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The

Burlington Magazine

for Connoisseurs

Illustrated & Published Monthly

Volume XLI Number CCXXXII^ CCXXXVII

July December, 1922

LONDON ^^^ . ^^

THE BURLINGTON MAGAZINE, LIMITED -^

17 OLD BURLINGTON STREET, W.i

BOSTON, U.S.A.: THE MEDICI SOCIETY OF AMERICA INCORPORATED, 755 BOYLSTON STREET

PARIS: THE BURLINGTON MAGAZINE, LTD., 5 RUE DE STOCKHOLM

AMSTERDAM: J. G. ROBBERS, SINGEL 1 51-153

FLORENCE : B. SEEBER, 20 VIA TORNABUONI

BARCELONA : M. BAYES, CALLE TALLERS 32

BASLE: B. WEPF & CO.

CONTENTS

By Max J. Friedlander
By Tancred Borenius

be continued).

104

256

127

By Archibald H

JULY to DECEMBER, 1922

(Inferences lo sctUons tchich recur wont !.■!■•; are giz'eu dl the end cf this table.)

JULY

Editorial : Expertising ....

A Catalonian Fresco for Boston. By Jose Pijoan
Three Sketches by Hogarth. By C. F. Bell
The Van Eycks and their Followers
Unpublished Cassone Panels — IV.

For V see (September)
,, VI ,, (December) .....

A New Work by Nicola Pellipario at South Kensington (to
Bernard Rackham .....

For conclusion see {September') ....

The Prud'hon Exhibition in Paris. By Jean Guiffrey .
Vanessa Bell. By Walter Sickert ....

The Development of Ornament from Arabic Script — II.
Christie .......

A Portrait by Lavinia Fontana. By Tancred Borenius
Some Unknown Works by Zurbaran, By August L. Mayer

AUGUST

Editorial : Admission Charges at the British Museum . . . . .

A Crucifixion of the Avignon School. By Roger Fry . . . .

Vestiges of Tristram in London. By Roger Sherman Loomis
The Seicento and Settecento Exhibition in Florence. By Count Carlo Gamba
Unidentified English Embroideries in the Museum Cinquantenaire in Brussels.
By George Saville Seligman ........

Recent additions to the National Gallery. By Sir Charles Holmes
Some Reflections on the last phase of Titian. By Tancred Borenius
The Origin and Early History of the Arts in relation to ^Esthetic Theory in
General (to be continued). By G. Baldwin Brown . . . .

For conclusion see (September) . . . . . 135

SEPTEMBER

A Toad in White Jade. i.— By Roger Fry ; II — By Una Pope-Hennessy

Unpublished Cassone Panels — V. By Tancred Borenius . . . .

The Arms and Badges of the Wives of Henry \'III. By F. Sydney Eden

A Fourteenth Century English Triptych. By W. R. Lethaby

The Identification of Japanese Colour Prints — IV. By Will H. Edmunds

An Attic Red-Figured Cup. By J. D. Beazley

Largilliere : An Iconographical Note. By. W. G. Constable
A New Work by Nicola Pellipario at South Kensington {concluded). By
Bernard Rackham .........

PAGE

4
1 1

27
33

41
42

53
53
54
64

75
76

103
104
109
1 10
119
121
122

127

Two Pictures by Morales. By R. R. Tatlock.

The Origin and Early History of the Arts in relation to ^Esthetic Theory
in General (concluded). By G. Baldwin Brown ....

Some Greek Bronzes at Athens. By S. Casson ......

The Beale Drawings in the British Museum. By Henry Scipio ReitHnger
The Works of G. P. van Zyl. By J. H. J. Mellaart

OCTOBER

Editorial : T'he F rob I em af the Provincial Gallery ....

A Florentine Mystical Picture. By Tancred Borenius

Settecentismo. By Roger Fry .....•••

The Significance of the Sketch. By Alfred Thornton .

Pictures by Constantyn Verhout. By A. Bredius ....

Two English Ivory Carvings of the Twelfth Century. By H. P. Mitchell

Diez, Busch and Oberlander. By Walter Sickert . . • .

Gaston Thiesson. By A. Carnac ...-..•

An Early Spanish Retablo. By Tancred Borenius . . • •

Two Portrait Miniatures from Castle Ambras, By Julius Schlosser

NOVEMBER

An Unrecorded Signorelli. By Tancred Borenius

Some Early Works by Tintoretto -I. By Detlev, Baron von Hadeln

For II see (T)ecember) .....••

Some Portraits by Pieter Dubordieu. By W. Martin .
A Landscape by Bunsei in the Boston Museum. By Rikichiro Fukui
The Lloyd Roberts Bequest of Old English

E. Alfred Jones . . . . •

Chinese Temple Paintings. By Arthur Waley
A Tiepolo Portrait. By R. R. Tatlock
A Van Eyck for Melbourne. By Sir Charles J. Holmes
A Greek Glass Vase from China. By Jose Pijoan

DECEMBER

Editorial : Leonardo in the consulting room ....
Unpublished Cassone Panels — VI. By Tancred Borenius
A Tapestry in the Murray Collection. By A. F. Kendrick
French i 8th Century Furniture in the Wallace Collection — I. By D

For II see (January, 192 3^1
A Drawing by Antonello da Messina. By Gustav Gliick .
Old Plate at the Church Congress. By E. Alfred Jones .
The Derby Day. By Walter Sickert ....

Early Works by Tintoretto - II. By Detlev, Baron von Hadeln
Guido di Savino and the Earthenware of Antwerp. By Marcel Laurent
A Frans Greenwood Goblet. By Sir John Risley ....
A Spanish-Italian Trecento Altarpiece. By August L. Mayer

Plate to Mancheste

278
• By

S. MacColl
. 28

PAGE

■35
137
143
147

156

T58
169

176

180
188

193
194

205

206

217

218

227

228
231

232

235

255
256

259

260
270

275

276

278
288
297
298

111

PAGE
45, 95, 198, 237, 303

MONTHLY SECTIONS

Reviews (monthly) . . .....

Monthly Chronicle

Independent Gallery (R. A. Stephens) ; The International Theatre Ex-
hibition (Desmond MacCarthy) (July) ....,•

The Bredius Museum ; Maurice Rosenheim (C.H.R.) {August) .
Early Ting Ware at South Kensington (E.E.B.) {September)
The Clough Collection at the Manchester Whitworth Institute (T.B.)
{October) , . . .......

Japanese Screens at Suffolk Street (L.B.) ; London Group (R.R.T) ;

The Heseltine Collection of Bronzes and MajoUca (W.G.C.); {S^ovember)

Chinese Jade (W.G.C.) ; Exhibitions {December)

Letters :

The Bernini Bust at the Victoria and Albert Museum (Rachael Poole) ;
Art " Scholarship " (Hugh Blaker) ; The Mind of Corot and his
Change of Style (Alfred Thornton) {July)

Paint versus The Rest (R. Gleadowe) {August) .....

Nicola Pellipario (Bernard Rackham) {October)

Pictures by Constantyn Verhout (A Bredius) {November)

Unidentified English Embroideries in the Cinquantenaire (Isabella
Errara and G. Saville Seligman). (December) .....

Auctions {monthly) 5°' '52, 202, 252,

Gallery and Museum Acquisitions {monthly). 50, 99, 152, 202, 252,

148

20!

245
3-6

201

252

3'i
312

LIST OF PLATES

JULY TO

JULY

A Catalonian Fresco for Boston. I — [a]
The Ascension of Christ. Fresco from
the Church of Santa Maria de Mur.
(Boston Museum of Fine Arts)

II — [b] The Adoration of the Magi.
Fresco (Santa Maria d'Esterri)

III — [c] Baptism of Christ. Fresco
(Santa Eulalia d'Estahon). [d] St.
Joseph and .4pparition to the Shepherds.
Detail of Fresco from the Church of
Santa Maria de Mur. (Boston Museum
of Fine Arts). [e] Virgin in Majesty.
Fresco (St. Climent de Tahull)
Three .Sketches by Hogarth. I — [a] .4
Sketch for the Rake's Progress (No. i),
by Hogarth. Canvas, 74.3 cm. by 61.6
cm. (Sir Robert Witt), [b] A Sketch
for tlie Rake's Progress (No. 3), by
Hogarth. Canvas, 35.6 cm. by 31.8 cm.
(Ashmolean Museum, Oxford)

II — [c] A Sketch for the Rake's Progress
(No. 7), by Hogarth. Canvas, 30.5 cm.
by 37-5 cm. (Ashmolean Museum, Ox-
ford)

DECEMBER,

Unpublished

1922

PAGE

»3

Cassone Panels — IV. [a]
Spring. [b] Summer. [c] Autumn.
Three Allegories by Matteo Balducci.
Panels, diameter 51 cm. (Mr. W. H.
Woodward) .....

Nevi' Work by Nicola Pellipario at South
Kensington. 1 — [a] Perseus and
.Andromeda. Maiolica plate from the
Salting Collection. (Victoria and Albert
Museum), [b] The Story of Callisto.
Maiolica plate given by Mr. Henry Op-
penheimer. (Victoria and .'\lbert
Museum) ......

II — [c] Narcissus and Echo. Plate.
(Museo Correr, Venice), [d] L'homme
aux deux trompettes, by Marcantonio
Raimondi. Engraving, [e] Solomon
adoring an idol. Plate. (Museo Correr,
Venice). [f] Solomon adoring an
idol. Woodcut from the " Hypneroto-
machia Poliphile." [g] The Death
of .Achilles. Woodcut from Ovid's
" Metamorphoses " .

PAGE

The Prud'hon Exhibition in Paris. I —
[a] Dunseuse joiiant des cymhales, by
Prud'hon. Drawing- in black and white
challi on blue paper, 43 cm. by 21 cm.
(Mme. ¥oh). [bJ rc'iui.v aa Bain or
rinnocence, by Prud'hon. Canvas, 1.32
cm. by 1.02 cm. (M. Edouard Des-
fosses). [c] La. Danseuse au Triangle,
by Prud'hon. Drawing in black and
white chalk on blue paper, 43 cm. by
20 cm. (Mme. Deligand)

n — [u] Venus and Adonis, by Prud'hon.
Charcoal drawing- with high lights in
white chalk. A preliminary sketch for the
picture in the Wallace Collection.
(M. le Gdn^ral "Vicomte de La Villes-
treux) ......

Vanessa Bell. 1— [a] Portrait of Mrs. M.,
bv Vanessa Bell. Canvas, 67 cm. by

54 cm. (The Independent Gallery)
II — [b] The Seine, by Vanessa

Bell.

Canvas, 26 cm. by 40 cm. (The Inde-
pendent Gallery).' [c] The Frozen
Pond, by Vanessa Bell. Canvas, 75 cm.
by 61 cm. (The Independent Gallery)

.•\ Portrait by Lavinia Fontana. Portrait,
by Lavinia Fontana. Canvas. (Sir
Lionel Earle) .....

Some LInknown Works by Zurbaran. I —

[a] The Immaculate Conception, here
identified as by Zurbaran. Canvas,
1.32 m. by 1.04 m. (The National
Gallery of Ireland, Dublin) .

II — [b] Portrait of a Child with a Flower.
here identified as by Zurbaran.
Canvas, 87.6 cm. by 66 cm. (Pierpont
Morgan Collection) ...

.A.UGUST

A Crucifixion of the Avignon School. 1 —
Crucifixion. School of Avignon. Panel,
1. 12 cm. by 1.06 cm. (M. L. A.
Gaboriaud) ......

II — Crucifixion. School of Avignon.
Fresco. (Chartreuse of Vilteneuve-les-
Avignon) ......

Vestiges of Tristram in London. I — [a]
Carved ivory casket. Early 14th cen-
tury. (Victoria and Albert Museum).

[b] Carved wooden casket, circa 1350.
(Victoria and Albert Museum). [c]
The .Sword Curtana. From the Re-
storation manuscript of Sir Edward
Walker, Garter King of Arms

II — [d] Sicilian coverlet, late i4lh cen-
tury, 3.2 m. by 4. 1 1 m. (Victoria and Al-
bert Museum), [e] Thuringian wall
hanging, appliqu^, circa 1370. 2.41 m.
by i.oi m. (Victoria and Albert Museuml

,.8

The Seicento and Seltecento Exhibition in
Florence. I — [a] The Calling of St.
Matthew, by Caravaggio. Detail. Can-
vas (S. Luigi dei Francesi, Rome), [b]
The Blessing of Jacob, by Bernardo
Strozzi. Canvas. (Pinacoteca, Pisa) .
II — [cj St. George, by Bernardo Caval-
lino. Canvas. (Prof. A. Gaultieri,
Naples), [d] St. John Nepomuceno
confessing the Queen of Bohemia, by
Crespi, called Lo Spagnolo. Canvas.
(Pinacoteca, Turin) ....

Ill — [e] Judith and Holof ernes, by
Piazzetta. Canvas. (Lazzaroni Col-
lection, Rome), [f] Christ in the
Garden, by Giuseppe Bazzani. Canvas.
(Prof. Podio, Bologna) ....
IV — [g] Martyrdom of SS. Ruffina and
Seconda, by Morazzone, Crespi and Pro-
caccini. Canvas. (Brera, Milan) .
Unidentified English Embroideries in the
Museum Cinquantenaire in Brussels.
I_[a] St. Agatha, English, early 14th
century. [b] SS. Barbara, Jerome,
Catherine, Eloy and Veronica. English,
third quarter of the i4th century.

(No. 20)

II — [c] Martyrdom of the Apostles, from
Cope, here identified as English, late
13th century. (No. 9). [d] St.
Jacques and St. John the Baptist,
English, early 14th century. (No. 10).
[e] Martyrdom of the Apostles, from
Cope, here identified as English, late
13th century. (No. 9). [f] Cope,
English, late 15th or early i6th century.
(No. 25). [g] Scenes from the Life of
St. John, English, early T4th century.

(No. 16)

Recent additions to the National Gallery.
I_[a] The Holy Trinity with Angels.
F'rench School, circa 1400. Canvas on
panel, 1.17 m. by 1.14 m. (National Gal-
lery), [b] Holy Family, by Antonio
del Castillo y Saavedra. Canvas, 0.91 m.
by i.i6m. (National Gallery) . .
II— [c] Peasants warming themselves,
by Jo.s6 Martinez. Canvas, 96 cm. by
80 cm. [d] Two Boys, by Jacob Van
Oost the Elder. Canvas, 56 cm. by 58
cm. [e] The Nativity. Studio of
Masaccio. Panel, 22 cm. by 65 cm. .
Some reflections on the last phase of Titian.
I_[a] St. Sebastian, by Titian. Canvas,
2.12 m. by i.i6m. (Hermitage, St.
Petersburg) ...•■•
II_[b] Judith, by Titian. Canvas, 1.12
m. by 0.93 m. (Mr. A. L. Nicholson),
[c] Salome with the head of St. John.
Engraving, by L. Vorsterman after
Titian

SEPTEMBER page

A Toad in white jade. Three-legged toad.
Chinese jade. Shang or pre-Shang ( ?)
Length, 24.6 cm. ; width, 13.5 cm. ;
height, 14.7 cm. ; weight, 4.947 kg.
(Colonel Pope-Hennessy) . . . 102

Unpublished Cassone Panels. [aJ The
Triumph oj Love and The Triumph of
Chastity, possibly by Andrea di Giusto.
Panel 0.43 m. by 1.77 m. (Mr. Walter
Burns), [b] The Triumph of Fame,
The Triumph of Time and The Triumph
of Eternity, possibly by Andrea di
Giusto. Panel, 0.43 m. by 1.76 m. (Mr.
Walter Burns). [c] The Triumph of
Scipio Africanus, by the " Anghiari
Master." Panel, 0.41 m. by 1.79 m.
(M. Guido Arnot) . . . -105

The Arms and Badges of the Wives of Henry
VIII. [a] Anne Boleyn's badge.
(Carnegie Library, Hammersmith), [b]
Anne Boleyn's badge. (Wethersfield
Church, Essex), [c] Jane Seymour's
badge. (Noke Hill Church), [d] Arms
granted to Jane Seymour on her mar-
riage. (High Ongar Church, Essex).

[e] Panel of the Royal and Seymour
Arms. (All Saints' Church, Maiden).

[f] Arms granted to Anne Boleyn on
her marriage. (St. John's Chapel, Tower
of London). [g] Arms granted to
Katherine Parr on her marriage. (The
Siege House, Colchester) . . . 108

A fourteenth-century English triptych. I —
Triptych. Wood and copper. Size when
open, 0.84 m. by 1.12 m. (Messrs. Dur-
lacher & Co.) . . . . .111

II — St. Francis preachitig to the birds.
St. Andreiv and St. Lewis of Toulouse,
St. Clare and St. Paul, Franciscan sub-
jects from the doors of a triptych.
English, 14th century. Panel. (Messrs.
Durlacher and Co.) . . . .115

The Identification of Japanese Colour
Prints — IV. [a] and [a] Karuizawa,
by Hiroshige. ist and 2nd editions, [c]
and [d] Oiwake, by Yeisen. ist. and
and 3rd editions, [e] and [f] Mochi-
zuki, by Hiroshige. ist. and 2nd
editions. [g] and [h] Nagakiibo, by
Hiroshige. ist and 2nd editions . .118

An Attic red-figured Cup. Cup by Eu-
phronios. Dia., 23.5 cm. (Sr. Gu-
glielmo De Ferrari) . . . .123

Largilliire : an iconographical note. I —
[a] The family of Louis XIV, by Nicolas
de Largilli^re. Canvas, 1.27 m. by
1.6 m. (Wallace Collection) . .123

II — [b] The Duke of Brittany and Mme.
de la Mothe, by Largilli^re. Canvas,
1.64 m. by 1.52 m. (Fomerly Burdett-
Coutts Collection), [c] The Marichale
de la Mothe-Houdancuurt. French
School, 17th century. Canvas, 1.24 m.

by 1. 17 m. (Mus^e Nationale de Ver-
sailles) ......

A New Work by Nicola Pellipario at South
Kensington — II. [a] Apollo and
Marsyas. Maiolica plate. (British
Museum), [b] The Calumny of Apelles.
Maiolica plate. (Ashmolean Museum,
Oxford). [c] Subject from " Dia-
logues of the Dead." Maiolica plate in
the Salting Collection. (Victoria and
Albert Museum). [d] .Apollo and
Daphne. Maiolica plate. (British
Museum), [e] Apollo and Phaeton.
Woodcut Irom Ovid's " Metamor-
phoses." (Venice, 1497). [f] Apollo
and Daphne. Woodcut from Ovid's
" Metamorphoses." (Venice, 1497)

Two pictures by Morales, [a] Madonna and
Child, by Luis Morales. Panel, 54.6 cm.
by 40 cm. (Messrs. The Spanish Art Gal-
lery), [b] Head of Christ, by Luis
Morales. Panel. (Sir Claude Phillips) .

Some Greek Bronzes at Athens. [a]
Bronze figure from the Sanctuary of
Asklepios at Trikkala, Thessaly. Height,
14.5 cm. Bronze figures from the Acro-
polis, Athens, [b] Height, 6.7 cm. [c]
Height, 6.2 cm. [d] Height, 14 cm.
[e] Athenian coins of about the
period of the Battle of Marathon, [f]
Bronze figure from Dodona. Height,
12 cm. [g] Bronze winged figure from
the Acropolis, Athens. Height, 4.2 cm.

The Beale Drawings in the British Museum.
[a] Man with a pipe, by Mary or Charles
Beale. Drawing, [b] Girl's head, by
.Mary or Charles Beale. Drawing, [c]
Girl voith a cat, by Mary or Charles
Beale. Drawing, [d] Laughing Boy, by
Mary or Charles Beale. Drawing

The Works of G. P. van Zyl. I— [a] Six
figures in a Courtyard, by van Zyl. Can-
vas. (Mr. Victor Koch), [b] The Concert
Party, by van Zyl. Canvas, 55.2 cm. by
62.2 cm. (M. Paul Matthey, Paris)
n_[c] The Toilet, by van Zyl. Canvas,
58.4 cm. by 48.9 cm. (The Earl of
Dysart). [d] The Concert, by van
Zyl. Drawing, 27.7 cm. by 36.7 cm.
(Brunswick Gallery) ....
OCTOBER

A Florentine Mystical Picture. Mystical
Subject. By Niccol6 di Pietro Gerini.
Canvas, 2.51 m. by 1.62 m. (The Earl of
Crawford and Balcarres)

Settecentismo. I — [a] The Conversion of
St. Paul, by Caravaggio. Canvas.
(Church of S. Maria del Popolo, Rome) .
II — [b] Elijah in the Wilderness, by
Domenico Feti. Canvas. (Royal Gal-
lery, Berlin), [c] Venus and the Three
Graces, by Giovanni Lys. Canvas.
(Uffizi Gallery, Florence)

page

126

129

132

139

142

146

149

154

159

162

Ill— [d] S. Maria delta Pace, by Pietro
da Cortona. Facade (Rome), [e] 5
Maria in ]''ia Lata, by Pietro da Cortona
Facade (Rome) ....
IV— [f] S. Maria di Monte Santo, by
Rainaldi (Rome) ....

The Sig-nificance of the Sketch. I — [a]
Landscape, by Diirer. Water-colour.
(Ashmolean Museum, Oxford)
II — [b] Landscape, by Claude Gell^e.
Monochrome. (British Museum), [c
Landscape, by Matisse. Canvas, 33 cm.
by 40.6 cm. ....

Pictures by Constantyn Verhout. I — [a]
Etudiant Endormi, by Constantyn Ver-
hout. 1663. Panel, 38 cm. by 30 cm.
(National Museum, Stockholm)
II — [b] Still Life, by an unknown artist.
1633. Panel. (Rijksmuseum). [c]
Old Man and Girl at a table, attributed
to Constantyn Verhout. Panel, 30 cm.
by 25 cm. (Braams Collection, .Arnhem)

Two English Ivory Carvings of the 12th
century. I — [a] Fragment of ivory
carving from St. Albans. 12th century.
(British Museum), [b, c] Ivory Tau-
head of a Staff. 12th century. (Vic-
toria and Albert Museum). [d, e]
Portions of the Gloucester Candlestick,
gilt bell metal, cast and chased. About
mo. (Victoria and Albert Museum).
B, c — nearly actual size ; A, D, E — about
three-quarters .....

II — [f, g] Initials from Bible given by
Bishop William of St. Carileph, 1081-
1096. (Durham Cathedral Library).
[h] Bronze Sanctuary Knocker of Dur-
ham Cathedral. Probably 2nd quarter of
i2th century. []] Initial P (upper por-
tion) from St. Albans MS. Rabanus
Maurus. 3rd quarter of 12th century.
(British Museum) .....

Drawings by Diez, Busch and Oberlander

185 and

Gaston Thiesson. [a] Woman reading, by
Gaston Thiesson. Canvas, 65 cm. by 54
cm. (Mme. Gaston Thiesson). [b]
Boy's head, by Gaston Thiesson. Can-
vas, 35 cm. by 27 cm. (M. Paul Poiret)

An Early Spanish Retablo. Retahlo 7vith
Scenes from the Legends of SS.
Sebastian and Julian Hospitntor. Early
Spanish School. Panel, 2.20 m. by 2.44
m. (The Spanish Art Gallery)

Two Portrait Miniatures from Castle Am-
bras. [a] The Marchioness of Dorset,
niece of Henry VIII. School of Hol-
bien the Yrunger. Miniature (Castle
Ambras). fn] Self Portrait, by Clovio.
Miniature (Castle Ambras). [c] Portrait
of Clovio, by El Greco. Canvas. (Naples
Museum ......

•65
168

168

'74

182

i»3
186

189

102

195

NOVEMBER

An Unrecorded Signorelli. The Virgin of
Mercy. By Luca Signorelli. Panel,
1.38 m. by 1.09 m. (Col. Douglas Proby)

Early Works by Tintoretto — I. I — [a]
The Contest between Apollo and Mar-
syas, by Tintoretto. 1545. Canvas,
1.37 m. by 2.36 m. (Col. W. Bromley
Davenport) ......

II — [b] Studies, by Tintoretto. Draw-
ing. (Christ Church Library, Oxford) .
Ill — [c] The Adulteress before Christ,
by Tintoretto. Canvas, 1.82 m. by 3.35
m. (Dresden Gallery). [d] Christ at
Emmaus, by Tintoretto. Canvas, 1.57
m. by 2.03 m. (Budapest Gallery)

Some Portraits by Pieter Dubordieu. I —
[a] Portrait of a Woman, here identified
as by Dubordieu. Panel. (Worcester
Art Museum, U.S.A.). [b] Portrait of
a Woman, by Dubordieu. Panel. (M.
van Lennep, Heemstede)
n — [c] Self Portrait (?) here identified as
by Dubordieu. Panel. (Mme. Alice de
Stuers). [d] Portrait of a Girl, here
identified as by Dubordieu. Panel. (M.
Stephan von Auspitz, Vienna)

A Landscape by Bunsei in the Boston
Museum, [a] Landscape, here identified
as by Bunsei. On paper, 73 cm. by
32.7 cm. (Museum of Fine Arts,
Boston, U.S.A.). [b] Portrait of
Yuima, by Bunsei, 1547. On paper,
92.7 cm. by 34.6 cm. (Mr. Tomitaro
Hara, Yokohama) ....

The Lloyd Roberts Bequest of Old English
Plate at Manchester, [a] (a) Cup 1657-8,
[h] Miniature Cup, probably by John
Sharpe, Jacobean, about 1620. [b] Set
of Six Spoons, 1652-3. Engraved with
crest and monogram. [c] Cup, once
the property of Barnard's Inn. About
1617-8. [d] Chalice with paten cover,
by John Plummer, York Plate of 1602-3.
[e] Snuff box, made in Dublin in 1801
and engraved with the names of the
officers of the 38th Foot (ist Stafford-
shire Regiment) . . . . •

A Tiepolo Portrait. I— [a] Portrait, here

identified as by Tiepolo. Canvas, 58.4

cm. by 47 cm. (Mr. Max Rothschild) .

II — [b] After the Bath, by Tiepolo.

Detail. (Royal Gallery, Berlin) .

A Van Eyck for Melbourne. Madonna, by
John Van Eyck. Panel, 26.4 cm. by
18.4 cm. (National Gallery of Victoria,
Melbourne) . . . . ■

Reviews. The Upper Entrance Hall, Nos-
tell Priory, Wakefield, designed by
Robert Adam

Monthly Chronicle. I— T*] Two-leaved
Screen by HOitsu. Japanese, i8th
century. ' 1.7 m. by 1.7 m. (Messrs.
Yamanaka) . . . • •

PAOE

204

208

2og

216

219

223

226

233

244

II — [b] Flowers, by Keith Baynes. Can-
vas, 45 cm. by 54.6 cm. (London Group
Exhibition). [c] On the Bure, by
Frederick J. Porter. Canvas, 23 cm. by
40.6 cm. (London Group Exhibition)
III — [d] Horse, Renaissance bronze,
modelled on those of St. Mark, Venice.
(Heseltine Collection), [e] Greyhound,
Renaissance bronze. Paduan. (Hesel-
tine Collection) .....

A Greek Glass Vase from China. Vase,
carved from glass. Height, 22.9 cm.,
width, 25.4 cm. Probably Greek, found
in China. (Royal Ontario Museum,
Toronto) ......

DECEMBER

A Tapestry in the Murray Collection. I —
[a] The Deposition. Flemish tapestry
of the isth century. Detail. (Victoria
and Albert Museum) ....
II — [b] The Deposition, Entombment
and Resurrection. Flemish tapestry of
the 15th century. 1.12 m. by 3.02 m. .

Unpublished Cassone Panels — VI. Scenes
from the Life of Alexander the Great.
Florentine School. Panel, 39 cm. by
132 cm. (British Museum) .

French 18th-century Furniture in the Wal-
lace Collection — I. I — [a] Bureau by
J. U. Erstet. 86.4 cm. by 100.3 cm. by

96.5 cm. [b] Clock-case by Balthasar
Lieutaud. 2.36 m. by 0.56 m. by
0.36 m. [c] Casket by Antoine Foullet.

35.6 cm. by 57.2 cm. by 45.7 cm. [d]
FouUet's signature and maitrise stamp
on (c) .

II — [e] Console table by Jean Franqiois
Leleu. 83.8 cm. by 121. 9 cm. by 48.3
cm. [f] Cabinet by Jacques Dubois.
1.39 m. by 1.55 m. by 0.52 m. [g]
Commode by Etienne Levasseur. 76.2
cm. by 111.8 cm. by 63.5 cm. [h] Sec-
tion of the Londonderry Cabinet by
Levasseur. 1.83 m. by 6.04 m. by 0.43 m.

Ill — [j] Cabinet by Etienne Lavasseur.
T.07 m. by 1.63 m. by 0.46 m. [k]
Cabinet by Joseph. i m. by 1.35 m.
by 0.51 m. [l] Cabinet by Adam Weis-
weiler. 1.08 m. by 0.79 m. by 0.42 m.
[m] Cabinet by J. F. L. Delorme.
1. 01 m. by 1.8 m. by 0.48 m.
A Drawing by Antonello da Messina, [a]
Drawing, here identified as by Antonello
(la Messina. Silverpoint on white
prepared paper (Staedel Institute, Frank-
fort), [b] Crucifixion, by Antonello da
Messina. Panel, 58 cm. by 42 cm.
(Antwerp Museum) ....

Old Plate at the Church Congress, [a]
Secular cup, English, 15th century.
Height, 14.9 cm. (Marston Church, Ox-
fordshire), [b] Cocoanut cup mounted
in silver gilt. English, about 1500 (St

-Augustine's College, Canterbury), [c]
Domestic cup and cover. i6th century
(Fareham Church, Hants), [d] Secular
bowl. Probably English, early i6th

247 century. Diameter, 17.1 cm. (.St.

Michael's Church, Bristol)
The Derby Day, by Frith. Canvas. De-
tail. (National Gallery)
Early Works by Tintoretto — II. [a]

250 Tarquin and Lucretia, by Tintoretto.

Canvas, 1.88 m. by 2.71 m. (Prado)
II — [b] Venus, Vtdcan and Cupid, by Tin-
toretto. Canvas, 1.36 m. by 2.01 m.
(Frau von Kaulbach, Munich). [c]

250 Sketch for above, 20.4 cm. by 27.3 cm.

(Staatliche Museen, Berlin) .
Ill — [d] Sacra Conversazione, by Tinto-
retto. Canvas, 1.23 m. by 1.7 m. (M.
C. A. de Burlet). [e] The Death of

254 Holofernes, by Tintoretto. Canvas.

(Prado)

IV — [f] The Last Supper, by Tintoretto.

257 Canvas (S. Marcuola, Venice)

Auctions. I — [a] Portrait of a Young Lady .
by A. Cuyp. Panel, 88.9 cm. by 68.6
cm. (Erskine Collection)

257 Guido di Savino and the Earthenware of Ant-
werp. I — [a and b] Pavement tiles from
Herckenrode (Musee du Cinquantcnaire,
Brussels), [c] The Conversion of St.
Paul. Tile picture, dated 1547. (Vleesch-
huis, Antwerp) . ....

II — [d and e] Drug vases, probably Ant-
werp earthenware, [f] Porringer, [g]
Fragment of a dish (Musee du Cinquante-

261 naire, Brussels). [h] Roman Charity.

Deep dish of earthenware. (Rijks-
museum, Amsterdam) ....

Ill — [j] Dated tiles (Claes Collection,
.'\ntwerp). [k] Tiles (Vleeschhuis,
Antwerp) ......

A Frans Greenwood Goblet. Goblet, en-
graved by Frans Greenwood. Flint glass,

264 English, 28.6 cm. (Sir John Risley)

A Spanish-Italian Altarpiece. I — [a] Scenes
from the Life of St. Vincent. School of
Giotto. 14th-century triptych from the
Church of Estopinan, Huesca. (Don
Luis Plandiura, Barcelona) .
11 — [b] Sf. Vincent committed 'ly his

268 parents to the charge of St. Valerius.
Detail of Triptych, [c] St. Vincent
receives deacon's orders from the Bishop,
St. I'alerius. Detail of Triptych .
Monthly Chronicle. Flat bowl in green jade.
Kang-H'si. On carved wood stand.
(Spink & Son)

271 Auctions. II — [b] The Dead Christ sup-
ported by .4ngels, by Francesco Zaga-
nelli da Cottignola. Panel, 1.02 m. by
2.03 m. Lunette of [c] The Baptism of
Christ, by Francesco Zaganelli. Panel,
2.06 m. by 1.97 m. (Erskine Collection)

page

274
279

279

2S3
286

286

289

292
296
296

299

302

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EDITORIAL : " expertising'

NDER cover of this hideous term
whose usual synonyms are "authen-
ticating" and "naming," pictures
are condemned from time to time to
take a step up or a step down the
ladder of fame. In a letter, published on another
page, Mr. Hugh Blaker requestions the value of
the activities of those who give themselves up to
the genteel art of identifying the brushwork of
all and sundry, from Rembrandt to Albert van
Korkodale and from Masaccio to Amico di
Sandro — for evidences of whose earthly sojourn
budding experts are known to search with the
same earnestness as Messrs. Cook's Venetian
itinerants search for the house of Shy lock.

Few lovers of art will be able to refrain from
sympathising with Mr. Blaker's desire to give
art criticism a push in the direction of art. The
origin and the destiny of the thorn in his and
many another's side is a subject of immense
importance and absorbing interest. In con-
sidering it the mind goes back at once to Mo-
relli, the god or devil, as opinion may decide, of
" authentication." Until Morelli broke in and
scattered them like sheep, the browsing critics
were content to devote themselves to the con-
sideration of the merits and the demerits of
works of art and to remain in a muddle about the
authorship of even their favourite pictures.
From the reaction in favour of Morelli 's system,
art criticism has not yet recovered — though
there are abundant signs that it is on the way
to recovery.

Two things regarding Morelli are frequently
forgotten. He was a man of genius or at least
of very marked talent, and he came at a moment
when he was badly needed. His system, as far
as it went, was sound, and the task before him
and his immediate followers was so urgent
and so obvious, that in a comparatively short
space of time the most important part of it was
accomplished. In an' age of unparalleled his-
torical and scientific research, every year left
fewer art mysteries to solve, and the truth is
that the great majority of the really significant
pictures of the world have now been identified ;
so it comes about that Moriarty being safe in
his straight-jacket, Sherlock Holmes, in the
pursuit of his vocation, has taken to cross-
questioning the Baker Street errand boys in
search of sensational crime. The cases that do
come to light are not only increasingly trivial
but increasingly difficult to establish. At the
same time we, intermittent sinners as we are,
should be the last to deny the frequency, sur-
prising under the circumstances, with which in-
teresting and occasionally even enormous finds
are still made. As long as the names and ad-

dresses of purchasers of pictures are unrecorded,
and that will be as long as auction-rooms
last, and as long as inheritors conceal, forget or
otherwise dispose of their inheritance, as long
as dishonesty finds a billet in the human heart,
and that will be as long as man and money last,
art problems, great and small, will continue to
confront the experts. One would have thought,
for instance, that the authorship of works of art
produced during the last hundred years by the
most aesthetically sensitive and one of the most
critical people in Europe would have been set-
tled beyond all doubt. But even in a small ex-
hibition of modern French art like that at the
Burlington Fine Art Club, one picture has had
to be written down an orphan, while the parent-
ages claimed for several others are very ob-
viously unjustified. And so there is nothing
for it but to set the genealogists to work again.
It is worth their while to give another child to
Vollon (not to Ribot) and to relieve Corot and
Manet of a changeling apiece, though it seems
of less importance to the world with whom the
brats are to be lodged.

As to the accuracy, apart from the usefulness of
these decisions, it is necessary to realise that only
in rare cases can they properly be accepted as
final. Both history and modern experience pro-
claim them trumpet-tongued to be tentative.
" Authentication" has become a popular super-
stition. Our own experience would almost seem
to point to the probability that the more numer-
ous the body of thorough-bred experts concen-
trating themselves upon a given painter, the
wider is the divergence of their opinions.
The truth seems to depend on the fact
that a great artist is so many-sided
that we each see in his work a different
combination of attractive qualities. He who is
nothing if not aesthetically sensitive classifies
these works according to their individual power
of producing emotion, and if some work of even
the greatest artist fails to do that, then that
work is for that observer simply of no import-
ance, and all talk about it is irrelevant. But to
those non-a;sthetic experts who crowd around
us to-day in such embarrassing numbers it is
quite otherwise. Even when they lay down their
magnifying glasses, their interest in technique is
simply replaced by an interest, not in art but in
the artist, and in the artist as a man rather than
as a spirit. But for the guiding lights supplied
by the calendar and by that effervescent snobbism
that is the one reward the world offers to the
inarticulate cesthete, they would fall into errors
altogether ludicrous. They would confuse any
two artists like Piero di Cosimo and .-Xrent
Arentsz Cabel who, although widely differing ip

TmK BukLlNGTON MaGAZISE, No. 1T,2, VoI. XI.I, July, H)2J.

power as creators, reveal in their pictures the fact
that their interest and their attitude to hfe are
altogether similar. They might even confuse
Picasso with the painter of the fresco in
Sant Climent de Tahull, illustrated on p. 8.
If the background of the aesthete's interest in the
picture is an emotional one, that of the "expert"
is one of events. The former is interested in
the painter because of the painting, the latter in
the painting because of the painter. The
ideal of the one is a collection of fine work,
ranging from the cave-dweller's drawings to the
productions of his own day, chosen, however
labelled, on their merits as art, while that of the
other is a complete collection of the complete
work of each master, every surface on which he
dabbed paint, even his palette, to be hung hki-
a totem on the wall. There are great paintings
that seem to contain all the painter had within
him, and about these both classes of observers
are agreed. But his minor works and those of
his associates contain only a few of the quali-
ties that made him a great artist. And in accord-
ance with the temperament of the observer, be
he of the one class or of the other, a certain in-
evitably limited selection of congenial qualities
is made. The aesthete makes his selection in-
stinctively, with ease, in the twinkling of an
eye. He has all the overwhelming prejudice of
the artist himself, but his prejudice is in favour
of pure art, and he prides himself on it. The
other continually imagines that he is unpreju-
diced and devoid of passion. If that were so,
all might be well, but with him, as with other
men, the wish is often father to the thought.
Just as much Shakespearian criticism has con-
sisted in attributing to Shakespeare all the lines
that happen to gratify the taste of the individual
critic, so in the " expertising " of Rembrandt-
esque pictures, each expert has formed in his
mind a different grouping of Rembrandt-like
qualities, in accordance with which the pictures

are most confidently labelled. It is inconceiv-
able, of course, that anything like all the works
given in the books of our time to Rembrandt are
really his, or that it will be possible for posterity
to leave undone the vast work of re-examination
these books have rendered necessary. But the
astounding credulity of the Monotheists, for
whom Rembrandt-souvenir-hunting has become
an obsession, or worse, has done nothing to
shake the confidence of collectors, who gladly
sacrifice, the hour after the oracle has spoken, as
many pounds as they would have given pence
the hour before. The astonishing thing is that
in every centre of culture in the world, market
values depend solely and public adoration
largely on " authentications."

We altogether disagree with those who assure
us that art criticism is "going to the dogs."
(Art criticism and art and everything else that
matters has always been and will always be "go-
ing to the dogs.") The free judgment that grows
up from a genuine joy in art may seem at present
to be in a state of coma, but there is a growing
habit among critics of confining the subjects of
their writings to works of art they really like
as such. That is obviously the first step neces-
sary if we are to get out of our present diffi-
culties. The practice will at least bring the
criticism of painting into line with that of the
other arts and into closer conformity with the
general attitude of modern culture. There is
no danger of its leading us back to the slipshod
days of careless and ignorant attributions, be-
cause, as we have said, the more important part
of that work is done already, and done well,
and because there is no likelihood of a lack of
eager experts to go on with it where necessary.

The aesthete and the technical expert have
each their separate work awaiting them. But
these are ideal types, and by far the most im-
portant tasks lie open to those who belong to
neither category and to both.

A CATALONIAN FRESCO FOR BOSTON

BY J. PIJOAN

■HE Church of Santa Maria de
Mur, near the Romanesque castle
of the same name, stands on the
southernmost range of the Pyrenees
in the Province of Lerida and over-
looks the plains of Urgell. The church was
originally part of a monastery of which only
the cloisters remain. The archives, however,
have been preserved, and we know the story of
the establishment from the time it was conse-
crated in 1069 A.D. The castle appears to be
much older.

The apse of the church was decorated with
frescos of the eleventh or twelfth centuries, and

a description of these has been published by
myself in one of the series of monographs called
" Les Pintures Murals Catalanes," edited by
the Institut d'Estudis Catalans. The coloured
plate which accompanied the description is re-
produced here by the courtesy of the Institut.
Since then these frescos have been taken down
by extremely skilful Venetian artisans who suc-
cessfully performed the very difficult feat of
removing them in small pieces. They were
then shipped to New York, where they were
sold by agents of Mr. Plandiura, of Barcelona,
to the Boston Museum of Fine Arts.

The composition of this fresco may be divided

B — The Adoration of the Magi. Fresco. (Santa .Maria d'Esterri)

Plate 11. A Catalonian Fresco for Boston

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into three parts. The portion from the vaulted
ceiling displays the seated figure of the Lord
within an oval rainbow and, in the four corners,
the four beasts of the Apocalypse with the usual
inscriptions from the Sedulius text. In the
second part, below, on the sections of the circu-
lar wall between the window recesses, stand the
twelve Apostles, each with a book. Then, on
the thickness of the wall in the windows and in
a zone on the wall below them, we have a third
division showing small figures in biblical
scenes. Those in the window recesses refer to
the story of Cain and Abel after the manner in
which it is presented in Catalan Bibles and in
the Roda and Farfa MSS. of the tenth century.
The scenes in the lower circle still show the
Visitation of the Virgin, the Nativity, and the
Adoration of the Shepherds. These are treated
as they are on the Catalonian antipentia, or altar
fronts, of the tenth to the thirteenth centuries.

Very little new can besaid of this third division
of the fresco ; but the figure of the Lord, in the
first, and of the Apostles in the second, require
further study. Jesus is apparently represented
here as a judge, and this might be established
by comparison with other Catalonian frescos of
the same type as that at Mur. Take, for example,
the fresco in the Chapel of Santa Eulalia d'Esta-
hon in which the Lord and the four beasts are
flanked by two archangels, each with a rotulus
in his hand, the one bearing the word Petitio
and the other Postulatio. These words, of
course, refer to supplications for the souls of
men. In some other Catalonian frescos the com-
position is further complicated by the presence
of Seraphim with eight-eyed wings and by the
wheels in the vision of Ezekiel beneath. The
whole composition in this type seems to be a
condensation of the prophetic visions of Isaiah,
Ezekiel, and John. It is to be remembered that
the same condensation is achieved in Charles
the Bold's Bible in the miniature reproduction
of a fresco in the Church of St. Paul Without-
the-Walls at Rome. Here the three seers are
shown on the same page with the Lord and the
Elders above them.

In my previous studies of this group of fres-
cos I stated that they must have degenerated
from an original which had been misunderstood
and has been disintegrated through the cen-
turies. The prototype I thought was intended
to display the glory of God with the apocalyptic
visions of Isaiah, Ezekiel, and John condensed.
But the twelve Apostles in the Catalonian fres-
cos, at Mur and other places, have nothing to do
with the apocalyptic visions, and in some places
thev are even accompanied by the Virgin, who
is generally shown holding up the Cup of the
Holv Grael. If this group — the .Apostles and
the Virgin — has any connection with the repre-

sentation of the Lord within the oval and the
beasts, all ideas concerning the original mean-
ing of the representation will have to be
changed, for there is no reference to the Twelve
or to the Virgin in the apocalyptic visions ex-
cept as twelve candlesticks. The regular com-
panions of the apocalyptic Almighty are the
twenty-four Elders, and we find these in the Cata-
lonian frescos at Fenollar. There is not the
slightest doubt that in the eleventh and twelfth
centuries, when most of these Catalonian frescos
were painted, the artists were already confusing
the subjects in the Repertorium, and were add-
ing figures only with the idea of filling up spaces
and obtaining a certain decorative effect. So the
question now is, not what the painter of those
monuments wanted to represent, but what was
the original meaning of this type of composi-
tion at its inception, perhaps several centuries
before these Catalonian frescos were painted.

I am now inclined to think that the Almighty
on the vaulted ceiling, and the Apostles and the
Virgin on the cylindrical wall below, in the be-
ginning formed a united composition, the sub-
ject of which was the Ascension of Christ as
described in the Gospel of St. Luke and in the
Acts. In one of the first-known Christian re-
presentations of the Ascension, that in the
Rabula Gospels of the sixth century, the com-
position is much more complete. Christ rises
to heaven in the midst of an oval rainbow, hold-
ing a scroll of the Scriptures, with the four
beasts, the wheels of Ezekiel's vision and two
archangels about him. Below are the Apostles
and the Virgin in ecstasy at the words of two
more angels who stand among them evidently
proclaiming, " This same Jesus," etc. There
are several repetitions of this Syrian representa-
tion of the Ascension, and it gradually loses
some of its elements. In the Monza aijipulhe
the four beasts have already disappeared, as
have also the wheels. In the Coptic frescos of
the monastery of Bawit in Egypt, the composi-
tion is reduced to Christ already seated in the
oval and with a book on the vaulted ceiling, the
four beasts in the corners, and two attendant
archangels. Below there are only the Virgin
and the Apostles, not the angels. This Coptic
presentation is, then, preparing the way for the
complete separation of the two groups, the
Christ becoming the Almighty with beasts
above and the Apostles with the Virgin below on
the walls. When, at the end of the Romanesque
period, the two parts of the fresco were divided
by geometric patterns it is hard to understand
at first sight that they originally formed one
subject — that is to say, the Ascension, not the
apocalyptic visions.

It is therefore curious to trace in these Cata-
lonian frescos fragments of a great lost composi-

tion, originating most likely in Asia Minor or
Syria at the very beginnings of Christian art. It
would seem rather daring to go back to the Ra-
bula Gospels to find the original type of a com-
position of which onlv disjointed remnants and
scraps are found in the decoration on eleventh-
century churches.

It will be objected to the Ascension interpre-
tation of these frescos that sometimes the
Apostles are accompanied by other saints, and
also that Christ in the oval obviously represent-
ing the Almighty is sculptured over many door-
way arches without any trace of the Apostles.
Also the A and H painted in many frescos make
plain allusion to the apocalyptic vision. Never-
theless in the various frescos of the Catalonian
churches we have a whole group of elements,
scattered here and there, with which we could
form a complete picture, on a gigantic scale, of
the type found in the Rabula Gospels — the Lord
in the character of Jesus seated within the oval,
the four beasts, the wheels, the archangels, the
angels, and the Apostles with the Virgin. This,
I think, was the original type which, when it
came to the Occident (more likely through
Egypt and Spain than from Byzantium to
Italy) was but poorly understood, and was
taken as a basis for the representation of the
visions of the Apocalypse, those of Ezekiel and
Isaiah included.

In the Carolingian Age the original meaning
was entirely lost, and this would explain the
illustration in the Bible of Charles the Bold, re-
ferred to above, and those in other MSS. of the
period. The lost frescos in the crypt of the
church of St. Lawrence Without-the-Walls at
Rome, mentioned by De Rossi' already, show
the archangels holding the rotuli bearing the
words Petitio and Postulatio. The style of these
Catalonian frescos is more strikingly similar
to Coptic ones than to any occidental represen-
tation. The figures of the four Evangelists,
painted in very strong and sharp colours, on
the covers of the Gospels in the Freer collection
at Washington, most strongly resemble in style
the ones in Catalonian churches.^ The bindings
of these MSS. seem to be painted during the pre-
iconoclastic period, but after the Bawit frescos,
and we have here another link between the
Syrian type and the degenerating occidental
imitations.

In Byzantine art it is curious to find also ele-
ments of the same earlier composition used dis-
jointedly without a knowledge of their original
meaning. The Ascension was usually repre-
sented in the panels of the Twelve Feasts, and

1 Bolletino d'Archeologia Cristiana. Vol I.
^ Morey & Dennison. Studies in East Christian and
Roman Art. 1915. University of Michigan Studies.

there is the Christ above within an oval carried
by four angels, and below, the Virgin in the
centre surrounded by two angels and the twelve
Apostles. We find the same composition in the
mural paintings of the church of Peribleptos at
Mistra and also in the mozaics in the church of
St. Sophia in Salonica. Christ is shown in
the centre of the dome within a circle, and the
Virgin, the two angels and the Apostles are de-
picted round the walls. But in many other
cases it would be difficult to arrive at the mean-
ing of the sculptures of paintings if taken by
themselves, for they often display mere frag-
ments of the original composition. For example,
in one Byzantine ivory, now in the Museum of
Ravenna and reproduced by Dalton (page 24),
Christ, sitting on a throne with a book in one
hand and giving a blessing with the other, is
surrounded by four angels who hold the oval
encircling Him. Nothing could induce us to
believe that we are here in the presence of an
element of a composition depicting the Ascen-
sion except for a hand stretched down from the
top. This can be nothing but the hand of God
the Father receiving His Son.

The hand projecting from a cloud is very
common in early art, and there is no doubt that
it signifies nothing but the reception of an
ascending person into heaven. It is found not
only in Carolingian representations of the
Ascension, but also in reliefs and miniatures
showing the Rapture of Elijah, the Martyrdom
of Stephen, etc. The heavens opening to re-
ceive the martyr's soul is indicated by a round
cloud and a projecting hand. I therefore be-
lieve that the subjects of many Byzantine
mozaics in which Christ is depicted upon a
throne, holding a book, and giving his bless-
ing, flanked by angels (Torcello, Cefalij) as
though to represent the Almighty or Panto-
crator, are in reality derived from an original
depicting the Ascension.

