Imatges de pàgina

hindmost’ method of trading that their wares have sunk lower in our estimation than the products of happier times. The material of the chapter on ‘The Pewterer's Craft,’ in so far as he practised in England, is drawn from Mr. Welch’s ‘ History of the Pewterers’ Company,’ long promised, and published at last. Then ‘ Methods of Manipulation ’ are dealt with in a chapter from which the following passage is taken: ‘ Moulds have always been a necessity for the pewterers, and to the necessity for simplicity in the ordinary moulds the simplicity of the manufactured article must in most cases be due. It may be cast in sand, plaster-ofparis, stone or metal moulds; but where there is sand there must be finishing on the turning lathe. So in the three words casting, turning, and hammering, we have suggestions of the chief processes.’ After this, if the natural order were followed, would come the chapter on ‘ The Ornamentation of Pewter,’ and here Mr. Massé’s own excellent taste will help the reader to distinguish the meretricious from the really beautiful examples of true ornamentation in this handsomely illustrated book. The remaining chapters and the appendices have helped to make this book what it is, the only English work on the subject, and one which has in it the substance of such a. handbook as Mr. Massé, with all this matter in hand, could probably write very easily. E. R.

THE GERMAN AND FLEMISH MASTERS IN THE NATIONAL GALLERY. By Mary H. Witt. London: George Bell & Sons. 1904. xii and 228 pp., with 32 phototypes. 65. net.

THIS volume, in the compilation of which the

author has evidently taken considerable pains,

will doubtless be welcome to those visitors to our national collection who are not acquainted with the history of the Teutonic and Netherlandish schools. It may lead some to endeavour to obtain further knowledge by studying the literature relating to the particular period or master in whose works they may feel interested. To those who are abreast of the various monographs and essays published within the last twenty years it will be of no use, as it is evidently the work of one who has but a superficial knowledge of Low Country art. This is shown by many errors which the volume contains. Craftsmen, at all events from the time of Charles the Great, were not untutored, and painting, though practised by fewer persons, was quite as much an independent art as at any later period. The walls of gothic churches were everywhere adorned with mural paintings in distemper(not frescoes) until the end of the sixteenth century; even private houses were decorated in this way by such great masters as Hugh Van der Goes and Quentin Metsys. I do not see how Hubert van Eyck could possibly have joined a crusade.

There is nothing approaching to accuracy in the

representation of Jerusalem in the Richmond

picture except the view of the mosque of Omar. Nor is there any figure of St. Cecily m the Ghent altarpiece; ladies do not wear copes. The landscape background of the Adoration of the Lamb is quite ideal. The earliest r’eal landscape is the remarkable view of the lake of Geneva, painted in 1444 by Conrad Witz, a master of whom there is no mention in this volume. The numerous inaccuracies are all no doubt derived from the works of others; for one the present writer is responsible, and takes this opportunity of correcting it. The figures standing in the doorway of Arnolfini’s room are those of two men, in all probability the painter and his assistant—not his wife. The oft-repeated statement that John was sent b Duke Philip to foreign courts as a trusted am assador is once more repeated, though it is evident that he merely accompanied the ambassadors as a portrait painter. The author must have formed a strange conception of John's character to imagine that he represented two candles burning in the otherwise em ty chandelier in Arnolfini’s chamber to indicate t at the light of two loving hearts would never be extinguished. Proper names are constantly misspelt, and the index has been drawn up on no uniform system. Still, with all its shortcomings, it is a decided step in the right direction, and if carefully revised may be of permanent use. W. H. J. W.

THE GHENT ALTARPIECE or THE BROTHERS VAN Ech. Berlin Photographic Company. £16.

