Her breast is decked with a posy of white orangeblossoms; her hands are peacefully folded; and, although the portrait is no doubt an excellent likeness, she stands meditatively contemplating the spectator with that strange glance out of her clear eyes which Matthew Maris is so fond of giving also to the pure creations of his fancy. There is something so settled in the conception of this portrait, and it is so admirably well painted in some portions, e.g. the exquisitely white hands, that one who does not know of Thijs' Maris's precocious development would never believe that this is one of the painter's very early works, dating back to the late sixties or the early seventies.

Beside it there hangs an old portrait by Jozef Israëls (1855), much more decided, smoother and apparently firmer in workmanship; but, seen against Maris's work, it now looks almost cold and devoid of feeling. The depth of human penetration which Israëls has succeeded so wonderfully in achieving in his later portraits is not sufficient here to atone for the lack of outward artistic beauty. Nevertheless, this dated work, hanging, as it does, so near to those other early portraits of old Hellweg, his landlord, and of Veltman, the actor, is of importance to the study of Israëls's development and constitutes an interesting addition to the historical material in the Rijksmuseum.

The Museum Suasso, or Municipal Museum, has been enriched by some very considerable acquisitions, through the good offices of its old benefactor, Mr. J. P. Van Eeghen. We have, first, a splendid Thijs Maris: some old houses, apparently at Lausanne, or at any rate based upon a reminiscence of Lausanne. On the peaceful edge of a rigidly horizontal foreground, a road with a few puddles, we see a crumbling row of little old suburban houses, painted with fairy-like intimacy. The shutters hang dreaming before the little windows, the roofs lie a-slumbering as they project far beyond the dirty-white walls, little wooden staircases lead to small, dark doorways, and a child, a dozing little 'Thijs' child, dressed in a delightful lilac, hangs looking over the wooden baluster. A wisp of smoke winds up out of a short chimney. But, behind this twilit mass, with its little scorched gardens, its latticed fences and the shadowy form of a tall, crazy church-wall, the distant sky is rent with pale, horizontal streaks, while thick, hazy silhouettes of towers loom up in an intricate movement of pale mist.

Next comes a very fine little Daubigny: a view by the seaside; a cleverly-painted landscape by Vollon: a great hill, with the black wooden architecture of the Moulin de la Galette under a waving, bright, foaming sky; and, lastly, a magnificent Wool-carder by Millet.

A large, broadly-painted female figure is sitting beside her spinning-wheel, mechanically occupied with the work in her lap. The face is just turned

away, but painted with delightful firmness are the simple yellow of her apron, the cool brown of the skirt smoothly and simply executed as though this were the only way, but producing a purity of contrast and a harmony of tone that remind one of none so much as of our Vermeer of Delft. Sculpturally great as Millet always is in his outlines, this whole figure again is given in all its simple action; and yet the type is preserved to the smallest detail, to the tips of the fingers worn and crooked with work. It is one of the finest Millets that I have ever seen.

The Rijksmuseum has lent to the exhibition of old brassware at Middelburg a few mortars and candlesticks of Italian and Netherlands workmanship. These are good pieces, but not the best (they do not, for instance, include the mortar and pestle of 1473): the museum authorities did not care to strip their collection of its most important pieces at the season when the influx of foreigners is at its greatest. Other of our national collections, the churches and provincial museums, have sent the finest pieces in their possession, so that the visitor to Holland who is interested in brassware will find a few of the best-known pieces in Amsterdam, and at Middelburg pretty well all the rest, which are usually scattered here and there and difficult to trace. W.

NOTES FROM GERMANY THERE is an indisputable tendency to form new groups prevalent among German artists at present. An account of the new Deutsche Künstlerbund has already been given in THE BURLINGTON MAGAZINE. Since then a new group of artists, along the Rhine, generally speaking, viz., the Düsseldorf, Darmstadt, Karlsruhe, and Stuttgart men, have coalesced. The leading motive seems to have been a desire to emancipate themselves from and counterbalance the existing German art centres-Munich, Dresden, and Berlin. Each of these have of late become a powerful picture market, to which all the artists of western Germany had recourse when they wanted to sell any of their work, and in which they were only too glad to settle if they had a chance. Thus western talent, as soon as it made itself noticeable, was likely to become estranged from its native districts. This seems bad, since, upon the whole, we deem the evidence of a strong tie between an artist's work and the country where he was born and bred a very good sign, and consider art which displays a strong local character as especially full of promise.