If such a thing could happen in Byzantine
art, which had preserved artistic and ecclesiasti-
cal traditions so well, it is much more easy to
understand exactly the same mistakes in the
Occident at a later period. If the Greek artists
who covered the Sicilian and Venetian churches
with mozaics, could become confused and de-
sign the figures of Christ and the Apostles with-
out a clear idea of the significance of the special
grouping they employed, how much less could
be expected of the uneducated painters of the
Pyrenees, who, most likely, copied from models
that had come down to them from Visigothic
times, without any longer understanding their
full significance ?

[It is impossible to leave this subject without
drawing our reader's attention more pointedly
than Mr. Pijoan has been able to do, to the im-

portance of the portfolios of plates illustrating
" Les Pintures Murals Catalanes," published by
the Institut d'Estudis Catalans, and edited and
annotated by Mr. Pijoan. We take the oppor-

tunity of publishing here a few monochrome
reproductions of the colour plates of some of the
very remarkable works included in the portfolio.
—Editor, B. M.]

THREE SKETCHES BY HOGARTH
BY C. F. BELL

^^^ OGARTH is not one of those
I ^^^ > artists about whom it would be
■l thought that there could be many
) surprises in store. His work, if
_I poorly remunerated on the whole
during his lifetime, was none the less so much
appreciated bv a certain circle of admirers, and,
from a period immediately after his decease until
the present time, has been studied, catalogued
and moralised in such numerous publications
that the chance of an important sketch by him
being lost sight of for nearly a hundred years
seems very remote. This, however, has hap-
pened in the case of the very interesting canvas
recently acquired by Sir Robert Witt and here
described and reproduced for the first time
[Plate I, a], it is believed, since a rough etching
of it was published in lyqg by Samuel Ireland in
the second volume of his not very trustworthy
work " Graphic Illustrations of Hogarth." Nor
are the fresh problems that the rediscovery of
even a single picture can sometimes raise in con-
nection with our estimate of an artist's powers,
confined in this case to the aesthetic and technical
qualities of the work. The study of it throws new
light on the general methods of Hogarth in con-
ceiving his illustrations of contemporary life,
and piecing together the details employed to en-
force his moral and point his satire.

The completeness of the literary commentary
in which Hogarth's graphic text has gradually
become encased, the meticulousness of the ex-
planation given to all the details in his subject
pictures and their special significance, has en-
couraged a general impression that not only was
each of his moral tales — the Harlot's Pros;ress,
Rake's Progress and Marriage a la mode — in-
vented and carried out quite independently, but
that every single picture was thought out and
built up, down to the slightest innuendo, with
direct satiric intention.

Up to a certain point this position still re-
mains unassailed, although the view has long
been gaining ground that Hogarth's essential
greatness as a painter and artist pure and simple
has been less recognised owing to his success
as a dramatic moralist. The popularisation of
his works during his lifetime bv means of his
own engravings was mainly responsible for this,
and the prints, the exact dates of which are
easily determined, are also accountable for the
misconception about the artist's method of

work. It is obvious that the pictures of the Har-
lot's Progress must have been in hand long pre-
viously to the publication of the engravings in
April 1732, and even before 1731, the date on
one of the plates; and those of the Rake's Pro-
gress before December 1733, when Hogarth was
at work on the engravings published in June
1735. The first advertisement of Marriage a la
mode is stated by Mr. Austin Dobson, whose
researches fixed the dates given above, to have
been put forth in April 1743, and the pictures
were sold in February 1745, with a provision
connected with the publication of the plates
which followed in April of that year.

The evidence afforded by Sir Robert Witt's
picture shows that not only was the Rake's Pro-
gress probably at first conceived in a form much
more condensed than that ultimately adopted,
but that motives made use of in Marriage a la
mode, and seeming to us, under the suggestion
of the commentators, to be inalienable parts of
the substance of that story, were remainders
brought forward from the Rake's Progress in
the confection of which no place could be found
for them.

The subject of this brilliant sketch is in effect
a compromise between the Contract scene of the
Marriage and the Levee and '']'edding of the
Rake. The most highly finished figure is that
of the bride, unattractive and no Jonger young,
but far from the repulsive harridan of the
Wedding scene at the Soane Museum. She is
dressed in an exquisite shade of sky blue. Her
miserly father, it would seem, who nowhere
appears in the completed .series, is in the act of
joining her hand to that of the y( ung rake who,
inattentive as the Viscount in the first picture of
the Marriage series, is receiving a letter from a
whispering servant. The last figure, although
perfectly distinct in th*^ picture, is unaccount-
nhW absent from Irelland's etching, which con-
tains equally inexplicable additions to be alluded
to later on. In the foreground kneels the jockey
holding the raci^ng plate, who becomes a promi-
nent personage in the Levee of the Rake's Pro-
gress, and into the same picture was conveyed,
with trifiing alterations, the antechamber and its
occupants in the background of Sir Robert
Witt's sketch. Links with Marriage a la mode
are suggested by thf objects, some battered
antiques and a picture of Ganymede by Titian,
on the ground tc, tlie left. A similar group of

I I

spoils from an auction, but in that case Chinese
magots instead of Roman busts, appears on the
floor in the Countess's Dressing Room, to the
walls of which apartment the Ganymede has
been transferred, while a bust of the same type
as those in the sketch stands on the chimney
piece in the second episode of the same story.

Hogarth's contrivance of enhancing the
satirical character of the living figures in his
compositions by allusions in the pictures hang-
ing on the walls of the rooms they inhabit, is
exhibited in several scenes of both the Pro-
gresses and of Marriage a la mode and else-
where. But nowhere has he gone such lengths
as in the present sketch. It indicates the great
revolution that has taken place in what may be
called moral taste that the subject of the princi-
pal masterpiece decorating the Rake's walls
should have been deemed legitimate and comic
in an age far more harsh and intolerant than
the present day in enforcing punitive legislation
against what was then considered infidelity and
blasphemy.

This irreverent jest is described by Ireland,
who gives in his first volume a full-sized
aquatint engraving of it as " a satire against
Transubstantiation," and excused by him in
the hope that —

this attempt of our inimitable painter will be considered
by the judicious merely as a satire on the inconsistency of
priestcraft ; not as a wilful attempt to strike at the root of
Christianity : a doctrine to which mankind owes its princi-
pal happiness and consolaMon.

The principal object in it is a sort of windmill
with a hopper at t^e top. In the sky above it
are the Virgin any Child, below is a priest dis-
tributing the wa''ers which issue from the lower
part of the mill. The inter-relation and sup-
posed satirica,! import of two other pictures
hanging besir^e this, a Madonna and Child with
a painting of'a large foot suspended below it, of
which Ireland also gives full-sized illustrations,
with additions presumably of his own invention,
are left doubtful even by that over-subtle
expositor. x;

The sketch, which measures 2 ft. 5I in. by
2 ft. J in., was bought by Ireland at Mrs.
Hogarth's sale in i^Q9, and was recently ac-
quired in London bv v>jr Robert Witt. Its
history in the intervening period is not recorded
by Dr. Dobson, but the p^ifcture is believed to
have been in the well-known \Hawkins Collec-
tion. ')

It is indeed unfortunate that/fhe only unsatis-
factory portion of that erudj-te, charming, and,
it may be said classical, boa)k — " Mr. Dobson 's
work on Hogarth" — is the (catalogue of pictures
given in the appendix, /it is to be lamented
that the author did not, Hke Sir Walter Arm-
strong in parallel circumstaiTCes, hand over this
part of his task to somebody rt^ore practised in

the learned drudgery required for this essential
class of research. Had he done so, it is impro-
bable that he would have failed to locate, as he
did, a group of five of his hero's works, includ-
ing the originals of the Enraged Musician and
the Stage Coach, housed in a public gallery at
no great distance from London.

Amongst them are the two sketches here re-
produced, which illustrate further the presum-
able overlapping of the inspiration and develop-
ment of Hogarth's three greatest series of pic-
tures already alluded to. The first of them
[Plate I, b] is connected, like Sir Robert Witt's
picture, with the Rake's Progress. It will be re-
called that the episode of the Rake being robbed
by a courtesan, who makes love to him while
handing his watch to a confederate, is conspicu-
ous in the Bagnio scene (No. 3) of the Progress.
In the present sketch this incident forms the
whole subject, and is developed in fuller detail.
The harpy who embraces the profligate is not
herself handling the watch ; it is being passed be-
hind her back by the accomplice to a third
woman, while a fourth raises the alarm at the
unexpected entrance of the watchman, accom-
panied by a large dog, one of the most living re-
presentations of an animal in all the painter's
works. This small picture measures only 14 in.
by I2| in., and is rich and dark in tone. The
woman on the left is dressed in deep scarlet, she
who passes the watch in greenish grey. It is un-
wise to dogmatise about the period of Hogarth's
undated paintings; but, from the style, it is per-
missible to conjecture that this is an early work,
and mav embody the first idea of the incident
in the Rake's Progress. Its early history is un-
known ; it was bequeathed to the University of
Oxford by Dr. Thomas Penrose in 185 1.

The remaining illustration [Plate II, c] re-
presents a sketch (12 in. by 14! in.) much
slighter in execution than either of the others,
and more suggestive than explicit. It likewise
belonged to Ireland, having also been purchased
by him at Mrs. Hogarth's sale, and appears
among his " Graphic Illustrations " in the form
of a coarse and inaccurate engraving containing
details that are no longer and, it is safe to say,
never were discernible in the original. After
his death it passed to Mr. Peacock, of Mary-
lebone Street, and from him to Mr. Chambers
Hall, with the rest of whose valuable collection
it came to Oxford, by gift, in 1855. Ireland
called it The ill effect of Masquerades, and ex-
plained its meaning by a rambling and incon-
sequent legend. There is no evidence that
Hogarth ever heard the story or intended to
illustrate it. Indeed, it is tempting to assume
that the two groups, which Ireland construes as
forming part of one subject, are in fact two
separate studies of the same motive hastily

^1- 11 jw^ .;"?llf

■r\; ' ' /I

*W /i

.>fe5"

-'I — --1 Sketch for the Rake's Progress (No. i), by Hogarth. Canvas, 74.,:; cm.
by 61.6 cm. (Sir Robert Witt)

B — A Sketch for the Rake's Progress (No. 3), bv Hogartii. Canva.s,
35.6 cm. by 31.8 cm. (Ashmolean Museum, Oxford)

Plate 1. Three Sketches by Hogarth

X!
t/!

u
JZ

dashed down on a single canvas. Be this as it
may, the outstanding interest of the sketch lies
in the fact that it presumably embodies a com-
position which occurred to Hogarth as pic-
turesque and dramatic on purely artistic
grounds, and was utilised by him, with serious
modifications it is true, in two of his most cele-
brated pictures.

As the painting is somewhat formless and
confused, and its masterly tone and brushwork
are naturally not made the most of in a repro-
duction, it may be permissible to explain that
the principal figure in the group on the left is
that of a young woman reclining in a chair. She
is stripped to the waist and bleeds from a
wound in her right breast, which is being
dressed by a surgeon. Leaning on the back of
her chair is a person overcome by distress. In
front of the girl stands a man bending eagerly
forward and holding her left hand, and behind
him is a little girl who seems to appeal to be
allowed to share in the attentions required by
the sufferer. The group on the right contains
several of the same elements in a changed and
more indistinct form ; here again is a fainting or

tors. In both we seem to have the actors in
episodes in the Prison scene (No. 7) of the
Rake's Progress and in the Suicide of the
Countess, the closing subject of Marriage a la
mode. But if into the significance of the figures
we read the dying girl, the avaricious alderman
drawing the ring from her finger, the weeping
nurse and the child, here more fully grown than
in the Suicide piclure, their actual appearance
presents in many respects closer parallels with
the group of the long-forsaken mistress swoon-
ing on recognising her faithless lover in the
prison. The attitude of the girl and the dis-
array of her garments are similar; the child, of
much the same age, although closer to her
motiier in the picture, is in the same attitude;
and while the supporting figures are different,
and the old woman slapping the girl's hand
takes the place of the man, the general composi-
tion is, although reversed in direction, very
similar. In any case, the sketch, like the more
beautiful and elaborate painting belonging to
Sir Robert Witt, shows that Hogarth's proce-
dure in composing his subjects was not alto-
gether as spontaneous and direct, as his early
critics appear to have believed.

dying woman surrounded by agitated specta^

THE VAN EYCKS AND THEIR FOLLOWERS
BY MAX J. FRIEDLANDER

INCE the publication of Crowe
and Cavalcaselle's Early Flemish
Painters nobody had had the
courage to attempt a comprehen-
sive account of early Netherlandish
painting. The book in question, which is the
joint production of an Italian painter and an
English writer, remained for a long time the
standard work, as no real substitute for it ap-
peared. First issued in London in 1857, it
appeared in a second English edition in 1872.
A French translation was published at Brussels
in 1862-65, supplied with notes by Pinchart,
which to this day are of value. A German trans-
lation, revised by Anton Springer, appeared in
1875 at Leipzig. The book continued to be ex-
ceptionally widely read and highly regarded even
at a time when its contents offered an almost
comical contrast to the achievements of art his-
tory. Sir Martin Conway's book* disposes at
last of this wholly antiquated work. When we
compare the new book with the old, we can on
all points observe considerable progress, which
is due less to documentary research than to
criticism of style. Both as regards the number
of artistic personalities, now made clear, and as
regards the number of works within our ken,

* The Van Eycks and their Followers. By Sir Martin
Conway, M.P. 528 pp. + 24 pi. (London : John Murray.)
£2 2S.

an immense increase of knowledge has taken
place.

As regards the chronological limits. Sir Mar-
tin's book extends farther than that of Crowe
and Cavalcaselle, and farther than even the
title suggests. The expression " followers " is
to be understood in its widest sense. Evidently
this title has been chosen from a conviction that
the whole of the purely Netherlandish, auto-
chthonous and national, art is directly or in-
directly dependent on the Van Eycks, and
springs from them : a view which, to the greater
glorv of the founders and originators, is
pointedly expressed in the title of the book. Ac-
cordingly, of the painters whose careers begin
about 1550, only Pieter Bruegel is taken into
account, and effectively placed at the end.
Painters, like Frans Floris and Lambert Lom-
bard, who were working in the Netherlands at
about the same time as Pieter Bruegel, are
passed over, for no other reason than because
their Italianizing tendencies forbid to regard
them as " followers of the Van Eycks," how-
ever much you may stretch this concept.

Crowe and Cavalcaselle still confined them-
selves to the fifteenth century. Sir Martin
Conway puts the line of demarkation much
later, and does not shrink back from the multi-
tude of painters working between 1500 and 1550

— not even from the chaos of the nameless and
the jungle of the painters known as the " Ant-
werp Mannerists." Netherlandish painting is
comparable to a tree, which rises from the
ground big and simple, and then is split up in
boughs and branches.

The researches and discoveries of the last
decade — which in 1902 received a powerful im-
petus from the great Loan Exhibition at Bruges
— are to be found in many Belgian, French,
English and German periodicals, mostly in the
forms of reviews of exhibitions, short notes, and
ascriptions rapidly thrown off, reports and
hypotheses. Only a few early Netherlandish
masters have been dealt with in comprehensive
monographs in book form. Sir Martin Conway
has mastered the gigantic material of attribu-
tions, suggestions and re-valuations, and has
done this extraordinarily exacting work with-
out pedantry, indeed with great temperamental
freshness. Not only perseverance but also dis-
crimination was necessary for such a perform-
ance. More particularly the author's judgment
shows itself in a negative form, that is, in that he
has disposed of and left aside many mistakes ;
for intance, the errors of Durand Greville and
the sterile hyper-criticism of Carl Voll, which for
a time had a checking and injurious effect in
Germany.

There is great clearness in the way in which
the whole material is disposed and set forth in
thirty -two chapters. First the author deals at
praiseworthy length with the preparatory stage
of the Van Eycks, the Netherlandish book-illu-
mination ; then follow several chapters on the
Van Eycks ; further, all the chief masters, like
Roger, Memling, David, each in one chapter,
while the lesser masters are lucidly treated of in
small groups. The illustrations (twenty-four
plates, each with four smaller but fairly clear
ones) gives well-chosen examples, many of them
unfamiliar and hitherto unpublished pictures.

With the keenest interest do we read Sir Mar-
tin Conway's considerations on the Van Eycks,
in particular his reply to the burning question
as to the relation between the brothers. The
Ghent Altarpiece mentions in its celebrated in-
scription both names, and that in a manner
which attributes to the elder brother, Hubert,

the main share in the Ghent Altarpiece, and in-
directly also the main share in the revolutionary
action which laid down the path which Nether-
landish painting was to pursue. But against
this, all other old sources make mention only of
Jan, not Hubert, and we possess by Jan works
authenticated by inscriptions, by Hubert,
strictly speaking, nothing, as his share in the
Ghent Altarpiece is by no means clearly and
indisputably apprehended.

Sir Martin Conway endeavours, like many
other critics of late years, to put Hubert at the
head of the evolution, in the sense of the Ghent
inscription, and ascribes to him all pictures of
Eyckian style, except for those which he, .on
account of their signatures, is obliged to leave to
Jan. Even the Rollin Madonna in the Louvre
passes from Jan to Hubert.

This conception is in that sense not quite
satisfactory, that the personalities of Hubert and
Jan do not become clearly differentiated from
one another. If Jan was a pupil and imitator
of Hubert's, who owes everything to the elder
brother, this uncertainty of the border line might
be explicable. Hut if you look upon Jan as a
genius, like his brother, then you are bound to
expect that his individuality becomes definitely
marked in contrast with his brother's. Sir
Martin Conway seems to feel this difficulty.
And this probably explains his tendency to be
noticeably critical towards the authentic work of
Jan.

Every art historian who has devoted himself
to early Netherlandish painting or to any section
of this subject, will be able to trace omissions
and mistakes in Sir Martin Conway's book. In
view of the gigantic proportion of the material
which has been mastered, it is inevitable that
gaps and misunderstandings should occur. I
should, however, on the present occasion prefer
not to give a list of the points on which I am of
a different opinion from him, because I do not
wish to lessen the expression of grateful recog-
nition and admiration of the performance as a
whole. The book is like a report, a balance-
sheet of what has been achieved, it marks the
conclusion of a period of research, and from this
I hope a new period of successful research may
begin.

UNPUBLISHED CASSONE PANELS— IV
BY TANCRED BORENIUS

N Umbro-Sienese artist of some in-
terest to the student of Cassone
panels is Matteo Balducci. A few
facts referring to his life were strung
, together already by Crowe and
Cavalcaselle' ; a contact with Pinturicchio,

which is evident from Balducci 's art, is con-
lirmed by his appearance as a witness to a record
of 150Q; in 1517, he was apprenticed at Siena to
Sodoma for six years, an influence of the latter's

1 Crowe and Cavalcaselle, History of Painting in Italy,
2nd ed. (Murray), vol. V, pp. 420-1.

CI,

m
tn

•T3
D

.22

;3
&

style being, on the other hand, scarcely notice-
able in Balducci's paintings; and as late as 1550
and 1553 we find him as municipal councillor in
Citta della Pieve, the birthplace of Perugino.
The short list of works, attributable to Balducci,
published by Crowe and Cavalcaselle, has since
been considerably extended ; the exhibition of
Sienese paintings at the Burlington Fine Arts
Club in 1904 brought to wider notice what is
perhaps his most attractive work, the delightful
tondo with Diana and AcUcon belonging to
the Earl of Crawford^ ; Mr. Berenson, in the last
edition of his Central Italian Painters, gives a
fairly long series of works by Balducci,' and of
his Cassone panels a few — including the pretty
Flight of Clcelia in the Morelli collection at Ber-
gamo— are reproduced by Dr. Schubring.*

Of a series of four decorative panels by Bal-
ducci, three now in the collection of Mr. W. H.
Woodward, and here reproduced by his kind
permission [Plate], are new to art litera-
ture.' The series was originally one of allego-
ries of the four seasons, the description of each
being stated in Latin on a tablet at the bottom
of the panel. Spring is symbolised by a
maiden in a light, flowing dress, fluttering in
the wind, who, crowned with a wreath of
flowers, and holding a bunch of sprigs in her
hand, stands in a garden full of blossoms.
Summer is a young, nude woman, seen in the
foreground of a landscape, where beyond a
cornfield — whence she has just got a handful of
gleanings — appears the quiet surface of a river
or lake, glistening in the moonlight : for the
scene takes place at night, and it need not be
emphasised how rare it is to find such an effect
of light in the work of one who still ranks as a
" Primitive." An influence of Beccafumi's

2 Reproduced in the Illustrated Catalogue of the above ex-
hibition, pi. XL.

3 Berenson, Central Italian Painters (1900), p. 137 sqq.

* Schubring, Cassoni, plates CXX, CXXL My view of the
authorship of No. 516 (Rouen), pi. CXX, I have stated in the
first article of this series (February, 1922, p. 75).

* I talce this opportunity of rectifying a statement by Dr.
Schubring ; The picture of the Story 0/ Camilla, by Matteo
di Giovanni, reproduced by him on plate CX, No. 471, as in
the Metropolitan Museum of New York, is now in the collec-
tion of Mr. Woodward.

dusky scheme of illumination can perhaps be
traced on this point. The personification of
Autumn is a semi-nude youth, enthroned, with
a staff twined round with a vine for a sceptre,
under a bower covered with vines weighted
down by grapes. (There is probably some sym-
bolism in the way in which the cloak terminates
abruptly half-way across the body, one foot
being shoed and the other not ; but the meaning
of this escapes me unless indeed it be an allusion
to the way in which autumn intervenes between
the heat of summer and the cold of winter.)
Whether the panel of Winter still exists is an
open question — in fact, it was from a different
source and at a different period that Summer got
re-united in Mr. Woodward's collection to
Spring and Autumn; so the possibility of the
fourth panel yet being traced is not to be ex-
cluded.

That Matteo Balducci should be recognised
as the author of these charming idyllic compo-
sitions— in which the tradition of the Mediseval
Calendar illuminations is still fully alive —
seems to me evident from a comparison of the
types of face and the treatment of the landscape
with what we find, for instance, in Lord Craw-
ford's Diana and ActcBon and The Flight of
Clcelia in the Morelli collection. Originally the
four tondos were perhaps meant to decorate the
walls of a room, rather than the ends of a pair
of cassoni. Visitors to the Casino Rospigliosi
in Rome will recollect the way in which, in the
Hall of Guide's Aurora, the four seasons are
depicted by Paul Brill at the ends of the friezes
of the two long walls : a much later instance,
of course, but perhaps not devoid of importance
as a parallel. I cannot recollect any case of
allegories of the seasons decorating a Cassone,
though Dr. Schubring ° refers to carved alle-
gories of the months on Cinquecento Cassoni.
On the whole, Quattrocento allegories of the
seasons do not occur very frequently. There is,
of course, Francesco Cossa's superb Autumn
(or October) at Berlin — a life-size figure — but the
context to which it belonged has yet to be deter-
mined accurately.

s Schubring, loc. cit., p. 208.

A NEW WORK BY NICOLA PELLIPARIO AT SOUTH

KENSINGTON
BY BERNARD

RACKHAM

MONGST the ceramic painters of
Europe the Italian maiolica potters
of the fifteenth and sixteenth cen-
turies will be generally admitted to
hold the foremost rank. Their work
as a body of craftsmen stands at an extraordi-
narily high average level, and some half-dozen

amongst them may be allowed the title of artist
without fear that the claim will be seriously dis-
puted. A leading place, if not the first place,
amongst these belongs to Nicola Pellipario, also
known as Nicola da Urbino, the founder of the
Fontana workshop.
The name of this artist has long been familiar

in ceramic literature, and his identity as the
painter of two celebrated services, one in the
Correr Museum at Venice, the other, bearing
the arms and imprese of Isabella d'Este, distri-
buted in various places. These two services are
generally admitted to represent the earliest work
of Nicola, executed some few years before the
first of his two dated works, the plate of 1521,
with a figure of King David, in the Basilewski
Collection at Petrograd.' We may place at a
slightly later date than the Correr service — about
1520 — another heraldic service, of which a plate
with the subject of Perseus and Andromeda
[Plate I, a] is one of the most beautiful ex-
amples of maiolica in the Salting Collection at
South Kensington (No. 798). This plate bears
an escutcheon charged on a blue field with a
bend or between three awls and in chief the label
with fleurs-de-lys of Anjou ; the identification of
this very distinctive blazon has so far evaded
search.- The shield is hung from the branches of
a tree, a device frequently adopted by Nicola
which finds its parallel in the tondo by Sodoma
lately acquired by the Louvre,^ Love and Chas-
tity, where a shield and quiver are similarly sus-
pended. The chief elements in the design on
the plate are derived from the woodcut of Per-
seus and Andromeda in the edition of the
Metamorphoses of Ovid printed by Giovanni
Rosso for Lucantonio Giunta at Venice in 1497."
The painter has modified only slightly the
figures of Andromeda (whose posture is re-
versed) and the gorgon, which is represented in
the form of a mediaeval dragon. The diver-
gence from the original in the figure of Perseus
is more conspicuous, but the derivation is still
clearly recognisable. The figure of Andromeda is
repeated again with little alteration, as Echo in
the Correr plate depicting Narcissus and Echo
[Plate II, c] ; this print appears to have escaped
the observation of the late Henry Wallis, who,
in his scholarly monograph'^ on the service sug-
gests that the composition may have been the
fruit of Nicola's own invention. It is true that
the Echo and Andromeda of Nicola are vastly
more skilful in treatment than the crude if vigor-
ous prototype I have argued for them, but the
Andromeda leaves little room for doubt as to
their derivation.

1 Figured in Delange, Recueil de faiences italiennes, pi. 55.

2 My colleague Mr. A. Van de Put has kindly assisted
me in this matter ; though his researches have proved fruit-
less I am none the less indebted to him.

3 See Les accroissements des musses nalionaux fran^ais—-
Le Musee du Louvre depiiis 1914. igig, pi. 14.

^ This cut has been followed in another maiolica plate with
the same subject belonging to Sir Otto Beit, K.C.M.G.
{Catalogue 0/ the collection of pottery and porcelain in the
possession of Mr. Otto Beit, 1916, pi. XXIVa) ; it is of Ur-
bino origin, probably one of the less careful works of Fran-
cesco Xanto, with lustre added at Gubbio.

5 Seventeen plates by Nicola Fontana da Urbino at the
Correr Museum, Venice, a study in early 16th century maio-
lica, 1905.

A second plate [Plate I, b] from the same ser-
vice as the Andromeda plate, lately sold at auc-
tion in London,** was purchased by Mr. Henry
Oppenheimer, who very generously presented it,
through the National Art Collections Fund, to
the Victoria and Albert Museum. The plate
had once before been exhibited at South Ken-
sington as a contribution from its then owner,
Mr. G. H. Morland. It was not, however, then
recognised as the work of the same artist as the
Correr and Este services.' Its subject is the
story of Callisto, the nymph of Diana, who in
punishment for her amours with Jupiter was
changed by Juno into a bear and attacked by
the hounds of her own son. Areas. The star
appearing below a spiral cumulus cloud of the
type that is a characteristic feature of the skies
of Nicola, refers to the translation of Callisto
to the heavens by Jupiter, to form the constella-
tion of the Great Bear.

In the drawing of the animals Nicola was
clearly inspired by the Florentine prints of
hunting-scenes of the school of Maso
Finiguerra, which were largely copied or
adapted by maiolica-painters.* The landscape
shows the luminous harmonies that give such
an alluring charm to the earlier works of Nicola ;
in none of them are the glowing layers of sunset
cloud above the horizon rendered with more
tender beauty. Henry Wallis suggested that
Nicola's love of landscape and his colour treat-
ment of it betray the influence of Giorgione.
There is an undoubted similarity, and the skies
of our painter remind one irresistibly of Gio-
vanni Bellini, which is to say that in spirit he is
essentially a Venetian ; but we must seek for an
immediate source of inspiration more readily
accessible to him, and we shall find it in the
engravings of Diirer. It is tempting to discover
analogies between pottery painting and the
major arts, but it must be remembered that the
maiolicari were craftsmen of humble preten-
sions, generally content to follow the guidance
of designs that could be brought within the
walls of their own workshops. Hence it is rare
to find them copying sculpture or fresco-paint-
ing except through the medium of engravings;
the St. George of Donatello and the frescoes of
Perugino are the only instances known to me.
In the landscapes of Nicola, the distant lakes
with clustered trees reflected along their margin,
the wooded hills with turreted castles and
gabled houses, which are so constant a feature,

"i Illustrated in Messrs. Sotheby's sale catalogue for Febru-
ary 3rd, 1922, lot 234. The relationship of the two plates
was first recognised by Mr. J. B. Caldecott.

' See J. C. Robinson, Catalogue of the special exhibition
of works of art at the South Kensington Museum, 1862,
p. 413, No. 5212.

8 Compare my article in the Burlinoton Magazine, vol.
XXIII (July, 1913), Sources of design in Italian maiolica,
p. 196.

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are all derived from the German master.' The
very distinctive trunl^s of foreground trees, as
on the Andromeda and Callisto plates, indicate
that Nicola was familiar also with the prints of
the monogrammist I.B. with the Bird, himself
admittedly an imitator of Diirer.'"

The service in the Correr Museum is the sub-
ject of a thorough examination in the mono-
graph by Henry Wallis to which I have already
referred. His critical acumen is proved not only
in his fine appreciation of the artistic qualities of
the paintings, but also by his ingenuity in
identifying the sources of their leading motives.
Many of the compositions are traced to the
Venetian Metamorphoses of 1497, from which
Nicola took his Andromeda, others to the
Hypnerotomachia Poliphili published at Venice
in 1499, and one to a Florentine woodcut illus-
trating the poetical romance of Ottinello and
Giulia. The subjects of two of the plates in
the service still remain to be identified.

The best-known plate of the set [Plate H, e]
represents Solomon kneeling before an idol
which stands on a pedestal before an arched
niche;" the numerals 1482 inscribed on the base
of one of the columns caused much confusion in
the earlier literature of the subject. As Wallis
pointed out, the inscription, so far from being the
date of the maiolica painting, is not even that of
the woodcut, in the Hypnerotomachia, which be-
yond all doubt the painter had in mind in com-
posing the design ; the cut in question [Plate
n, f] bears no date. The numerals must there-
fore be credited to a wayward fancy of the
painter, as also the meaningless lettering on the
corresponding base of the arcade.

Wallis saw in the idol which is the object of
Solomon's obeisance a reflection of a Florentine
type of the youthful St. John the Baptist.
Whilst some such reminiscence may have been

" Compare especially the copperplate Meereswunder and the
woodcuts of Samson and the Lion and The Knight in a Land-
scape.

'" P. Kristeller, Kupferstich und Hohschnitt in vier Jahr-
htinderten, 1921, p. 152. The Diana and Actccon of I. B. was
followed by Maestro Giorgio in the great Gubbio dish in the
Wallace Collection.

11 I have to thank my friend Mr. Harold Wallis for his
kind permission to reproduce his father's drawings of this and
the Echo plate.

in the painter's mind, it appears to me that his
immediate source for this detail is to be recog-
nised in the youth holding a standard in the
engraving by Marcantonio known from the most
striking figure in it as L'homme aux deux
trompettes.^^ A glance at the reproduction
[Plate H, d] shows that not only the statue but
also the enclosing archway (a feature absent
from the Poliphilus woodcut) has been taken
from this engraving. Repetitions of the old
man in conversation with the youth are discern-
able in details of both the bearded figures to the
right on Nicola's plate. The vase-shaped pedes-
tal of the idol, with its elaborate reliefs, was
recognised by Wallis as a borrowing from the
illustration in the 1497 Ovid [Plate H, g] of the
death of Achilles. It has been repeated with
slight variations in a Sacrifice to Diana on a
later dish, in the British Museum, bearing the
signature " Nicola da V." The statue to which
Wallis refers in the dish in the Basilewsky Col-
lection with the subject of Marcus Curtius is
another repetition of the youth in Marcantonio's
engraving."

Another armorial service of about the same
date as that comprising the Andromeda and
Calliope plates is distinguished by a shield bear-
ing a charge, again unidentified, of a white flag
on a ladder, the field azure. A large dish be-
longing to it, depicting Apollo and Midas, is in
the British Museum. This is to a large extent a
repetition of Nicola's dish with the same subject
in the Correr service, a woodcut in the 1497 Ovid
being the source of motives for both. Another
plate of this service, formerly in the Castellani
Collection, is in the Metropolitan Museum, New
York.'* Its subject, the death of Achilles,
based on another cut in the Ovid, shows the
pedestal for the statute used in the Correr Solo-
mon dish, but with diflferent sculptured details.

12 This engraving served as model for another maiolica
painting, a plate of unestablished origin in the Victoria and
Albert Museum (Salting Collection, No. 753).

13 See A. Darcel and A. Basilewsky, La Collection Basi-
lewsky, Catalogue raisonni, Paris, 1874, pi. XLV.

i< Illustrated in Catalogue of the collection of pottery, por-
celain and faience, by C. Chatfield Pier, 2141), but authorship
not recognised and date given as late as 1540-4S. .Another
dish of this service with Sacrifice scene, in Muscle Cluny, Pari.s.

(To be continued.)

THE PRUD'HON EXHIBITION IN PARIS
BY JEAN GUIFFREY

HIS exhibition ' was opened ju.st
before the centenary of the artist's
death, and at a moment that shows
that the many faithful friends who
surrounded Prud'hon during his life-
time have been replaced in our own day by a
large circle of passionate admirers. Prud'hon

' .\t the Palais dcs Beaux-Arts, Paris. Organised by M.
Henry I-apauze, M. Fauchier Magnan, and M. Groncowski.

occupies an exceptional place in French art. He
came at the moment when the French tradition
in favour of gradual change was broken, and
when a revolution took place in art with the
same violence as in society. Like the majority
of the artists of his time, Prud'hon accepted the
the new political ideals with enthusiasm, but
remained faithful to the old order in art. As
David loved to glorify the heroes of Rome and

Sparta, Prud'hon loved to retrace the most
splendid fables of Greece. In preferring Leon-
ardo to Raphael, he was audacious in his genera-
tion. He did not know Greece; he had never
seen those terracotta figures we all admire
to-day ; but he had astonishing intuition, curi-
ously associated with that simple predilection
of his for graceful and smiling young women
clad in filmy drapery. He did not attempt,
like David, to astonish his contemporaries by
the accuracy and elaboration of his reconsti-
tution of the past in details of dress, arms and
accessories, but attempted to reflect the Greek
outlook with greater truth by his favourite
practice of depicting the figure veiled in long
thin drapery. Using such subjects as episodes
in the life of Psyche, Venus, etc., according to
the practice of his predecessors, particularly
those of the eighteenth century, he managed to
give a new translation of the old stories. Through
him, if it had not been for David, the transition
from the eighteenth to the nineteenth century
would have been accomplished without blows, as
gently as that from the seventeenth to the eigh-
teenth. He was still so close to his predecessors
that in the last rearrangement of the Louvre his
works were placed, I believe with almost unani-
mous approval, among the eighteenth century
pictures, with which they appeared to be more in
accord than with the work of David and his
followers, though Proud'hon's art belongs to the
nineteenth century rather than to the eighteenth,
and his technique is nearer to G^ricault than to
Boucher.

Though the Louvre possesses Prud'hon's
principal pictures, those which, with the Venus
and Adonis of the Wallace Collection, mark the
important period of his work, the organisers of the
present exhibition have succeeded in collecting
some very important works as well as a number
of delicate sketches, several good portraits, and
a long series of admirable drawings. One can
see there the first and the last pictures which
Prud'hon painted. The former is a hatter's
sign, clumsily painted for some friend of the
boy's father, a worthy stonecutter of the little
village of Cluny. The latter depicts the soul in
the form of a gigantic winged woman, soaring
into the sky, while across the earth below a
serpent and a mass of stormy water are shown —
an allusion to the ardent desire of the unfor-
tunate artist to leave the earth where he had suf-
fered so much and where he had to spend his
last months in the despair of knowing that he
had perhaps been the involuntary cause of the
suicide of his pupil and friend, Mile. Mayer.
The picture remains unfinished, and in spite of
its moving subject cannot be considered one of
his best works.

However, the exhibition contains two master-

pieces, Venus au Bain [Plate I, b] and ZSphyr
qui se balance. He repeatedly sought a suitable
composition for the former picture, which is un-
finished and of which the exact date is unknown,
though it can be placed between 1810 and 1814.
He first represented the goddess standing, ac-
companied by cupids, and preparing to enter
the water. Then he stopped and began to re-
paint her sitting on the grassy bank, surrounded
by cupids, leaning the upper part of her body
towards its reflection in the water. The torso
resembles a Greek marble, and the whole work
has considerable grace and nobility. If the
composition of Vinus au Bain progressed by
slow stages marked by drawings and sketches,
the same cannot be said of the Zephyr, shown
swinging himself from the branches of a forest
tree. Nevertheless the figure in this example
is modelled with the greatest care. The Louvre
owns a preliminary sketch in monochrome of
the picture,^ which was shown in the Salon of
1814, two years after the Venus and Adonis of
the Wallace Collection. It marks the end of the
most brilliant period of Prud'hon's career, who,
with the fall of Napoleon lost some of his best
supporters.

Prud'hon's sketches have generally retained
a fresher, more harmonious colour than his
pictures, the shadows of which have turned
black owing to the use of too much bitumen.
Several very charming ones are shown in the
exhibition. We must stop before a sketch for
the celebrated Louvre picture Justice and Divine
Vengeance pursuing Crime, in which the land-
scape is larger than in the picture, thus lending
the figures a life and movement, almost com-
parable to a romantic work by Delacroix. A
monochrome of Love and Hymen in its good
composition and harmonious colour is reminis-
cent of an ancient cameo. The sketch for a
ceiling in the Louvre never carried out has a
rare quality of its own. It depicts Minerva lead-
ing the Spirit of Painting to Immortality.
Another sketch of a ceiling for the Louvre which
was carried out and exists to the present day,
represents Study guiding the effort of Genius,
is held by Edmond de Goncourt to be one of
the best of Prud'hon's works. We must re-
mark on an excellent sketch, unfortunately
rather blackened, of the Venus and Adonis
[Plate II, d] and another of Joseph fleeing
from Potiphar's wife, besides others of the
Creation, the Punishment of Adam and Eve,
etc.

Among the excellent selection of portraits is
that of the charming Mme. Copia, who could
not have failed to please Prud'hon since she
shows the captivating smile of Mile. Mayer,
although the portrait was painted at a
- Burlington Magazine, vol. XXXVII, p. 156.

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time— the last years of the eighteenth
century — when Prud'hon had not made
the acquaintance of that lady, who was
still studying under Greuze. Other out-
standing portraits are those of Count Sommariva
(kindly lent by the Brera Gallery, Milan), rather
in the English manner; of Talleyrand, another
patron of Prud'hon's, who made several portraits
of him ; of the Duchesse de Courlande and of
other pretty women of the period — Mine. Barbie
Walbonne, Mme. Piande St. Gilles, Mme.
Antoine Passy, etc. A special mention is due to
the sketches and drawings for the portrait of the
Empress Josephine at the Louvre and for the un-
achieved one of Mme. Dufresne.

There are nearly two hundred drawings on the
walls, many of very high quality. Every variety
is represented; scenes sacred and profane, alle-
gories and familiar subjects, portraits and furni-
ture; for the Exhibition includes almost all
Prud'hon's drawings for the marvellous furni-

VANESSA BELL

BY WALTER SICKERT

■ OOR David Scott, of Edinburgh,
,the brother of William Bell Scott,
Isaid, on his deathbed in 1849, " It
'takes a long time to know how to
Hive and work." " The ultimate aim
of criticism," said Coleridge, " is much more
to establish the principles of writing than to fur-
nish rules how to pass judgment on what has
been written by others." This quotation, which
I owe to Arthur Symons, embodies exactly my
conception of the function of criticism, though
I only read it since the Derby, which shows how
wise it is to wait. A great deal has been written,
and I doubt if they will leave off, about
" woman," with a capital W, in art, of course
with a capital A.

Woman, then (and this is no toast) has this
unsporting advantage over man, in her work,
that she is generally free from the more piffling
forms of dissipation, in which the lords of crea-
tion tend to waste a portion of their valuable
time and energy. I have never, for instance,
met a woman who thought that her status as a
painter would be, in some occult way, raised by
" being seen " at the Caf6 Royal, or who
would hit upon the ingenuous scheme of spend-
ing, at the beginning of her career, say, seven
of her best years, in advertising what the adver-
tisement has left her no time to produce.

We may believe, then, in the wake of the
poet, that when a woman has {he misfortune to
have art in her, it tends to be her whole exist-
ence. Physiology would teach us to expert
maternal passion, and sequence bordering on the
fixed idea, with, perhaps, a touch of intolerance.

ture made for Marie Louise and presented by
the Municipality of Paris on her marriage to
Napoleon in 1810. Later, in Parma, this furni-
ture was most barbarously destroyed to obtain the
precious metals with which it was ornamented.
One piece only survived, the cradle of Napoleon's
son presented by the town of Paris at his birth,
and made after Prud'hon's design. It is kept in
Vienna and the Austrian Government were kind
enough to send it to the Exhibition.

One cannot praise enough the charming draw-
ings of Dancers with tambourines and triangles
[Plate I, a, c], or those of Apollo and the Muses,
the Naiads, Venus and Adonis, etc. The draw-
ings constitute perhaps the most original and
personal part of Prud'hon's work. In any case it
is on them that his reputation will ultimately de-
pend, for already his bitumen charged paintings
are no more than shadows of their former selves.
To our grandchildren they will hardly be visible
at all.

Of this paradise of England— for I go further
than John of Gaunt — painting-pure cannot be
said to be one of the hobbies. And probably
for the very reason that it is a paradise. What
should they care for art who are wakened by a
housemaid with a face by Reynolds and a cap
by Chaplin, who walk, completely dressed and
booted, on pile carpets down staircases of sal-
mon and antlers, varied perhaps by Gustave
Dora's dream of Pilate's wife, to an English
breakfast, and to days on lawns of ages, and
nights at secular mahoganies. Art was invented,
Sir Claude Phillips will bear me out, as a con-
solation, and of consolation this island has no
need.

It is, curiously enough, generally in Liberal
papers that I find such adjectives as " upright,"
accompanied by bewildering adverbs like
" strenuously," as if the upright were not the
normal position. There are trade papers that,
month after month, deal out certificates of " sin-
cerity " to anyone and everyone. But sincerity
is nothing to write home about. Everybody in
the Edgware Road is sincere. But to pursue
painting-pure, in a country to which it is double-
Dutch, certainly requires a passion which is
rare.

The more one knows of a subject, the less one
inclines either to comparisons or to superlatives.
It is not so far from the truth to say that, once
an art is excellent, it becomes, in a sense, equal
to all other things excellent; it is of the family.
Vanessa Bell has been from the first a painter.
Instinct and intelligence and a certain scholarly
tact have made of her a good painter. The

medium bends beneath her like a horse that
knows its rider. In the canvas called The
Frosen Pond (Plate II, c) in the exhibition of
her work in the Independent Gallery, the full
resources of the medium in all its beauty have
been called into requisition in a manner which
is nothing less than masterly. She has given
to her modern women carousing, in the exhibi-
tion of the London group, a flower-like charm,
with an afterthought of the barnacle. I have al-
ways defended and admired, for their possi-
bilities, the subjects of Jordaens in Flanders, of
Bundy in England, and of Gaston Latouche in
France. There is more to a feast than to the tiles
and slates of the roofy school of Collioure and
Fitzroy Street. The subject of painting is, per-
haps, that it is not death. It is, perhaps, no-
thing more. It is possible that I am rather
specially qualified to praise and enjoy what I
believe is now called the " binge " in art, as the
reality has always been to me a thing from which
I am temperamentally averse.

It is not necessary, in the pages of the
Burlington, to defend or justify such portraits
as those of Mrs. N. and Mrs. X. as against the
commissions that do, or do not {vide inter-
views), satisfy the supergoose, as caller of the
tune. Still, language is a game, perhaps as
ancient, if not always as respectable as spil-
likins, and, being given a near relation, let us
say, who asked us, in all good faith, to find the
difference between the current commission and

the painting-pure, should we be hard put to, to
do so? I think not.

The difference between the both-eyes, both-
ears, both-hands and both-feet school of, say,
the statue of Irving, and the multy donahs with
the quisby snitches that pullulate on the lustre
teapots of the cadet grand-daughter of Emil Les-
sore, is, that, from the former, all that takes the
eye, and with it the heart, has been obediently
eliminated. It is as Cerebos to kitchen salt.
Cerebos is tidier and gives the waiters less
trouble. Still, the reason for being of salt is,
not tidiness, but savour.

Something happens under accomplished
fingers, when guided by passion, which makes
of the painter a conduit for strange insights
greater than, and outside himself, something
which the pottering cheque-book of the super-
goose can only baulk. It is love alone that
clings to what is unique and unusual in its
object, and makes, of what are called defects, a
desiderium in the light of which all so-called
beauties are decolorate.

What a different generation we are, may be
seen by the following quotations from the life of
Romney . —

Ophelia, with the flowers she had gathered in her hand,
sitting on the branch of a tree, which was breaking under
her, whilst the melancholy distraction visible in her lovely
countenance accounts for the insensibility to her danger.

And again (ibid.),

" The Milkpail overturned by a She-goat anxious to ap-
proach its Kid, which a Milk-girl is fondling," a happy and
clever thing, was also left incomplete for want of a suitable

THE DEVELOPMENT OF ORNAMENT FROM ARABIC

SCRIPT — II

BY ARCHIBALD H. CHRISTIE

The bold,
expressed

LTHOUGH the weaver was early
in the field, and distributed his
efforts over a wide area, other
craftsmen were at work at the pro-
duction of calligraphic ornament,
sharp brush-work of the potter
his decoration in a kind of
" short-hand," which, when applied to
writing, exposed it to very drastic, accu-
mulative chances and changes. Potters, like
weavers, were not necessarily men of letters ;
and in Spain in the fifteenth century they often
used in their work a language and characters
with which they were unfamiliar. The word
^UJI (" health ") which occurs in the last de-
sign of Fig. I, has, according to Seiior G. J. de
Osma," undergone a strange transformation at

11 " Los letreros ornamentales en le cerdmica morisca del
siglo XV." Cultura Espanola, No. 2. M.-idrid, 1906. See
also Leonard Williams, The Arts and Crafts of Older Spain.
London, 1907. Vol 2, p. 161, and A. Van de Put Hispano-
Moresque Ware of the fifteenth century. London, 1911.

the hands of this bold crafts-
man, who knows so well how
to subordinate everything to
decorative effect. Continu-
ally repeated, with the omis-
sion of the diacritical points,
and the prolongation of the
upstroke of the " y^," the
word ultimately assumed the
form seen in the lower
band of ornament on the
fourteenth century Spanish
Drug-jar, in the Victoria and
Albert Museum, drawn in
Fig. 7, a design of common
occurrence in Spanish art of
of this time. kig. 7.

Perhaps enough has now been brought to-
gether to indicate, at least, how one or two dis-
tinct varieties of calligraphic ornament came into
being. Incidentally some material has been

B^Thc Seine, by Vanessa Bell. Canvas, 26 cm. by 40 cm. (The Independent Gallery)

C—The Frozen Pond, bv Vanessa Bell. Canvas, 75 cm. by 61 cm. (The Independent Gallery)

Plate II. Vanessa Be

gathered that may help us to identify as orna-
ment of this type a number of examples which
occur scattered in many kinds of art work made
in Europe and elsewhere. It may not be pos-
sible to demonstrate the actual lines of growth
of these " sporadic " examples, for the links in
their life-histories are as yet incomplete. The
evidence already advanced indicates that the
causes which produced calligraphic ornament
were aliicays at work, wherever Arabic was being
used by craftsmen.

and the Spanish examples impossible. On the
other hand its resemblance to a band of carved
work on the wooden door of the church of La
Voute Chilhac, b, is apparent. If the floral en-
richment added by the illuminator is suppressed,
and the upright strokes brought together, the
designs are practically identical. If, as M. Noel
Thiollier thinks^' the Chilhac door is the work of
the master-carver of Le Puy, referred to
in the first part of this article, the
likeness of its unit to the central feature of

IIG. 9.

The design on the Spanish Drug-jar has
brought us definitely to pure ornament. But
fur the researches of Sefior de Osma, the origin
of this pattern would be as obscure as are those
of the examples given in Figs. 8 and 9, which
occur in mediaeval art work of England and
France. The repeated " lams " and " alifs "
of these, and of the Spanish variety are not
enough to bring them into close " specific " re-
lationship; this combination is a "generic*"
characteristic common to a large group of these
designs. It may, however, be worth while to
compare these few examples, and to note some of
their resemblances and differences. The first, in
Fig. 8, A. is from the border of an initial letter in
the Psalter of Isabelle of France, sister of St.
Louis, one of the treasures of the Fitzwilliam
Museum, Cambridge, acquired in 1919. This
manuscript is dated " before a.d. izyn."^^ The
appearance of this fully developed design at so
early a date makes any connection between it

the Le Puy border unit (Fig 3, a)
is not without interest. If not
actually from the same hand,
these two doors are certainly of
the same school and period, most
. .. ., IP ~ir ~ir "I probably the middle of the twelfth

' XJ UU 'JCJ {a) l/*J IaJ *^^"^"''>'- Continuing the same
■ ^"^ Q vem 01 comparison, if a nourish

in the unit of the Vich band

I'lG.

1= S. C. CocUerell, The Psalter and Hours of Isabelle of
France. London, 1905.

design (Fig. i, c) is suppressed and the
units rearranged, it becomes very like
that of a border in an English manu-
script Bible at Corpus Christi College,
Cambridge, given in Fig. 8, c. Both examples
date from the same time, the first half of the
thirteenth century. The first design in Fig. g
from the great Winchester Bible, written there
late in the twelfth century, again recalls the
decorated " lams" of the Le Puy border (Fig. 3,
a), from which, or from another version of the
same combination, the illuminator might easily
have derived it, freely translating its form into
pen-work. A pattern stamped upon the leather
cover 01 a book bound for Henry, son of
Louis VII of France, before a.d. 1146 (Fig. 9,
b), is another early English example. It is from
one of two volumes of the same date preserved
in the Library of the Faculty of Medicine at
Montpellier, which Mr. W. H. James Weale"

13 L'architecture romane dans I'ancien diockse du Puy.
Paris, 1900. p. 66.

!■» Book bindings and Rubbings of Bindings in the National
Art Library, South Kensington. London, 1894-98. Vol. »
p. XXIII and Vol. 11 p. 82.

identified as having been bound in England,
probably either at Winchester or Durham. Mr.
Weale described the design as a " band of
honeysuckle ornament," and remarks that both
this band and the interlaced cablework that
accompanies it " appear to be direct imitations
of Oriental work."

