London,' and probably most readers of this new edition will make its acquaintance for the first time. It has distinct documentary' value, caricature as it is. The reproductions of the woodcuts are good, but those of the coloured plates are unequal and on the whole less satisfactory than in other volumes in this Pocket Library.' In some cases the register seems to have gone wrong.

The reproductions of Leech's coloured plates in 'Ask Mamma' are more satisfactory, and this work, like the other, is a good example of the way in which woodcuts can be reproduced by modern process blocks.

THE BOOKE OF THENSEYGNEMENTES

AND

TECHYNGE that the Knyght of the Towre made to his Doughters. By the Chevalier Geoffroy de la Tour Landry. Caxton's translation edited with notes and a glossary by Gertrude Burford Rawlings. Illustrations by Garth Jones. London: George Newnes, Ltd. 1902. 3s. 6d. net.

PRESUMABLY this is a reprint from stereotyped plates, seeing what the date is on the title page. If we are not mistaken the book was formerly published at a higher price, but the present issue seems to be identical with the exception of the cover. In any case it is extraordinarily cheap, and those who are not acquainted with the delightful reading-book which the fourteenth-century French. knight wrote for his little daughters will do well to take the opportunity of making its acquaintance. The Knight of the Tower' can be known to few, for it has not been printed since the fifteenth century except in the publications of the Early English Text Society, which issued in 1868 an edition of the earlier MS. translation. The translation in the present volume is that of Caxton, printed originally in 1484. The text has not been modernized, but it will be found quite easy to follow. The illustrations show that Mr. Garth Jones not only can draw, but also has decorative ability; but the fight which faces page 152 is quite impossible: the knights would kill each other at the next stroke. We cannot praise the type; the initials are particularly feeble.

In Messrs. Methuen's series of 'Little Books on Art' has been published a volume on book-plates by Edward Almack, F.S.A. It is a chatty and discursive book, mainly consisting of descriptions of book-plates, many of which are in books in the author's own library, but it will not serve the purpose of a handbook as it does not give much practical information.

PERIODICALS

THE ANCESTOR (April).-With this number begins the third year of this admirable quarterly, which increases in interest and reputation as it advances in age. The present number is full of

Bibliography

good reading; Mr. Round's selections from the MSS. at Castle Howard are most attractive; we note that George Selwyn thought that Reynolds had much to learn from Lely! The editor, Mr. Barron, contributes some racy articles on impossible pedigrees, which will be found intensely amusing by the least genealogical reader, and there are very many other papers of interest in various ways. The Ancestor has removed the reproach of dullness from genealogy and archaeology; few of our periodicals are as lively. From the purely artistic standpoint the series of reproductions illustrating fifteenth-century costume are the most important; there are also reproductions of very interesting tiles in Tewkesbury Abbey which we commend to the contemporary tile manufacturer, a large number of Sheridan portraits, and other illustrations.

REVUE DE L'ART CHRÉTIEN. Lille, 1904. 20 fr. a year. January.-This, the first number of the fifty-second volume of this excellent publication, contains an analysis by G. Sanoner of the remarkable sculpture which adorns the entire west front of the little-known romanesque abbey church of St. Jouin de Marnes. M. Gerspach contributes notes on frescoes and other paintings at Treviso. These include a figure of Christ on the cross, of the thirteenth century, forty full-length figures of Dominican saints by Thomas of Modena, 1352, in the chapter hall of the convent of that order, and several other frescoes in the adjoining church of St. Nicholas, and in the museum. None of these have been photographed, nor have they as yet been the subject of any special study. The chief other works noticed are:-The Incredulity of Saint Thomas, attributed by some to Sebastian del Piombo, by others to John Bellini, who is said to be the author of the decorative painting of the monument of the Senator Onigo sculptured by P. and T. Lombardi. A Madonna enthroned, with an angel musician at her feet, and six saints, by a Dominican, Brother Mark Pensaben of Venice, 1520-21, completed it is said by Jerome Salvado. A learned article by Dr. E. Martin on the rational worn by the more important German bishops from the end of the tenth until the thirteenth century; a paper by the editor, M. J. Helbig, on the polychromatic decoration of statuary and church furniture; a number of notices of new books, and a very full account of the meetings of learned societies in Belgium and France, make an interesting number adorned with numerous photoprocess illustrations.