LOVERS of early Netherlandish art have long deplored the im ossibility of obtaining satisfactory photographs of) the central panels of the Adoration of the Lamb, the masterpiece of the Van Eycks. This was due to the unwillingness of the cathedral chapter of Ghent to allow the picture to be removed from over the altar. After the Bruges Exhibition of 1902 the expressions of regret were so universal that a renewed application to the chapter was at last successful. The panels were carefully cleaned and removed into the open air, and thus the Berlin Photographic Company have been able to reproduce in photogravure not only the four panels in the cathedral, but also the twelve in the Berlin and four in the Brussels museum, to the same uniform scale of three-tenths of the size of the original. With these it is possible to follow the arguments, examine the theories, and control the conclusions of the many who write upon Netherlandish art. Even more important is it that this grand masterpiece can now at small cost be made known to the public. It appears to us most desirable that this fine reproduction should be ex. hibited both at the National Gallery and at the Victoria and Albert Museum; it certainly ought to find a place in every art school of importance. To all lovers of the early masters of the Netherlandish school it will be invaluable. ’ W. H. J. W.


GAZETTE DES BaAux-ARTs.-—L'Exposition dos Primitifs Franoais. H. Bouchot.—An account of the difficulties and obstacles overcome by the committee of organization for the present exhibition. Etudos d’Iconographio Franeaiso.——M. Tourneux has succeeded in identifying the names of two portraits by Quentin de la Tour. Lo Ronouvollemont do l’Art [zar los ‘Mystiros.’ Emilo Mdlo. Articlo I V.—The author passes in this article from the motives introduced into art from S. Bonaventura to those due to other sources, in both cases communicated to the artist by the intervention of the mystery lays. In treating the life of Christ the artists 0 the thirteenth and early fourteenth centuries confine themselves to those scenes like the Nativity and the Passion which have a dogmatic importance, but with the growth of mimes and mysteries in the fourteenth century many more scenes are added to the artist’s repertory. M. Male traces to the same source (the myste plays) the increased elaboration of costume whic the fifteenth-century artist ado ted, above all the use of ecclesiastical vestments or God the Father and the angels. The chief difficulty in accepting his theory in its entirety is the close parallelism to be observed in many of these points in the development of fifteenth-century Italian art. M. Henry Hymans describes the recent exhibition of French art of the eighteenth century at Brussels. M. Etienne Bricon contributes an interesting account of Mdiiro Franoho, one of the greatest of German primitives, who painted in 1424 for the English armourers a great altarpiece dedicated to St. Thomas of Canterbury and placed in the church of St. John at Hamburg. M. Roger Marx, in a notice of the exhibition of Mr. Legros’s works held this year at Hessele's gallery, points out in how many ways Mr. Legros must be taken into account in considering the development of French art in the nineteenth century. For all that he remains scarcely known and certainly undervalued in France. M. Pontet writes on the Domenichinos at Grottaferrata.

RASSEGNA n' ARTE.—Bornardino da Cotignola. C orradoRicoi.—Bernardino worked with the betterknown Francesco Zaganelli. The only picture signed by Bernardino alone is the St. Sebastian of the National Gallery. Signor Ricci attributes to him an Agony in the Garden at Ravenna, adapted from Ercole Roberti, and a Deposition at Amsterdam. Il Monumento Gonzaga a Guastallo. Giulio Ferrari. Duo Dipiuti di Dosso Dossi nolla Brora. Corrado Ricci—The St. George and St. John Baptist are, it appears, wings of a triptych the centrepiece of which contained a wooden statue of the Virgin. Il Polittioo della SS. Annuuziata in Pontromoli. R. Hobart Cust. Afull-page photogravure of an important polyptych which the author attributes to Giovanni Massone d’ Ales

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LA Revue DE L’ART.—L’Exposition dos Primitifs Francois. Third articlo. Paul Durriou.—This important article gives a résumé of the Comte de Durrieu's recent researches into the history of French painting in the fourteenth century. He is able to give from royal accounts a very large number of names of painters employed in Paris. He shows that Italian artists were imported from an early date, that as early as 1298 Philippe le Bel sends his own painter tienne d'Auxerre to study in Rome. No less important were the influences derived from the north and east from Lotharingia, as the author for convenience names the country between the Meuse and the Rhine. Figuros do Théatro. Emile Dacior. La Renaissance avant la Ronaissanco, Louis Gillot, is in effect a review of M. Emile Bertaux's ‘L’Art dans l'Italie Meridionale' and summarizes his elucidation of the problem of Nicola Pisano’s classical art.