Some decorative borders derived from Arabic
script occur on the altar retable of Westminster
Abbey, now placed in one of the chapels ; these
are shown in the last drawing of Fig. 9. In a
note to the writer, Professor W. R. Lethaby
says that they are " reduced to simple orna-
ment, very like a crown," and he suggests that
similar borders on early stained glass, still exist-
ing in the Abbey, are also developments of
Arabic characters. One of these, from the frag-
ments of a thirteenth century " grisaille " win-
dow,^'' is shown in c, Fig. 9, This appears to
be an instance of an Arabic inscription becom-
ing incorporated with a piece of contemporary
ornament ; a particularly interesting case, for
here the final stage is the pictorial symbol of
kingship, a reversion of highly developed
script to a pictograph. We have seen already
how, when letters reach a certain stage of con-
fusion, the designer's instinct for clearness
begins to mould them into orderly forms, which
tend to lose all trace of their origin. We may
suspect that not a few examples of fully-
developed calligraphic ornament took yet an-
other step, and changed into the current designs
of the time, that they resembled most closely, in
much the same way that the incoherent,
" scribbled " units of the fifteenth century bor-
ders turned towards Lombardic letters. It is
dangerous to attempt definitely to cite instances
of this transformation ; for although we may
note tendencies in unstable, novel designs to
take on usual forms, it is obviously difficult to
identify patterns that have become merged into
one of the main streams of design, however
clearly their separate courses in tributory chan-
nels may be traced to remote sources. Two
examples, however, are submitted, with all re-
servations (Fig. 10). They are from a late thir-
teenth century silk fabric, woven in Sicily, now
in the Victoria and Albert Museum. Although
found in positions in the design corresponding
to those in which Arabic inscriptions occur in
other examples of the same type, they may have
no connection whatever with calligraphic orna-
ment ; but their resemblance to certain patterns
that may clearly be shown to have this origin
are suggestive. Both patterns are, of course,
common in medieval art.

With the scanty clues available it is hopeless

'= W. R. Lethaby, Westminster Abhey and the King's
Craftsmen. London, 1906. p. 300. Fig. 8, c, is also taken
from this work.

to attempt to trace the sources of the English
and French examples discussed. The process
of absorption of Arabic script into Western art,
working in other crafts on lines similar to those
indicated by the textile examples already cited,
must have developed forms of calligraphic orna-
ment before the Italian weaver had worked out
his contribution. The life-histories of some
examples may yet come to light in the products
of arts, which, like tooled leather work, had
ancient Oriental developments now known
mainly by their reflections in Western art. The
English book stamp is a clear case in point; its
patterns were evidently derived from the cover
of an Arabic manuscript.

That many of the developments of calligraphic
designs hitherto noticed have taken place in
countries where Christian and Muhammadan
craftsmen were working in close touch with each
other, is worthy of note ; for it may be that this
circumstance has some bearing on their genesis.
It must not, however, be inferred that examples
from countries where Arabic was in common
use are lacking. On the rich inlaid metal work
of Mesopotamia, according to Professor Stanlev
Lane-Poole'" " occasionally a meaningless in-
scription, consisting of a few decorated letters,
frequently repeated, takes the place of a genuine
inscription, and so far is this from being an
indication of late date (though it is perhaps more
common on late work) that it is found on objects
which undoubtedly belong to the thirteenth cen-
tury." An example of this use of lettering is
given in Fig. ii, from a medallion on an inlaid
salver in the British Museum, which bears the
two-headed eagle badge of .the Amir Baisari, an
Egyptian noble who died a.d. 1298. The circu-
lar border of this medallion is divided into six
equal spaces, in each of which a line of lettering
is inlaid.'' One of these is given complete at a,
the rest are similar but have different endings as
at B, c and D. Oriental ceramic art provides
other examples. The potters of Rhages, in Per-
sia, who produced finely-decorated wares before
the fall of that city early in the thirteenth cen-
tury, anticipated their Spanish fellow craftsmen
with a pattern, of which an example is given at
E, in the same figure. This is from a painted
tile of about a.d. 1200. The two following
designs, f and G, which Professor Sir
Thomas Arnold has kindly communicated,
are from minatures, daited a.d. 1307, in
a Mesopotamian manuscript. It is plain
that inscriptions of various kinds of Muhamma-
dan art work in the thirteenth and fourteenth

1' The Arts of the Saracens in Egypt. London, 1886. p.
183.

1' The ground of these little panels is covered with inlaid
" floral scrolls," which are omitted in the drawing, as they
are indistinct in the photograph from which this is taken.
Perhaps these scrolls are the remains of other .Vabic letters?

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centuries were undergoing changes similar to
those occurring in Europe at this time. As
Oriental metal-work, pottery, and books were
imported into the West, it is quite possible that
some calligraphic ornament was either taken
over, ready made, from objects such as these, or
adapted locally from imported inscriptions, and
enriched with secondary decoration of foreign
fashion.

The borders of certain Oriental rugs are deco-
rated with formal interlaced work, which is
usually described as derived from Arabic script.
Two examples of this ornament are shown in
Fig. 12, A and c, both from rugs in the Victoria
and Albert Museum. The first, of Turkish
make, from Asia Minor, is of sixteenth or seven-
teenth century date ; the second Caucasian, of the
eighteenth century. Inscribed borders are found
on rugs of early times; the three oldest known,
probably made in the early part of the thirteenth
century, now in a mosque at Konieh, have leg-
ible inscriptions in their borders, and this tradi-
tion has survived in Persian rugs down to our
own days. That these borders of lettering
underwent changes, and became formalised, we
know from the example drawn in Fig. 3, b. But
patterns so like these interlaced borders that they
seem to originate from a common source, occur
widely distributed in Muhammadan art, going
back to a date at least as early as the Konieh
rugs. A specimen (Fig. 12, b), from the painted
ceiling of a house in Cairo, is an eighteenth cen-
tury example, and an interesting early one from
a thirteenth century frieze of inlaid tile-work, in
a mosque at Konieh, is drawn at d, in the same
figure. If we compare these with the inscription
of the Spanish silk, given in Fig. i, d, their like-
ness to the interlaced decoration of the latter is
striking. In all probability the rug border pat-
terns are interlaced flourishes of calligraphv
which have taken on a new lease of life as inde-
pendent ornament, after the formalization or
disappearance of their parent lettering. Some of
the examples of English and French calligraphic
ornament, given above, may also have originated
in this way.

A PORTRAIT BY LAVINIA
BY TANCRED BORENIUS

LONGSIDE of the ambitious sub-
ject pictures of the Bolognese
masters of the late sixteenth and
early seventeenth centuries, the por-
traits of the same school and period
have inevitrifilv attracted less attention. At the
Mostra del RUratto held at Florence in igii,
this province of the Bolognese School was
plentifully represented and seen to considerable
advantage; but no attempt has so far been made

Arabic inscriptions in early Muhammadan
work are written in the formal, square " Kufic "
character, which was in common use during the
first centuries of Muhammadanism. As the
flowing " Naskhi " script came more and more
into general use, the Kufic hand, which differs
from it in many details, may have presented
difficulties to those not versed in its niceties,
similar to those which " black letter " occasions
to readers of modern Roman type, and these
difficulties were perhaps an additional factor in
the production of caligraphic ornament. The
Kufic character, however, long after it had been
supplanted by Naskhi for ordinary purposes, re-
mained in use for formal inscriptions, in much
the same way that Gothic letters are still the
fashion in some forms of Western monumental
work. The importance of this change of charac-
ter must neither be overlooked nor over-rated.

In putting together these notes the writer has
had, under stress of circumstances, to rely almost
wholly upon the material that came to hand in
the few books and photographs in his own pos-
session ; access to wider fields of study might
modify the impressions gained. The interest of
the question involved, the evolution of a highly
developed script — surely the most convincing
type of " information giving " element of deco-
ration that could be found — until, bereft of its
informative use, it attains an honourable place
as pure ornament on some of the masterwork of
mediaeval art, cannot fail to appeal to the imagi-
nation. And if he sees this script going
through all kinds of strange performances
in its endeavour to earn a precarious livelihood
under changing conditions, standing on its head,
changing into the semblance of characters of an-
other language, reverting to a form of primitive
picture writing, pairing and begetting a strange
progeny, and literally gaining its ends by hook
or by crook, he trusts he will not be accused of
exercising, as well as appealing to, his imagina-
tion.'*

■8 Grateful acknowledgments are due to Professor Sir
Thomas Arnold, for translating Arabic, and to Mr. S. C.
Cockerel], Mr. A. F. Kendrick, Professor W. R. Lethaby,
and Mr. G. H. Palmer for kind help in various ways.

FONT ANA

to deal with it comprehensively, great as its in-
terest both historically and aestheticallv un-
doubtedly is.

A Bolognese artist of the time about 1600,
who won special fame as a portrait painter, and
whose work at the present moment is but little
known, is a woman, Lavinia Fontana. Born in
1552, the daughter of the painter Prospero Fon-
tana, she was trained under her father, and also
felt the influence of the Carracci, the senior of

whom, Lodovico, was slightly younger than
herself and first studied under her father. Be-
fore 1579 she married Giovanni Paolo Zappi, a
member of a wealthy Imola family, who had
also been Prospero Fontana's pupil, and is said
frequently to have painted the draperies in La-
vinia's pictures. From Bologna, the fame of
Lavinia soon reached Rome, where she settled
in 1600, under the pontificate of Clement VIII,
and it was at Rome she died, in 1614. Her life
may be read, set forth with greater or smaller
circumstance, in Malvasia (1678), Baglione
(1642) and the interesting collection of artists'
biographies written about 162 1 by Giulio Man-
cini, phvsician to Pope Urban VIII, and to this
day' existing in MS. only. In Rome she was
apparently one of the most successful and
fashionable portrait painters of her day— in
Baglione's words, " ritrasse la maggior parte
delle Dame di Roma, e spetialmente le Signore
Principesse, e anche molti Signori Principi, e
Cardinali, onde gran fama, e credito ne acquist6,
e per esser'una Donna, in questa sorte di pittura
assai bene si portava." Mancini also relates
how she painted the portraits of the Persian
Ambassador in Rome and of the Shah of Persia
from a miniature— the view of the Persian diplo-
matist, " huomo molto discreto et giuditioso "
being that " fra le cose che haveva visto in
Europa, quella della Signora Lavinia gli pare-
va delle piij singolari "; he also expressed his
admiration for her work in a madrigal in Per-

SOME UNKNOWN WORKS BY
BY AUGUST L. MAYER

rHE oeuvre of Francisco de Zur-
baran, which his two most recent
biographers, Cascales y Mufioz and
Hugo Kehrer have attempted to de-

termine is more comprehensive

than these two authors assume. Apart from the
long-lost large painting, The Apostle St. James
in the Moorish Fight, which was recently trans-
ferred from English ownership to the Metropolitan
Museum of New York, and which can indubit-
ably be identified as the work which was once in
the collection of Louis-Philippe, I want only to
refer here to one or two quite outstanding works
by the Spanish master.

The National Gallery of Ireland in Dublin
owns a large picture of the Immaculate Concep-
tion [Plate I, a], till now attributed to the
Sevillan painter, Juan de Valdes-Leal. As a
matter of fact the picture has no relation what-
ever to that master; it is a late work of Zur-
baran, scarcely earlier than 1640. Like all the
works of the artist's last period, it shows dis-
tinct traces of Murillo's influence which has
destroyed Zurbaran's original harsh and austere

sian.' A pity that there should be so few in-
stances known of similar early exchanges of
artistic opinion between East and West.

The National Gallery of Ireland possesses an
important example of the art of Lavinia Fon-
tana, a large portrait group of the Duke of Man-
tua with his wife and family (No. 76). She is,
however, not represented in any public gallery
in London, and I am glad to have this oppor-
tunity of drawing attention to an authentic clue
to the style of an artist who cut a considerable
figure at the time, a portrait belonging to Sir
Lionel Earle, K.C.B., who kindly allows me to
reproduce it [Plate]. The picture is signed
in neat capitals below on the right " La-
vinia Fontana de Zappis fac. MDLXXXI," and
thus still belongs to the artist's Bolognese
period. The sitter, persumably a lawyer, is re-
presented in the act of writing a deed, some of
the minute script of which can be deciphered;
and it is interesting to notice how in style and
mise-en-scene the picture still carries on the tra-
dition, of which some of Pontormo's portraits
mark an earlier stage, and the curious portrait of
F. de Pisia, Papal Notary, by Andrea del
Sarto's pupil, Jacopo del Conte, in Mr. R. H.
Benson's collection, marks another. In these
quiet, sober portraits of lawyers and scholars at
work, the artistic formula of the early Cinque-
cento had a much longer lease of life than is
usually realised.

1 Cf. Cod. Harl. 1672, ff. 2i6r., aiyr.

ZURBARAN

style and substituted for it a gentle and soft
manner. The Dublin picture is very character-
istic of this. In particular the figure to the left
whose eyes are concealed by the Blessed Vir-
gin's cloak merits special attention. It doubt-
less represents Hope and is a companion figure
to the Faith, whose symbol, the anchor, is shown.
There is in the Morgan collection a charming
picture [Plate II, b] of a child. A Girl ivith a
Flower, dated 1646, described as by an un-
known Spanish master. This picture, too,
seems to me to be undoubtedly by Zurbaran, as
also The Man in Armour (1.25x0.64 m.), which
was put up for auction in the Dollfus sale in
Paris as an unknown Spanish work. In this
connection I should like to recall the delightful
double portrait of two sisters which passed from
the Ehrich Galleries in New York to an Ameri-
can private collection a few years ago. This
work does not only prove once more Zurbaran's
unusual faculty for portrait painting, especially
for the portraits of children, but of its particular
type, it is among the finest work of the whole
seventeenth century.

B — Portrait of a Child ivilh a Floivcr, here idenlilied as by Zurbaran
(Pierpont .Mi)rgan C(.)llerli(in)

Canvas, 87.6 cm. l)y 66 cm.

Plate II. Some L'nkiinwn W'oiks b\' Ziiri)aran

REVIEWS

Perspective as Applied to Pictures. Rex Vicat Cole.

New Art Library. viii + 279 pp. Illust. (Seely,
Service & Co.).

This is a courageous and tolerably successful
attempt to combine a simple statement of the
theory of perspective with its practice, by assum-
ing that the artist is before his subject and ex-
plaining how the rules of perspective may then
be applied. The book is specially notable for its
treatment, not only of the towers, arches and
pavements of the text books, but of the human
iigure, clouds and foliage ; and for the numerous
examples of the use of perspective by well-known
painters. The discussion of the structure of
different objects as a preliminary to their being
drawn in perspective is also likely to be useful.
Certainly, the student will realize from this book
that perspective may be more than a barren geo-
metrical exercise. But attention to practice has
submerged theory, and the result is rather a
collection of "tips" than a statement of principles
with their application. The emphasis through-
out is on lines rather than on planes, which
appears to make for simplicity, but in the end
leaves many difficulties unsolved. In short, the
book is useful for the solution of concrete, fairly
simple problems. But it will not give a student
that mastery of principle which alone can raise
perspective from being a cramping mechanism
to a pov/erful aid in design and construction. As
often happens, peptonizing a science has de-
stroyed much of its value. w. G. c.

Greek Vasi; Painting. By Ernst Buschor. Translated by
G. C. Richards, with a Preface by Percy Gardner.
180 pp. + 160 pi. (Chatto & Windus.) 25s. net.

The original of this work (second German
edition, Munich, 1915) is one of the most useful
contributions to Classical Archaeology and, no
less, to the general literature of art that has
appeared for some time. In it, for the first time,
we believe, in any language, we are presented
with a complete survey of the development of
Greek pottery from the earliest times to the
period of decline in the fourth century B.C.,
written in a manner at once sufficiently lucid and
untechnical to appeal to the beginner and ama-
teur, and scholarly and original enough to make
it of interest to the professed archaeologist. In
addition, it is by far the best illustrated work of
its kind of moderate size that has ever appeared.
Unfortunately, the same degree of praise can-
not be given to the translation. The language
is often stilted, at times almost to grotesqueness,
in the effort to reproduce the meaning of the
original more exactly, whilst now and again the
translator's choice of words sounds strange to
anyone accustomed to the terms usually em-
ployed by writers on the subject. None the less
he has performed a real service to the many
English art lovers unfamiliar with German, to

whom this handsomely bound and boldly-
printed book should serve as an admirable intro-
duction to a fascinating topic. c. d. b.

A History of Architecture on the Comparative Method.
By Sir Banister Fletcher. Sixth Edition. (Batsford.)
£2 2S. net.

More than sixteen years have passed since the
fifth edition of Sir Banister Fletcher's well-known
book appeared and was noticed in these columns.
It was then a volume of some 730 pages with
2,000 illustrations. In the new edition the pages
have increased by nearly 200, and the illustrations
by nearly 1,500. In its original form the book
was a miracle of compression. That miracle is
made still more miraculous now because the very
considerable increase in the contents has been
obtained without any great increase in bulk. To
combine a technical handbook, a history and an
encyclopaedia in one volume was the feat which
Sir Banister Fletcher achieved in the previous
edition. Now by the use of smaller illustrations
and smaller type he has succeeded in amplifying
and enriching each section of the work until it is
as nearly complete as any piece of human work
can well become. Whether it be Mycenae,
Tiryus and Knossos, or the Baroque, each sec-
tion of the book has been recast and enlarged,
the increases for the most part being most lavish
in the periods to which practising architects of
to-day most frequently turn. The American sec-
tion still remains brief, too brief perhaps, but the
author having always an eye to the needs of the
student has, perhaps, deliberately curtailed his
notice of buildings which have not yet the ap-
proval of time. Though primarily designed for
professional and technical use, the compactness
of the book, its clear plan, and its abundant sup-
ply of carefully-chosen illustrations make it a
fascinating possession for the layman and a
delightful means of expanding and solidifying
the architectural impressions of travel. Indeed
both in matter and form it surpasses any other
book of the kind which has hitherto been pro-
duced either on the Continent or in America.

C. J. H.

English Goldsmiths and Their Marks. By Sir C. J. Jack-
son, 2nd edition, 747 pp. + i pi. (Macinillan.) £-; 5s.

A new edition of this valuable work is wel-
come. It is largely a reprint of the former edi-
tion, with the information relating to the mark-
ing of gold and silver plate brought completely
up to date. Some hundreds of new maker's
names and marks are added, including some in-
teresting classifications of provincial marks.
The much-discussed Channel Islands' marks,
hitherto ascribed to Ireland, form an interesting
addition. For the first time are given the con-
fusing marks of Calcutta and Jamaica, which
suggest an English origin, but omitted is the

somewhat similar mark, which belongs to the
same class, used in Portugal during the Penin-
sular War.

It must be admitted that the records of the
marks on plate in this country have reached a
very high standard, in the publications of
Chaffers, Cripps and this author alone, yet the
greatest care is still required in assigning a mark
on plate to its proper category, as there are few
pieces of plate, even unmarked, which cannot
now be definitely assigned by their shape and
workmanship, not only to a period, but to a place
of origin. A mark given in the first edition of
this work, as a probable Newcastle mark of
1600-1625, is now definitely removed to Aber-
deen, with other examples found on seal-top,
lion-serjant and apostle spoons, disregarding the
fact that such spoons cannot claim to have been
made so far north. Surely the author has also
made an error in attempting to assign the miss-
ing London date-letter for the year 1478-9 to the
spoon described on page 78. There are in exist-
ence spoons bearing the Lombardic capital "A,"
but from its position on the spoon, this should
be regarded as a maker's mark. The mark pur-
porting to be " NI " is usually undecipherable,
and is placed where the date-letter ought to be,
while the leopard's head in the bowl represents
the type used between 15 15 and 1543. Further,
these spoons, judging by their shape, cannot
pertam to so early a period as the end of the
fifteenth century.

A MONTHLY CHRONICLE

Independent Gallery. — I do not know which
is the more difficult, to convince a connoisseur
that modern painting can be good, or to convince
a young " modern " who is not very successful
that connoisseurs know anything about art. It
is distasteful to divide art into modern and old
as there are no essential differences between two
works of art except that they belong to
different tendencies which are natural reactions
to each other and are perpetual. Every tendency
has produced great works of art and also works
which have failed to stand the test of time in
spite of their great bearing on their contempora-
ries. Thus we get a succession of waves whose
highest and lowest points are marked by noted
artists, or movements, in between which it is pos-
sible to place all other events. As there is no
means of foretelling what dimensions the waves
in contemporary art will attain (they do not im-
press me at present as very large), one cannot with
any show of reason allot to Marchand a definite
place in the hierarchy of already well-known
masters. What one can do with a fair amount
of certainty is to show the merits and defects of
his painting, not by comparing him with any
past painter but by judging how far he has gone
towards reaching the highest ideal in art, not

Many of the new marks given in this volume
are not reproduced with the same great accuracy
as prevails in the original editions. h. n. v.

GEuvRES CHOisiEs DE Maitres Belges. 6o pp. + 160 pi.
Brussels : (Van Oest.)

This volume is a memorial of the retrospective
exhibition of Belgian nineteenth-century art held
at the Musee Royal des Beaux Arts at Antwerp
in the summer of 1920. Dr. Paul Buschmann
contributes a prefatory sketch of the period
covered by the exhibition, and a long series of
work by the artists represented follows in excel-
lent half-tone reproductions. The custom of
thus perpetuating the results of an exhibition is
one highly to be commended, even if a number
of the artists passed under review have primarily
a local interest. Nevertheless Belgium did un-
doubtedly for a certain period during the nine-
teenth century hold a position of some consider-
able importance in the art life of Europe, thanks
to the Antwerp Acadamie des Beaux Arts. The
influence of this institution and the school of
historical painting which flourished under its
iEgis is widely traceable in continental painting
— notably in the schools of Germany and the
Scandinavian countries and in England — Ford
Madox Brown, who studied at Antwerp, owed
not a little to impulses received from the Ant-
werp masters. In consequence, the volume
cannot fail to possess, utility to students of the
various currents of art in nineteenth-century
Europe. T. B.

the ideal recognised either by the opponents
or by the supporters of modern painting, but that
indicated throughout the whole course of events
in art history. Let me criticise the art of Mar-
chand in the light of such an unattainable ideal :
the chief defect which strikes me is bound up
with his attitude towards his subject itself. His
excellently-painted pictures appear merely to set
down in their proper relation to each other a
certain number of statements without solving the
problem arising from the relationship. In Mater-
nite (20), for instance, while the design of the
central figure is successful, the oblong on the
left in the background ha,s no function in the
design, although as colour it is very well related
to the general scheme. Although this lack of
deliberation in composition is a feature of all
his works, on the other hand when it happens
that the subject itself has a suggestive combina-
tion of forms, I cannot point to a living painter
who can emphasise it better than Marchand. An
excellent example of this is La Source (14) in
which a slanting triangle on the left makes an
excellent transition to the slope of a hill (another
triangle), and the angle at which they meet is
accentuated by two nicely proportioned slabs of
rock on the right. The design is completed by

a cupola crowned by a rock which accentuates
strongly the shape of the hill. The vertical trees
break the monotony in a very pleasing way and
add to the space of the picture. Another excel-
lent example of that kind is La Belle Provengale
where the succession of the planes is denoted
very successfully. In Cascade, all the planes
slant towards a line almost in the middle
of the picture and are splendidly con-
trasted by a horizontal shape in the back-
ground. It may be of some interest to
note that Marchand, in order to get distance
and to contrast more strongly the angle between
the planes, resorts to the use of a slab of paint
placed parallel to and against the side of the
frame. This device can be traced throughout
his work from the earliest period. A question
which I cannot answer at present is whether the
slab is intentionally put there in the very be-
ginning in order to serve as a scale or key-note,
or is put afterwards as a correction. It is an
interesting though not a new way of getting
distance. Ghirlandaio, in his Visit of St.
Elisabeth (S. M. Novella, Florence), used a
similar means in running through the picture
a vertical plane, in that way obtained an un-
usual effect of space. Another characteristic of
Marchand's in dealing with space is the use of
parallel oblongs in landscape. Very probably
this may result later on in an excellent solution
of the problem of rhythmical repetition, but so
far these shapes repeated in the same size and
value, do not give a satisfactory impression.

The greatest change in Marchand's work is
in his colourings. From the vivid colouring
which he used to have he has passed to a quieter
and necessarily more restricted palette. There is
no longer the charm of the early Marchand
colour, but there is more seriousness and more
understanding of material. The greatest gain
from this is in dignity, just as the greatest loss
is in brilliancy. He still finds difficulty in
managing his reds, especially when they are in
full light. There frequently occur red roofs
which are not in keeping with the rest. At times,
though, his colouring reaches an unusual level
of attainment, as in the case of La Source, Cas-
cade and La Belle Proven^ale. The simplicity
of treatment, and great economy and taste in the
choice of pigments, as also the way in which he
relates them to each other is really remarkable.

Obviously, Marchand is still in an experi-
mental stage, and his best works are yet to come.
His importance lies chiefly in his being a
counter-balance to the other modern schools. He
is also practically the only living French painter
of any note who has refused to accept a formula
and to manufacture by it pictures in hundreds.
He prefers to fail at times, hoping to reach his
aim in course of time. It is the stubborn envy

and seriousness with which Marchand ap-
proaches every problem, and the excellent
qualities of a painter which he often shows, that
make me believe that if any of the living French
painters survive the present fashion it will be
Marchand. Whatever defects we may find in
his work, it is impossible to deny that he is the
man who, in his generation, has the most chance
of final achievement. R. A. Stephens.

The International Theatre Exhibition at
the Victoria and Albert Museum ought to prove
" damned good to steal from;" indeed, it was
in this hope that it was brought over from
Holland. " A new way of looking at an old
thing — this was our principal idea, and this idea
has freshened up that part of entertainment
which was growing dull," writes Mr. Gordon
Craig in the foreword to the catalogue. " We
based our changes on some of the oldest and best
traditions known to mankind, though we neg-
lected that ancient, and for some unknown
reason, respected tradition which orders you to
' do as was done last time.' We began to build
our theatres differently, we set our stage with
different scenes, and we acted our old and new
plays differently — not in every land and in every
city, but nearly in every land and in most cities."
Then comes at the end a gentle stab, characteris-
tic of a prophet in his own country, " and this
Exhibition is held in London, so that England
may prepare to do not merely what other lands
have already done — but much more." Mr.
Gordon Craig is probably sceptical about that
" much more "; for the English stage has to
move some way before even getting level with
the Continent ; but it is, after all, England which
produced Mr. Gordon Craig himself, who is the
most delicate, original and stimulating influence
in the whole movement. If he had had a share
of the practical energy of some who are indebted
to him for their ideas, he would have already
inspired here not only the expeiiments but the
general practice of modern stage production.
His drawings and models are the most beautiful
ones in the Exhibition. But here he has an
undue advantage over the majority of his fellow-
workers, for he is a fine and sensitive draughts-
man himself. His designs are works of art ; the
drawings of M. Appia are commonplace beside
them. But we must remember, and not only
in this room, where their work is hung together,
but in going round all the rooms that the ulti-
mate medium in which these ideas is to be im-
pressed does not require an artist's touch on
paper. This gift is important only in conveying
attractively at first sight the effect aimed at, and
the stage designer without it (many of them are)
has the right to ask us generously to interpret
his work in the light of his intention. We have,
in judging these designs, to imagine the colours

translated into stuffs of various textures, which
alter values ; and the proportions in the draw-
ings themselves, though relatively the same,
enormously enlarged, which again alters values.
There is a story of Gladstone discussing on the
Treasury Bench during a debate, who could
claim to be the ugliest member of the House of
Commons, which might be kept in mind while
looking at these designs. At the time Sir Wil-
liam Temple was an obvious favourite in any
such competition. Gladstone, however, with
rather unexpected subtlety, would not hear of his
being awarded the distinction. " No," he said,
vehemently, " magnify Temple and he would be
magnificent; but the more you enlarged X, the
meaner he would become." That is the test
here. The visitor to the International
Theatre Exhibition must constantly make these
allowances and imaginative efforts in judging
the work; pictures are to the art itself only
what an architect's drawings are to his. A pre-
liminary visit to the peep-show section of the
Exhibition, where scenery is seen still in minia-
ture as from an immense distance, but in the
round, may help the critic towards making this
necessary effort. Even, however, after making
allowance for Gordon Craig's superiority as a
draughtsman, in my opinion he emerges as a
head and shoulders above his fellow-workers.
His designs have a peculiar lyrical quality ; those
for The Tempest, for instance, seem like songs
made faintly visible. But as in the case of
Turner, the god of his universe is the sun, and
man is comparatively unimportant in it. Light
and Shadow are the great protagonists in his
sense of drama; and the question which the
dramatist asks himself somewhat uneasily in
front of some of these designs is whether Craig's
backgrounds may not be so effective in them-
selves that intricacies of character and the art of
the actor would be lost against them. Unfortu-
natelywehave not had an opportunity of putting
these doubts to the test; though a sense of the
human and the concrete seems to play a subor-
dinate part in most of Craig's designs. On the
stage, the foreground not the background must
focus interest; and in some of his designs this
essential fact is ignored, or it is taken for granted
that the living actor must inevitably compel
attention.

The work of various nations is assembled in
different rooms. The Russian artists show a

LETTERS

THE BERNINI BUST AT THE VICTORIA
AND ALBERT MUSEUM
Sir, — Will you allow me to offer a possible
explanation of the two names — Mr. Baker and
Milord Coniik — under which the original of
Bernini's bust passed among his contempora-

restless richness of colour; they seldom please
without astonishing, and please, when they do,
by a dazzling accumulation of emphatic detail,
often archaic, often symbolic. The German
room shows a determination to drive home at all
costs a strong, definite emotional, and often, crude
impression ; they are eminently practical even
when the effect aimed at is extreme, and in this
the Dutch artists resemble them. The English
show a tendency to borrow without logical co-
herence; they take without committing them-
selves to a scheme. The French are very scrap-
pily represented and the designs for Le Vieux
Columbier theatre in Paris give one no correct
measure of the achievement there under M.
Coppeau's direction. Mr. Robert Jones' work
stands out among the American exhibits as the
most significant. His background for Richard
III is particularly successful.

There are two schools in modern stagecraft.
By one school, scenery is conceived as a static
background ; as a compromise between some-
thing permanently pleasing to the eye and the
dramatist's directions as to hour, place and
properties; by the other scenery is conceived as
a translation into visibility of emotions intended
to be produced by the act or the whole play.
The work of the former aims at being purely
aesthetic or aesthetic and literal ; of the latter at
being aesthetic with a psychological or symbolic
significance. Between them are the compro-
misers, who, according to their temperaments,
cling to naturalism or pure decoration and sup-
plement it from time to time with a little
emotional symbolism. The danger of the
psychological school is to postulate a greater
and more inevitable correspondence between the
idea as expressed in literature and certain effects
of light, line and colour, than actually exists;
though the designer may have succeeded in
persuading himself that the shape of the play is,
say, undoubtedly " pyramidical," or its colour
" violet." With the dangers of naturalism we
are only too familiar; the static, pleasing, non-
committal background is certainly the safest. It
does not, however, attract the imaginative and
exploring temperament; artists of that tempera-
ment are striving after a closer unity between
the arts which meet, and so often quarrel, in
stage representation, and it is their work which
contributes most to the interest of this exhibition.

Desmond MacCarthy

ries? Mr. MacColl's guess cannot, it seems to
me, be accepted as satisfactory. At the time
when the bust was produced the papal agent,
Conn, was a middle-aged tonsured Dominican
friar. Surely it is in the highest degree im-
probable that his figure should be confused in

the memory of the Bernini family with that of
the young cavalier with his hair in prodigious
quantity, incomparably loose and free. The solu-
tion, I suggest, is that Coniik (or the name for
which that word stands) was an alias adopted
by " Mr. Baker " while in Rome. This was
the practice of English Roman Catholic travel-
lers in the seventeenth century, and many scores
of names and the aliases chosen to conceal them
are to be found in the index to tlie Douay
Diaries (vol. II, published by the Catholic
Record Society, 191 1.) It is unfortunate that
the Diary, usually very copious, is ex-
tremely scanty for the years 1630 to 1637, and
missing altogether from 1637 to 1641. There-
fore the absence from its pages of the names of
Baker and Coniik proves nothing. In the Pil-
grim Book of the English College in Rome
(Records of the English Province, vol. VI,
p. 608) an entry tells us that " Mr. Baker, a
gentleman of distinction " dined in the Refec-
tory on Nov. i6th, 1636; a date when we should
expect him to have recently arrived in Rome
with Van Dyck's triple portrait of Charles I
for Bernini's use. Vertue's account of the trans-
port of this picture, and of the making of
Baker's bust (MS. Add. 21 in, p. 6, under date
1 7 13) is given on the authority of " Mr. Ra-
gond. Carver." This man, no doubt a French
Huguenot refugee, may possibly have obtained
his information through some personal associa-
tion with one of the successive owners of the
bust. He may quite well have been employed
bv Sir Peter Lely or the Duke of Kent.
Yours faithfully,

Rachael Poole.
Oxford, June "jth, 1922.

ART " SCHOLARSHIP."
Sir, — I should be very sorry to see the Bur-
lington entirely given over to historians, art-
detectives and archjeologists, with their alj too
common facultv of enthusing over everything
in the world except the intrinsic qualities of a
work of art. In my opinion, the one test should
be that of artistic merit ; and anything, however
rare, which does not approach vour general
high standard is out of place. I even dare to
suggest that a rare plate-mark does not enhance
the a^sthetic value of silver work, and that a
mark on china is of no more importance than a
signature on a picture; also that the stitch of
an old piece of needlework is not necessarily
significant from the point of view of beauty.
From this sort of thing it is only a step back-
wards to stamp collecting.

Art " scholarship " can easily be overrated :
perhaps Germany supplies the best illustration
of this. There is no parallel to the slipshod in-
clusion of school works, copies — even modern
fakes — in German " authoritative " works on

the old masters, and there is no country where
careful tabulation is so developed in conjunction
with indifferent critical faculty. At the same
time, every country possesses its authorities
whose sole claim to omniscience is the publica-
tion of ponderous tomes on certain masters. It
usually takes about three expensively-produced
derivative works to establish the author in the
position of a leading autiiority on his pet
masters. Thenceforward the authenticity of a pic-
ture depends on the opinion (jf Mr., Monsieur,
Herr or Signor Blank, in spite of the fact that
scholarship and industry may be the criterion
instead of the necessary flair. There is also the
danger of elevating into first-class importance
the work of fifth-rate artists. This is particu-
larly the case in regard to certain Italian primi-
tives, which supply a happy hunting ground for
detectives bent on discovering the sublime in the
trivial. It is possible to be too learned in the
field of art.

May I say how admirable and stimulating are
the articles and illustrations devoted to modern
work? They prove that the fundamental prin-
ciples of art are the same whatever the period
of production.

Yours faithfully,

Hugh Blaker.

Old Isleworth.

P.S.— Mr. Walter Sickert's lofty disdain of
the Cezanne pictures, the principle feature of
the exhibition of French art of the nineteenth
century, at the Burlington Fine Arts' Club,
hardly rings true. But having said in the
Anglo-Trench Review that " Cezanne was by
nature deplorably, lamentably, tragically almost
incredibly wanting . . . and that his very in-
capacity produced a style which was his, the
like of which we shall not, it is to be hoped, be
asked to look upon again " — what was he to
do?

THE MIND OF COROT AND HIS
CHANGE OF STYLE.

Sir, — Mr. Roger Fry, in his article in your
issue of June which deals with the early pictures
by Corot, on exhibition in Paris, asks why the
artist changed from the austere Corot of the
Roman studies to the romantic Corot of the
dealers. He adds that the extraordinary purity
and simplicity of his character makes this falling
away difficult of explanation. Is not the explana-
tion the quite simple one that Corot, on the
psychic side, never quite grew up? He was
always the dutiful son and never really freed him-
self from parental control or its substitute. His
biographers show clearly enough that he always
accepted guidance and direction in the general
affairs of life as one of the consequences of this,
and this tendency would re-act on his art. His

first inspiration undoubtedly came from Italy,
and as Mr. Fry says, this caused him to see the
Lake of N^mi everywhere, even in the pond at
Ville d'Avray, and I may add he saw the olive
in his trees, even in the Gros Chene a Fontaine-
bleau. The fixity of this impression was no
doubt due to the great stimulus of the first real
escape from family authority by his journey to
Italy in 1825. Further, Corot's choice of subject
— always the calm of nature, rarely the storm —
betrays a possible lack of initiative and the ab-
sence of a " divine discontent " which led him,

AUCTIONS

Messrs. Sothebv, Wilkinson & Hodgf., July 3rd to 7th.
The second and final portion of the library of the late Michael
Tomkinson, Esq., including many notable illuminated MSS.,
iSth century printing, boolis in fine bindings and a copy of
the coloured issue of Blake's America: A Prophecy. June
26th to July gth, the very extensive and remarkable
so'ries of Egyptian antiquities known as the MacGregor Collec-
tion. This sale covers so large a ground that shortage of
space prevents our doing more here than calling attention to
its importance. Other sales announced by Messrs. Sotheby for
July include the fine collection of English and foreign portraits
in stipple, line and mezzotint, the property of the Baroness

GALLERY AND MUSEUM ACQUISITIONS.

once the severity of his early style was thrown
over, into sentimentality. Following the classical
trend while it subsisted, then without any low
motive but simply as the suggestible child,
Corot, thanks to environment, changed to his
later manner. For the art of the world his may
be called the " tragedy of the dutiful son," and
is writ large all through his life. But his tem-
perament, unlike Cezanne's, kept him happy
enough.

Yours faithfully,

Alfred Thornton.

Lucas of Crudwell and Dingwall (July loth-iith) ; drawings by
the old masters and oil paintings from various collections
(July I2th), among the most interesting lots on this occasion
being a design for a Tazza by Hans Holbein, in the style of
the well-known design for Jane Seymour's Cup in the British
Museum (No. 22) and a powerful Mirevelt Portrait of a Lady,
dated 1631 (No. 67), and a number of interesting paintings by
the old masters of the Italian, Dutch and Flemish schools
(July 19th), among the masters represented being Mariotto
.Mbertinelli, Bernardino Licinio, Corneille de Lyon, Nicolaes
Maes, D. Mytens, Gerard Terburg, Isaac van Ostade and
Gabriel Metsu.

NATIONAL GALLP;RY.

Antonio del Castillo v Saavedra. The Holy Family.

Canvas. 36 in. by 455 in.
School of Masaccio. Nativity. Panel. 8^ in. by 25 in.
Jacob van Oost, the Elder. Two Boys. Canvas. 22 in.

by 23 in.
Dutch School, c. 1500. The Birth of the Virgin. Panel.

26^ in. by 17 in.

These four pictures have been presented by Sir Henry

Howorth, through the National Art Collections Fund, in

memory of Lady Howorth.

NATIONAL GALLERY, MILLBANK.

J. S. Cotman. The Drop Gate. Oil. Presented by Sir
William Lancaster.

J. S. Cotman. Distant I'iew of Greta Bridge. Water-
colour. Presented by Mr. Leonard Bolingbroke.

J. S. Cotman. Durham. Drawing. Presented by Mrs.
Helen Hawksley.

J. S. Cotman. On the Greta. Drawing. Presented by Mrs.
Helen Hawksley.

Eric Kennington. Portrait of C. M. Doughty. Chalk
Drawing. Presented by Mr. T. E. Lawrence.

Eric Kennington. Muttar il Hamoud Min Beni Hassan.
Chalk Drawing. Presented by Mr. T. E. Lawrence.

Sir C. Holroyd. George Meredith. Bronze Medal. Pre-
sented by Lady Holroyd.

J. Havard Thomas. Cow and Calf. Marble Relief. Pur-
chased.

J. Havard Thomas. Irrigators. Drawing. Presented by
Sir Joseph Duveen.

A. Neville Lewis. Rag and Bone Man. Drav/Ing. Pre-
sented by Sir Joseph Duveen.

Mrs. Grace Whkatlev. Seated Woman. Drawing. Pre-
sented by Sir Joseph Duveen.

C. Conder. Windy Day, Brighton. Oil. Purchased.

BRITISH MUSEUM.
Print Room.
Drawings.

W. Miller. Ailsa Craig. (Engraved.) Water-colour.
R. Wilson, R.A. Views in Ualy. (Study for No. 303 in
the National Gallery.) Black chalk.
Prints.

School of DCrer. The Man of Sorrows and Mater

Dolorosa ; woodcut, undescribed.
P. M. .Alix. Four aquatint portraits printed in colours.
F. Janinet. Portrait of Crillon : aquatint printed in
colours.

.'\. Menzel. Thirty-five proofs of woodcuts illustrating
the works of Frederick the Great.
Ceramics.

Bowl of " Rakka pottery " painted in blue, brown and
green. Figure in the centre holding a sword. Purchased.

Dish of Roman mosaic glass in red, blue and white. Evans
Collection. Purchased.
VICTORIA AND ALBERT MUSEUM.

(The acquisitions marked * are not yet on exhibition.)
Ceramics.

" Blue and white " earthenware Dish, Frankfort-on-the-
Main ; 17th century. Presented by Stuart G. Davis, Esq.

Chinese porcelain Saucer, painted in colours and bearing the
mark of the Emperor Ch'eng-hua (1465-87). Bought.
Engraving, Illustration and Design.

*Perino del Vaga, Morabone and Ghisi. Designs for
Decoration, etc.

*T. .'\. Steinlen. Proofs of lithographs (2) and an etching.
Presented by the Artist.

•Rubbings (6) of reliefs from the Mausoleum of T'ai Tsung
(A.D. 627-650). Presented by J. Spicer, Esq., through the
National Art Collections Fund.
Metalwork.

Full suit of Armour, from the Michael Tomkinson Collec-
tion. Japanese, about 1800. Acquired with the assistance
of Lt. -Colonel H. Streatfield, D.S.O.

Objects from the W. Harding Smith Collection, including
a CiHNESE bronze libation-cup (chio) of the Chou dynasty
(1122-255 B.C.) and a Japanese helmet and quiver.

Brass Candlestick of rare type. Flemish ; 16th century.
Presented by F. Gordon Roe, Esq.
Paintings.

*J. J. Cotman. Telegraph Lane, near Norwich. Water-
colour drawing. Purchased.

*J. Farington, R.A. Carnarvon and Near Hastings.
Water-colour drawings. Purchased.

Fache. Miniature portrait of a man. Presented by J. Life-
tree, Esq.

*J. W. Slater. Miniature portrait of the Hon. Mrs.
Phipps. Purchased.
Textiles.

Chasuble with orpheys of gold and silk embroidery. English
work of the early' 14th century. Formerly in the collec-
tion of Monsieur Georges Saville Seligman.

Embroidered coat, baby-carrier, and two pairs of silver car-
rings, worn by women of the Black Maio tribe in Kuei-
chow province. South-west China. Presented by B. G.
Tours, Esq., C.M.G.

.■JO

Cntcifixioil. School of Avignon. Panel. (Monsieur L,. A. Ciaboriaud)

EDITORIAL : Admission Qharges

'N July loth the second reading of a

Bill entitled the " Economy (Miscel-
I laneous Provisions) Bill " was passed

in the House of Commons.* Clause

1 2 reads :

Notwithstanding anything in any Act, the Trustees of
the British Museum may, with the consent of the
Treasury, make regulations requiring payment to be
made for admission to the Museum at such rates and at
such times, and subject to such exceptions as may be
prescribed in the Regulations.

A heated debate preceded the reading of the
Bill, and many prominent members of the House
selected the above clause as a particularly per-
nicious one. The three main objections to the
proposal are obvious. It restricts the freedom
of those thousands for whom the Museum has
been during its whole history a pleasant place of
instruction and of refuge from the toil and mono-
tony of daily living. It seriously interferes with
the education of the young. It restricts the work
of the student.

The first and very relevant objection we may
here pass over, and to argue in post-war England
about the value of education appears for the
moment to be a waste of time. It hardly seems
too bitter a thing to pray that our inevitable
punishment mav come with speed and severity,
so that we may feel, since we cannot see, the folly
of our present mood before it is too late. One
would have thought, however, that the case of
the impecunious scholar would have appealed
even to the politicians. He has given so much

* On July i2th, the Government announced that the further
stages of the Economy Bill would be postponed until the
Autumn Session. Sir Robert Home, answering a question,
made the formal reply that there was no truth in the report
that the Bill was to be withdrawn.

A CRUCIFIXION OF THE AVIGNON SCHOOL
BY ROGER FRY

^ ^j-ggN spite of the research that has been
devoted to the French Primitives since
the beginning of the century, the
» <^Tu Avignonese school remains something
^=^of a mystery. It is mysterious because
among the comparatively small number of
examples of that school which have come to light,
there are two or three masterpieces of such sur-
prising quality, of such imaginative power, that
one cannot but suppose that they derive from a
bigger and more important school of painting
than any of which we have evidence either in
documents or in surviving works.

These works — the great Fieta> from Villeneuve-
les-Avignon, now in the Louvre, the Annuncia-
tion' of the Cathedral at Aix-en-Provence, and
perhaps the little Pieta now in the Prick collec-
tion, appear therefore in a strange isolation.

' Burlington Magazine, vol. V, p. 377 (July, 1904).
2 Burlington Magazine, vol. V, p. 295 (June, 1904).

at the British Museum

unrewarded time and labour to the community,
has been hit so terribly by these latter-day calami-
ties, has exercised for so many years a right of
entry to the British Museum, and can spare so
paltry a sum towards the replenishment of his
country's Treasury, that one cannot but feel that
our ingenious " economists " might, in mere
shame, have let him alone. We need not remind
our readers, some of whom are or have been
impecunious scholars, that for all such, con-
tinual visiting and re-visiting of the British
Museum is essential.

If this Bill should become an Act, the method
of applying the tax will be in the hands of the
Museum authorities themselves, and all who are
interested and experienced in the subject will
look to that quarter with confidence. The
Museum Trustees will have to choose, it seems,
between funds for acquisitions and free admis-
sion. It is our belief that it would be far better
in the long run to preserve the principle of a right
of entry for the public (for if that is once lost it
will be hard to regain) even at the heavy cost of
a temporary corresponding loss of acquisition
grants. But here we fear we are likely to be with
the minority. What we hope the Trustees will
do is to issue free passes to all serious adult
students and at least to certain school children.
By them better than by any other sections of the
community, the public, to whom the Museum
belongs, is represented. We cannot afford to
discourage them, for they stand for knowledge,
culture and civilisation. In short, we oppose
the " Economy Bill " simply on grounds of
economy.

These paintings have not at all the character
which we expect from a provincial school. They
show the originative power and masterly treat-
ment which we associate with great artistic
centres. We reproduce in the frontispiece^ yet
another work which may perhaps help to
amplify our conception of the school.

This has, what we may notice in all the works
I have named, the strange and moving power of
a quite personal and original conception. It does
not follow the dictates of any received formula
of mediaeval painting. It has the vivid intensity
of a quite personal artistic vision. The originality
lies of course not in the actual grouping of the
two figures about the cross, which from the sub-
ject would be inevitable, but in the spacing of
the figures and their placing in the landscape
background. It lies too in the strange dramatic

' Crucifixion, size 1.12 m. by 1.06 m.

The BuRLlNr.TON Maoazinf, .Nc. 2,13, Vol. XLl, .August, inaa

expression of the figures and in the wonderfully
subtle idea of arranging that the pale ivory tones
of the bloodless figure of Christ should tell, not
against the indigo of the upper sky but upon the
pale yellowish tones of the clear sky below. The
artist gives thereby remarkable unity to his com-
position which builds up parallel bands passing
horizontally across the composition. The breadth
and simplicity of structure which this gives to
the design shows that we are here dealing with
a genuine artist and no mere school craftsman.
The town, which probably represents Avignon,
is also treated in pale colours but with bright
touches of blue and red in the roofs. Below,
making another dark band, is a wild landscape
of rocks and bushes.

The whole effect, which only partly survives in
the reproduction, has a strangeness and poign-
ancy which makes one instinctively compare it
with the great Pietd of the Louvre. It does not
show by any means the same mastery of form nor
the same knowledge of the nude, but the imagina-
tive approach seems to me similar. Nor do I
think the forms entirely unconnected. The long
narrow features and the peculiarly high skull of
the St. John are not unlike the type of the Mag-
dalene in the Pietd.

But I do not wish to build too much on this
rather vague and general impression — certainly
not more than to suggest the possibility that this
may be the work of some earlier and less learned
contemporary of the unknown master of the Pietd.

The owner of this picture, M. L. A. Gaboriaud,
through whose courtesy we are able to reproduce
it, has also kindly communicated to me the

photograph [Plate II] of another Crucifixion
which is still in situ in the Chartreuse of Ville-
neuve-les-Avignons. The much-damaged fresco
is a work of such rare and strange beauty that
we offer no excuse for making it better known,
although it clearly belongs to a considerably
earlier date than the picture we have been dis-
cussing.

The fresco is clearly influenced by the Sienese
artists who worked under Simone Martini at
Avignon. The Sienese types are evident in the
Christ and the St. John the Baptist to the left,
but the Virgin and St. John the Evangelist are
quite original, showing that it is probably not the
work of an Italian artist but of some Porven9al
painter who had absorbed the Italian tradition.
But here, too, in the intensely poignant and
dramatic poses we experience the peculiar feeling
of the Avignonese artists. No less marked in
its original and local flavour is the wonderful
eff^ect got by the unusual spacing of the figures.