GAZETTE DES BEAUX-ARTS.-G. Lafenestre begins a series of articles on the French Primitives. Pierre Baudin contributes a critique on the Salon of the Champ de Mars. Pierre Marcel calls attention to a Danse Paysanne of the Dijon museum which has passed as a Gillot, but which he would restore to Watteau. He considers it a first

study for the picture of the subject which is known through Audran's engraving. Émile Male concludes his very important and interesting researches into the Influence of the mystery plays on art. The candle which Joseph is seen sheltering from the wind in the Nativity is, he considers, a record of the means employed on the mediaeval stage to symbolize night. The author attributes to the same origin the improvised pulpit of a branch laid between two forked branches, which occurs in representations of the Baptist preaching till well on into the sixteenth century. We have recently found an example in a sixteenth-century German drawing, which shows how widespread the tradition became. Th. Duret writes an interesting appreciation of Camille Pissarro which explains more clearly than hitherto the place of the 'spectral palette' in the work of the impressionists; F. de Mély, on J.B. Isabey the miniaturist, à propos of an exhibition of his works in Paris; S. Schiskévitch on Plagiarisms from Rembrandt's etchings.

LA REVUE DE L'ART.-Louis Gonse writes on the museum at Troyes, which sends one of the finest examples of fourteenth-century painting to the exhibition at Paris. He describes, with plates, some of the Merovingian treasures in which the museum is particularly rich. Articles describe the Salons of this year, and the collection of Lace at the Musée Galliera. Léonce Bénédite writes interestingly on the small loan collection of Early impressionist works at present installed in the Luxembourg. The pictures are lent by members of the newly-founded society of the Amis du Luxembourg. It should be remembered, by the by, that our National Art Collections fund will be called on to fulfil the functions both of this society and the older Amis du Louvre. François Monod describes a Flemish painting of the Marriage of St. Catherine in the collection of the Historical Society of New York, which he ascribes to Gerard David. Bad as the reproduction is, it suffices to show that the picture is much nearer to Ysenbrandt than to Gerard David.

RASSEGNA D'ARTE.-Mrs. Perkins (Lucy Olcott) publishes, with reproductions, five undescribed pictures by Matteo da Siena, which exists either in or near Siena. One from the church of Percena approaches more nearly to Neroccio di Landi than any other we know. One wishes he had been more often inspired from the same source. Malaguzzi Valeri discourses on the Gaudenzio Ferraris at Saronno, to which he devotes certainly quite adequate praise. We are glad to hear that steps are being taken to preserve them from further decay. On the church itself at Saronno and its restoration G. Moretti contributes a short notice. Don Guido Cagnola publishes the first reproduction of Masolino's landscape fresco at Castiglione d' Olona which was discovered by Mr. Berenson. We doubt its having been originally a pure landscape; the woodwork which now covers the lower part of the wall probably conceals a figure-subject of which the landscape was a background. F. M. Perkins publishes a hitherto undescribed Madonna and Child by Sassetta, which comes from the Duomo at Grosseto and is now to be seen at the exhibition at Siena. Diego Sant' Ambrogio reproduces a late Lombard bas-relief of no great artistic merit which was stolen recently from the church of S. Pietro at Novi.

ARCHITECTURAL REVIEW.-10 Downing Street. W. J. Loftie.-The Hardwick Hall Tapestries, A. F. Kendrick. A reproduction of the second tapestry now at South Kensington. The author rightly rejects the theory of English origin put forward by the late Mr. S. A. Strong. He calls them Flemish, and no doubt the workmanship may be, but the design belongs clearly to the Burgundian branch of Franco-Flemish art.-The Hospital of St. Cross, Basil Champneys.-Chap. VIII. of Prior and Gardner's English Mediaeval Figure-Sculpture deals with the Purbeck marblers and the wide effect of this provincial school on English architecture, which we should imagine was not altogether fortunate.