The Verband der Kunstfreunde in den Ländern am Rhein, in its recent convention at Darmstadt, upheld the same views and expressed its intention of furthering the material interests of Rhenish artists to its utmost ability, so as to make it possible for home talent to stay there.

At Frankfort-on-the-Main a union of German architects has been formed. At Karlsruhe the academy celebrated the fiftieth anniversary of its existence. With Thoma as its real, though not nominal, head it flourishes now as it has never done before.

The recent fire in the famous collection of Mr. Kaufmann at Berlin seems to have injured more or less badly about a dozen pictures, and to have absolutely destroyed about eight. Among these latter we find named Memlinc's altarpiece with the Lamentation, Patenir's altarpiece with the Flight into Egypt, two triptych wings by G. David, and a These alone mean an portrait by Neufchatel. irretrievable loss to all lovers of early Netherlandish pictures, and especially to Berlin. It may not be out of place to note, by way of contrast, a few important pictures by which Berlin has lately been enriched. Two landscapes by Rubens, a view taken from his country seat at Steen, and a larger picture with the Shipwreck of Aeneasboth formerly in the Pelham Clinton Hope collection-have helped, along with the Diana and Nymphs surprised by Satyrs, recently presented by H.M. the Emperor, to considerably raise the importance of the Rubens collection at the museum. The Diana, formerly at Sanssouci, was one of the capital pictures presenting a nude effigy of Hélène Fourment, which Rubens did not part with

Foreign Correspondence

during lifetime. To these new acquisitions must be added Bart. Montagna's Noli me tangere, formerly in the Ashburnham collection, a landscape by G. Dughet and A. Pesne's Portrait of himself with his Daughters, painted in the year 1754, and now brought over from Hungary, whither lineal descendants of the artist had taken it.

The Print Room at Munich has received as a gift thirty-six proofs of etchings and lithographs by Otto Fischer, one of the very best of our living black-and-white artists.

The Dresden Gallery has bought the splendid Stonebreakers, by Courbet, recently put up at auction in the Binant sale at Paris. This will well hold its own beside any of the Courbets in the Louvre, and is certainly the best of his works to be seen outside of France.

The Royal Print Room at Dresden has recently come into possession of six most important works by Goya-two original drawings and four lithographs. It is well known that Goya's lithographs are excessively scarce, scarcer even than old impressions of his etchings. Of the four in question

-Monk in Prayer (v. Loga 719), The Ravisher (v. L. 724), The Dreamer (v. L. 729), and Reading Aloud (v. Loga 729)—the first three are, according to the present standing of our knowledge, unique, while only five copies of the fourth have hitherto been found. H. W. S.

ART HISTORY

CASATI DE CASATIS (C.C.). Note sur les deux précurseurs de l'Art Français, le duc de Berry et le roi René, et sur un monument historique menacé de ruine [Château de la reine de Sicile, Saumur]. (10 × 7) Paris (Picard), 30o pp. SCHAARSCHMIDT (F.). Zur Geschichte der Düsseldorfer Kunst, insbesondere im xix Jahrhundert. (12 x 10) Düsseldorf (Kunstverein für die Rheinlande und Westfalen). Illus. MEIER-GRAEFE (J.). Entwickelungsgeschichte der modernen Kunst. 3 vols. (12 x 8) Stuttgart (Hoffman).

The development of nineteenth-century art, traced in a series of essays upon schools, artists, and tendencies, occupies Vols. I-II (700 pp.). Vol. III contains about 200 reproductions, mostly half-tones and cuts

ANTIQUITIES

THE ANNUAL OF THE BRITISH SCHOOL AT ATHENS. No. Ix: session 1902-03. (10 x 7) London (Macmillan), 1 guinea.