To return to M. Gaboriaud's Crucifixion, we
notice that here the Sienese influence has
almost evaporated and one may suspect influences
either from Northern France or even from
Flanders. That influence was destined to pre-
dominate entirely in the work of Nicolas Froment,
the one Provencal artist whose personality can
be established. Froment, however, shows him-
self very inferior to these more native Proven9al
painters, and lacks altogether that intense imagi-
native conviction which lifts this composition
above the level of many more accomplished but
less inspired works.

VESTIGES OF TRISTRAM IN LONDON
BY ROGER SHERMAN LOOMIS

HE romance of Tristram of Lyoness
was beloved above all others by
mediaeval artists.' Still in Au-
vergne the castle of St. Floret dis-
plays on its walls the adventurous
combats of the hero, and still in the Tyrol,
Schloss Runkelstein depicts his loves. But
other arts than painting contributed to the re-
nown of Tristram. A misericord in Chester
cathedral, an embroidery at Wienhausen in
Hanover, and two quilts from Sicily attest not
only the diversity of the arts which celebrated
this grreatest of lovers, but also the many and
remote lands which knew his story.

It is a fortunate coincidence which has brought
together after all these centuries so large a num-
ber of medieval illustrations of the Tristram

1 Bibliography in R. S. Loomis, Illustrations of Medieval
Romance on Tiles from Chertsey Abbey, 9-13, and Modern
Language Review, iqiq, 38. Add Malaguzza-Valeri, Corte
di Lodovico il Mora, I, 557.

romance in London. Though connected with
Arthur's court comparatively late in its career,
the legend of Tristram was from the first British.
The original Tristram was one of several Dros-
tans, Pictish kings, of whom we know next to
nothing.^ He appears in the Welsh triads, and
his name was early associated with Cornish Tin-
tagel. But not until the Norman poet B^roul
retold a Cornish tale of him in French verse about
1 1 50 or later does he appear outside the literature
of his native isle. Moreover, the theme of Tris-
tram seems to have held a special fascination for
the royal Angevin house and for poets under their
patronage. A half-sister of Henry II, Marie de
France, wrote in Anglo-Norman a Breton lay
about Tristram. Two daughters of Eleanor of
Aquitaine, Marie de Champagne and Matilda of
Saxony, were both patrons of poets who dealt
with his story ; in fact, it was probably during her

»J. B^dier, Roman de Tristan par Thomas, II, 105.

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^««s

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Pl:iip I \/p<;ti.cTpc nf Tristram in London

exile at the Angevin court in 1 184-85 that Matilda
procured the French poem which she had trans-
lated into German. Greater than any of these
poets was the Anglo-Norman cleric, Thomas,
who composed his romance of Tristram between
1 170 and 1200.^ Though two-thirds of the poem
is lost, a complete Norwegian redaction exists,
and from it we learn the fact that the housings of
Tristram's horse were red embroidered with gold
lions. The significance of this was suggested to
me by Professor Lethaby. In the reign of King
Richard I, two, then three golden lions on a red
field were blazoned on the royal shield. These
may have been also the device of King Henry.
At any rate, it seems probable that Thomas was
flattering an Angevin monarch by ascribing to
his hero the Angevin arms.* This Angevin con-
nection with Tristram has been corroborated by
a document brought to my attention by Professor
Lethaby. Among the Patent Rolls for the year
1207 is a receipt for the regalia, which mentions
" duos enses, scilicet ensem Tristrami et alium
ensem de eodem regali.'" These precious em-
blems were not among those which King John
" lost in the Wash," but seem to have been kept
in the custody of Peter des Roches, Bishop of
Winchester ; for it is he who attests the receipt of
the regalia at Clarendon in 1207, and it is from
him that in 1220 Henry Hi's treasurer received
the same. In the inventory which was made on
the latter occasion, the swords are merely de-
scribed as "Duo gladii cooperti de Rubeo Samito
frettati aurifragio." Apparently, during the years
in which they had been in the Bishop's keep-
ing, the association with Tristram had been for-
gotten. When Henry Ill's queen, Eleanor of
Provence, was crowned in 1236, there is men-
tioned for the first time the sword " Curtein,"
described as the sword of St. Edward the Con-
fessor. In the account of the coronation of
Richard III Curtana is described as pointless and
as therefore symbolizing Mercy." The name un-
doubtedly is connected with the French court,
short.

Now anyone familiar with the romance of Tris-
tram, if asked what was the distinctive feature of
the hero's sword, would answer promptly that it
lacked a piece from the edge or point, — the piece
in fact which stuck in Morhaut's skull at the time
that Tristram dealt him his death-blow. Now the
present Curtana, as everyone knows, dates only
from the Restoration, but the manuscript of Sir

3 A translation of Thomas's poem based on Old French
and Old Norse sources will be published within a year or so
by the American house of Dutton.

* R. S. Loomis, op. cit., 50. This matter I discuss fully
in a forthcoming number of the Modern Language Review.

5 T. D. Hardy, RotuU IJIterarum Patentium, 77b,
Ancestor, I, 135.

^ L. G. Wii kham Legg, English Coronation Records, _:,;,
58, 195. Matthew Paris, Chronica Majora, Rolls Series, III,
337-

Edward Walker, then Garter King of Arms,
assures us that all the regalia then made " do now
retayne the old names and fashion."' The same
manuscript shows us what that fashion was.
[Plate I, c] The point of Curtana is broken
off, leaving a splintered edge. At some time
after 1661 that edge was cut off square, and an
interesting vestige of Tristram in London was
thus partially obliterated.

Though in Henry Ill's time Tristram's con-
nection with the coronation sword had been
forgotten, his story was by no means forgotten.
Thomas's poem was the basis for the figure
designs in that elaborate tile pavement laid
down in the latter years of Henry III
at Chertsey Abbey. Most of the remaining
fragments of this pavement are now in the stores
of the British Museum. Thirty-four scenes from
the story of Tristram have been identified and
published.' Professor Lethaby' and Rev. P. H.
Ditchfield'" have both dealt with the Chertsey
Tiles in these pages in recent years; so I shall
content myself with notes on a few of the designs.

Thomas's romance tells how as a youth Tris-
tram was carried away from his foster-father's
castle on the Breton coast by merchants from
Norway, and was set ashore alone on the coast
near Tintagel, where Mark, king of England,
was holding court. Tristram comes to the castle,
and in the evening undertakes to rival the playing
of a Breton harper. He strikes the strings so
sweetly that Mark is captivated with the stranger
youth, and bids him play in the royal chamber
at night when he is sleepless. Tristram's harp-
ing is the subject of the first tile reproduced
[Fig. i]. Later, after Tristram's identity as the
son of Mark's own sister has been established,
the young hero proves an even stronger title to
the king's regard. Gormon, king of Ireland,
demands from Mark a tribute of sixty noble
youths and sends his champion Morhaut to en-
force the demand. The barons of the kingdom
come to Tintagel bringing with them their sons
to be chosen by lot. The designer of the tiles has
put into the countenance of the mourning barons
all the expression of which he is capable, and has
indicated their misery in the wringing of hands
and their tenderness in the fondling of the boys'
heads [Fig. 2]. Tristram induces Mark to re-
fuse the tribute, and throws down the gage to
Morhaut. In the combat which follows, Tris-
tram though wounded himself by Morhaut's
poisoned sword, cleaves through Morhaut's
helmet and mail cap, and bites deep into his skull,

' Edward Walker, Circumstantial Account of the Pre-
parations for the Coronation of Charles II, 7. MS. British
Museum Additional 30,195, fol. xv.

8 R. S. Loomis, Illustrations of Medieval Romance on
Tiles from Chertsey Abbey.

8 BuRi.iNCiTON Magazine, vol. XXX, p. 133 (1917)-

10 Ibid., vol. XX.XIII, p. 221 (1918).

so that a splinter, as we have already noted, re-
mains lodged there [Fig. 3]. It is interesting
to observe how closely the guard of Tristram's
sword as represented on the tile depicting this
scene resembles that of "Curtana" ; also to ob-
serve the lion rampant on Tristram's shield,
which so significantly resembles that on the
earlier shield of Richard Coeur de Lion — two

colour. The figures are outlined by a sort of
parchment, once gilt but now turned black, and
the belts of the knights and gowns of the ladies
are studded with the same material. Both sides
and top and bottom have been cut away, and the
compartments attached perpendicularly on the
right side must have been added from another
Tristram embroidery, since they are smaller in

FIG. 3.

FIG. 4.

curious hints of the connection which I have
proved between Tristram and the house of Anjou.
The romance relates further how Tristram,
tortured by his poisoned wound, has himself set
adrift in an open boat and is carried by chance to
Dublin, and by successful lying and skilful harp-
ing wins a cure for his deadly hurt from Mor-
haut's sister, the queen. Out of gratitude he in-
structs her daughter, Ysolt, in music. This sub-
ject inspires one of the most graceful of the
designs of the Chertsey artist [Fig. 4]. The
Chertsey Tiles may not have been destined for
the abbey church but for some princely palace,
perhaps for Windsor itself. How astonishingly
intricate and beautiful must have been the total
effect of the great pavement, composed of perhaps
two hundred roundels, depicting every scene of
combat, passion, ruse, and tragedy, of the en-
circling inscriptions, and of the exquisite foliated
patterns twining about them all.

As I have already mentioned, one version of
the Tristram story was carried to Germany by
Eleanor of Aquitaine's daughter, Matilda of
Saxony, about 1 185, and translated at her behest
by Eilhart von Oberg. This is the version fol-
lowed by the school of embroiderers in Thuringia,
one of whose products was bought from the Bock
Collection in 1864 by the Victoria and Albert
Museum." [Plate II, e.] It is a piece of ap-
pliqu^ measuring 7 ft. 11 in. by 3 ft. 4 in., and
was apparently intended for a wall-hanging. The
colouring, with all its simplicity, is delightful.
The backgrounds of the various scenes alternate
between red and blue. Besides white, the em-
broiderer has used shades varying from pea-green
to deep indigo and from a rich pink to plum-

" No. i37o'64. D. Rock, Textile Fabrics, A Descriptive
Catalogue (1870), 77.

size and the backgrounds are uniformly red. The
costume indicates that the work was done about
1370, and the general treatment is closely akin to
that shown in another Tristram embroidery, a
table-cover preserved at the cathedral museum of
Erfurt.'^ In both, the scenes are enclosed under
arches : both show similar costumes :. and most
of the scenes found on the South Kensington
hanging appear also on the Erfurt table-cover.
First, we see Tristram seated at Mark's side,
undertaking the search for the unknown princess,
whose golden hair has been brought in by the
swallows. Then Tristram's squire brings him
his sword, helm, and a shield barry azure and
argent. (In other scenes the blazon is argent a
fess azure.) The third compartment shows us
Mark bidding farewell to his nephew from a door-
way. Then Tristram and his squire, who have
been driven overseas by accident to Ireland, ap-
pear asking of a fleeing knight the whereabouts
of the dragon. In the next scene the hero,
mounted, drives his spear down the dragon's
gorge. In the row below we now find the horse
lying dead and Tristram afoot desperately strik-
ing with his sword at the dragon. The stroke
proves fatal, for in the next scene the monster
submissively allows Tristram to cut out his
tongue. As we know, the dragon's tongue
poisons the hero so that he fails to go to the King
of Ireland to prove his victory. Meanwhile the
cowardly seneschal of the Irish court rides out,
as we see in the eighth compartment, toward the
body of the dragon. Finding no one about, he
rashly resolves to claim the exploit for himself,

1- Anzeiger fUr Kunde dcr Deutschen Vorzeit, 1866, col. 14 ;
A. Overmann, Die Alteren Kunstdenkmdler der Stadt
Erfurt, 344 ; O. Doering, Meisterwerke der Kunst aus
Sachsen, 40a; Dedalo, 1922, p. 770; Monatshefte fiir Kunst-
wissenschajt, 1919, p. 166.

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D — Sicilian Coverlet, late 14th century. 3.2 m. by 4.1 1 m. (Victoria and Albert
Museum)

E — Thuringian wall hanging, appliqu^, circa 1370. 2.4

I in. I)\- 1. 01

ni. (\'irtoria and Albert Museum)

Plate II Vestiges of Tristram in London

and cuts off the dragon's head as evidence. In
the tenth scene he appears kneeling before the
king, the queen and the princess, holding up the
monster's head. The last compartment in this
row does not belong in this position, and, though
the gentleman and lady are doubtless Tristram
and Ysolt, the occasion cannot be fixed. On the
right of the embroidery two other pieces have
been attached. The first seems to represent King
Mark and a huntsman riding out from the castle,
and a fragment of the scene where the lovers lie
in the grotto. The other piece depicts the famous
episode of the lovers sitting beneath a tree beside
a fountain. There are no traces of Mark's head
among the foliage, and the conclusion follows
that this embroidery, like so much other mediaeval
work, was done by craftsmen after patterns whose
details they frequently ignored or misunder-
stood. Yet in spite of its stereotyped and crude
designing, the fabric is a highly effective decora-
tion.

The Victoria and Albert Museum also possesses
another curious presentment of the romance in
the form of a Sicilian quilt or coverlet (Cat. No.
1391, '04.) [Plate II, d.] This is made of white
linen, the figures being raised by padding and
outlined in brown thread. This fabric formed a
part of a far larger quilt, as Mr. Kendrick proved
to me bv the padding of certain containing lines
and by the end of the trumpet in the left-hand
border, which must have been attached to the top
of the right-hand border. Another piece of the
same coverlet, found at Usella, Italy,was attached
to the left in place of the present left border. The
South Kensington piece measures 10 ft. 6 in. by
9 ft. I in. ; the whole coverlet must have measured
about 16 ft. by 13 ft. 6 in. The costume indicates
that the work was done in the last quarter of the
fourteenth century. Professor Rajna has treated
both fragments exhaustively, though mistakenly
believing them to constitute a pair of coverlets."

Strange to relate Sicily was one of the earliest
lands to feel the charm of Arthurian romance, and
one where it took deep root. Norman knights
who heard the legends from Breton or Welsh
minstrels brought the tradition with them to
Calabria, Apulia, and Sicily. In 1165 a Greek
employed to lay a mosaic pavement in the
cathedral of Otranto included in his scheme the
figure of Arthur, doubtless in accordance with
Norman instructions." Richard Coeur de Lion
on his way to the East gave to Tancred of Sicily
as a gift to be treasured " gladium optimum Arc-
turi, nobilis quondam regis Britonum, quern
Britones vocaverunt Caliburnum."" And early
in the thirteenth century Gervase of Tilbury re-
corded the local Sicilian belief that Arthur dwelt

13 Romania, 1913, 517. See also Journal of Royal Institu-
tion of Cornwall, xvii, 142.

'•» Studi Mfdicvali, 1906-7, 11, 507.

15 Benedict of Peterborough, Rolls Series, II, 159.

in the heart of Mount Etna, awaiting the day of
his return.'" And we may be sure that in Sicily
as all over Christendom, there glowed from many
a wall rows of knightly figures and lissome ladies,
painted or woven in vivid colours. One of the
richest of such secular decorative schemes extant
is a painted ceiling in the Palazzo Chiaramonte,
Palermo, finished in 1380." That about this
time quilts adorned with illustrations of romance,
such as that at South Kensington, were well-
known Sicilian products is confirmed by a Floren-
tine inventory of 1386 mentioning " una coltre
ciciliana di drappo cum armi et dipinture a piu
colori." In the case of the Tristram coverlet the
"armi" are represented by the three horns on the
shield of Tristram and by the lilies on the shield
of Morhaut or rather Amoroldo. Prof. Rajna
has identified the horns as the cognizance of the
Florentine house of the Guicciardini. He has
pointed out also that the lilies occur in the arms of
the Acciaiuoli, to whom the Guicciardini became
allied in marriage in 1395. But he rightly doubts
whether the three lilies alone could have been
accepted as their badge.

According to Prof. Rajna, the exact version of
the romance used as a basis for the coverlet has
not survived but bears a close affinity to both the
Italian prose forms. We shall follow merely the
story as told on the South Kensington piece. The
inscriptions make elucidation of the scenes easy.
There has been some tampering with the order of
the scenes, however, which makes necessary exact
reference to their placing.

1. Right border bottom. Comu lu rre Languis mania
■per lu trabutu in Cornualia. How King Languis (of
Ireland) sends to Cornwall for the tribute. A galley
with a number of knights rowing, two ambassadors on
the poop, a pennant with three lilies flying.

2. Lower border middle. Comu {li m)issagieri so
vinuti al (lu) rre Marcu p(er) lu trihutu di secti anm.
How the messengers are come to King Mark for the
tribute of seven years. Under a baldaquin Mark hold-
ing up a letter. Two ambassadors kneel before him.
A knight stands behind them with sword drawn.

3. Right border middle. Comu lu rre Languts
cumanda chi vaia lo osti (in) Cornuaglia. How King
Languis commands that the host go to Cornwall.
Languis sits holding sceptre and pointing to Amoroldo.
To the left three men with upraised hands, and the walls
of a city. To right two ambassadors kneel, and
Amoroldo stands holding mace and glove, symbols of
ambassadorial office. .

4. Right border top. Comu lu Amoroldu fa bandirt
lu osti in Cornuvalgia. How Amoroldo causes the host
to be summoned lo Cornwall. Amoroldo stands raismg
one hand and holding the mace in the other. A man
holding glove and blowing trumpet, of which end is cut
off and appears in next scene.

5. Left border lower middle. Comu lu Amoroldu fa
suldari la genii. How Amoroldo recruits the men
Amoroldo gives money to knights bearing spears and
shields with the device of the lily. . .

6. Left border bottom. Comu lu Amoroldu vat in
Cornuvalgia. How Amoroldo goes to Cornwall.
Knights rowing galley, flying penn.int with lilies. Above

16 A Graf, Miti, Leg^ende, e .'iuperstizioni, II, 303.

iJ I.'Arte Italiana, 1S90. 37. P'- =5. 3" ; I?! ..Ma™' ^"
Pittura in Palermo, 28 ; C. Waern, Mediaeval Stctly, 250 ; U.
Sladen, In Sicily, II. 140; Colasanti, Volte e Soffitti, pi. 4. ?■

stands rowing master with wliistle or horn in mouth.
Amoroldo in poop.

7. Left border top. Comu lu Amoroldu e vinutu in
Cornuvalgia cu(m) xxxx galei. How Amoroldo has
come to Cornwall with forty galleys. Same as above,
except that in this galley the poop is occupied by the
rowing master and Amoroldo is absent.

8. Left border upper middle. Comu T{ristainu) dai
lu guantu aUu Amoroldu dela bactaglia. How Tristram
gives the glove of battle to Amoroldo. Tristram gives
Amoroldo, armed, the gage of battle.

9. Lower right. Comu Tristainu aspecta lu Amoroldu
alia isola dilu maru Sanca Vintura. How Tristram
awaits Amoroldo on the island of the sea, Saint Vintura.

10. Lower left. Comu Tristainu bucta la varca arretu
intu alu maru. How Tristram launched his boat back
into the sea. Tristram, armed, kicks away the sailing-
boat which had brought him to the island of combat.
His horse stands near with his shield hung from its side.

11. Middle right. Comu lu infa de lu Amoroldu
aspecttava lu patrunu. How the squire of Amoroldo
awaited his master. Amoroldo 's squire holds his
master's horse.

12. Middle left. Comu Tristainu feriu lu Amorolldo in
testa. How Tristram smote Amoroldo in the head.
Tristram and Amoroldo fight on foot, and Tristram
drives sword into Amoroldo's helmet.

13. Upper left. Comu lu Amoroldu feriu Tristainu a
tr{a)dimentu. How Amoroldo smote Tristram by
treachery. Squire rowing boat with horse. Amoroldo
stands up in it, holding bow as if he had just loosed an
arrow.

14. Upper right. Sitati de Irlandia. Cities of Ireland.
Gate, walls, and towers of city with heads of king,
queen, and three others appearing.

It is an odd coincidence that of all these illus-
trations of one of the world's great love stories
so few should have any concern with love. There
was one episode, however, from the adventures of
Tristram and Ysolt which not only was illustrated
in series, as we have seen on the German
embroidery, but also attained a remarkable inde-
pendent vogue among both writers and craftsmen
of the Middle Ages. The motif appears in
literary form among collections of anecdotes, and
crops out as a carving or an illumination or a
subject from embroidery. This is the scene of
the tryst which the lovers hold beside a fountain
beneath a tree. King Mark, apprised of the
meeting beforehand, mounts among the branches,
and awaits the coming of the lovers. First Tris-
tram arrives, and by chance catches a glimpse of
the reflection of the crowned head in the waters of
the fountain. He fails to rise when the queen
approaches, and she, alarmed by his lack of
courtesy, adopts a cold demeanour and in turn
discovers the presence of her husband. The two

lovers then accuse each other of causing the
slanders that have connected them in shame.
Thus they convince the spying king of their
innocence.

This subject is to be found on a carved ivory
casket, now in the British Museum, in juxtaposi-
tion with the subject of the hunting of the uni-
corn, thus presenting a moral antithesis between
passion and virginity. This casket, one of a
number of similar examples, has already been
treated in the Burlington Magazine by Mr.
Dalton.^* Another of the group is at South
Kensington. [Plate I, a.] Both date from the
early fourteenth century, and probably were made
in the same workshop at Paris. Though Tris-
tram's pointing to the head in the fountain is not
consistent with any version of the story, it is
probable that these carvings drew their inspira-
tion from the poem of the Norman B^roul, who
wrote a little before Thomas. This episode occurs
again on a carved wooden casket, made about
1350, now at South Kensington. [Plate I, B.]
At the left Ysolt stands, pointing at an oval hol-
low in the centre intended to represent a fountain.
On the right stands Tristram. In a tree above
appear the head and shoulders of King Mark,
who brandishes a sword.

It is a lucky coincidence that led to the gather-
ing together in London of so many memorials of
the great hero of romance. For it was largely
from the Angevin court that the impulse went
forth that made known to all the Christian world
his piteous story. And it was Thomas himself
who sang some seven hundred and fifty years
ago : "

London's a right rich city free,

Better is none in Christentie,

None worthier, none more filled with praise,

Furnished with folk that dwell at ease,

Lovers of honour and largesse.

They live in full greaLjoyousness.

The very heart of England's there,

You need not seek it otherwhere,

There Thames runs by beneath the wall.

Where pass the merchant vessels all.

From every land both high and low

Where Christian merchants come and go,

There men full wise and cunning bin.

18 Vol. V, p. 301.

i» Translated by Dorothy Sayers, Modern Languages,

I. 143-

THE SEICENTO AND SETTECENTO EXHIBITION IN FLORENCE
BY COUNT CARLO GAMBA

HE reaction against the academics
and the mannerists of the end of the
Cinquecento aimed at bringing art
back to the direct study of nature
and its interpretation by means of
values of colour and illumination. This re-
action was achieved, in the first instance, not
by the Carracci — followers of rules rather than

of the dictates of temperament — but by Michel-
angelo da Caravaggio.

Having as a youth grown up before the paint-
ings of the Brescian artists and Lotto, his genius
formed itself through the study of the chiaros-
curo of Leonardo and Giorgione's chromatic
warmth, which he seems to blend in a new and
true synthesis when creating the Calling of St.

A~The Calling of St. Matthew, by Caravaggio. Detail. Canvas. (S. Luigi dei
Francesi, Rome.)

B — The Blessing of Jacob, b}- Bernardo Slrozzi. Can\as. (Pinacoteca, Pisa)
Plate I. The Seicento and Settecento Exhibition in Florence

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Matthew in S. Luigi dei Frances! [Plate I, a] :
whilst in its companion piece, the Martyrdom of
St. Matthew the dominating note is that of the
Michelangelesque plasticity — without a trace,
however, of mannerism, so as to recall the style
of Tintoret. Caravaggio chooses his models
from amongst the common people as in the
Madonna of S. Agostino, and creates natural-
ism. He studies the effects of twilight and re-
flections in the taverns, as in the Christ at Em-
maus in the Patrizi collection, and creates the
style known as tenebroso ; he stops at every detail
and reproduces with the most vivid sense of the
material the most humble objects and the pro-
ducts of the soil, and creates still-life as in the
Bacchus of the Uffizi. Above all, this realism
and these conquests are controlled by a most
effective dramatic power, as in the tragic sub-
jects in S. Maria del Popolo and the Death of
the Virgin in the Louvre: all works which, at
present, can be admired in the Exhibition at
Palazzo Pitti.

In Italy, Caravaggio soon found apostles of
admirable technical ability of whom we can
here admire Serodine, hitherto unknown to the
public, with a Charity of S. Laurence; Mola in
his first manner; Manetti of Siena with the pala
from S. Pietro alle Scale; the Gentileschis,
father and daughter, whom we here learn to
differentiate. The Caravaggesque influence on
Orazio GentilescHi is passing, partial and shared
with Guido Reni : but under it can evidently be
traced a Tuscan substratum. On the other hand,
in the art of Artemisia, the daughter, that influ-
ence is of a more essential importance, both
as regards the forms and the colouring, and
marks a link with the Neapolitan school. Bor-
gianni is also represented by works of real sig-
nificance, as for instance the great pala from
Sezze, restored to him by R. Longhi, who re-
cognises in it impressions of Greco.

One may also, on account of his study of
light, place Guercino in his first and finest
manner among the Caravaggesques, as in the
St. William of Aquitania from Bologna; and
his brother Paolo Antonio would still more
definitely belong to the same category in case
some still-life pieces here exhibited are his —
much less detailed than the Flemish ones, but
all the more massive.

But as a make-weight to the influence of
Caravaggio many other currents of art may be
traced in the Peninsula, marking a struggle
with his conceptions which seemed brutal and
his treatment which seemed gloomy.

Baroccio, with his rich and luminous variety
of shades, after the manner of Correggio, had
had a very widespread influence, which extended
to Tuscany, Genoa, Lombardy and more par-
ticularly Rome, where his art impressed Rubens.

The latter derived from it many elements, blend-
ing them with the Venetian influence : and was
thus able to give back to the decadent Venetian
school the externals of its old splendour through
artists radically influenced by his art. To his
fellow-countryman, Jan Lys, to the Roman,
Domenico Feti, and to the Genoese, Bernardo
Strozzi, a room is devoted at the Pitti in view of
the common influence they exercised on Venice
where they settled. There, above fiery and rich
canvases by Strozzi — like Christ Washing the
Apostles' Feet from the Accademia Ligustica,
the Madonna from the Maison Laffitte, and the
Blessing of Jacob from the Pinacoteca at Pisa
[Plate I, b] — and the luminous and atmos-
pheric pictures by Jan Lys {e.g., the St. Jerome
of the Tolentini), extends the gigantic lunette
of the Multiplication of the Loaves and Fishes
painted by Feti for a Mantuan church, with
great vivacity of grouping and lightness of
colouring. Better than their pompous and elab-
orate followers (Celesti, Zanchi, Fumiani) we
are able to appreciate here the Vicenzan, MafFei,
who paints with a luminosity, a lightness and a
richness of tints which seems to form the link
between the great masters of the Cinquecento
and those of the Settecento.

A more scholarly and refined reaction against
the Caravaggesque movement is marked by
Guido Reni with his silvery harmonies and
counter-reformation sentimentality, from which
developed that current of Jesuit art, which
appears triumphant over the Baroque altars of
Rome with Sacchi and Maratta. By Guido
there are well-known masterpieces of every
phase of his career, the Massacre of the Inno-
cents, the Atalanta, with its difi'used twilight
tonality, the S. Andrea Corsini, a real sym-
phony of clear tones, and others.

Apart from the Hunt of Diana by Domeni-
chino, there is also extensively represented the
most profound and pathetic of the Bolognese,
Tiarini, leaden in colour — possibly from an art-
istic training in Florence — as, for instance, in the
vast canvas from Reggio Emilia representing
the Martyrdom of St. John the Evangelist.

The masterpieces by the Modenese artists
Schedoni and Cavedoni and by the Ferrarese,
Bononi, form one group through the common
tendency to give relief to the figures with
strongly illuminated contours. They continue,
however, very different traditions, Schedoni that
of Correggio, Cavedoni that of Paul Veronese
and Bononi that of Dosso.

The Emilian group is closed at length by
Giuseppe Maria Crespi, who, with his light and
brilliant lighting achieves a transparent and
tremulous plasticity, and through his pupils;
Piazzetta and P. Longhi, contributes to the
formation of the Venetian style of the Settecento.

In addition to the Fair from Poggio a Caiano,
and the Massacre of the Innocents from the
Uffizi, we can here admire some of the magnifi-
cent Sacraments from Dresden, together with
the replicas from Castel Gandolfo lent by His
Holiness Pius XI [compare Plate II, d].

Among the final and triumphant exponents of
the tendencies of Caravaggio, the great decora-
tors of domes and ceilings, Pietro da Cortona
shows his exuberant imagination in the Sacrifice
of Solomon, lent by Prince Corsini. Baciccio,
Padre Pozzo and Luca Giordano are the prin-
cipal representatives of this festive and gor-
geous style which culminates with Tiepolo.

Also the principal offshoots of the chain which
connects the Renaissance with the sunset of the
purely Italian art are worthily represented in
the Exhibition.

The Neapolitans are present with capital
works : the great Pietd by Massimo Stanzioni,
the Triumph of David by Vaccaro, the Libera-
tion of St. Peter by Caracciolo, a follower of
Caravaggio, the Silenus by Ribera, etc.
Amongst them, the most brilliant is Mattia
Preti, whose dramatic effects are obtained
through livid play of light and shade : he fasci-
nates us here with the Feast of Belshazsar, with
the Crucifixion, belonging to the Duca d'Al-
baneta, with the Martyrdom of S. Gennaro, and
other works : while Bernardo Cavallino diffuses
his tender light on silk dresses, relieving the
spiritual compositions against delicate twiligrht
[compare Plate II, c]. Luca Giordano is
specially effective in his splendid masses of
luxurious vegetables close to the rustling of
irrigating waters : and alongside of these, fishes
by Recco, fruit by Ruoppolo and flowers by
Belvedere bear witness to the accomplishment
of the Neapolitan school in still-life painting.

And simultaneously with the great decorators
of the succeeding generation — like Solimena,
De Mura and Giaquinto — Bonito delights us
with some genre scenes where the Neapolitan
vivacity replaces the better known and somewhat
affected gracefulness of the analogous Venetian
subjects.

The Tuscans shine with lesser lustre, certainly
not from the lack of knowledge of drawing or of
taste, but from exhaustion of the constructive
force and imaginative power. Nevertheless, one
cannot but admire Cristofano Allori, Furini,
Volterrano and Carlo Dolci, as represented
by the Portrait of a Conte Bardi.

The Lombards during the Seicento rose to a
high level, going back to the pictorial tradition
of Gaudenzio Ferrari, revived by the Bolognese,
Giulio Cesare Procaccini, who as we see here
blends Baroque forms with Parmigianinesque
harmonies and elegance. The passionate note of
the conceptions, and the fluidness and richness

of colour in his followers is here patent even in
pictures of modest size by Morazzone and Cairo
[compare Plate IV, g]. Better than in the Ma-
do7ina from the Brera and the delightful little
Miracles of St. Francis, the monumental quali-
ties of Cerano may be appreciated in the tempera
picture lent by the Marchese Campori, possibly
a partial replica of the Nativity of S. Carlo Bor-
romeo in the Duomo of Milan. As regards
Daniele Crespi, he is deeply moving in his St.
Charles in the Cell from the Chiesa della Pas-
sione at Milan. To this school also belong some
vivid still-life pieces by Baschenis, Boselli and
Crivellone, with musical instruments, articles of
silver, fish and poultry.

At Genoa, the genius of Strozzi gave to his
contemporaries greater knowledge of the charac-
teristics of the race ; hence we witness the de-
velopment of articles of expressive imagination
and robust technique like Domenico Piola, An-
saldo, the De Ferraris and others here repre-
sented. Further, the influence of Van Dyck with
his flowing and delightful brushwork attracts
the younger artists, like Valerio Castello, Bis-
caino and Benedetto Castiglione, whereas Ba-
ciccio at Rome gets drawn into the whirlpool of
the following of Pietro da Cortona, giving ex-
pression in painting to the ideals of Bernini.
As regards the last great Genoese painter, Mag-
nasco, we can follow him in the development of
his fantastic spirit and sparkling brushwork
across his caves peopled with gipsies and his
monasteries in which Ariost's restlessness seems
to tremble. And his brilliant technique had a
great influence on the development of Settecento
art, since a pupil of his was Marco Ricci, from
whom descend the Venetian school of landscape
painting and Guardi's spirited and sparkling
technique of sketching.

Thus, all the most vital currents of Seicento
art — from the Neapolitan to the Bolognese, from
the Roman to the Genoese — meet in Venice to
create the last great National School.

Of the first imaginative colourist of the
school, Sebastiano Ricci, we may quote some
canvases of his early manner decorating here in
Florence, the ancient Palazzo Marucelli, and of
a later period, one of his most carefully wrought
masterpieces, the pala from S. Alessandro in
Colonna at Bergamo. Pittoni captivates us
through his decorative elegance, in the end
somewhat after the French fashion.

Powerful through his dramatic strength and
vigour of colour i.« the impression conveyed by
Piazzetta in masterpieces like the Immacolata
from Parma, the Ecstasy of St. Francis from
Vicenza, the Decollation of the Baptist from
Padua, etc. [compare Plate III, e]. Among his
pupils we here learn to know and appreciate Cap-
pello, who produced, especially at Bergamo,

E — Judith and Holofcrucs, bv Piazzetta. Canvas. (Lazzaroni Collection, Rome)

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F — Christ in the Cardcn, by Giuseppe Bazzani. Canvas. (Prof. Podio, Bologna)

Plate III. The Seirento and Settecento Exhibition in I-'lorcnce

G Martyrdom of SS. Ritffiua and Seconda, by Morazzone. Crespi and Procaccini. Canvas. (Brera,

Milan)

Plate IV. The Seicento and Settecento Exhihiticin in Florence

A—St Agatha, English, early B—SS. Barbara, Jerome, Catherine, Eloy and Veronica. English,

14th century ' third quarter of the 14th century. (No. 20)

Plate I. Unidentified English Embroideries in the Museum Cinquantenaire in Brussels

works of distinguished quality, like those which
decorate the Casa Bonomi and the Casa Maz-
zocchi.

Tiepolo specially displays his robust tempera-
ment in youthful works influenced by Piazzetta,
as in the grandiose scorci from Ospedaletto and
certain little scenes hitherto attributed to Ricci
and others. Of his better-known manner we can
here admire the magnificent Querini portrait, the
luminous pala from Noventa Vicentina and the
Baptism of Constantine from the parish church
of Folzano in the province of Brescia.

From the brush of anotlier Venetian, variously
influenced, who brought credit to his native
city wandering through Europe, viz., Jacopo
Amigoni, there are some small allegories which
are rather charming in their floury and milky
technique; and also some sumptuous portraits.

A canvas contributed from Berlin is signed
Giovanni Antonio Guardi, and shows us the
elder brother of the famous vedute painter as
the author of certain pictures of pleasing colour
but weak construction, gathered together in this
exhibition, thus helping to solve the problem of
Francesco's youthful work as a figure painter,
which recently has attracted attention. Close by
we find gathered a score of the most precious
paintings by Francesco Guardi, from the small
and sparkling gems of the Cagnola and Ber-
gamo Collections to the marvellous vedute of
Casa Moroni, the Louvre and Mr. Walter Burns
of London. Around them are grouped interiors
by Longhi, pastels by Rosalba, landscapes by

Marco Ricci, Zuccarelli, Zais and Marieschi,
Venetian pageants by Carlevaris, and so on. Of
the two Canalettos, Bellotto is seen to greater
advantage with masterpieces like the Views of
Dresden, of Turin, and of Gazzada.

A Venetian influence may be traced in a Man-
tuan artist, Giuseppe Bazzani, who adapts to
forms of exceedingly Baroque but expressive
character a sfumato technique of living and
tremulous shades, achieving a most delicate
decorative effect [compare Plate III, f].

Currents in Settecento art of definite origin-
ality may be traced at Bologna in the Gandolfi,
the fantastic scenographers of the Bibbiena
school, like I^igari, who is here well represented
with admirable perspectives. With these we
may connect Pannini — a Piacenzan by birth,
but Roman by adoption — the greatest painter
of architectural subjects and ceremonial scenes,
who also exercised such a great influence on
Canaletto. By Pannini there are here two vast
canvases with views of the Quirinal, contributed
from the coffee house of the Royal Gardens,
the Opening of the Porta Santa belonging to
Mr. Gutekunst, the Interiors of S. Pietro and
S. Agnese belonging to Mr. Langton Doug-
las, etc.

At the end of the century there comes a weird
series of macabre scenes for the catafalque of
S. Grata at Bergano, with skeletons dressed up
as peasants, as Napoleonic soldiers and artists,
the work of Paolo Vincenzo Borromini, the last
decorator with the Tiepolesque technique.

UNIDENTIFIED ENGLISH EMBROIDERIES IN THE MUSEUM
CINQUANTENAIRE IN BRUSSELS
BY GEORGE SAVILLE SELIGMAN

HAVE pointed out before now that

the facts which constitute the history

of the art of embroidery, and indeed

of any art, cannot be accepted with-
' out reserve, as is the case in mathe-
matical science. It is therefore very difficult to
attribute this or that embroidery to a country
with certainty, more especially as, until the
twelfth century, many workers emigrated from
Greece to Sicily, and later on English embroi-
deries settled in Italy and in France. Their
work shows variations from native art, and a
fusion of styles was not effected for a long time.
Francis I, for example, summoned Italian
embroiderers to Fontainebleau and Paris,
Marie de Medici caused workers in embroideries
and tapisserie au point to be brought from
Constantinople; Flemish workers flooded Spain
throughout the sixteenth century with the tapes-
tries and embroideries in which they excelled,
while, apart from such direct influences, imports

and exports passed constantly between one
country and another, and the great fairs to
which objects of art were brought contri-
buted in many cases to deflect to a slight degree
the purity of the traditional design and
workmanship of each country. However,
the artist subjected to alien influences preserved
in certain details and in his technique the char-
acteristics peculiar to his own land. It is those
faint traces of origin that afford for the experi-
enced eye to-day the surest clue to nationality.
The first duty of the museums is to give us
the material necessary for the avoidance of
errors, by the exhibition of choice and charac-
teristic examples of indisputable authenticity.
At South Kensington this is very completely
achieved. The authorities there certainly
realise that though an exhibit may be given to
a certain country, it may not faithfully represent
its style, and where a false identification is
detected it is at once corrected. Unfortunately

this is not always the case elsewhere. In the
Louvre, for example, an embroidery represent-
ing the life of St. Martin, unmistakably of the
thirteenth century, is described as fifteenth
century.

There is displayed in the fine Museum du
Cinquantenaire in Brussels a marvellous collec-
tion of embroideries belonging to the well-
known collector and scholar Mme. Errera, who
is at the head of the textile department. I exam-
ined there a superb altarpiece [Exhibit No. 22 in
the Museum] depicting scenes from the life of S.
Martin, which was not attributed to any school,
but which, from its technique, is clearly Italian.
For the moment, however, I will refer only to
certain English embroideries in the Museum du
Cinquantenaire which have not so far been cata-
logued as such.

One of the most beautiful copes in existence
[Plate II, c, e] (No. g) depicting the martyrdom
of the Apostles, is described as French of the
thirteenth or fourteenth century ; this is a mis-
take, the work is English, opus anglicanum, and
belongs to the last quarter of the thirteenth cen-
tury. It is worked in point couch^ retir^, gaufr^
and fendu.' The ground work is certainly in
the style of the English embroiderers, with its
regular and geometrical design, spreading out
over the cloth as though every stitch were
counted with mathematical conscientiousness
and care. Another essentially English charac-
teristic of the thirteenth and fourteenth centuries
is the fantastic colour of the hair and beards,
which is blue, green and yellow; a further detail,
equally English, is the shaven upper lip; while
another important characteristic always to be
found in opus anglicanum of the thirteenth and
fourteenth centuries is the spiral use of the stitch
for the cheek. The architecture is curious, and
I have noticed in the columns depicted an
element peculiar to English architecture — the

>, 2 Illustrations and descriptions of these stitches are given
in De Farcy's La Broderie, Plates 1, III and text.

RECENT ADDITIONS TO THE
BY SIR CHARLES HOLMES

ROM the decorative standpoint, no
recent acquisition to the Gallery can
be compared with the picture of The
Holy Trinity with Angels [Plate
I, a], which has just been purchased
by the Trustees from Messrs. Cassirer, of Ber-
lin. Yet, while almost all the rest of the Collec-
tion can be definitely ascribed, if not to some
particular master, at least to some particular
school, the origin of this important and striking
work has been a matter of dispute. The reproduc-
tion given here will indicate the general plan of

quatre feuilles ; I have remarked that generally
in English embroideries the pinnacles are not
cut by cornices or pediments as in French Gothic
architecture, but are ornamented by quatre
foils. Although in this case the quatre foils
is at the base of the column, it is identical with
those in the middle. As to the period,
after a glance at the folds of the costumes ren-
dered by a single line, one cannot attribute the
cope to any century but the thirteenth.

In the following embroideries it will be un-
necessary to revert to the familiar tech-
nique of opus anglicanum of the thirteenth and
fourteenth centuries ; all show it unmistakably ;
for example [Plate II, d] depicting St. Jacques
and St. John the Baptist in point couch^ retir^ and
fendu.^ But here we have also the arches with
five lobes which are only found in English work
of the thirteenth, fourteenth and fifteenth cen-
turies. This embroidery is catalogued as being
of the fourteenth, and without any indication of
its origin; it is certainly English and of the be-
ginning of fourteenth century.

The three examples on Plate II, g (No. lo),
representing episodes in the life of St. John the
Evangelist, strike a single note — fourteenth cen-
tury. They all bear the marks of opus anglica-
num and are, like the preceding example, of the
first quarter of the century. Plate I, B (No.
20), catalogued as Flemish, is also English
work of the third quarter of the same century.

The copes catalogued 25 [Plate II, f], 26,
26b, are covered with floral ornaments and
cherubims in appliqud work which is only to be
found in the English embroideries of the late
fifteenth and early sixteenth centuries.

This short summary shows to what extent
the Museum du Cinquantenaire is of interest
for the study of opus anglicanum ; the more so
as I have only quoted the principal examples,
which together with a certain number of others
make a collection worthy of the most thorough
and thoughtful study.

NATIONAL GALLERY

the picture, which measures 46 inches by
45 inches, but can give no idea of the colour,
on which the effect of the design in a measure
depends. The work is executed on canvas
stretched over a stout panel. The background is
of gold, in excellent preservation, on the white
ground, which, I am told, is characteristic of
French work. The architectural throne is of
pale stone colour, relieved against an arcade
of purple above and at the sides, the purple
being repeated in a much paler tone in the
extreme foreground. The shadows of the lower

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,4 — The Holy Trinity ivilh Angels. French School, circa 1400. Canvas on panel.
1 .08 m. by 1 .06 m.

B—Holy Faniily, by Antonio del Castillo y Saavedra Canvas, 0.91 m. by 1.16 m.
Plate I — Recent additions to the National Gallery

arches are filled in with green, the lining of the
robe of the Almighty is apple-green, so are the
dress of the angel to the right, and the wings of
the angel on the left. This diagonal of apple-
green is contrasted with the rosy red of the
Almighty's robe, the red wings of the angel to
the right, and the red dress of the angel to the
left. The angels' dresses are painted over the
gold ground, which is " reserved " to show the
rich semi-oriental patterns. The scrolls at their
girdles bear the usual pseudo-Kufic inscrip-
tions, and have at one time been coloured with
a crimson of which all but a few traces have
vanished. The heads of the Almighty and the
angels are laid in with a grisaille preparation,
on which the pinkish flesh tint are super-
posed, but the expression of the heads and
hands is somewhat conventional and shows
much less experience and observation than the
figure upon the Cross. Three sides of the
original frame remain covered, like the ground
of the picture, with gilded gesso upon canvas,
and finely tooled. Marks of hinges at the side
show that the picture once possessed wings or
shutters, while the back of the panel is washed
over with a thin coat of white on which a foli-
ated pattern in terra verde has been swept in
by some practised hand. The panel has the
appearance of pine or fir-wood, but I have not
yet had an opportunity of submitting it to any
specialist in wood work.

The picture was acquired in Florence a short
time ago, and is said to have come from Pied-
mont from a member of the Italian Royal
House. In view of this origin it was ascribed
at the time of its purchase to the school of
Avignon, but this ascription was naturally
called in question when it reached Berlin. The
Teutonic elements in the colour and the treat-
ment of the faces led some to ascribe it to the
school of the Bodensee. Others noticed its re-
semblance to the small picture from the Weber
Collection, now in the Berlin Gallery, repre-
senting the Holy Trinity with the four Evan-
gelists. This is said to have come from the
Chartreuse of Champmol, where Broederlam
and others worked, and so leads our thoughts
towards France. And the forms of the drapery,
the general design of the Almighty's figure
and of the throne on which He sits, point in
the same direction.

In 1896 M. de Lasteyrie drew attention to the
miniatures of Andr^ Beauneveu and Jacquemart
de Hesdin. Ten years later Mr. Fry's dis-
covery of the sketch book by Jacquemart, which
passed into the Pierpont Morgan Collection,
and was admirably described and reproduced in
the Burlington Magazine (October, 1906),
added immensely to our knowledge of that
master's genius. More recently the available

facts about these two famous names have been
summed up by Sir Martin Conway. Now we
find a group of the Trinity, practically identical
with the centre part of our picture, adorning
Jacquemart's Petites Heures at Paris (Bib. Nat.
18014), while the general scheme of the figure
and throne is similar to that of the figures in
Beauneveu 's Psalter in the same Collection
(MS. Fr. 13091).'

Only one deduction seems possible, namely,
that our picture, and the smaller and clumsier
work from the Weber Collection, are directly
derived from this group of Miniaturists work-
ing for the Due de Berri between 1370 and 1415.
Our picture itself is indeed more in the nature
of a glorified and enlarged miniature than a
strictly pictorial design. To this enlargement
is due perhaps a certain emptiness as compared
with the closely-knit patterns, and scrupulous
filling of spaces, which we find in the very few
other pictures of the time on a similar scale,
but to it also we owe the radiant breadth and
vividness of the decorative effect. It has long
been felt that the art of Stepan Lochner was
probably derived from the work of these minia-
turists (Flemish by origin for the most part)
who worked for the great lords of France at the
end of the fourteenth century. In our picture
we have, it would seem, a proof of this con-
nection— a definite link between the school of
Jacquemart de Hesdin and the school of
Cologne, and so a historical document of the
first importance as well as a rare and remark-
able work of art.

The most depressing of the Rooms at Trafal-
gar Square was undoubtedly that in which the
lesser works of the Spanish School were hung.
Notwithstanding a noble Ribera, the Boar
Hunt by Velasquez, and some excellent little
paintings by Greco and Goya, the result was
neither representative of the school nor satis-
factory as decoration. Where the general
artistic level is so high as at Trafalgar Square
it is perhaps open to argument whether the
lesser Spanish painters deserve on their merits
to find any place. Yet since want of space in
the larger Spanish Room compelled the housing
of several fine things in this annexe, it was
clearly desirable to improve so far as possible
the company which they have to keep there.
The purchase of the seated figure of St. Paul,
that curious anticipation of Whistler's Luxem-
bourg picture, was the first step. The name of
Ribalta has been suggested by one famous
authority. The painting of the hands certainly
resembles that in Ribalta's St. Peter from
Valencia, which was seen at Burlington House

1 Reproductions will be found attached to M. de Las-
teyrie's article in Piot. " Monuments," vol. Ill, pp. 71-119-

in the winter of 1920-21 ; but tliis resemblance
is hardly sufficient to warrant definite baptism.
Another addition to the nation's Spanish paint-
ings has been found in the Gallery itself. Many
visitors will remember the Peasants warming
themselves [Plate II, c] (No. 1444), which
for many years bore the name of Honthorst,
and was supposed to illustrate the manner which
gained him the nickname of " Gherardo della
Notte." This attribution had long been ques-
tioned, and various other names proposed, none
with any convincing evidence. But a short
time ago when reconsidering the picture with
Mr. Gleadowe, he suggested to me that the
work was not Dutch at all but Spanish. A
moment's thought showed this suggestion to be
correct. It explained at once the types, the
colouring, and the handling with its loose, for-
cible impasto. Further, a search among photo-
graphs of the Spanish School led to the im-
mediate discovery of the painter. In the
interesting Collection of Spanish pictures at
Budapest, there is a study of an old man's head
by Josd Martinez (No. 324), which is technic-
ally identical in style with our picture. A second
picture representing the mocking of Job (No.
290), with its exaggerated drama, still further
illustrates the resemblance. Like Honthorst,
Martinez studied the works of the Naturalisti
in Rome at the beginning of the seventeenth
century, so that it is not altogether surprising
that this work done under their immediate in-
fluence should have passed for so long as Hon-
thorst's.

A third addition to the Spanish pictures in
the Gallery has been made more recently as
part of a generous gift from Sir Henry
Howorth. Among the pictures so acquired was
a Holy Family [Plate I, b] measuring .91 m.
by 1. 13 m., in a contemporary frame of Spanish
walnut, most elaborately and skilfully carved.
This Holy Family, if not a painting of quite the
first rank, is a work of a vigorous and personal
artist, who may be identified, I think, beyond
question with the Cordovan master, Antonio
Castillo y Saavedra. The later paintings of
Castillo show a blending of many influences,
but the signed Pastoral of his earlier time, when
he was studying at Seville, is conclusive evi-
dence of his authorship of our picture. It is
reproduced in C. Gasquoine Hartley's " Record
of Spanish Painting " (p. 162). The peculiar
construction of the head of St. Joseph with the
aquiline nose and projecting lower jaw is charac-
teristic, it may be noted, of Castillo's work at
all periods. Though Zurbaran is said to have
been his first master, the predominant influence
both in our picture, and in the Pastoral re-
ferred to above, is evidently that of the Bassani.
In the sixteenth century their work had been

introduced to Charles V by Titian, and from
the additional purchases made in the time of
Philip IV by Velasquez and others, it is clear
that the reputation of the Bassani in Spain was
much higher than is commonly thought. Cas-
tillo's critics call him no colourist, but in our
picture there are vivid and original notes of red
and orange, which are much fresher to our
modern eyes than the conventional Italianised
tones of his better known contemporaries.