NOTES FROM PARIS THE EXHIBITIONS

THIS year's salons have nothing to teach and no The enormous salon of new talent to reveal. French artists fills one with a boredom and a weariness which the salon of the Champ de Mars does nothing to relieve. That does not prove that they are bad salons; but they are not good. In medio stat . . . mediocritas. There are any number of indifferent works by artists already known, or unknown and destined to remain so. remarkable for their outrageous ugliness, their sickening commonplace. M. Carolus Duran, the

Some are

Dictator of the National Society, was so kind as to inaugurate last year, for our benefit, a series of 'old portraits.' After the Old Lithographer of 1903 comes the Old Sponge-seller of 1904. In 1905 we shall probably have the Old Newsboy, and in 1906 the Old Cabman; indeed, there is no reason why the series need ever stop. Next to this unfortunate effort M. Carolus Duran has a portrait of the Children of the Count de Castellane--the lowest depth reached by what long ago was talent. M. Gabriel Ferrier's portrait of Pope Pius X. is a deplorable mistake. On the other hand, there is a very fine portrait of Lord Ribblesdale by Mr. John Sargent, a work of real distinction and character,

with less of the artist's deliberate cleverness about it than usual. We cannot say the same of the Thaulows, Plane-trees, Snow and Evening, which are not among the Norwegian painter's best efforts. Four works by the late J. McNeill Whistler, including a study and an unfinished picture, have a deep and almost mournful charm. Cottet shows some interesting work in which he has sought an inspiration and a form that are new to him; he has fallen under the spell of colour, and sends a very curious Fête-day in Brittany. I should like to mention the pictures of MM. Henri Martin, Caro Delvaille, and Jacques Blanche, but the limits of this notice compel me to pass on to the sculpture. Here, side by side with some things that are merely disgraceful and some, like Mr. Henry Arnold's portraits, that are good work by young artists, we find the beautiful exhibits of M. Émile Bourdelle, a bust of General Philibert, and a bust of Mme. V. Cibiel; and Rodin's wonderful statue of The Thinker. Thanks to M. Gabriel Mourey, the director of Arts of Life,' there is some hope of our soon seeing The Thinker erected in one of our squares, in the full light of day and the atmosphere of Paris. Among all the horrors in stone, bronze, and marble with which our capital is infested, it will stand as a lesson and a consolation.

Before leaving the salons, I must mention the exhibition of water-colours, paintings and drawings by M. Paul Renouard in the Champ de Mars.

After seeing the salons of 1904 I had the curiosity to pay another visit to the temporary exhibition of living masters which M. Bénédite has organized, with the help of the Friends of the Luxembourg, in that museum. It contains some sixty pictures of the greatest interest to students of modern art. It is a melancholy thing to find there the youthful works of MM. Carolus Duran, Léon Bonnat, Hébert, Henner, and Jean Paul Laurens, and reflect on the brilliant promises that have never been fulfilled; but the superb Degas, Fantin-Latours, Edouard Manets, and Claude Monets, and the fine picture by Legros, are a pure joy. Boudin, Jongkind, Pissarro, and others. are remarkably well represented, and M. Benédité deserves our thanks for one more delicate artistic pleasure.

In the Durand-Ruel gallery there is a series of views on the Thames (1900-1904) by M. Claude Monet, thirty-nine in all, which create in the mass a wonderful illusion. Not that, in my opinion, they are among M. Claude Monet's most fruitful works. I miss the peculiar atmosphere of foggy London, the light and colour of which seem to me not exactly those that appear in these pictures. But the almost morbid charm of the light in London is perhaps impossible to catch. M. Monet's works are, at any rate, delicious and subtle poems, which ring the changes on three subjects, Charing Cross Bridge, Waterloo Bridge, and the Houses of

Foreign Correspondence

Parliament. Of the three I like the last best; Fog-effects, Sea-gulls, and Sunset are all beautiful. In the Georges Petit gallery M. Frédérik Bonnaud is showing pictures and studies of Tunis. M. Bonnaud, who is a son-in-law of Diaz, exhibited for some time at the salon of French artists, where his Pierrot, Too late, and Portrait of Mlle. Henrietta Fouquier were widely noticed. Keenly attracted by the east, he has devoted himself to painting the active life of the Mussulmen of Tunis in the Souks, the mysterious streets, the cafés and interiors. His pictures are warm and almost musical, so to speak, in colour, full of air and light and revealing an engaging personality. I should mention particularly a grand work, Towards the Mosque, two exquisite little pictures, The Arab Mill and A Dyer, and a series of first-rate studies, Near the Souk-el-Bey, the Street of the Treasury, the Alley of the Sword, and a Gate of a Mosque.

