façade of the cathedral, now standing outside the Porta Romana, represented originally the four fathers of the church, and not the major prophets. Two are the work of Niccolò d' Arezzo (page 4). It has been conclusively shown that the commission of the year 1408 for a 'gigante' does not apply to the marble David of the Bargello, but was for a colossal figure that stood as a spire, over the buttresses, the 'sproni' as they were called, below the cupola. These 'giganti' were 'constructed' of brick and mortar, and the terms 'costruire, edificare' in the contract offer a sufficient indication of how they were made. (Cf. Fabriczy in L'Arte, 1903, November, page 16.) At the foot of page 49, to the statement that 'one can find gothic ideas long after the Renaissance had established its principles,' we should add, but not in Florence, this being the point of the argument. The Turin sword hilt (pages 99 and 176) is a most dubious object. We know nothing of its history. Its 'make up' is obviously modern. The ring with the forged signature has nothing to do with the pommel and crossguard, and of these the date or if indeed they be ancient work-the local origin is uncertain. Cavaliere Gnoli should read Count Gnoli: the honorific Italian title before the name of such a distinguished scholar holding the highest post among Italian librarians might awaken a smile with Italian readers (page 84). The misprint of Filarete's name should be corrected; also, in the next line, the statement that he began the St. Peter doors 'just before' Donatello's visit. We do not know when they were begun. They were finished so late as 1445 (page 41). Chellino, one of Donatello's Paduan pupils, of whom our knowledge is nil, is also misspelt (page 169). Read Madonna delle Scale on page 192; and three lines below S. Giovannino for Bacchus. On the next page, sixth line, read Flavius Blondus.

Lord Balcarres's account of the most universal of sculptors is marked by many signs of intelligent discernment in face of the work of art. His mode of treatment inclines away from the academic toward the discoursive, where one theme is allowed to suggest another, or at times to compress it into a corner, for the good things that will out by the way. He has graced his difficult task with all the resource of the buongustai, whose pleasant voice still lurks in England, while yet we have no English name for him. Withal a modern spirit of earnest concern for the wider reaches of his subject lends real force and warmth to every line of C. L. the text.

THE ARMOURY OF WINDSOR CASTLE. By Guy Francis Laking, M.V.O., F.S.A. Published by command of His Majesty King Edward VII. London: Bradbury, Agnew & Co. 1904. £5 5s. net.

THIS tasteful volume, the first of a series on the royal collections at Windsor, is the result of a

new disposition of arms and armour at the castle. When the Prince Regent made his collection the armoury at Windsor consisted chiefly of set arrangements of ordinary regulation weapons of the latter part of the seventeenth century, drawn from the stores in the Tower, such as may be seen at Hampton Court, dating from the time of William III. A few suits of late armour and certain choice items of earlier time, not specially appreciated, completed the display.

One is struck by the total absence from the Windsor collection of any English mediaeval royal weapons, or other attributes of armour. There is ample reason, indeed, for believing that many of such historic objects were alienated in the seventeenth century, together with other precious treasures of the English crown. Antiquaries are glad, however, to recognize that some of these relics, of the highest national interest, have in late years returned to England, and are now in private hands.

After the alterations at Windsor Castle by Wyattville, a further call was made upon the Tower armoury, and among the objects then taken were included extra pieces from historic suits, which we presume to think should either be returned to the harness to which they belong, or the entire suits themselves also removed to the sovereign's principal residence, in exchange for other things, so that comprehensive panoplies, such as that of Henry VIII, and Topf's three-quarter suit of Sir John Smyth-showing how much a full set of armour implied-should not be divided and The 'perforce for ever remain incomplete.' vicissitudes of the Hatton suit, and its final acquirement and presentation to the King in 1901, form the most interesting episode in the history of the Windsor armoury. The alienation of this splendid example gives a striking proof of the mischief caused by concessions to the claims of the Champion.

The suits made for Prince Henry and Prince Charles are admirable examples. We take the so-called Prince Rupert suit to be a mere harness quelconque; how 'the breast and backplate in one piece, with which is the tace,' etc., was constructed we are at a loss to imagine. As Mr. Laking puts it, the gauntlets 'do not belong.'

He

The author alludes to the armure blanche of the Maid of Domremy, as if it might have been of precious metal-presumably meaning silver. surely knows that the term 'blanc was applied both to burnished plate and polished blades-the 'armas blancas' of Spain; it was in use at Solingen itself up to the nineteenth century.

One is not surprised to hear of a sword of the Cid at Windsor, but there is no example of the seventeenth-century scimitar-shaped frauds incribed Edvardus Prius Anglia. Among the late Renaissance weapons the sword attributed to John Hampden takes a high place. It may be con

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. 6s. 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 in the Ghent altarpiece; ladies do not wear copes. The landscape background of the Adoration of the Lamb is quite ideal. The earliest real 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 by Duke Philip to foreign courts as a trusted ambassador 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 empty chandelier in Arnolfini's chamber to indicate that 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 OF THE BROTHERS VAN EYCK. Berlin Photographic Company. £16. LOVERS of early Netherlandish art have long deplored the impossibility 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 exhibited 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.

PERIODICALS

GAZETTE DES BEAUX-ARTS.-L'Exposition des Primitifs Français. H. Bouchot.-An account of the difficulties and obstacles overcome by the committee of organization for the present exhibition. Études d'Iconographie Française.-M. Tourneux has succeeded in identifying the names of two portraits by Quentin de la Tour., Le Renouvellement de l'Art par les Mystères.' Émile Mâle. Article IV. 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 plays. In treating the life of Christ the artists of 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. Mâle traces to the same source (the mystery plays) the increased elaboration of costume which the fifteenth-century artist adopted, above all the use of ecclesiastical vestments for 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. Étienne Bricon contributes an interesting account of Maitre Franche, 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 Hessèle'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 D' ARTE.-Bernardino da Cotignola. Corrado Ricci.-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. Due Dipinti di Dosso Dossi nella Brera. 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 Polittico della SS. Annunziata in Pontremoli. R. Hobart Cust. A full-page photogravure of an important polyptych which the author attributes to Giovanni Massone d' Ales

Bibliography

sandria. Un dipinto inedito del Brescianino. Lucy Olcott. A picture closely analogous to the Brescianino exhibited recently at Burlington House under the name of Fra Bartolommeo. Le Opere di Pasio Gaggini in Francia. Luca Beltrami.-The author has little difficulty in proving that Cervetto in his book on the Gaggini overstepped the mark in attributing not only the tomb of Raoul de Launoy at Folleville, but the architectural setting, which is of pure French workmanship, to Gaggini. The tomb itself is signed by Tamagni and Pasio.

LA REVUE DE L'ART.-L'Exposition des Primitifs Français. Third article. Paul Durrieu.-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 Étienne 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. Figures de Théatre. Emile Dacier. La Renaissance avant la Renaissance, Louis Gillet, is in effect a review of M. Emile Bertaux's L'Art dans l'Italie Méridionale' and summarizes his elucidation of the problem of Nicola Pisano's classical art.

L'ARTE.-La Scuola di Nicola d'Apulia. A. Venturi.-A discursive essay on Nicola Pisano, in which the author takes occasion to discuss again the question of the façade 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'Arte 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'Aurona. Laudedio Testi.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 Fiorentini del Principio del Quattrocento. Pietro Toesca.-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 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 Jongkind.

The Society of 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