Sir Henry Howorth's gift, in memory of
Lady Howorth, made through the National
Art Collections Fund, includes three other pic-
tures. Of these the charming predella repre-
senting the Nativity [Plate II, e] is already
well known to students of Italian art, through
exhibition at the Burlington Fine Arts Club in
1907. At that time it went by the name of Pesel-
lino. " Studio of Masaccio " would now seem
a more accurate description, even if we do not
go so far as the new edition of Crowe and Caval-
caselle, and give it definitely to Masaccio's
assistant, Andrea di Giusto. The exact parallel
may be found in the panel at Berlin, No. 58E,
illustrating miracles of St. Julian and St. Nich-
olas, where we find a similar use of large empty
spaces, while the figure of one of the maidens
dowered by St. Nicholas is almost identical with
that of the woman warming clothes at the fire
in our picture. The dimensions of the panel,
too (.22 m. by .65 m.), allowing for the margins
at the end, are practically the same as those of
the Berlin panels. The presence of the Star in
the sky, it may be noted, is suggested not only
by the unsatisfactory bunch of gilt rays and
the gesture of the two shepherds below, but
also by the shadow which the engaging donkey
casts upon the ground.

From the same source come two pictures of
the Dutch School. The earlier is a panel
measuring .67 m. by .43 m. representing the
Birth of the Virgin, with the return of the Dove
to the Ark and Balaam's prophecy of the Star
that shall come from Jacob as subsidiary
episodes Though by no means a work of the
first importance, it represents a characteristic
phase of Dutch art at the opening of the six-
teenth century, and is in fine condition. The
second picture is a portrait of two boys on can-
vas measuring 56 cm, by 58 cm. [Plate II, d].
The full tone and rich colour of the piece no
doubt accounted for the old attribution to Tin-
toret. But the more modern ascription to
Jacob Van Oost the Elder is the correct one.
Van Oost after becoming a master in the Bruges
Guild at the age of twenty travelled to Rome
where he spent five years. But he did not con-
tent himself with studying the Italians. It is
clear that Van Dyck and Rembrandt were
among his models, and his remarkable picture

C — Peasants ivariiiing themselves, by Jose
Martinez. Canvas, 96 cm. by 80 cm.

I^—Two Bays, by Jacolj Van Oost tlie Elder. Canvas,
56 cm. by 58 cm.

E — Tlie Xativitv. Siudid nt Ma.saccio. Panel, 22 cm. bv 65 cm.

Plate 11. RiTciU additions Id ihe National (iallcry

A — St. Sebastian, by Titian.
Petersburg)

Canvas. 2.12 m. by 1.16 m. (Hermitage, St.

Plate I— Some reflections on the last phase of Titian

in the Gallery at Lyons of a young man receiv-
ing a letter shows him to be a thoroughly ac-
complished student of the great masters. I do
not remember clearly his more ambitious work
in the Bruges Museum, but the close re-
semblance of this Lyons picture to our own,
especially in the handling of the head seen in
profile on the right, makes the attribution prac-
tically certain. Since the recollection both of
Van Dyck and Italy is here still fresh, we may
assume the painting to be a comparatively early
work executed between 1630 and 1640. The at-
tractive and popular portrait. No. 1137, which

SOME REFLECTIONS ON THE
BY TANCRED BORENIUS

N any discussion of the last phase of
Titian's career, a question which al-
most automatically demands atten-
^ tion at the outset is that of the age

ffi~V y-ISto which Titian actually lived. As is
well known, the traditional notion, that Titian
had reached the age of ninety-nine when carried
off by the plague in August, 1576, and that he
was thus born about 1477, was first contested
some twenty years ago by Sir Herbert Cook.
The traditional view found a champion in Dr.
Gronau, and the two sides of the case may be
found conveniently stated in the second edition
of Sir Herbert's monograph on Giorgione, and
his later volume Reviews and Appreciations.
Briefly, the case for a revision of the traditional
date is, for one thing, that certain statements by
Lodovico Dolce and Vasari as to the age of
Titian at different periods of his life — state-
ments which are independent of one another^ —
point consistently to the years 1488-9 as the
time of Titian's birth ; and, further, that the con-
temporary statements which make Titian a
centenarian at the time of his death occur in
begging letters, written either by Titian him-
self or on his behalf by agents of the King of
Spain, and therefore not unlikely to have ex-
aggerated the age of the person in whose favour
they were pleading.

To the case now summarised and, as will be
seen, certainly not devoid of a considerable
amount of plausibility. Dr. Gronau objects,
among other things, that Vincenzo Borghini,
writing in 1584 — or only eight years after Titian's
death — gives his age at his death as ninety-eight
or ninety-nine; and points out that the probable
dates of certain early pictures by Titian, if the
latter was born in 1488-9, would make them the
works of a lad of fourteen or fifteen — a con-
clusion which would obviously be difficult to
uphold.

I have reminded my readers of this con-
troversy— which necessarily is of great signifi-

we already possess from his hand is dated 1650,
and proves that in later life Van Oost conformed
to the prevalent fashion of his country and with
no little success. It has even gained a place in
our literature, for it is always said to be the por-
trait mentioned by Walter Pater in his " Sebas-
tian Van Storck." But there is a charm, too,
in Van Oost's earlier work, for unlike most
eclectics he did not allow his studies to deprive
him of his delight in the freshness of youthful
faces, or of his sense of humour, as the Hogar-
thian grisaille, illustrating the story of Gideon,
in our new picture indicates.

LAST PHASE OF TITIAN

cance in its bearing on the history of Vene-
tian Cinquecento painting — because of late some
fresh evidence strengthening the case for the
traditional view has been brought forward in a
German art review, without, as I believe, at-
tracting a very general attention.' Part of this
evidence is contained in certain passages of
two letters from Pietro Aretino. One, writ-
ten in 1542 and addressed to Titian, congratu-
lates him on his delightful portrait of the little
daughter of Roberto Strozzi (now in the Berlin
Museum); and in it occurs the phrase " certo
che il pennel vostro ha riserbato i suoi miracoli
nella maturity della vecchiezza." The conten-
tion is that an expression like " the ripeness of
old age " is surely more applicable to the age
of sixty-five than to that af fifty-two of fifty-
three. Similarly, statements by Titian as to him-
self, which occur in a letter from Aretino of
1547, seem also more easily reconcilable with
a more advanced age at the time than would
be his if the date of 1488-9 for his birth be
accepted. Still more important in its bearings
on the question now before us, in the state-
ment which, according to Dr. Waldmann,
Marino Sanuto makes as to Titian's age when
he painted the Assunta; he says, as reported by
Dr. Waldmann, that Titian was then forty
years of age, and as the Assunta was solemnly
unveiled on May 20th, 1518, in its place above
the high altar of the Frari — to which it has
lately returned — a simple operation of subtrac-
tion takes us to the year 1478 as that of Titian's
birth.^"

It is, of course, in its relation to questions

1 See E. Waldmann, " Zur Frage von Tizians Geburts-
jahr " in Kunstchronik und Kunstmarkt, Jan. 21, 1921 ; and
communications from Dr. Waldmann and Signer Guido
Battelli, ibid., March II, 1921.

2 Dr. Waldmann 's statement as to what Sanuto says is
quite definite ; without wishing to question it, I may, how-
ever, point out that the reference to Titian's age dors not
occur in the context where one most naturally would look
for it, the memorandum of the unveiling of the Assunta
(see Marino Sanuto, I Diarii, vol. xxv [1889], col. 418).

concerning the early work and development of
Titian that the problem as to whether he reached
the age of ninety-nine has its biggest signifi-
cance. Artistically, it may be said that it was
about 1555 that he entered his old age — not,
indeed, a period of decay, but on the contrary
the one which marks the culmination of his
greatness as an artist and which is distinguished
technically by a previously unparalleled free-
dom and breadth of handling and richness of
atmosphere ; the method of working being by
masses of colour, which when looked into
at close quarters seem to resolve themselves
into a chaos of pigments, but with every stroke
put in with an unerring sense of the total effect
at some distance. It may be that the failing
eyesight of the aged master had something to
do with his adoption of this style of painting;
but it is a style which has an absolutely inde-
pendent raison d'etre and needs no explanations
or apologies of any kind; indeed, if it sprang
from physical disabilities, these should rather,
in M. Jens Thiis' happy phrase,^ be regarded
as Nature's last great gift to the artist. And
as a parallel to the case of many a modern
master, it is curious to observe how the charge
that the picture " looked unfinished " was also
made against Titian by some of his contem-
poraries. I may recall in this connection the
unusual signature appearing on the superb pic-
ture of the Annunciation painted by Titian
about 1560 for the Church of San Salvatore in
Venice; the word " fecit " is twice repeated on
it — " Titianus fecit fecit." The explanation is
that the worthy monks of San Salvatore did not
think the picture finished enough, and made
representations to Titian, but instead of com-
plying with their request for more finish, Titian
simply repeated his signature as an emphatic
confirmation of the fact that he had completely
carried out his task in accordance with his inten-
tions and that nothing more could be done to
the picture.

As is well known, it is in the Royal Collec-
tions of Spain — in the Prado and the Escorial —
that one finds the most representative and ex-
tensive series of examples of Titian's last man-
ner, thanks to his incessant work for Philip II —
even considerable depletions have not suc-
ceeded in reducing this series to a secondary
importance. A collection of late Titians, which,
if it remains a long way behind the Spanish one,
is nevertheless of exceptional interest and impor-
tance, has ever since the middle of the last
century belonged to the Hermitage. This is
the collection which passed into the possession
of the Barbarigo family, when, in 1581, Ti-
tian's son, Pomponio, sold to Cristoforo Barbari-

3 See his brilliant essay on Venetian painting in the
catalogue of M. Christian Langaard's Collection (privately
printed, Christiania, 1913).

go, the house of Titian with all its contents, in-
cluding a number of pictures which had hung in
Titian's studio at the time of his death.* Having
long been an ornament of the Palazzo Bar-
barigo " alia Terrazza " on the Grand Canal,
the greater part of this collection was in 1850
acquired by the Emperor of Russia. Some of
the Titians in the Barbarigo Collection^ — like
the Toilet of Venus and the Repentant Mag-
dalen— count among the most celebrated pos-
sessions of the Hermitage. Less known are some
'quite late examples, of which one is here re-
produced [Plate I, a], the magnificent full
length of St. Sebastian, which indeed, until
1892, was not deemed worthy of a place in the
exhibition galleries, the reason being in all
probability that the taste of previous genera-
tions was startled and shocked by the freedom
and boldness of technique which here have
been carried to lengths beyond which it may be
doubted whether even the old Titian himself
ever went.

One feels naturally some diffidence in sug-
gesting additions to the extant ceuvre of an
artist whose standard is so tremendous as the
late Titian's is; but I should nevertheless like
to call attention to a picture, which to my mind
in many ways displays so remarkable an affinity
to his manner as to justify an ascription to him.
The picture in question was formerly in the
collection of Colonel W. Cornwallis-West, its
earlier history being, so far as I have been able
to ascertain, a blank; it is now in the posses-
sion of Mr. A. L. Nicholson. There is no
mention of it in art literature previous to its
being shown at the exhibition of pictures by
Titian and his contemporaries, held at the Bur-
lington Fine Arts Club in the summer of 1914
(No. 47).

As may be seen from the accompanying re-
production [Plate II, b] the picture shows the
half-length figure of Judith, holding in her right
hand a sword and in her left hand the head of
Holofernes which she is dropping into an open
sack, held by a negro page, whose head and
shoulders appear in the lower right hand corner
of the composition. The heroine is dressed in a
white chemise with a yellow scarf, and the silk
dress of the attendant is also yellow. A rose-
purple drapery forms a background to the figures.

That the picture in a general way is akin to
the work of the old Titian must, I think, be
evident at first sight ; but we possess, more-
over, specific evidence that a composition more
or less on these lines may be coupled with his
name. During the seventeenth century, there
was in the great collection of the Archduke
Leopold Wilhelm at Brussels, so particularly
strong in Venetian pictures, a painting given

* Compare for the above facts, Crowe and Cavalcaselle,
Titian, (1877), i, 114.

b/.

& ; -

c ,4-

c s

,y- _

(/I

X.
D.

I/;
C3

(/)

c
o

to Titian which cannot now be traced, but of
which an engraving (by L. Vorsterman) exists
in the volume l^nown as Theatrum Pictorium
(1660) in which the whole collection is engraved
from copies of the pictures, made by the keeper
of the collection, David Teniers. The en-
gravings in this book invariably reverse the
compositions ; so I have had the engraving
which here interests us, reversed [Plate II, c]
which automatically gives us the disposition
of the original. The facial type of the heroine,
the bend of her head, the placing of both her
arms, the figure of the negro page — all these
are points upon which the closest resemblance
with the picture belonging to Mr. Nicholson
may be detected. Only, the two pictures are dif-
ferent in subject, the lost one being a Salome
with the Head of St. John the Baptist ; and
among other variations, which need not be
analysed at length, the engraved picture shows
an additional figure, namely, that of an old
woman. For pictures of the period of Titian,
the ascriptions in the Archduke's catalogue are
generally worthy of serious consideration :. so
here we have a not unimportant piece of evi-
dence, connecting a kindred design with Titian,
whose inclination to repeat his compositions with
modifications of varying extent is well known.

All this is, however, touching the fringe of
the problem. The decisive answer as to the
authorship has to come from the picture itself.
And here it seems to me that the indications,
if we begin with the character of the forms,
are very strongly in favour of Titian. The
features of the head of Judith show, I think, a

very close resemblance to those of the nymph
in that marvellous work of Titian's old age, the
Nymph and the Shepherd, now in the Gallery
of Vienna, and the drawing of the hands also
strikes me as remarkably similar in both pic-
tures. The head of the figure of Religion in the
picture of Spain succouring Religion in the
Prado may also be brought in for comparison.

The all-important test in a case like this is,
however, that of the treatment of colour ; and
in this respect, it appears to me that the greater
part of the picture displays very clearly that
marvellous swiftness and looseness of touch, and
that incomparable command of atmosphere,
which are Titian's, and Titian's only, and to
which the closest parallels may be found both in
the St. Sebastian of the Hermitage and, again,
the Nymph and Shepherd at Vienna. It is es-
pecially in a passage like that of the left arm of
Judith that one discovers that endless richness
of delicate modulations, which is so character-
istic of the last phase of Titian. Again, to a
detail like the painting of the silk sleeve of the
negro page, a passage in the portrait of Jacopo
di Strada (1568) in the Gallery at Vienna, offers
an illuminating parallel. The head of Judith
has, unfortunately, suffered from retouching,
and I regard it as not impossible that that is
the result of an attempt ti remove the impres-
sion of a " lack of finish " ; but the remainder
of the picture seems to me to be of a quality
which should remove any doubt as to its being
a work which may be added to the list of
surviving examples of Titian's last and greatest
phase.

THE ORIGIN AND EARLY HISTORY OF THE ARTS IN
RELATION TO ESTHETIC THEORY IN GENERAL'
BY G. BALDWIN BROWN

NTHROPOLOGICAL science, in
its dealings with the earlier stages
of human development, may dis-
cover truths that bear on our inter-
, pretation of the more complicated
phenomena of advanced civilisation. This cer-
tainly applies in the domain of art, for there are
fundamental conditions of artistic activity that
remain always the same, and it is the purpose
of what follows to endeavour to find in some of
the earliest phenomena of art, principles of uni-
versal application that may be assumed to be at
work in the more advanced periods, though this
working be under elaborate modern conditions
not easy to trace.

The earliest phenomena of art are partly to
be studied among primitive peoples of the

' A paper read at the Edinburgh meeting of the British
Association for the Advancement of Science, September, 1921,
in the Section of Anthropology.

modern world, who, like the Australian abori-
gines, the almost extinct Bushmen of Africa, or
the Eskimo, are still in the hunter stage, and
partly in the remains that have come down to
us through thousands of years from the period
of the pakeolithic cave dwellers. Most forms of
art are already represented under these primi-
tive conditions, though the origins of architec-
ture are neolithic. Graphic design, sculpture,
the decoration of the person and the implement
in form and colour, are palaeolithic; and the
same is true of the dance, though for this par-
ticular form of art we turn naturally to modern
savages, amongst whom, especially in Australia,
it has received an extraordinary development.
Direct evidence of the existence of the cere-
monial dance among the cave dwellers is gener-
ally recognised as afforded by the now well-
known painting in the cave at Cogul, near
Lerida, in north-eastern Spain (Fig. i).

where nine women seem to be circling round
a figure, or an effigy, of a man. Since
many of the savage dances of to-day are
of mimetic character, as we l<now was also the
case in ancient Greece, we find in such primi-
tive performances the origin of the drama, and,
to some extent, through the ever-present

Aristotle with their unfortunate doctrine of
fiiMfrK, " imitation," established the theory,
and it was enforced with desperate earnestness
by writers of the Italian Renaissance such as
Leonardo da Vinci and Vasari, while in our
own day the Pre-Raphaelites, with their spokes-
man, John Ruskin, have extolled " truth to

L^-

orchestra, of music. The most interesting of
all these early forms of art are the drawings and
relief sculpture of the palaeolithic cave dwellers
of western France and of Spain. These are
now quite familiar, at least as regards their
general character, and it will be sufficient here
to remind readers that they consist for the most
part in representations of animals, remarkable
for their variety, their spirit, and their accuracy.
These will be noticed in the sequel, but
Figs. 2 and 3, some studies from the heads of
chamois and a noble Altamira bison, may be
taken as characteristic examples. Fig. 4, a
piece of mammoth tusk with a sketch upon it
of that now extinct mammal, will be referred to
later on.

As has been said, the purpose of this paper
is to extract from the phenomena of art in primi-
tive times those points of interest which bear on
artistic principles under discussion to-day, and
such a point at once emerges when we consider
these life-like images. Superficially regarded
they may seem to exemplify the principle of the
exact copying of nature, which in the popular
belief governs the art of painting. Plato and

nature " as the be-all and end-all of the repre-
sentative arts. More recently still the favour of
" The God of things as they are " has been spe-
cially invoked for accurate copies of His work.
In this, some would say, there is only a further
assertion of a principle established some 20,000
years ago by the palaeolithic carvers and en-
gravers. Everyone, however, who is acquainted
with the present trend of artistic thought, knows
that this principle is now repudiated by both
artists and critics. Resemblance to nature plays
a most important part in the effect of painting
and sculpture, but it is not of their essence — it
is a means to the end at which they aim, but not
an end in itself. Painting and sculpture aim
not at copying nature, but at producing an
aesthetic impression by the presentation of cer-
tain figures and objects similar to those
which are familiar to us in nature, and
with which certain associations are con-
nected in our minds. In order that the
figures and objects thus presented by the
arts should appeal to these associations, and in
this way affect our thoughts and emotions, they
must be sufficiently like their natural proto-

types to be recognised as the kind of things they
are, and this verisimilitude can only in prac-
tice be secured by a close study of nature, and,
where practicable, a constant reference to nature
during the progress of the work. The resultant
figures and objects are creations, not reproduc-
tions, but they are created in accordance with
the established forms and operations of nature.
The artist bases his work on nature, but does
not merely imitate her.

In the light of modern scientific investiga-
tions into the nature of the ancient cave paint-
ings we can see that they illustrate in the hap-
piest manner the doctrine just enunciated. At
ftrst, and for a good while after their original
discovery, these fresh, varied and accurate de-
lineations of animals of the chase were regarded
as purely aesthetic products executed for the
mere pleasure in them, and for no ulterior pur-
pose whatever. It has now been clearly demon-
strated that there was a practical purpose
underlying this activity, the purpose of
rendering the operations of hunting the quarry
more effective by a certain magical influence
which the representation was supposed to exer-
cise over the creature portrayed. This seemed
at first to detract from the aesthetic interest of
the works, but looked at from the point of view
here taken they really acquire an entirely new
artistic value. They confirm in a striking
manner the modern repudiation of the old idea
of art as the " handmaid of nature," and ex-
hibit the designer as using nature for the
furtherance of his own ends. The painter of
the caves was certainly not copying natural
models, for he was very commonly working in
obscure recesses into which live mammoths and
bisons could not have been introduced, nor is it
necessary to assume that as Professor R. A. S.
Macalister has lately suggested,^ he had with
him in the cave small engraved patterns to
which he could refer. He had mastered the
forms of nature till they had become part of
himself, and was employing them in freedom.
He was not working after nature, but before
nature, and was as it were showing nature the
way, for his purpose in creating the ideal
figure of the beast was to charm the tangible
monster of flesh and blood within the reach of
the hunter's dart.

What is here said about the magical purpose
of the cave drawings opens up further con-
siderations that go to the foundations of aesthetic
theory. Esthetic theory may be said to be
built on the fundamental principle of the " free-
dom of art." The activities of art are popularly
distinguished from most of our every-day
human operations in that, while the latter have
some intelligible motive at their back and serve

* A Text-Book of European Archaology, Cambridge Uni-
versity Press, 1921, I. The PaJcroUthic Period, p. 504, note.

some useful end, the activities of art are ends In
themselves and serve no ulterior purpose of a
practical kind. Not only the older writers, but
those also who in our own day have adopted the
modern scientific standpoint, have no doubt as
to this. Professor Grosse of Freiburg in his
Beginnings of Art' remarks that "by an
aesthetic or artistic activity we mean one . . .
which is not entered upon as a means toward
an end outside itself, but as in itself the end.
In this manner it comes before us as the direct
opposite of practical activity which always
serves as a means " to some end outside itself,
and Dr. Yrjo Hirn, of Helsingfors, in his philo-
sophical work The Origins of Art,* in almost
the same words declares that " a work or a per-
formance which can be proved to serve any
utilitarian, non-aesthetic object must not be
considered a genuine work of art. True art
has its end in itself, and rejects every ex-
traneous purpose." If this be true of art in
general, it should apply to art in its early mani-
festations, for under simple conditions the essen-
tial nature of a thing should show itself most
clearly. But, are these early activities of art
free? On the old theory the actual operations
of hunting, the stalking of the game, the shot,
the capture, were utilitarian acts of necessity,
forced on the agent by the need for food ;
whereas the paintings and carvings of animals
of the chase on the walls of his cave habitation
were thrown off in hours of leisure for his own
private aesthetic satisfaction. We now see
that the drawings and carvings were just as
much a part of the chase as the actual launching
of the fatal arrow. The throwing-stick which
gave the arrow force and directness would be
called on the old system a necessary implement,
the figure of the reindeer into which its business
end is carved a mere fanciful adjunct, but we
are now told that, in all probability, the figure
would be a charm, and in the view of the hunter
a necessary condition for the full efficacy of the
weapon. What, we may ask, in these cases
becomes of the " freedom " of the artistic act?
The same question may be asked of all the early
operations of the arts already enumerated. The
question has been, at any rate partially, an-
swered in convincing fashion by Professor
Grosse, who demonstrates' about these early
arts that they are not free in the sense of being
unnecessary and serving no useful purpose, but
are of essential use in the economy of primitive
man and his societies, and as such are forced
upon man as part of his equipment for the
necessary struggle with the forces of nature and
with his fellows. He first argues d priori that
this must inevitably be the case because these

» English Translation, New York, 1897, p. 48.

* London, 1900, p. 7.

' Beginnings of Art, Eng. Trans., p. 312.

Various performances, such as elaborate per-
sonal adornment or highly organised and intri-
cate dances, involve an expenditure of time and
energy that would be economically suicidal if
the activities were devoid of any practical bear-
ing on life. The non-artistic peoples would
soon make a clean sweep of the artistic ones if
the latter were only wasting time on useless
though attractive performances. He then goes
on to show in detail how these artistic activities
are as a matter of fact utilitarian in that they
have a practical scope. They are educative,
they are helpful, they make for efficiency and
for solidarity. The great savage art of the
dance is immensely educational, first, by giv-
ing to the individual performer increased
suppleness and strength of limb, and, next, by
training large bodies of men to execute continu-
ous and elaborate manoeuvres in absolute union,
according to a pre-conceived and long-practised
scheme. The moral effect of this regular drill
in common actions is necessarily very great,
trivial as the actions in themselves may be. The
whole performance must make powerfully for
the solidarity of the social aggregate, and by
knitting the members of it in this way together
give them a practical advantage over looser
aggregates the members of which have not been
trained to act in common.

The same applies to the great achievement of
neolithic man, the rude stone monument, not in
itself artistic, but the foundation of the noblest
of all the arts — architecture. The erection of
these vast monuments was a common act, carried
out by a very large number of workers, acting
under strict control, in absolute unison, pro-
bably in time set by music,' and the act not
only furnished discipline, but made for soli-
darity, while the completed work was a glorifi-
cation of the primitive community that with in-
finite toil had carried it to triumphant comple-
tion. As an act of self-expression it made the
community conscious of itself as an entity, and
imparted the self-respect, the ambition, which
are essential conditions of progress.

Personal adornment, a matter for the indivi-
dual rather than the community, is in like
manner of practical advantage in that it en-
hances the wearer's status alike in his own eyes
and in those of his fellows. There is some rea-
son for conjecturing, with Herbert Spencer,
that this begins in the trophy,' the teeth or
claws or scalp or blood of the slain enemy,
whether beast or man, displayed upon the per-

* A tradition of this survived in Greece and is embodied in
the legend that Amphion played the stones of the walls of
Thebes into their places by the sound of his lyre.

' Actual discoveries can hardly be said to establish this
theory, but they certainly do not disprove it. A palaeolithic
skeleton was found " girt with a girdle made of the canine
teeth of lions and bears." Macalister, I.e., p. 383; see also
p. 515 of his book.

son ; and the bearing of such a trophy confers
distinction. Other kinds of decoration, borrow-
ing or inheriting, as they seem to do, something
of the character of the trophy, also raise the
wearer, to his no small advantage, in the eyes
of his fellows. Personal adornment of a showy
or costly kind gives him potent aid in court-
ship and secures for him the favour of the most
eligible bride. It aids him, too, in council, and
most notably in war, where decorative devices
are employed to exalt the personality of the
highly equipped champion and to strike terror
into his foemen.

On the one side, therefore, we have the old
orthodox doctrine of the " Freedom of Art,"
which means its detachment from all ideas of
practical utility, and on the other side the
demonstration, on the ground of recent dis-
coveries and observations, that the arts in early
times do possess a very definite practical value.
How can these two opposing- points of view be
reconciled ?

We are met here by the curious fact that in
most of these early artistic activities the per-
former or agent is quite unconscious of the prac-
tical scope of what he is doing. So far as his
own consciousness is concerned his action is
free, and if it be felt as free, it must necessarily
be pleasurable or it would not be performed.
He has no idea in his mind that what he is
doing is of real solid use to himself or to his
tribe, but he acts as he does because it pleases
him, or from a kind of instinct — to use the word
in its loose popular sense — of which he could
give no reasoned account. He throws himself
into his task with the sense that it is the only
thing that at the moment he wants to do, and
revels in the delight it affords. The savage, it
has been noticed, will be so intoxicated with the
excitement of the dance that he repeats his
ordered movements till he sinks exhausted on
the ground, but no idea of the educational and
disciplinary value of this form of activity is
present to his consciousness. No modern fine
lady takes more trouble about her attire than
the primitive brave, who adorns himself for
courtship, for war, or for a public ceremony,
but in his act he feels the pleasurable sense of
his own enhanced personal distinction rather
than a calculated assurance that it will be to his
practical advantage.

In the case of the animal paintings in the
caves, there was of course no real practical ad-
vantage resulting from them, such as actually
accrued from the practice of the dance, but the
people who made the drawings believed that they
would, through what we call magic, produce
such an effect, and this gave the hunter con-
fidence and really helped him to success. Hence
a utilitarian purpose was in this case apparent

and arknowledged, and not merely latent as in
tliat of the dance. Yet in spite of this the execu-
tant carried out the work in the spirit not of the
magician or medicine man but in that of
the artist. Had the magical purpose been
uppermost in his mind and in those of
his fellows as all-in-all, the resultant images
would probably have been of a formal,
schematic, character, with a make-believe
of resemblance to the real object, and with the
same pattern repeated ad nauseam^ as in the
so-called " hieratic " art of later Egypt. As a
fact, the animal drawings, especially in some of
the Spanish caves, evince a keen personal
interest in the creatures delineated, and exhibit
the draughtsman constantly trying his hand at
out-of-the-way positions and appearing at times
to delight in tackling difficult artistic problems.
The utilitarian purpose remains quite in the
background of the designer's mind, and it is in
this connection noteworthy that the expert

REVIEWS

La Miniature Flamande au Temps de la Cour de Bour-
GOGNE (1415-1530). By Count Paul Durrieu. 80 pp. +
103 pi. Brussels (Van Oest).

The number of lovers of mediaeval art who
would be willing to face an examiner on even
the rudiments of the history of Flemish
miniature painting in the fifteenth century is,
I may safely say, small. Now and again we
encounter a learned paper on some part of the
subject, which cites MSS. in this or the other
inaccessible library, and deduces conclusions ;
but the way of the reader is hard, for what the
eye does not see the mind grasps with difficulty
and the aesthetic sense not at all. It is well
therefore to have a set of illustrative reproduc-
tions issued in a handy form and selected by an
expert acquainted with the subject as a whole,
who is able to give the reader sight and sense of
its general outlines. Manuscript miniatures of
the Flemish school, it is true, depend and were
largely intended to depend upon colour for their
charm. Photographs cannot render that colour,
and are therefore deprived of their chief power of
pleasing the eye. Nevertheless they are of con-
siderable use and interest, wiiile few of us are so
utterly without knowledge of the school as to be
unable to supply the deficiency of colour to
some extent by memory, analogy, and imagina-
tion.

Count Paul Durrieu is a well-known and ex-
perienced worker in this field. He has prefixed
to his one hundred and fifty-three reproductions
a lucid and valuable memoir, full of learning,
suggestion and information. We could have
wished that he had carried his dating of many of
the prints to a further degree of approximation,
for when records are silent a comparison of
stvl.es fifid other indications generally enable a

authority on these drawings, the Abb^ Breuil,
who has done more than any one to establish
the magical purpose behind the work, is at the
same time a whole-hearted believer in its artistic
character. In one of his writings he speaks of
" les grands artistes qui en ont gravd et sculpt^
les chefs d'oeuvre," * and, himself an artist,
takes it almost as much from the aesthetic as the
scientific side.

Artistic activities in primitive times are
accordingly indulged in for their own sakes as
free and pleasurable, while in another sense the
agent is not really free, but is constrained to
perform the acts because of the practical purpose
which as a fact they serve. The agent himself
is either quite unconscious of this constraint, or
merely takes it for granted and allows his mind
only to dwell on the artistic delight of creation.

* Comptes R^ndus de V Acadimie dcs Inscriptions, etc.,
1905, p. 120.

(To be continued.)

fairly close identification of the date. This,
however, is a minor criticism, for what is lacking
is not hard to supply in most cases. Count
Durrieu points out that Philip the Hardy and
John the Fearless, the first two Valois Dukes of
Burgundy, were Frenchmen in habit and Pari-
sian in home, and it was not till Philip the Good
succeeded that a vital Burgundian-Flemish
Court came into existence and gave the needful
encouragement which produced and maintained
for a century that school of art which we briefly
describe as Flemish. It is the work of minia-
turists of this school that are exemplified and
studied in the volume under review.

Starting from Hubert Van Eyck and his
miniatures in the Heures de Turin, reproduced
from the bad reproductions in a published
volume which (some prints in a magazine ex-
cepted) are all the record we possess of that fire-
consumed volume, he carries us down the de-
cades, introducing us by the way to various
individual identified artists, some known by
their own names, others labelled with nick-
names of his invention. First comes one who
is associated chiefly with illustrations made by
him for the writer Guillebert de Mets, of Ghent,
an artist of little importance. He copied (in one
series) the originals attributed to a painter of
higher merit identified with a Paris miniaturist
named Jean de Pestivien. In William Vrelant
we encounter a more interesting personage, for
he was the neighbour of Memling at Bruges,
and his likeness appears in one of the great
artist's pictures. Vrelant's miniatures here re-
produced seem to lack originality and have the
aspect of steady going guild work, nor do I find
in them any trace of Memling's influence. One,

Dreux Jehan, at work in Bruges around 1440, if
he was the painter of the miniatures doubtfully
ascribed to him, was a better artist. One of
them appears to have followed a design by the
author Mi^lot who used to sketch in outline the
compositions that were to illustrate his works
and, as the example shown proves, did so very
well. Jean le Tavernier, of Andenarde, was an-
other of Philip the Good's artists, an inventive
illustrator, but a thorough conventionalist.
Loyset Ly^det was a worse specimen of the same
type. Much superior to these was Jean Henne-
cart, who leads us on to a man of well-known
name, Simon Marmion His miniatures are
said to be exquisite in harmony of colour and
delicacy of execution. One reproduced shows
mainly a wide extending landscape, rather
charming and not unlike Fouquet. It is hard to
imagine the maker of these as painter of the
pictures often ascribed to him.

Perhaps the best-known mid-fifteenth-century
miniature of the school is the frontispiece of a
MS. at Brussels, showing the author presenting
his book to Duke Philip. It was frequently
imitated. As a picture it stands alone. Who
made it? Many have guessed Roger van der
Weyden. It is good enough for him, and if he
painted it the fact that it is unique would be ex-
plained. With Philip de Mazerolles, a Parisian
working at Bruges from 1465 to his death in
1479-80, we come upon an artist of merit. One
of his reproduced miniatures, showing a number
of people in a room, invests them with vitality,
variety, and movement instead of lumping them
together like a group carved out of a single log
of wood according to the usual Flemish conven-
tion. He was the decorator of one of Duke
Philip's most charming books, the Chronicle of
Jerusalem, which is in the Vienna Library.

It was not till after the days of Duke Philip
and Charles his son that the important school of
miniature artists arose at Ghent and Bruges,
whereof the common founder seems to have been
Alexander Bening. Before his time the in-
fluence of Roger and the Van Eycks had pre-
dominated. The Benings and the Horenbauts
and their associated workmen gave currency to
the styles of Van der Goes, Gerard David, and
Ouentin Massys. The Grimani Breviary was
their finest production, but a number of now
well-known MSS., mostly Books of Hours of
small dimensions, have been grouped around it
as like in style and merit. This school was
formed by repulsion from the output of the
printing press. Woodcuts took the place of the
ordinary run of illustrations. Prayer-books for
private devotion were more conservative. But
the printing press was bound to win in the long
run, and miniature painting as the output of a
school came to an end in the first third of the

sixteenth century. martin conway.

Constable, Gainsborough and Lucas. Brief Notes on
Some Early Drawings by John Constable. By Sir
Charles Holmes. 33 pp. + 16 pi. (Maggs.) 21s.
Like most great artists Constable achieved
greatness with infinite pains; his original gift of
perception did not content him. The superla-
tive merits of untutored technique and childish
na'i'vet^ of expression had not been discovered in
his day. So, like any humble and unself con-
scious old master, he set himself to learn the most
expressive and accomplished style of drawing
applicable to his requirements. With his great
predecessor Crome he turned to Ruisdael, Wil-
son and Gainsborough, as well as to Agostino
Carracci, Girtin and Claude. But the masters
from whom he took most were Gainsborough and
Girtin. Sir Charles Holmes' stimulating notes
on some early Constable drawings, echoing his
analysis of Rembrandt's development, published
in this Magazine' some years ago, emphasise the
need of discipline, even for those who possess
pronounced genius. And they suggest that sub-
mission to long discipline, of the right sort, will
so protect and prepare what may seem but the
frailest shoots of genius that they will eventually
flourish. This doctrine is tonic in a time when
the mortality of infant genius is so high. Possibly
the germs of what we call genius are more com-
mon than we suspect, if we base our estimate on
the genius which grows to maturity. So that we
should find increasing truth in the adage about
infinite capacity. Thus the right to bear the
palm passes from the mere heaven-born genius
to the rarer breed which has the stamina and
capacity to foster and harden his starry gift.

A conspicuous fact in the development
of Rembrandt, Crome and Constable is their
certain progress. If not from year to year,
at least in every three years they steadily ad-
vanced. First of all in technical range, in fluency
of expression and rudimentary carpentry. Then,
and consequently, in the capacity to express more
advantageously their special vision. In the four-
teen casual drawings analysed by Sir C. J.
Holmes, covering about five years, 1 798-1803,
Constable is seen to have developed a scratchy,
amateurish talent into something approaching
ma.stery. Almost incredible as his method must
appear to us he did this by continuously acquir-
ing more certain draughtsmanship, more subtle
tone and character, more enveloping atmosphere.
The superior efficacy of learning to draw like a
child or a Papuan was unguessed by Constable ;
the virtue of impoverishing Nature to a signifi-
cant formula did not, alas, occur to him. He
simply strove to make his drawings correspond
more closely with his growing perception of the
vital and subtle in Nature. Too ignorant and
philistine to become an ' ist ' of any sort — indeed
1 Vol. IX, pp. 87, 245, 313, 383.

the only sort of ' ist ' he ever heard of were those
Mannerists he so crudely loathed — poor Con-
stable became one of the world's outstanding
stimulants. Not because he was original enough
to adapt Nature to a system of geometries and to
paint in the trecento manner; but because (a)
what he saw in Nature was new and profoundly
true, and (b) he had early taken pains to learn
how best he could express this in the medium he
used. Well, we have changed all that, so that
the prodigy of 1922 stagnates till 1924, wilts
through another year or so and then fades out,
lost in the press of newer prodigies, c. H. c. B.

Indian Drawings. Twelve Mogul Paintings of the School of
Humayun (i6th Century) illustrating the Romance of
Amir Hamzah. Text by C. Stanley Clarke. 17 pp. +
12 pi. (Victoria and Albert Museum Portfolio.) 5s. By
post, ss. sd.

The student of classical or modern art has
abundant material at hand in the form of
photographs and reproductions. For oriental
painting, and especially for Indian painting,
such materials are still scanty, and the present
publication is therefore doubly welcome, as
drawing attention to an attractive group of pic-
tures of a character rare even among the vast
multitude of Indian paintings. It is well known
that the palaces of Muhammadan princes in the
fifteenth and sixteenth centuries were often deco-
rated with large wall paintings, but these have
entirely perished, and we can only form a con-
ception of them from miniatures that in some
slight degree reproduce them. Owing to the
very nature of miniature painting, however, the
monumental style of these larger works is sel-
dom adequately represented ; but, in this remark-
able series of pictures, prepared by order of the
Emperor Akbar, we have an indication of the
bold treatment of landscape and architectural
features such as would be found in the adorn-
ment of large walled spaces. Even these
examples narrowly escaped destruction, some of
them having been used as screens to shut up the
latticed windows of the curiosity shop in Srina-
gar, where they were found by Sir Purdon
Clarke in 1881. To Muhammadan fanaticism is
due a further damage in the obliteration of the
greater part of the faces. Despite this injury,
these pictures are precious as representing a
school of painting and a technical method of
which very few other examples have survived.
The account which Mr. C. Stanley Clarke has
given of them will attract attention to these trea-
sures in the Indian Section of the Victoria and
Albert Museum which, under his wise direction,
has grown to be so valuable a centre for students
of Indian painting. At the present time, when
art publications have become so very costly, the
modest sum of five shillings should secure for
this beautiful production a large number of pur-
chasers, T. w. A.

Collectanea Vari>e Doctrin/C. 281 pp. i colour plate,
7 collotypes, and many reproductions in the text. (Munich .
Jacques Rosenthal.) M. 350.

The sixtieth birthday of Signor Leo S.
Olschki, the well-known Florentine bookseller
and editor of La Bibliografia is attractively com-
memorated by the present volume, to which
fourteen German and Italian scholars have con-
tributed. Bibliography and literary history pre-
dominate appropriately among the subjects of
the various papers : art history is mainly repre-
sented by two writers, Prof. Walter Bombe,
who passes in review the early activity of
Raphael, and Dr. Georg Gronau, who contri-
butes a very interesting paper on a half-for-
gotten artist, Lauro Padovano, an assistant of
Giovanni Bellini's. The starting point for the
reconstruction of the work of this artist is a pre-
della, originally part of an altarpiece in the
church of theCaritk at Venice and until recently
in the Kauffmann collection in Berlin : the
name of the artist is mentioned — though with-
out absolute conviction — by the Anonimo Morel-
liano, who assigns the remainder of the altar-
piece to Giovanni Bellini. The style of this
predella, with its vivacious, populous composi-
tions, reveals very clearly the influence of Man-
tegna : and Dr. Gronau is able to fix its date
as 147 1, further tracing the presence of the
artist at Rome in 1482 and 1508, and establish-
ing that he also worked as an illuminator. On
the strength of the Carit^ predella, Dr. Gronau
also recognises the hand of Lauro Padovano in
the altar predella of the much-discussed St. Vin-
cent Ferrer ancona in SS. Giovanni e Paolo at
Venice, and further, though with less certainty,
in the grisaille of the Meeting of Solomon and
the Queen of Sheba at Highnam Court, which
was exhibited at the Burlington Club in 1912.
The name of Lauro Padovano as author of the
St. Vincent predella seems indeed a very plaus-
ible suggestion, and the fact of Lauro's collabo-
ration with Giovanni Bellini in the case of the
Caritk altarpiece is a strong point in favour of
the view that Bellini painted the main portion
of the St. Vincent ancona — a view upheld by
Dr. Gronau with much force of argument. Alto-
gether, a volume of exceptional interest to
students in a variety of fields. T. B.

The Origin of the Cruciform Plan of Cairene Madrasas.
By K. A. C. Creswell. 54 pp. + 12 pi. (Quaritch.)

Mr. Creswell's name is already familiar to
readers of this Magazine, and the present work
adds to his reputation among serious students
of Muhammadan architecture. It is a closely-
reasoned argument against the theory hitherto
held by all previous writers on Saracenic art,
that the typical plan of the Cairene madrasa (as
exemplified in the famous mosque of Sultan
Hasan) was cruciform, that the few recesses
grouped round the sahn and forming the arms

of the cross were used for the few different
" rites " or " doctrines " of Islam, and that
this cruciform plan was introduced into Egypt
from Syria, where it was originally evolved.
Mr. Creswell proves, with the aid of elaborate
chronological tables of all known examples, that
only two madrasas in Egypt prior to 1408 had a
cruciform plan where the four Ihvans were used
as just described, and then adduces further facts
to prove that the first cruciform madrasa is
found in Cairo two centuries after the first
madrasa was established in India, and a century
later than Saladin's introduction of the madrasa
into Egypt. He gives elaborate descriptions
with original photographs and plans of all the
early madrasas in Aleppo to prove that the
" four-rite " cruciform plan was unknown there
or elsewhere in Syria. These descriptions and
illustrations are particularly valuable, as very
little is known of the mediaeval architecture of
Aleppo, where Mr. Creswell obtained his infor-
mation first-hand. He also offers a theory as
to the origin of the " two-rite " plan, and
another as to the existence of Gothic details in
the Muhammadan architecture of Cairo. He is
to be congratulated on this valuable contribu-
tion to our knowledge of an interesting period.

M. s. B.
Mary Davies and the Manor of Ebury, by Charles T.
Gatty. 2 vols. 5S8 pp. + 40 pi. (Cassell.) £3 3s. _

The tragic and farcical story of Mary Davies
and the trouble her property brought her is told
by Mr. Gatty with a gusto that will carry every-
one along with him. But perhaps to our
readers much of the significance of Mr. Gatty's
work will consist in the topographical energy
the author has put into tracing the boundaries
of the " Manor of Ebury," and the book is in
consequence full of excellent plans and engrav-
ings. The map of the "Manor of Elia" (1614)
with modern landmarks added in red is fasci-
nating to study, and brings up that lump in the
throat that all historians and topographers
know so well. Another pleasing feature of
these volumes is an appendix, containing eight
aerial photographs of the Manor of Elia, re-
cently taken by the Central Aerophoto Com-

A MONTHLY CHRONICLE

The Bredius Museum. — It gives us pleasure
to announce that Dr. Bredius has generously
opened his house at 6, Prinsegracht, The Hague,
to the public. The house, which contains a
unique collection of Dutch pictures, will hence-
forth be known as The Bredius Museum.

Maurice Rosenheim, F.S.A. — On May i8th
last there died at Hampstead Mr. Maurice
Rosenheim, well known with his brother Max
as a keen collector of works of art of many kinds.
The two brothers, living together, have for the
last thirty years assiduously gathered with much

pany. When we compare these photographs
of what is now the richest part of London with
the same bare acres, mostly arable, which ap-
pear in the map of 1614, we realise what it
means to be rich in the manner and the manor
of the Dukes of Westminster; for Mary Davies
married a Grosvenor. She suffered, for her
fortune, indignity and outrage beyond words,
but those who fought for her body and her
money, ces hommes sans talents et sans hon-
neur, perdus de dettes et de crimes, can never
have called up to their imagination in their
wildest phantasies one-hundredth part of the
riches that the Manor of Ebury would one day
give to its future owners. F. B.

Sculpture of To-day, by Kineton Parkes. Vol. I. .America,
Great Britain, Japan. 25s. Vol. II. The Continent of
Europe. 30s. Universal Art Series. (Chapman & Hall.)

These two new volumes in the Universal Art
Series advance no general theory and have no
general plan except to furnish a de.scription of
the work of modern sculptors, with biographical
sketches of each. While such a catalogue would
no doubt be useful, as a book in two volumes
costing fifty shillings it is a bad bargain. There
are no illustrations of works by Maillol Rodin,
Barnard or Brancusi, and no mention of Gau-
dier-Brzeska. The author has, however, col-
lected together a vast amount of information,
and this, together with his reflections, swells
the book out to the desired number of pages.

In one such parenthesis, after deploring the
discussion aroused by the work of Epstein, the
author continues: —

To pass from the consideration of the rebels back to the
normal members of the English school is like emerging
from the passage of a swiftly running river on the South
Devon Coast, such as the Exe, or the Otter, into the smooth
sunlit Channel.

The author is certainly happiest at sea. There
are, however, more arresting passages : —

The temperament of Alfred Gilbert is most like his great
predecessor in the art of sculpture, Benvenuto Cellini.

Unfortunately, Mr. Parkes has omitted, in
the biographical sketch, all those passages of
Gilbert's life which may have borne so
exciting a resemblance. But we cannot quite
agree that in both men " Art was in very truth
the whole of their lives." D. G.

industry and considerable knowledge, a small
museum of art. Like many others who have
exercised their taste in this field, they were at
first very uncertain of the line that best satisfied
their artistic longings, and excursions were made
among books, prints, drawings and faience,
which up to the end were never entirely neglec-
ted. But in their later years the energies of both
brothers were concentrated on Italian and Ger-
man medals of the Renaissance, and on dials and
other instruments of precision. In these direc-
tions no sale took place during the last twenty

years unnoticed by the Rosenheim brothers, and
their minute and accurate knowledge of the sub-
jects enabled them frequently to secure prizes
from competitors of much greater wealth. In this
way they were able to accumulate a collection of
the first rank, and the readers of this Magazine
will recall how frequently the Rosenheim collec-
tion has figured in every article dealing with
Italian or German medals.

Their circle of friends and correspondents
was very large, and all soon became familiar
with the wide range of knowledge of the collec-

LETTER

PAINT VERSUS THE REST.
Sir, — Mr. Sickert thinks it " possible that he
may be rather specially qualified to praise and
enjoy what he believes is now called the ' binge '
in art, as the reality has always been to him a
thing from which he is temperamentally averse."
This surmise follows on a statement that " the
subject of painting is, perhaps, that it is not
death " : and, indeed, that "it is perhaps
nothing more." Perhaps. I do not know what
that thing is which Mr. Sickert believes is now
called " binge" in art: still less can I grasp
the exact intention of his formula as to the subject
of painting. But, were it not for his admission
that " there is more to a feast than to the tiles
and slates of the roofy school of CoUioure and
Fitzroy Street," I should suppose from the tenor
of his notes in your last issue that Mr. Sickert
values " pure " painting more highly than all
those living realities which make the works of Era
Angelico or the Van Eycks so disgustingly im-

GALLERY AND MUSEUM ACQUISITIONS.

tors, and equally grateful for their ready gener-
osity in imparting it. Mr. Max Rosenheim died
about twelve years ago, and now that his
brother Maurice has also passed away, a sensible
gap is left in the circle of London collectors.

They were both generous benefactors to the
public collections during their lives, and Mr.
Maurice Rosenheim by his will has left to the
British Museum an important, if small, series of
medals and instruments.

The rest of his collections are to be sold by
auction early next year. C. H. R.

pure. Now, Sir, there is a kind of low fellow
who is averse neither from " painting-pure "
("binge"?) nor from reality: who thinks
Velasquez no worse a painter for sometimes giv-
ing two eyes to a face, and that for a commission,
and who has no mind to be bullied out of his
harmless delights by any d6mod6 Declaration of
Paris that the virtue of a picture is in the paint
and nothing but the paint. As for excellence
of paint, why. Sir — says our low fellow — that is
a thing which most good and many bad painters
have achieved in their stride.

" What a different generation we are," con-
cludes Mr. Sickert. Shall we then, while respect-
fully regretting his omission to state from what
we as a generation — or two — dilTer, leave it
peaceably at that, and agree, in the cloistered
academic calm of your columns, to differ hand-
somely at any rate from one another ?
Yours faithfully,
22 Campden Hill Square. R. Gleadowe.

NATIONAL GALLERY.

French School, The Holy Trinity. Wood. 42J in. by
42 in. c. 1410. Purchased.

NATIONAL GALLERY, MILLBANK.

H. B. Brabazon. Sunset : Mountain and Lake (water-
colour) ; Como (water-colour) ; Monaco (water-colour) ;
Venice; a side Canal (water-colour); Venice; a Grey
Day (water-colour) ; Sunset (after Turner) (water-
colour). Presented by Mrs. Hamilton Fox in memory of
the Honourable Mr. Justice Peterson.

