,ii4 ,the ,louis ,,xiv4 ,style3 ,the ,gobelins1 #bbi ,furtwngler1 ,professor1 cited on ,apollo as the 1 #bdd cited on the sculptor of the ,leconfield ,head of ,aphrodite1 #bdi and ,mrs4 ,strong1 views of1 on the modeller of the ,head of ,zeus1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bdi ,gaddi1 ,agnolo1 painting by1 ,coronation of the ,virgin1 7,parry71 #abf ,taddeo1 follower of ,giotto1 #abe painting by1 ,coronation of the ,virgin1 7,s4 ,croce71 #abf fresco by1 in ,s4 ,croce1 ,florence1 copied in miniature by ,pol de ,limbourg1 #ij ,gainsborough1 ,t41 excellence of1 as a painter of dogs1 #bah ,galerie d',apollon1 ,louvre1 work of ,le ,brun1 #bcj1 #bce d',hercule1 painted by ,le ,brun in the de ,thorigny mansion1 his consequent call to ,vaux1 #bcj ,gambart sale1 drawings by ,millais for illustrations to ,dream of ,fair ,women purchased at1 by ,v4 and ,a4 ,museum1 #bid note ,gandhi's views on the origin of the name of the ,tirthakar sect of ,thibet1 #dd ,gaston ,phoebus1 see ,foix1 ,gaston de ,gaston ,phoebus1 familiar title of the ,livre de ,chasse1 written by ,gaston ,,iii4 of ,barn and ,foix1 #aa ,codex ,,ms4 #faf of1 now with others in ,bibliothque ,nationale1 ,paris1 #ae contents summarized1 #af difference between it and other mediaeval hunting-books1 #ae illuminations in1 #ae2 locale and losses of existing copies of1 #af1 #ba portions of1 borrowed from other writers1 #ae prologue of1 a reflection of the spirit of the age1 #ae-af ,gaucheraud1 researches of1 on ,codex ,,ms4 #faf of ,gaston ,phoebus1 #h ,gemini1 ,thomas1 title-page to #8,anatomy' of1 early instance of ,british engraving1 7,v4 and ,a ,m471 #aid ,genoese war with ,florence1 ,b4 ,gianfigliazzi the #8,commessario' of ,florence in1 #bh ,geographical ,distribution1 ,the1 of the ,first ,folio ,shakespeare1 ,f4 ,rinder1 #cce its publishers1 a facsimile of1 and its original1 ,lee's notes on1 first authentic sale of a copy by auction1 #cce first priced records1 classification of copies extant1 #ccf table showing present ownership of said copies1 #ccg ,germany 7see ,bavaria1 ,berlin1 ,charles ,v41 ,dresden1 ,drer1 ,munich1 etc471 7,la ,magnia71 source of #8,azzurro della ,magnia1' #afh ',ghazels1' the1 of ,hfiz4 #adc ,ghent1 ,crypt staircase1 etc41 at ,s4 ,bavo's1 #cge ,ghirlandajo1 ,domenico1 pupil of ,baldovinetti1 works of1 in ,florence1 #agd ,gianfigliazzi1 ,bongiani1 patron of the ,capella ,maggiore of ,s4 ,trinit1 ,florence1 his agreement with ,baldovinetti1 #bg1 #afg his family history1 high official rank1 and connexion with the ,chapel1 #bh et seq4 death of1 #agj portrait of1 with ,jacopo and ,giovanni in ,baldovinetti's frescoes1 #agj ,gherardo1 high rank attained by1 #bh sepulchral slab of1 ib4 ,jacopo1 son of ,bongiani1 and continuer of his work1 #agj ,gigoux1 ,jean1 as an engraver1 #cjf illustration by1 to #8,gil ,blas1' #bii ,gild of ,bakers1 ,brussels1 matrix of seal of1 7,lefbure71 #aij described1 #aib privileges owned by1 #aic ,gild of ,barbers1 ,brussels1 matrix of seal of1 7,musees ,royaux du ,cinquantenaire71 #aij described1 #aia-b ,gild of ,butchers1 ,brussels1 matrix of seal of1 7,city archives71 #aij described1 #aib their privileges1 etc1 #aic ,gild of ,drapers1 ,brussels1 its lack of judicial powers1 #aij its seal1 #aij described1 reason for existence of the seal1 #aia ,gild of ,painters1 dispute of1 with the king's painters1 ,france1 result of1 to ,le ,brun1 #bcj ,gild of ,st4 ,john1 7miniaturists71 ,gerard ,david a member of1 #dj ,gild of ,st4 ,luke1 #cbf1 #ccb some members of1 #cf1 #cdc #8,giorgione1' ,two ,alleged ,paintings by1 ,h4 ,cook1 #gh once called ,barbarelli1 two paintings attributed to1 but by ,cariani1 ,adoration of the ,shepherds1 ex ,leuchtenberg ,gallery1 #gh ,madonna and ,child1 7,salting71 ib4 ,giotto1 characteristic of his styles1 #abe influence of1 on painter of ,nativity and ,adoration1 7,parry71 #aah paintings attributed to1 by ,berenson1 ,panels1 ,last ,judgement1 etc41 7,munich ,gallery71 #aah ,giovanni d',andrea1 glazier1 ,florence1 work of1 in the ,cappella ,maggiore1 #ca1 #afh ,giovanni di ,jacopo de' ,migliorelli1 notary of ,florence1 #agj ,giovanni di ,paolo1 see ,paolo1 ,g4 di ,giovanni1 ,il ,rosso1 gold-beater of ,florence1 #afi ,giovanni1 ,matteo di1 paintings by1 part of ,altarpiece1 7,borgo ,s4 ,sepolcro71 #cba probably by1 ,panels1 ,,ss4 ,peter and ,paul1 7,s4 ,pietro ,ovile1 ,siena71 #cba ,girardon1 ,franois1 employed by ,le ,brun1 #bce ,girolamo dai ,libri1 see ,libri ,glasgow ,exhibition1 representative collection of modern ,dutch painters at1 #agg ,glass1 see ,ceramics and ,glass ,glaze1 as used at ,burslem1 ,,xvii4 cent41 #ff ,gobelin1 ,jean1 dyer1 from ,rheims1 his house annexed by ,colbert1 whence the name of #8,gobelins1' #bce ,gobelins ,manufactory1 ,the1 ,e4 ,molinier1 #bbi foundation of1 preliminary to the suppression of corporations under the ,revolution1 #bbi letters patent of ,louis ,,xiv4 instituting1 #bce origin of the name1 ib4 ,goblet d',alviella1 ,count1 cited on absence of ,svastika in ,babylonia and ,assyria1 #dd on meaning of ,chinese characters ,c4 h4 e41 ib4 on the ,tree of ,life1 its origin and diffusion1 #cec ,goldsmith 7,oliver71 his names for the ,misses ,horneck1 #bbc ,gonzaga1 ,ludovico1 ,mecal of1 with helmeted knight1 ,greek character of1 #bdc #8,good ,words1' some illustrators of1 #cjj ,goodall1 see ,turner and ,goodall ,goodyear1 ,professor1 cited on the ,lotus as a keynote of decoration rather than the ,svastika1 #dh on the same as associated with ,sun-worship1 etc41 #cej et seq4 and with the ,svastika1 #ced ,gordon1 ,major-,general1 cited on a ,svastika on breech of gun captured in ,taku ,fort in #ahfa41 and on its thoroughly ,chinese character1 #dg ,gossart1 ,j41 painting attributed to1 ,virgin and ,child ascribed by ,hulin to ,prevost1 7,carlsruhe71 #ccb ,gothic style1 intrusion of1 into ,eastern art1 #aci ,graffiato ware1 ,staffordshire1 #fh ,grafton1 ,duchess of1 see ,liddell1 ,miss ,anne ,grand ,moguls of ,delhi1 their love for art1 #adc ,granvella1 ,titian's letter to1 on his portraits of ,charles ,v4 and his wife1 7see note71 #bha ,great ,britain1 lack of legislation in1 for protection of ancient buildings1 #c ,greece1 drawings of1 by ,cockerell1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bee regulations in1 for the protection of ancient buildings1 #e ,greek ,art1 evolution of1 from idealism to realism1 #bdc value and limitations of1 #bcf ,exhibition of1 ,the1 at the ,burlington ,fine ,arts ,club2 ,c4 ,smith1 #bcf fret1 the1 and the ,svastika1 #dh influence on ,persia and ,persian art1 early prevalence of1 #acf-i ,type1 ,a ,new ,fount of1 7,proctor's ,otter71 #ceh ,green1 ,w4 ,t41 remarkable engravings by1 illustrations to #8,solace of ,song1' etc41 #cjf ,grey1 ,sir ,george1 donor of a first folio ,shakespeare to ,auckland1 ,new ,zealand1 and ,cape ,town1 #ccf ,grohman1 ,w4 ,a4 ,baillie-1 ,the ,finest ,hunting ,manuscript ,extant1 #h ,gronau1 ,georg1 ,titian's ,portrait of the ,empress ,isabella1 #bha ,grumentum1 probable source of the ,greek bronze1 ,a ,mounted ,warrior1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bdc ,guicciardini1 ,luigi1 the elder1 portrait of1 in ,baldovinetti's frescoes1 #agj ,guildhall1 the1 ,the ,dutch ,exhibition 7of paintings7 at1 #aijc4 ,i4 ,the ,old ,masters1 #ea ,,ii4 ,the ,modern ,painters1 #agg ,guillen1 see de ,brocar #8,gulistan1' ,persian ,,ms41 non-illuminated1 #adc ,gwatkin1 ,mrs41 see ,palmer1 #8,offy' ,gwyn1 ,mrs41 7,mary ,horneck71 ,goldsmith's #8,jessamy ,bride1' portrait of1 see ,horneck1 the ,misses ,portrait of1 by ,sir ,j4 ,reynolds1 in ,persian dress1 original owned by ,w4 ,w4 ,astor1 copy in ,normanton collection1 #bbd ,haarlem1 #cf ,hfiz1 delight of ,timur ,bey in his writings1 #adc ,halifax1 first ,earl of1 portrait of his daughter1 ,lady ,charlotte ,johnstone1 by ,sir ,j4 ,reynolds 7,normanton71 #bbc ,hals1 ,dirk1 and other painters greatly resembling ,palamedes in style and subject1 #ef ,hals1 ,f41 paintings attributed to1 conjointly with ,judith ,lyster1 see ,lyster1 ,guildhall1 #aijc41 probably by ,molenaer1 ,group of ,three1 #eb part probably by ,van ,goyen1 ,van ,goyen and his wife1 #eb painting by1 same exhibition1 so-called ,admiral de ,ruyter1 high excellence of1 #eb ,hamilton1 ,lady ,betty1 afterwards ,countess of ,derby1 ,portrait of1 as a child1 by ,sir ,j4 ,reynolds1 7,normanton71 her history1 #bah later ,portrait of by ,reynolds1 lost1 ib4 ,hanap1 see ,silver ,plate ,handles a feature of ,staffordshire ware1 #ff1 #fh ,hapsburg family1 ,codex ,,ms4 #faf of ,gaston ,phoebus possessed by1 for #acj years1 #ab ,harrow ,school1 ,greek ,krater owned by1 decoration1 ,kaineus overcome by ,centaurs1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bee ,harvey1 ,william1 as an illustrator and wood-engraver1 #bid1 #cjf illustrations by1 to ,lane's #8,arabian ,nights1' #bii to #8,northcote's ,fables1' #bii to the #8,solace of ,song1' features of1 #cjf and ,jackson1 designers and engravers1 illustration by1 #cjf ,hearne1 ,thomas1 water-colour artist1 pupil of ,w4 ,woollett1 engraver1 engraving said to be by him1 #aid-i ,heath ,collection1 ,liphook1 painting attributed to ,memlinc once in1 ,triptych1 ,deposition with ,saints1 shown at ,bruges1 #aijb41 #ce ,heilsbronn1 burial-place of the ,margraves of ,culmbach1 ,altarpiece at1 with group of the daughters of the ,margravine ,sophia of ,brandenburg-,ansbach1 #bhi ,henri ,,ii4 of ,france and ,catherine de' ,medici1 ,tomb of1 at ,st4 ,denis1 executed by ,g4 ,pilon1 #ie and ,diane de ,poitiers1 #ab ,henri ,,iv4 of ,france1 ,flemish upholsterers brought to ,paris by1 #bce ,henry ,,iv4 7of ,england71 #ba ,henry ,,vi41 gift of plate by1 to ,winchester ,college1 #adi visits of to the school1 ib4 ,henry ,,viii41 gift of ,winchester ,college to1 #adi ,henslowe1 ,radolphus1 ,parcel-gilt ,rose-water dish presented by1 to ,winchester ,college1 #aee ,hera1 meaning of ,svastika sign on1 #dc ,herat1 celebrated ,persian writers of1 #adc fine library of ,sultan ,husain ,mirza at1 ib4 ,persian illuminated ,,ms4 executed at1 #8,ascension of ,mohammed to ,heaven1' beauty of1 #adc question of ,chinese influence on1 #add #8,hero and ,leander' printed by ,guillen1 effect of use of accents in1 #ceh-fj ,herringham1 ,mrs41 cited on various artists' colours1 #afh ,higgins1 cited on the origin of official name for ,governor of ,thibet1 #dd ,highnam ,church1 frescoes in1 by ,t4 ,g4 ,parry1 #aag ,court1 ,sir ,h4 ,parry's collection of pictures at1 ,r4 ,fry1 #aag ,hindu gods1 the ,svastika supposed emblem of1 #dc use of the ,lotus as an emblem1 #cej ,hipponax1 bust of1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bej ,hissarlik1 the leaden goddess from1 meaning of ,svastika sign on1 #dc ,hittite origin of the ,svastika suggested by ,sayce1 #dg ,hiuantusang1 7a ,doctor of ,reason71 cited on the ,tao-sse of ,china1 #dg ,hobbema1 characteristics of his work1 its singular evenness of quality1 #ei paintings by1 ,guildhall1 #aijc41 ,landscape and ,woody ,landscape1 #ci #8,hobby ,horse1 ,the1' a drawing by ,sandys produced in1 #cjj ,hobson1 ,r4 ,l41 ,early ,staffordshire ,ware1 illustrated by pieces in the ,british ,museum1 #fd ,holland and ,china1 ,rotterdam the centre of the ,,xviii4 cent4 commerce between1 #bgg trade of1 with ,lowestoft in ,delft-faence1 #bgb and in ,english clays for its manufacture1 #bgg ,hom1 see ,date-palm and ,soma tree ,honiton lace1 revival of1 by the late ,mrs4 ,treadwin1 #ie ,horne1 ,h4 ,p41 ,a ,newly-discovered #8,libro di ,ricordi' of ,alesso ,baldovinetti1 #bb ,appendix giving documents referred to1 #cgg frescoes by unknown artist1 school of ,cimabue1 discovered by1 near ,florence1 #aah ,horneck1 the ,misses1 afterwards ,mrs4 ,bunbury and ,mrs4 ,gwyn1 ,portraits of1 by ,sir ,j4 ,reynolds1 7,normanton71 #bbc sketch of1 7,bunbury71 ib4 sobriquets given to them by ,goldsmith1 ib4 ,house-,irons1 ,svastika on1 #dh ,hulagu1 the ,mongolian1 sent to conquer ,persia by ,manchu1 ,emperor of ,china1 #aci his ,christian wife1 #adj ,hulin1 ,g41 cited on the ,annunciation attributed to ,memlinc1 7,prince ,radziwill71 shown at ,bruges1 #aijb41 #ce cited on the portraits of ,philip ,wielant and ,joan van ,halewyn on a ,triptych by ,isenbrant1 #cca paintings attributed to ,j4 ,prevost by1 and their locations1 #ccb and note ,hungary1 ,king ,matthias ,corvinus of1 works executed for1 by ,verrochio1 #hd ,hunt1 ,w4 ,holman1 illustrations by1 to ,moxon's edition of ,tennyson1 #bii ,hunting ,manuscript1 ,the ,finest ,extant1 ,w4 ,a4 ,baillie-,grohman1 #h ,husain ibn ,bikara1 ,sultan1 ruler of ,persia1 famous writings of and famous writers of his day1 #adc ,husain ,mirza1 ,sultan1 ,timurid ruler of ,persia1 fine library collected by1 at ,herat1 #adc1 #add #8,life of the ,sufis of1' repetitive decorations in ,,mss4 of1 #ace ,ibn ,arabshah1 misrepresentation of ,timur ,bey by1 #adc ,iceland1 ,mediaeval ,silver ,chalice from1 in the ,victoria and ,albert ,museum1 ,h4 ,p4 ,mitchell1 #gj ,illuminated ,,mss41 ,the ,reid ,gift of1 ,victoria and ,albert ,museum1 ,,ii41 #gd ,inchbald1 ,mrs41 ,portrait of1 ascribed to ,sir ,j4 ,reynolds1 7,normanton71 #bbd ,india1 7see ,buddha and other divinities1 ,hindu1 etc471 home of the rose lotus1 #cej symbolism of the ,svastika in1 #dc ,indra1 the rain god1 the ,svastika supposed to be an emblem of1 #dc ,innsbruck1 ,castle ,ambras near1 #ab ,inselin1 house of1 decorated by ,le ,brun1 #bcj ,isabella1 ,empress1 ,titian's ,portrait of1 ,g4 ,gronau1 #bha ,isabey1 ,g41 and other ,french artists1 illustrations by1 in ,curmer's #8,paul et ,virginie1' #cjf ,isenbrant1 ,adrian1 assistant to ,gerard ,david1 notes on his work at ,bruges1 and its characteristics1 etc41 #cbf paintings by1 shown at ,bruges1 #aijb41 ,diptych1 ,our ,lady of the ,seven ,dolours1 7part in church of ,our ,lady at ,bruges1 part in ,brussels ,museum71 #cbf ,b4 ,v4 ,m4 in landscape with female saints1 7,count ,arco-,valley71 #cbf its prototype1 replica and variants1 ib4 ,b4 ,v4 ,m4 and ,child on throne with rams' heads1 7,northbrook71 #cca ,panels1 ,b4,v4 ,m4 and ,child enthroned in garden with donor1 peacocks1 etc41 7,northbrook71 ib4 ,st4 ,luke with portrait of ,b4 ,v4 ,m4 and ,child1 7,colnaghi71 ib ,,ss4 ,andrew1 ,michael and ,francis1 with ,crucifixion in upper part4 7,sedelmeyer71 ib4 ,st4 ,mary ,magdalene in the ,desert1 7,de ,somze71 ib4 ,triptychs1 ,b4 ,v4 ,m4 and ,child with angels with musical instruments 7,lotman71 #cbf ,presentation in the ,temple1 with portraits1 probable source of1 7,bruges ,cathedral71 #cca part of1 ,donor and family protected by ,st4 ,john and a female saint1 7von ,kaufmann71 ib4 ,vision of ,s4 ,ildephonsus1 7,northbrook71 ib4 paintings attributed to1 ,b4 ,v4 ,m4 and ,child with a ,carthusian1 ascribed by ,hulin to ,prevost1 #ccb ,b4 ,v4 ,m4 and ,child1 7,carlsruhe71 ascribed to ,gossart1 ib4 ,israels1 ,josef1 a leader of modern ,dutch painting1 characteristics and inequality of his work1 #agg paintings by1 shown at ,guildhall1 #aijc41 ,the ,cottage ,madonna1 special excellence of1 #agg ,a ,jewish ,wedding1 last picture painted by1 ib4 ,the ,new ,flower1 ,a ,ray of ,sunshine1 ,the ,shipwrecked ,fisherman1 ib4 ,italian ,albarelli1 ,three1 7,louvre71 #cch art1 evolution of1 from the early ,christian style1 works of art illustrating1 #aah influence of1 evident in paintings by ,gerard ,david1 #cf ,bas-reliefs1 ,two1 in the ,louvre1 ,a4 ,michel1 #hd ,painters1 see ,baldovinetti1 ,cariani1 ,giorgione1 ,titian1 ,vanni ,pictures of the ,fourteenth ,century1 at ,highnam ,court1 in the ,collection of ,sir ,hubert ,parry1 ,r4 ,fry1 #aag ,italy and the ,north1 7specially ,france71 ,,xiv4 cent41 interchange of artistic ideas between1 instances of1 #ij regulations in1 for the preservation of ancient buildings1 #e ,itoga1 chief divinity of the ,mongols1 #adj ,ivory carvings recently acquired by the ,british ,museum1 #bjj ,jackson1 see ,harvey1 ,w41 and ,jackson ,jains1 see ,tirthankara ,jm1 illustrious ,sfi poet of ,herat1 #adc ,japan1 symbolism of the ,svastika in1 #dc ,jarvis1 glass-painter1 executor of the ,reynolds designs for ,new ,college window1 #baa ,jenghis ,khan1 #acb ,jerusalem1 arms of1 with others1 on ,italian ,albarelli1 7,louvre71 #cch ,johnson1 ,j41 printer of #8,northcote's ,fables1' excellent work of1 #cjf ,johnstone1 ,lady ,charlotte1 daughter of first ,earl of ,halifax1 ,portrait of1 7,normanton71 by ,sir ,j4 ,reynolds1 #bbc ,jonson1 ,ben1 collected works of1 published #afaf4 and #afdj41 size of edition and cost per copy then and in #afhj41 ,lee on1 #cce ,joseph1 ,mrs41 painting by ,jan ,vermeer1 owned by1 #ee ,jourdain1 ,m41 ,lace in the ,collection of ,mrs4 ,alfred ,morrison at ,fonthill1 #ie ,jupiter ,pluvius and ,jupiter ,tonans1 ,svastika supposed to be an emblem of1 #dc ,kalaoun1 ,sultan1 ,koursi inscribed with his name1 7,cairo ,museum71 #cdd ,kaufmann1 ,r4 von1 owner of painting attributed to ,memlinc1 ,triptych1 ,deposition with ,saints1 7,bruges1 #aijb471 #ce ,khorassan1 ,chinese influence on the ,timurid art of1 #adc ,khwand-,amir1 historian1 of ,herat1 #adc ,knight1 ,payne1 cited on the sculptor of the ,leconfield ,head of ,aphrodite1 #bdi ,knutchmar1 ,german engraver of ,menzel's illustrations1 #cjf #8,koran1' ,arab illuminated ,,mss4 of1 inferiority of1 #acf ,koursi cover1 ,arabic1 copper1 gold and silver encrusted1 acquired by the ,louvre1 ,g4 ,migeon1 #cdd names inscribed on1 ib4 ,ku ,k'ai-chih1 ,chinese artist of the ,t'ang dynasty1 roll believed to be his work acquired by the ,print ,room1 ,british ,museum1 #bjj-e ,kunigunda of ,austria1 sister of the ,emperor ,maximilian1 her husband and daughter1 #bij ,labarum standard and the ,tau ,cross1 #dg1 see note ,lace in the ,collection of ,mrs4 ,alfred ,morrison at ,fonthill1 ,m4 ,jourdain1 #ie #8,la ,chace dou ,serf1' poetical work of ,,xiii4 cent41 parts of ,gaston ,phoebus borrowed from1 #ae ,lanchals1 ,peter1 picture by ,gerard ,david commemorating the execution of1 #cf ,landscape backgrounds in ,titians portraits1 #bhb a sign of comparatively late date1 instances of1 #bhe ,landseer school of engraving1 7,sheepshanks collection71 shown at the ,v4 and ,a4 ,museum ,exhibition1 #aii ,landsknechte of ,charles ,v4 of ,germany1 #h the first trained infantry1 #eb ,langue d',oc1 spelling peculiar to1 ,,xiv4 cent41 found in ,,ms4 #faf of ,gaston ,phoebus1 #aa ,lastra1 ,il1 7,bartolommeo di ,giovanni71 glazier1 work of1 from designs by ,baldovinetti1 in the ,cappella ,maggiore of ,s4 ,trinit1 ,florence1 #ca other work there1 #afh ,later ,nineteenth-,century ,book ,illustrations1 ,j4 ,pennell1 ,i41 #bic artists and collections of drawings1 #bic1 and see note collectors1 hesitancy of1 and its causes1 #bic fate of early originals till #ahfe41 #cjj intervention of photography to save1 #cje methods of workers1 #cjj1 #cje ,notes on the illustrations1 #cje publisher and illustrator1 past and present relations between1 #cjj ,latin gods represented by the ,svastika1 #dc ,lavalle1 ,joseph1 researches of1 on ,codex ,,ms4 #faf of ,gaston ,phoebus1 #h1 #aa1 #ba ,lawrence1 ,sir ,t41 mark of1 on the ,drer ,portrait-,drawing newly acquired by the ,british ,museum1 #bhf ,layard cited on the ,palm as an ,assyrian symbol1 #cec ,le ,brun1 ,charles1 #8first painter to the ,king' 7,louis ,,xiv471 sketch of his life and association with the ,gobelins1 #bbi-ce designs for ,tapestry by1 ,chasses de ,mlagre1 ,history of ,constantinople1 ,jupiter allait par le chvre ,amalthe1 ,mars et ,venus1 ,les ,muses1 #bcj painting by1 ,alexandre pntrant dans le tente de ,darius1 ordered by ,louis ,,xiv41 #bcj paintings by or designed by1 executed at ,vaux1 ,l',apothose d',hercule1 ,l',aurore1 ,le ,palais du ,soleil1 ,le ,sommeil1 ,le ,triomphe de la ,fidlit1 #bcj sculptors and decorators employed by1 #bce ,nicholas1 sculptor1 father of ,charles ,le ,brun1 #bbi ,leconfield1 ,lord1 ,head of ,aphrodite ascribed to ,praxiteles1 owned by1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bdi ,lee1 ,sidney1 introduction by1 etc41 to ,clarendon ,press facsimile first folio ,shakespeare1 #cce et seq4 ,lefbure1 ,c41 matrix of the seal of the ,gild of ,bakers of ,brussels1 owned by1 #aij1 #aib ,m41 exertions of1 in reviving lace-making1 #ie ,le ,gros family1 ,augustinian nun of1 portrait of1 on triptych by ,isenbrant1 #cca ,leighton1 ,lord1 drawings by1 for ,dalziel's #8,bible ,gallery1' #cje fresco paintings by1 7,v4 and ,a4 ,m471 #aag ,le ,maire1 ,barbara1 wife of ,george ,van de ,velde1 donor of painting by ,isenbrant to church of ,our ,lady1 ,bruges1 #cbf ,lemoyne1 employed by ,le ,brun1 #bce ,le ,noir1 ,philippe1 ,gaston ,phoebus hand-printed by1 #h ,leonardo da ,vinci1 his father the notary of ,florence who engrossed the #8ricordo' referring to ,baldovinetti1 #bb is the ,bust in ,bas-relief inscribed #8,p4 ,scipioni' his work8 #hd et seq4 ,le ,roi1 ,martin1 painting by unknown ,flemish artist attributed to ,g4 ,david1 owned by1 ,holy ,family1 #dj ,leuchtenberg ,gallery1 ,st4 ,petersburg1 painting by ,cariani1 attributed to ,giorgione1 from1 ,adoration of the ,shepherds1 illustrated1 #gh ,lvy1 ,,mm41 et ses ,fils1 ,paris1 #cae note ,lhermitte1 ,leon1 painting by1 ,pastel1 ,le ,pcheur1 7,balli71 #cfj #8,liber ,studiorum4' mezzotints of1 7,rawlinson71 shown at the ,v4 and ,a4 ,museum ,exhibition1 #aii ,libri1 ,girolamo dai1 backgrounds of his paintings1 #gh #8,libro de la ,monteria1' by ,argote de ,molina1 containing description of lost original of ,gaston ,phoebus1 #h ,liddell1 ,miss ,anne1 afterwards ,duchess of ,grafton and ,countess of ,upper ,ossory1 ,portrait of1 by ,sir ,j4 ,reynolds1 7,normanton71 #bbc ,light1 god of1 and of ,lightning1 ,svastika supposed to be the emblem of1 #dc ,lilly1 ,joseph1 vendor of the ,berlin first folio ,shakespeare1 #ccf ,line engraving1 late development of1 in ,great ,britain1 #aid ,linnell1 ,john1 as a wood-engraver and illustrator1 #bid ,lippi1 ,filippo1 influence of1 on ,lorenzo ,monaco1 #aca ,lippmann1 ,dr41 suggestion of1 as to the identity of the person in the newly acquired ,portrait-,drawing by ,drer1 7,b4 ,m471 #bij ,lockyer1 ,dr41 cited on the ,svastika as a ,chinese symbol1 #dg ,london1 see ,clifford's ,inn and ,guildhall ,county ,council1 and its work in preserving ancient buildings1 #c and district4 slipware of1 ,,xvii4 cent4 et seq41 #fh ,lorenzo the ,magnificent 7de' ,medici71 in ,baldovinetti's frescoes1 #agj ,lorenzotti1 the brothers1 influence of1 shown in paintings by ,fredi and ,vanni1 #cji1 #caj ,ambrogio1 #caj painting attributed to 7ascribed by ,perkins to ,vanni71 ,fresco1 ,seated ,virgin1 and ,child1 7,s4 ,francesco1 ,siena71 #cae ,pietro1 painting attributed to1 7ascribed by ,perkins to ,vanni71 ,madonna degli ,infermi1 7,s4 ,francesco1 ,siena71 #caj-ae ,lotto1 ,lorenzo1 influence of1 on ,cariani1 #gh ,lotus1 the accepted ,tree of ,life1 ,goodyear on1 #dh connexion of the ,svastika with1 #dc evolution of1 from ornament to symbol1 #cdi as a development of sun-worship1 etc41 ,goodyear cited on the three forms of1 and identity with the ,tree of ,life1 #cej evolution of the ,svastika from1 according to ,goodyear1 #ced and ,tree of ,life1 ,the1 in ,oriental ,carpets1 #cdi ,louis ,,xiv4 ,style1 ,the1 in ,french ,furniture1 see ,molinier ,louvain1 visit of ,dirk ,bouts1 painter1 to1 #cf ,louvre1 the3-- commission of ,le ,brun to restore the gallery destroyed by fire in #affa41 #bcj afterwards called the ,galerie d',apollon1 #bce paintings by ,jean ,malouel in1 intense ultramarine in and in some other pictures there1 #ij by ,memlinc in1 ,sacra ,conversazione1 done for ,john ,du ,celier1 #ci by ,jacob ,ruysdael in1 #cdc by ,jan ,vermeer in1 #ee ,recent ,acquisitions by3--,italian ,albarelli1 ,three1 ,j4 ,j4 ,marquet de ,vasselot1 #cch ,koursi ,cover1 ,arabic1 ,g4 ,migeon1 #cdd ,pictures1 ,landscapes 7#b7 by ,s4 ,ruysdael1 ,portrait of ,dame ,danger1 by ,l4 ,tocqu1 ,p4 ,vitry1 #cdc sculpture in1 group1 ,les ,trois ,grces1 by ,g4 ,pilon1 #ie ,two ,italian ,bas-reliefs in1 artists unknown1 ,bust in ,profile wearing helmet and armour inscribed #8,p4 ,scipioni1' #hd ,virgin and ,child with ,saints and ,angels1 from a country church1 7probably7 by ,a4 di ,duccio1 #hi ,two ,italian ,bas-reliefs in1 artists unknown1 ,a4 ,michel1 #hd ,lowestoft ,porcelain ,factory1 ,the1 and the ,chinese ,porcelain made for the ,european market during the ,,xviii4 cent41 ,l4 ,solon1 #bga ,allen1 ,robert1 manager of1 maker of the #8,buckle' teaservice1 7,crisps71 #bgb hard porcelain teapot1 ,chinese1 marked with his name1 #bgg ,browne1 ,robert1 head of factory1 how he gained his knowledge of the trade1 #bgb crested or initialed porcelain found at ,lowestoft1 ,chaffers' erroneous theory re1 its true provenance1 #bga1 #bgg1 #bgh ,crisps1 ,a41 genuine #8,lowestoft' ,porcelain owned by1 #bgb dates of some of the pieces extant1 #bgb distinctive features of genuine ,lowestoft ware1 #bga1 #bgb absence of any mark1 #bgh distinctive features of so-called ,lowestoft ware1 #bgh hard porcelain never made at1 but imported and sold from1 #bga1 #bgb-g history of the works1 #bgb-h ,london warehouse of1 its manager and methods1 #bgg ruin of1 how caused1 ib4 specimens of1 #8,buckle' tea-service1 by ,r4 ,allen1 inkpots 7one marked #8,allen'71 teapot1 etc41 7,crisps71 #bgb teapot in hard porcelain1 ,chinese in decoration1 marked #8,allen1 ,lowestoft1' 7,v4 and ,a4 ,m471 #bgg ,lucca1 painted glass window in the ,cathedral at1 designed by ,a4 ,baldovinetti1 ,annunciation1 non-extant1 #ca ,lund1 ,bishop ,absalon of1 see ,sor ,lung' arno ,corsini1 ,florence1 palace of the ,gianfigliazzi on1 #bh ,lysippus1 ,head of ,mourning ,woman1 7,ponsonby71 attributed to by ,reinach1 shown at ,burlington ,fine ,arts ,club ,exhibition1 #bdi ,michaelis cited on1 #bej ,lyster1 ,judith1 wife of ,j4 ,m4 ,molenaer1 paintings by1 attributed to her and ,f4 ,hals1 ,guildhall1 #aijc41 ,the ,jovial ,companions1 and ,the ,health of the ,troop1 #ee ,macartney1 ,lord1 embassy of1 to ,china1 #bje ,mackowsky1 historian of ,verrochio1 views of1 on the artist of the ,p4 ,scipioni ,bas-relief1 #hd ,macquoid1 ,p41 ,the ,plate of ,winchester ,college1 #adi ,maghreb and ,yemen1 no illuminated ,,mss4 from1 #ace ,maincy1 manufactory of high-warp tapestry at1 established by ,fouquet1 #bcj ,malcolm ,collection1 ,bas-relief in1 ,warrior1 by ,leonardo da ,vinci1 analogies of1 #hd ,malik al ,nasir1 name on ,koursi cover1 7,louvre71 #cdd ,malouel1 ,jean1 painter1 intense ultramarine employed by1 #ij ,manchu1 ,emperor of ,china1 ,hulagu the ,mongol sent by1 to conquer ,persia1 #aci ,manni1 ,domenico ,maria1 cited on ,baldovinetti's portraits of himself and ,guido ,baldovinetti in his frescoes1 #agd ,manuscripts1 see ,mussulman ,,mss4 illuminated1 7see ,reid ,gift71 ,the ,finest ,hunting ,,ms4 ,extant1 ,w4 ,a4 ,baillie-,grohman1 #h ,marble ,statue1 ,a1 by ,germain ,pilon1 ,charit1 #ij ,marbled ,staffordshire ,slipware1 #fh ,margaret of ,anjou1 ,queen1 gift of plate made by1 to ,winchester ,college1 #adi daughter of ,frederick1 ,margrave of ,brandenburg-,anspach1 probably the subject of the newly-acquired ,portrait-,drawing by ,drer1 7,b4 ,m471 #bhi ,maria ,theresa1 wife of ,louis ,,xiv41 #bcj ,maris1 the brothers1 ,j41 ,m41 and ,w41 leaders of modern ,dutch painting1 #agg-h ,jacob1 characteristics of his work1 #ea1 #agg-h his methods and their evolution1 #agg-h paintings by1 shown at ,guildhall1 #aijc41 ,the ,bridge1 #agh ,a ,dutch ,town1 ib4 ,the ,ferry ,boat1 influences traceable in1 ib4 ,gathering ,seaweed1 notable brushwork of1 ib4 ,river and ,windmill1 ,the ,storm ,cloud2 ,the ,weary ,watchers1 in his early highly finished style2 ,a ,windmill1 ,moonlight1 his last work1 ib4 ,matthew1 characteristics of his work1 #agh1 #ahi paintings by1 shown at ,guildhall1 #aijc41 ,the ,butterflies1 #ahi ,l',enfant ,couche1 ib4 ,lady and ,goats1 ib4 ,montmartre1 ib4 ,outskirts of a ,town1 #agh ,a ,study1 #ahi ,willem1 characteristics of his work1 #agh painting by1 shown at ,guildhall1 #aijc41 ,springtime1 #agh #8,marks and ,monograms1' by ,w4 ,chaffers1 erroneous theories in1 as to ,lowestoft ,china1 #bga1 #bgg1 #bgh ,marlborough1 ,george1 third ,duke of1 ,portrait of1 by ,sir ,j4 ,reynolds1 7,normanton71 #bah and replica1 7,pembroke71 #bbc ,marmion1 ,simon1 miniaturist of ,valenciennes1 #ccb ,marquet de ,vasselot1 ,j4 ,j41 see de ,vasselot ,marshall1 ,john1 ,state of a ,sculptured ,head of a ,girl1 from ,chios1 shown at ,burlington ,fine ,arts ,exhibition1 ,smith's views traversed by those of ,rodin1 letter1 #cgf ,martin ,folkes copy1 first folio ,shakespeare1 price paid for1 by ,steevens1 #agef41 7,rylands ,library71 #ccf ,martini1 ,simone1 influence of1 shown in paintings by ,fredi and ,vanni1 #cji1 #caj paintings by1 ,annunciation1 7,uffizi71 free copy by ,vanni1 7,s4 ,pietro ,ovile71 #cba fresco of the ,majestas 7,palazzo della ,signoria71 #caj ,st4 ,john ,baptist1 7#b71 7,pisa and ,altenburg71 #caj type of ,madonna painted by1 #hi ,mary ,i41 ,queen of ,england1 visit and gifts of1 to ,winchester ,college1 on her marriage1 #aej ,masaccio1 influence of ,donatello on1 #aca the young1 type of head painted by1 #aca ,masolino1 type of head painted by1 #aca #8,master of ,game1 ,the1' by ,edward1 ,duke of ,york1 oldest ,english hunting-book1 its indebtedness to ,gaston ,phoebus1 #ba ,mas'd1 cited on #8,the ,sum of ,histories1' ,persian ,,ms41 #adj ,matteo di ,giovanni1 see ,giovanni1 ,matteo di ,matthias ,corvinus1 ,king of ,hungary1 works executed for1 by ,verrochio1 #hd ,mauritshuis1 ,hague1 painting by ,j4 ,ruysdael in1 ,view of ,haarlem1 its excellence1 #ei ,mauve1 ,anton1 characteristics and inequality of his work1 #agg1 #ahi paintings by1 shown at ,guildhall1 #aijc41 ,driving in the ,dunes1 #ahi ,the ,hay ,cart1 ib4 ,watering ,horses1 ib4 ,maximilian ,i41 ,emperor of ,austria1 #cf his sister and niece and patronage of ,drer1 #bij and the trades of ,brussels1 #aib ,mazarin1 ,cardinal1 patron of ,le ,brun1 #bcj ,mazdean ,persians1 art of1 #acb ,mea1 servant of ,baldovinetti1 his provision for1 #bb1 #bc ,medals by ,fltner and ,daucher1 with portraits of ,susanna of ,bavaria1 #bij ,medici1 ,lorenzo de' 7vecchio71 works of ,verrochio executed for1 #hd ,medicean cameos1 in painting by ,g4 ,david1 deductions from1 #cf ,meissonier1 ,j4 ,l4 ,e41 as an illustrator1 #bid1 #bii illustrations by1 to the #8,contes ,rmois1' #bii1 #cjf ,melbourne ,museum1 drawings on wood for illustrations to ,dalziel's ,arabian ,nights1 etc41 owned by1 #cje ,melik ,adel1 brother of ,saladin1 marriage projected between him and ,cur de ,lion's sister1 #ace ,memlinc1 ,hans1 paintings attributed to1 shown at ,bruges1 #aijc41 various owners1 #ce paintings by1 ,diptych 7,louvre71 prototype of one by ,isenbrant1 #cbf ,sacra ,conversazione1 done for ,john ,du ,celier1 now in the ,louvre1 #ci ,memmi1 ,lippo1 a follower of ,simone ,martini1 #caj painting attributed to1 copy of ,simone ,martini's ,annunciation1 7,s4 ,pietro ,ovile1 ,siena71 ascribed by ,perkins and ,berenson to ,vanni1 #cba ,triptych1 ,st4 ,michael between ,st4 ,anthony the abbot and the ,baptist1 7,siena ,gallery71 ascribed by ,perkins to ,vanni1 #cbe ,vanni a pupil of the school of1 #cbe #8,memoirs' of ,timur ,bey1 his undisputed authorship of1 #adc ,menander1 busts of1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bej ,mendoza1 ,don ,diego1 and ,titian's ,portrait of the ,empress ,isabella1 #bha ,menzel1 ,a41 as an illustrator1 #bid his work the source of modern illustration in ,england1 #cjf illustrations by1 to #8,geschichte ,friedrichs des ,grossen1' #bid excellence of1 #bii1 #cjf ,mesdag1 characteristics of his work1 its defects1 #ahi paintings by1 shown at ,guildhall1 #aijc41 ,a ,stormy ,sunset1 #ahi ,a ,threatening ,sky1 ib4 ,mesopotamia and the ,tree of ,life1 #cec ,metals and ,metal ,work1 see ,copper and ,silver ,metsys1 ,quentin1 influence of1 on paintings attributed to ,g4 ,david1 #ci1 #dj ,metzu1 ,gabriel1 painting by1 or attributed to1 ,guildhall1 #aijc41 ,woman ,dressing ,fish1 #ef ,meux1 ,miss1 ,portrait of1 by ,sir ,j4 ,reynolds1 #bbc earlier erroneous identification of1 7,normanton7 #bbd ,mexican and ,maga codices1 the ,tree of ,life in1 #cec ,meyer1 ,dr4 ,julius1 cited on a lost votive picture by ,drer1 with portraits of the ,margrave of ,culmbach and his wife1 #bij ,mezzotint7s73--,a ,new1 ,portrait of ,mrs4 ,home ,drummond1 after ,raeburn1 executed by ,h4 ,scott ,bridgwater for ,p4 and ,d4 ,colnaghi1 #bfg shown at ,v4 and ,a4 ,museum ,exhibition1 ,prince ,rupert's ,great ,executioner1 after ,spagnoletto1 7,h4,m4 the ,king71 and others1 #aii ,c4 ,turner's ,watermill1 after ,callcott1 fine qualities of1 #aii ,michael ,angelo 7di ,buonarroti71 the #8bar' of1 #bdi his intellectual rendering of constructed form1 as in ,the ,last ,judgement1 foreshadowed by ,baldovinetti's ,altarpiece1 #cb position of1 in ,italian sculpture1 #bdc ,michaelis1 cited on the ,head of a ,mourning ,woman1 7,ponsonby71 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bej ,michel1 ,a41 ,two ,italian ,bas-reliefs in the ,louvre1 #hd ,migeon1 ,gaston1 ,koursi ,cover1 ,arabic1 copper1 encrusted with gold and silver1 recently acquired by the ,louvre1 #cdd ,milan1 arms of1 with others1 on the ,italian ,albarelli now in the ,louvre1 #cch ,duke of1 see ,sforza1 ,francesco ,i4 ,milanesi1 commentator of ,vasari1 his bequest to the ,communal ,library1 ,siena1 and extracts from the #8,ricordi' of ,baldovinetti amongst1 #bd1 #bg error of1 as to locale of the ,baldovinetti #8ricordo1' #bb and as to name of ,baldovinetti's wife1 #bc source of all information on ,bernardo ,daddi1 #abe-f cited on ,vanni as diplomat1 and on his death1 #cji1 #cbe ,millais1 ,sir ,j4 ,e41 illustrations by1 to ,moxon's edition of ,tennyson1 #bii study by1 for illustrations to #8,the ,parables1' 7,b4,m471 #cjj ,miniatures1 see ,mussulman ,miniatures ,miniaturists1 see ,gerard ,david1 and ,marmion ,mir ,al ,shir ,nav'1 ,vizir of the ,timurid ,sultan ,husain ibn ,bikara1 a famous writer1 #adc splendid ,,ms4 dated #aebg4 from divn of1 #add ,mr ,julius ,wernher's ,titian1 7letter71 ,g4 de ,pellegrini1 #bfg ,mitchell1 ,h4 ,p41 ,the ,sor ,chalice1 7from ,bishop ,absalon's grave1 ,denmark71 #ceg ,modern ,dutch ,painters1 ,the2 works of1 ,dutch ,exhibition1 ,guildhall1 #agg ,mohammed1 effect on art of his prohibition of the art of painting1 #acb ,persian tradition connected with his birth1 #aci ,mohammed el ,nasser1 ,koursi inscribed with his name1 7,cairo ,museum71 #cdd ,mohammed ,shah1 books owned by1 #adc ,mohammedan ,art1 distribution of and commonplace character of1 #acb various schools of1 #ace foreign influences on1 #aci et seq4 ,molenaer1 ,jan ,miense1 painting probably by1 attributed to ,frans ,hals1 ,guildhall1 #aijc41 ,group of ,three1 #eb painting by1 ,the ,spinet-players1 7,rycks ,museum1 ,amsterdam71 compared with above1 ib4 ,molina1 ,argote de1 his #8,libro de la ,monteria' containing description of lost original of ,gaston ,phoebus1 #h ,molinier1 ,e41 ,french ,furniture of the ,,xvii4 and ,,xviii4 ,centuries2 ,,ii4 ,the ,louis ,,xiv4 ,style3 ,the ,gobelins1 #bbi ,monaco1 ,lorenzo1 features of his work and influence traceable in1 #abf1 #aca paintings by1 ,predella pieces1 ,adoration of the ,magi and ,visitation1 7,parry71 #abf ,adoration1 7,raczynski ,gallery1 ,berlin7 compared with the foregoing1 #aca ,monaldi1 ,piero1 cited on the ,gianfigliazzi family of ,florence1 #bh ,mongolian dynasty in ,persia1 #aci attitude of1 towards ,christianity1 #adj ,persian ,art during this period1 ib4 ,mons1 ,hainault1 birthplace of ,john ,prevost1 painter1 #cca1 #ccb note ,moon1 the connexion of1 with ,soma1 #ced ,moor1 ,major1 cited on the ,lotus1 #cej ,more1 ,warden1 #8,election ,cup' presented by1 to ,winchester ,college1 #aee ,morelli1 painting bequeathed by1 to the ,accademia ,carrara1 ,bergamo1 part of a fresco said to be the portrait of ,a4 ,baldovinetti1 #agd ,morley1 ,lord1 7,henry ,parker71 ,portrait drawing of1 by ,drer1 7,b4,m471 #bhi1 #bij ,morrison1 ,mrs4 ,alfred1 ,lace in her ,collection at ,fonthill1 ,m4 ,jourdain1 #ie ,mosaic7s7 on the mosques of the ,sefevan kings of ,persia1 #aci ,treatise on1 by ,a4 ,baldovinetti1 lost1 #bb1 #bd his work in1 #afi-gj ,moses of ,chorene cited on the ,arsacidean ,kings of ,armenia1 #dg ,mostaert1 painting attributed to1 ,b4 ,v4 ,m4 and ,child1 ascribed by ,hulin to ,prevost 7,n4,g471 #ccb ,moxon's edition of ,tennyson1 and its illustrators1 #bii ,mller1 ,ludwig1 his discovery of ,svastikas on ,persian coins of the ,arsacide and ,sassanide dynasties1 #dd ,mller1 ,professor ,max1 cited on alleged absence of ,svastika in ,babylonia and ,assyria1 #dd on the ,suavastika1 #dd ,muller-,walde1 and others1 views of1 on the artist of the ,p4 ,scipioni bas-relief1 #hd ,munich ,gallery1 ,portrait of ,charles ,v4 by ,titian in1 #bhe ,royal ,library #8,boccaccio' illuminated by ,j4 ,fouquet for ,chevalier1 now in1 #aa ,munro1 ,h4 ,a4 ,j41 of ,novar1 first owner of the ,portrait of ,miss ,anne ,liddell1 by ,sir ,j4 ,reynolds1 7,normanton71 #bbc and of the ,portrait of ,miss ,meux1 wrongly called ,portrait of ,fanny ,reynolds1 7,normanton71 #bbd ,murghab1 monuments of1 influence shown by1 #acf ,murray1 ,fairfax1 drawings on wood owned by1 #cje ,miss1 of ,kirkcudbright1 ,portrait of1 when a child1 by ,sir ,j4 ,reynolds1 7,normanton71 #bah ,muses ,royaux du ,cinquantenaire4 ,brussels1 ,matrix of seal of ,gild of ,barbers1 ,brussels1 in1 #aij1 #aia ,museums1 see ,british ,museum1 ,louvre1 ,v4 and ,a41 and others1 under their names ,mussulman ,art1 ,exhibition of1 in ,paris1 ,may to ,june1 #aijc41 #acb ,manuscripts and ,miniatures as illustrated in the recent ,exhibition at ,paris1 ,e4 ,blochet1 ,i41 #acb painting1 ,,xv4 cent41 locale of its masterpieces1 #adc ,mytens1 painting by ,h4 ,pot1 at ,hampton ,court1 ,souldier making a ,strange ,posture to a ,dutch ,lady1 formerly attributed to1 #ef ,nana of ,chaldea1 meaning of ,svastika sign on1 #dc ,naples and ,sicily4 ,alfonzo ,,ii4 of ,aragon1 ,king of1 #cch ,nardo1 elder brother of ,orcagna1 not identical with ,bernardo ,daddi1 #abe ,national ,gallery1 attitude of1 towards picture-buying1 #g paintings in1 by ,cariani1 ,madonna and ,child1 ex ,leuchtenberg collection1 lent to1 by ,g4 ,salting1 #gh by ,g4 ,david1 from the ,cathedral at ,bruges1 ,altarpiece1 and 7part of7 a ,triptych1 #cf by ,p4 de ,koninck1 compared with ,commencement d',orage1 #fj by ,j4 ,ruysdael1 ,view over an extensive flat wooded ,country1 an excellent example1 #ei ,national ,museums1 see ,new ,acquisitions at1 and under names of museums ,nature gods1 ,svastika supposed to be the emblem of1 #dc ,navarre1 ,philip ,,iii4 of1 father of ,agnes1 wife of ,gaston ,phoebus de ,foix1 #aa ,nelthorpe1 ,sutton1 painting attributed to ,j4 ,prevost1 owned by1 ,s4 ,francis renouncing the world1 #ccb ,neroni1 ,diotisalvi1 portrait of1 in ,baldovinetti's frescoes1 #agj ,netherlands1 the1 ,the ,early ,painters of1 as illustrated by the ,bruges ,exhibition of #aijb41 ,w4 ,h4 ,j4 ,weale1 #ce1 #cbf ,netherlands1 ,turenne's ,campaign in1 #ab ,neuburg1 ,otto ,heinrich ,count ,palatine of1 second husband of ,susanna of ,bavaria1 ,margravine of ,culmbach1 medal portraits of1 #bij ,neuhuys1 ,albert1 painting by1 shown at ,guildhall1 #aijc41 ,near the ,cradle1 #ahi ,new ,acquisitions at the ,national ,museums3-- ,british ,museum1 ,department of ,mediaeval ,antiquities1 #aii ,print ,room1 #ge rare ,chinese roll1 #aii ,victoria and ,albert ,museum1 ,mediaeval ,silver ,chalice from ,iceland1 ,h4 ,p4 ,mitchell1 #gj ,the ,reid ,gift1 7,,mss471 #gd ,new ,college1 ,oxford1 window at1 original designs for1 by ,sir ,j4 ,reynolds1 subjects of1 and models for1 #baa et seq4 his intentions stated by himself1 #bab ,english character of painting1 ib4 ,newton1 ,lord1 of ,lyme1 ,rose-water dish and ewer owned by1 compared with those of ,winchester ,college1 #acf ,niccolini1 ,don ,averardo1 collector of notices of ,s4 ,trinit1 ,florence1 ,,xvii4 cent41 #cb ,nicolas1 ,dr41 ,warden1 gift of plate by1 to ,winchester ,college1 #aee ,nieuport1 ,belgium1 restoration of the church of1 #cge ,nineteenth-,century ,book ,illustrations1 ,later1 ,j4 ,pennell1 ,i41 #bic ,nizm1 delight of ,timur ,beg in his writings1 #adc ,normanton1 ,diana1 second ,countess of1 #bjf ,portrait of ,her ,mother1 by ,sir ,j4 ,reynolds1 #bag the present ,earl of1 ,the ,collection of ,pictures of1 at ,somerley1 ,hampshire1 ,m4 ,roldit ,i4 ,pictures by ,sir ,joshua ,reynolds1 #bjf ,welbore ,ellis1 second ,earl of1 ,normanton picture gallery formed by1 chief works in1 #bjf predominance of ,sir ,j4 ,reynolds' paintings in1 #bjf1 #baa1 #bbd prices paid by this ,earl1 passim1 the pictures described1 #bab et seq4 ,north ,africa1 ,svastika introduced into1 by travellers to ,phoenicia1 #dg ,north ,american ,indians1 use of and name for the ,svastika1 #dc-d ,northbrook1 ,earl of1 paintings by ,a4 ,isenbrant owned by1 shown at ,bruges1 #aijb41 panel1 ,b4 ,v4 ,m4 and ,child1 enthroned in garden1 donor1 peacocks1 etc41 #cce ,b4 ,v4 ,m4 and ,child1 on stone throne with rams' heads1 ib4 ,vision of ,s4 ,ildephonsus1 ib4 ,northern ,europe1 plain plate with granulated or matted surface made in1 #afa ,nuremberg1 visit of ,lord ,morley to1 #aebc41 its object1 and the portrait made by ,drer1 #bhi ,oaken ,chest1 ,the1 of ,ypres1 #ceg ,old ,dutch ,masters1 at the ,guildhall ,exhibition1 #aijc41 #ea ,onatas1 statue of ,apollo by1 and epigram on1 #bdd #8,once a ,week1' and its illustrators1 #bii ,on ,oriental ,carpets3-- ,,iii4 ,the ,svastika1 #dc ,,iv4 ,the ,lotus and the ,tree of ,life in1 #cdi ,opera di ,duomo1 ,florence1 ,madonna of1 by ,a4 di ,duccio1 #hi ,orcagna1 7,italian painter71 #abe1 #abf #8,oresteia' of ,aeschylus1 the first book to be printed from #8,otter type1' #cfj ,oriental ,carpets3-- ,,iii4 ,the ,svastika1 #dc ,,iv4 ,the ,lotus and the ,tree of ,life1 #cdi ,oriental ,china in ,europe and ,america1 ,,xviii4 cent41 ,chaffers' erroneous theory regarding1 #bga1 #bgg1 #bgh ,orthz1 splendour of ,gaston de ,foix's court at1 #h ,osiris1 the ,lotus as an attribute of1 #cej #8,otter' ,type1 ,proctor's1 #ceh ,oudenarde1 birthplace of ,gerard ,david1 painter1 of ,bruges1 #cf ,painted glass windows1 designed by ,a4 ,baldovinetti1 #ca methods of executing1 ,florence1 ,,xv4 cent41 #ca ,painters1 ,dutch1 ,exhibition of the works of1 ,guildhall1 #aijc41 #ea1 #agg ,early1 of the ,netherlands1 as illustrated by the ,bruges ,exhibition of #aijb41 ,w4 ,h4 ,j4 ,weale1 #ce1 #cbf having marked similarity in style and subject to ,palamedes1 #ef ,painting7s7 in ,oils1 ,frescoes1 etc41 see also ,pictures3-- by ,baldovinetti1 ,a41 ,altarpiece for ,s4 ,trinit1 ,florence1 ,trinity with two ,saints1 now in the ,florentine ,academy1 #cb ,frescoes1 in the ,cappella ,maggiore1 ,s4 ,trinit1 ,florence1 the only ones preserved1 #afg found in #ahij-g41 and described1 #agc-d attributed to ,barna1 panel1 ,virgin and ,child1 half-length1 7,chapel of ,,ss4 ,chiodi1 ,siena71 ascribed by ,perkins to ,vanni1 #cae-f attributed to ,berkheyde1 ,gerrit1 ,guildhall1 #aijc41 ,rising in a ,dutch ,town1 #fj by ,bisschop1 ,christopher1 shown at ,guildhall1 #aijc41 ,prayer ,disturbed1 #ahi by ,bosboom1 ,jan1 shown at ,guildhall1 #aijc41 ,archives at ,veere1 #ahi by ,botticelli1 ,s4 ,portrait of ,lucretia ,tornabuoni1 7,stdel ,institute1 ,frankfort71 ,medicean medallion in1 also painted by ,g4 ,david1 #cf attributed to ,brouwer1 ,adriaen1 ,guildhall1 #aijc41 ,interior with ,figures1 possible painters of1 #ef by ,cariani1 ascribed to ,giorgione1 ex ,leuchtenberg collection1 ,adoration of the ,shepherds1 7,wertheimer71 and ,madonna and ,child1 7,salting71 #gh ,la ,vergine ,cucitrice1 7,corsini ,gallery1 ,rome71 #gh by ,cornelis1 ,albert1 the only known work of1 ,coronation of the ,b4 ,virgin1 7,bruges1 #aijb471 #ccb attributed to ,cyp1 ,adrian1 ,guildhall1 #aijc41 signed ,berchem1 ,head of a ,cow1 #ei by ,daddi1 ,bernardo1 ,altarpiece in five parts1 7,parry71 #abe attributed to ,david1 ,g41 ,triptych1 ,deposition of ,christ1 views of ,mr4 ,weale on its authenticity1 #ci1 #dj ,holy ,family1 7,m4 ,le ,roi71 shown at ,bruges1 #aijb41 #dj ,annunciation1 shown at ,bruges1 #aijb41 #ci1 #dj paintings by him3 dates limiting period of production of1 #ci ,adoration of the ,magi1 formerly attributed to ,j4 van ,eyck1 7,brussels ,museum71 shown at ,bruges1 #aijb41 #ci ,altarpiece1 and 7part of a7 ,triptych1 7,n4 ,g471 #cf ,triptych1 ,baptism of ,christ1 shown at ,bruges1 #aijb41 #cf ,b4 ,v4 ,m4 with ,child1 ,virgin ,saints1 and ,angels1 7,rouen ,museum71 #cf1 #ci ,judgement of ,cambyses1 two pictures in ,bruges ,museum1 7one illustrated71 #cf2 panels1 part of an ,altarpiece1 7,lady ,wantage71 #ci parts of a ,triptych1 7,j4 ,simon1 of ,berlin71 shown at ,bruges1 #aijb41 #ci ,triptych1 ,st4 ,anne and the ,b4 ,v4 ,m4 and ,child1 ,,ss ,nicholas and ,anthony of ,padua1 7de ,somzee71 shown at ,bruges1 #aijb41 #ci ,transfiguration1 7,church of ,our ,lady1 ,bruges71 shown at ,bruges1 #aijb41 #dj by de ,bock1 ,thophile1 shown at ,guildhall1 #aijc41 ,an ,avenue in ,holland1 #ahi by de ,keyser1 ,t41 ,guildhall1 #aijc41 ,portrait of a ,gentleman1 #ee by or ascribed to de ,koninck1 ,p41 7his masterpiece71 attributed to ,rembrandt1 ,commencement d',orage1 7,wantage71 ,guildhall1 #aijc41 #fj et seq4 probably by de ,koninck1 ,s41 ,head of a ,man1 usually ascribed to ,rembrandt1 ,guildhall1 #aijc41 #eb by de ,limbourg1 ,p44 a 7miniature7 copy of a ,florentine fresco by ,t4 ,gaddi1 #ij by de ,vos1 ,cornelis1 ,guildhall1 #aijc41 ,portrait of ,ambrogio1 ,marchese di ,spinola1 #ee ,flemish ,school1 artist unknown1 ,altarpiece by1 for the ,gild of ,,ss4 ,mary ,magdalene1 ,katherine1 and ,barbara1 compared with one by ,gerard ,david1 #ci by unknown artist1 shown at ,bruges1 #aijb41 panel1 ,s4 ,nicolas of ,tolentino1 and ,roger de ,jonghe1 ,austin friar1 7,black ,sisters1 ,bruges71 #ccb by unknown artist1 ,portrait of the ,empress ,isabella from which ,titian painted his ,portrait1 #bha1 #bhb1 #bhe ,florentine ,school1 early ,,xv4 cent41 artist unknown1 ,madonna and ,child with ,angels1 7,parry71 and ,triptych1 ,madonna and ,child with ,angels and ,saints1 7,uffizi71 #aca ,francesco1 ,piero dei1 central panel1 ,altarpiece1 ,borgo ,s4 ,sepolcro1 ,baptism of ,christ1 7in ,london71 #cba probably ,french1 ,,xiv4 cent41 artists unknown1 ,adoration of the ,magi1 and ,dormition of the ,b4 ,v4 ,m41 7,dowdeswell71 #hi by ,gaddi1 ,agnolo1 ,coronation of the ,virgin1 7,parry71 #abf by ,gaddi1 ,taddeo1 ,coronation of the ,virgin1 7,s4 ,croce71 #abf ,fresco copied as a miniature by ,pol de ,limbourg1 #ij probably by ,giovanni di ,paola1 panel1 ,crucifixion1 7,s4 ,pietro ,ovile1 ,siena71 #cba probably by ,giovanni1 ,matteo di1 panels1 ,,ss4 ,peter and ,paul1 7,s4 ,pietro ,ovile1 ,siena71 #cba attributed to ,gossart1 ,jean1 ascribed by ,hulin to ,prevost1 ,virgin and ,child1 7,carlsruhe71 #ccb by ,hals1 ,frans1 ,guildhall1 #aijc41 so-called ,admiral de ,ruyter1 excellence of1 #eb paintings attributed to1 probably by ,jan ,miense ,molenaer1 ,group of ,three1 #eb part probably by ,van ,goyen1 ,van ,goyen and his ,wife1 #eb conjointly with ,judith ,lyster1 see ,lyster by ,hobbema1 ,guildhall1 #aijc41 ,landscape1 and ,woody ,landscape1 #ei by ,isenbrant1 ,adrian1 shown at ,bruges1 #aijb41 ,diptych1 ,our ,lady of the ,seven ,dolours1 7part in church of ,our ,lady at ,bruges1 part in ,brussels ,museum71 #cbf ,b4 ,v4 ,m4 and ,child1 in landscape with female ,saints1 7,count ,arco-,valley71 #cbf its prototype1 replica1 and variants1 ib4 ,b4 ,v4 ,m4 and ,child on throne with rams' heads1 7,northbrook71 #cca panel1 ,b4 ,v4 ,m4 and ,child enthroned in a garden1 donor1 peacocks1 etc41 7,northbrook71 ib4 ,s4 ,luke with portrait of ,b4 ,v4 #aaa and ,child1 7,colnaghi71 ib4 ,,ss4 ,andrew1 ,michael1 and ,francis1 with ,crucifixion in upper part1 7,sedelmeyer71 #cca ,st4 ,mary ,magdalene in the desert1 7,de ,somze71 #cca ,triptych1 ,b4 ,v4 ,m41 ,child1 and angels with harp and mandoline1 7,lotman71 #cbf ,presentation in the ,temple1 with portraits1 probable source of1 7,bruges ,cathedral71 #cca ,triptych1 part of1 ,donor and family protected by ,st4 ,john and a female ,saint1 7von ,kaufmann71 #cca ,vision of ,s4 ,ildephonsus1 7,northbrook71 #ccj attributed to1 ascribed by ,hulin to ,prevost1 ,b4 ,v4 ,m4 and ,child with a ,carthusian1 #ccb by ,israels1 ,josef1 ,guildhall1 #aijc41 ,the ,cottage ,madonna1 #agg ,a ,jewish ,wedding1 ib4 ,the ,new ,flower1 ib4 ,a ,ray of ,sunshine1 ib4 ,the ,shipwrecked ,fisherman1 ib4 by ,le ,brun1 ,c41 ,alexandre pntrant dans le tente de ,darius1 ordered by ,louis ,,xiv41 #bcj paintings or designs by1 at ,vaux1 ,l',apothose d',hercule1 ,l',aurore1 ,le ,palais du ,soleil1 ,le ,sommeil1 ,le ,triomphe de la ,fidlit1 #bcj attributed to ,lorenzotto1 ,ambrogio1 fresco1 ,seated ,virgin and ,child1 7,s4 ,francesco1 ,siena71 ascribed by ,perkins to ,vanni1 #cae attributed to ,lorenzotto1 ,pietro1 ,madonna degli ,infermi1 7,s4 ,francesco1 ,siena71 ascribed by ,perkins to ,vanni1 #caj-ae by ,lyster1 ,judith1 wife of ,j4 ,m4 ,molenaer1 7attributed to her and ,hals71 ,guildhall1 #aijc41 ,the ,jovial ,companions1 and ,the ,health of the ,troop1 #ee by ,maris1 ,jacob1 ,guildhall1 #aijc41 ,the ,bridge1 #agh ,a ,dutch ,town1 ib4 ,the ,ferry ,boat1 ib4 ,gathering ,seaweed1 ib4 ,river and ,windmill1 ib4 ,the ,storm ,cloud ib4 ,the ,weary ,watchers1 ib4 ,a ,windmill1 ,moonlight1 7his last work71 ib4 ,matthew1 ,guildhall1 #aijc41 ,the ,butterflies1 #ahi ,l',enfant ,couche1 ib2 ,lady and ,goats1 ib4 ,montmartre1 ib4 ,outskirts of a ,town1 #agh ,a ,study1 #ahi ,willem1 ,guildhall1 #aijc41 ,springtime1 #agh by ,martini1 ,simone1 ,annunciation1 7,uffizi71 #cba copy of the same1 variously attributed1 ib4 fresco of the ,majestas1 7,signoria71 #caj ,st4 ,john ,baptist1 7#b71 7,pisa and ,altenburg71 #caj by ,mauve1 ,anton1 shown at ,guildhall1 #aijc41 ,driving in the ,dunes1 #ahi ,the ,hay ,cart1 ib4 ,watering ,horses1 ib4 by ,memlinc1 ,hans1 ,sacra ,conversazione1 done for ,john ,du ,celier1 now in the ,louvre1 #ci attributed to him1 ,bruges1 #aijc41 7various owners71 amongst others1 ,passion of ,st4 ,sebastian1 7,brussels ,museum71 ,triptych1 ,deposition of ,christ4 ,,ss4 ,james and ,christopher1 7von ,kaufmann71 ,blessed ,virgin and ,child1 donor1 and ,st4 ,anthony1 7,thiem71 ,annunciation 7,prince ,radziwill72 views of ,waagen1 ,huten1 and ,friedlnder controverted1 #ce attributed to ,memmi1 ,lippo1 copy of ,simone ,martini's ,annunciation1 7,s4 ,pietro ,ovile1 ,siena71 ascribed by ,perkins and ,berenson to ,vanni1 #cba ,triptych1 ,st4 ,michael between ,st4 ,anthony the abbot and the ,baptist1 7,siena ,gallery71 ascribed by ,perkins to ,vanni1 #cbe by ,mesdag1 shown at ,guildhall1 #aijc41 ,a ,stormy ,sunset1 #ahi ,a ,threatening ,sky1 ib4 attributed to ,metzu1 ,g41 ,guildhall1 #aijc41 ,woman ,dressing ,fish1 #ef by ,molenaer1 ,jan ,miense1 ,the ,spinet-players1 7,rycks ,museum1 ,amsterdam71 compared with the ,group of ,three1 attributed to ,hals1 ,guildhall1 #aijc41 #eb by ,monaco1 ,lorenzo1 ,predella pieces1 ,adoration of the ,magi1 and ,visitation1 7,parry71 #abf ,adoration1 7,raczynski ,gallery1 ,berlin71 compared with the foregoing1 #aca attributed to ,mostaert1 ,b4 ,v4 ,m4 and ,child1 ascribed by ,hulin to ,prevost1 7,n4 ,g471 #ccb by ,neuhuys1 ,albert1 shown at ,guildhall1 #aijc41 ,near the ,cradle1 #ahi attributed to ,palamedes1 ,guildhall1 #aijc41 ,lady at ,harpsichord1 probably by ,pot1 #ef by ,pourbus1 ,p41 shutters of ,altarpiece by ,gerard ,david1 #dj by ,prevost1 ,j41 shown at ,bruges1 #aijb41 ,last ,judgement1 only authentic work of1 7,bruges ,museum71 earlier version1 7,viscount de ,ruffo ,bonneval71 and another1 7,weber71 #ccb paintings attributed to1 by ,hulin1 and their locations1 #ccb and note by ,rembrandt1 ,portrait of a ,lady1 7,hage71 #cei paintings by or attributed to1 ,guildhall1 #aijc41 ,commencement d',orage1 7,lady ,wantage71 #ea now ascribed to ,p4 de ,koninck 7pros and cons71 #fj et seq4 ,portrait of the ,artist1 previous owners of1 unauthentic1 #eb ,portrait of the ,painter's ,son ,titus1 compared with a similar picture in the ,wallace collection1 #ea ,ruth and ,naomi1 possibly by ,k4 ,fabritius1 #eb by ,reynolds1 ,sir ,j41 ,nativity1 original design for centre of ,new ,college window1 ,oxford1 and its fate1 #bab in the ,normanton collection1 ,boy ,reading1 7said to be his own portrait71 #bbc ,faith1 ,hope1 ,charity1 ,temperance1 ,prudence1 ,justice1 and ,fortitude1 original designs for ,new ,college window1 #baa ,felina1 #bag ,the ,little ,gardener1 a child's portrait1 #bah ,portraits3 ,elizabeth ,beauclerk1 7afterwards ,countess of ,pembroke71 as ,una and the ,lion1 #beg ,george1 third ,duke of ,marlborough1 #bah1 #bbc ,himself as ,president of the ,royal ,academy1 #bag ,lady ,betty ,hamilton1 #bah ,lady ,charlotte ,johnstone1 #bbc ,study of a ,little ,girl1 octagonal in shape1 #bbd of ,miss ,anne ,liddell1 #bbc 7on panel71 ,miss ,falconer as ,contemplation1 #bag ,miss ,meux1 #bbd ,miss ,murray of ,kirkcudbright1 as a child1 #bah ,the two ,misses ,horneck1 #bbc ,mrs4 ,quarrington1 7actress71 as ,st4 ,agnes1 #bbd ,mrs4 ,russell1 #bbc in the same collection1 ,the ,little ,archer1 #bbd paintings ascribed to1 in the same collection3 ,portraits2 ,admiral ,barrington1 #bbd ,lady ,hamilton as a ,bacchante1 ib4 ,mrs4 ,inchbald1 ib4 copies of1 in the same collection1 ,portraits1 ,mrs4 ,gwyn in ,persian dress1 #bbd ,mrs4 ,siddons as the ,tragic ,muse1 painted by the ,duchess of ,buckingham1 #bbd by ,ruysdael1 ,jacob1 ,guildhall1 #aijc41 ,forest ,scene1 ,sea-piece1 and ,view on the ,brill1 #ei ,view of ,haarlem1 7,mauritshuis1 ,hague71 #ei ,view over an extensive flat wooded country1 7,n4 ,g471 #ei by ,solario1 ,madonna1 #aad by ,steen1 ,jan1 ,guildhall1 #aijc41 ,portrait of ,himself1 7,northbrook71 #ef by ,terborch1 ,guildhall1 #aijc41 ,portrait of a ,lady1 and ,portrait of a ,young ,woman1 #ef by ,titian1 ,portraits3 ,empress ,isabella1 #bha ,giacomo ,doria1 #bfg by ,tocqu1 ,j4 ,l41 at the ,louvre1 chiefly official portraits1 #cdd ,portrait of ,dame ,danger1 recently acquired1 #cdc-d by ,unknown ,artists1 ,richard ,,ii41 ,diptych1 7,wilton71 perfection of1 #hi ,school of ,cimabue3 ,nativity and ,adoration1 7,parry71 #aag-h ,altarpiece of ,st4 ,cecilia1 7,uffizi71 other ,altarpieces by1 recently found near ,florence by ,horne1 #aah frescoes by same hand1 7,upper ,church1 ,assisi71 #aah by van ,aelst1 ,willem1 ,guildhall1 #aijc41 ,still-life ,subject1 #ef by van de ,capelle1 ,jan1 ,guildhall1 #aijc41 both masterpieces1 ,off ,scheveningen1 and ,sea-piece1 #fj ,river ,scene1 7,n4 ,g471 #fj by van de ,velde1 ,adriaen1 ,guildhall1 #aijc41 ,landscape with ,cattle1 small and excellent1 #ei by van der ,heyden1 ,jan1 ,guildhall1 #aijc41 ,landscape1 small1 very highly finished1 #ei attributed to van der ,neer1 ,aart1 ,moonlight ,river ,scene1 #ei by van ,eecke or van ,eeckele1 ,john1 shown at ,bruges1 #aijb41 ,mater ,dolorosa1 7,bruges ,cathedral71 formerly ascribed to ,john van ,eyck1 locale of copies of the same1 #ccb ,vision of ,s4 ,bernard1 7,tournay ,museum71 #ccb by van ,huysum1 ,guildhall1 #aijc41 ,still-life ,subjects1 #ef by ,vanni1 ,andrea2 ,annunciation1 7,count ,fabio ,chigi1 ,siena71 #caf ,annunciation after ,simone ,martini1 7,s4 ,pietro ,ovile1 ,siena71 various attributions of1 #cba ,crucifixion1 7fragmentary71 formerly in the church of the ,alborino1 7,istituto delle ,belle ,arte1 ,siena71 #cji1 #cba ,deposition from the ,cross1 7,berenson71 #cba ,frescoes1 one in bad condition1 7,s4 ,giovenale1 ,orvieto71 #cba note ,seated ,virgin and ,child 7,s4 ,francesco1 ,siena71 usually attributed to ,ambrogio ,lorenzotti1 #cae ,madonna 7church on ,monte ,nero1 near ,leghorn71 #cba note ,madonna degli ,infermi1 7,s4 ,francesco1 ,siena71 attributed to ,pietro ,lorenzotti1 #caj-ae panels1 ,madonna and ,child1 7,s4 ,giovannino della ,staffa1 ,siena71 #caf ,virgin and ,child1 full length1 7,s4 ,spirito1 ,siena71 #caf ,virgin and ,child1 half-length1 7,chapel of ,,ss4 ,chiodi1 ,siena71 usually attributed to ,barna1 #cae-f ,virgin and ,child1 7priest's house next ,s4 ,pietro ,ovile1 ,siena71 #cbe ,polyptych1 ,altarpiece1 7,s4 ,stefano1 ,siena71 #cji ,portrait of ,st4 ,catherine of ,siena1 7,s4 ,domenico1 ,siena71 #cji1 #cba ,triptych1 ,st4 ,michael between ,st4 ,anthony the ,abbot and the ,baptist1 7,siena ,gallery71 attributed to ,memmi1 #cbe ,virgin and ,child1 7,berenson71 #caf by van ,os1 ,jan1 ,guildhall1 #aijc41 ,still-life ,subjects1 #ef by van ,ruysdael1 ,saloman1 recently acquired by the ,louvre1 ,landscapes1 7#b71 #cdc by ,veneziano1 ,domenico1 frescoes1 now lost1 once in ,cappella ,maggiore of ,s4 ,egidio1 #afh by ,vermeer1 ,jan1 ,guildhall1 #aijc41 ,the ,cook ,asleep1 #ee by and probably by ,verspronck1 ,jan1 ,guildhall1 #aijc41 ,portrait of a ,dutch ,lady1 7,mrs4 ,stephenson ,clarke71 #ee ,portrait of a ,lady1 7at ,antwerp71 #ee ,paintings in ,water-colour1 see ,drawings ,palamedes1 painting ascribed to1 ,guildhall1 #aijc41 ,lady at a ,harpsichord1 probably by ,pot1 #ef painting formerly ascribed to1 at ,hampton ,court1 ,souldier making a ,strange ,posture to a ,dutch ,lady1 now attributed to ,h4 ,pot1 #ef ,palma ,vecchio1 influence of1 on ,cariani1 #gh ,palmer1 ,mary1 see ,thomond1 ,marchioness of ,mrs4 ,elizabeth1 model of ,sir ,j4 ,reynolds for painting of ,prudence1 7,normanton71 #bag #8,offy1' 7,mrs4 ,gwatkin71 niece and frequent model of ,sir ,j4 ,reynolds1 #baa as ,felina1 #bag ,samuel1 illustration by1 to ,adams's #8,distant ,hills1' perfection of1 #cjf ,palmetta1 the1 as the ,tree of ,life1 #cej1 #cec ,paolo1 ,giovanni di1 painting probably by2 panel1 ,crucifixion1 7,s4 ,pietro ,ovile1 ,siena71 #cba ,papillon1 ,bewick's possible indebtedness to1 #bid ,papyrus1 the1 as the ,tree of ,life1 #cej ,parfilage1 fashionable work in the ,,xviii4 cent41 #cdd ,paris1 see ,bibliothque ,nationale1 ,louvre1 and ,cluny decorative paintings by ,le ,brun in mansions of1 #bcj1 #bce recent ,exhibition 7of ,mussulman ,art7 at1 ,mussulman ,manuscripts and ,miniatures1 ,e4 ,blochet1 ,i41 #acb ,parker1 ,henry1 see ,morley1 ,lord ,parry1 ,sir ,hubert1 ,pictures in the collection of1 at ,highnam ,court1 near ,gloucester1 ,r4 ,fry2 ,i4 ,italian ,pictures of the ,fourteenth ,century1 #aag ,altarpiece1 in five parts1 by ,bernardo ,daddi1 #abe ,madonna and ,child with ,angels1 ,florentine ,school of the early ,,xv4 cent41 #abi ,coronation of the ,virgin1 by ,agnolo ,gaddi1 #abf ,predella pieces1 ,adoration of the ,magi and ,visitation1 by ,lorenzo ,monaco1 #abf ,nativity and ,adoration1 by unknown artist1 ,school of ,cimabue1 #aag-h ,thomas ,gambier1 of ,highnam1 father of ,sir ,hubert ,parry1 his researches into fresco-painting and paintings in fresco by1 his collection of pictures at ,highnam1 #aag et seq4 ,parthenon1 the1 ,persepolitan building recalling1 #aci slab from north frieze of1 bas-relief1 ,head of a ,knight and of a horse1 various owners and homes of1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bdd ,passavant1 his use of #8,barbarelli' as cognomen of ,giorgione1 #gh ,pau1 castle of1 a stronghold of ,gaston de ,foix1 #h ,paul ,,iii41 ,pope1 patron of ,titian1 meeting of1 with ,charles ,v4 at ,busseto1 #aedc41 #bha ,pavia1 battle of1 #8,gaston ,phoebus' ,,ms4 #faf part of the loot after1 #h1 #aa1 #ab ,pavillon de ,marsan1 ,paris1 ,exhibition of ,mussulman ,art at1 #aijc41 #acb ,pazzi ,chapel1 ,s4 ,croce1 ,florence1 painted window in1 designed by ,a4 ,baldovinetti1 #ca ,pella1 birthplace of ,alexander the ,great1 bronze statuette of emaciated man1 possibly a ,yogi1 found at1 #bee ,pembroke1 ,countess of1 see ,beauclerk1 ,elizabeth ,earl of1 ,portrait of ,george1 third ,duke of ,marlborough1 owned by1 replica of that by ,sir ,j4 ,reynolds in the ,normanton collection1 #bbb ,earl and ,countess of1 ,heads of1 by ,sir ,j4 ,reynolds1 7,normanton71 #bbc earlier portrait of the ,countess by him as ,una1 #bag ,pennell1 ,joseph1 ,later ,nineteenth-,century ,book ,illustrations1 ,i41 #bic ,pepoli family of ,bologna1 original owners of the painting from which ,titian painted his ,portrait of the ,empress ,isabella1 #bhb ,pergamene stage1 the1 of ,greek art1 #bdc ,perkins1 ,f4 ,mason1 ,andrea ,vanni1 #cji ,persepolis1 illustrated book seen at1 by ,mas'd1 #8,sum of ,histories1' #adj monuments of1 influences shown by1 #acf ,persia1 beginning of the art-history of1 early and continuous ,greek influence in1 #acf-g ,sassanian kings of1 #dg ,sassanid art in1 #adj the three great schools of painting in1 #aci the ,mongolian1 #adj the ,timurid1 #adc the ,sefevan1 #adj1 #add ,persian coins of the ,arsacide and ,sassanide dynasties1 the ,svastika on1 #dd ,persian skill in miniature painting1 #acb monotonous character of the work1 #ace ,greek influences on1 #aci ,perrett1 ,ambrose1 ,french sculptor1 work of1 on the ,tomb of ,franois ,i41 #ie ,perrier1 first master of ,charles ,le ,brun1 #bbi ,perugia1 front of ,s4 ,bernardino at1 by ,a4 di ,duccio1 #hi ,peschiera1 meeting of ,aretino with ,charles ,v4 at1 #bha ,petrucci1 ,r41 ,notes from ,ghent and ,nieuport1 #cge ,seals of the ,brussels ,gilds1 #aij ,phallus associated with the ,svastika in ,egypt1 #dc1 #dg ,pheidias1 fragments of his work shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bdd ,phelippes de ,france1 ,duc de ,bourgoigne1 original of ,gaston ,phoebus dedicated to1 #h ,philip the ,good1 privilege granted by1 to the butchers of ,brussels1 #aic ,philip ,,ii4 of ,spain1 marriage of1 to ,queen ,mary of ,england1 at ,winchester1 #aej ,philip ,,iii4 of ,navarre1 father of ,agnes wife of ,gaston ,phoebus de ,foix1 #aa ,phoebus1 ,gaston1 or ,le ,roi ,phoebus1 sobriquet of ,gaston de ,foix1 and familiar title of his book1 #aa ,phoenicia1 no trace of ,svastika found in1 #dg ,piazza di ,san ,giovanni1 ,florence1 houses in1 assigned to ,baldovinetti in payment for his mosaic work1 #agj ,pictures1 see ,collection of the ,earl of ,normanton1 ,dutch1 etc4 exhibitions of1 see ,bruges1 and ,guildhall in the ,collection of ,sir ,hubert ,parry1 at ,highnam ,court1 near ,gloucester1 ,r4 ,fry2 ,i4 ,italian ,pictures of the ,fourteenth ,century1 #aag recently acquired by the ,louvre1 ,landscapes1 7#b471 by ,s4 ,ruysdael1 ,portrait of ,dame ,danger1 by ,l4 ,tocqu1 ,p4 ,vitry1 #cdc ,piero1 ,lorenzo di1 painter and colour seller1 #afg1 and note ,pierrotti1 ,dr41 preface of1 and notes by1 to the #8,ricordi di ,alesso ,baldovinetti1' #bd sources of his information1 #bg ,pilon1 ,germain1 ,french ,sculptor ,,xvi4 cent41 marble statue by1 ,la ,charit1 7,lowengard71 #ij other works by1 groups1 ,les ,trois ,grces1 7,louvre71 ,les ,trois ,parques1 7,htel de ,cluny71 #ie ,tomb of ,franois ,i41 7with other sculptors71 ,tomb of ,henri ,,ii4 and ,catherine de ,mdicis1 #ie ,pinwell1 ,g41 forgeries of his own drawings by1 #cje ,pinzocheri1 the ,frati1 of the ,spedale di ,s4 ,pedro1 ,florence1 #bb1 #bd records of1 #bg women attached to the ,hospital1 #bd ,piot1 ,m41 his use of ,greek coins #8to correct the eye1' #bcf ,pisa1 frescoes1 the1 in campo-santo at1 attributed by ,milanesi to ,daddi1 ,triumph of ,death1 #abf ,pisano1 ,giovanni1 influence of1 on the painter of the ,nativity and ,adoration1 7,parry71 #aah leading features of his work1 #abe ,pitti1 ,lucca1 portrait of1 in ,baldovinetti's frescoes1 #agj ,place ,dauphine1 ,paris1 triumphal arch to welcome ,louis ,,xiv4 and his queen1 erected on1 by ,le ,brun1 #bcj ,plassenburg ,castle1 prison of ,frederick ,margrave of ,brandenburg-,anspach1 #bhi ,plate1 7see ,silver ,plate7 ,the1 of ,winchester ,college2 ,p4 ,macquoid1 #adi ,plot's #8,natural ,history of ,staffordshire' cited on ,burslem pottery and processes1 ,,xvii4 cent41 #ff ,poelenburg1 painting by ,h4 ,pot at ,hampton ,court1 ,souldier making a ,strange ,posture to a ,dutch ,lady1 formerly ascribed to1 #ej ,poitiers1 ,diane de1 daughter of the ,sieur de ,saint-,vallier and of ,marie of ,france1 her probable connexion with ,codex ,,ms4 #faf of ,gaston ,phoebus1 #ab ,jean de1 ,sieur de ,saint-,vallier1 probable owner of ,codex ,,ms4 #faf of ,gaston ,phoebus till #aebc41 #ab his pardon obtained by his daughter from ,francis ,i41 #ab ,poland1 see ,casimir ,,iii41 ,king of ,polykleitos1 sculptor1 leader1 of ,argive ,school1 earliest recorded work of1 and variants thereof1 statue2 ,boy-boxer crowning himself1 ,head 7,vincent71 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bdd ,pomegranate1 as the ,tree of ,life1 on ,yarkand rugs1 #cec ,ponsonby1 ,claude1 ,head of a ,mourning ,woman1 owned by1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bdi ,porcelain1 see ,ceramics ,porcia1 ,count1 ,portrait of1 by ,titian1 with landscape background1 7,brera ,gallery1 ,milan71 #bhe ,portata al ,catasto1 ,florence1 #adgj41 details given in1 as to ,baldovinetti1 #bc evidence of1 as to his handwriting1 #bg ,portrait7s71 7see also ,paintings and ,pictures71 of the ,empress ,isabella1 ,titian's1 ,g4 ,gronau1 #bha ,portrait of a ,lady1 by ,rembrandt1 on view at the ,hague1 7,hage71 #cei by ,titian1 of ,giacomo ,doria1 7,j4 ,wernher71 letter on1 from ,g4 de ,pellegrini1 #bfg ,portrait-,drawing1 ,a ,newly-,discovered1 by ,drer1 ,c4 ,dodgson1 #bhf ,pot1 ,hendrik1 and other painters greatly resembling ,palamedes in style and subject1 #ef painting by1 at ,hampton ,court1 ,souldier making a ,strange ,posture to a ,dutch ,lady1 various attributions of1 #ef ,pott1 ,miss ,c4 ,m41 joint-author1 see ,short ,pottery ,ware1 ,early ,staffordshire1 illustrated by pieces in the ,british ,museum1 #fd ,pourbus1 ,peter1 shutters of ,altarpiece1 by ,g4 ,david1 painted by1 #dj ,poussin1 ,nicolas1 companion of ,c4 ,le ,brun in his journey to ,rome1 #bcj ,poynter1 ,sir ,e41 drawings by1 on wood for illustrations to ,dalziel's #8,bible ,gallery1' ,v4 and ,a4 ,museum1 #cje ,praxiteles1 ,head of ,aphrodite ascribed to1 7,leconfield71 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bdi other statues by1 compared with the foregoing1 ib4 ,previtali1 influence of1 on ,cariani1 #gh ,prevost1 ,john1 notes on his history1 #cca-b paintings by and attributed to1 shown at ,bruges1 #aijb41 ,last ,judgement1 the only authentic work by him1 7,bruges ,museum71 #ccb also an earlier version1 7,viscount de ,ruffo-,bonneval71 and another1 7,weber71 ib4 paintings attributed to1 by ,hulin1 and their location1 #ccb and note ,print ,room1 ,british ,museum1 new acquisitions1 #ge1 #bjj ,printers1 early ,french1 of ,gaston ,phoebus1 #h ,proctor's new fount of ,greek ,type1 7the #8,otter' type71 #ceh ,protection of ,ancient ,buildings1 ,clifford's ,inn and the1 editorial1 #c ,puzzle cups1 jugs1 etc 1 see ,early ,staffordshire ,ware ,quaritch1 the late ,bernard1 cited on the value of early editions of ,shakespeare1 #cce ,quarrington1 ,mrs41 actress1 ,portrait of1 by ,sir ,j4 ,reynolds1 7,normanton71 #bbd ,queen ,street1 ,cheapside1 workhouse of the ,lowestoft ,porcelain ,factory in #aggj41 #bgg ,raczynski ,gallery1 ,berlin1 painting by ,lorenzo ,monaco in1 ,adoration1 compared with that in the ,parry collection1 #aca ,raphael1 ,bernard van ,orley said to have been a pupil of1 #bje ,rattier1 ,p41 of ,paris1 ,bas-relief bequeathed by1 to the ,louvre1 ,bust in ,profile1 wearing armour1 artist unknown1 suggestive of ,leonardo4 #hd ,ravensworth1 ,lord1 father of ,miss ,anne ,liddell1 painted by ,sir ,j4 ,reynolds1 #bbc ,rawlinson1 ,mr41 ,british engravings and mezzotints owned by1 shown at the ,v4 and ,a4 ,museum ,exhibition1 #aii ,recent ,acquisitions at the ,louvre1 ,koursi cover1 ,arabic1 ,g4 ,migeon1 #cdd ,pictures1 ,landscapes1 7#b71 by ,s4 ,ruysdael1 ,portrait of ,dame ,danger1 by ,l4 ,tocqu1 ,paul ,vitry1 #cdc ,three ,italian ,albarelli1 ,j4 ,j4 ,marquet de ,vasselot1 #cch ,regnauldin1 ,thomas1 employed by ,le ,brun1 #bce ,reid ,gift1 ,the1 to the ,v4 and ,a4 ,museum1 ,,ii41 #gd ,reinach1 ,s41 cited on the sculpture of the ,head of a ,mourning ,woman1 7,ponsonby71 #bdi ,rembrandt1 7van ,rijn71 etching by1 ,the ,three ,trees1 compared with ,le ,commencement d',orage1 #fc paintings by and attributed to1 ,guildhall1 #aijc41 ,commencement d',orage1 7,lady ,wantage71 #ea now attributed to ,p4 de ,koninck1 #fj et seq4 ,head of a ,man1 probably by ,solomon de ,koninck1 #eb ,painter's ,son ,titus1 #ee ,portrait of the ,artist1 unauthentic1 its previous owners1 #eb ,ruth and ,naomi1 possibly by ,k4 ,fabritius1 #eb shown at the ,hague1 #aijc41 ,portrait of a ,lady1 7,hage71 #cfj ,landscape with ,tobias and the ,angel1 7,n4,g471 #fc ,wallace collection1 ,his ,son ,titus1 compared with similar portrait1 ,guildhall1 #aijc41 #ea ,rendall1 ,m4 ,j41 #aee #8,restoration' too often synonymous with destruction1 #c ,resurrection and creation1 the ,lotus as emblem of1 #cej ,reynolds1 ,fanny1 sister of ,sir ,joshua1 ,portrait of ,miss ,meux by him1 formerly supposed to represent1 7,normanton71 #bbd ,reynolds1 ,sir ,joshua1 ,pictures by1 in the ,collection of the ,earl of ,normanton1 ,m4 ,roldit1 #bjf methods of1 in portrait painting1 #bag ,nativity1 original design for central space1 ,new ,college window1 and its fate1 #bab paintings by1 in the ,normanton collection1 their sources1 prices1 and other comments upon them1 #baa et seq4 ,boy ,reading1 said to be a portrait of himself1 his own satisfaction with the picture1 #bbc ,faith1 ,hope1 and ,charity1 ,temperance1 ,prudence1 ,justice1 and ,fortitude1 the original designs for ,new ,college window1 ,oxford1 executed on glass by ,jarvis1 #baa ,girl embracing ,kitten1 known as ,felina1 #bag ,portraits3 child1 ,the ,little ,gardener1 #bah ,elizabeth ,beauclerk1 afterwards ,countess of ,pembroke1 as ,una with the ,lion1 #bag ,george1 third ,duke of ,marlborough1 #bah1 #bbc replica of 7,pembroke71 ib4 ,himself as ,president of the ,royal ,academy1 #bag ,lady ,betty ,hamilton1 afterwards ,countess of ,derby1 #bah ,lady ,charlotte ,johnstone1 daughter of first ,earl of ,halifax1 #bbc ,study of ,a ,little ,girl1 octagonal1 #bbd ,miss ,anne ,liddell1 #bbc 7on panel71 ,miss ,falconer1 afterwards ,hon4 ,mrs4 ,stanhope1 as ,contemplation1 earlier owners of1 #bag ,miss ,meux1 #bbc earlier erroneous identification of1 #bbd ,miss ,murray of ,kirkcudbright as a child1 #beh the ,misses ,horneck1 #bbc ,mrs4 ,quarrington1 actress1 as ,st4 ,agnes1 #bbd ,mrs4 ,russell1 daughter of ,f4 ,vassall1 #bbc paintings ascribed to1 same collection1 ,the ,little ,archer1 #bbd ,portraits3 ,admiral ,barrington4 #bbd ,lady ,hamilton as a ,bacchante1 engraved by ,bartolozzi1 #bbd 7probably by his pupils7 at ,normanton1 ,mrs4 ,inchbald1 #bbd copies of paintings by1 in ,normanton collection1 ,portrait of ,mrs4 ,gwyn in ,persian dress1 original owned by ,w4 ,w4 ,astor1 #bbd ,portrait of ,mrs4 ,siddons as the ,tragic ,muse1 from that at ,grosvenor ,house1 painted by the ,duchess of ,buckingham1 #bbd ,rheims1 birthplace of ,jean ,gobelin1 #bce ,richa1 ,giuseppe1 cited on ,baldovinetti's portrait of himself in his frescoes4 #agd cited on the condition of ,baldovinetti's frescoes1 #agee41 #agc cited on the ,gianfigliazzi family1 of ,florence1 #bh ,richard ,i4 7,cur de ,lion71 marriage projected between his sister and ,saladin's brother1 ,melik ,adel1 #ace ,richard ,,ii41 licence granted by1 for the founding of ,winchester ,college1 #adi ,richter on the absence of the ,svastika in ,phoenicia1 and its westward transmission1 #dg ,rimini1 interior decoration of the temple of1 by ,a4 di ,duccio1 #hi ,rinder1 ,frank1 ,the ,geographical ,distribution of the ,first ,folio ,shakespeare1 #cce ,rishi ,atri and his son1 ,soma1 #ced ,rishis of ,kashmir1 use of ,soma by1 #ced ,rives1 ,dr4 ,george1 ,rose-water dish presented by1 to ,winchester ,college1 #afa ,rogers' #8,poems1' ,turner's illustrations to1 7,n4 ,g471 #cjj ,rogers1 ,william1 first ,british engraver of importance1 plates by1 shown at ,v4 and ,a4 ,museum ,exhibition2 ,portraits3 ,alphonso1 ,king of ,castile1 ,godfrey ,adelmar1 ,queen ,elizabeth 7,h4,m4 the ,king71 and ,sir ,t4 ,docwra1 #aid ,roldit1 ,m41 ,the ,collection of ,pictures of the ,earl of ,normanton1 at ,somerley1 ,hampshire2 ,i4 ,pictures by ,sir ,joshua ,reynolds1 #bjf #8,romance of ,alexander1' by ,nizm1 #adc ,rome1 see ,academy of ,st4 ,luke1 ,corsini ,gallery1 and ,vatican ,library alleged visit to1 of ,bernard van ,orley1 #bje chief source of ,albarelli or druggists' jars and similar wares1 #cch-dc visit of ,c4 ,le ,brun to1 #bcj ,rose ,lotus1 the1 ,indian origin of1 ,chinese use of1 etc4 #cej ,rose-water ,dishes1 see ,silver ,plate ,rosselli1 ,cosimo1 and other painters1 estimate by1 of the cost ,baldovinetti's paintings in the ,cappella ,maggiore of ,s4 ,trinit1 ,florence1 #afi ,stefano1 cited on the ,altarpiece by ,a4 ,baldovinetti1 and its inscription1 #agj and ,richa1 cited on the ,pinzochere of ,s4 ,paolo1 ,florence1 #bd ,rossetti1 ,d4 ,g41 illustration by1 to ,allingham's #8,music ,master1' ,the ,maids of ,elfen ,mere1 #bii influence of ,menzel on1 #cjf other illustrations by1 to ,moxon's edition of ,tennyson1 #bii ,rotterdam1 centre of the trade between ,holland and ,china1 #bgg ,rouen ,museum1 painting by ,g4 ,david in1 ,b4 ,v4 ,m4 with ,child1 ,virgin ,saints1 and ,angels1 #cf1 #ci ,archaeological discoveries during excavations at1 #cgd ,roy ,modus1 parts of ,gaston ,phoebus borrowed from1 #ae ,rubens1 ,peter ,paul1 influence of ,titian on1 #bhe ,rupert1 ,prince1 7of ,bavaria71 ,mezzotint by1 ,the ,great ,executioner1 after ,spagnoletto1 7,h4,m4 the ,king71 shown at the ,v4 and ,a4 ,museum ,exhibition1 #aii ,russell1 ,mrs4 7ne ,vassall71 ,portrait of1 by ,sir ,j4 ,reynolds1 7,normanton71 #bbc ,russia1 lack of legislative protection for ancient buildings in1 #c ,rutland1 ,duke of1 painting by ,sir ,j4 ,reynolds once owned by1 ,nativity1 original design for centre of ,new ,college window1 ,oxford1 burnt in #ahaf41 #bab ,ruysdael1 ,jacob1 characteristics of his best work1 #ef1 #ei paintings by1 ,guildhall1 #aijc41 ,forest ,scene1 ,sea-piece1 and ,view on the ,brill1 #ei ,view of ,haarlem1 7,mauritshuis1 ,hague71 #ei ,view over an extensive flat wooded ,country1 7,n4 ,g471 #ei ,solomon1 paintings by1 landscapes1 7#b71 