A word must suffice for the exhibition of lace in the Galliera museum, which is sadly lacking in lace of earlier date. Cannot the organizers of exhibitions understand that to exclude ancient art is to injure modern?

In the exhibition of French primitives, the room on the second floor of the Pavillon de Marsan (sixteenth-century art) has received two interesting additions, the celebrated bust of Henri II, in the possession of the Count d'Hunolstein, and the portrait of the Constable Henri I de Montmorency, the property of M. Alfred Belvalette. The second edition of the catalogue, revised, corrected, and increased by forty pages, has just been published. The catalogue has been drawn up by MM. Henri Bouchot, Léopold Delisle, J. J. Guiffrey, P. FrantzMarcou, Henri Martin, and Paul Vitry, and is a document of great interest and importance.

THE MUSEUMS

The Louvre has just bought of Messrs. Agnew an oil-painting on wood, now in the exhibition of French primitives, which is attributed to the Master of Moulins (circ. 1490), and entitled A lady presented by St. Mary Magdalen. From Mme. Leopold Goldschmidt it has purchased four pieces of sculpture, a St. John the Evangelist in wood, sixteenth century, of the school of Tours, also in the exhibition of French primitives; a Virgin in wood, fourteenth century, school of Pisa; a St. Anne in stone, sixteenth century, school of Champagne; and a Virgin of the Annunciation, sixteenth century, school of Riemenschneider. M. Jacquesson de la Chevreuse has presented three drawings by Nicolas Poussin, Giulio Romano, and Michael Angelo; and M. Kaempfen a painting on oak panel by Rembrandt, An old man seated reading.

The museum of Decorative Art has been presented by M. Fitz-Henry with a collection of 116 mustard-pots in old soft porcelain, from various. French houses of the eighteenth century.

The museum of Lyons has bought Delacroix's picture, The assassination of the Bishop of Liège, for 20,000 francs; and the historical museum of fabrics at Lyons has become the possessor of a valuable piece of seventh to eighth century silk, an example of Byzantine influence on Persian art.

The museum of Dijon has been presented by M. Guimet with a marble bas-relief by Rude, dating from 1811.

NOTES FROM BELGIUM

DIXMUDE

THE church of St. Nicholas at Dixmude, which contains an admirable and too little known Nativity, by Jordaens, possesses also the most highly ornamented, if not the most beautiful arched screen in Belgium, which is now to undergo restoration. Before pronouncing on the scheme submitted to it, the Royal Commission of Monuments considered it indispensable to make some progress with the removal of the whitewash and the cleaning of part of the screen which had become blackened with dust. The experimental washing of the wonderfully delicate stone carving has been carried on over a portion at the extremity of the principal front, and also on the side towards the north. The four statues have been cleaned. They are of oak, most minutely and carefully finished, and appear to be contemporary with the chancel rails. The coating of lime which had defaced them since the beginning of the last century has been removed by means of diluted spirits of salt. The colouring that has been brought to light is complete, and in such excellent condition as to need no retouching. The other figures are seventeenth-century work in elm; these are to be cleaned later. They represent the Saviour, the twelve Apostles, and two angels holding censers, and all occupy niches carved on the side towards the nave since the former restoration of the screen. Portions of the statues are gone, and it will be necessary to collect the fragments and restore the missing parts. As regards the tabernacle, the Commission of Monuments has decided not to undertake a restoration that would rob it of its present character.

esting drawings by M. Montald, whose fault seems to be that he is too directly inspired by the polychromatic paintings on antique vases. The result is a certain pettiness of effect, which is that of an illustrator rather than an artist. His painting cannot be commended. The exhibition of Eugène Verdgen, who died last year just when one of his pictures had found a place in the Brussels museum, contains works belonging to various periods of his life, and sums up the career of a sincere and modest man. The most interesting thing about it is that it reveals him as a forerunner. The technique of some of his pictures painted between 1870 and 1878 is almost exactly that of impressionism. His later landscapes are full of a subtle, delicate, and genuinely artistic sentiment, which only needed a little more power to make him a master.