L’ARTE.—La Scuola di Nicola d’APulia. A . Vonturi.—A discursive essay on Nicola Pisano, in which the author takes occasion to discuss again the question of the facade of Orvieto, and, like most recent critics, to attribute the design to Lorenzo Maitani, to the exclusion of Giovanni Pisano. He reproduces the two splendid heads of prophets in the Opera del Duomo at Florence. Opera d'Arto a Tivoli. Attilio Rossi.—-Is concerned with the fifteenth-century reliquary in the cathedral. The lower part, executed before 1435 according to the author, shows Florentine influence, and approximates to the style of Antonio Filarete; the upper part, dated 1449, he attributes to a Venetian craftsman still imbued with Gothic ideas. Santa Maria d'A urona. Luudodio Tosti.— This church has been referred to the eighth century, but the author gives documentary grounds for the date 1099, which reinforces, therefore, Signor Rivoira’s theory of the comparatively late date of S. Ambrogio. Umili Pittori Fiorontim' dol Principio dol Quattroconto. Piotro Toosca.—Treats of the interesting Jacopo del Casentino, and adds to his works the triptych at Chantilly and a triptych of the Museo Cristiano of the Vatican; we might add to these a Madonna and Child with Angels (No. 551) of the Fitzwilliam Museum at Cambridge, and two panels with four saints (No. 565) of the same collection.


THE opening of the Exhibition of French Primitives was postponed from the 7th to the 12th of April. Its success was immediate, and it will continue to be the most remarkable artistic event of the year in Paris. THE BURLINGTON MAGAZINE has a special reason for congratulating the organizers, inasmuch as three members of its consultative committee, MM. G. Lafenestre, Salomon Reinach, and André Michel, are among their number, while a fourth, M. Henri Bouchot, is the secretarygeneral. Whatever the results of the exhibition may be, its interest is incontestable, a little surprising, perhaps, to many, and a cause of the greatest satisfaction to M. Henri Bouchot, whom, by the way, we have to congratulate on becoming a member of the Académé des Beaux-Arts. His zeal and diplomacy, and that of his colleagues, have succeeded in bringing together in the Pavillon de Marsan some 400 examples of painting, drawing, enamel, tapestry, and sculpture. Unfortunately, M. Léopold Delisle could not be persuaded to lend the illuminated manuscripts from theNational Library. The result is that the essential task of comparison can only be performed by visiting the National Library itself,where some 250 manuscripts are now being exhibited.

The Exhibition of French Primitives, however, will clearly be of service' to the study of a littleknown period. One fact seems to be proved already—that there was a primitive French art, though the examples of it are isolated and reveal great difl'erences. Side by side with it we find frequent notes of Flemish and Italian influence. Much is still matter of conjecture. The triptych called Memlinc’s, for instance, from the Palais de Justice, shows what appears to be a curious incoherence; the buildings on the left of the background are unquestionably the Tour de Nesle and the old Louvre; but the subject itself shows an incontestable analogy with Flemish art.

The catalogue drawn up by the organizers contains some long and important notes. It was inevitable that the often very personal opinions of M. Henri Bouchot should arouse discussion, and perhaps he has been a little carried away by his enthusiasm. But discussion, so long as it is not acrimonious, can only result in further light. And the interest of the exhibition is not confined to connoisseurs, historians, and art critics. It will appeal to all the intelligent public. Of the articles on the exhibition already published, we may mention those of M. Henri Bouchot (Gazette des Beaux-A rts, April, and Revue des Deux-Mon-des, March 15), Count Paul Durrieu (L’A rt ancien et moderne, February, March, April), and M. PaulVitry (BURLINGTON MAGAZINE, April, and Les Arts, April I 5). The illustrated catalogue,

‘ Translated by Harold Child.

with an introduction by M. Georges Lafenestre, may be had at the exhibition, or at Floury’s, I Boulevard des Capucines, price two francs. The exhibition is open at the Pavillon de Marsan and the National Library from ten to six.