The 400 pp. of this part contain, among other items, a further report upon; the Palace of Knossos (A. J. Evans), Notes from Karpathos (R. M. Dawkins), a study upon a Statue of Apollo seated on the Omphalos, in the Museum at Alexandria (A. J. B. Wace), report on Excavations at Palaikastro and a note upon the church of Daon-Mendeli, Attica (H. Comyn), with many illustrations. BRUNNOW (R. E.), and DOMASZEWSKI (A. VON). Die Provincia Arabia: 1. Die Römerstrasse von Mâdebá über Petra und Odruh bis El-'Akaba, unter Mitwirkung von J. Eutung. (13× 10) Strassburg (Trübner), 80 m.

Based upon travel in 1897-98, and earlier accounts. Copiously illustrated with views, architectural drawings, plans, and inscriptions. 500 pp.

The Anti

WINDLE (B. C. A.). Remains of the Prehistoric Age in England. (9×6) London (Methuen), 7s. 6d. net. quary's Books,' illustrated.

*

ELY (T.). Roman Hayling: a contribution to the history of Roman Britain. (10 × 6) London (Taylor & Francis), 5s. net. 6 plates. SMEATON (O.). Edinburgh and its story. Illustrated by H. Railton and J. A. Symington. (9x6) London (Dent), 215. net. Illustrations, some in colour. SMITH (W. G.). Dunstable: its history and surroundings. (8 x 6) London (Stock; Homeland Assocn.), 6s. net. Homeland Library, vol. iii. Illustrated.

REISS (Rev. F. A.). History of the Parish of Rock (in the county of Worcester). (9×5) London (H. Grant), `3s. 6d. 5 plates.

BEANI (G.). La Cattedrale Pistoiese, l'Altare di S. Jacopo e la Sacrestia de' belli arredi. Appunti storici documentati. (10 x 6) Pistoia (Flori), 3 1. 50. 180 pp. 3 illus. and 2 plans. FITZGERALD (S.). Naples. Painted by A. Fitzgerald. (9×6) London (Black), 20s. net. 80 col. plates.

LUTSCH (H.). Bilderwerk schlesischer Kunstdenkmäler. (19× 13) Breslau (Kuratorium of the Silesian Museum), 80 m.

A splendid set of reproductions of Silesian sculpture, architecture, metal work in 3 atlases (232 plates), with vol. of text.

PODLAHA (A.), and SITTLER (E.). Die königl. Hauptstadt Prag: Hradschin. 11, i, ii. Der Domschatz und die Bibliothek des Metropolitan-capitels. (117) Prag (Verlag der Archaeologischen Commission).

Two parts of the Topographie der historischen und Kunst-Denkmale im Königreiche Böhmen,' devoted to the description of the contents of the cathedral treasury, and library (mostly fine illuminated MSS.), Prague. copious illustration includes plates in colour.

The

LUDORFF (A.). Die Bau- und Kunstdenkmäler des Kreises Steinfurt. (13 x 10) Münster i. W. (Schöningh), 4 m.

A vol. of the 'Bau- und Kunstdenkmäler von Westfalen,' 120 pp., 91 plates, and text illustrations.

BIOGRAPHICAL WORKS AND MONOGRAPHS SCHEFER (G.). Les grands Artistes: Chardin. (5 × 6) Paris (Laurens), 2 fr. 50. Illustrated.

AGRESTI (O. Rossetti). Giovanni Costa: his life, work, and times. (10x 6) London (Grant Richards), 21s. net. 25 plates. MAUCLAIR (C.). Les grands Artistes : Fragonard. (9 x 6) Paris (Laurens), 2 fr. 50. Illustrated.

FURNISS (Harry) at Home. Written and illustrated by himself. (10 x 6) London (Unwin), 16s. net.

STOKES (H.). Benozzo Gozzoli. (10 × 7)

London (Newnes),

3s. 6d. net. 'Newnes' Art Library'; 60 plates. Bock (F.). Die Werke des Mathias Grünewald. (10 × 7) Strassburg (Heitz), 12 m. 'Studien zur deutschen Kunstgeschichte'; 31 plates. TOURNEUX (M.). Les grande Artistes: La Tour. (9×6) Paris (Laurens), 2 fr. 50. Illustrated.