R. PETRUCCI.

NOTES FROM HOLLAND

AT three contemporary exhibitions, all of them held at Amsterdam, it was, during the past month, very clearly pointed out what extraordinary works the Dutch painters of the last quarter of the nineteenth century have produced, and who are the hopeful artists which Holland still possesses at this time. The most interesting of these exhibitions was unquestionably the one held in the Municipal Museum, comprising water-colours by modern masters. It was, indeed, a choice exhibition, which we should have liked to transfer successively to other countries, in order to convince all connoisseurs of the very high pitch of perfection attained by our countrymen. No doubt that those marvellous jewels by J. Maris, Mauve, Neuhuys, and Bosboom would have proved our school of 1880 to be one of the foremost in the art of water-colouring. Especially J. Maris made a wonderful effect with his views of towns and landscapes, executed with a vigour and a justness which in the former remind us of Vermeer of Delft, and in the latter match and surpass the works of the greatest French impressionists, Without reproductions it is difficult to convey to the reader the right impression, but it will suffice to say that his water-colours possess all the genius of his paintings. The great attraction of Mauve's works can be easily imagined if one considers how much the soft and flowing process must be appropriate to his subtile art. Bosboom was represented by some of his typical churchinteriors, expressing so well the beautiful perspective and majestic simplicity of those seemingly rigid Dutch churches; and also by two views of thrashing-floors, in which the richness of tones happily contrasted with the blankness of the church-interiors. Israels's usual subjects, always new and captivating, W. Maris's radiant skies and translucent waters, Neuhuys's fascinating peasant women nursing their children in some quiet corner, formed, with the above, the marrow

of the exhibition.

However, we should not forget to mention also Breitner's sharp impressions of horses; Bauer's fairy-like views in the Orient ; Poggenbeek's truly Dutch landscapes, with cows or ducks; and Witsen's views in snow-laden towns.

Of the two other exhibitions, one was held in the rooms of the Society "Arti et Amicitiae " by its members. Among good works by older masters, as, e.g., a fine man's portrait by Veth, and a very fresh view in the dunes by Wenckebach, an able draughtsman who had long neglected painting, we noticed the promising work of two young artists: Huib Luns, residing in Brussels, and de Court Onderwater. The former had sent two portraits, one of his father, in which the influence of Jordaens and Rubens is rather too obvious, and a very good one of the Belgian sculptor Vanderstappen, done with great skill in a serious and very personal way. Onderwater also exhibited a portrait of an old peasant woman, in which many of the good qualities of seventeenth-century painters were to be noticed. The third exhibition was organized by the members of the Society of St. Lucas. Here, again, hopeful young artists like Spoor, Schildt, Monnickendam, Breman, and Luns showed good works.

An interesting sale took place on the 3rd of

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May, under the direction of Messrs. Frederik Muller and Co.,of Amsterdam; interesting because it comprised many works by two great masters, Vincent von Gogh and Josef Israels. Van Gogh's pictures dated principally from his Dutch period; six capital works were excellent proofs of this singular man, gifted with a mind so impressionable and so impulsive that he gradually succeeded in developing his poor technical gifts in such a way that perfect harmony became the feature of all his works. The public in general does not understand this circumstance, and in consequence is not inclined to pay high prices for these paintings, which are to them like obscure enigmas. The enthusiasm for Israels's pictures was, at the sale, far greater, and notwithstanding large first-rate masterpieces were wanting, his products realized high prices.

A very good specimen of the art of Geertgen van St. Jans appeared unexpectedly at a sale in one of the minor Amsterdam auction-rooms. It represented the Adoration of the Kings, and was in many parts very well preserved. We hope that one day, as is to be expected, it may adorn the gallery of the Ryks museum, in which case we propose ourselves to give further details about it. F. L.

ART HISTORY

DOUAIS, C. (Bishop of Beauvais). L'Art à Toulouse: matériaux pour servir à son histoire du xve au XVIIIe siècle. (10 × 6) Toulouse (Privat), Paris (Picard), 7 fr. 50. KUNSTGESCHICHTLICHE ANZEIGEN. Nr. 1. Redigirt von F. Wickhoff. (10 × 6) Innsbruck (Wagner).

A supplement to the Proceedings of the Society for Austrian Historical Research, to be devoted to reviews of art-literature. The 34 pp. of the first part contain detailed criticisms of five German works, Mr. Berenson's Drawings of the Florentine Painters' and 'Study and Criticism of Italian Art.'