The Isabey and Rafl'et exhibition was opened on April 8 before it was quite ready. It is incomplete as regards Rafl'et and B. Isabey's miniatures, but Eugene Isabey lS remarkably well represented. His sketches and studies are amazingly brilliant and warm in colour; and though a niggardly use of paint makes many of his sea-pieces sadly dry and hard, there are a number of admirable landscapes, livid and stormy waters and horizons ablaze with fires.

In the same building there is an interesting exhibition of printer-lithographers' work. It includes far too many post cards, but the reproductions by the special processes of MM. Fortier-Marotte are the most perfect of their kind in Paris. See their works after Henri Regnault, Puvis de Chavannes, Clairin, and Carriere.

Among exhibitions of contemporary artists, that of M. Diriks, 20 rue La Peletier, calls for special mention. These fifty pictures show profound originality and the most intense expression and movement. The freshness, the colour, and the poetry of such works as the Pine-Tree in Summer, the Pontoon at Droeback, Clouds, Sea piece, and the Squall, put M. Diriks among the first painters of the age. I may mention also the retrospective exhibition of 178 works by Pissarro, some of them of perennial grace and beauty. Other current exhibitions are those of the New Societ of Painters and Sculptors, the Society of Frenc Pastellists, Bonnard, Roussel, Vallotton, Vuillard, and Aristide Maillol.

THE Museums

The annual rearrangement at the Luxembourg, just completed by the keeper, M. Léonce Benedite, shows an increase of 40 works, among them the following: Salle V. Portrait of General André by C. Ferrier; Salle VII. Portrait of Giraud by P. Baudry; Salle IX. The Cemetery of Saint-Privat by A. de Neuville; Salle des étrangers, The Meuse at Dordrecht by ongkind.

The Society 0 the Friends of the Louvre has presented two carved twelfth-century columns from the Abbey of Coulombes. The capitals represent the story of the Magi, and closely resemble in style the sculptures on the royal door of the cathedral of Chartres. The department of objets d’art has bought for 12,000 francs an exquisite piece of twelfth~century romanesque art, the foot of a reliquary, which is-now on exhibition in the pottery room. G. de R.

N.B.-—From April onwards the Louvre and the Luxembourg are open from nine to five; Sundays and holidays ten to four. The museum at Versailles is open from eleven to five, and the museum at Chantilly on Sundays, Thursdays, and holidays from one to five.


AT the Edmond Picard sale, which took place at the end of March, the museum had the good fortune to outbid the Louvre for the famous Head of a Man Guillotined, by Géricault, a work of intense realism and wonderfully vigorous painting. It was under this picture that Victor Hugo wrote his famous words: ‘See this poor man’s head: nourish it, teach it, and moralize it, and you will have no need to cut it ofi.’ It has been engraved several times, the latest version being an excellent plate by Auguste Danse. The museum also bought at this sale the Dam at Waulsort, a fine picture by Boulenger, the landscapist of the Tervueren School; the Woman with a Fan, by Emile Sacré; the Letter to Metella, an admirable sketch by the voluptuous Eugene Smits; a drawing by Xavier Mellery, called A Funeral on the Isle of Marken; and a portrait of the painter Dario de Regoyos, by Théo von Rysselberghe. At the impressionist exhibition at the Libra Esthétique, the museum bought another Rysselberghe, The Promenade.


A gift of some importance is a copy on satin of the ‘ Plan of the town of Brussels, with the situation, intrenchments, and camps of the allied forces under His Britannic Majesty in the month of‘ [August 1697]. The silk has been folded here. This plan was engraved on copper by J. Harrewyn, a pupil of Romain de Hooghe, and is illustrated with some finely treated allegories. It measures about 2 ft. 8% in. by 3 ft. 3 in., and is very rare, there being no copy in the print-room of the Royal Library. Below it is the dedication: ‘To His Electoral Serenity Maximilian Emmanuel, Duke of Upper and Lower Bavaria and of the Upper Palatinate, Count Palatine of the Rhine, Grand Cupbearer of the Holy Empire and Elector, Landgrave of Leichtenberg, Governor of the Netherlands, etc., etc. Dedicated by his most humble, most obedient, and most devoted servant, Mich. Christ. de Schmitter, quartermaster of the Danish ’ [forces] .