Colin Gill. Drawing of a Woman. Pencil.

J. D. Innes. Rodez. Drawing.

A. Hayward. Composition. l5rawing. Presented by Sir
Joseph Duveen.

J. S. Sargent. Mrs. de Glehn with Miss Sargent sketching.
Water-colour Bequest from the late W. Newall, Esq.

H. Le Sidaner. Claire de Lune a Gcrberoy. Oil. Presented
by Mrs. Hamilton Fox in m.cmory of the Honourable Mr.
Justice Peterson.

NATIONAL PORTRAIT GALLERY.

(Portraits marked * are not yet on exhibition.)
Anon. Sir John Kirk, 1832-1922. Explorer and one of
the founders of British East Africa. Water-colour. Pre-
sented by .'\. H. Kirk, Esq.
•Sir Philip Burne-Jones, Bart. 5i> Edward John Poynter,
Bart., 1836-1919. President of the Royal Academy. Pur-
chased.
C. W. Furze, R..A. Admiral of the Fleet Lord Reresford,
1846-1919. Presented by Dame Katherine Furze.

*John Gibson, R.A. Walter Savage Landor, 1775-1864.

Author. Plaster cast of a bust modelled at Rome. Pre-
sented by Mr. Walter S. Landor.
M. GoRDiGiANi. Richard Bethell, First Baron Westbiiry,

P.C., 1800-1873. Lord Chancellor, 1861-65. Purchased.
*Hackwood. Josiah Wedgwood, 1730-1795, and Thomas

Bentley, 1731-1780, the famous potters. Modern casts

from the old medallions. Presented by Josiah Wedgwood

and Sons.
Richard Houston. John Wilkes, Serjeant Glynn and tite

Rev. Home Tooke. Presented by the N. A. C. Fund.
Edward Lacey. Henry Mayers Hyndman, 1842-1 921.

Founder of the Social Democratic Federation. Bronze

bust. Presented by the Hyndman Memorial Committee.
Carlo Pellegrini. Charles Kingsley, 1819-1875. The

well-known author and Canon of Westminster. Drawing.

Purchased.
*QuiLLEY. Robert Lindley, 1776-1855. The ce'ebrated

violoncellist. Engraving from the palming by William

Davison. Purchased.
Sir William B. Richmond, K.C.B., R..^. William Morris,

1834-1896. Poet, artist, socialist and founder of the

Kelmscott Press. Purchased.
Hugh Ross. Sir William Charles Ross, /?..!., 1794-1860.

Miniature painter. Miniature. Purchased.
Sir William C. Ross, R..^. Sir Harry George Wakelyn

Smith, Bart., G.C.B., 1787-1860. General and Governor

of the Cape of Good Hope. Miniature. Purchased.
John Russell, R..^. James Price, M.D., F.R.S., 1752-

1783. Called " the last of the alchemists." Professed

ability to convert mercury Into gold and silver but com-
mitted suicide rather than admit the imposture. Pastel.
Purchased.

*JOHN S. Sargent, R.A. Some General Officers of the Great
War. Presented by Sir Abe Bailey, Bart., K.C.M.G.

Unknown Artist. Extensive series of water-colour draw-
ings of Peninsular and Waterloo Officers. Purchased.

BRITISH MUSEUM.
Print Room.
Drawings.

Ercole de Roberti. Massacre of the Innocents. (Large

cartoon, reproduced in Sotheby's Catalogue, May 23,

1922, lot 63.)
Anon. Peasant mowing. Design for glass painting.

Netherlandish, c. 1500.
J. Callot. Design for Etching, M. 15.
M. A. DA Caravaggio. Group of heads. Pen and ink.
Rev. W. H. Carr. Landscape, 1816. Presented by T.

Humphry Ward, Esq.
G. B. Castiglione. Virgin and Child and St. John.

Brush drawing in red, the lights added in oil-colour.

Group of animals and figures. Sepia wash.
J. Farington, R.A. Bridgnorth. Water-colour.
F. Floris. Mythological subject, in the style of his

chiaroscuro woodcuts.
D. FossATi. Architectural composition (Venezia, 1762).
S. Leclerc. Designs for two of a series of four etchings

of Cupid and Psyche.

A. Legros. Head of a Bishop. From the Holloway and
Bliss collections. Presented by G. Henderson, Esq.

J. Wright, of Derby (attributed to). Figure subject.
Engravings.

Anon, isth century. Christ entering Jerusalem, Lehrs iv
223, 17, ii.

B. Beham. St. Christopher, P. 11, I; Lucretia, P. 21, I;
Flora, P. 16; Two panels of ornament, P. 82, 83.

H. S. Beiiau. Christ on the globe, P. 32, IV; Fortune,

P. 143, II ; Ornament, P. 239, I.
J. Binck. Adam, 1526 (Pauli, Nachtrag, No. i). I'ir^in

and Child on the crescent, crowned by angels (un-

described).
A. Claessen. St. Agatha, Pass. 95, Aum. 72.
T. DE Leu. Nine engraved Portraits.
H. Leinberger. Man of Sorrows, Lossnitzer 6, I. St.

Hubert, Lossnitzer 10.
A. Mair. St. Anthony, after Schongauer ; NagI Mon.

I, p. 385.
I. VAN Meckenem. Acanthus scroll with dance of lovers,

B. 201.
Monogrammist, I. B. St. Jerome, after H. S. Beham,

B. 60.
W. VON Olmutz. St. Catherine, Lehrs 56 ; undescribed

second state.
Aug. dk Saint-Aubin. Victor Amadeus, II, 1777, before

letters, Bocher, 2, II.
Agostino Veneziano. Leda, B. 232.
Etchings.

A. Hirschvogel. Four Biblical subjects.

Rembrandt. Ecce Homo, Rov. 77, the rare second state.

Presented by H. Van den Bergh, Esq., through the

N. A. C. Fund. Bust of Rembrandt's father. Hind 21,

I, with the White Negress on the back.
A. Stimmer. Portrait of J. Marbach, Andr. 3.
S. Strauch. Self-portrait.
M. ZOndt. Gabriel Schliisselberger and L. Osiander

(1601).
Woodcuts.

Anon, isth century. St. Bernard leading a chained devil.

Undescribed.
L. Beck. Signed title-page of Eck's sermons, 1530.
H. BuRGKMAiR. Group of savages (part of B. 77, 1508),

early impression. Title-page to " Spiegel der Blinden,"

1522.
Jacob Cornelisz. Christ before Pilate; 1521. Christ

mocked (round passion), with the late border.
Monogrammist, N. S. A battle, from two blocks.
T. Stimmer. Nine woodcuts, and one attributed
H. Weiditz. Maximilian hearing Mass, formerly attribu-
ted to Durer, B. App. 31.
J. Skippe. St. Paul, after Perino del Vaga.
Y. Urushibara. Eight colour prints, chiefly after F.
Brangwyn, R.A.

British and Mediaeval Antiquities.

Cameo portrait of Giangaleazzo Sforza, Duke of Milan,
perhaps by Domenico del Cammei, and various dials of
late 16th century. Bequeathed by Maurice Rosenheim,
Esq. F.S.A.

Panel enamelled by Leonard Limousin with a scene from
the life of St. Anthony and the arms of Antoine de
Langeac, Abbot of Saint-Antoine de Viennois. Signed
L. L., and dated 1536 ; a companion panel to one in the
Barwell Collection bequeathed in 1913. Acquired by
purchase.
Ceramics.

Plate of Chinese porcelain with arms of Heathcote impaling
Parker. About 1720. Presented by Lieut. -Colonel Heath-
cote, D.S.O.

Pottery vessel in form of a lion, turquoise glaze ; from
Rhages. Purchased.

Unglazed pottery jug with moulded ornament. Persian ;
loth century. Purchased.

VICTORIA AND ALBERT MUSEUM.

(The acquisitions marked * are not yet on exhibition.)
Ceramics.

Early Meissen Cup and Saucer, " blanc de Chine " type.
Formerly in the Royal Saxon Collection. Presented by
Roland H. Ley, Esq.
Chinese and European porcelain, and a collection of
Wedgwood medallions and English cut-glass. Presented
by Douglas Eyre, Esq.
Bristol delft plate made by Flower, painted with a ship
and inscription in Dutch. Presented by T. Charbonnier,
Esq.
Zurich and Bow figures and a Capodimonte inkstand.
Presented by Lieut. -Colonel K. Dingwall, D.S.O., through
the N. A. C. Fund.
Six pieces of modern French porcelain made by E. Decoeur.
Presented by Dr. Lindley Scott.
Engraving, Illustration and Design.

"Sidney H. Sime. Designs for Stage-scenery, Costume, etc.
Presented by The Right Hon. Lord Howard de Walden.
'Copies (45) in Water-colour, made by George Wallis, of
Portraits exhibited at the National Portrait Exhibition
held at the South Kensington Museum in 1866-1868.
Drawings illustrating the history of Footwear from the time
of the Norman Conquest until the beginning of the i6th
century, by " Robin " (Miss M. C. Blood). Presented
by Messrs. Daniel Neal & Sons, Ltd. (to the Bethnal
Green Museum).
Library.
Three sets of photographs illustrating historical monuments
in Hertfordshire and in North and South Bucks, taken
for the Royal Commission on Historical Monuments
(England). Presented by Mr. E. J. Horniman, through
the N. A. C. Fund.
Metalwork.
A bronze mortar with iron pestle. English ; first half of 17th

century. Presented by Robert E. Brandt, Esq., F.S.A.
A cast iron fireback of heraldic type. English ; 17th cen-
tury. Presented by Arthur du Cane, Esq.
A group of Japanese Swords and Near Eastern Arms and
Armour. Presented by Mrs. Biddulph in accordance with
the wishes of the late Colonel John Biddulph.
A group if inro (Japanese girdle-pendants) in metal, a
giotai (analogous object worn with ancient Court dress in
Japan), and four Japanese sword-guards, from the Michael
Tomkinson Collection.
A gold-hilted sword of native workmanship given by the
King of Bekwai, Ashanti, to Colonel Sir Edward Sladen
in 1901. Presented with the letter accompanying the
original gift, by Mrs. G. H. F. Sladen.
Paintings.
'A.Gallaway. Two miniature portraits.
'Bernard Lens. Portrait of Andrew Benjamin Lens.

Miniature. 1723.
*Box of pastels, iSth or early 19th century. Presented by
Miss Isabella Cay.
Woodwork.

A cabinat-maker's hammer. Stamped " Leander Green ";

1604.
A chairman's armchair, of mahogany, of unusual size and
type. Style of Mainwaring. English ; second half of
i8th century.

100

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A TOAD IN WHITE JADE

I_BY ROGER FRY

HE toad here reproduced [Front-
ispiece] is carved in jade of a
somewhat dirty and mottled white.
It was discovered by its owner,
Colonel Pope - Hennessy, in a
shop in the West End of London, and
nothing is known of how or when it came to
England. I can fortunately leave it to more
competent hands to discuss its provenance and
date. From a purely artistic point of view it
is of extraordinary interest. The problem of
the artist is almost always the same, namely, that
of discovering a possible synthesis for life and
form. Sometimes life itself seems to have
attained to form, as in the case of those
lizards which modern Italian craftsmen convert
directly into bronze by purely mechanical
means. But the form there has only the trivial
expressiveness implied in the unfamiliarity of
a change of material from living tissue to rigid
bronze. This undoubtedly gives the mind a
slight stimulus whereby we contemplate more
tranquilly the actual form than when we chance
upon the living creature.

At the other end of the scale are the innumer-
able stvlisations of animal form which those
too impatiently esthetic Egyptians practised.
Here nearly always we find the life crushed out
in the process of a too rigid, too " decorative "
formula.

Somewhere in between will be, I think, all
the greatest works of art, and among them,
how many at least in the class of objects we are
considering, must be counted to the credit of
Chinese sculptors of Han, Sui, T'ang and
earlier times.

But, in spite of our familiarity with all these
examples, nothing quite like Colonel Pope-
Hennessy's toad has hitherto come to our
notice. For here, in spite of the artist's adher-
ing to the symbolic convention of giving his
toad but three legs, he has pushed naturalism
very far. Much of the mere surface texture
of the toad's skin is retained by the artist.
It has more than a reminiscence of the blotches,
warts and wrinkled looseness which are the
most striking characters of the animal. This
is remarkable, for it is the rule in highly stylis-
tic early art to abstract from all such visual
effects and to concentrate on the general plastic
relations.

And it is not only here that the unknown
master of the toad is peculiar — in the asym-
metrical movement of the body he has again
accepted more from life than is usual in early
art. Indeed the vivid impression of the inner
life of the animal is the most striking effect of

this work. And yet the sense of style is no less
intense. This is as far as possible from a work
of merely initiative skill or of purely external
observation. It is a masterpiece of plastic
design as logical and as sure in its rhythm as
the most conventional art, but for all that with
a freedom and subtlety that can embrace life.

-BY UNA POPE-HENNESSY

'HIS toad probably dates from
a very archaic period and pre-
sumably is made of indigenous
Shensi jade. It may have been
fashioned in early Chow days, but
it is more likely to be Shang or even pre-Shang
in origin. What we know of Shang and early
Chow art reveals itself to us as stylisised and
hieratic, but this object is naturalistic and of ex-
traordinary freshness and power. This leads
us to think it may well be a survival of the
naturalistic and dynamic art which must have
existed in China before religious art in that
country became conventionalised and static.

Both technically and in character the toad
bears the signs of great antiquity. The cutting
of the central orifice is rough as also is the mouth
opening. It is as if they had been hollowed
out with tools more primitive than those used
to fashion the admirably finished ritual jades of
the Chow dynasty. Both openings are dis-
coloured by burning. As incense was unknown
in Shang days the Toad cannot be labelled " in-
cense-burner," rather it would seem to have been
a vessel used for the burning of the southern-
wood, mugwort and fragrant orchid used in
certain early ceremonies before the introduction
into China of aromatic gums.

The outside of the vessel is discoloured by
long burial and stained brown, dull red and ivory
yellow. In the texture are a few small pockets
of chalky substance which Mr. Laufer notes in
his famous books on jade as being characteristic
of the early indigenous jades of China. Every
jade object of the Shang and Chow dvnasties had
a ritual, a religious or a magical significance,
and it is the view of certain sinologists that in
such objects may be discovered the key to that
remote Natural Religion which in late Chow
days came to be known as Taoism.

Collectors of early jades are familiar with
cicadas, emblematic of immortality, and highlv
stylisised tigers and dragons symbolising the
regions of the east and the west ; also with wild
boars, rams and tortoises, but in this toad I be-
lieve we have something far older. Probably —
for there is no certainty in pre-historv — it is one
of those mysterious ling animals which were in-

103

voked to adjust the relations between the primal
elements — the Yin and the Yang— at certain
periods of the year, notably at the equinoxes.
Here perhaps we have the original of what we
come to know in Taoism as " Chang Yu " (the
toad of the moon), the manifestations of which in
pottery are legion. The very object here depicted

may have served an actual use in those autumn
equinoctial feasts of the dim past when the moon
was worshipped, sacrifices were made, herbs
burnt, wine drunk and dances measured. In any
case it seems to be unique and unrelated to any
known objects in the collections of China, Europe
or America.

UNPUBLISHED CASSONE PANELS— V
BY TANCRED BORENIUS

TRIUMPHAL pageants were
among the subjects which enjoyed
a great vogue in Italian Renaissance
painting generally; and they were
specially favoured for the decoration
of cassones, as is natural enough, considering
how the fronts of these pieces of furniture
through their width lent themselves to the un-
rolling of a motive in processional sequence.
The " Trionfi " of the Renaissance have lately
been made the subject of an attractive and well-
illustrated monograph by Dr. Werner Weis-
bach ;* and as regards their bearing on the
theme of cassone decoration they are, of course,
dulv noticed by Dr. Schubring.^ From the
point of view of subject, the Triumphs appear-
ing on cassoni may be divided into two main
groups, viz., those which are connected with
historical events (e.g., episodes from the Old
Testament, from Classical history, and from
contemporary history); and those which are
essentially mythological and allegorical scenes.
Among the latter, a particularly extensive
group is formed by the Triumphs which were
inspired by Petrarch's six famous poems in
terza rima, known as / Trionfi — the Triumphs,
that is, of Love, Chastity, Death, Fame, Time
and Eternity.

The surviving examples of complete sets of
Petrarchian Trionfi represented in pictorial or
graphic art, are not very numerous : Dr. Schu-
bring limits himself to quoting four such ex-
amples : the magnificent pair of cassone fronts
bv Francesco Pesellino, formerly belonging to
Mrs. Austen, of Horsmonden, Kent, and now
in the collection of Mrs. J. L. Gardner, of
Boston ;' the series of six Mantegnesque panels
in the Pinakothek at Munich ;* and two en-
graved sets in the Albertina at Vienna, Flor-
entine fifteenth-century productions in the "fine
manner." Instances reducing the series to
four or three Triumphs are also quoted by Dr.
Schubring; and on the present occasion I
am able to draw attention to a case of five of
the Triumphs appearing on two delightful cas-
sone fronts in the collection of Mr. Walter

1 Werner Weisbach, Trionfi (Berlin : G. Grote, 1919).

2 Schubring, Cassoni, passim, but especially pp. 58-60.
s Schubring, Cassoni, pi. LX, Nos. 266, 267.

* Ibid., pi. CXXXII, Nos. 586-591.

Burns, of North Mimms Park, Herts, and here
for the first time published by his kind per-
mission.

The series begins [Plate, a] with the
Triumph of Love, standing on his chariot
drawn by four white horses, and surrounded
by a number of people in modish dress.
As usual in the pictures of this subject,
Cupid is shown nude, blindfolded and shoot-
ing his arrows. At the opposite end of the
panel is the Triumph of Chastity, a young
woman, fully dressed, holding a palm branch
in one hand and what looks like a small tree in
the other :. she is standing on a chariot drawn
by two unicorns, and followed by a crowd of
maidens, while Cupid sits lower down on the
chariot, with his arms tied behind his back,
and accompanied by two likewise captive
amorini. On the left of the actual Triumph is
the pretty and unusual scene of Cupid, with his
bow and quiver broken, surrendering with two
amorini to Chastity, accompanied by two female
attendants of smaller proportions. Next there
should follow the Triumph of Death (compare
one of the Pesellino panels belonging to Mrs.
Gardner), but this is left out, as striking per-
haps too tragic a note for a marriage chest :
there is a parallel to this omission in a cassone
front by the anonymous Florentine artist known
as the '" Cassone' Master," in the collection of
the Marquess of Lothian, at Newbattle Abbev."
The three remaining Triumphs are shown in
the other panel [F'late, b] : beginning on
the left, the Triumph of Fame, a female figure
enthroned on a chariot drawn by two slaves
and two white horses, and surrounded by
heroes and heroines; next, the Triumph of
Time, an old man with long flowing hair
and beard, leaning on his crutches and with
an hour-glass on his winged back— rather a
perilous moment of equilibrium, seeing that he,
too, is placed on a chariot, drawn in this case
by two stags; and finally the Triumph of
Eternity, symbolised by God the Father, en-
throned in the Empyrean among angels play-
ing on musical instruments, while below ap-

« See Prince d'Essling and E. Miintz, Pdtrarque, Paris,
1902, pp. 169-171.

e Schubring, Cassoni. pi. XLV, No. 204.

104

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pears a bird's-eye view of the world.

More especially the treatment of the last-
mentioned scene, but also to a certain extent
the Triumph of Fame and the Triumph of
Love, point to the painter's having been ac-
quainted with the scheme of Pesellino's two
great cassone panels, depicting these subjects,
and usually held to date from about 1445. But
in comparison with Pesellino, the style of
drawing and modelling and the bright positive
colouring which so charmingly characterises
these works, strike a note akin to an earlier
generation of artists, with definite reminiscences
of the manner of Fra Angelico and his follow-
ing {e.g., Benozzo Gozzoli). A name which
occurs as a possible candidate for the author-
ship of these panels is that of Andrea di Giusto
in the phase of his in which he appears under
the influence of Fra Angelico : but it is perhaps
superfluous to add what caution must be exer-
cised in allotting cassone panels of this period
to definite masters, seeing how little is yet ascer-
tained about the individuality of these cassone
painters, including the one whom tradition,
and tradition only, makes most of, namely,
Dello Delli, to whom Mr. Burns' panels have
long been assigned.

As I am on the subject of Florentine cassone

THE ARMS AND BADGES OF
BY F. SYDNEY EDEN

T is remarkable, having regard to
the short periods during which most
of the ladies who, successively, occu-
pied the position of Queen during

the reign of Henry VIII remained

on the throne, that there are extant, to-day, so
many memorials of them. If we take only one
form of memorial, heraldry in painted glass,
we shall find quite a considerable number of
contemporary examples. A few may be re-
ferred to as representative of the many scattered
about England.

In a window of the reading room at the Car-
negie Library, Hammersmith, is a fair amount
of Tudor Ro}aI Heraldry — arms and badges —
in sixteenth-century glass. There are badges
of Katherine of Aragon and Anne Boleyn, both
within oak-leaf chaplets with coloured bands
and clasps and surmounted by royal crowns.
These accessories are all of one design, though
differently coloured, and Queen Katherine's
badge bears, in the base of the chaplet, not her
initials, but those of Jane Seymour, I.S. — pre-
sumably an error in modern releading. The
split pomegranate dimidiated with the red and
white rose in this badge is not very happily
conceived, and, unless one knew that the sinister
half of the design must be pomegranate, one

panels of the time about 1450, I should like to
seize the opportunity of referring to a very inter-
esting example, belonging to Mr. W. M. de
Zoete, and representing the Horse being
brought into Troy. There is another version of
this composition — so happily dominated by the
noble form of the big wooden horse — in the
Mus6e Cluny, which also contains three more
Cassone fronts with subjects from the vEneid by
the same artist,' whom Dr. Schubring, on the
strength of a picture in the Jarves Collection,
Yale University, Newhaven, calls " The Master
of the Tournament of S. Croce." By the cour-
tesy of M. G. Arnot I also illustrate here the at-
tractive panel of the Triumph of Scipio Africanus
[Plate, c], which I take to be the work of the
artist known as the " Anghiari Master " from
the cassone front representing the Battle of
Anghiari, illustrated in this magazine some years
ago." The scheme of the picture here repro-
duced may be compared with the panel of the
same subject in the Mus^e des Arts d^coratifs
in Paris (Salle 309).'

7 Schubring, Cassoni, pi. XXVIII, Nos. 144-146; pi.
XXIX, No. 147.

* See the Burlington Magazine. Vol. XXII (Dec, 1912), p.
IS9-

'Schubring, Cassoni, pi. XX, No. 11 1.

THE WIVES OF HENRY VIII

might fail to recognise it as such.

Anne Boleyn 's badge at Hammersmith [see
Plate, a] — a falcon, royally crowned, stand-
ing on a tree stock and grasping a sceptre — is
a forcible rendering of the design ; but it is
spoiled by an unnecessary amount of lead work,
not by way of repair but original. It
would have been quite the right thing to have
painted this badge, which is entirely in gri-
saille heightened with yellow stain, on a single
piece of white glass.

There is a very charming, though, unhappily,
much faded, badge of Anne Boleyn on a white
glass quarry (sixteenth century) at Wethers-
field Church, Essex [Plate, b] : the work, which
is in grisaille and yellow stain with a few
touches of blue and red enamel, is exceedingly
fine and delicate. This quarry is, no doubt,
domestic in origin.

A good contemporary rendering of Jane Sey-
mour's badge — a phoenix, crowned, rising from
a tower [Plate, c] — is in a window at Noke
Hill Church, near Romford. Here, again, is a
mistake perpetrated by a modern restorer — the
initials H and A combined, for Henry VIII
and Anne Boleyn, appearing in the chaplet in
which this badge is set.

By way of comparison with the well-pre-

109

served condition of the Noke Hill example one
may mention a roundel within a border bear-
ing this same badge of Jane Seymour in the
Jericho Parlour at Westminster Abbey, in
which the brown enamel is entirely perished,
leaving only the yellow stain by which to iden-
tify the subject.

Judging by the extant remains in churches
of Tudor heraldry, it appears to have been a
common thing for the royal arms — France and
England quarterly — in one panel and the same,
impaling the arms of the Queen for the time
being, or her arms alone, in another, to be set
up in churches in the days of Henry VHI, per-
haps, as one form of compliance with the regu-
lation for setting up the royal arms in all
churches.

At High Ongar, Essex, are two such panels
in the East window — that on the sinister side
shows the arms of Seymour and quarterings,
with the augmentation of a red pile, bearing
three lions of England, in a gold field between
six blue ileurs-de-lis granted to Jane Seymour
and her family on her marriage [see Plate, d].
The sides of the chaplet have been cut down to
fit its present setting.

In All Saints Church, Maldon, Essex, are
two somewhat similar, but larger, panels of the
Royal and Seymour arms [see Plate, e],
which were, probably, originally, in a window
of St. Peter's Church there, the nave and
chancel of which were destroyed in the seven-
teenth century, and never, for ecclesiastical pur-
poses, rebuilt. Instead, the then Rector, Arch-
deacon Plume, built a hall and library on their
site, and, at some time, these glass panels were
fixed, in a fragmentary state, in the East win-
dow of the hall.

When the present writer visited Maldon a
few years ago, he found this window in a
broken conditon, both as to glass and lead-
work, and the painted fragments were either
hanging from their settings or lying in the rank
grass of the church-yard. These fragments he
collected and pieced together, as far as they
would serve. Ultimately, with the kind per-
mission of the Rector of the adjoining church
of All Saints, they were placed, in the form of
two panels, made up in their original form, in
one of the windows of that church, and there
they are to-day. No attempt was made at restor-

glass :. fortunately, the Seymour coat, with
augmentation and quarterings, was found in-
tact.

In a window of St. John's Chapel in the
Tower of London, among the miscellaneous old
glass there, much of which was in Horace Wal-
pole's collection at Strawberry Hill, is a shield,
painted in enamel colours, rather perished, and
ensigned with a modern Garter, which bears
the three quarters granted to Anne Boleyn, by
way of augmentation, on her marriage, viz. —

I. England, with a label of five points azure,
each point charged with three fleurs-de-lis or.

II. France (ancient), for Angouleme. III. Gules,
a lion passant, guardant, for Guienne. The
other quarters are : IV. Quarterly, i and 4,
gules, a chief indented or, for Butler, 2 and 3,
or, a lion rampant sable, crowned gold, for
Rochford. V. England, with a label of five
points argent, for Thomas of Brotherton.
VI. Cheeky, or and azure, for Warenne [see
Plate, f]. As Woodward (" Treatise on
Heraldry," vol. 11, p. 151) says that these arms
are taken from a book once in Anne's own pos-
session, and as a shield at the College of
Newark, or St. Mary the Greater, at Leicester,
which bears identically the same six quarters,
is assigned by Papworth ("Ordinary," p. 165) to
Anne Boleyn, one may probably assume that
the Tower shield refers to her. As Woodward
remarks, the absence from the shield of the
coat of Boleyn is noticeable.

Henry's last wife, Katherine Parr, is com-
memorated, in painted glass in a window at the
Siege House, Colchester, by a white roundel,
within a Renaissance scroll border, on which
is a shield of six quarters, the arms of Parr in
the second quarter and the augmentation
granted to Katherine on her marriage with the
King — argent on a pile, between three roses gules,
three others argent — in the first quarter [see
Plate, g]. The shield has a border of scroll
and grotesque work, is supported by two herms
and is ensigned with a royal crown. The
sinister lower base of the roundel is lost, and
is repaired with plain white glass. In the upper
part of the border is a small shield bearing a
merchant's mark, with initials W.S., presum-
ably those of the glass painter, and the date is
1546. The border, on its sinister side, is re-
paired with the Divine monogram I H S, rayed,
in white and yellow.

ation, all lost pieces being supplied by white

A FOURTEENTH-CENTURY ENGLISH TRIPTYCH
BY W. R. LETHABY

UITE a remarkable English triptych
is now in the possession of Messrs.
Durlacher and Co., of Bond Street,
of which I am glad to give some des-
cription in my notes on medi-

aeval paintings. It was obtained from Wood-
endean Manor, near Brighton, and had been
the property of Sir Thomas Lennard. It con-
sists of a central panel and two side-pieces
closing as doors : when open the full size is

I 10

about 3 feet 8 inches by 2 feet 9 inches. It
is carved with tabernacle worlv in low relief
and the surface was gilt. The unpainted gold
backgrounds are covered with patterns made
of punched dots. The upper part of the
central panel is occupied by the Crucifixion :
below are three smaller subjects^ within a
painted arcade. [Plate I],

The Cross of the chief subject stands high :
Christ appears exhausted, with streams of
blood flowing from His side, down the Cross
from the feet, and from the hands streaming
along the arms to fall from the elbows. On
either hand is a group of figures : the Virgin,
three women and St. John are on Christ's
right, the two soldiers and a third figure are
on the left. One of the soldiers, in ornamented
plate-armour, points a finger and says as is
written on a scroll, Vere filius Dei erat iste.
This inscription has been injured but it can
be made out by comparison with the Norwich
retable where the soldier also points and
speaks. Beyond the Crucifixion are the four
symbols of the Evangelists. The subjects in
the arches on the lower part of the central panel
are (a) Christ washing Peter's feet while the
other Apostles wonder : {h) the Agony in the
Garden — a Hand offers a cup to the kneeling
Christ : (c) the Resurrection from the tomb.
On the lower part of {b) and in the centre is a
small coat of arms : it is somewhat rubbed but
appears to be barry argent and gules, a lion
rampant sable, crowned (Fig. 2). The shield
is clearly of the greatest importance as doubtless
it represents the donor of the altar-piece to some
church.

On the inner face of each of the two doors
of the triptych are three subjects, the two lower
ones being within painted arcades. The sub-
jects on the left are : (i) The Annunciation,
the Virgin and the Angel both kneel, above on
the left appears God the Father leaning out in
the canopy work : (2) The Coming of the three
Kings, one having presented his gift (an orb
on a stand) kneels and kisses the arm of the
Holy Child, Joseph behind stirs a bowl of
milk with a spoon : (3) The Presentation, the
Child stands on the altar or table of offerings :
the Virgin's companion carries doves and a
long ornamented candle.

The subjects on the right are : (4) The As-
cension, Christ leaves footprints on a green
hill : (5) Descent of Holy Spirit, the Virgin
in the middle and Apostles right and left : (6)
Death of the Virgin, Apostles behind, one
reads, another sprinkles Holy water, above
in a circle Christ receives the Virgin as a small
naked soul which is held as an infant on His
arm — an imaginative treatment. In the span-
drels of the tabernacle work are angels, two

adoring and two making music.

On the outside of the two doors four flat
panels painted with Franciscan subjects have
been fixed. In style these closely resemble
the paintings already described: they are on
deep blue grounds, sprinkled with gold stars,
and the figures stand on a green foreground
strip with here and there a flower. One pair
represents St. Francis preaching to the birds.
Many of these rest on a tree while others fly
above; several different kinds — owl, eagle,
hawk, etc., are well made out. Naturalistic
birds were characteristic of English fourteenth-
century art ; some of the apus anglicanum em-
broideries, which I believe were mainly London
productions, furnish examples. The tree is
an oak of which the leaves are deftly touched
in. Notice how St. Francis makes the gesture
of exposition in preaching : his hands, side,
and feet show the stigmata. Behind him a
companion friar is sleeping.

The other two panels each contain two
figures, one of each pair being a Franciscan
saint, and the other one an Apostle. The
Apostles are St. Andrew and St. Paul : one of
the Franciscan figures is St. Clare and the
other — a Bishop standing above the crowned
arms of France — has been identified as St.
Hugh, Bishop of Toulouse.

The colour of the paintings generally is
deep, brilliant, and remarkably transparent.
The arcades have spaces of transparent colour
laid over the gold which glitters through it.
The painter's touches, as seen especially in
an enlarged photograph of a portion which I
have before me, are swift and assured. This
portion is the foreground of the Agony in the
Garden with part of a wattled hedge and a
delicate branch of foliage behind.

No one who has studied English mediaeval
paintings will have any doubt as to the origin
of this work and I should date it about 1360-
75. There are so many interesting parallels
between this triptych and the wall paintings
once in St. Stephen's Chapel at Westminster
that both works must be very nearly of the same
age. The most important subjects at St.
Stephen's — the Three Kings of the East
making their offering to the Infant Christ, and
the Presentation in the Temple — were half des-
troyed before they were recorded, but by com-
parison with the similar subjects on the triptycli
their original composition may be better under-
stood. At St. Stephen's the figure behind the
Virgin, of which little more than the feet re-
mained, must have been Joseph. The Holy In-
fant evidently leaned forward from His
Mother's arms towards tiie first of the wise
Kings who knelt and placed his crown on the
floor. The Presentation was still more frag-

113

mentary in the Chapel, but comparison with the
triptych shows that the Child Christ stood on
the Altar of offerings between the High Priest
and the Virgin.

In 1350 the work of painting the whole interior
of the newly-built Chapel of St. Stephen was
undertaken, and Edward ill issued a precept —
" The King to all and singular. . . . Know ye
that we have appointed our beloved Hugh de
St. Alban's, master of the painters assigned
for the works to be executed in our Chapel at
Westminster. . . ." Thenceforward in the
accounts of costs Master Hugh is found work-
ing " on the ordination " of, and " drawing
the images" in, the chapel; until 1357, when
his name ceases to be mentioned. In 1352 the
name of William of Walsyngham appears with
other painters assisting Hugh, and he succeeded
Hugh in the office of King's painter. Now
Master Hugh appears from his will to have
died in 1361. In 1363 another Royal Warrant
was issued ..." Know you that we have
appointed our beloved William de Walsyng-
ham to take so many painters in our city of
London ... as may be sufficient for our works
in St. Stephen's Chapel. . . ." It is probable
that Master Hugh began his work in St.
Stephen's Chapel with the painting$ at the
High Altar just described.

Many more points of resemblance between
these Westminster paintings and the triptych
may be pointed out. The painted arcade which
surrounds the subjects is very like an arcade
painted about the Westminster wall paintings :
details like a curious trefoil leaf in the capitals
are similar (Fig. i) and so is the perspective

treatment of the
capitals and bases
and the "tile" floors
of some of the sub-
jects. Angels in the
Chapel had wings
of peacock feathers,
and we are told that
some of the work was
in transparent colours. There is much, too, in
the character of the figures and face expressions
which reminds me of the wall paintings in the
Chapter House at Westminster executed to-
wards the end of the fourteenth century. Here
in the spandrels was a choir of angels, semi-
figures playing musical instruments, remark-
ably like those in the triptych. Altogether I
am drawn to think that the triptych is prob-
ably a London work, and that we may think
of it as of the school of Master Hugh.
Possibly, indeed, it is by Hugh himself or Wil-
liam of Walsingham, his successor.

The four Franciscan subjects on the outside
of the wings seem identical in style with the

others. Of the two figures of Apostles — St.
Paul and St, Andrew — the former is repre-
sented with his symbolical sword held vertic-
ally in his hand just as he appeared on the
banner of London — there is nothing like proof
of it but I get the impression that this figure
is London's St. Paul. The subject of St.
Francis Preaching to the Birds first occurs in
known English work in one of Matthew Paris's
manuscripts {Chronica Majora), together with
the note: " While he was journeying through
the valley of Spoleto this occurred, not only as
regards doves, crows, or daws, but vultures and
birds of prey." The subject is found again
in a window jamb at Little Kimble, not far
from Windsor, c. 1320-30. There is also record
(Mr. Tristram tells me) that a destroyed paint-
ing at Headington, Oxfordshire, represented a
similar subject. " A Franciscan friar holding
a cross-staff is on the right, a figure reading is
in the middle of the subject, and on the left is
a conventional tree with birds perched in the
branches."' Here it will be noticed a second
figure occurred as on the triptych.

A note on the shield of arms, which, as said
above, is painted in the centre at the bottom of
the middle panel of the triptych has been shown
to me by Messrs. Durlacher, and I here con-
dense the principal points : " The only one ap-
proaching it seems to be that of the Estuteville
(Stoteville, etc) family. Burke's General Ar-
moury gives the Estotville arms as barry of 8
(another 10, another 12), arg. and gu., over all
a lion ramp. sa. French heraldic books give
the arms as Burele d'argent et de gueles de 10
pieces, un lion de sable brochant sur le tout,
lampasse et couronni d'or. The elder branch
of the family seems mostly to have been seated
in Yorkshire, but the younger had lands, etc.
in Northumberland, Derby, Essex etc. Stute-
ville, Essex: barrv of 12, arg. and gu., etc.

(B.M. Additional
MSS., 17,732, /.
86)." The note
goes on to say that
the Lennards seem
to have been neigh-
bours of the Stute-
villes in Essex :
further, a deed of
John, son of Sir
Robert de Stute-
ville, relating to
Northu mberiand
properties, was exe-
cuted in London
dated 20 Feb. 8

■ _ V-*''.«( ^ 'M

iiiDUf—taiitt' >:iu. 1' '' . ".."l™

Kj^ t 1

. iih«....iii!^ifi^.fliuii> "jnunp

Edward II (1315).

I give a sketch of the shield (Fig.

1 Builder, p. 725, 1864.

2) so far

114

St. Francis prcachino; tn the birds. St. Paul and St. Hugh. St. Clare and St. .indre-w.
Franrismn subjcrts from ilic doors of a triptych. I-'nii'lisIi, 14th ccnturv. Panel. (Messrs.
Durlacher)

Plate II. A 14th-century English Triptych

.4 — Karuizaiva, by Hiroshige. ist edition

C — Okvakc, by Yeisen. ist edition

E — Mochizuki, \>\ Hiroshige. isl edition

G — Nagakubo, by Hiroshige. ist edition

Colour prints of the Kisokaido Series

The Identification of Japanese Colour Prints — IV

/) — Oilcake. 3rd edition

F — Mochizuki. 2nd edition

H — \asukiibo. 2nd edition

as I can make it out. The number of divisions
in the barrv field are of no consequence in early
heraldry. ' It will be noticed that the lion
is crowned : the tail seems to have been forked.
It may not be doubted that the coat is that
of the Stutevilles, and I find that persons of
this name are frequently mentioned in London
records of the fourteenth century. For in-
stance, in Sharpe's Calendar of London Wills
Robert de Stuteville is named in 1361 : and in
1376 " tenements at the corner of Chykenlane

THE IDENTIFICATION OF JAPANESE COLOUR PRINTS-
BY WILL H. EDMUNDS

in the parish of St. Sepulchre " were left " to
Sir William Stoteville, perpetual vicar of the
church, and several others." From the Patent
Rolls we find that Robert de Stuteville was
pardoned of outlawry in the County of York
having surrendered to Flete Prison (London)
in 1360; and that William was vicar of St.
Sepulchre's, Newgate, in 1374. Here we prob-
abh' get very near to the donor of this remark-
able picture.

T is only in the carefully printed
copies, where the register is accur-
ate and the colours are delicately
graded, luminous, and soft, that
the full beauty of Hiroshige's con-
ception is made clear," as Mr. Ficke warns us in
" Chats on Japanese Prints," p. 394- " Famili-
arity with the finer impressions forever spoils
the attentive observer's taste for the crude ordi-
nary copies. The task of the collector of Hiro-
shige's work to-day resolves itself into a search
for those rare and precious early prints. . . The
difference once grasped is unforgettable," and
vet, in illustrating the book containing this good
advice, he gives us one of those very " crude
ordinary copies" of the print Kuivana (Plate 53)
which should have been a guiding example of
beauty, but is instead a late issue, as exposed in
the March number of this Magazine. While it
remains the custom of writers on Japanese Prints
to be careless in their choice of copies of prints
for illustration, so long will the collector be led
by poor or late examples, to buy similar copies,
in the belief that he is getting the right thing.
He naturally turns to books on the subject for
guidance, and the use of late copies for illustra-
tion must therefore be, to say the least of it, mis-
leading, yet nearly all of the numerous books on
Japanese Prints in existence are guilty of this
lack of discrimination. '

Probably before the completion of the Tokaido
series bv Hiroshige the Hoyeido must have been
stirred to a fresh effort and on the look-out for a
fresh artist, for in 1835 the Hoyeido began the
publication of the Kisokaido series of seventy
prints, depicting the stations on that inland
mountain road between Yedo and Kyoto, and
for that purpose it is evident that Yeisen must
have been commissioned to undertake the
Journev with the object of making sketches. Much
confusion is apparent as to this important .set, of
which the earlier prints were designed by Keisai
Yeisen, and the remainder, a larger portion, by

1 Thanks are due to W Getting, Esq., for the loan of
some of the prints illustrating this article.

Hiroshige. Even the number of prints by Yeisen
is constantly wrongly stated to be twenty-three,
as by Mr. Ficke (p. 390), probably copied from
Mr. Happer's Hiroshige Catalogue in which
Sakamoto was, with reserve, attributed to Hiro-
shige. " The Heritage of Hiroshige " naturally
follows, but more important works, the " British
Museum Catalogue," and the " Catalogue of the
Memorial Exhibition of Hiroshige's Works,"
without quoting others, both quote the same
number twenty-three, whereas the number is
twenty-four. Further errors are perpetuated in
the faulty transliteration of place names. The
place names used here are those first published in
Messrs. Sotheby's catalogues some time ago,
taken from a set by Kuniyoshi, in which the
correct pronunciation of each name is given in
Ka7ia, beside the name, and these correspond in
the main with those given in Murray's " Guide
to Japan " of a date when the Kisokaido was a
much used road, and before railways had obliter-
ated some of the places, as well as the names.
The twenty-four by Yeisen are : — Nihon Bashi
No. I, Itabashi No! 2, Warabi No. 3, Uraiva No.
4, Omiya No. 5, Ageo No. 6, Okegawa No. 7,
Konosu No. 8, Kumagai No. 9, Fiikaya No. 10,
Honjo No. II, Kuragano No. 13, Ilahana No. 15,
Sakamoto No. 18, Katsukake No. 20, Oiivake
No. 21, Iwamurata No. 23, Shiojiri No. 31, Narai
No. 35, Yabuhara No. 36, Nojiri No. 41, Magome
No. 44, Unuma No. 53, and Godo No. 55, the
remaining forty-six being by Hiroshige. Further
confusion occurs in the renderings of the seals
on the prints in various states and editions, which
this article will seek to correct.

The earliest prints of this set were published
by the Hoyeido alone, and they were all by
Yeisen, not one print by Hiroshige being found
with only the Hoyeido seals. The earliest, Nikon
Bashi, bears the character Hitsuji, " Goat," and
the only goat year to which it can be assigned, is
Tem/)o 6=^ 1835, but at some date after twenty-two
of the Yeisen prints had been produced, the
Hoyeido joined hands with the Kinjndo, or /<;c-
ya Rihei of Ike-no-hata, Naka-cho, " By the

119

pond, middle street," abbreviated into Iseri Ike-
naka, and then Hiroshige must have been invited
to contribute, for four of the prints by Hiroshige
bear the seals of the joint firms, but no others,
they are Takasaki No. 14, Karuizawa No. 19,
Fukushima No. 28, and Toriimoto No. 64. Apart
from these four, all the other prints by Hiroshige
were issued by the Kinjudo alone, so that the
partnership in this production could have been
but of short duration, and when it ended, the
Yeisen print blocks were acquired by the Kinjiido
and were re-issued with the added or replaced
seals of the Kinjudo, or their trade-mark. Now
this could not have happened until after the death
of Yeisen in 1848, first, because Yeisen's signa-
ture could not have been removed from his prints
during his lifetime, he was an important artist,
and twenty-two of them had been published with
his signature attached, and secondly, because two
of those prints have never been found with his
signature, atlhough undoubtedly his work, Ita-
hana No. 15, and Sakamoto No. 18. It would
appear that these two prints were designed by
Yeisen, but left unsigned, and in the first case
unfinished, when he died, for by common consent
the script of the place name on the block must
have been put in bv his fellow worker Hiroshige.
This at least seems to me to be the most probable
cause for the disappearance of Yeisen's name
from so many of the prints he designed, though
other explanations have been put forward. We
might have expected a very carefully digested and
explicit explanation of this question from such a
work as " The Catalogue of the Memorial Exhi-
bition of Hiroshige's Works," with its interested
native promoters, or committee, but the whole
question is passed over in an uncertain and per-
functory manner.

As we might expect then, the main differences
to be found in various issues of this set centre in
the prints by Yeisen, the alterations in the designs
or seals of which will be duly recorded, as well as
those of the designs by Hiroshige. For a con-
siderable part of the latter, however, the differ-
ences are but slight, and appear chiefly in the use
or elimination of colour blocks, as the Kinjudo
only were at any time responsible during the
period when the prints were in demand by the
Japanese public, since when, many curious
changes have been rung for globe-trotters, and
foreign markets. Not all the seals can be shown
in such a large number of prints, but sufficient
will be reproduced to enable collectors to discover
for themselves the readings of others of like char-
acter, but different form.

No. I. Nihou Bashi : The first issue shows a tartje red sun
behind the bridge, it is sitjned Yeisen. to left of the si^tnature
two square seals Take Uchi above, and Hoyeido below, on the
umbrell.T three inscriptions J^eiganjima, Tahe Vchi and
Rnku-ju-kii " Sixtv-nin-*,*' at the side of this number Hitsnji
for j^oat-year, on the left margin a red. open, gourd-shaped
seal containing Kiwame above, and Take below (Fig. i).

Second state : with rising sun, same inscriptions on the um-
brella, signature of Yeisen cut out, in place of the two seals
of Hoyeido, the gourd-shajDed seal Kinjudo (Fig. 2), nothing
on the margin. Third state : without the rising sun, unsigned,
the inscription on the umbrella altered to Iseri Ikenaka, with
the trade mark of the firm (Fig. 3) on the other umbrella,
nothing on the margin. Fourth state : no rising sun, no sig-
nature, the inscripiton on the umbrella altered to Yatnasho han,
Naka-bashi, the name and address of a third publisher.

No. 2. Itabashi. First : signed Yeisen, to left of signature a
square seal Take Uchi and below it a circular seal Hoyeido;
on the horse-cloth in a circle 5/?i Awase Yoshi " a lucky
event " (Fig. 4). Second : no signature, only one circular
seal Hoyeido, the horse-':loth altered to the trade mark of
Iseri. Third : no signature, no seal of Hoyeido, only the
trade mark of Iseri on the horse-cloth.

No. 3. ll'arabi. First : signed Keisai, to left of signature
two solid red square seals with white characters, Hoyei
above, and Take Uchi below, on left margin Fig. i in black.
Second : no signature to left of the place name, the one seal
Hoyei as above, nothing on margin. Third : same as second,
but much inferior colouring.

No. 4. Uraiva. First : signed Yeisen, to left of signature
two seals, at top a solid red square with white Take Uchi,
and below the circular seal Hoyeido han moto (Fig. 5), on
the horse's belly-band Take in black on blue in a white circle,
on left margin a red gourd-shaped seal Kiwame and Take
(Fig. 6). Second : no signature, only one seal (Fig. 5), the
horse-cloth altered to the trade mark of Iseri, nothing on
margin.

No. 5. Omiya. First: signed Keisai, and toleft of sig-
nature two seals Take Uchi and Hoyeido han in white on
solid red square, on left margin Fig. i in black. Second :
no signature, only one seal Hoyeido han, nothing on margin.

No. 6. Ageo. First : signed Keisai, below the signature an
open square red seal Take Uchi han (Fig. 7). Second : the
chief difference, no signature.

No. 7. Okegawa. The only difference in states, absence of
signature.

No. S. Konosti. First : signed Keisai. under the signature
the seal Take Uchi (Fig. 8), and under the place name two
open red square seals Hoyei and Do. Second : no signature,
no Fig. 8 seal, the two seals under the place name Hoyeido
and Han. In colouring there are several variations.

No g. Kumagai. First : signed Yeisen, to the left of sig-
nature Take Uchi. on the horse-cloth Take, nothing on mar-
gin. Second : no signature, the horse-cloth altered to the
trade mark of Iseri. Some later issues have Shimpan " New
Edition " in the place of the Take Uchi seal.

No. in. Fiikava and No. 11. Honjo : A long hunt after these
two prints, ending in failure to find them, has prevented the
filling in of details as to these, except that in both cases the
first editions are signed, and the later issues unsigned.

No. 12. Shinmachi. First ; signed Hiroshige with solid square
red seal Ichiryusai in white under signature, to left of place
name seal Fig. 2. Ki^t'ame on left margin. Second : signed but
no Ichiryusai seal under signature,, nothing on left margin.

No. 13. Kuracano. First : signed Yeisen with seals Take
Uchi and Hoveido on the left, Kiwame on left margin.
Second : no signature, in place of Haveido seals Kinjudo
Fig. 2. Later,' no publisher's seals, no signature, nothing on
left margin.

No. 14. Takasaki. First : signed Htroshige with seal
Ichiryusai below; to left of place name a gourd-shaped solid
red seal with white Hoyeido : Kiwame on left marpin. Second :
no Ichiryusai seal under signature, nothing on left margin. ^
No. 15. Itahana: No copy of this print hearing Yeisen's
signature is known ; to left of place name and touching it a
solid red square sea! with white Ikenaka Iseri. The earliest
copies have on the left margin the black seal Fig. 6, later
copies nothing on margin.

No. t6. Annaka. First: signed Hiroshige with Ichiryusai
seal below, beside place name seal Kinjudo No. 2, Kiwame on
left margin. Later, same, but no Kiwame on margin.

No. 17. Matsuida. First : signed Hiroshige sealed Ichi-
ryusai, under place name a circular, open red seal Kinjudo.
Later issues, no change.

No. tS. Sakamntn bv Yeisen, but no copy with signature
known, beside the place name a solid red gourd-shaped seal
with Iseri in white. Later copies, the same.

No. 10. Karuizaiva. First : signed Hiroshige and below a
solid red square seal with white Tokaido. Fig. q, to left of
place name an open gourd-shaped seal with Take Ucht, the

120

belly-band of the horse has an open space beside which hangs
a lantern with Iscri on it, Kiwame on left margin. Second :
the Take Uchi seal i' removed, and on the belly-band is the
trade mark of Iseri, nothing on left margin [see Plate, a, e].