STENGEL (W.). Das Taubensymbol des H1. Geistes (Bewegungsdarstellung, Stilisierung, Bildtemperament). (11 x 8) Strassburg (Heitz), 2m. 50.

The first vol. of a series of iconographical studies; 'Zur Kunstgeschichte des Auslandes,' xvIII. [Illustrated.]

ANTIQUITIES

FLERES (U.). La Campagna Romana. (10 x 7)

Bergamo

(Istituto Italiano d'Arti Grafiche), 3 1. 50. C. Ricci's 'Italia Artistica.' [112 illustrations.]

MOLMENTI (P. G.) and MANTOVANI (D.). Le Isole della Laguna Veneta. (11 x 8) Bergamo (Istituto Italiano, etc.), 3 1. 50. RUPIN (E.). Roc-Amadour, étude historique et archéologique. (II x 8) Paris (Baranger), 20 fr. Illustrated. WILD (C.). Bilderatlas zur Badisch-Pfälzischen Geschichte. (9 x 13) Heidelberg (Winter).

80 plates, reproductions of antiquities, portraits, views and buildings of the grand-duchy of Baden and Rhine Palatinate. REUTER (E.). Skizzen und Studien aus Lübeck. (13 X 10) Lübeck (Nöhring). [24 phototypes, architectural and topographical views.] HARPER (C. G.). The Newmarket, Bury, Thetford and Cromer road. (9x6) London (Chapman & Hall). [Illustrated.] BIOGRAPHICAL WORKS AND MONOGRAPHS TURNER (W.). William Adams, an old English potter; with some account of his family and their present productions. (10 x 6) London (Chapman & Hall, 30s. net. [73 plates, one in colour, and facsimile marks.]

RAYMOND (A. J.). Life and Work of Sir Francis Chantrey, R.A. (7 × 5) London (A. & F. Denny), 2s. 6d. net. [4 illustrations.] HASSE (C.). Roger van Brügge, der Meister von Flemalle. (12 x 8) Strassburg (Heitz), 4 m. [8 plates.] GENSEL (J.).

་

Friedrich Preller d. A. (10 x 7) Leipzig (Velhagen & Klasing), 4 m. H. Knackfuss's Künstler Monographien.' [135 illustrations.]

DIRCKS (R.). Auguste Rodin. (7 × 5) London (Siegle), 1s. 6d. or 2s. 6d., net. The Langham Series,' [13 plates.] BENSON (A. C.). Rossetti. (8 x 5) London (Macmillan), 2s. net. English Men of Letters.'

KOCH (D.). Wilhelm Steinhausen, ein deutscher Künstler. 2 ed. (11x7) Heilbronn (Salzer).__ [Illustrated.] GOODWIN (G.). British mezzotinters: T. Watson, J. Watson, E. Judkins. (10 x 8) London (A. H. Bullen). [6 plates.]

ARCHITECTURE

BARBAUD (R.). Le château de Bressuire en Poitou, depuis sa fondation au commencement du xe siècle, jusqu'à nos jours. Avec une préface de M. du Seigneur. (16 x 12) Paris (Gastinger), 100 fr. [26 plates, and text illustrations.] DISEGNI di Architettura civile e militare di artisti italiani fioritidal xv al xvIII secolo, tratti dalla raccolta della R. Galleria degli Uffizi. (11x8) Firenze (Brogi), 751. [126 plates.]

L'ARCHITECTURE au XXe siècle: choix des meilleures construcParts 1-4 tions nouvelles, hôtels, maisons, villas, etc. (80 phototypes). (18 x 13) Paris (Lib.-Imp. Réunies). PAINTING

CLAUSEN (G.). Six lectures on Painting. (8 x 6) London (Elliot Stock), 5s. net. [17 plates.]

STEVENS (Alfred). A Painter's Philosophy, being a translation of the Impressions sur la Peinture,' by Ina M. White. (6 × 4) London (Elkin Matthews). [Photogravure portrait.]

DESTRÉE (J.). Notes sur les Primitifs Italiens: sur quelques Peintres de Sienne. (10 x 7) Bruxelles (Dietrich), Florence (Alinari), 20 fr. [7 etchings and 12 process reproductions.]