The exhibition of the Society of Fine Arts, which opened on April 9, is as badly arranged as ever, a number of busts by M. Vincotte being all grouped together instead of dispersed, and thus forming a cold white spot in the middle of the gallery of painting, which affects the whole room. This is another proof of the long-felt need of a

Foreign Correspondence

building exclusively reserved for exhibitions. M. Victor Gilsoul dominates the exhibition with a group of pictures of robust execution and audacious colour; sea pieces and canal scenes, old houses on the quays at Bruges, and some small studies with all the spirit of the larger pictures. M. Claus’s only work is remarkable for a certain magic in the lights and forms, which gives the landscape the feeling of richness and sudden revelation common in Japanese art. Mr. Sargent sends two portraits, not among his best, and M. Dagnan-Bouveret another of a feeble kind. M. Francois Flameng's paintings remind one of modern colour-printing and Christmas cards, and M. Blanche sends a fine portrait and two bold and spirited still-life pictures. Of the Belgian painters, we may mention M. Stracquet’s delicate and sincere studies; M. Alfred Verhaeren’s sea pieces, rich and Venetian in character; and Madame Gilsoul-Hope’s two charming watercolours. We have already mentioned M. Vincotte’s sculpture: there is no denying that his work, for all its clear and correct technique, is cold, and lacks emotion and vibration. M. Lagae’s busts show a genuine love of form, and M. Dilleus’s three sketches promise well for the completed works.

A retrospective exhibition of tapestry and ceramics will be opened in the HOtel de la Marine, which is now being built in Brussels, at the beginning of June, and will remain open for three months. In view of the Liege exhibition of 1903 there will be no lace exhibited, though the idea had been originally entertained.


The complete restoration of the transept of the church of St. Gertrude is not far off, and the Monuments Commission has agreed to remove, throughout most of the transept, the constructions intended to support a vault of very uncertain date (thirteenth century, it is said) above a flight of steps from the crypt. Three schemes were proposed for connecting the choir and the transept. The commission has decided to build a wide central flight of steps and to have no altar against the wall that drops from the floor of the choir above the crypt to the floor of the church.


The removal of enormous quantities of rubbish from the castle has resulted in the discovery, without injury to the walls, of the plan of nearly the whole building. The castle is a fifteenthcentury work, and, apart from its historical and archaeological interest, is a very imposing ruin. The Monuments Commission proposes to have drawings made of it as reconstructed, and closes its report with a wish that the State would appoint a guardian for this mediaeval fortress, to prevent the acts of vandalism and theft that are too common.

ART HISTORY Surmo (1. B). Arte Pisana. (13 x 10) Firenze (Alinari), 42s. Pisan architecture, sculpture, and painting; copiously illustrated.

KBHRER (H.). Die ‘I-Ieiligen drei Konige' in der Legende und in der deutschen bildenden Kunst his A. Diirer. (10x6) Strassburg (Heitz), 8 m. ' Studien zur deutschen Kunstgeschichte,‘ No. 53; 11 plates.

Scnwmmucunm (0.). Deutsche Bauernkunst.
(Gerlach). [Illustrated]

LA Sizziurmn (R. de). Les questions esthétiques contemporaines. (7 x 5) Paris (Hachette), 3 fr. 5o.


RODOCANACHI (E.). Le Capitole Romain antique et moderne: la citadelle, les temples, le palais senatorial, le palais dos conservateurs, 1e musée. (13 x 10) Paris (Hachette), 12 fr. [80 illustrations]

Tun VICTORIA HISTORY of the counties of England: Bedfordshire. Edited by H. A. Doubleday and W. Page. (12x 8) \Vestminster (Constable). Contains illustrated contributions upon Anglo-Saxon Remains by R. A. Smith; Ancient Earthworks by A. R. Goddard; and Religious Houses by Sister Elspeth.