No. 20. Katsukake. First : signed Yeiscn at the right "
bottom corner, and to left and below a vase-shaped seal with

open square seal Ichiryusai, to left of place name a solid
gourd-shaped seal with Kinjudo in white, on the left margin
Khuame above the trade mark of Iseri. In this state the
sides of the trees facing the spectator are in shadow, the
moon being behind them. Second : this is a re-cut block,
generally the same as the first, with no alterations of seals, but

Kiwame in the neck and Hoyeido on the side (Fig. lo) ; to
the left of the place name Hoyeido han vertically on the
block, and to the left of it an open square red seal Take
Uchi. Second ; neither signature nor vase-shaped seal, the
vertical Hoyeido han removed from the block, and only the
Take Uchi seal remaining.

No. 21. Oiwake. First : signed Keisai at the left bottom
corner, and beside it tc the lett an open gourd-shaped seal
with Kiwame above and Take below (Fig. ii); to the left of
the place name two open square seals Take and Mago (Fig.
12), on the side horse-cloth Take Uchi white on blue, oji
the rump of the horse Take in a circle. In this state the
mountain has a pale yellow centre with red slopes on each
side, and there is no rain block. Second : same as the first
but with the signature and goui'd seal removed. Third ; no
signature nor gourd-shaped seal, the side horse-cloth altered
to the trade mark of Iseri in black on blue, and across the
whole block a straight downpour of rain in which the whole
mountain appears in red [see Plate c, d].

No. 22. Odai : No change, signed Hiroshigc, sealed below
Ichiryusai, under the place name an oblong open seal Kinjudo.

hearing nothing on the left margin. The trees have a false
light where they should be in shadow. Some verv late issues
have under the seal Ichiryusai an ivy leaf imitation of the
device of Tsuta-ya, with the number of the issue 443. They
^re clever modern forgeries [see Plate e, f].

No. 27. Ashida. First : signed Hiroshige and below a
circular open red seal with Ichiryusai (Fig. 14), to left of
place name a gourd-shaped solid seal with white Kinjudo,
on left margin Kiwame above the trade mark of Iseri.
Second ; without the Ichiryusai seal and nothing on margin.

No. 28. Nagakubo. First : signed Hiroslnge. under the
signature a round solid seal with Ichiryusai in white, to left
of place name an oblong solid red seal with Kinjudo in white,
on left margin Kiwame above the trade mark of Iscri, on the
horse's ruinp also the trade mark. This state has a dark
hill range in the distance. Second : same, e.xcept that the
dark hill range is left out, doubtless on account of the diffi-
culty in grading the blocks so that the travellers on the
bridge could be clearly seen, and yet in mist ; also, this
state has nothing on the left margin but Kiwame [see
Plate g, h].

FIG. 9 10 II I

No. 23. Iwamuraia. First : signed Keisai and to left of
signature two square seals Take in white above and Uchi in
red below. Second : no signature. Chief alterations in
colouring.

No. 24. Shionada. First : signed Hiroshige and seal
Ichiryusai below, to left of place name square solid red seal
with white Kinjudo; on left margin Kiwame above the trade
mark of Iseri. Second : same, except nothing on left margm.

No. 25. Yawata. First : signed Hiroshige and below an
open seal Utagawa (Fig. 13), to left of place name gourd-
shaped solid seal with white Kinjudo, nothing on margm.
Second : no change but in colouring.

No. 26. Mochizuki. First ; signed Hiroshige and below an

AN ATTIC RED-FIGURED CUP
BY J. D. BEAZLEY

No. 29. Wada. First : signed Hiroshige with seal Ichi-
ryusai below (Fig. 15), to left of place name a gourd-shaped
solid seal with Kinjudo in white, on left margin Kiwame
above the trade mark of Iseri. Second : no Ichiryusai seal
nor anv mark on margin.

No. '30. Shimo-no-Suwa. First : signed Hiroshige, and be-
low Ichiryusai in white on a solid gourd-shaped seal, to left
of place name/Ciii/t«io in white on a solid square seal, on left
margin Kiwame only. On the left of the ensawa of the
house is a porcleain chosu-bachi which has a green outside
with a deeper green running splash round the rim. Second :
nothing on left margin, the chosu-bachi all one colour without
the running splash.

HE name of Euphronios is known to
us from fourteen vases.' Four of
these bear the inscription Euphro-
nios egrapsen, "drawn by Euphro-
nios." In the rest, the inscription,
where complete, is Euphronios epoiesen, " made
by Euphronios." The epoiesen vases were not

' Beazley, Vases in America, pp. 30-31. Hoppin, Handbook
of Red-figured Vases, 1, pp. 376 ff.

painted by Euphronios. Six of them, however,
are the work of a single person, the anonymous
artist called the Panaitios painter. As an artist
he was not inferior to Euphronios himself, and
the cups which he painted rank among the
ma.sterpieces of Greek vase-painting."

The cup here published for the first time
[Pl.ate], which is in the possession of

2 Vases in America, pp. 82-87.

121

Mr. Gufflielmo De Ferrari, is one of the earliest
extant wori<s of the Panaitios painter : it must
have been painted in the last few years of the
sixth century B.C. The diameter is 23.5 centi-
metres, excluding the handles, which are
modern. The foot is missing, and with it a
great part of the interior design : on the exterior
no figure is complete, and most are very frag-
mentary. The ancient portions are in perfect
preservation : the restorations are hideous,
but give the motives, in the main, correctly.'
The cup is remarkable in many ways. The
draughtsmanship is of rare beauty and vigour.
The border is an uncommon one.* Moreover,
the tondo which decorates the interior of a red-
figured cup is almost always surrounded by an
ample margin of black; and it is very seldom
that the interior picture, as here, occupies the
whole field.' The subject of the picture is also
unusual : — A woman wrapt in a long cloak is
lying on a couch, her golden hair confined by a
metal circlet; she turns her face towards the
pillow, as if she were shy. A man with a brown
beard sits on the couch in front of her, loosing
his right sandal. The lady's lyre and a head-
dress hang on the wall.

3 Restored in the interior : the man from waist to half-way
down the right leg, with the lower right arm, the left leg,
and the lower half of the cloak : the face of the woman and
most of her body ; parts of the lyre and of the stool. The
restorations on the exterior are hatched in the photograph.

* The vases with exactly the same pattern are four : cup,
bearing the name of Euphronios, in Berlin, Hoppin, I, p. 383
Cother fragments of the same cup are in the magazine of the
Vatican) ; cup with Euphronios epoiesen in the Louvre, Hoppin,
T, p. 399; head kantharos in New York, Sambon, Collection
Canessa, pi. 12, 149; stand in Berlin, Genick, pi. 14-15, 3.

5 So in the two great cups, by the Penthesilea painter, in
Munich, Furtwangler-Reichhold, pll. 6 and 55.

The inscription reads, Ath(en)o{dotos) ka{lo)s.
The love-name Athenodotos is not confined to
the Panaitios painter, but most of the cups which
bear it are his work. The scene on the exterior
represents a drinking-party : men; youths; and
naked women playing the flute and the casta-
nets : the inscriptions are kalos four times re-
peated, kale and naich(i). In subject, in spirit,
and in composition, the picture of the lady and
her lover finds its closest analogy in a later work
of the Panaitios painter, the well-known cup in
the British Museum which bears the inscriptions
Panaitios kalos and Euphronios epoiesen. The
composition, and the poise of the seated figure,
bring another work of the same painter to mind :
the Boston cup with the love-name Epidromos.'
The style is likest that of early cups by the
Panaitos painter, such as the komos cup in the
British Museum and the athlete cup in the Cabi-
net des M^dailles.' But our cup seems some-
what older than either of these. The head of
the lover, and the very precise rendering of such
things as eyelashes and finger-nails, make one
think of the crater by Euphronios in the Louvre,
or of the Berlin Sosias cup.' Mr. De Ferrari's
cup, in fact, links the style of Euphronios with
that of his brilliant pupil, the Panaitios painter.
The fineness of its execution, the expressiveness
of its drawing, and the grandeur of its design
give it a high'place, despite its fragmentariness,
in the work of an artist who has no superior
among the painters of Greek vases.

s Hoppin, I, p. 389.
' Hartwig, Meisterschalen, pi. 14, 2.
8 Hartwig, pi. 8 and pll. 15, 2 and 16.
» Hoppin, I, p. 397, and II, p. 423.

LARGILLIERE : AN ICONOGRAPHICAL NOTE
BY W. G. CONSTABLE

N the large portrait group by Lar-
gilli^re in the Wallace Collection
[Plate I, a], which represents Louis
XIV, his son the Grand Dauphin,
and his grandson the Duke of Bur-
gundy, the identity of the lady and child has long
been in doubt, the same pair appear in a pic-
ture formerly in the Burdett-Coutts Collection
[Plate II, b] , the figures evidently from the
same hand as the Wallace picture, the back-
ground more probably the work of an assistant.
The suggestion once made that the lady is
Madame de Maintenon has nothing in its favour;
and portraits of that lady and the improbability
of the governess to the King's bastards being
associated with his legitimate descendants, are
against it. The Wallace picture was exhibited
at Boulogne in 1837, ^"d what is apparently an
extract from a local newspaper pasted on the
back describes the governess as Mme. de L6vi-

Ventadour, a non-existent personage whose
name is either a portmanteau word covering two
possible candidates, Mme. de L^vi and the
Duchess de Ventadour; or is a mistake due to
the family name of the Due de Ventadour being
de Levis. Investigation of St. Simon's
Memoires, however, suggested that probably
the lady is the Mar^chale de la Mothe (or Mothe-
Houdancourt) ; and the discovery at Versailles
of her portrait turns probability into certainty.
Bv the kindness of M. Andr^ Perate, Director
of the Versailles Museum, this portrait is here
reproduced [Pl.ate II, c] , and allowing for differ-
ences in handling, is evidently the same person
as appears in the other two pictures. The
Mar^chale de la Mothe was born in 1624, the
second daughter of Louis de Prie, Marquis de
Torcy, and through her mother was grand-
daughter of Mme. de Lansac, governess of
Louis XIV, and so great-grand-daughter of the

122

Cup by Euphronios. Dia., 23.5 cm. (Sr. Guglielmo De Ferrari)
An Attic red-figured Cup

A — The family of Louis XIV, by Nicolas de Largilliere. Canvas, 1.27 m.
(Wallace Collection)

Plate I. Largilliere: An iconographical note

by 1 .6 m .

o
c

o
c
o
.H

Mar^chal de Souvrd, tutor to Louis XIII. Mar-
ried to the Mar^chal de la Mothe, who had a dis-
tinguished though chequered career as a soldier
and administrator in Spain, she was left a widow
at the age of 34; but through the influence of
Louvois, who married a relative of hers, she
emerged from retirement to become governess
to Monseigneur (the Grand Dauphin), and sub-
sequently to the Duke of Burgundy, and to his
first two sons. In this last post she had associated
with her the Duchesse de Ventadour, one of her
three daughters, who afterwards became gover-
ness to Louis XV. Thus, five generations of
heirs to the throne were under the care of the
same family, and for three of them the Mar^chale
de la Mothe was herself responsible. St. Simon
speaks of her at the time of her marriage as being
very beautiful and as having always been virtu-
ous. On her death on Jan. 6th, 1709, he sums
her up in characteristic fashion : " C'etoit la
meilleure femme du monde cjui avoit le plus de
soin des infants de France, et les 61evait avec
le plus de dignity et de politesse, qui elle-meme
en avoit le plus, avec une taille majestueuse et
un visage imposant et qui avec tout cela n'eut
jamais le sens commun et ne sut de la vie ce
qu'elle disoit ; mais la routine, le grand usage

du monde la soutint."

The establishment of the lady's identity helps
to settle that of the child, hitherto described as
the Duke of Anjou, third son of the Duke of
Burgundy, who ascended the throne as Louis
XV. This prince, however, was not born until
1 710, and with him the Mar^chale de la Mothe
had nothing to do. With his two brothers the
case is different. The first died when only a
few months old; but the second who was born
Jan. 8th, 1707, and succeeded to his brother's
title of Duke of Brittany, lived until 1712, in
which year he had taken the name and rank of
Dauphin. His death was alleged to be due to
poison administered by the Duke of Orleans,
who ultimately became Regent. St. Simon
speaks of the Alarechale de la Mothe sleeping in
his room two days before her death ; so that he
was under her care until he was two, which is
about the age of the child in the Wallace and
Burdett-Coutts pictures. The suggestion made
in the W^allace Collection catalogue therefore,
that here is a memorial picture, seems well
founded ; the persons represented being the
King, the three generations of heirs who prede-
ceased him, and the woman responsible for their
up-bringing.

A NEW WORK BY NICOLA
KENSINGTON— II (concluded)
BY BERNARD RACKHAM

DISH by Nicola in the Ashmolean
Museum, Oxford [Plate, b], per-
haps part of the same service as
those in the Correr Museum, is an-
other interesting example of his
dapting engravings. It is painted
Calumny of Apelles as described

PELLIPARIO AT SOUTH

m
the

skill
with

by Lucian. C. D. Fortnum '^ speaks
of it as an adaptation from Botticelli's
painting in the Uffizi at Florence, but essential
divergences prove that this derivation is at least
very unlikely. R. Forster in his essays on the
Calumny in the Prussian Year-book '^ makes
this point clear in a detailed discussion of a dish
in the Rijksmuseum at Amsterdam painted with
the same subject and with the arms of the Ridolti
of Florence. I know this latter dish from photo-
graphs only, but it is ascribed to Nicola both
by Dr. Otto von Falke " and by Dr. Elisabeth
Neurdenburg." There are, moreover, in spite

15 Catalogue of the niaiolica iti the Ashmolean Museu7n,
1897, p. 72.

16 Dig Verleumdung des Apelles in der Renaissance, in
Jahrhuch der kgl. preussischen Kutitstsammlungen, vol. 8
(1887), p. 2q, and vol. 15 (1894), p. 27.

1' Handbiicher der kgl. Museen zu Berlin — Majolika (2nd
edition), 1907, p. 151.

1* Oud .luriic'tt'crfe, toegelicht aan de verzamelingen in het
Nederlandsch Museum voor Geschiedenis en Kunst te Amster-
dam (2nd edition), 1920, p. 25.

of differences in composition, such close corres-
pondences between the two dishes as to leave
little room for doubt as to their common author-
ship; 1 need only point to the figure, and espe-
cially the head with three long locks of hair, of
the judge, and the kneeling naked figure of the
victim.

The ornamental border of the Amsterdam dish
is a feature which I know of in only one other
dish by Nicola — that at the British Museum with
scenes from the story of Apollo and Marsyas.
The meaningless inscriptions introduced in car-
touches amongst the ornament recall those on
the pedestals in the Solomon dish discussed
above. In the hollow of the Amsterdam dish is
another favourite motive of Nicola's, a band of
rosettes in bianco sopra bianco, seen also on the
Oxford dish ; this must not, however, be stressed
as a proof of Nicola's handiwork, as it was used
also by his imitator, the painter signing F. R.,
generally believed to be from Faenza.

Passing now to the source of Nicola's two
Calumny compositions, I know of no illustrated
edition of Lucian's works extant at the time that
can have served him for the purpose. I am con-
vinced that the artist had in his mind the 1497
Ovid woodcut [Plate, e] of Phaethon kneeling

127

before Apollo enthroned. The coincidence is
clearly apparent of the relative positions and the
general pose of the judge and the victim on both
dishes with those of Apollo and Phaethon in the
cut, whilst the group in the latter of the three
Heliades, sisters of Phaethon, rushing towards
the bank of the river to witness his fate, mani-
festly provided Nicola with three of his female
figures. Phaethon, it is true, is clothed, whilst
his counterpart is naked, a point in which the
influence of Marc Antonio is probably to be
recognised.

As Nicola does not seem to have been familiar
with any of the existing pictorial reconstructions
of the composition of Apelles, we must suppose
either that he was acquainted with the subject
from reading one of the several translations of
Lucian that were then in print, or that the
patron who commissioned him for one or other
of the two dishes supplied him with the particu-
lars necessary for building up the picture. That
he was no stranger to Lucian's works seems
likely from the existence of a plate by his hand
(Victoria and Albert Museum, Salting Collec-
tion, No. 2225), illustrating one of the Dialogues
of the Dead, that in which the actors are Alexan-
der, Hannibal, Minos and Scipio [Plate, c].

In this compostion the four figures are set in
a building, in the wall of which is a niche con-
taining a statue. This statue is clearly based
upon the youth in the Marc Antonio print,
L'homnie aux deux trompettes, with which, as
I have already shown, Nicola was acquainted; a
careful comparison proves that the bearded figure
in this print is reflected in Nicola's Minos.
The Cretan king is represented, in allusion to
his parentage, with the legs of the eagle of Zeus
and bull's horns, giving him a curious resem-
blance to Moses, but the gestures of his head
and hands and the arrangement of his robes
betray an unmistakable likeness to the old man
of the engraving.

Henry Wallis has suggested in his mono-
graph,^' that Nicola was thoroughly fami-
liar with the works of Raphael and was a con-
scious imitator of the master's manner of render-
ing the figure. The truth of this contention, at
least as regards Nicola's later productions, is
abundantly proved by the documents; every-
thing tends to show that when engravings
after Raphael became available they were eagerly
adopted by Nicola in preference to the earlier
book illustrations. The beautiful plate in the
British Museum, from the Isabella d'Este service,
with the subject of Apollo and Daphne [Plate,
d], is the most complete example known to me of
literal copying of the earlier category; in its ar-
rangement and in nearly every detail it follows
closely a cut in the 1497 Ovid. The Marsyas
" p. 23.

dish to which I have already referred, in the same
museum, is an instructive example of the transi-
tion stage. Nicola was here again following a
cut of the Ovid [Plate, f], but much less closely
than in his early plate with the same subject
belonging to the Correr service. In this later
version he has introduced elements from
Raphael. His Apollo in the contest scene
is the Apollo of the Vatican Parnassus,
with a lute substituted for a harp; his
Athena, on the boss of the dish, playing
more appropriately a triple flute instead of the
bagpipes of the Ovid cut, is blended with the
Clio of the same fresco. In the small represen-
tation introduced near the top of the dish, of
Athena piping at the table of the gods in Olym-
pus, the table-legs are probably an echo from
one of the scenes in Marc Antonio's Quos ego
engraving after Raphael. The final stage, of
complete dependence on Raphael, is exemplified
conspicuously by the celebrated dish in the Bar-
gello at Florence, bearing the monogram of
Nicola, the date 1528 and the statement that it
was painted in the workshop of " Guido da
castello durante " at Urbino. The subject is a
copy, with a few slight modifications, from Marc
Antonio's engraving after Raphael of the
martyrdom of St. Cecilia." A similar conspicu-
ous instance is the dish in the Wallace Collection
(Catalogue, Gallery III, No. 98) copied from the
fresco in the Farnesina of Cupid arraigned by
Venus before Jupiter.

In these later works of Nicola we perceive a
o-reat change from his free earlier manner. The
prevailing blue tones belongmg to the tradition
of Faenza have given way to a warmer colour-
ing, with predominant yellows and browns,
which was to become the distinctive note of the
Urbino school. The outline drawing in blue
of the figures has been replaced by a greenish-
grey or black. An elaborate architectural
setting is preferred to the earlier open-air land-
scape and woodland scenes. Nicola seems
indeed to have become more and more inter-
ested in classical architecture, and there are
indications that this interest was awakened by
the pseudo-antiquarian designs which figure so
largely amongst the cuts of the Hypnerotoma-
chia. His rendering of perspective and detail,
except in a few of what are doubtless his latest
works, is infinitely more careful than that of
Francesco Xanto and his other followers in the

-" Alessandro del Vita, writing in the Rassegna d'Arte
(vol. XVI, 1916, Di alciine maioliche del museo di Arezzo,
p. 120), compares this dish with another bearing the same
subject by a different hand at Arezzo. He seems to have been
unaware of the derivation from Raphael, and regards the
correspondence in composition as a matter of importance,
showing that for both dishes " i\ medesimo cartone " was
used ; I cannot follow him in finding here a proof that " car-
toons " were circulated amongst maiolica factories in different
towns.

128

A — Apollo and Miirsyas. Maiolica plate. (Brit-
ish Museum)

1^ — Tile Calumny of Apelles. xMaiolira plate. (Ash-
molean Museum, Oxford)

C — Subject from " Dialogues of the Dead." Maio-
lica plate in the Salting Collection (\'ictoria
and .\lbert Museum)

D — Apollo and IKiphiw. Maiolica plate. (Brit-
ish Museum)

r^1

E— Apollo and Phaelhon. Woodcut from Ovid's F Apollo and Daphne. \^
" Metamorphoses " (Venice, 1497) " Metamorphoses " (Venice, i

A New Work by NicgUt Pellipario at Soutli Kensington— II

WtK)dcut from t)\id\
497)

■T.

■r,

-1-

c
re

1/1

-* t>.

^ s

f>;

--^ ^

2; ^

3 ^

s 1-

-r CO

Urbino school of maiolica-painting. In his
figure-drawing, however, Nicola seems to have
abandoned himself more and more to the easy
course of copying literally his engraved models.
The zest and mental energy apparent in the
Correr and Gonzaga services can no longer be
detected in his work.

There needs to be said a last word in clearing
up a misconception with regard to a certain
group of maiolica-paintings. I refer to a fairly
numerous class of which not a few are marked
" In Castel Durante." These ananymous
pieces have been regarded by Prof. Otto von
Falke ^' as inferior works by Nicola; E. Moli-
nier is quoted by the author as including them
" wohl mit Recht " amongst his productions.
But Molinier does not in reality go further than
to draw attention to the similarity, which may
be admitted, between this group and the paint-

21 Majolika, 2nd. edition, p. 153.

ings of Nicola, expressly pointing out the in-
feriority of the former to the latter, and no-
where suggesting that they are all from one
and the same hand." That the Castel Durante
painter, though perhaps associated as a pupil
or otherwise with Nicola, shows distinct charac-
teristics both in method of procedure and in
style of painting, I hope to be able to show in
another essay.

Corrigenda. — On p. 22 of the July number of
this volume the sea-monster of the Andromeda
myth is referred to as " the gorgon."

Another piece belonging to the service with
a shield charged with a ladder and flag (p. 27)
may here be noted — a dish in the Mus^e de
Cluny, with a sacrifice scene on the rim. On
p. 27 for " statute " read " statue."

22 " Elles [i.e., the Correr plates] rappeJUnt tout a fait,
hicn qu'elles soient plus finement execittees, ccrtaities piece.'!
(lathes de 1525 et 1526, de Castel-Durante " (La ciramique
italienne au XV' siecle, p. 78).

TWO PICTURES BY MORALES
BY R. R. TATLOCK

HE work reproduced in Plate, b,
is one of the recent additions to a
collection with a delightful charac-
ter of its own, and which largely
_ _ consists not of celebrated examples

of the great masters, selected in accordance with
the dictates of established authority, but of
specimens of unusual and often surprising merit,
sometimes from unexpected sources, representing
a wide range of schools. The little specimen of
Morales is a typical example of the sort of picture
one finds there : a work of very considerable
interest both historically and Eesthetically, but
one which the ordinary English collector would
hardly be likely to acquire. The neglect from
which Morales suffers may largely be due to the
obvious limitations of his outlook and his style,
but is very likely intensified by circum-
stances of a more or less accidental kind, for
example, by the fact that even his small works are
rare outside Spain, where few specimens have
found their way to public galleries. So, Morales'
pictures are sought for only bv those collectors
who are spirited enough to trust their own taste
and take the consequences. An unidentified
example can quite well be exposed for days in
a London auction room and knocked down for a
few pounds.

It would seem that Morales was foredoomed to
isolation. Although we can trace how in certain
superficial ways he fell into line with Leonardo
and even with Michelangelo, and although we
can trace his influence clearly in the art of El
Greco, it would be hard to connect him with
predecessors or followers less immediately as-

sociated with his life. It would be harder still
to discern his influence in present-day painting,
either in Spain or elsewhere. In the pages of
history he remains very much the same secluded
figure at Badejoz as he was in his own lifetime.
And we see now, what was not so apparent in
an age in which religion was a more violent and
a narrower thing, that the astounding Spanish
theological asceticism of which he was an ex-
ponent was a peculiarly awkward and imperfect
expression of man's religious experience. Nowa-
days we can hardly help wondering whether the
attitude of these godly men to their fellow-
creatures does not argue some pathological
condition of the social mind like sadism or
masochism. At all events our own minds will
not very readily respond to the emotional appeal
of Morales' terrible depictions of the suftering
Christ, presented to us with starting eyeballs
and every joint in action, the very fingers exer-
cising frantically, like those of a stage harper,
upon the intolerable cross.

That strict parochialism in which Morales
passed his life seems to be in keeping with the
narrowness of his outlook as a man, with that
lack of inventiveness and imagination which im-
pelled him to concentrate his effort on the depic-
tion of the agonised head of Christ and the dolor-
ous head of the Virgin, not caring even to use
the full figure as a motive, and never once
attempting to develop into a tale bearer like
Ribera or Goya. And as a composer too he was
just as unambitious. Most of his pictures such
as that on Plate, A, 'are very simple arabesques.
Indeed, that example is based on what for him

133

is an unusually complicated pattern, as if the
unaccustomed calm of the subject had left him
free to elaborate his design a little. However,
the fervent Morales here contrives to over-
emphasise even the gentleness of the Virgin, to
transform it almost to gentility, so that the
picture must reflect to those who care nothing for
composition and arrangement, something of the
sleekness and distinction of the best pew. Some-
times, and it would seem especially rather late in
life, he appeared to feel the arabesque system in-
sufficient, and we find works in which the most
significant parts of the subject are given a certain
emphasis by means of working up the modelling
after the manner of a sculptor's bas-relief. It
was this habit together with that of using dis-
tortion as an aid to design that must have caught

the eye of the all-observant Greco. Sir Claude
Phillips' picture is an admirable example of these
phases of his artistry. The distorted face alone
emerges from the picture plane. Relief is
sought for by every device understood by the
painter ; by the twisted brushwork, by the exag-
gerated bony structure, the deep orbits, the long
sharp nose, the open mouth, the ghastly pale of
the skin contrasting so violently with the dark
hair and eyes. Then beyond the outer edge
of the orbit, the great impressive mass of
deep shadow is left quite flat and is com-
pleted by a simple line indicating the head in
silhoutte.

Both pictures are in good preservation though
that of the Virgin has some repaints, especially
in the background.

THE ORIGIN AND EARLY HISTORY OF
TO AESTHETIC THEORY IN GENERAL
BY G. BALDWIN BROWN

N the preceding instalment of this

ART IN RELATION

(concluded^

paper it was shown by various
/^N^ lA,-^ examples how the practice of the arts
\j=^jj ^sa in primitive times is of measurable
fiti2_Si3Q practical value in the nascent com-
munities, each art producing its own characteris-
tic beneficial effect. We may go further, and
discern in artistic operations in general a salu-
tory influence which all art exercises in virtue
of its artistic character, independently of these
special services of the separate arts to human
welfare. It is an undoubted fact, though one the
significance of which is not generally recog-
nized, that all the artistic activities of primitive
man are preceded by similar activities that are
not artistic. Thus the dance, certainly a form of
art, is developed from the caper or free flinging
about of the limbs, which is indulged in by
animals as well as men to work off a mood of
physical and mental excitement, but in which it
is impossible, as Hirn has said, to see anything
artistic. Taking it as a reasonable hypothesis
that personal decoration begins in the trophy,
the mere display or waving about of the spoils
of victory is no more artistic than the carrying
home of the fox's brush tucked into her saddle
by a lady who has been in at the death. The
cave pictures, merely regarded as accurate de-
lineations of single objects, are not yet works of
art in the strict sense, and are of course preceded
by quite inartistic performances in the form of
irregular finger-prints on soft clay, stencilings
of outspread hands, or casual scratches. What
is it now that makes these operations artistic ?
It is the working of a principle which may be
summarized in the general term Order, and
which in the various forms of art shows itself as
time, rhythm, measure, arrangement, balance.

composition. The most striking characteristic
of the elaborate savage dances, such as the Cor-
robboree of the Australians, is that all the move-
ments are done in time and to the sound of
music, which, primitive as it is, possesses the
essential characteristic of measure. The wear-
ing of the trophy soon ceases to be a mere hap-
hazard display, and the objects, let us say the
teeth, claws, and tusks of slain beasts, are strung
together in a certain order, perhaps with the
largest in the centre and the others disposed on
each side according to their sizes, or perhaps
arranged with a rhythmical alternation of differ-
ing forms or colours, and the whole is then
adjusted, let us say, as a necklet, emphasising
the important part of the human frame where the
head is set upon the shoulders. The smear of
blood becomes a pattern, when dabs, perhaps of
varying but reduplicated shapes, are symmetri-
cally arranged and tactfully adjusted to the part
of the person on which they are shown. In this
way the arts of music, of dancing, of decoration
in form and colour, come into being. They
come into being through the application of this
principal of order, of arrangement, to what is at
first haphazard, irregular, accidental, and as
such devoid of aesthetic character.

In painting and sculpture the elevation of a
mere double of a natural object to the rank of a
work of art is accomplished through that form of
artistic Order known as composition. If the
presentation of an object be disposed with a dis-
tinct reference to the shape of the surface that is
to receive it, it becomes artistic, and the same
may be said if the different parts in the represen-
tation be arranged so as to harmonise with each
other and combine to produce the impression of
a unity. Sir Joshua Reynolds once said that a

134

good picture looks a good picture even if one
sees it upside down, that is to say, composition
is the essence of artistic efTect in the graphic and
plastic arts.

It will be interesting to inquire whether or
not we can discern the beginnings of composi-
tion in the paleolithic representations, and the
beginning of artistic decoration in the disposi-
tion of linear motives on objects thus enriched,
or of the trinkets strung together and worn as
personal adornment. The figure offers some
material.' No. 9 is of an early epoch and has
something of the strength of archaic Greek
coins ; Nos. 4 and 5 are of the period of the finest
cave art, but there is no question in any of these
of artistic composition. No. 6 shows a bull fol-
lowing a cow, but the grouping is not artistically
studied.

Nos. 2, 3, show a remarkable little menagerie
delineated by lines incised on a big block of
stalagmite in a cave at Teyjat, Dordogne.
The outline of the head of the stag above has
been corrected, quite in the spirit of an artist.

9 In the case of most of these illustrations and of some
shown in the last issue of the Burlington Magazine, per-
mission to reproduce has been kindly granted by Professor the
Abb^ H. Breuil, whose admirable drawings are the basis of
most of the reproductions of these cave pictures that are now
so familiar. Thanks are also due to Dr. Verneau of the
Museum of Natural History, Paris, for the use of No. 8 on
Plate II.

On the dexter side of the group, marked 2, is a
female reindeer with its fawn which shows a
delightful feeling for animal nature in a com-
paratively out-of-the-way aspect, and illustrates
what was said before about the general charac-
ter of these animal representations. There is no
question, however, here of composition.

On the other hand, the very familiar piece
No. I, with the stag's head turned back, un-
doubtedly exhibits study of the kind that the
graphic artist in advanced periods has habitually
given to his work. Three stags following each
other are the principal elements of the group,
though of the leading animal only the hinder
legs, of the second and third little more than
half, have been preserved. The two remarkable
features in the composition are the turned-back
head and the presence of a number of fishes of
the salmon type that fill in vacant spaces in a
fashion unique in this kind of work. They are
not introduced merely to show that the beasts
are wading a stream, for, as Professor Macalister
points out," fishes are shown above the backs of
the quadrupeds. To him the creatures imply
nothing more than a desire on the part of the
hunter-artist to secure a fish-course before the
venison for his family, but from the artistic point
of view there is something to be said. The
draughtsmanship seems to prefigure that curious
horror vacui so characteristic of Roman and
Early Christian relief compositions. The turn-
ing back of the head appears to be motived by
the desire to get the foreparts of the hindermost
stag as near to the back of the stag
in front of it as is possible. The inter-
val which would still occur between the
two pairs of legs of the animals is then filled
in with the fish, the curious bend in whose body
seems determined by the desire to fill in the space
with more completeness. The underlying artis-
tic idea of leaving no vacancies may be a mis-
taken one, but the point is that such an idea does
seem to be present, and through its presence the
piece becomes in the strict technical sense a
work of art.

An artistic sense of composition can easily be
discerned to underlie the famous drawing of a
mammoth found at La Madeleine and preserved
in the Natural History Museum in the Jardin des
Plantes at Paris. It was figured at No. 4 on
Plate I, illustrating the first part of this paper,
in the Burlington Magazine for last month,
and has often been the subject of comment,
though not from the point of view of the present
discussion. This concerns not so much the
drawing itself, which is of universally acknow-
ledged merit, as the placing of the drawing in
the space which the ivory slab afforded for it.

i» European Archceology, p. 471.

135

Its accommodation to this space, entailing as it
did a distinct modification of the normal propor-
tions of the creature, is undoubtedly an artistic
act similar to the act of a Greek metope designer
when he composed with deliberate regard to the
square space he had to fill. A preliminary ques-
tion arises as to whether the piece of ivory was
of its present size and shape when the drawing
was placed upon it. A request made to the dis-
tinguished custodian of the precious object, Pro-
fessor Marcellin Boule, has been responded to in
the kindest fashion, and as a result of a re-exami-
nation of the original he reports that a tres peu
de chose pres the piece is as it was when found
in the cave, for some of the earth in which it was
bedded still remains in many crevices round its
rim. Whether the artist had it in his hand in
exactly the same condition is not certain, for
some of the lines of the drawing seem to be cut
oiT by a slight breaking away of the upper and
under borders of the plaque'. The difference,
however, cannot be considerable, " et il semble
bien que I'artiste ait du accomoder son dessin
avec la forme gin^.rale de la surface dont il dis-
posait." How much such accommodation meant
can be realised when we take one of many other
palaeolithic drawings of the mammoth on free
stretches of cavern wall, shown Plate II, No. 7,
and compare it with the sketch Plate I, No. 5, in
the previous number. The proportions in the
two cases are quite different. Plate II, No. 7,
in its height and rapid slope backwards towards
the hind quarters agrees with the shape of the
creature as modern naturalists commonly repre-
sent it, whereas the ivory plaque gives us a long-
backed low quadruped not at all the same in
build. The artist has undoubtedlv been in-
fluenced in his sub-consciousness by the shape of
his canvas. See how the rise in the top edge of
the piece has been utilised to accommodate the
high forehead of the beast and how well the
curved tusks fill in the space in front, while the
tail whisking up at the end of the long and com-
paratively level back avoids any empty look at
the other end. This is art, and represents some-
thing quite other than the mere rendering of facts
in commonplace naturalism."

The disposition of linear motives on objects
so adorned has resulted in distinct patterns of
which specimens are given. Nos. 10 to 13
in the fig. are from bone assegai-heads of
palaeolithic date, of which casts are in the
writer's possession. Whether these designs are
freshly invented or are degenerate copies of
natural appearances really does not matter. The
point is the feeling in them for pattern as dis-
tinct from mere irregular disposition of lines

11 Since this was penned the writer has had the opportunity
of examining the original piece in company with Professor
Boule, with the result of fully confirming what is stated above.

136

or forms, and it is noteworthy that the strips on
which are cut the simple zig-zags or other linear
motives are almost always bounded laterally
by grooves, or grooves and ridges, so as to
accentuate the patterns by thus isolating them.
In the case of objects strung together to serve
as personal adornment, the artistic feeling for
grouping and rhythmical succession of groups
is strikingly in evidence in discoveries made of
palaeolithic burials in the Grimaldi caves near
Mentone. There were distinct signs of pro-
gress during the period covered by successive
interments, as if the art of the parure was being
specially cultivated, and in an interment that
seemed comparatively late, though certainly
paleolithic, the explorer. Dr. Verneau, found
the elements of a somewhat elaborate neck orna-
ment, shown No. 8 on Plate II, consisting in
fish-vertebrjE, shells, and canine teeth of deer,
the original arrangement of which had been pre-
served owing to an adhesive clay that had held
the necklet in position round the throat of a
youthful skeleton of the male sex. The maker
of the trinklet was obviously an artist quite
accomplished in decorative design.

Palaeolithic artistic activity is thus controlled
by the principle of Form, of which we mav
note in passing the animals have no sense, and
this is the underlying principle of all artistic
activity — the one element that all modes of artis-
tic activity have in common. Artistic form is
of course not mere regularity, but is order of a
more subtle kind, which appeals only to human
intelligence that has made some advance in cul-
ture. Artistic composition does not consist in
putting one object in the centre of the canvas
and four others in the corners. In the case of
the bodily movements which are the founda-
tion of the dance as a form of art, mere regu-
larity, like that of a squad of well-trained sol-
diers at parade exercise, is no more artistic than
the uncontrolled gestures of lads running and
jumping about. On the other hand the move-
ments of a graceful modern dance are artistic,
for they consist in a round of more or less com-
plex motions that are repeated after completion
in a rhythmical progression, just as the arrange-
ment of the lines and masses in a plate of
Turner's Liber Studiorum. is artistic through its
subtle play of contrast and balance. Through
its maintenance of this principle art becomes a
form-giving regulating influence in human life,
a perpetual ordering, and so making beautiful,
of elements that in the actual world are scattered,
irregular, and inchoate. The poet Schiller, in
his Letters on the Aesthetic Education of Man,
divined this to be the unobstrusive mission of
art through all the stages of the education of the
race. " What is man," he asked, " before the
serene Form tames the wildness of life? " and

the value of a regulating co-ordinating influence
may be claimed for artistic activity quite apart,
as was noticed above, from the more direct
effects of a beneficial kind resulting from each
definite form of such activity, as, for instance,
the dance and pattern making. To us it seems
so natural that free bodily movements should be
co-ordinated by rhythm, that markings on an
object should group themselves in the subtly
regulated order of a pattern, that we take it all
as a matter of course, but twenty thousand years
ago it was not a matter of course, but repre-
sented a distinct stage in the spiritual progress
of humanity. If it be true, as was claimed at
the outset, that we can discover " in some of
the earliest forms of art principles of universal
application," then we may assume that through
all the later stages of civilization these same
principles are at work, though under compli-

cated modern conditions their operation may not
be easy to trace. A scientific parallel may be
ofifered as a concluding suggestion. Is it pos-
sible, it may be asked, that artistic activity is
something like the activity of radium, a con-
cealed unsuspected agency, everywhere and at
all times operative beneath the surface of appar-
ent things? The action of radium is supposed
by some to be of quite incalculable importance
in the scheme of the universe, keeping the sun
going and the earth warm, yet till only the other
day it was entirely unknown. In like manner
amid the tangled intellectual and ethical pheno-
mena of the modern world art may be
something more than a mere elegant distrac-
tion, and beneath the surface of things may
all the time be radiating a beneficent influence
which in the future may be traced and
determined.

SOME GREEK BRONZES AT ATHENS
BY S. CASSON

N the National Museum at Athens

there is a small group of bronze

figures which has not attracted the

. <,-« attention that it deserves. Of this

S^^® group four of the figures stand out

as clearlv belonging not only to the same tradi-
tion but even to the same workshop. The re-
maining figures belong to the same tradition but
not to the same workshop. The tradition to
which the group belongs is that of the very finest
period of Archaic Greek bronze craft. By kind
permission of M. Stais of the National Museum,
Athens, I am enabled to illustrate the bronzes,
as follows : —

Plate A, from the sanctuary of Asklepios at
Trikkkala in Thessaly.' (There is another pair
of thick plaits of hair falling down the back, not
seen in the photograph.)

Plate B, from the Acropolis at Athens.'
This figure is similar in type, scale and pose (as
far as the mutilation allows us to judge) to A,
but in this case the locks of hair are separated.

Plate C, from the Acropolis at Athens.'
It appears to be approximately in the same pose
as A. The helmet, hair and chiton are the same
as in B.

Plate D, from the Acropolis at Athens.*
Figure moving to the right, in the same attitude
as A. Helmet and chiton of the same type as
in all the preceding figures, but the chiton is
undone on the right shoulder and falls down to
the right hip. The right arm is bent in exactly

1 Stais : Marbres et B-onzes du Mus^e NatlonaL p. 256.
No. 13230. Kastriotis : The Asklepeion at Trikkala I'm
Greek). PL 7.

3 De Ridder : Bronzes de I'AcropoIe. No. 817, p. 329.

3 De Ridder : op. cit. No. 816. p. 329.

* De Ridder : op. cit. No. 815. p. 328.

the same way as the right arm of A, but the
hand instead of holding a sword is open and
extended downwards over the fallen chiton fold.
The plaits of hair are treated in the same way
as in B and C, but are not so wide apart as
the plaits of those figures. On the other hand,
they are not so close together as in the case of A.
In other respects the figure is identical in atti-
tude with A. Behind the figure, attached to the
back of the helmet and to the elbow is a long
bar of bronze running obliquely. This bar is
one of the cross-bars from the side of a bronze
tripod to which the figure belongs as part of a
decorative scheme.

Plate F, from Dodona in the Carapanos
collection.' Figure moving in a large stride to
the right, of the same type as that of the
preceding figures. The hair falls down the back
over each shoulder in two plaits on each side, the
incisions on the surface of the plaits being
smaller and more numerous than in either of the
preceding examples. The legs are bare and un-
sandalled. The features resemble but are not of
exactly the same type as those of the preceding
figures. Nothing was held in the right hand.
Carapanos suggests Atalanta as an identification.
The figure is undamaged and covered with a fine
light green patina.

Plate G, from the Acropolis at Athens." The
attitude can be inferred from the position of the
arms, which together with the angle at which the
hair falls, indicate rapid movement to the right.
The head is crowned with a heavy diadem or
polos. The garment is of the Ionic type of thin,

' Stais : op. cit. p. 306. No. 24. Carapanos : Dodone et
ses ruines. I. p. 180 and II. PL XI, i.
» De Ridder : op. cit. p. 324. No. 809.

137

wrinkled material. The breasts are clearly indi-
cated- The treatment of the hair and the fea-
tures differs from those of all the preceding
examples. The face is essentially Ionic, and the
whole figure bears the marks of Ionic workman-
ship.

Here, then, are six figures all approximately
of the same type. A, B, C, D and F clearly be-
long together, while G belongs to a different tra-
dition, but bears some relation to the others. The
breast of none is full, and might be either male
or female. Even in the case of D, where the
chiton is turned down so as to disclose the right
breast, we have no clear indication of sex. F,
to judge from its muscular legs, might well be
male, although Carapanos identified it as
Atalanta. The features of A, B, C and D, how-
ever, seem to be feminine in type and closely
resemble those of Athena on Athenian coins of
the periods immediately preceding and succeed-
ing the battle of Marathon, and are of the type
usually seen on Attic sculpture of this period
[Plate, e].

The figure F from Dodona is, on the other
hand, not Attic in style, and while having Ionic
characteristics, such as the mouth and chin, can-
not be considered as a work of Ionic art. Its sex
is quite indeterminate, when it is regarded apart
from the other figures. The very marked
feminine appearance of the faces of the Trikkala
and the Athenian examples taken together with
the fact that the Trikkala example holds a sword,
while D has the right breast disclosed, gives con-
siderable force to De Ridder's suggestion that
the Acropolis examples represent Amazons.
The fact that the helmet is an oriental type
strengthens the suggestion, and while from the
evidence of the Acropolis examples alone it
would be difficult to be certain that the figure re-
presented is an Amazon, the Trikkala example,
showing the same type of figure holding a sword
and with the same tvpe of helmet, makes this
identification almost certain. The similarity
both of type and, to a certain extent, of style in
the case of F, from Dodona, makes it most pro-
bable that this too is an Amazon, but without
helmet or weapon, presumably in flight.

The three Acropolis figures are probably from
the same tripod, a portion of which is still visible
on D. Each would thus come from one of the
three sides of the tripod, and probably repre-
sents an Amazon in flight from an adversary
who would have been facing the Amazon and
fixed upon the left half of the bronze bands
which were attached like inverted U's on each
of the three sides. The Trikkala example, how-
ever, seems to be a separate figure, and there is
no indication of it having been attached at any
time to a tripod. As such it belongs to the
ordinary class of votive statuette, of which the

Dodona figure is another example. Another
figure, now in the British Museum, can be asso-
ciated with these two and with the whole series,
although it is vastly different in general treat-
ment; it is a figure of a running girl clothed in
the same heavy chiton, which she lifts up over the
left knee in the same way. It comes from Priz-
rend in Albania and belongs more closely to the
tvpe of the Dodona figure. (B.M. Catalogue of
Pronzes. PI. Ill, No. 208.) The garb of all
these figures is interesting. In each case it is a
thick chiton girt closely round the waist almost
in the Minoan style, and nothing else. The
helmet, which occurs in four out of five of the
bronzes is, as has been already noted, not one of
the characteristic Greek types but rather oriental.
Similar helmets without crests are found on
earlier bronze figures from the Acropolis. (De
Ridder, Nos. 701, 702). An oriental type of hel-
met would do well for Amazons, who belonged
to an oriental cycle of legend. The style of the
figures and their provenance offer the most diffi-
cult of all the problems connected with these
figures. In A to D the features are a blend of
Attic and Ionic usually associated with the
school of art that arose after the return of Cleis-
thenes in 509 B.C., when local Attic artists, while
profiting bv Ionic traditions, revived at the same
time the older Attic characteristics which had
lain dormant in the time of the Peisistratids.
On the other hand, the beautiful little winged
Nike (G), is one of the finest, if not the finest, of
known Ionic bronzes and is in the purest Ionic
stvle with all the true Ionic delicacy and finish.
It is about a decade earlier than the others, which
belong to about the year 500 or a little later. E,
however, seems to be farther away from the tra-
dition of the artist of A to D. To what school
or area of art, then, can we assign the whole
group A, B, C, D and F?

The clue may, perhaps, be given bv A. This
beautiful little figure was found in Trikkala at
the extreme western end of the great plain of
Thessaly on the pass that leads over into Albania
by way of Pindus. Its similarity with B, C,
and D is too great to be accidental. They must
all be derived from the same workshop. Athens
at once suggests itself as the obvious place of
origin for all, since three of the figures were
found at Athens and only one at Trikkala. But
it must be remembered that the three Athenian
examples come from the same tripod, and among
the numerous bronzes of Athens there is no other
even remotely resembling these. On the other
hand, there are no less than three bronzes of
this tvpe which come from the same region in
North Greece ; one from Trikkala, one from
Dodona and one from Prizrend — the British
Museum example. The three examples from
Athens and the Trikkala figure all show Attic

B — Height, 6.7 cm. C — Heig-ht, 6.2 cm.
Bronze figures from the Acropolis, Athens

D — Height, 14 cm.

A — Bronze figure from the Sanc-
tuary of Asklepios at TriUkala,
Thessaly. Height, 14.5 cm. £— Athenian coins of about the period of the Battle of Marathon

G — Bronze winged figure from the .Acropolis, .Athens.
Height, 4.2 cm.

/■^

^■1

F — Bronze figure from Dodona. Height, 12 cm.

Some Greek Bronzes at Athens

■\-

A—Manicith a pipe, by Mary or Charles Beale. Drawing B— Girl's h"ad, by Mary or Charles Beale. Drawing

' ■- v^ . J

C — Girl with a cat, hv Mary or Charles Beale. Drawing

D — Laughing boy, by Mary or Charles Beale.
Drawing

The Beale Drawings in tlie British Museum

influence. The Dodona and Prizrend figures,
on the other hand, seem to be cruder copies of
the same type of thing. It seems, then, pro-
bable that Attic artists in Thessaly made figures
of this type which were copied by local artists.
The Athenian tripod with its three figures would
thus be a dedication, perhaps of Thessalians on
the Acropolis. This suggestion serves to amplify
the knowledge we already possess of Athenian
influence in Thessaly at the end of the sixth and
early years of the fifth century B.C. Hippias
had a treaty with the princes of Thessaly which
was so effective that by the aid of Thessalian
cavalrv he was enabled to defeat both Alcmae-

onid exiles and Spartans. The tradition of
Thessalian friendship did not end with Hippias,
and a little later we find the coins of Pharsalus'
and other Thessalian towns reproducing with
extraordinary accuracy the type of Athens. We
have, then, in the first five of these figures what I
believe to be examples of Attic work in Thessaly
and of local copies of that work, while in the
sixth figure we have a brilliant example of the
school of bronze work which had made it pos-
sible for Attic artists to produce such good work
in their own style.

' B.M. Catalogue. Thessaly. PI. IX, 6-8

THE BEALE DRAWINGS IN THE BRITISH MUSEUM
BY HENRY SCIPIO REITLINGER

HE names of Mary and Charles
Beale seldom emerge from the ob-
scurity which envelops the minor
worthies of the Stuart period. Of
Charles, the son, very litde in-
deed is known, and Mary Beale is generally
only remembered as a somewhat tedious por-
trait painter working in the Leiy manner. In
his Lely and the Stuart Painters, Mr. C. H.
Collins Baker criticises her as follows : — " She
did her best to sacrifice the birth-right of her
English point of view in order to share in
Lely's vogue," and again, " Never liable to
consuming attacks of inspiration, she became
inanimate and fade in her repetitions of her-
self " — a hard judgment with which, after a
mere examination of her authenticated oil paint-
ings, one will scarcely be tempted to disagree.

It is, therefore, with all the greater surprise
that one turns to the drawings catalogued
under the names of Mary and Charles Beale
in the British Museum Print Room. These
drawings, 176 in number, are not the least
among the curious and beautiful things in the
Cracherode collection (bequeathed to the Mu-
seum by the Rev. C. M. Cracherode in 1799).
They are executed in sanguin on white paper
measuring on the average 7J in. by 9J in., the
eves being touched in with a somewhat darker
medium, perhaps Indian ink. Of the 176 draw-
ings, II are catalogued under the names of

* Bibliography : —

H. Walpolc : Anecdotes of Painting in England.

C. H. Collins Baker : Lely and the Stuart Painters.

Dictionary o) National Biography, Vol. II.