7,louvre71 #cdc traces of his influence in painting by ,jacob ,maris1 #agh ,rylands ,library1 first folio ,shakespeare in1 price paid for1 by ,steevens1 #agef41 #ccf ,saccostemma viminale1 said by some to be the ,soma of the ,vedas1 etc41 #cec-d ,s4 ,andrew's ,chapel1 ,gloucester ,cathedral1 paintings in1 by ,t4 ,g4 ,parry1 #aag ,s4 ,aubert1 ,bishop of ,cambrai1 patron of ,brussels ,bakers1 #aib ,s4 ,catherine of ,siena1 a friend of ,andrea ,vanni1 #cji her portrait by him1 #cji1 #cba ,s4 ,cosmas and ,s4 ,damian1 patrons of ,barber ,surgeons1 #aia ,s4 ,croce1 ,florence1 painted window in the ,pazzi chapel of1 designed by ,a4 ,baldovinetti1 #ca painting in1 ,fresco by ,t4 ,gaddi1 copied as a miniature by ,pol de ,limbourg1 #ij ,s4 ,denis1 ,abbey of1 ,tomb of ,henri ,,ii4 and ,catherine de' ,medici at1 executed by ,g4 ,pilon1 #ie ,s4 ,francesco1 church of1 ,siena1 fire at1 #afee41 #cae painting by ,vanni1 ,madonna degli ,infermi1 in1 usually ascribed to ,p4 ,lorenzotti1 ib4 other work by ,vanni in1 usually ascribed to other hands1 ib4 ,s4 ,francis4 traditional residence of1 at the ,spedale di ,s4 ,paolo1 ,florence1 #bc ,s4 ,george1 church of1 at ,ruballa1 first home of the ,altarpiece in five parts by ,b4 ,daddi1 7,parry71 #abf ,s4 ,george1 the ,dragon and ,cleodolinde1 on the ,ypres chest1 #ceg ,s4 ,giovanni1 ,florence1 baptistery of1 ,baldovinetti employed to restore1 #bc his emoluments1 #agj ,s4 ,lorenzo1 ,florence1 tomb of ,baldovinetti in1 #bb1 #bd district of1 ,florence1 hired dwelling of ,baldovinetti in1 #bc ,s4 ,luke4 7see ,academy of71 ,gild of1 #cbf1 #ccb ,s4 ,maria a ,quinto1 ,florence1 land in1 owned by ,baldovinetti1 #bc ,s4 ,maria ,novella1 marble frontal of the ,high ,altar of ,s4 ,trinit found in1 #cb ,piazza of1 remains of the ,spedale di ,s4 ,paolo on1 #bc work of ,d4 ,ghirlandajo in1 #agd ,s4 ,maria ,nuova1 ,florence1 ,archivio di1 #8,ricordi' of ,baldovinetti once in1 #bd ,s4 ,martino a ,sesto1 ,florence1 land in1 owned by ,baldovinetti1 #bc ,s4 ,michael 7,archangel71 patron of the ,brussels gild of ,butchers1 #aia and of ,drapers1 #aij ,s4 ,miniato a ,monte1 ,florence1 mosaic faade of1 restored by ,baldovinetti1 #afi ,s4 ,john ,gualbert's ,crucfix removed from1 to ,s4 ,trinit1 #cb ,s4 ,trinit1 ,florence1 ,altarpiece for1 painted by ,a4 ,baldovinetti1 ,trinity1 with two ,saints1 now in the ,florentine ,academy1 #cb decoration of1 by ,baldovinetti1 notes of accounts kept by him1 #bg work of ,d4 ,ghirlandajo in1 #agd ,saint-,vallier family1 arms of1 as shown in ,,ms4 #faf of ,gaston ,phoebus1 #aa1 #ab ,saladin1 heterodoxy of1 evidences of1 #ace ,salting1 ,g41 present owner of painting attributed to ,giorgione now ascribed to ,cariani1 ex ,leuchtenberg collection1 ,madonna and ,child1 #gh ,salviati1 ,bernardine1 ,canon of ,bruges ,cathedral1 ,triptych painted for1 by ,g4 ,david1 7,n4 ,g471 #cf ,samarcand1 edifice of ,chinese porcelain set up at1 by a ,timurid ,sultan1 #add ,,ms4 from1 containing astronomical treatise of #8,abd ur-,rahmn el ,sufi1 strong ,chino-,japanese style of1 ib4 ,timurid mosques of1 ogival doorways of1 #aci1 #adc ,samian bowls found during excavations at ,rouen1 #cgd ,sandys1 drawings by1 for illustrations1 never engraved1 ,spirit of the ,storm1 and another1 vicissitudes of1 #cjj his method of preparing illustrations1 and large version of his drawing1 ,amor ,mundi1 7,battersea71 #cjj ,sargon1 ,palace of1 ,persepolitan building recalling1 #aci ,sarzana1 capture of1 by ,florence1 #bh ,sassanides1 ,kings of ,persia1 history of1 #dd1 #dg influence of1 on ,mussulman architects1 art and methods of their period1 #aci1 #adj ,savoy1 ,beatrice1 ,duchess of1 sister of the ,empress ,isabella1 at ,bologna1 possibilities of the visit as to the portrait of the latter1 #bhb ,sayce1 ,professor ,a4 ,h41 cited on the cedar and the palm as the ,tree of ,life1 #cec cited on ,hittite origin of the ,svastika1 #dg ,scandinavia1 ,art and ,artists of1 7see ,denmark and ,iceland71 ,svastika said to represent ,thor of1 #dc ,schefer1 ,c41 ,arab illuminated ,,ms4 owned by1 the #8,makmt of ,harr1' #acf ,scheibler1 ,dr41 attribution by1 to ,g4 ,david of the ,adoration of the ,magi previously ascribed to ,j4 van ,eyck1 #ci ,schliemann1 ,dr41 letter to1 from ,major-,general ,gordon on ,svastika as ,chinese symbol1 #dg ,sculpture1 see ,bas-reliefs ,bust of ,st4 ,john ,baptist ex ,gigli ,campana collection 7,s4 ,k471 is it the work of ,leonardo da ,vinci8 #hd ,greek1 ,burlington ,fine ,arts ,club ,exhibition3-- ,busts3 ,hipponax and ,menander1 #bej ,heads3 ,aphrodite1 ascribed to ,praxiteles1 7,leconfield71 #bdi ,girl from ,chios1 #bdi and note letter on1 by ,j4 ,marshall1 #cgf ,mourning ,woman1 7,ponsonby71 ascribed to ,lysippos1 #bdi of ,statue by ,polykleitos1 7,vincent71 #bdd of a ,youth1 7,vincent71 #bda by ,pilon1 ,g41 ,groups3 ,les ,trois ,grces4 7,louvre71 #ie ,les ,trois ,parques1 7,htel de ,cluny71 ib4 ,statue1 ,marble1 ,la ,charit1 7,lowengard71 #ie ,tomb of ,franois ,i4 7with other sculptors71 and ,tomb of ,henri ,,ii4 and ,catherine de' ,medici1 #ie by ,verrochio1 ,david1 ,statue1 resemblance of its mouth to that of the ,p4 ,scipioni ,bas-relief1 #hd ,seals of the ,brussels ,gilds1 ,r4 ,petrucci1 #aij ,sefevan ,kings of ,persia1 ,,mss4 of their period1 #ace1 #add mosaics adorning ,mosques of1 #aci ,segher1 ,hercules1 etcher1 influence of1 on ,rembrandt1 #fc ,sguier1 ,chancellor1 patron of ,charles ,le ,brun1 #bbi1 #bcj ,settignano1 ,desiderio da1 carver of the ,gianfigliazzi arms1 on their ,florentine palace1 #bh ,seuter and ,townley1 engravers1 #eb ,seventeenth and ,eighteenth ,century ,british ,engravers1 and their work1 ,v4 and ,a4 ,museum ,exhibition1 #aid ,sforza1 ,francesco1 first ,duke of ,milan1 his daughter and her husband1 #cch ,shah ,abbas1 ,persian art during period of1 large survival of ,,mss4 of1 #add ,shah-,alem ,,ii41 and his library1 #adc ,shah-,jehan1 ,emperor of ,hindustan1 and his love for literature1 #adc ,shah-,rokh1 son of ,timur ,bey1 art in ,persia during his reign1 #adc ,shakespeare1 the ,first ,folio1 ,the ,geographical ,distribution of1 ,f4 ,rinder1 #cce ,sheepshanks ,collection of proofs of the ,landseer school of engraving1 7,n4 ,art ,library71 shown at the ,v4 and ,a4 ,museum ,exhibition1 #aii ,sheridan1 ,mrs41 model of ,sir ,j4 ,reynolds for painting of ,charity and the ,virgin in the ,nativity1 7,normanton71 #bab ,short1 ,frank1 fine work of1 in mezzotint1 shown at the ,v4 and ,a4 ,museum ,exhibition1 #aii and ,miss ,c4 ,m4 ,pott1 catalogue and exhibition of ,engraving and ,etching processes1 arranged by1 ,v4 and ,a4 ,museum ,exhibition1 #aii ,siddons1 ,mrs41 portrait of1 as ,tragic ,muse1 by ,sir ,j4 ,reynolds1 7,westminster71 copy1 by the ,duchess of ,buckingham1 7,normanton71 replica by ,reynolds1 7,dulwich71 #bbd ,siena1 ,communal ,library of1 extracts from the #8,ricordi' of ,baldovinetti found in1 #bd paintings by ,a4 ,vanni still extant in1 see ,vanni1 passim ,silver3-- ,chalice1 ,mediaeval1 from ,iceland1 in the ,v4 and ,a4 ,museum1 ,h4 ,p4 ,mitchell1 #gj from ,sor1 ,denmark1 ,h4 ,p4 ,mitchell1 #ceg ,the ,plate of ,winchester ,college1 ,p4 ,macquoid1 #adi ,cup with cover1 gilt1 presented by a ,marquis of ,winchester1 #aef ,ecclesiastical2 ,two ,chalices and an ,alms ,dish1 etc41 #afb #8,election ,cup' presented by ,warden ,more1 #aej1 #aee ,hanap1 or ,tall ,standing ,cup1 #afb ,rose-water ,dish and ,ewer1 parcel-gilt1 presented by ,radolphus ,henslowe #aee parallels owned by ,lord ,newton of ,lyme1 #aef ,rose-water ,dish1 presented by ,dr4 ,george ,rives1 #afa ,standing ,cup and cover1 presented by ,hugh ,barker1 #af1 ,standing ,salt1 bequeathed by ,michael ,bold1 #afa-b ,standing ,salt1 gilt1 #aef ,steeple ,cup and cover1 gilt1 #afb ,sweetmeat ,dish of tazza form1 #aef ,tankard and cover1 presented by ,john ,bolney1 rare shape of1 #afa ,tankard with lid1 parcel-gilt1 ,commonwealth period1 #afb ,simon1 ,j41 of ,berlin1 paintings by ,gerard ,david owned by1 parts of a ,triptych1 #ci ,simone1 see ,martini1 ,simone ,sisamnes1 the unjust judge1 in painting by ,gerard ,david1 ,judgement of ,cambyses1 #cf ,siva1 ,svastika the supposed emblem of1 #dc ,six ,collection1 ,amsterdam1 paintings by ,jan ,vermeer in1 #ee ,sixtus ,,iv41 ,pope1 ,bongianni ,gianfigliazzi one of the ,florentine orators sent to1 on his election1 #bh ,sky and ,sky ,god1 ,svastika the supposed emblem of1 #dc ,slip ornament1 ,staffordshire pottery1 #fh1 #fi #8,slip' in pottery making1 a definition of1 #ff ,smith1 ,portrait of the ,artist1 ascribed 7erroneously7 to ,rembrandt1 #eb ,smith1 ,c41 ,the ,exhibition of ,greek ,art at the ,burlington ,fine ,arts ,club1 #bcf #8,solace of ,song1' remarkable illustrations to1 by ,harvey1 engraved by ,w4 ,t4 ,green and others1 #bii1 #cjf ,solario1 ,the ,authorship of a ,madonna by1 letter1 ,b4 ,berenson1 #aad ,solon1 ,l41 ,the ,lowestoft ,porcelain ,factory1 and the ,chinese ,porcelain made for the ,european ,market in the ,eighteenth ,century1 #bga ,soma1 son of ,rishi ,atri1 legend of1 and connexion of with a ,buddha1 #ced ,soma tree 7date palm or hom17 as the ,tree of ,life1 #cej1 #cec other theories concerning identity of1 #cec juice of1 how prepared1 its uses1 and allusions to it in the ,rigveda1 #ced ,somerley1 ,hampshire1 ,the ,collection of ,pictures of the ,earl of ,normanton at1 ,m4 ,roldit2 ,i4 ,pictures by ,sir ,joshua ,reynolds1 #bjf ,soorgh1 ,hendrik1 possibly the painter of the picture attributed to ,adriaen ,brouwer1 ,guildhall1 #aijc41 ,interior with ,figures1 #ef ,sophia1 daughter of ,casimir ,,iii4 ,king of ,poland1 her daughter's portrait by ,drer1 #bhi sister of ,casimir1 ,margrave of ,culmbach1 #bij ,sor ,chalice1 ,the1 7from ,denmark71 ,h4 ,p4 ,mitchell1 #ceg ,soung-,young1 7a ,doctor of reason71 cited on the ,tao-sse of ,china1 #dg ,spain1 paintings by ,adrian ,isenbrant sent to1 #cbf ,spedale di ,s4 ,paolo1 ,florence1 #8ricordo' in1 relating to ,baldovinetti1 #bb locale1 ornaments1 and original use of1 #bc the ,pinzochere of1 #bd ,spedale di ,s4 ,maria ,nuova1 that of ,s4 ,paolo united with1 #bb ,spiral ,scroll1 ,the1 and the ,svastika1 #dh ,stdel ,institute1 ,frankfort1 painting by ,botticelli in1 resemblance of details in1 to those in painting by ,g4 ,david1 7,bruges ,museum71 #cf ,staffordshire ,pottery ,ware1 ,early1 illustrated by pieces in the ,british ,museum1 ,r4 ,l4 ,hobson1 #fd ,stanhope1 ,hon4 ,mrs41 see ,falconer1 ,miss ,state1 the1 of a sculptured ,head of a ,girl from ,chios1 recently shown at the ,burlington ,fine ,arts ,club1 ,rodin cited on1 letter1 ,j4 ,marshall1 #cgf ,statue1 ,marble1 by ,pilon1 ,la ,charit1 #ij ,steen1 ,jan1 painting by1 ,guildhall1 #aijc41 ,portrait of ,himself1 7,northbrook71 #ef ,steevens1 ,george1 price paid by1 for first folio ,shakespeare1 ,martin ,folkes copy1 #agef41 7,rylands ,library71 #ccf ,stothard1 ,t41 illustrations by1 to the #8,voyage of ,columbus1' #bii sepia drawing by4 for an illustration1 #cje ,strange1 ,e4 ,f41 ,british ,engraving 7,exhibition of71 at the ,v4 and ,a4 ,museum1 #aid ,sir ,robert1 engraver1 work by1 in ,v4 and ,a4 ,museum ,exhibition1 #aid ,strassburg ,museum1 paintings attributed to ,memlinc owned by1 shown at ,bruges1 #aijc41 ascription controverted1 #ce ,strong1 ,mrs41 ,exhibition of ,greek ,art organized by1 #bcf-ee comment on the exhibits by1 ib4 ,strozzi1 ,filippo1 portrait of1 in ,baldovinetti's frescoes1 #agj portrait by ,titian with landscape background1 7,berlin ,gallery71 #bhe ,suavastika supposed symbol of the ,autumnal ,sun1 #dd ,sufis of ,sultan ,husein ,mirza1 ,,mss4 of the ,life of1 repetitive decorations of1 #ace ,sultan ,husein ,mirza1 the ,sufis of1 ,,mss4 of the ,life of1 repetitive decorations of1 #ace ,sultan ,mirza ,ulugh ,beg1 see ,ulugh ,beg ,sun1 ,autumnal1 the ,suavastika supposed emblem of1 #dd ,sun ,god1 ,sun and ,sun ,chariot1 the ,svastika supposed emblem of1 #dc ,sun-worship1 association of the ,lotus with1 ,goodyear cited on1 #cej ,sung period of ,chinese art1 rarity of relics of1 #bje ,sunn of ,mohammed1 laws of1 as to art1 #acb1 #ace ,susanna of ,bavaria1 wife of ,casimir1 ,margrave of ,culmbach1 patroness of ,drer1 in a lost picture by him1 #bij possibly the ,lady of ,portrait by him owned by ,mr4 ,heseltine1 ib4 other 7medal7 portraits of and of her second husband1 ib4 ,svastika1 ,the1 #dc absence of1 from ,phoenicia1 #dg absence of1 alleged1 in ,babylonia and ,assyria1 #dg as an auspicious sign1 and always ornamental1 #dc on breach of gun taken at ,taku ,fort1 #dg in the ,bronze ,age1 #dg as the emblem of ,agni1 #dc fecundity1 #dc the female1 #dc ,hindu gods1 #dc ,jupiter ,tonans and ,jupiter ,pluvius1 #dc ,thor of the ,scandinavians1 #dc evolution of1 from the ,lotus1 according to ,goodyear1 #ced in footprints of ,buddha on ,indian mountains1 #dc ,hittite origin or1 ,sayce on1 #dg introduction of1 into ,cyprus1 ,carthage and ,north ,africa1 ,richter's views as to1 #dg in relation to the ,lotus1 #dc1 #dh in relation to the ,nature gods4 #dc oldest known ,aryan symbol4 #dc origin and symbolism of1 theories concerning1 #dc on ,persian coins of ,arsacide and ,sassanide dynasties1 #dd ,phallic meaning attributed to1 #dc probably a development of the ,chinese characters ,c4 h4 e1 #dd in ,thibet4 #dd traceable in household appointments1 house-irons1 etc41 #dh universality of1 the basis of all decorative design1 #dc use and name of1 among ,north ,american ,indians1 #dc-d ,wilson on1 #dc his discovery of1 on ,assyrian coins and those of ,alexander the ,great1 #dg ,sydney1 ,n4,s4,w41 first folio ,shakespeare at1 and its donor1 #ccf ,sykes1 ,colonel1 on ,tao-sse of ,china1 #dg ,taku ,fort1 the ,svastika1 obviously ,chinese1 found on breech of gun taken at1 #dg ,tamerlane1 see ,timur ,bey ,t'ang dynasty of ,chinese rulers1 rarity of art relics of1 #bje ,tangye1 ,sir ,r41 donor of first folio ,shakespeare to ,sydney1 ,n4,s4,w41 #ccf ,tankards1 etc41 see ,silver ,plate ,tao-sse sect of ,china1 7see also ,tirthakar71 #dg ,tapestry1 designs for1 by ,c4 ,le ,brun1 ,chasses de ,mlagre1 ,history of ,constantinople1 ,jupiter allait par le chvre ,amalthe1 ,mars et ,venus1 ,les ,muses1 #bcj high warp1 manufactory of1 established by ,fouquet at ,maincy1 #bcj ,tara1 wife of ,brihaspati1 mother of a ,buddha1 by ,soma1 #ced ,tattooing1 the ,swastika used in1 in ,thibet1 #dd ,tau ,cross1 ivory1 found at ,alcester1 7,b4,m417 #bjj ,teapot1 hard porcelain1 ,chinese in decoration1 marked #8,allen1 ,lowestoft1' 7,v4 and ,a4 ,m471 #bgg ,temperament in native ,dutch art1 #ea ,terborch1 ,g41 paintings by1 ,guildhall1 #aijc41 ,portrait of a ,lady and ,portrait of a ,young ,woman1 #ef ,terra-cottas1 see ,ceramics ,tewkesbury ,abbey1 frescoes on roof of1 by ,t ,g4 ,parry1 #aag ,textile ,arts1 see ,lace1 ,oriental ,carpets1 ,tapestry1 ,weaving1 etc4 ,thibet1 connection of the ,svastika with1 #dd ,tirthakar sect in1 derivation of name1 #dd ,thiem1 ,a41 owner of painting attributed to ,memlinc1 ,b4 ,v4 ,m4 and ,child1 7,bruges1 #aijb471 #ce ,thomas1 ,mr41 on the ,svastika and the ,jain ,tirthankara1 #dd ,thomond1 ,marchioness of1 niece of ,sir ,j4 ,reynolds1 sale of her pictures1 #ahba41 the foundation of the ,normanton collection1 #baa ,thor of ,scandinavia1 the ,svastika supposed emblem of1 #dc ,thunder-gods1 the ,svastika probably emblem of1 #dc ,times1 ,the1 view of1 as to correct attribution of ,le ,commencement d',orage1 ,guildhall1 #aijc41 7,lady ,wantage71 #fj ,timur ,bey1 7,tamerlane71 #acb as art patron and author1 #adc and his successors1 art in ,persia during reigns of1 #adc ,timurid art in ,persia1 #adc of ,khorassan1 ,chinese influence on1 #adc ,mosques of ,samarcand1 ogival doorways of1 and art associations of1 #aci ,tirthakar sect of ,thibet synonymous with ,tao-sse of ,china1 #dd ,tirthankara1 the ,jain1 the ,svastika one of their devices1 ,max ,mller and ,thomas on1 #dd1 see note ,titian1 7,tiziano ,vecellio71 ,portrait of the ,empress ,isabella by1 ,g4 ,gronau1 #bha his commission from ,charles ,v4 at ,busseto1 ,aretino cited on1 #bha his inferior model1 #bha-e his success1 ib4 visit of1 to1 ,augsburg1 confusion caused by his references to his work there1 #bha his adoption of landscape backgrounds1 #bhe his influence on subsequent portrait painters1 ib4 portrait by1 of ,giacomo ,doria1 owned by ,j4 ,wernher1 letter on1 from ,g4 de ,pellegrini1 #bfg ,tizio1 cited on the ,altarpiece by ,vanni in ,s ,stefano1 ,siena1 #caj and on his work for the friars minor of ,s4 ,francesco1 #cae ,tleson1 ,kylix signed by1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bee ,tocqu1 ,jean-,louis1 paintings by at the ,louvre1 chiefly official portraits1 #cdd ,portrait of ,dame ,danger1 recently acquired1 #cdc-d ,tod1 ,colonel1 on the date of introduction of ,buddhism into ,thibet1 #dg ,toft ware1 a name for slipware1 its origin1 #fi ,tomb of ,francis ,i4 of ,france1 designed by ,delorme1 work of ,pilon and other sculptors on1 #ie ,henri ,,ii4 of ,france and ,catherine de' ,medici1 executed by ,g4 ,pilon1 #ie ,tomm1 ,lucca di1 painter1 #caj ,tone in ,dutch painters ancient and modern1 #ea ,toscanelli1 ,paolo da ,pozzo1 astrologer1 portrait of1 in ,baldovinetti's frescoes1 #afi ,tournay ,museum1 painting by ,john van ,eecke owned by1 ,vision of ,s4 ,bernard1 7,bruges1 #aijb471 #ccb ,treadwin1 ,mrs41 the late1 ,honiton lace revival by1 #ie ,tree of ,life identified with the ,lotus by ,goodyear1 #cej types and distribution of1 #cec and ,lotus1 in ,oriental ,carpets1 #cdi ,trees and ,plants identified with the ,tree of ,life1 #cej1 #cec ,trepperel1 ,gaston ,phoebus hand-printed by1 #h ,turenne1 ,marshal1 campaign of1 in the ,netherlands1 #ab ,turkestan1 ,timurid ,,mss4 in1 better executed than similar ,,mss4 in ,persia1 #add ,turkey1 lack of legislative protection for ancient buildings in1 #c ,turkish skill in miniature painting1 #acb ,turner1 ,charles1 ,mezzotint by1 shown at the ,v4 and ,a4 ,museum ,exhibition1 ,the ,water ,mill1 after ,callcott1 #aii ,turner1 ,j4 ,m4 ,w41 as an illustrator1 #cjf illustrations by1 to ,rogers' #8,poems1' 7,n4 ,g471 #cjj struggles of1 with his steel-engravings1 #bid and ,barrett1 resemblances of their work as illustrators1 #cjf and ,goodall1 illustrations by1 to #8,datur ,hora ,quieti1' #cjj ,tuscany1 ,pietro ,leopoldo1 ,grand ,duke of1 union of the ,spedale of ,s4 ,maria ,nuova and ,s4 ,paolo effected by1 #bb ,two ,alleged ,giorgiones1 ,h4 ,cook1 #gh ,italian ,bas-reliefs in the ,louvre1 ,a4 ,michel1 #hd ,pictures in the possession of ,messrs4 ,dowdeswell1 ,adoration of the ,magi and ,dormition of