VALABREGUE (A.). Les Frères Le Nain. (9×6) Paris (Lib. de l'Art ancien et moderne), 6 fr. 24 illus. MASACCIO. Ricordo delle Onoranze rese in San Giovanni di Valdarno nel dì 25 Ottobre 1903 in occasione del v centenario della sua nascita. (9 x 6) Firenze (Seeber).

A symposium (120 pp.) of essays and appreciations, with many illustrations. The most valuable contributions are by the editor, G. Magherini-Graziani, upon souvenirs and paintings of Masaccio in San Giovanni di Valdarno; by P. N. Ferri upon Masaccio drawings in the Uffizi, and by C. Ricci upon the frescoes in San Lorenzo. ROGER-MILES (L.). Alfred Roll. (13 × 10)

Paris (Lahure), 60 fr. 17 photogravures and process illustrations, including reproductions of drawings in colour. WARD (H.) and ROBERTS (W.). Romney, a biographical and critical essay, with a catalogue raisonné of his works. 2 vols. (13×11) London (Agnew), 12 gs. Photogravures. GRONAU (G.). Titian. (8 x 5) London (Duckworth), 7s. 6d. Illustrated.

FRIEDLÄNDER (M. J.). Hugo van der Goes: eine Nachlese. (Jahrbuch der kgl. Preussischen Kunstammlungen, xxv, ii Heft.) 7 illustrations.

DURET (T.). Histoire de J. McN. Whistler et de son œuvre. (10x 8) Paris (Floury), 25 fr. 19 plates and cuts.

ARCHITECTURE

WOLFF (F.). Die Klosterkirche zu Medermünster im UnterElsass. (19×13) Strassburg (Beust), 30 m. 27 plates, and text illustrations.

ROLFS (W.). Der Baumeister des Triumphbogens in Neapel. (Jahrbuch der kgl. Preussischen Kunstsammlungen, xxv, ii Heft.)

PAINTING

SCHULTZ (W.). Das Farbenempfindungsystem der Hellenen (10 × 7) Leipzig (Barth).

MAIOCCHI (R.). I migliori Dipinti di Pavia. (8 x 4) Pavia (Ponzio), 1 l.

BRÉVIAIRE GRIMANI de la Bibliothèque de S. Marco à Venise. Reproduction photographique complète, editée par S. de (19 × 14) Vries. Préface du Dr. S. Morpurg, part 1. Leyde (Sijthoff), 10 guineas. ORIGINAL DRAWINGS of the Dutch and Flemish school in the Print Room of the State Museum at Amsterdam. Selected by E. W. Moes, reproduced in the colours of the originals. (24 x 11) London (Williams & Norgate). Pt. 1, 10 plates. Catalogue SCHOLTEN (H. J.). Musée Teyler à Haarlem.

raisonné des Dessins des Écoles Française et Hollandaise. (10 × 6) Haarlem (Loosjes).

BODE (W.). Neue Gemälde von Rubens in der Berliner Galerie. (Jahrbuch der kgl. Preussischen Kunstsammlungen, xxv, ii Heft.) With 2 photogravures and I etching.

PEARTREE (S.M.). Eine Zeichnung aus A. Dürers Wanderjahren. (Jahrbuch der kgl. Preussischen Kunstsammlungen, xxv, ii Heft.) I plate.

ILLUSTRATED CATALOGUE of a loan collection of portraits,
exhibited at Oxford, 1904. (11 x 9) Oxford (Clarendon
18 plates.
Press), 5s.net.
SOMOF (A.). Ermitage Impérial. Catalogue de la Galerie des
Troisième partie: École Anglaise et École
Tableaux.
Française. (96) St. Pétersbourg (Compagnie d'Imprimerie
artistique); with 10 plates, and facsimiles of signatures.
LINTON (Sir J.). Constable's Sketches in Oil and Water
Colours. (10 x 7) London (Newnes), 3s. 6d. net. 'Newnes'
Art Library'; 60 plates.