Sriicxnnneno (E. A.). Aus der christlichen Altertumskunde. (10 x 8) Ziirich (Amberger). Essays on Swiss ecclesiological antiquities. [100 pp. and illustrated]

SriicxxLBnnc (E. A.). Die schweizerischen Heiligen des Mittelalters. (10 x 7) Zurich (Amberger), 8 fr. [Illustrated]

RENARD (E.). Die Kunstdenkmaler der Rheinprovinz. vm, ii. Die Kunstdenkmiler der Kreise Erkelenz und Geilenkirchen. (u x 8) Diisseldorf (Schwann). [Illustrated]

BIOGRAPHICAL WORKS AND MONOGRAPHS chxruss (H.). Rubens. Translated by L. M. Richter. (10 x 7) London (Grevel), 4s. net. [Illustrated] ' Monographs on Artists,’ ix. BRACH (A.). Nicola und Giovanni Pisano und die Plastik des xiv. jahrhunderts in Siena. (12x8) Strassburg (Heitz), 8 1n. ' Kunstgeschichte des Auslandes,’ No. 16. [17 plates] DAMRICH (].). Ein Kiinstlerdreiblatt des xm. Jahrhunderts aus Kloster Scheyern. (10 x 6) Strassburg (Heitz), 6 m. A monograph upon the Bavarian copyist and illuminator, Conrad von Scheyern. [11 plates] Vnmnum (A.). L'ceuvre de Constantin Meunier. Anvers (Buschmann), 3 fr. 5o. [14 illustrations) publication of ' L‘Art flamand et hollandais.’


Wanna (L). San Petronio in Bologna. Beitrige zur Kunstgeschichte. (10 x 6) Leipzig (Seemann), 3 m. Beitrfige zur Kunstgeschichte,‘ Neue Folge, xmx. [5 plates)

WITTING (F.). Westfranzosische Kuppelkirchen. (12 x 8) Strassburg (Heitz), 3 m. 60. ' Kunstgesch. des Auslandes,’ xxx. [40 pp., 9 illustrations]

Rimrnnssiou de l'Architecture Francaise de ]. F. Blondel, sous le contrOle de MM. Guadet et Pascal, tome l. (19 x 13) Paris (E. Lévy), 90 frs. Complete in 4 vols. (360 frs.).

SCULPTURE MACH (E. von). Greek sculpture, its spirit and principles. (10x 7) Boston, DSA. (Ginu), 15s [Illustrated] SctlLossaR (1. von). Uber einige antiken Ghibertis. (]ahrbuch der Kunsthistorischen Sammlungen des Kaiserhauses, xxw, Heft 4). [r 5 illustrations]


Tue GHBNT ALTARPIECB or me Bnornaks VAN EYCK. Reproduction in photogravure three-tenths of original size. Berlin Photographic Co. )6 16.

THE Banvuuwu Gmmuu, from the Library of San Marco, in Venice. Edited by Dr. S. G. De Vries. Ellis a Elvey. Part I. 25 coloured and no collotype plates. {10.

Dnnvwos-Gouzanez (E.). Etude sur la condition juridique des artistes peintres en droit rornain. (IO x 6) Paris (Rousseau).

Jacxsos (F. H). Mural Painting. (8x 5) London (Sands), 55. net. 'Handbooks for the Designer and Craftsman.‘ [39 plates]

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(12 x 8) Special

Hmn (C. L). Adventures among Pictures. (9x7) London (Black). 7s. 6d. net. Criticisms from 'The Academy.‘ [Illustrated]

METAL WORK OLSEN (B). Die Arbeiten der Hamburgischen Goldschrniede

Jacob Mores, Vater und Sohn, fur die dinischen Konige Frederik II und Christian IV. (13 x 10) Hamburg (AktienGesellschaft). [40 pp., 35 illustrations]

Mitsin (H. ]. L. J). Pewter Plate, an historical and descriptive handbook. (11 x 7) London (Bell). 21s. net. RIDIAN W). Illustrated handbook of information on Pewter and heflield Plate. with marks, etc. (9 x 6) Bradford (18 St. Stephen's Rd), as. (paper); 3s. cloth. LiinR(H). Kronleuchter und Laternen.(19 x 12) Berlin (Wasmuth for the Kgl. Museen). A series of 30 fine phototype reproductions of chandeliers and lanterns in the Berlin Kunstgewerbe-Museum; parts 30 and 31 of the ‘ VorbilderHefte.’ Banneui (] ). Enquétes Campanaires: notes, études et documents sur les clochee et les fondeurs de cloches du vm= au xx, sieclev (10 x 6) Montpellier (Delord-Boehm). [750 pp. illustrated] COINS AND MEDALS Fiscnan (E.). Die Miinzen des Hauses Schwarzburg. Heidelberg (\Vinter), 12m. [16 plates] DOLLINGER (F). Die Fiirstenbergischen Munzen und Modaillen. (12 x 9) Donaueschingen (Mory). [10 plates]