the ,b4 ,v4 ,m41 probably ,french ,,xiv4 cent41 #hi ,type1 ,greek1 ,a ,new ,fount of1 7,proctor's #8,otter'71 #ceh ,types of the ,tree of ,life1 #cec ,typography1 see ,greek ,type ,tyrol1 ,archduke ,ferdinand1 ,duke of1 ,codex ,,ms4 #faf of ,gaston ,phoebus presented to1 by ,bishop ,bernard of ,trent1 #ab ,landsknechte of ,charles ,v4 of ,germany recruited from1 #ab ,uffizi ,gallery1 painting by unknown artist1 ,florentine ,school1 early ,,xv4 cent4 in1 ,triptych1 ,madonna and ,child1 with ,angels and ,saints1 #aca painting by unknown artist1 ,school of ,cimabue1 in ,altarpiece of ,st4 ,cecilia1 #aah ,ulugh ,beg1 grandson of ,timur ,bey1 astronomical tables drawn up by1 #adc astronomical ,,ms4 copied for1 at ,samarcand1 strongly marked ,chinese influence in1 #add ,united ,states of ,america1 general provision of legislative protection for ancient buildings in1 #c ,upper ,ossory1 ,earl of1 his second wife1 ,miss ,anne ,liddell1 painted by ,sir ,j4 ,reynolds1 7,normanton71 #bbc ,urbino1 ,duchess of1 ,portrait of1 by ,titian1 believed to be the first in which he employed landscape background1 #bhe ,guidobaldo1 ,duke of1 meeting of1 with ,charles ,v4 at ,peschiera1 #bha ,van ,aelst1 ,willem1 painting by1 ,guildhall1 #aijc41 ,still-life ,subject1 #ef van ,craesbeeck1 ,joost1 possibly the painter of the picture attributed to ,adriaen ,brouwer1 ,guildhall1 #aijc41 ,interior with ,figures1 #ef ,van de ,capelle1 ,jan1 beauties and characteristics of his work1 #fj paintings by1 ,guildhall1 #aijc41 ,off ,scheveningen and ,sea ,piece1 both masterpieces1 #fj painting by1 ,river ,scene1 7,n4,g471 beauties of1 #fj ,van der ,heyden1 ,jan1 painting by1 ,guildhall1 #aijc41 ,landscape1 7very highly finished71 #ei ,van der ,neer1 ,aart1 painting attributed to1 ,guildhall1 #aijc41 ,moonlight ,river ,scene1 doubtful authenticity of1 #ei ,van de ,velde1 ,adriaen1 painting by1 ,guildhall1 #aijc41 ,landscape with ,cattle1 small and excellent1 #ei ,george and his son ,john1 portraits of1 on ,diptych1 by ,isenbrant1 #cbf ,willem1 paintings of1 surpassed by some of van de ,capelle's shown at ,guildhall1 #aijc41 #fj van ,dyck1 ,sir ,a41 7or ,vandyke71 influence of1 traceable in painting by ,sir ,j4 ,reynolds1 #bbc influence of ,titian on1 #bhe van ,eecke or van ,eeckele1 ,john1 paintings by1 shown at ,bruges1 #aijb41 formerly ascribed to ,john van ,eyck1 ,mater ,dolorosa1 7,bruges ,cathedral71 locale of copies of the same1 #ccb ,vision of ,s4 ,bernard1 7,tournay ,museum71 #ccb van ,eyck1 ,john1 paintings formerly attributed to1 one now ascribed to ,gerard ,david1 ,adoration of the ,magi1 7,brussels ,museum71 ,bruges1 #aijb41 #ci another1 now ascribed to van ,eecke or van ,eeckele1 ,bruges1 #aijb41 ,mater ,dolorosa1 7,bruges ,cathedral71 locale of copies of the same1 #ccb van ,goyen1 ,jan1 favourite subjects in paintings of1 #cdc part of painting attributed to ,frans ,hals1 possibly by1 ,van ,goyen and his ,wife1 ,guildhall1 #aijc41 #eb traces of his influence in paintings by ,jacob ,maris1 #agh van ,halewyn1 ,joan1 and her husband1 portraits of1 on triptych1 by ,isenbrant1 #cca van ,huerne1 ,m41 paintings by ,isenbrant and others1 presented by1 to ,bruges ,cathedral1 #cca van ,huysum1 ,jan1 paintings by1 ,guildhall1 #aijc41 ,still-life ,subjects1 #ef ,vanni1 ,andrea1 ,f4 ,mason ,perkins1 #cji of ,siena1 painter1 diplomat1 and devotee1 friend of ,s4 ,catherine of ,siena1 date of his birth1 share in revolution of #acfh1 etc41 #cji characteristics of his style1 #hi1 #cji1 #cbb date of his death1 #cbe paintings by2 ,annunciation1 7,count ,f4 ,chigi1 ,siena71 #caf2 ,annunciation1 after ,simone ,martini1 7,s4 ,pietro ,ovile1 ,siena71 various attributions of1 #cba ,crucifixion1 7fragmentary71 formerly in the church of the ,alborino1 7,istituto delle ,belle ,arte1 ,siena71 #cji1 #cba ,deposition from the ,cross1 7,berenson71 #cba ,frescoes1 in bad condition1 7,s4 ,giovenale1 ,orvieto71 #cba1 note ,seated ,virgin and ,child1 7,s4 ,francesco1 ,siena71 usually attributed to ,a4 ,lorenzotti1 #cae ,madonna1 7church on ,monte ,nero1 near ,leghorn71 #cba1 note ,madonna degli ,infermi1 7,s4 ,francesco1 ,siena71 attributed to ,pietro ,lorenzotti1 #caj-ae ,panels1 ,madonna and ,child1 7,s4 ,giovanni della ,staffa1 ,siena71 #caf ,virgin and ,child1 full-length1 7,s4 ,spirito1 ,siena71 #caf ,virgin and ,child1 half-length1 7,chapel of ,,ss4 ,chiodi1 ,siena71 usually attributed to ,barna1 #cae-f ,virgin and ,child1 7priest's house1 next ,s4 ,pietro ,ovile71 #cbe ,polyptych1 ,altarpiece1 7,s4 ,stefano1 ,siena71 #cji ,portrait of ,st4 ,catherine of ,siena1 7,s4 ,domenico1 ,siena71 #cji1 #cba ,triptych1 ,st4 ,michael between ,st4 ,anthony the ,abbot and the ,baptist1 7,siena ,gallery71 usually ascribed to ,lippo ,memmi1 #cbe ,virgin and ,child1 7,berenson71 #caf presumptions as to his later and earlier artistic life1 #cbe one of his pupils referred to1 ib4 van ,orley1 ,bernard1 ,notes on the ,life of1 ,w4 ,h4 ,j4 ,weale1 #bje ,valentine1 reputed father of ,bernard1 #bje van ,os1 ,jan1 paintings by1 ,guildhall1 #aijc41 ,still-life ,subjects1 #ef van ,pynbroek1 ,margaret1 alleged mother of ,bernard van ,orley1 #bje van ,rijn1 ,rembrandt1 see ,rembrandt van ,ruysdael1 see ,ruysdael ,vasari cited on ,baldovinetti1 #bb1 #bd his methods of fresco painting1 #afi his frescoes in the ,cappella ,maggiore of ,s4 ,trinita1 ,florence1 and their subjects1 #agj on their early decay1 #agc cited on the metal heads made by ,verrochio1 #hd cited on the preparation of frescoes1 #afg #8,life of ,stefano ,fiorentino and ,ugolino ,sanese1' by1 #abf and others1 error of1 as to ,bernardo ,daddi1 #abe ,vassall1 ,f41 portrait of his daughter1 ,mrs4 ,russell1 by ,sir ,j4 ,reynolds1 7,normanton71 #bbc ,vaux1 ,chteau de1 works of ,c4 ,le ,brun at1 #bcj ,vecellio1 ,tiziano1 see ,titian ,vedas1 the1 story of ,agni the fire ,god1 and the origin of the ,svastika in1 #dd note concerning these books1 #cec ,velasquez1 as a painter of dogs1 #bah one of the few painters whose brushwork equals that of ,frans ,hals1 #eb ,veneziano1 ,domenico1 use of oil by1 in his frescoes1 #afi ,ventura1 ,bernardino di1 pencil-maker1 of ,florence1 #afg ,veramin1 see ,ardabil and ,veramin ,verard1 ,antoine1 ,gaston ,phoebus hand-printed by1 #h ,verino1 ,ugolino1 reference to the ,gianfigliazzi family in a poem by1 #bh ,vermeer1 ,jan1 of ,delft1 a rare master1 painting by1 ,guildhall1 #aijc41 ,the ,cook ,asleep1 #ee other and finer works by elsewhere1 ib4 ,verrochio1 possibly the artist of the ,p4 ,scipioni ,bas-relief1 views of ,bode and others cited1 #hd statue by1 ,david1 resemblance between its mouth and that of the above1 #hd ,versailles1 works at1 directed by ,c4 ,le ,brun1 #bce ,verspronck1 ,j41 paintings by1 ,guildhall1 #aijc41 ,portrait of a ,dutch ,lady1 7,mrs4 ,stephenson ,clarke71 resemblance of his technique to that of ,hals1 #ee painting probably by1 ,portrait of a ,lady1 7at ,antwerp71 ib4 ,via dell' ,ariento1 ,florence1 ,baldovinetti's hired house in1 #bc ,vianizzi1 ,giovanni di ,ser ,antonio1 writer of the records of the ,pinzochere of ,s4 ,paolo1 ,florence1 #bg ,victoria and ,albert ,museum3-- drawings on the wood for illustration to ,dalziel's #8,arabian ,nights1' etc41 in1 #cje ,exhibition of ,british ,engraving at1 ,e4 ,f4 ,strange1 #aid frescoes in1 by ,sir ,f4 ,leighton1 #aag ,new ,acquisitions at3-- ,mediaeval ,silver ,chalice from ,iceland1 ,h4 ,p4 ,mitchell1 #gj ,the ,reid ,gift1 7,,mss471 #gd ,vienna ,museum1 paintings by ,boels in1 ascribed to ,memlinc1 #ce ,modern ,gallery1 ,pictures in the new1 #cge ,vierge1 ,daniel1 and his style1 #cjf ,vigne1 ,gace de la1 see ,buigne ,vincent1 ,sir ,e41 ,head of a statue by ,polykleitos owned by1 shown at the ,burlington ,fine ,arts ,club ,exhibition1 #bdd ,vinci1 ,leonardo da1 see ,leonardo da ,vinci ,ser ,piero di ,leonardo da1 notary of ,florence1 engrosser of the #8ricordo' concerning ,baldovinetti1 #bb1 #bc ,visconti1 ,bianca-,maria1 second wife of ,alfonzo ,,ii4 of ,aragon1 #cch ,vishnu1 the ,svastika probably an emblem of1 #dc ,vitry1 ,paul1 ,pictures recently acquired by the ,louvre1 ,landscapes1 7#b71 by ,s4 ,ruysdael2 ,portrait of ,dame ,danger1 by ,l4 ,tocqu1 #cdc ,volpaia1 ,lorenzo dalla1 astrologer1 portrait of1 in ,baldovinetti's frescoes1 #agj von ,kaufmann1 ,r 1 painting by ,a4 ,isenbrant owned by1 ,a ,donor and his ,family1 with ,protecting ,saints1 7,bruges1 #aijb471 #cca von ,knebel1 ,hofrath ,christian ,friedrich1 of ,ansbach1 lost votive picture by ,drer once owned by1 with portraits of the ,margrave of ,culmbach and his ,wife1 #bij ,vouet1 ,simon1 early master of ,charles ,le ,brun1 #bbi ,waagen1 ,dr41 #fj cited as to the ,annunciation attributed to ,memlinc1 7,prince ,radziwill71 7,bruges1 #aijb471 #ce ,walde1 ,muller-1 see ,muller-,walde ,wantage1 ,lady1 painting formerly attributed to ,rembrandt1 owned by1 ,le ,commencement d',orage1 ,guildhall1 #aijc41 #fj panels by ,gerard ,david owned by1 #ci ,waring cited on alleged absence of the ,svastika in ,babylonia and ,assyria1 #dd ,water-gods1 ,greek1 and ,hindu1 ,svastika the supposed emblem of1 #dc ,water-colour ,paintings1 see ,drawings ,watts1 ,g4 ,w41 drawings on wood by1 for illustrations to ,dalziel's #8,bible ,gallery1' 7,v4 and ,a4 ,m471 #cje ,wauters1 ,a41 cited on ,bernard van ,orley1 #bje ,weale1 ,w4 ,h4 ,j41 ,the ,early ,painters of the ,netherlands as illustrated by the ,bruges ,exhibition of #aijb41 #ce1 #cbf ,note on the ,life of ,bernard van ,orley1 #bje ,weaving1 evolution of the art of1 #cdi ,weber1 ,e41 painting by ,j4 ,prevost owned by1 ,last ,judgement1 7,bruges1 #aijb471 #ccb ,werth1 researches of1 on ,codex ,,ms4 #faf of ,gaston ,phoebus1 #h1 #ab ,wertheimer1 ,a41 painting attributed to ,giorgione1 but to be ascribed to ,cariani1 acquired by1 ex ,leuchtenberg collection1 ,adoration of the ,shepherds1 #gh ,westall1 ,w41 wash-and-pen drawing by1 for illustration1 #cje ,westminister1 ,duke of1 owner of painting by ,sir ,j4 ,reynolds1 ,mrs4 ,siddons as the ,tragic ,muse1 #bbd paintings attributed to ,memlinc owned by1 probably by ,l4 ,boels1 #ce ,wielant1 ,philip1 and his wife1 portrait of1 on ,triptych by ,isenbrant1 #cca ,willett1 ,henry1 armorial plate in ,indo-,european style1 marked #8,canton1 #agia41' owned by1 #bgg ,william ,i41 ,german ,emperor1 ,berlin copy of first folio ,shakespeare bought by1 #aheh41 #ccf ,william ,,iii41 deterioration of the acanthus design on plate in the reign of1 #afa ,william of ,wykeham1 founder of ,winchester ,college1 his arms and outlay4 #adi ,wilson1 ,professor1 cited on the ,svastika as primarily an ornament1 #dc on the ,svastika on ,assyrian coins and those of ,alexander the ,great1 #dg ,sir ,matthew1 former owner of painting by ,rembrandt1 ,portrait eta ,lady1 7,hage71 #cfj ,winchester ,cathedral1 marriage of ,queen ,mary to ,philip of ,spain in1 #aej ,city1 importance of1 as one time capital of ,england1 #adi ,college1 ,the ,plate of2 ,p4 ,macquoid4 #adi its founder1 #adi visitors to1 and their gifts of plate1 #adi-ej2 inventory of plate of1 temp4 ,henry ,,viii41 #aej sequestration of the plate1 temp4 ,edward ,,vi41 ib4 subsequent gifts of new plate to1 #aee description of principal existing pieces1 #aee et seq4 ,marquis of4 circ4 #afhb41 ,silver-gilt cup with cover presented by1 to ,winchester ,college1 #aef ,windows1 see ,glass1 ,painted ,windows1 etc4 ,woertz ,museum1 painting attributed to ,memlinc owned by1 7,bruges1 #aijc471 condition of1 #ce ,wolvesey ,castle1 visit to1 of ,henry ,,viii41 #adi ,woodburn1 ,samuel1 marks affixed by1 to ,lawrence drawings1 #bhf ,wood-carving1 ,burgundian ,chest1 7,bruges1 #aijb471 7,hospices civiles1 ,aalst71 #ceh ,oaken ,chest of ,ypres1 #ceg ,woodcuts1 newly acquired by the ,print ,room of the ,british ,museum1 #ge ,woollett1 ,william1 and his school of engravers1 work by1 shown at the ,v4 and ,a4 ,museum ,exhibition1 #aid plate by1 and by his pupils1 ,roman ,edifices in ,ruins1 after ,claude1 #aid-i ,works of ,art belonging to ,dealers1 ,the ,publication of1 editorial1 #e ,wrotham1 ,kent1 slipware of1 ,,xvii4 and ,,xviii4 cent41 #fh ,wykeham1 see ,william of ,wykeham ,xerxes1 the ,apadana of1 and its art1 #aci ,ximenes1 ,cardinal1 type cut by order of1 the ,alcal fount1 #ceh ,yarkand ,rugs1 the pomegranate as the ,tree of ,life on1 #cec ,yez-de-jird the ,third1 last of the ,sassanian kings overthrown by the ,mahomedans1 #dg ,ypres1 ,the ,oaken ,chest of1 #ceg ,zendavesta1 note concerning1 #ced ,zeus1 the ,svastika supposed to be an emblem of1 #dc ,zmigrodski on the derivation of the ,suavastika1 #dd ,,index ,,of ,,artists ,,and ,,works ,,of ,,art ,albarelli1 ,italian1 see ,ceramics ,altarpiece1 by ,a4 ,baldovinetti1 painted for the ,cappella ,maggiore1 ,s4 ,trinit1 now in the ,florentine ,academy1 ,trinity1 with ,saints1 #bi ,aquatint1 coloured1 by ,stadler1 ,the ,htel de ,ville1 ,louvain1 after ,s4 ,prout2 7,v4 and ,a4 ,m471 #bjc ,armorial ,bearings1 7,shields71 of the ,doria family1 7in text71 #bfh ,bagg1 engraving by1 after ,e4 ,isabey1 ,ship ,during ,storm1 illustration to ,curmer's #8,paul et ,virginie1' #cjg 7#c7 ,baldovinetti1 ,alesso1 painted glass window1 designed by1 in ,s4 ,croce1 ,florence1 with figures of ,god the ,father and ,st4 ,andrew1 #be paintings by1 ,altarpiece1 ,trinity1 with ,saints1 formerly in ,s4 ,trinit1 now in the ,florentine ,academy1 #bi ,patriarchs1 ,abraham1 ,noah1 ,moses and ,david on the ,vault of the ,cappella ,maggiore of ,s4 ,trinit1 ,florence1 #aga ,barret1 ,g41 drawing by1 for an illustration1 ,landscape1 #cja 7#c7 ,bartolozzi1 ,f41 drawing by1 for an illustration1 ,cupid with a ,tragic ,mask1 #bih 7#c7 ,bas-reliefs3-- by ,agostino di ,duccio1 ,virgin and ,child1 with ,saints and ,cherubs1 in the ,louvre1 #hh ,greek1 ,burlington ,fine ,arts ,exhibition1 ,fragment of the ,frieze of the ,parthenon1 7,t4 ,d4 ,botterell71 #bcf ,school of ,leonardo da ,vinci1 ,bust and profile in helmet and armour1 inscribed #8,p4 ,scipioni1' in the ,louvre1 #hh ,book-illustrations of the ,later ,nineteenth ,century1 five plates1 #bie1 #bih1 #cja1 #cjd1 #cjg ,bosboom1 ,jan1 painting by1 ,the ,archives at ,veere1 7,j4 ,c4 ,j4 ,drucker71 ,dutch ,exhibition1 ,guildhall1 #agi ,boule1 ,andr ,charles1 ,furniture by1 ,marquetry ,bureau1 and ,bookcase1 #bcd ,bronzes3-- ,greek1 ,burlington ,fine ,arts ,exhibition1 ,amphora ,handle1 7,wyndham ,cook71 ,mask of ,sea ,deity1 7,salting71 ,mirror-cover1 7,taylor71 #bdg ,plaque1 7,wallis71 #bde ,statuettes1 ,aphrodite1 ,nude1 7,loeser71 ,aphrodite with ,torch1 ,seilenos ,crouching1 7,taylor71 ,sick ,man1 7,wyndham ,cook71 #bde ,bruges ,museum1 painting by ,gerard ,david in1 ,the ,judgement of ,cambyses1 #b ,brussels1 ,seals of the ,gilds of ,bakers1 ,barbers1 and ,butchers of1 7in text71 #aij1 #aia ,burgundian ,wooden ,chest1 ,,xv4 cent41 richly carved1 7,hospices civiles1 ,aalst71 #cfa ,burlington ,fine ,arts ,club1 ,exhibition held by1 see ,greek ,art ,busi1 ,giovanni1 see ,cariani ,cariani1 7,giovanni ,busi71 paintings by1 ,madonna and ,child1 7,g4 ,salting71 #gi ,the ,sempstress ,madonna1 7,corsini ,gallery1 ,rome71 #ha ,carpets1 see ,textiles ,ceramics 7see ,terra-cottas73-- ,early ,staffordshire ,ware1 7slip-ware1 etc471 ,dish1 ,tygs1 ,cups1 ,cradle1 ,jug1 ,lantern1 etc41 illustrated in text1 ,,xv4 figs41 #fd-i ,greek1 ,burlington ,fine ,arts ,exhibition1 ,krater1 7,harrow ,school71 #bec ,kylix signed ,tleson1 and ,plate signed ,epiktetos1 7,marquess of ,northampton71 #bec ,lowestoft ,china1 ,teapot1 7,harding71 and ,small ,plate1 7,franks71 #bgc ,teapot1 hard porcelain1 made and decorated in ,china1 but marked #8,allen1 ,lowestoft'2 7,v4 and ,a4 ,m471 #bgf ,three ,italian ,albarelli1 ,,xiv4 cent41 7,louvre71 #cci ,chalices3-- ,early ,scandinavian1 7,,xiii4 cent471 ,silver1 from ,iceland1 with details of inscription and decoration1 ,v4 and ,a4 ,museum1 #ga ,the ,sor1 ,silver1 from ,denmark1 #cef ,winchester ,college1 #afe ,chests3-- ,burgundian1 ,,xv4 cent41 richly carved1 7,hospices civiles1 ,aalst71 #cfa ,polychrome ,wooden ,chest 7,the ,ypres ,chest71 #cfa ,cimabue1 ,school of1 paintings by1 artist unknown1 ,nativity1 and ,adoration1 7,parry71 #aah ,cnoop1 ,cornelia1 wife of ,gerard ,david1 painting by1 ,triptych1 ,b4 ,v4 ,m4 and ,child1 ,,ss4 ,catherine and ,barbara1 7,p4 and ,d4 ,colnaghi71 #cg ,corsini ,gallery1 ,rome1 painting by ,cariani1 ,the ,sempstress ,madonna1 in1 #ha ,courbould1 drawing by1 for an illustration1 ,duel ,scene1 #bih 7#d7 ,daddi1 ,bernardo1 painting by1 ,altarpiece in ,five ,parts1 7,parry71 #aba ,dalziels1 engraving by1 after ,d4 ,g4 ,rossetti1 ,the ,maids of ,elfen ,mere1 illustration to ,allingham's #8,music ,master1' #cjd 7#a7 ,daubigny1 ,charles-,franois1 painting by1 ,on the ,seine1 7,balli71 #cfe ,david1 ,gerard1 7see ,cnoop1 ,cornelia1 his wife1 and her painting71 paintings by1 ,b4 ,v4 ,m4 and ,child1 with ,angels1 ,virgin ,saints1 the painter and his wife1 7,rouen ,museum71 #cd ,the ,judgement of ,cambyses1 7,bruges ,museum71 #b ,de ,koninck1 ,philips1 painting variously attributed to1 and to ,rembrandt1 shown at ,guildhall1 #aijc41 ,le ,commencement d',orage1 7,lady ,wantage71 #fa ,denmark1 ,the ,sor ,chalice from1 #cef ,doria family1 armorial bearings of the1 7in text71 #bfh ,drawings3-- by artist unknown1 for an illustration1 ,river ,scene1 #cja 7#b7 by ,barret1 ,g41 for an illustration1 ,landscape1 #cje 7#c7 by ,bartolozzi1 ,g41 for an illustration1 ,cupid with is ,tragic ,mask1 #bih 7#c7 by ,corbould1 for an illustration1 ,duel ,scene1 #bih 7#d7 by ,drer1 ,a41 ,portrait of a ,lady1 7,b4 ,m471 #bhg ,portrait of a ,lady with a ,lap-dog1 7,heseltine71 #bia by ,gigoux1 ,j41 ,man's ,head1 illustration to #8,gil ,blas1' #bie 7#a7 by ,harvey1 ,butterfly and ,ant1 illustration to #8,northcote's ,fables1' #bih 7#b7 by ,isabey1 ,e41 ,ship during ,storm1 illustration to ,curmer's #8,paul et ,virginie1' #cjg 7#c7 by ,meissonier1 ,j4 ,l4 ,e41 ,shoeing a ,horse1 illustration to #8,les ,contes ,rmois1' #cjg 7#a7 by ,menzel1 ,a41 ,the ,round ,table1 illustration to #8,geschichte ,friedrichs des ,grossen1' #bie 7#b7 by ,palmer1 ,s41 illustration to #8,sacred ,allegories1' #cjd 7#b7 by ,rossetti1 ,d4 ,g41 for an illustration to ,allingham's #8,music ,master1' ,the ,maids of ,elfen ,mere1 #cjd 7#a7 by ,stothard1 ,t41 for an illustration1 ,cupid's ,shooting-lesson1 #cja 7#a7 by ,westall1 ,w41 for an illustration1 ,barefooted ,woman under ,tree1 ,man and ,dog to left1 #bic 7#a7 ,duccio1 ,agostino di1 ,bas-relief by1 ,virgin and ,child with ,saints and ,cherubs1 7,louvre71 #hh ,drer1 ,albrecht1 drawings by1 ,portrait of a ,lady1 7,b4 ,m471 #bhg ,portrait of a ,lady with a ,lap-dog1 7,heseltine71 #bia ,dutch ,exhibition at the ,guildhall1 #aijc41 ,painters whose work was shown at1 see ,bosboom1 ,de ,koninck1 ,israels1 ,maris1 ,j41 and ,m41 ,mauve1 ,molenaer1 ,rembrandt1 ,steen1 ,van de ,capelle1 ,vermeer1 ,verspronck ,early ,painters of the ,netherlands whose work was shown at ,bruges1 #aijb41 see ,cnoop1 ,david1 ,isenbrant1 ,memlinc1 van ,eecke ,engravings1 see also ,mezzotints3-- artist unknown1 after ,j4 ,gigoux1 ,man's ,head1 illustration to #8,gil ,blas1' #bie 7#a7 by ,bagg1 after ,e4 ,isabey1 ,ship during ,storm1 illustration to ,curmer's #8,paul et ,virginie1' #cjg 7#c7 by ,green1 ,w4 ,t41 after ,s4 ,palmer1 illustration to #8,sacred ,allegories1' #cjd 7#b7 by ,jackson1 after ,harvey1 ,butterfly and ,ant1 illustration to #8,northcote's ,fables1' #bih 7#b7 by ,knutchmar1 ,e41 after ,a4 ,menzel1 ,the ,round ,table1 illustration to #8,geschichte ,friedrichs des ,grossen1' #bie 7#b7 by ,lagornal1 after ,meissonier1 ,shoeing a ,horse1 illustration to #8,les ,contes ,rmois1' #cjg 7#a7 by ,williams1 ,mary ,ann1 ,jacque1 illustration to ,curmer's #8,paul et ,virginie1' #cjg 7#b7 ,line1 ,british1 ,portrait of ,queen ,elizabeth1 by ,w4 ,rogers1 7,h4,m4 the ,king71 #aie ,roman ,edifice in ,ruins1 after ,claude1 by ,t4 ,hearne and ,w4 ,woollett1 working proof1 7,v4 and ,a4 ,m471 #aig ,flemish ,school1 paintings of4 by unknown artists1 ,portrait of the ,empress ,isabella1 from which ,titian painted his portrait1 #bhc ,portrait of ,roger de ,jonghe1 ,austin ,friar1 7,surs ,noires1 ,bruges71 #ccc ,florentine ,academy2 ,altarpiece by ,a4 ,baldovinetti in1 ,trinity with ,saints1 #bi ,school1 paintings by artist unknown2 ,madonna and ,child with ,angels1 7,parry71 #abi ,triptych by same hand1 7,uffizi71 ib4 ,france1 ,art and ,artists of3-- ,statue1 ,marble1 by ,g4 ,pilon1 ,,xvi4 cent41 ,la ,charit1 7,e4 ,lowengard71 7two aspects of71 #id ,french painters illustrated1 see ,daubigny1 ,isabey1 ,lhermitte1 ,meissonier1 ,tocqu paintings1 7probable71 artists unknown1 ,,xiv4 cent41 ,adoration of the ,magi1 and ,dormition of the ,b4 ,v4 ,m41 7,messrs4 ,dowdeswell74 #ia ,french ,book-illustrations of the ,later ,nineteenth ,century1 #bie 7#a71 #cjj 7#a and #c7 ,furniture1 ,marquetry ,bureau1 and ,bookcase by ,a4 ,c4 ,boule1 #bcd ,tapestry1 ,gobelin1 ,psyche's ,bath1 and section of border of the same1 7,louvre71 #bca ,high ,warp1 ,louis ,,xiv4 visiting the ,gobelins1 after ,c4 ,le ,brun1 #bbh ,furniture1 ,french1 by ,a4 ,c4 ,boule1 ,marquetry ,bureau1 and ,bookcase1 #bcd ,gaddi1 ,agnolo1 painting by1 ,coronation of ,our ,lady1 7,parry71 #abc ,taddeo1 painting by1 ,part of an ,altarpiece in ,s4 ,croce1 ,florence1 #abc #8,gaston ,phoebus' ,,ms41 ,facsimiles from1 #i1 #ac1 #ag1 #ai ,gigoux1 ,j41 drawing by1 ,man's ,head1 illustration to #8,gil ,blas1' #bie 7#a7 ,gilds in ,brussels1 ,seals of those of the ,bakers1 ,barbers1 and ,butchers1 #aia1 #aib ,glass1 see ,painted ,glass ,greek ,art1 see under ,bas-reliefs1 ,bronzes1 ,ceramics1 ,metal ,work1 ,sculpture1 ,terra-cottas ,green1 ,w4 ,t41 engraving by1 after ,s4 ,palmer1 illustration to #8,sacred ,allegories1' #cjd 7#b7 ,harvey1 drawing by1 ,butterfly and ,ant1 illustration to #8,northcote's ,fables4' #bih 7#b7 ,hearne1 ,t41 and ,w4 ,woollett1 line engraving by1 ,roman ,edifice in ,ruins1 working proof1 7,v4 and ,a4 ,m471 #aig ,iceland1 ,scandinavian ,silver ,chalice1 early ,,xiii4 cent41 from1 with details of inscription and decoration 7,v4 and ,a4 ,m471 #ga ,illuminated ,,ms41 #8,gaston ,phoebus1' ,facsimiles from1 #i4 #ac1 #ag1 #ai ,illustrations 7see also ,book-illustrations7 in the ,text3-- ,early ,staffordshire ,pottery-ware1 7slipware1 etc474 ,dish1 ,tygs1 ,cups1 ,cradle1 ,jug1 ,lantern1 etc41 ,,xv4 figs41 #fd-i ,heraldic ,shields of the ,doria ,family1 #bfh ,lotus flower1 natural forms of1 #cdi1 #cej1 #cec ,seals of the ,gild of ,bakers1 ,barbers1 and ,butchers1 ,brussels1 #aia1 #aib ,svastika1 various forms of1 #dc1 #dd1 #dg1 #dh ,isabey1 ,e41 drawing by1 ,ship during storm1 illustration to ,curmer's #8,paul et ,virginie4' #cjg 7#c7 ,isenbrant1 ,adrian1 paintings by1 shown at ,bruges1 #aijb41 ,st4 ,luke1 7,colnaghi71 #cbg ,virgin and ,child1 with two ,angels1 7,lotman71 ib4 ,vision of ,st4 ,ildephonsus1 7,northbrook71 #ccj ,israels1 ,josef1 paintings by1 ,a ,jewish ,wedding1 7,j4 ,c4 ,f4 ,drucker71 #agi ,the ,new ,flower1 7,j4 ,s4 ,forbes71 ,dutch ,exhibition1 ,guildhall1 #aijc41 #aha ,italian ,painters1 see ,baldovinetti1 ,cariani1 ,florentine ,school1 ,leonardo da ,vinci1 ,titian1 ,vanni1 ,venetian ,school1 etc4 ,italy1 ,maiolica of1 ,three ,albarelli1 ,,xiv4 cent4 7,louvre71 #cci ,jackson1 engraving by1 after ,harvey1 ,butterfly and ,ant1 illustration to #8,northcote's ,fables1' #bih 7#b7 ,knutchmar1 ,e41 engraving by1 after ,a4 ,menzel1 ,the ,round ,table1 illustration to #8,geschichte ,friedrichs des ,grossen1' #bie4 7#b7 ,koursi1 ,arabic1 ,lid of1 ,,xiv4 cent41 copper encrusted with gold and silver 7,louvre71 #cdg ,lace1 ,brussels1 ,honiton1 ,rose-point1 ,drawn-thread-work1 ,venetian1 ,irish crochet1 ,imitation ,alenon1 #ii ,russian1 ,venetian1 ,alenon1 ,modern ,irish ,needle-point1 #ig ,turkish ,drawn-thread-work1 ,reticella1 ,venetian-made ,alenon1 ,alenon bordering1 7,mrs4 ,alfred ,morrison71 #aja ,lagornal1 engraving by1 after ,meissonier1 ,shoeing a ,horse1 illustration to #8,les ,contes ,rmois1' #cjg 7#a7 ,le ,brun1 ,c41 ,tapestry after1 7,high ,warp71 ,louis ,,xiv4 visiting the ,gobelins1 #bbh ,lhermitte1 ,leon1 painting by1 ,le ,pcheur1 7,balli71 #cfe ,leonardo da ,vinci1 school of1 ,bas-relief1 by artist unknown1 ,bust and profile in helmet and armour1 inscribed #8,p4 ,scipioni' 7,louvre71 #hh ,leuchtenberg ,collection1 ,st4 ,petersburg1 painting of the ,venetian ,school from1 ,adoration of the ,shepherds1 artist unknown1 #he ,lotus plant1 the1 natural forms of1 in text1 #cdi1 #cej1 #cec ,louvre1 ,the1 ,bas-reliefs in1 by ,agostino di ,duccio1 ,virgin and ,child with ,saint and ,cherubs1 #hh by unknown artist1 school of ,leonardo da ,vinci1 ,bust and profile in helmet and armour1 inscribed #8,p4 ,scipioni1' #hh ,lowestoft ,china1 see ,ceramics ,maiolica1 see ,albarelli under ,ceramics ,manuscripts1 see ,illuminated ,,ms4 ,maris1 ,jacob1 paintings by1 ,the ,canal ,bridge1 7,agnew71 #ahc ,a ,windmill1 ,moonlight1 7,j4 ,c4 ,j4 ,drucker71 ,dutch ,exhibition1 ,guildhall1 #ahe ,maris1 ,matthew1 paintings by1 ,the ,butterflies1 7,w4 ,burrell71 #ahg ,a ,fantasy1 7,mme4 ,e4 ,j4 van ,wisselingh71 ,dutch ,exhibition1 ,guildhall1 #aha ,martini1 ,simone1 paintings by1 ,annunciation1 7,uffizi71 #cbc ,mauve1 ,anton1 painting by1 ,watering ,horses1 7,j4 ,c4 ,j4 ,drucker71 ,dutch ,exhibition1 ,guildhall1 #ahc ,meissonier1 drawing by1 ,shoeing a ,horse1 illustration to #8,les ,contes ,rmois1' #cjg 7#a7 ,memlinc1 ,hans1 paintings attributed to1 ,portraits of ,thomas ,portunari and his ,wife1 7probably by ,van der ,goes71 7,l4 ,goldschmidt71 #da ,menzel1 ,a41 drawing by1 for illustration to #8,geschichte ,friedrichs des ,grossen1' ,the ,round ,table1 #bie 7#b7 ,metal ,work1 see ,copper and ,silver3-- ,arabic1 ,lid of a ,koursi1 copper encrusted with gold and silver1 ,,xiv4 cent41 7,louvre71 #cdg ,greek1 ,burlington ,fine ,arts ,exhibition1 ,mirror-cover1 ,repouss 7,j4 ,e4 ,taylor71 #bdg ,mezzotints1 by ,prince ,rupert1 after ,spagnoletto1 ,the ,great ,executioner1 7,h4,m4 ,king ,edward71 #bgj by ,c4 ,turner1 ,the ,water ,mill1 after ,sir ,a4 ,w4 ,callcott1 7,v4 and ,a4 ,m471 #bja ,miniatures3-- from the ,arab ,,ms41 ,makamat of ,hariri2 7,c4 ,schefer71 #acc from ,,ms4 of the ,astronomical ,treatise of ,abd-er-,rahman ,el-,sufi1 7,nat4 ,lib4 of ,france71 #acc from a ,persian ,,ms41 of #aebg41 ,hunting ,scene1 7,nat4 ,lib4 of ,france71 #ade 7two7 from a ,persian ,,ms41 of #aeff41 #8,the ,book of ,kings1' 7,baron ,e4 de ,rothschild71 #acg1 #ada ,molenaer1 ,jan ,miense1 painting by1 ,a ,group of ,three1 7,e4 ,speyer71 ,dutch ,exhibition1 ,guildhall1 #agf ,monaco1 ,lorenzo1 paintings by1 ,adoration of the ,magi1 #abg ,the ,visitation1 7,parry71 ib4 ,museums and ,galleries1 see ,bruges ,museum1 ,corsini ,gallery1 ,rome1 ,florentine ,academy1 ,leuchtenberg ,collection ,national ,gallery1 ,nat4 ,lib4 of ,france1 ,rouen ,museum1 ,v4 and ,a4 ,museum1 etc4 ,mussulman ,miniatures1 ,arabic and ,persian 7various owners71 #acc1 #acg1 #ada1 #ade ,national ,gallery1 painting1 ,venetian ,school1 artist unknown1 in1 ,adoration of the ,shepherds1 #he ,new ,college1 ,oxford1 paintings by ,sir ,j4 ,reynolds as designs for the ,window at1 ,cardinal ,virtues1 ,temperance and ,prudence1 #bac ,fortitude and ,justice1 #baf ,theological ,virtues1 ,faith1 ,hope1 and ,charity1 #baj ,normanton ,collection1 paintings by ,sir ,j4 ,reynolds in1 ,the ,cardinal ,virtues1 ,temperance and ,prudence1 #bac ,fortitude and ,justice1 all designs for the window at ,new ,college1 ,oxford1 #baf ,the ,three ,theological ,virtues for the same1 #baj ,the ,little ,gardener1 #bai ,portraits3 ,george1 third ,duke of ,marlborough1 #bbb ,lady ,betty ,hamilton1 #aaf ,miss ,murray of ,kirkcudbright1 #bjg ,the ,misses ,horneck1 #bbe ,study of a ,little ,girl1 ib4 ,oxford1 see ,new ,college ,painted ,glass ,window1 with figures of ,god the ,father and ,st4 ,andrew1 from cartoons of ,a4 ,baldovinetti1 ,s4 ,croce1 ,florence1 #be ,paintings3-- attributed to ,memlinc1 ,hans1 ,portraits of ,thomas ,portunari and his ,wife1 7probably by ,van der ,goes71 7,goldschmidt71 #da attributed to ,rembrandt and to ,de ,koninck1 ,le ,commencement d',orage4 7,lady ,wantage71 shown at ,guildhall1 #aijc41 #fa by ,baldovinetti1 ,a41 ,altarpiece1 ,trinity1 formerly in ,s4 ,trinit1 now in the ,florentine ,academy1 #bi on the ,vault of the ,cappella ,maggiore of ,s4 ,trinit1 ,florence1 ,abraham1 ,noah1 ,moses1 and ,david1 #aff by ,bosboom1 ,jan1 ,the ,archives at ,veere1 7,j4 ,c4 ,j4 ,drucker71 ,dutch ,exhibition1 ,guildhall1 #agi by ,cariani 7,giovanni ,busi71 ,madonna and ,child1 7,salting71 #gi ,the ,sempstress ,madonna1 7,corsini ,gallery1 ,rome71 #ha by ,cnoop1 ,cornelia1 wife of ,gerard ,david1 ,triptych1 ,b4 ,v4 ,m4 and ,child1 ,,ss4 ,catherine and ,barbara1 7,colnaghi71 #cg by ,daddi1 ,bernardo1 ,altarpiece in ,five ,parts1 7,parry71 #aba by ,daubigny4 ,c4-,f41 ,on the ,seine1 7,balli71 #cfe by ,david1 ,gerard1 ,b4 ,v4 ,m4 and ,child1 with ,angels1 ,virgin ,saints1 the painter and his wife1 7,rouen ,museum71 #cd ,the ,judgement of ,cambyses1 7,bruges ,museum71 #b ,flemish school1 artists unknown1 ,portrait of the ,empress ,isabella from which ,titian painted the portrait now in the ,prado ,museum1 ,madrid1 7in private collection1 ,florence71 #bhc shown at ,bruges1 #aijb41 ,portrait of ,roger de ,jonghe1 ,austin ,friar1 7,surs ,noires1 ,bruges71 #ccc ,florentine ,school1 artist unknown1 ,madonna and ,child with ,angels1 7,parry71 #abi ,triptych by the same artist 7,uffizi71 ib4 probably ,french1 ,,xiv4 cent41 artists unknown1 ,adoration of the ,magi1 and ,dormition of the ,b4 ,v4 ,m41 7,dowdeswell71 #ia by ,gaddi1 ,agnolo1 ,coronation of ,our ,lady1 7,parry71 #abc by ,gaddi1 ,taddeo1 ,part of an ,altarpiece in ,s4 ,croce1 ,florence1 #abc by ,isenbrant1 ,adrian1 shown at ,bruges1 #aijb41 ,st4 ,luke1 7,colnaghi71 #cbg ,virgin and ,child with two ,angels1 7,lotman71 ib4 ,vision of ,st4 ,ildephonsus1 7,northbrook74 #ccj by ,israels1 ,josef1 shown at the ,dutch ,exhibition1 ,guildhall1 ,a ,jewish ,wedding1 7,j4 ,c4 ,j4 ,drucker7 #agi ,the ,new ,flower1 7,j4 ,s4 ,forbes71 #aha by ,lhermitte1 ,leon1 ,le ,pcheur1 7,balli71 #cfe by ,maris1 ,jacob1 shown at ,dutch ,exhibition1 ,guildhall1 ,the ,canal ,bridge1 7,agnew71 #ahc ,a ,windmill1 ,moonlight1 7,drucker71 #ahe by ,maris1 ,matthew1 shown at ,dutch ,exhibition1 ,guildhall1 ,the ,butterflies1 7,w4 ,burrell71 #ahg ,a ,fantasy1 7,mme4 ,e4 ,j4 van ,wisselingh71 #aha by ,martini1 ,simone1 ,annunciation1 7,uffizi71 #cbc by ,mauve1 ,anton1 ,watering ,horses1 7,j4 ,c4 ,j4 ,drucker71 ,dutch ,exhibition1 ,guildhall1 #ahc by ,molenaer1 ,jan ,miense1 ,a ,group of ,three1 7,e4 ,speyer71 ,dutch ,exhibition1 ,guildhall1 #agf by ,monaco1 ,lorenzo1 ,adoration of the ,magi1 #abg ,the ,visitation 7,parry71 #abg by ,rembrandt1 ,portrait of a ,lady1 7,hage71 #cfc ,school of ,cimabue1 artist unknown1 ,nativity and ,adoration1 7,parry71 #aah by ,reynolds1 ,sir ,joshua1 7,normanton71 ,the ,cardinal ,virtues1 ,temperance and ,prudence1 ,fortitude and ,justice1 ,the ,three ,theological ,virtues1 ,faith1 ,hope1 and ,charity1 all for the ,window at ,new ,college1 ,oxford1 #baj1 #bac1 #baf ,the ,little ,gardener1 #bai ,portraits3 ,george1 third ,duke of ,marlborough1 #bbb ,lady ,betty ,hamilton1 #aaf ,miss ,murray of ,kirkcudbright1 #bjg ,the ,misses ,horneck1 #bbe ,study of a ,little ,girl1 ib4 by ,ruysdael1 ,solomon1 ,landscapes1 7#b71 7,louvre71 #cdb by ,steen1 ,jan1 ,portrait of ,himself1 7,northbrook71 shown at ,guildhall1 #aijc41 #ec by ,titian1 7,tiziano ,vecellio71 ,portrait of the ,empress ,isabella1 7,prado ,museum1 ,madrid71 #bhj by ,tocqu1 ,louis1 ,portrait of ,dame ,danger1 7,louvre71 #cde by ,van de ,capelle1 ,j41 ,off ,scheveningen1 7,crews71 shown at ,guildhall1 #aijc41 #eg by ,van ,eecke1 ,john1 shown at ,bruges1 #aijb41 ,episodes in the ,life of ,st4 ,bernard1 7,tournai ,museum71 #ccc by ,vanni1 ,andrea1 ,altarpiece1 ,polyptych1 ,madonna and ,saints1 ,s4 ,stefano1 ,siena1 #caa ,annunciation1 7,chigi collection1 ,siena71 #cbc ,annunciation1 in ,s4 ,pietro ,ovile1 ,siena1 #cad details of the foregoing1 #cbj ,madonna and ,child1 7,berenson71 #cag ,virgin and ,child1 from the ,altarpiece in ,s4 ,francesco1 ,siena1 #cad ,venetian ,school1 artists unknown1 ,adoration of the ,shepherds1 one in the ,national ,gallery1 one from the ,leuchtenberg collection1 #he by ,vermeer1 ,jan1 of ,delft1 ,the ,cook ,asleep1 7,kann71 shown at ,guildhall1 #aijc41 #ej by ,verspronck1 ,jan1 ,portrait of the ,wife of ,thomas ,wijck1 7,mrs4 ,stephenson ,clarke71 shown at ,guildhall1 #aijc41 #ec ,palmer1 ,samuel1 drawing by1 illustration to #8,sacred ,allegories1' #cjd 7#b7 ,parry ,collection1 paintings in1 by ,bernardo ,daddi1 ,altarpiece in ,five ,parts1 #aba ,florentine ,school1 artist unknown1 ,madonna and ,child with ,angels1 #abi ,triptych by the same artist 7,uffizi71 ib4 by ,agnolo ,gaddi1 ,coronation of ,our ,lady1 #abc by ,lorenzo ,monaco1 ,adoration of the ,magi1 #abg ,the ,visitation1 #abg ,school of ,cimabue1 artist unknown1 ,nativity and ,adoration1 #aah ,pilon1 ,germain1 ,french ,sculptor1 7,,xvi4 cent 71 ,marble ,statue by ,la ,charit1 7,lwengard71 7two aspects of71 #id ,plate belonging to ,winchester ,college3-- ,ecclesiastical1 #afe ,election ,cup1 #adh ,gilt ,cup with ,cover1 #aed ,parcel ,gilt ,rose-water ,dish and ,ewer with top of ,cover of ,ewer1 #aea ,rose-water ,dish and ,ewer1 and ,small ,gilt ,standing ,cup and ,cover1 #aeg ,steeple ,cup and ,hanap1 #afc ,sweetmeat ,dish and ,gilt ,standing ,salt1 #aed ,two ,tankards and ,standing ,salt1 #afj ,polychrome ,wooden ,chest1 7,the ,ypres ,chest71 #cfa ,pottery1 see ,ceramics ,prince ,rupert1 see ,rupert1 ,prince ,rembrandt1 7,van ,rijn71 painting by1 ,portrait of a ,lady1 7,hage71 #cfc variously ascribed to1 and to ,de ,koninck1 shown at ,guildhall1 #aijc41 ,le ,commencement d',orage1 7,lady ,wantage71 #fa ,reynolds1 ,sir ,j41 paintings by1 ,normanton collection3 ,the ,cardinal ,virtues1 ,temperance and ,prudence1 #bac ,fortitude and ,justice1 all designs for the ,window at ,new ,college1 ,oxford1 #baf ,the ,three ,theological ,virtues1 ,faith1 ,hope1 and ,charity1 for the same1 #baj ,the ,little ,gardener1 #bai ,portraits3 ,george1 third ,duke of ,marlborough1 #bbb ,lady ,betty ,hamilton1 #aaf ,miss ,murray of ,kirkcudbright1 #bjg ,the ,misses ,horneck1 #bbe ,study of a ,little ,girl1 ib4 ,rogers1 ,w41 engraver1 line engraving by1 ,portrait of ,queen ,elizabeth1 7,h4,m4 the ,king71 ,v4 and ,a4 ,museum ,exhibition1 #aie ,rose-water ,dish and ,ewer1 ,parcel ,gilt1 with top of cover of ,ewer1 7,winchester ,college71 #aee and ,small ,gilt ,standing ,cup and ,cover1 7,winchester ,college71 #aeg ,rossetti1 ,d4 ,g41 drawing by1 ,the ,maids of ,elfen ,mere1 to illustrate ,allingham's #8,music ,master1' #cjd 7#a7 ,rouen ,museum1 painting by ,gerard ,david in1 ,b4 ,v4 ,m4 and ,child1 with ,angels1 ,virgin ,saints1 the painter and his wife1 #cd ,rupert1 ,prince1 ,mezzotint by1 ,the ,great ,executioner1 after ,spagnoletto1 7,h4,m4 ,king ,edward71 #bgj ,russia1 see ,russian ,lace under ,lace1 and ,leuchtenberg ,collection ,ruysdael1 ,solomon1 paintings by1 ,landscapes1 7#b71 7,louvre71 #cdb ,scandinavia1 ,art of1 see ,denmark and ,iceland ,sculpture1 see ,bas-reliefs1 ,bronzes1 ,statues and ,terra-cottas3-- ,greek1 ,burlington ,fine ,art ,exhibition1 ,bust of ,aphrodite1 probably by ,praxiteles1 7,leconfield71 #bci ,head of a ,mourning ,woman1 7,ponsonby71 #bda ,head of a ,youth1 7,vincent71 #bda ,seals of the ,gilds of ,bakers1 ,barbers and ,butchers1 ,brussels1 7in text71 #aia1 #aib ,silver and ,silver ,plate1 see ,plate ,chalices1 ,scandinavian1 early ,,xiii4 cent41 from ,iceland1 with details of inscription and decoration1 7,v4 and ,a4 ,m471 #ga ,the ,sor1 from ,denmark1 #cef ,sor1 ,chalice1 ,the1 from ,denmark1 #cef ,stadler1 ,j4 ,c41 ,coloured ,aquatint by1 ,the ,htel de ,ville1 ,louvain1 after ,prout2 ,v4 and ,a4 ,museum ,exhibition1 #bjc ,standing ,salt 7,winchester ,college71 #aed1 #afj ,statue1 ,marble1 by ,g4 ,pilon1 ,,xvi4 cent41 ,la ,charit1 7,lowengard71 7two aspects71 #id ,steen1 ,jan1 painting by1 ,portrait of ,himself1 7,northbrook71 shown at ,guildhall1 #aijc41 #ec ,stothard1 ,t41 drawing by1 for an illustration1 ,cupid's ,shooting ,lesson1 #cja 7#a7 ,svastika1 ,the1 occurring in an ,oriental ,carpet owned by ,h4 ,hartley1 #de ,various forms of1 to illustrations in text1 #dc1 #dd1 #dg1 #dh ,sweetmeat ,dish 7,winchester ,college71 #aed ,tankards1 silver1 7,winchester ,college71 #afj ,tapestry3-- ,gobelin1 ,psyche's ,bath1 and section of border of the same1 7,louvre71 #bca ,high ,warp1 ,louis ,,xiv4 visiting the ,royal ,furniture ,manufactory at the ,gobelins1 after ,c4 ,le ,brun1 #bbh ,terra-cottas1 ,greek1 ,burlington ,fine ,art ,exhibition1 ,doll1 7,mrs4 ,mitchell71 #bea ,female ,caryatid ,figure1 ,woman ,leaning on ,pedestal1 ,the ,young ,dionysos1 7,taylor71 #bea ,woman with ,fan1 7,knowles71 #bea ,textiles1 7see ,lace1 and ,tapestry71 ,carpets1 ,tabriz1 centre medallion illustrating the ,tree of ,life and ,lotus ,flower1 7,gillow71 #cej ,titian1 7,tiziano ,vecellio71 painting by1 ,portrait of the ,empress ,isabella1 7,prado ,museum1 ,madrid71 #bhj ,tocqu1 ,louis1 painting by1 ,portrait of ,dame ,danger1 7,louvre71 #cde ,turner1 ,c41 ,mezzotint by1 after ,calcott1 ,the ,water ,mill1 7,v4 and ,a4 ,m471 #bja ,type1 ,mr4 ,robert ,proctor's new ,greek #8,otter' type1 facsimile1 #cei ,van de ,capelle1 ,jan1 painting by1 ,off ,scheveningen1 7,crews71 shown at ,guildhall1 #aijc41 #eg ,van ,eecke1 ,john1 painting by1 shewn at ,bruges1 #aijb41 ,episodes in the ,life of ,st4 ,bernard1 7,tournai ,museum71 #ccc ,vanni1 ,andrea1 paintings by1 ,altarpiece1 ,polyptych1 ,madonna and ,saints1 ,s4 ,stefano1 ,siena1 #caa ,annunciation1 7,chigi collection1 ,siena71 #cbc ,annunciation1 in ,s4 ,pietro ,ovile1 ,siena1 #cad details of the foregoing1 #cbj2 ,madonna and ,child1 7,berenson71 #cag ,virgin and ,child1 from the ,altarpiece in ,s4 ,francesco1 ,siena1 #cad ,venetian ,school1 paintings of1 artists unknown1 ,adoration of the ,shepherds1 one in the ,national ,gallery1 one from the ,leuchtenberg collection1 #he ,vermeer1 ,jan1 of ,delft1 painting by1 ,the ,cook ,asleep1 7,kann71 shown at ,guildhall1 #aijc41 #ej ,verspronck1 ,jan1 painting by1 ,portrait of the ,wife of ,thomas ,wijck1 7,mrs4 ,stephenson ,clarke71 shown at ,guildhall1 #aijc41 #ec ,victoria and ,albert ,museum3-- ,exhibition of ,british ,engraving at3-- coloured ,aquatint in1 by ,stadler1 after ,prout1 ,the ,htel de ,ville1 ,louvain1 #bjc engravings 7line7 in1 by ,t4 ,hearne and ,w4 ,woollett1 ,roman ,edifice in ,ruins1 working proof1 #aig by ,w4 ,rogers1 ,portrait of ,queen ,elizabeth1 7,h4 ,m4 the ,king71 #aie mezzotint in1 by ,c4 ,turner after ,callcott1 ,the ,water ,mill1 #bja ,scandinavian ,silver ,chalice1 early ,,xiii4 cent41 from ,iceland1 in1 7with details of inscription and decoration71 #ga ,westall1 ,w41 drawing by1 for an illustration1 ,barefooted ,woman under ,tree1 ,man and ,dog to left1 #bih 7#a7 ,williams1 ,mary ,ann1 engraving by1 ,jacque1 illustration to ,curmer's #8,paul et ,virginie1' #cjg 7#b7 ,winchester ,college1 ,plate of1 #adh1 #aea1 #aed1 #aeg1 #afj1 #afc1 #afe ,wood-carvings3-- ,burgundian ,chest1 ,,xv4 cent4 7,hospices civiles1 ,aalst71 #cfa ,polychrome ,chest1 7,the ,ypres ,chest71 #cfa ,woollett1 ,w41 engraver1 see ,hearne1 ,t4 ,,footnotes3 #a #8,reports from ,her ,majesty's representatives abroad as to the statutory provisions existing in foreign countries for the preservation of historical buildings4'-- ,miscellaneous1 ,no4 #b 7#ahig74 #b ,messrs4 ,ballantyne1 ,hanson and ,co4 #c ,appendix1 ,doc4 ,i4 #d ,vasari1 ed4 ,sansoni1 ,vol4 ,,ii1 p4 #eig1 note #c4 #e ,vasari1 ed4 #aefh1 ,vol4 ,i1 p4 #cha4 #f ,appendix1 ,doc4 ,,ii4 #g ,appendix1 ,doc4 ,,iv4 #h ,vasari1 ed4 ,sansoni1 ,vol4 ,,ii1 p4 #fja4 #i ,appendix1 ,doc4 ,v4 #aj ,appendix1 ,doc4 ,,vi4 #aa ,g4 ,richa1 ,chiese ,fior4 ,vol4 ,,iii1 p4 #abb4 #ab l4 c41 p4 #abd4 #ac l4 c41 p4 #abe4 #ad ,cod4 ,magliabechiano2 ,,xxvi1 #bc2 fol4 ,sio recto to #haa recto4 #ae ,appendix1 ,doc4 ,,viii4 #af ,appendix1 ,doc4 ,,iii4 #ag ,vasari1 ed4 ,sansoni1 ,vol4 ,,ii1 p4 #eie1 note4 #ah ,appendix1 ,doc4 ,,viii4 #ai ,a4 ,cocchi1 ,le ,chiese di ,firenze1 ,firenze1 #aijc1 ,vol4 ,i1 p4 #ahj4 #bj ,appendix1 ,doc4 ,,ix4 #ba l4 c41 ,lib4 ,,iii1 ed4 #agij1 p4 #abb4 #bb ,firenze3 ,biblioteca ,nazionale1 ,codice ,,ii1 ,i1 #abi2 ,storia della ,nobilita di ,firenze3 ,scritta da ,piero di ,gio4 ,monaldi4 c4 #afbf4 #bc ,vasari1 ed4 #aefh1 ,vol4 ,i1 p4 #dag4 #bd ,i have searched in vain for it1 in the protocols of that notary1 preserved in the ,archivio di ,stato at ,florence4 #be ,g4 ,richa1 ,chiese ,fior4 ,vol4 ,,iii1 p4 #bf ,appendix1 ,doc4 ,,vii #bg ,c4 ,cennini1 ,il ,libro del ,arte1 ,firenze1 #ahei1 cap4 clxxi1 p4 #abb4 #bh ,appendix1 ,doc4 ,,ix4 #bi ,ricordi di ,alesso ,baldovinetti1 ,lucca1 #ahfh1 pp4 #ad and #af4 #cj ,appendix1 ,doc4 ,,vii4 #ca ,appendix1 ,doc4 ,,ix4 #cb #8,tirthankara4' from ,tirt' ha 7,sanskrit--any ,hindu shrine or holy place to which ,hindus make pilgrimages74 #8,tirthankara' is the generic title of the twenty-four deceased saints held sacred by the ,jains4 ,they are deified mortals4 #cc #8,labarum' was the name given before the time of ,constantine1 and apparently as far back as that of ,hadrian1 in the ,roman army to the standard of the cavalry4 ,gradually this became the standard of the whole army1 and in its later developments the banner became surmounted by the ,eagle of ,victory1 but always with the cross beneath4 ,constantine replaced the eagle by the sacred monogram 7the ,greek letter ,p traversed by ,x72 he further embroidered the ,christian emblems on the purple of the banner in gold and jewels1 and beneath these he placed medallions representing in portraiture himself and his children4 #cd ,compare the inscription on a paten from ,haraldsborg1 ,denmark1 in the ,copenhagen ,museum3--,,hinc ,,panem ,,vite ,,mvndati ,,svmite ,,qvique4 7,j4 ,j4 ,a4 ,worsaae1 #8,nordiske ,oldsager i det ,kongelige ,museum i ,kjbenhavn1' #ahei1 p4 #add47 #ce ,f4 ,bock1 #8,les ,trsors ,sacrs de ,cologne1' #ahfb1 pl4 #bh4 ,h4 ,otte1 #8,handbuch der ,kirchlichen ,kunst-,archologie4' #eth ed4 #ahhc1 ,i4 p4 #bbc4 #cf ,it is distinctive of chalices of the twelfth century and earlier that the bowl either is separated from the knop by only a narrow interval or springs directly from it4 ,compare the examples of the eighth to twelfth century figured in ,otte's ,handbuch1 and the ,french examples of the ,church of ,st4 ,gauzelin and of ,st4 ,rmy4 7,exposition rtrospective1 ,paris1 #aijj4 ,catalogue illustr1 pp4 #fe1 #gc47 ,it may be remarked that only one of these examples exhibits the slightly turned-out lip which characterizes ,english chalices of early date4 7,see ,hope and ,fallow1 #8,english ,medieval ,chalices and ,patens1' ,archaeological ,journal1 xliii1 #adb47 #cg ,burlington ,fine ,arts ,club4 ,exhibition of ,silversmiths' ,work1 #aija4 ,illustrated ,catalogue1 ,pl4 ,,ii4 #ch ,c4 ,nyrop1 #8,meddelelser om ,dansk ,guldsmedekunst1' #ahhe1 fig4 #c1 p4 #f4 ,gams1 ,series ,episcoporum1 p4 #ccj4 #ci ,j4 ,j4 ,a4 ,worsaae1 #8,nordiske ,oldsager1' p4 #acd4 ,j4 ,o4 ,westwood1 ,catalogue of ,fictile ,ivories in the ,south ,kensington ,museum1 p4 #aeb4 #dj ,a4 ,bertram4 #8,das eherne ,taufbecken im ,dome zu ,hildesheim4' ,in ,zeitschrift fur ,christliche ,kunst1 xiii1 #abi4 #da ,see the casts of the doors of the churches of ,sauland and ,hallingdal in the ,south ,kensington ,museum4 #db ,f4 ,york ,powell on ,icelandic literature4 #dc ,see #8,zorzon da ,castelfranco4 ,la sua origine1 la sua morte e tomba4' ,by ,dr4 ,georg ,gronau4 ,venice1 #ahid4 #dd ,cf4 ,jacobsen4 ,rep4 fur ,kunstwiss4 xxiv1 #e1 p4 #cfh4 #de ,p4 #acd3 #8,no responsibility is accepted by the author for the attributions of pictures on this list1' etc4 #df ,described and reproduced in ,havard's #8,merveilles de l',art ,hollandais1 exposes ,amsterdam en #ahgb4' #dg ,inter alia1 those in the ,r4 ,kann1 ,m4 ,kann1 and ,schloss collections 7,paris72 the ,teixeira de ,mattos collection 7,holland71 etc41 etc4 #dh ,rosini #8,storia1' ,,iii1 p4 #bh4 ,in #ahbh it was owned by an ,abate ,l4 ,celotti of ,venice4 ,messrs4 ,crowe and ,cavalcaselle suspect that it may be the panel described in #agdb in the catalogue of the collection of the ,prince du ,carignan as #8,vierge et un petit ,s4 ,jean par ,andr ,solario1 dans le gout de ,lonard de ,vincy' 7sold for #bdj livres74 ,see also ,mndler1 #8,essai d'une ,analyse ,critique1' etc41 ,paris1 ,firmin ,didot1 #ahej4 #di ,published as ,solario's in my #8,lorenzo ,lotto1' p4 #ie1 note4 #ej ,mr4 ,horne hopes before long to publish these works in ,the ,burlington ,magazine4 #ea ,appendix1 ,doc4 ,,viii1 #eb ,appendix1 ,doc4 ,,vii4 #ec l4 c41 ed4 #aefh1 ,vol4 ,i1 p4 #dg4 #ed ,c4 ,cennini1 #8,il ,libro dell' ,arte1' ,firenze1 #ahei1 cap4 #ada1 p4 #id4 #ee ,the painter from whom ,baldovinetti purchased this #8biadetto' was #8,lorenzo dipiero randeglj dipintore in borgho so apostolo'2 so named in an entry of the year #adgb in the #8,libro ,rosso' of the ,compagnia di ,san ,luca1 fol4 #ij tergo4 ,this ,lorenzo was1 no doubt1 the #8,lorenzo dipiero dipapa1 dipintore1' of the popolo of #8,santa ,maria di ,verzaia drento alle mura1' who in #adih returned his #8,portata della ,decima1' in ,gonfalone ,drago1 ,quartiere di ,santo ,spirito4 ,he was then living in a house which he had bought in #adhc1 situated in the ,via ,san ,gallo2 and he still rented #8vna botegha aduso didipintore1 posta in firenze in borgho santo appostolo enelpopolo di santo stefano a ponte4'--,firenze3 ,archivio di ,stato2 l4 c4 ,campione #b;do1 ,no verde #bh1 fol4 #iji4 #ef ,cennini1 ed4 #ahei1 cap4 #fa1 p4 #cg4 #eg ,this would appear to have been a very unusual method4 ,the ,giottesque painters commonly employed a #8bed' of a reddish colour4 #eh ,cennini1 ed4 #ahei1 cap4 #fj1 p4 #cf4 #ei ,cennini1 ed4 #bhei1 cap4 #eb1 p4 #cc4 ,c4 ,j4 ,herringham3 #8,the ,book of the ,art of ,cennino ,cennini1' ,london1 #ahii1 p4 #bef4 #fj ,in an early manuscript cited by ,mrs4 ,herringham1 in her edition of ,cennini1 #8azzurro della ,magnia' is said to have cost from #a to #c ducats the pound1 whereas ultramarine cost #e ducats the ounce4 ,cennini1 ,english ed41 #ahii1 p4 #beg4 #fa ,cennini1 ed4 #ahei1 cap4 #ej1 p4 #cb4 #fb ,cennini1 ,english ed41 #ahii1 p4 #bee4 #fc #8,cennini1' ed4 #ahei1 p4 #ff4 #fd ,vasari1 ed4 #aefh1 ,vol4 ,i1 p4 #chj4 ,the passage in the original runs thus3 #8,le quali ,alesso abozz fresco1 e poi fini a secco1 temperando i colori con rosso d' uouo mescolato con vernice liquida fatta fuoco4' #fe ,vasari1 ed4 ,sansoni1 ,vol4 ,,ii1 pp4 #fgc and #fhe4 #ff ,appendix1 ,doc4 ,,ix4 #fg ,vasari1 ed4 ,sansoni1 ,vol4 ,,ii1 p4 #eii1 note4 #fh ,g4 ,richa1 #8,chiese ,fior4'1 ,vol4 ,v1 p4 xxxv4 #fi ,appendix1 ,doc4 ,,vi4 #gj ,appendix1 ,doc4 ,,xi4 #ga ,appendix1 ,doc4 ,,xii4 #gb ,appendix1 ,doc4 ,,xiii4 ,compare1 also1 ,doc4 ,,xiv4 #gc ,vasari1 ed4 #aefh1 ,vol4 ,i4 p4 #chj4 #gd l4 c41 p4 #ahi4 #ge ,vasari1 ed4 #aefh1 ,vol4 ,i1 p4 #chj4 #gf ,g4 ,richa1 #8,chiese ,fior41' ,vol4 ,,iii1 p4 #agh4 #gg ,vasari1 ed4 ,sansoni1 ,vol4 ,,ii1 p4 #eib1 note4 #gh ,g4 ,richa1 #8,chiese ,fior41' ,firenze1 #aged1 ,vol4 ,,iii1 p4 #agg4 #gi ,f4 ,baldinucci1 #8,notizie de' ,professori del ,disegno1 da ,cimabue in ,qua1' ,firenze1 #agfg1 ,vol4 ,,iii1 p4 #ahg1 note4 #hj ,g4 ,frizzoni1 #8,la ,galleria ,morelli in ,bergamo1' ,bergamo1 #ahia1 pp4 #ae-af4 #ha ,translated by ,a4 ,teixeira de ,mattos4 #hb ,the freedom of the gild was not granted to any one under the age of #cj4 #hc ,translated by ,a4 ,teixeira de ,mattos4 #hd ,while1 in accordance with the principles adopted from the first in this magazine1 we give ,mr4 ,cecil ,smith perfect liberty to express his opinion on this piece--the opinion of one of the most accomplished experts--it is right to say that the opposite view of the matter will be stated in an early number of this magazine by another expert writer1 ,mr4 ,john ,marshall4--,ed4 #he ,it would appear that neither ,dr4 ,ricci1 who ascribes this altar-piece to ,pintoricchio1 nor ,dr4 ,steinmann1 who gives it1 correctly as we think1 to ,antonio da ,viterbo1 has noticed a ,crucifixion and ,saints clearly by the same painter and in the same phase1 in the chapel of ,st4 ,anthony in the lower church of ,assisi4 #hf ,a chapter extracted from ,mr4 ,solon's forthcoming book4 #8,a ,brief ,history of ,old ,english ,porcelain1' by kind permission of ,messrs4 ,bemrose ,sons1 ,limited1 ,london and ,derby4 #hg ,translated from the original ,german by ,p4 ,h4 ,oakley ,williams4 #hh ,cf4 ,aretino1 #8,letter' 7,paris1 #afji71 ,vol4 ,,iii1 p4 #cf verso4 #hi l4 c41 p4 #gf verso4 #ij ,crowe and ,cavalcaselle1 #8,titian1' ,vol4 ,,ii1 ,doc4 ,,lxvii4 #ia ,this letter1 which is little known1 is to be found in ,charavay1 #8,inventaire des ,autographes de ,b4 ,fillon' 7,paris1 #ahgi71 ,vol4 ,,ii1 p4 #cjj4 #ib ,cf4 ,crowe and ,cavalcaselle1 ,vol4 ,i1 ,doc4 ,,xvii4 #ic ,cf4 ,campori1 #8,raccolta di ,cataloghi1' p4 #bge4 ,a plate of de ,iode1 mentioned by ,crowe and ,cavalcaselle1 has also1 it appears1 been done from this picture4 #id ,not #aebb1 as has often been stated4 #ie ,reproduced in ,julius ,meyer's #8,die ,burggrafen von ,nrnberg im ,hohenzollern-,mausoleum zu ,heilsbronn in ,wort and ,bild1' ,ansbach1 #ahig1 p4 #ib4 #if #8,erinnerungen an die ,hohenzollernherrschaft in ,franken1' ,ansbach1 #ahij1 p4 #aah4 #ig ,behr's #8,genealogie der in ,europa regierenden ,frstenhuser1' ,tafel cxxviii4 #ih ,plate #c1 previously reproduced in ,helbing's #8,monatsberichte ber ,kunst1' ,munich1 #aijc pp4 #fh1 #gd4 #ii ,the collections of drawings recently secured by ,birmingham and ,adelaide were both made by artists4 #ajj ,only the other day ,i had the pleasure of seeing ,south ,kensington purchase1 for twenty-six guineas1 two drawings by ,millais1 studies for or after his ,dream of ,fair ,women in ,moxon's ,tennyson4 ,but with the exception of the bidding by ,south ,kensington and myself1 there was no competition for the drawings1 though every dealer in ,london was struggling at the sale--the ,gambart--for cheap and rubbishy1 though popular1 ,french and ,spanish water-colours that brought far higher prices owing to some fad of the moment4 #aja ,see the previous note as to ,south ,kensington4 ,the edition was issued by ,messrs4 ,freemantle4 #ajb ,i have to thank ,,mm4 ,lvy et ses ,fils1 of ,paris1 for their courteous permission to reproduce the photograph of this picture1 specially taken by them for a forthcoming publication on ,sienese painting4 #ajc ,i find that this work has been attributed in the last edition of the #8,cicerone1' with somewhat unusual insight1 to its right author4 #ajd ,i must here add two other works1 also quite evidently by ,vanni1 to which my attention has been drawn by ,mr4 ,berenson1 to whom ,i owe much for having first called my attention1 some years ago1 to the possibilities of ,andrea as an artist4 ,the first of these is the sacred picture of the ,madonna in the great pilgrimage church on ,monte ,nero1 near ,leghorn4 ,the second1 a damaged1 almost ruined fresco in the church of ,s4 ,giovenale at ,orvieto1 has been published with a notice by ,don ,guido ,cagnola1 in the ,rassegna d' ,arte for ,february-,march1 #aijc4 #aje ,the composition of this picture is remarkably fine1 so fine indeed that ,i doubt its being ,isenbrant's1 and yet the picture does not look like a copy4 #ajf ,quelques ,peintres ,brugeois de la premire moiti du ,,xvie sicle--,i4 ,jan ,prevost4 ,gand1 #aijb1 #ch pp4 and #d phototypes4 ,this master was a ,walloon1 born at ,mons4 ,it is not only more correct to write his family name as he himself and his forbears wrote it1 but it is important to do so as the forms ,de la ,pasture1 ,gossart1 ,prevost etc41 remind the reader that the ,walloons had a considerable share in the development of the ,netherlandish school1 far greater than the ,flemings4 #ajg #8,ausstellung von ,kunstwerken des ,mittelalters und der ,renaissance aus ,berliner ,privatbesitz1' ,berlin1 #ahii1 #dto1 pp4 #agj-agc4 #ajh ,wallis3 #8,italian ,ceramic ,art -- the ,maiolica ,pavement ,tiles of the ,fifteenth ,century1' ,london1 #aijb1 #abmo1 figs4 #aj-bd4 #aji ,owing to a mistake of the photographer1 the figure of this jar is reversed4 #aaj ,they are found again1 slightly more elaborated1 upon an albarello of the same series in the ,british museum4 ,another one belongs to an amateur in ,berlin4 #aaa ,according to ,litta2 ,moreri gives different dates4 #aab ,they bear the stamp of a convent in that town4 #aac ,pliny1 ,herodotus1 and ,strabo include as within the bounds of ,assyria those countries over which its sway had at times ascendency2 the whole of ,babylonia1 all ,mesopotamia1 a portion of ,mount ,zagroo1 modern ,kurdistan1 all ,syria as far as ,cilicia1 ,judea1 and ,phoenicia1 and during the seventh century ,b4,c41 ,lydia1 ,cyprus1 and ,egypt on the west1 and part of ,media on the east1 with ,babylonia and part of ,arabia on the south4 #aad ,of the ,vedas1 the four religious books of the ,hindus1 three were composed about #agjj ,b4,c4 and the fourth much later4 ,none of them were collected and written until between #ajjj and #hjj ,b4,c4 #aae ,zendavesta3--#8,zend' is old ,persian or ,achmenian1 meaning commentary or explanation1 and was the #8,zend' which accompanied the #8,avesta1' the law or the word4 ,the original text of the ,avesta was not written by a ,persian1 as it was not couched in a language used in ,persia1 nor indeed were any existing ,persian customs or practices sanctioned by its tenets4 ,it was written in ,media and in the language of ,media by the priests of ,ragha and ,atropatine4 ,it has been practically decided that the greater part of it was written before the third century ,b4,c1 while no part of it was written after the fourth century ,a4,d4 #aaf ,reproduced from a photograph provided by the kindness of ,dr4 ,a4 ,w4 ,mollerup1 director of the national museum1 ,copenhagen4 #aag ,c4 ,nyrop4 ,meddelelser om ,dansk ,guldsmedekunst1 #ahhe1 fig4 #c1 p4 #f4 #aah ,it is1 however1 described by ,nyrop 7op4 cit4 p4 #g7 as #8hammered out thin4' ,compare the description of the characteristics of mortuary or coffin chalices given by ,hope and ,fallow1 #8,english ,medieval ,chalices and ,patens1' in ,archaeological ,journal1 xliii1 p4 #adj4 #aai ,translated by ,a4 ,teixeira de ,mattos4 #abj ,translated by ,a4 ,teixeira de ,mattos4 #aba ,translated by ,p4 ,h4 ,oakley ,williams4 #abb ,firenze1 ,archivio di ,stato1 ,diplomatico1 ,santa ,trinita1 #acga1 #ao novembre3 cited by ,arnaldo ,cocchi1 #8,le ,chiese di ,firenze1' ,firenze1 #aijc1 ,vol4 ,i1 p4 #ahj4 #abc ,lacuna in original4 #abd ,an error for ,san ,benedetto4 ,this chapel1 the patronage of which now belongs to the ,marchesi ,lotteringhi della ,stufa1 is the first chapel of the right aisle1 on entering the church4 #abe ,lacuna in original4 #abf ed4 ,firenze1 #agfg1 ,vol4 ,,iii1 pp4 #ahf-g1 notes4 #abg ,these numbers refer to the annotations which follow this document4 #abh ,these interpolations are in the hand of ,giovanni di ,niccol di ,messer ,giovanni ,baldovinetti1 as appears from his signature1 to one of the notes in this volume1 on a slip inserted between fol4 #aj1 and fol4 #aa4 #abi ,lacuna in original4 #acj ,these numbers refer to the corresponding numbers prefixed to the foregoing paragraphs4 #aca ,vasari1 ed4 #aeej1 ,vol4 ,i1 p4 #daj4 #acb ed4 #agij1 ,lib4 ,,iii1 p4 #if4 #acc ,lacuna in original4