SCULPTURE

ROBERT (C.). Die antiken Sarkophag-Reliefs: III. Einzelmythen; ii, Hippolytos - Meleagros. (18 x 14) Berlin (Grote). 55 plates. BOUCHAUD (P. de). Les successeurs de Donatello: la Sculpture Italienne dans la seconde moitié du xv siècle. (8 × 5) Paris (Lemerre). 2 fr. 50. BODE (W.).

Leonardo als Bildhauer. (Jahrbuch der kgl. Preussischen Kunstsammlungen, xxv, if Heft.) 8 illustrations.

CORRELL (F.). Schweizer Brunnen. Mit Vorwort von P. J. Rée. (13 x 10) Frankfurt a. M. (Keller). 32 plates. RONDOT (N.). Les Médailleurs et les Graveurs de Monnaies, Jetons et Médailles en France. Avant-propos, notes et tables par H. de la Tour. (11 × 7) Paris (Leroux), 30 fr. 39 phototype plates.

METAL WORK

SALIN (B.). Die altgermanische Thierornamentik. (12 × 9) Berlin (Asher).

Studies upon the animal-form decoration of Germanic fibulæ and other metal objects (IV-IX centuries), and upon Irish ornament.

MUSÉE NATIONAL DU LOUVRE. Catalogue des Bronzes et Cuivres du moyen âge, de la renaissance et des temps modernes. (8 x 5) Paris (Lib.-Imp. réunies), 7 frs. With reproductions from pen-drawings.

FURNITURE, ETC.

KOEPPEN (A.) and BREUER (C.). Geschichte des Möbels, vol. 1. (12 x 9) Berlin and New York (Hessling).

This vol. of 300 pp., devoted to the furniture of antiquity, and of savage and oriental races, is a great advance upon any work on the subject; the 400 reproductions of the principal remains of ancient furniture include many never before published in furniture books.

LATHAM (C.). In English Homes: the internal character, furniture, and adornments of some of the most notable houses of England historically depicted from photographs. (16 x 11) London (Country Life' Offices).

BOUCHER (J. F., fils). Recueil de décorations intérieures. (18 x 13) Paris (E. Lévy), 60 fr.

A reproduction in 60 photogravure plates of the designs for interior decoration and furniture published by the son of François Boucher, c. 1775.

THE PEACOCK ROOM. Painted for Mr. F. R. Leyland by J. McN. Whistler, removed . . . and exhibited at Messrs. Obach's Galleries. (11 x 9) London (168, New Bond Street). 10 plates.

ENGRAVING

STRANGE (E. F.). Japanese Illustration. A history of the arts of Wood-cutting and Colour-printing in Japan. Second Plates. edition. (9 x 6) London (Bell), 6s. net.

Collection Ch. Gillot. 2° partie. Estampes Japonaises et Livres Illustrés; Vente 15-19 Avril à l'hôtel Drouot. (13× 10) Paris (Chevallier). Plates.

HAZARD (N. A.) and DELTEIL (L.). Catalogue raisonné de l'Euvre lithographié de Honoré Daumier. (11×8) Orrouy (Hazard), 50 fr. With an etched portrait of Daumier by L. Delteil and 140 reproductions; 800 pp.

MISCELLANEOUS

BURKE (H. F.). The Historical Record of the Coronation of their Most Excellent Majesties King Edward VII and Queen Alexandra, Westminster 1902. (26 × 20) London (Harrison).

Illustrated with 33 plates (11 in colour) of the principal personages, groups, etc., from designs by Byam Shaw; and armorial cuts in the text.

M'CALL (H. B.). Story of the family of Wandesforde of Kirklington and Castlecomer. (II x 8) London (Simpkin), 425. net. The illustrations comprise 10 reproductions of

family portraits, in photogravure.

BRITTEN (F. J.). Old Clocks and Watches and their makers, being an historical and descriptive account of.... clocks and watches of the past in England and abroad, to which is added a list of ten thousand marks. Second edition, much enlarged. (9 × 6) London (Batsford). 700 illustrations. A Bibliography of the Essex House Press, with notes on the designs, cuts, bindings, etc., from 1898 to 1904. (9×5) Chipping Campden (Essex House Press), Is.