BUI-ILB (E.). Die musikalischen Instrumente in den Miniaturen des friihen Mittelalters. 1. Die Blasinstrurnente. (X0x7) Leipzig (Breitkopf 8: Hartel), 6m. [Illustrated]

MORRIS (Rev. W. M). British Violin-makers, classical and

modern. (9 x 6) London (Chatto 8c Windus), 10s. 6d. net. [Illustrated] S-ruuz (R). The earliest English Music Printing: a descrip

tion and bibliography of English printed music to the close of the sixteenth century. London (Bibliographical Society). [46 plates of reproductions]

MISCELLANEOUS THE YEAR'S ART, 1904. Compiled by A. C. R. Carter. London (Hutchinson), 3s. 6d. net. [Illustrated] KUNSTHANDBUCH fur Deutschland, 6 ed. (8:: 5) (Reimer for Konigliche Museen).

The oflicial German catalogue and list of museums, private collections, archaeological and artistic societies, art and technical education, with details of personnel, publications, etc. [700 pp.]

Din Kuusr des ahres; Deutsche Ausstellungen, 1903. (1: x 9) Munchen ( ruckmann.) [160 pp. of reproductions]

THACKBRAY (W. M). Critical papers in Art; Stubbs's Calendar; Barber Cox. With illustrations by the author and George Cruikshank. (8 x 5) London (Macmillan), 3s. 6d.

MELANI (A.). Ne l‘ arte e nella vita: persone, luoghi,cose presenti. (8 x 5) Milano (Hoepli), 5 lire.

Conucuon (M). and Couva (L.). Catalogue des Vases Peints.


Planches. 32 pp. (10x 13) Paris (Fontemoing), 25 fr. [52 plates] Donn (L). La Canzone delle Virtu e delle Scienze di

Bartolomeo di Bartoli, da Bologna. Testo inedito del secolo xxv. tratto dal MS. originale del museo Conde ed illustrato. (13 x 18) Bergamo (Istituto italiano d'artigrafiche.)

PAUKBRT(F.). Die Zimmergotik in Deutsch-Tirol. vm Sammlung. (17x 12) Leipzig (Seemann), 12m. The eight portfolios published each contain 32 plates of Tyrolese woodcarving— ecclesiastical and secular with descriptions.

Bess (G.). Der Ficher. (10 x 7) Leipzig (Velhagen 8: Klasing), 4 1n. ' Sammlung il ustrierter Monographien,‘ No. 14 ; an excellently illustrated monograph of 130 pp. upon fans.

MAY (Phil). Folio of caricature drawings and sketches. (17 x 11) London (Thacher). :15. net [With biographical sketch)

MALIBRAN (H.). Guide a l'usage des artistes et costumiers contenant la description des uniformes de l‘armée francaise de 1780 a 1848. (m x 6) Paris (Combet), 12 fr.


CATALOGUE of a collection of Original Matrices of Mediaeval Seals (English, French and Italian), medals, coins, the property of a gentleman. Sale, 22—23 February. London (Glen~ dining). [aplates]

CATALOGUE 0 Pictures and Drawings left by . H. Weissenbruch, 1824-1903. To‘, be sold, by auction, in the Pulchri Studio (Hague), March 1, i904, by F. Bufl'a & Sons. [8 plates]

Also a Dutch edition with different plates.

GiLLor (C). Collection Ch. Gillot. Objets d'Art et Peintures d'Extréme-Orient dont la vente aura lien a Paris, 8-13 février 1904. (13 x 10) Paris (Galeries Durand-Ruel). [Illus.‘

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