Thieme & Becker : Allgemeincs Kiinstlerlexikon.

G. Miliier Gibson Cullum : " Mary Beale " (Article

in Journal of Suffolk Inst, of Archceology, Vol. XVI.

iqi8.).
I,. Binyon : Catalogue of drawings by British Artists in

British Museum.
Unpublished : —

G. Venue's MS. notes for n history of painting in

England. In MS. Room, British Museum.
C. Beale's diary for 1681, in MS. In National Portrait

Gallery.

Charles Beale and the remaining 165 under that
of Mary Beale, with the reservation that there
is " no discernible difference of style " between
them. The eleven " Charles Beale " drawings
are all signed with the monogram CB — a mono-
gram constantly used with reference to Charles
in Charles Beale the Elder's manuscript diary
in the National Portrait Gallery, a document of
which further mention will be made below.
Two of these signed drawings are heads appar-
ently copied from older pictures, the remainder
being studies of statuary. The 165 other draw-
ings are unsigned, but correspond so closely, in
method and treatment, to the signed drawings
that it would be rash to draw any conclusions
as to their being by a different hand, namely
Mary's, from merely internal evidence. The
eleven signed drawings are somewhat heavy
and clumsy in execution, but the same may be
said of a considerable proportion of the un-
signed ones, notably in the case of those that
appear to be copies after pictures by Van Dyck.
They give one the impression that the artist has
taught himself to draw after casts from the
antique, laboriously working out the lights and
shades by means of heavy cross-hatchings like
those of a line-engraver. This method, when
applied to the portrayal of living sitters, leads
to curious results, sometimes making the faces
appear unduly swarthy in hue, or, as it were,
hewn out of mahogany. The portraits of
Charles II and his sister as children, after Van
Dyke (145 and 146 in B.M. Catalogue) are
exaggerated and unpleasing examples of this
tendency.

It is more profitable to turn to those drawings
in which the artist has freed himself from the
clogging influences of the antique and the older
masters, and has drawn direct from the life.
Here he frequently succeeds, in spite of the
heaviness of his modelling, in depicting the
sitter in a most intimate and searching manner.

143

The four drawings, which have been chosen
out of a veritable embarras de richesses for re-
production, cannot be considered otherwise
than remarkable. We feel that they are not
only life-like as portraits, but that they reveal
a perception of the sitter's personality such as
one scarcely expects to find in a period when
the tendency to abstraction in portraiture in-
troduced by the great Van Dyke was succeeded
by the flatter, because more meaningless, ab-
straction of Lely and his followers. What is
more, these drawings are in that far older,
more native tradition of portraiture which goes
back to Holbein (and perhaps to the mediaeval
illuminators) and which is kept alive by Hil-
liard and the Olivers till the rebirth of a gen-
uinely British school of painting in the eigh-
teenth century. They are quite peculiarly and,
for the period, almost startlingly English look-
ing, both the artist and the subjects being
characteristically English and quite untouched
by the shallow cosmopolitanism of Lely. That
which Hogarth did for the England of
George H, is here done, in a lesser fashion it
is true, for that amazing England of the Re-
storation, of which Congreve and Shadwell tell
us so much and the graphic arts so litde. There
is little of the swaggering cavalier or light-
mannered lady of the court among these por-
traits; the prevailing temper seems rather that
of the puritan. The stern individual smoking
a pipe [Plate, a] looks as if he might have
ridden at Naseby in his youth, and the two girls
[Plate, b and c] are of the stuff of which the
mothers of New England were made. The
laughing imp-like boy [Plate, d] is the mis-
chief-loving boy of all times — such a one as in
that century Franz Hals loved to portray.

It is clear that the author of these portraits
has a distinct artistic personality, but evidence
of a more definite kind than any at present forth-
coming is necessary to determine whether the
credit for them is due to Mary Beale or her son
Charles. The weakness of Mary's oil paint-
ings together with the CB monogram on eleven
of the drawings (none of these eleven, it is true,
being of any particular merit) incline one in
favour of the latter hypothesis; against it one
may argue that Charles could never have met
with the scant contemporary notice he un-
doubtedly received, had he had any remarkable
talents. There are several similar drawings in
the Pierpont Morgan, formerly the Fairfax
Murray, collection ascribed to Charles Beale,
but on what evidence the ascription is made is
uncertain. Charles is reported as having
helped his mother in her portrait painting until
he had to desist from weak eyesight. A not
very characteristic miniature signed CB is in
the Victoria and Albert Museum.

Most of what is known of the Beale family,
which may be omitted here as it is easily acces-
sible in the Dictio7ia7y of National Biography,
is derived from Horace Walpole's Anecdotes
of British Painters, and is derived in its turn
from Vertue's voluminous and as yet unpub-
lished manuscript notes in the British Museum,
which, if they are ever printed, should give in-
formation of inestimable value to the student of
the beginnings of art in England. Vertue him-
self made use of a series of manuscript diaries
compiled by Charles Beale, Mary Beale's hus-
band. These diaries appear to be lost, with
the exception of one, now in the National Por-
trait Gallery and also so far unpublished. In
the hope that this interesting document will
one day be printed, a short description of it is
here not out of place : —

The diary consists of a bound volume of W.
Lilly's Merlini Anglici Ephemeris, or Astro-
logical Judgments for the Year 1681, a sort of
Almanac of the Old Moore type, in whose
numerous blank leaves Charles Beale the Elder
has written his diary for the year 168 1. It is
written in a very beautiful hand, lapsing occa-
sionally into shorthand, with numerous refer-
ences to " Dearest Heart," viz., his wife
Mary Beale, and to CB or " son Charles,"
and referring to Mary's pictures, the prices
paid, and experiments with sizing and canvas.
No mention of the drawings, unfortunately, is
made either in this diary or in the extracts from
others cited by Walpole. The somewhat
meagre entries of domestic details do neverthe-
less contrive to give one a happy impression of
the Beale's family life; and their invariable
habit of setting aside one-tenth part of their
receipts for the relief of the poor is attested to
by frequent entries such as the following, after
a note of ;^20 received for " Dearest Heart's "
pictures : —

The 2£ due to ye pious and charitable account for 2
above menconed picts was answered to it [follows a short-
hand note, probably giving details of the charity.]

This generosity appears the more creditable
as the family, judging by several entries similar
to the following, appears to have been in poor
financial circumstances: —

I April 1681. Borrowed of my cousin Auditor Bridges
in our great straite and disappointment of money the
Sume of Ten Pounds.

£ s. d.

I say borrow'd 10 00 00
Our Gracious good God was pleas'd to afford us
most seasonable supply when we were in such great
pressing need that we had but only 2s.-6d. left us in
house against Easter. For which Signall mercy his most
holy Name be prais'd, who thus must graciously remem-
bered us his poor creatures in our low condicon."

It is to be hoped that revival of interest in
the Beales will bring to light some much-
wanted data as to the execution of these draw-
ings; and the artist, whether it be " Dearest
Heart " or " Son Charles," should surely take

this

and
the

144

A — Six Figures in a Courtvard, bv van Z\'l. Canvas. (Mr. X'ictor
K.jch)

B — The Concert Party, by van Zvl. Canvas, 55.2 cm. by 62.2 cm. (M. Paul
Matthey, Paris)

Plate I. The works of G. P. van Zvl.

his place in public estimation as the author of
the most characteristically English things done
in the seventeenth century.

Since the above article was written, information has come
to hand from Miss Thurston, of the Pierpoint Morgan Library,
New York, regarding the Beale drawings in that collection.
Those drawings closely resemble the ones in the British Museum
and are evidently by the same hand. They are bound up in

WORKS OF G. P. VAN
H. J. MELLAART

OME twenty years ago van Zyl, so
popular a painter in the seventeenth
and eighteenth centuries that his
pictures sold for higher prices than
Vermeer or even Rembrandt, had
been almost completely forgotten. Then the
loan by Count Bentinck of a small picture to the
Mauritshuis again attracted attention to his
work ; and now, thanks very greatly to the re-
searches of Dr. Bredius, we know of the exist-
ence of more than thirty of his paintings, many
of which are in this country. As he rarely signed
his pictures they have in more recent times
generally been attributed to such better-known
artists as Gabriel Metsu, Pieter de Hoogh and
W. C. Duyster; but by comparison with the en-
gravings of Wallerant-Vaillant, P. Schenk, J.
Gronsvelt and others, re-attribution has in many
cases been possible.

Van Zyl was evidently a painter of importance
in his own day, for we find references to him in
the poems of Vondel, Vos and Spillebout.
About fifty years later he was the subject of a
memoir by Houbraken, from whom we learn that
he was known as the " little Van Dyck " and
that he was a great friend and admirer of that
artist, opposite whom he lived in Westminster.
After Van Dyck's death van Zyl returned to his
native town of Amsterdam and lived in the

a slcetch-book, in which is the inscription : — " Charles Beale
ist Book 1679," and " Charles Beales Book " in a florid
seventeenth-century hand, closely resembling that of the
National Portrait Gallery diary. This circumstance would
appear to furnish strong presumptive evidence that the bulk
of the British Museum drawings are by Charles. The
possibility must, however, not be lost sight of that " Charles
Beales Book " may be Charles Beale pere's signature as the
owner of the sketch-book.

ZYL

Hartestraat from about 1650-8. Houbraken
singles out for praise his charming girl portraits
and especially the delicate painting of their
hands, which he regards as comparable with
Van Dyck's, and he makes particular note of the
Prodigal Son taking Leave of his Father, now
in the collection of Prince Lubomirski in
Poland. We also learn from Houbraken that
he was imitated by Moninck and that Johannes
X'erkolje worked on his unfinished pictures after
his death. Weyerman on the whole follows
Houbraken's account closely, but adds the in-
formation that he saw two of van Zyl's pictures
at Badmington, and praises him in even higher
terms.

Dr. Bredius has now discovered that he was
born about the year 1607. His father was a
framemaker in Haarlem and designed him to be
a lawyer's clerk. Painting appears, however,
to have been the only career having any attrac-
tion for him, and about the year 1629 he became
for six months the pupil of Jan Symonsr Pynas
at Amsterdam. He died in Amsterdam and was
buried in the Oude Kerk in 1665, having been
in prosperous circumstances for the greater part
of his life.

The following is a list of the works of the
artist which recent research has brought to

light

Title.
The Merry Company

The Card Party

Signed copy after U. v. d. Tempel, in

Berlin.
Lady Giving Alms ...
Departure of the Prodigal Son ...
The Letter

The Concert Party

Portrait of Christina Momrtiers ...

The Party

Concert Party

Ttie Concert Party

The Concert Party

The Card Party

The Toilet

The Concert Party

The Garden Party

The Backgammon Players

The Concert Party

The Prodigal Feasting

Figures round a Table in a Courtyard
Artist showing Picture to Cavalier
and Ladies ...

Owner.

Bonn

Brest

Brunswick
Cassel

Prince A. Lubomirski

Count Bentinck, The Hague
Colin. Scheurleer, The Hague ...

Mainz

K. Schloss, Wurzburg

Dr. Bredius, The Hague

Colin. Lederer, Budapest.
Colin. Steinmeyer, Lucerne

Woerlitz Schloss

Kedleston Hall.

C'tesse de Talleyrand de P^rigord,

Paris
The Earl of Dysart.
]. O. Kronig, Paris.
M. Paul Matthey, Paris.
M. E. G. Verkade, the Hague ...

Magdeburg

DoUfus Sale, Paris, 1912

Mr. Clarke

Messrs. Agnew

Messrs. Rothschild

Former Attribution.
Karel Du Jardin.
Karel de Moor.

Frans Francken.

Resembling N. Knupfer.

Signed, engraved by W.

Oohtervelten.

J. V. Ceulen.

J. Verkolje.

Jan Oils.

Vaillant.

N. Verkolje.
N. Verkolje.

C. J. V. d. Laemen.

.\. Palamedes.
K. du Jardin.
B. Graat.
G. Metsu.
G. Metsu.

Jan Olis.

147

Title. Owner.

Ladies and Cavaliers in a Garden M. Sabin

Figures round a Table ... ... -Mr. H. Fisher

A Musical Conversazione ... Christie

Six Figures in a Courtyard ... Mr. V. Koch ..

A Concert Johnson Colin.

A Concert Party Mr. E. Bolton

Philadelphia

Former Attribution.

H. Janssens.

Dutch School.

P. de Hoogh.

Still called K. Dujardin.

W. C. Duyster

In addition to the above list Dr. H. Schneider
has drawn my attention to a drawing in the
Brunswick Gallery and Sir Robert Witt to a
painting attributed to van Zyl, and now in
America. I hope to add to the above list in a
subsequent article in Oud-Holland.

Of all these pictures only the one in Brunswick
is signed in full. Count Bentinck's picture bears
the initials G. P., and that in M. Paul Matthey's
collection G. P. v. Z. The rest are neither
signed nor dated.

Of special interest among the lost pictures are
a portrait of Govert Flinck, a painting on the lid
of a spinet, and a family group of van Zyl's own
relations, various Biblical subjects and a view of
the Town Hall at Amsterdam. We know also
that he painted figures in other painters'
pictures.

Like so many Dutch painters of this period
van Zyl's style is variable. At times he affected
a free and sketchy manner and showed traces of
foreign influence in his choice of subject ; at
other times his pictures are formal in design and
highly finished in execution. As a rule he takes
for his subject a group of people round a table,
either with musical instruments or playing back-
gammon, always depicted with graceful move-
ments and dress. Italian or Flemish landscapes
are sometimes shown in the background with a
curtain to one side, and a servant and one or two
dogs generally complete the picture. The
colour is usually bright and strong without being
exaggerated. There is no doubt, however, that
the chief reason for his immediate popularity

A MONTHLY CHRONICLE

Early Ting Ware at South Kensington.—
Foremost among those public-spirited collec-
tors who lend their possessions for exhibition
to the Victoria and Albert Museum is a
small body of gentlemen whose identity is
veiled behind the well-fitting phrase " friends
of the Museum." These gentlemen, who are
all possessors and all seemingly experienced
collectors of early Chinese Ceramic wares, have
already been responsible for two most interest-
ing exhibitions of examples of the potter's art.
Early last year there was brought together and
exhibited here a unique aggregation of the
beautiful Lung Ch'iian Celadons. This was
succeeded in the autumn by a selection of some
of the finest specimens of Ch'ien yao (ware with
black, brown and " hare's fur " glazes), and
this again has been replaced lately by a coUec-

was the sentimental appeal made by his pretty
girls, so that even copies of his works realised
large prices.

Among his masterpieces may be reckoned The
Prodigal Son in the collection of Prince A.
Lubomirski, The Concert Party [Pl.\te I, b],
belonging to M. Paul Matthey and another Con-
cert Party in the Steinmeyer collection in
Lucerne. It may be of greater interest to Eng-
lish readers, however, to study the illustration
on Plate II, c, of the fine picture. The
Toilet, in Lord Dysart's collection. The seated
lady is in white with a yellow scarf, the page-boy
is in brown, the maid by the lady's side in red.

and the second maid in grev and

The

general effect of this picture is reminiscent of the
fine Johannes Verkolje in the Ryksmuseum in
.Amsterdam.

The excellent drawing [PL-fiTE II, d] in
Brunswick is of special interest as at present we
know of no other drawing by van Zyl. It is
probably a study of a picture which may yet be
discovered. Quite diiTerent, but not less inter-
esting is the study of a Nude Man on the other
side of this drawing.

Of van Zvi as a portrait painter we can form
little idea, as there have come down to us only
his half-length copy of a portrait by van den
Tempel of a man and his wife, the original of
which is in Berlin, in addition to \'aillant's
mezzotint of his lost portrait of Govert Flinck.

My thanks are due to Dr. Bredius, Dr. C. Hofstede de
Groot, Dr. Gronau, and M. J. Q. v. Regteren Altena for their
assistance in compiling this list of van Zyl's works.

tion of Ting Yao — the white porcelain par ex-
cellence of the Sung Period. (a.d. 960-1279).
The factories of Ting Chou appear to have
devoted their attention almost exclusively to the
production of objects covered with a translucent
glaze, which was nearly colourless, and the only
means of decoration employed was that of the
incised line and the impressed or moulded pat-
tern. The reason for this is not far to seek.
The local clav was famed for its whiteness, and
as a medium for delicate treatment was pro-
bably unexcelled.' It thus afforded the ceramic

1 With the possible exception of a remai^kable Sung ware,
whose exact provenance occasions much discussion. Tnis is
a porcelain of very fine texture covered with a delicate bluish
glaze and known amongst connoisseurs as Ying Ching yao
°= misty blue ware. Is it too much to hope that the friends
of the Museum " will be able to assemble a small collection
of this ware for exhibition in the Loan Court?

148

C—The Toilet, by van Zyl. Canvas, 58.4 cm. by 48.9 cm. (The Earl of Dysart)

O—The Concert, by van Zyl. Drawing, 27.7 cm. by 36.7 cm. (Brunswick Gallery)
Plate II. The works of G. P. van Zyl

artist just that means of expressing himself
which, knowing something of the characteristics
of the ancient Chinese, one would expect to be
most to his liking. Restraint, subtlety, refine-
ment were ever marked features of Chinese
ceramic art at its best ; and in the local porcelain
earth the Ting Chou potter had at hand the
material which answered all his requirements,
and did not occasion resort to pigments for the
purpose of decoration, nor even to the use of
coloured glazes such as were generally found
necessary when dealing with the coarser clays.
It should be noted, however, in this connection
that we are not without literary data as to the
existence of coloured ting wares, but, as Mr.
Hobson says, this is a matter " of academic
interest only, as no examples . . . worthy
of notice have been identified in Western Col-
lections."° Similarly ancient records tell of the
existence of ting ware with " painted orna-
ment " — a type unknown to the modern collec-
tor. This matter is discussed by Mr. Hether-
ington in the latest work on the subject.^

Broadly speaking' the ware under discussion
was divided into two main categories — the pai
ting yao or " white " ting ware and the t'u
ting yao or " earthy " ting ware. Both types
are well represented in the collection at the Loan
Court. The first of these was naturally the
more highly prized ; and the craftsmen of the
day regarding, doubtless, the mere production
of such porcelain as a ceramic achievement of no
mean order were often content to finish the piece
without ornament of any sort. More frequently,
however, the vase or bowl was handed on to an
artist skilled in the use of the style — probably
a pointed bamboo stick — with which he would
engrave floral and other designs which, for
freedom and breadth of treatment have never
been surpassed. The large vase in the centre
of the Museum show-case and the bowls with
interior decoration illustrate this well.

A very beautiful example of the impressed
type is seen in the small flat plate on the upper
shelf. Here the design is moulded with excep-
tional clearness and the uniform thinness of the
glaze, a quality common to all types of Ting,
helps the general effect of the piece.

T'u ting approaches much more nearly what

~'i^Chinese Pottery and Porcelain, by R. L. Hobson. Vol. I.
' Early Ceramic Wares of China, by A. L. Hetberington.
Page 93 et seq.

AUCTIONS

Galeries Fischer, Lucerne.— A picture sale of unusual
interest is the one announced for September 5th, 1922, at the
Grand Hotel National in Lucerne, of the collection of M.
Rudolf Chillingworth. .^n extremely well-prcduced catalogue
enables one, even at a distance, to form a pretty clear idea of
the contents of this gallery, which comprises examples of the
Flemish, Dutch, German, and Italian schools. The series of
Italian Primitives includes several interesting works, e.f;..
the Madonna and Child with Saints (No. 107), in all proba-

we are accustomed to call earthenware, and is
in every way inferior to ting ware proper. The
body is coarser and of a distinctly buff tint ; it
is also opaque, and unlike true porcelain, ves-
sels made of it do not always give forth a musi-
cal sound when struck. The milky opacity
frequently found in the glaze was doubtless de-
signed to cover the defective quality of the paste
and to give a closer resemblance to the more
greatly admired white ting. The two-handled
vase in the Museum show-case is a typical
example displaying this opaque glaze. The
modelling of this piece and the moulding of the
design are unusually good, but a certain flat-
ness, noticeable in every specimen of this type
clearly indicates that the material did not admit
of the same delicacy of treatment that was pos-
sible with the finer clay. The artist-potter
working with this earthy ting undoubtedly
found his best mode of expression when fashion-
ing such objects as the remarkable figure of
an elephant, now in the Loan Collection. Hence
we find that considerations of form and general
outline are more evident in t'u ting than in pai
ting productions, and there is a greater variety
in shapes. The careful observer will have little
difficulty in distinguishing between the two
kinds of ware and the small collection at South
Kensington will serve admirably to illustrate
the marked differences in treatment.

An ancient writer quoted in the " T'ao
Shuo "^ bewails the fact that "although you
may know all the rules for drawing water it is of
no avail if the people refuse to lend their
vessels." To-day the position is altered.
There are several admirable text-books on the
engrossing subject of old Chinese porcelain, and
all who will may learn therefrom "the rules."
But the full benefit of knowledge thus obtained
cannot be felt unless advantage be taken of the
opportunity afforded by those who do not " re-
fuse to lend their vessels." Lovers of the subtle
and refined in art — those who appreciate pieces
" of elegant form and worthy of a place in
the library of a scholar of culture "° — and all
serious students of ceramic art should make a
special effort to visit the Victoria and Albert
Museum while this unique collection may be
seen. e. e. b.

* Description of Pottery, translated by S. W. Bushell. 1911
' Bushell op. cit. p. 134.

bility by the "Maestro del Bambino Vispo," and closely allied
to a picture in Christ Church Library, Oxford (No. 20) ; a
number of scenes from the Lives of the Hermits of the Thehaid
(No. 105), called Sienese School about 1440, but really, as the
reproductions allow one to judge, Florentine work, and by
the same hand as other similar subjects in the Jarvis Collection
and at Christ Church ; the noble .-Irion on the Dolphin (No. 81)
given to Francesco Cossa ; and two capital predella pieces by
Luca Signorelli (No. iii). Turning to the Transalpine schools.

151

we notice the vigorous Head of a Man by the Maitre de
Fl^malle (No. 6), from the Gumprecht Collection, the Male
Portrait by Jan van Scorel (No. 35), the striking Bernard
Strigel Madonna and Child with Angels (No. 77), to mention
only a few items out of a series of remarkably high standard.
Of the Dutch 17th-century masters, Rembrandt is repre-

GALLERY AND MUSEUM ACQUISITIONS.

sented by the Portrait of Lisbeth van Rijn, the artist's' sister
(No. 34), at one time in the Massey-Mainwaring Collection
(1635), and a later Study of a Young Woman's Head (No. 34a)
from the Albert Oppenheim Collection (Bode, 374) ; Metsu
and Hobbema are likewise present.

T. B.

NATIONAL GALLERY.

QuiNTEN Massys. Virgin and Child with SS. Catharine
and Barbara. Linen in tempera. 0.91 m. by 1.09 m.
Presented by Charles Clarke, Esq.

NATIONAL GALLERY, MILLBANK.

J. S. CoTMAN. Croyland. Water-colour. Presented by Sir

Joseph Duveen.
Baron Rudolphe d'Erlanger. A Street in Cairo.. Oil.

Presented by Sir Joseph Duveen.
Duncan Grant. Lemon Gatherers. Oil. Purchased.
P. Wilson Steer. Yachts. Oil. Purchased.

BRITISH MUSEUM.
Print Room.

Ten silver plates, decorated in niello with subjects from the
Bible, from the Hamilton Palace Collection. Florentine,
ca. 1460-70. Presented by C. S. Gulbenkian, Esq.,
through the National Art Collections Fund. (On these we
hope later to publish an illustrated article.)
Drawings.

JosuA DE Grave. Twelve topographical drawings of
places connected with Marlborough's campaign, in
August, 1711.
J. P. Le Bas a pastoral subject, 1748; pencil on vellum.

Prints.

Anonymous. Small copy in reverse of the Crucifixion by

ScnoNGAUER, B. 22. From the Bell Scott and Odling

collections.
Anonymous. (School of Bartolozzi). Terpsichore:

stipple, printed in colours.
Amrrogio Brambilla. Quaresima (allegory of Lent).

Etching. From the Odling collection.
Jacob Cornelisz. The Presentation in the Temple. Vn-

described woodcut. 1513. Presented by Arthur Kay,

Esq .
G. de Lairesse. Bachhus.. Eetching. (LeB. 53.)
G. B. Piranesi. No. 58 of " Vedute di Roma," ist state.

Presented by A. M, Hind, Esq.
Valentin Sezenius. Three ornament prints, 1623-4, with

New Testament subjects treated in a decorative style.
J. R. Smith. Portrait of Sir W. Milner after Hoppner.

Mezzotint. Working proof.
Y. Urushibara. Set of 26 progress proofs of colour print.

Lilies, with the original block of the outline.
Parcels of English and French etchings, respectively, have

been presented by Mr. F. R. Meatyard and Mr. C.

Dodgson. The Contemporary Art Society has presented

a first instalment of the prints acquired by the new fund

for Prints and Drawings inaugurated in 1919.
Oriental Sub-Department.
Paintings.

Unknown Korean Artist. Portrait of a gentleman.

Presented by Arthur Morrison, Esq.
RiZA Abbasi. Lady holding her little boy.
Mu'iN MusAvviR. Sohrab and Rustam. 1648 a.d.
Rajput School. Irrigation scene. Lady under a Tree.

Woodcuts. ^, •,.

Utamaro. One of a set of Beauties. Mother and Child
in mosquito net. Travellers by river at Suruga. No.
32 of the " Hundred Poems " set.

Coins and Medals.

Six bronze Italian Medals, bequeathed by Mr. Maurice
Rosenheim:—!. Paul H; attributed to Andrea di
N1CCOL6 of Viterbo (Burlington Magazine, Dec,
1907. p. 149) 2. Andrea Magno ; style of Giulio della
Torre (ibid., p. 150). 3. Giovanni di Costanzo Sforza,
1503 ; Artis. unknown. 4. Nicolas Maugras, Bishop
OF Uzfes ; style of Giovanni Candida. 5. Federiigo of
Urbino ; attributed to Francesco di Giorgio (Burling-
ton Magazine, June, 1910, p. 143 f-) 6. Leonardo
Zantani ; by the "Master of 1523" (Maffeo Olivieri?).

VICTORIA AND ALBERT MUSEUM.

(Items marked * are not yet on exhibition.)
Architecture and Sculpture.

Cupid; statuette in bronze, probably by Donatello or by

some artist working under his immediate influence.

Florentine (or Paduan) ; middle of 15th century. From

the Newall collection. Presented by the N.A.C. Fund.

Bust of the Virgin, and Figure of the Child Christ; ivory.

Portuguese; 17th or i8th century.
St. Christopher, statuette in ivory. Spanish (?); 17th or

i8th century.
Cases for Knife and Spoon ; engraved bone. Italian ; 17th
century. Presented by Sir Charles Wyndham Murray,
K.C.B.
God the Father, and St. Anne with the Virgin and Child.
Figures in limewood, painted and gilded. Swiss ;
i6th or 17th century. Presented by Joseph King, Esq.
Ceramics.

Earthenware bowl painted in bluish-green. Found in ex-
cavations at Fostat (Old Cairo). Probably qth centurv.
Bought (Fouquet collection). Porcelain dish painted in
under glaze blue and yellow enamel. Chinese ; mark and
reign of Chia-ching. Presented by Mr. J. B. van Stolk
of Haarlem.
White porcelain figure of a girl in a swing. Probably
early Chelsea. Presented by Lt.-Col. K. Dingwall,
D.S'.O., through the N.A.C. Fund.
Venetian glass bowl with engraved and gilt decoration.
i6th century. Presented by Edmund Houghton, Esq.
Engraving, Illustration and Design.

*Y. Urushibara. Wood Engravings (3), in colour.
*W. M. Keesey. Architectural Drawings (4).
♦Collection of Japanese Prints. Bequeathed by the late
T. H. Lee.
Paintings.

E. Webb. Caen. Water-colour. Presented by Her

Majesty the Queen.
*Gallaway of Edinburgh. Two miniature portraits.
*S. J. Stump. Miniature portrait.
W. S. Lethbridge. Miniature portrait.
*W. J. Thomson. Miniature portrait.
*P. Jean. Miniature portrait.
Bernard Lens. A. B. Lens.
Metalwork.

* Seven figures from monumental brasses. 15th century.
Presented by Arthur G. Binns, Esq.

Silver porringer. English ; 16S3. ^fpchanical toy, a mer-
man on the back of a tortoise. South German; 17th
century. Pendant jewel. Enamelled gold set with
stones. Second half of 17th century. Two engraved
gems mounted as pendant jewels. i6th-i8th century.
From the Marlborough collection. Presented by Col. Sir
C. Wyndham Murray, K.C.B.

Silver sauce-tureen. Irish; 1787. Given by Miss Kathleen
Martin.

♦Bronze group. Fudo with attendant. Japanese.
Textiles.

* A panel of Swedish tapestry. 17th or i8th century.
*An embroidered Chinese screen, in a carved frame. Pre-
sented by Miss J. McCutchan.

A linen cloth v/ith brocaded pattern. From Egypt; 5th or

6th century. Presented by P. E. Newberry, Esq.
An Altar frontal of point d'Argentan lace. About 1700.

Presented by Miss K. E. Cooper.
Department of Woodwork.

*A small English bureau-bookcase of the time of_ Queen

Anne, decorated in lacquerwork with Chinese designs on

a yellow ground. Purchased.
Chest of oak, carved with ogee arches and Tudor^ roses.

English : late 15th century. Presented by Sigismund

Goetze, Esq.
A rocking chair, carved with rococo ornament. French.

Period of Louis XV. Presented by Charles Wase, Esq.

152

Mvstical subject. By Niccolo di Pietro Gerini. Canvas, 2.5 i ni. by i.bi m.
(The Earl of Crawford and Balcarres)

EDI

Problem of the Provincial Gallery

little, distant, dirty
• sjlass, is a laby-
l-rt'sounding cor-
ridKr>, iraiiiiiu'd tight witii glass
cases Containing model steamships,
> jffed seafowl, automatic solar systems,
.'.mall crockery, Bnim' negro idols, napthalin
balls, obsolete dc^^Tlption labels; against the
degraded crimsor

bols of

ficence,

ism, -

hiim.-

jr.

S,r V

•lang expansive sym-
I x-'s ubiquitous muni-

iry French-Victorian-
s of post-war
•Uimentality ;
inns by obsolete
. .i:s have had done
mayors of their ene-
.1 . sedulous understudies
se effrontery the official
(■ W'M hesitate to sacrifice scholar-

si- . .1. pride of municipal possession;

(t^fii:ine masterpieces permitted to retreat year
hv vear ever further behind a mask of ancient
horn-coloured resin and modern city grime, or
else scoured and glossed by the local restorer
who did the varnished pike in the case '■■liKse by.
All provincial museums are not like thtt, and
yet thev all present a problem of r' ■ '.

The most recent of the many se mis-

sions of the subject, to which some of the most
experienced and successful mt'- ^ ' ■ ^rs in
the country contributed, took j nths

ago before the Roval Sorirtx of Art^, and is
now published in pamphlet form.' Tn spite of
a prest deal of candour on th^^ part of the
M ' r he claimed (haf the effect was

t'l 're than rleav ihe air a little.

The pxistenre nt disease was genornlly admitted,
but the doctors could hardly be said to be in
agreement when it came to diagnoses, and the
various medicines proposed were merely pallia-
tory. Here and there a word was dropped that
revealed the fact that the endemic had not spared
some of the consultants themselves.

Tn recard to objects of art, as apart from

<■' the three acknowledged trou-

>■ T'ts alreadv in the possession

rips are not good enough.

11, .- I ,■■ ■■'■I '•■•■■> '•!;,.

I' I

th' II-

mittt I -ems

to he - 'sll
ratlioi

Th. ,»t of

> The Pn.i
By Lawreni ■
Gallery.

an individual, will be .

run by the manner lu ^i.im <■

acquisitivene.ss, and it will be :w

keenest test of

tions, which, i

ably low order.

urgent reform^: •

not to be " en

local, gift hor'-

pictures of ep

eluded, the director

complete freedom

kept down. To t,

agree, but how are li

It is as easy as it i:> i

is called the public, v '

that varies its charactc-i h: i

server. He who heluMH*,

galleries must have

number of intelligent

when once their houses have been pi;'
for them.

And again, we strongly agr*»e \«'ith the view
that in art, committees .ir and

that Corporation " Parks mi if.

tees " and the like, composed a f

public representatives '

not be allowed to nn-'

decisions any more than they 1

to interfere with those of *'"'

health inspector; still, we

ence is not alone resj'

management. The n^

the problem, the more fart

emerges that the chief so ■ "s

the directorship itself '^^ '>

believe that the dirort. '<-

ne.ss man's qualities • : i.i

tact, but we do belie\ • ;o be

lacking in a far rarei I

quality which the tc

expected to possess — thr gift gf dion

between a good work of art and a .,:\veen

one of permanent and one of temporary inter-
est; nor are our ■' 1 of the only
possible substiti:' a wide and
thorough kn' \ are on the
whole poor it^i.. ■ < .ent t^'"-'! ■■^-
deficient both ei id mtei
And - ■
jump

day betor

^p .. ., ..,

!■' '

i; riiCiS.

r must be one of those who havr

•i '!> pass their lives in the presence of art,

:)n(i his life must be that of his gallery. Ff''

Thb BURI.IV.

'55

Mvsficnl siib/ii t. By Niccolo di Pietro Cknni. Canvas, 2.5 1 m. by i.Oi m.
(The Earl of Crawford and Balcarres)

EDITORIAL: The Problem of the Provincial Gallery

OWN below little, distant, dirty
strips of skylight glass, is a laby-
rinth of gloomy and resounding cor-
ridors, crammed tight with glass
cases containing model steamships,
stuffed seafowl, automatic solar systems,
small crockery. Brum' negro idols, napthalin
balls, obsolete description labels; against the
degraded crimson walls hang expansive sym-
bols of Sir F. L. Chantrey's ubiquitous muni-
ficence, tit-bits of reactionary French-Victorian-
Ism, shedding on the hard faces of post-war
humanity unavailing beams of sentimentality;
whole-length-and-to-spare portraits by obsolete
A.R.A.'s which foolish mayors have had done
of their friends and wise mayors of their ene-
mies; the work of little, sedulous understudies
in alliance with whose effrontery the official
catalogue does not hesitate to sacrifice scholar-
ship to the pride of municipal possession ;
genuine masterpieces permitted to retreat year
by year ever further behind a mask of ancient
horn-coloured resin and modern city grime, or
else scoured and glossed by the local restorer
who did the varnished pike in the case close by-
All provincial museums are not like that, and
vet thev all present a problem of the same kind.
The most recent of the many serious discus-
sions of the subject, to which some of the most
experienced and successful museum directors in
the country contributed, took place some months
ago before the Roval Society of Arts, and is
now published in pamphlet form.' In spite of
a great deal of candour on the part of the
speakers, it cannot be claimed that the effect was
to do anything more than clear the air a little.
The existence of disease was generally admitted,
but the doctors could hardly be said to be in
agreement when it came to diagnoses, and the
various medicines proposed were merely pallia-
tory. Here and there a word was dropped that
revealed the fact that the endemic had not spared
some of the consultants themselves.

Tn regard to objects of art, as apart from
objects of utility, the three acknowledged trou-
bles are that the works already in the possession
of the provincial galleries are not good enough,
that new acquisitions are no better, and that the
galleries are kent in an overcrowded and sloven-
ly condition. These faults are variously laid at
the door of the public, the city corporation com-
mittees, and the gallery directors, but it seems
to be realised that such deep-rooted troubles call
rather for the divine than the physician.

The success of an art gallery, unlike that of

• The Problem of Provincial Galleries and Art Museums.
By Lawrence Haward (and others), pub. Manchester Art
Gallery.

an individual, will be rightly judged in the long
run by the manner in which it exercises its
acquisitiveness, and it will be agreed that the
keenest test of efficiency is that of new acquisi-
tions, which, broadly speaking, are of a lament-
ably low order. Under this heading many
urgent reforms were called for — local talent was
not to be " encouraged " merely because it was
local, gift horses were to be looked in the mouth,
pictures of ephemeral interest were to be ex-
cluded, the director was to be given more or
complete freedom, and Bumbleism in general
kept down. To these proposals everybody will
agree, but how are they to be put into effect?
It is as easy as it is futile to rail against what
is called the public, which is an intangible body
that varies its character with that of each ob-
server. He who believes at all in public
galleries must have faith that an increased
number of intelligent visitors will be created
when once their houses have been put in order
for them.

And again, we strongly agree with the view
that in art, committees are always wrong, and
that Corporation " Parks and Gallery Commit-
tees " and the like, composed as they are of
public representatives untrained in art, should
not be allowed to meddle with the director's
decisions any more than they should be allowed
to interfere with those of the public analyst or
health inspector; still, we feel that that interfer-
ence is not alone responsible for the ineffectual
management. The more closely one examines
the problem, the more insistently the fact
emerges that the chief source of inefficiency is
the directorship itself. We have no reason to
believe that the directors are lacking in the busi-
ness man's qualities of precision, alertness and
tact, but we do believe them, as a class, to be
lacking in a far rarer and really more essential
quality which the town councillor cannot be
expected to possess — the gift of discrimination
between a good work of art and a bad, between
one of permanent and one of temporary inter-
est ; nor are our directors possessed of the only
possible substitute for that gift — a wide and
thorough knowledge of art. They are on the
whole poor aesthetes and indifferent scholars,
deficient both emotionally and intellectually.
And consequently they are nearly as liable to
jump for the safe picture that was in fashion the
day before yesterday as are the public they are
so constantly out to reform and as are the cor-
poration committees they complain of with such
inevitable bitterness.

The director must be one of those who have
elected to pass their lives in the presence of art,
and his life must be that of his gallery. He

The Burlington Magazine, No. 235, Vol. LXI, Oct., 1922.

^SS

must not be just any worthy or clever man with
some taste for art. In short he must be a born
collector, born both cupidus and avarus, with
both a love of acquiring and a love of keep-
ing, a very miser whose only coffer is his
gallery ; and he must collect only real riches,
and be able instinctively to pick the diamonds
from a handful of stones. If he is simply one
who has got up the hall-marks from a book of
reference he will soon find himself in as deep
water as his brethren.

There was a time when the quasi intelligen-
zia, from whose ranks the provincial museums
have recruited their officers, could contrive to
keep themselves and the public in touch with
their time by trying to translate into deeds the
words of teachers like Ruskin and Wilde. But
since the disappearance of really articulate mis-
sionaries like these, our directors are thrown
back on the silly art criticism of the daily papers
which takes them back, if they only knew it, to
the days before the publication of " Reynolds's
Discourses." Although they would no doubt
disclaim association with the theories of art pre-
valent in his day, the history of the stocking of
many an English gallery might easily induce
one to suppose that the principles laid down by
Dr. Johnson were still being acted upon to-day.
In this connection we may remind ourselves of
a passage from Boswell : —

F. : "I have been looking at thi'i famous antique marble
dog of Mr. Jennings, valued at a thousand guineas, said to be
Alcibiades's dog." Johnson : "His tail must then be docked.
That was the mark of Alcibiades's dog." E. : [Edmund
Burke] "A thousand guineas ! The representation of no
animal whatever is worth so much. At this rate a dead dog
would indeed be better than a living lion." Johnson: " Sir,
it is not the worth of the thing, but of the skill in forming
it which is so highly estimated. Everything that enlarges
the sphere of human powers, that shows man he can do
what he thought he could not do, is valuable. The first
man who balanced a straw upon his nose ; Johnson who
rode upon three horses at a time ; in short, all such men
deserved the appla'Use of mankind, not on account of the use
of what they did, but of the dexterity which they exhibited. . .

F. : " One of the most remarkable antique figures of an
animal is the boar at Florence." Johnson : " The first boar

that is well made in marble should be preserved as a
wonder. When men arrive at a facility of mailing boars
well, then the workmanship is not of such value, but they
should however be preserved as examples, and as a greater
security for the restoration of the art, should it be lost."

No director would think of agreeing with
views of this kind, but we are not so sure that
the passage does not put into so many candid
words pretty well what our country directors
are putting into deeds.

However, although we insist that the problem
of the provincial gallery is the problem of the
provincial director, we confess we see no quick
way by which that problem is to be solved. The
appointments are in the hands of the city cor-
porations, who feel that art, like religion, con-
cerns all men, and that therefore they are as
entitled as anybody else to have their desires
gratified by acquisitions, the more so since they
act as the direct representatives of the people.
Thus the tendency they exhibit to distrust the
specialist becomes easy to understand. To
them, doubting the authenticity of public judg-
ment appears a refinement of scepticism indeed.
Nor is their whole position without its justifica-
tion in modern art criticism, with its main
theory that taste is the only criterion of good
judgment. The directors are merely exalted
town officials.

If the Universities would only widen their
doors to art, provincial gallery management
would probably gravitate in their direction,
which would be sure to result in a great im-
provement, for it is better that art should be
identified with education and be controlled by
professors, than that it should be identified with
drain pipes and fire brigades and controlled by
town councillors. Municipal control has been
tried and has failed. May it not be that the
present efforts at Oxford and Cambridge to in-
clude art in their systems of culture will finally
lead to a closing of the breach between the city
university, the city school of art, and the city
art gallery?

A FLORENTINE MYSTICAL PICTURE
BY TANCRED BORENIUS

ONSIDERING the interest of the
, subject from several points of view
it is undoubtedly rather a surprising
fact that the art history of the proces-
isional banner in Italy should never
have been explored systematically. One fact
which emerges from a preliminary survey of the
extant material is the unequal proportion in which
it is divided among the various schools of Italy :
how few Florentine banners, for instance, have
survived in comparison with those which are the
work of Umbrian masters — Bonfigli, Niccol6
Alunno, Signorelll, to quote a few of the most

distinguished. Thanks to the courtesy of the Earl
of Crawford and Balcarres, I am on the present
occasion able to publish a Florentine Trecento
painting in his possession, which it has been cus-
tomary to regard as a banner and which as such,
from its date and origin alone, would be of con-
siderable historical interest. But it is also of so
distinguished an artistic quality as to claim atten-
tion on purely sesthetic grounds, and entirely
apart from the question as to whether it origi-
nally was a church banner — a point on which, as
we shall see, two opinions are possible.
The provenance of the picture is fully estab-

156

ished, for — as Lord Crawford has kindly pointed
out to me — it is described at length in one of the
volumes of the lengthy work which the industrious
Jesuit, Giuseppe Richa, about the middle of the
eighteenth century, devoted to the churches of
Florence.' At that time it was placed in the first
chapel on the left of the entrance door of the
Duomo at Florence, known as the Cappella della
SS. Trinitd, and containing the tombs of the
ancient Florentine family of the Pecori. About
1865, it was acquired in Florence by the late
of Crawford, and at present forms part of the col-
lection at Lord Crawford's Lancashire seat,
Haigh Hall, Wigan.

The scene which the composition brings
before us might be described as an epi-
sode in a religious drama, the mystical
meaning of which is made clearer through the
transcription on the canvas of the words passing
between the actors. The focus of dramatic inter-
est is a group of kneeling figures, below in the
centre, at the head of which is a man in a red
cloak with a green scarf flung over the shoulders
— a costume which Richa suggests that be-
tokens a Gonfaloniere di Giustizia. On the right
of these figures, and drawn on a much larger
scale, kneels the Virgin, draped in a white cloak
studded with stars : her left hand presses a jet of
milk from her right breast, and as she intro-
duces the little congregation in front of her to
Christ, kneeling on the left, is supposed to be
addressing the following words to Him :

Dolciximo Figliuolo pel lat/te chio ti die abbi
m{isericord)ia di chostoro. (Sweet Son, for the
sake of the milk that I gave Thee, have mercy
upon these.)

Christ is draped in a crimson mantle : His body
shows the stigmata, and as He touches the wound
in His side with His left hand. He makes with the
other a gesture of appeal to God the Father,
appearing above in a conventionalised setting
symbolical of Heaven and sending forth the
Dove of the Holy Spirit. The words addressed
by Christ to God the Father are as follows :

Padre mio sieno salvi chostoro pe 'quali tu
volesti chio patissi passione. (My Father, let
those be saved for whom Thou didst will that I
suffered.)

To the supposition that this painting originalK'
was used as a banner, colour is lent by severa\
circumstances : most important of ail the fact that
it is painted on canvas, which is, I believe, un-
paralleled among Florentine altar-pieces of this
period.^ The size and shape of the picture and
the general character of the composition also sup-
port this view. At the same time, a point to be

1 Giuseppe Richa, Notizie isioriche delle chiese fiorentine,
Vol. VI. (1757), p. iissq.

- The picture consists of several pieces of canvas sewn
together and Te-backed at a later date.

borne in mind is that Richa describes the picture
as forming part of an ensemble which served as
an altar-piece in the chapel of the Trinity, and to
which also belonged two pictures, likewise on
canvas, representing David, Moses, Isaiah and
Jacob, each with a scriptural cjuotation referring
to the Incarnation of the Word ; while a predella
displayed the dead Christ between St. John the
Baptist and the Magdalen. Richa further praises
the beauty of the baldaquin which was above this
altar and on which were painted the figures of the
four Doctors of the Latin Church surrounding
Christ : but whether this baldaquin was by the
same artist or even of the same period as the altar-
piece is not to be determined.^ Lord Crawford's
picture is the only portion of the altar-piece of
which the ultimate fate is known to me, and it is,
of course, perfectly possible and not at all unlikely
that it originally was used as a processional
banner : but Richa's description makes it clear
that at an early date it was made into an integral
part of a polyptych, and the fact that not only
the centre but also the wings of this polyptych
were painted on canvas make this altar-piece — as
already hinted at — something of an exception
among the works of the early Florentine school.

If from these more purely arch^ological con-
siderations we turn to the style and artistic quality
of the picture, the problem of authorship, as it
appears to me, is one which can be solved with
a fair amount of certainty. The general character
of style points to an artist of the Florentine
school of the end of the Trecento : and among the
tangible artistic individualities of that phase of
painting there is one to whose manner the pre-
sent picture shows extremely close analogies,
namely, Niccol6 di Pietro Gerini. The pupil
possibly of Taddeo Gaddi, this artist — who joined
the Arte dei Medici e Speziali at Florence in 1368,
and died in 1415 or 1416 — is known on certain
occasions to have been the collaborator of Agnolo
Gaddi and Spinello Aretino : he was the head of
a busy atelier, and the work of master and assist-
ants allow in many cases of no certain differentia-
tion.'' A characteristic and accessible example of

3 I give below Richa's description verbatim : " Questo
prime quadro fatto a olio fi.e., Lord Crawford's picture!
fe contornato da 2. tele dipinte a tempera, essendovi nelle
bande laterali il Re David, Mos^, Isaia, e Giacob,
aventi ciascuno un motto preso dalla Scrittura, allusivo all'
Incarnazione del Verbo, e nella parte inferiore. che 6 il
quarto spartimento, si rappresenta Cristo appassionato in
mezzo a San Giovanni Evangelista, e la Maddalona :
Bellissimo ancora b il Baldacchino, che serve a quest' Altare,
dove sono coloriti i quattro Dottori della Chiesa Latina,
che mcttono in mezzo Gesu Cristo." The obvious error of
describing Lord Crawford's picture as painted in oil may
here be noted.

■» Compare on Niccol6 di Pietro Gerini, Crowe and Caval-
caselle. History of Painting in Italy. 2nd ed. ii. 264-8 ; and
more fully and recently O. Sin5n, in Thieme-Becker's
Dictionary, XIII., 465-7, and R. OfTner in Art in America,
IX., 148-155, 233-240. — On Niccol6's son and assistant
Lorenzo di Niccol6, see S'lrin in The Burlington
Magazine, Vol. XXXVI. (Feb., 1920), pp. 72-78.

^57

Niccolo's art is the Baptism of Christ in the
National Gallery (No. 579) ; and on comparing
it with Lord Crawford's picture many striking
parallels of style will become evident, notably in
the types of face, with eyes of rigid fixity, and
the drawing both of hands and feet. The grain
of the canvas showing through the pigments is
responsible for a greater delicacy of texture than
the frescoes and panel pictures of the master have
accustomed us to : and in addition to this, there
is, both in the flow of line and the whole spacing
of the composition, a power of simple and telling
effect, which entitles this work to take high rank,
not only among the work of Niccol6 di Pietro

SETTECENTISMO
BY ROGER FRY

HE evidences of a new cult of
Italian seventeenth-century art are
by now obvious to all. The
younger writers on art in Italy

are putting into the study of

this period much of the enthusiasm and the
historical method which in the past generation
was devoted to elucidating the tangled history
of the fifteenth and early sixteenth centuries.
This is altogether natural. The work on the
earlier periods had in the main been so thor-
oughly done that ambitious youth had to look
for new worlds of resthetic experience to explore
and to conquer. It was this, one thinks, rather
than any definite cesthetic predilection which
made them turn once again to the long-neg-
lected and never fully-mapped country of the
Settecento. I may perhaps be allowed to look
on this new movement with a certain personal
interest since I think I must have been one of
the first of those critics who were formed in the
cult of the Primitives, to explore the fringes of
that country, at a time when it was still wrapped
in the darkest mystery and shunned by the cul-
tured with awful disapprobation. So long ago
as 1905 in an edition of Sir Joshua Reynolds's
Discourses I took occasion to plead for more
justice to the Settecento painters than had been
accorded them, and I was an enthusiastic
admirer of the Baroque architecture of Rome
before it became an almost religious creed.

I put forward these proofs of my good will
towards this development of art history and
criticism precisely because I find evidences in
the work of these young Italian writers, of the
kind of indiscriminate enthusiasm which leads
to the formation of a creed and a dogma and
which is opposed to the critical spirit. A
natural tendency to save ourselves the trouble
of an individual judgment tends to make us
partisans of a period or a school, and there are
signs that such an indiscriminate admiration of
the Settecento is becoming fashionable. This

158

Gerini, but among those of the late Trecento
masters in general. I take it that the picture must
date from a comparatively late stage of Niccol6's
career — there is something in the character of the
form sinuosity of the lines which savours of
the late Gothic as seen in the work of Lorenzo
Monaco : and as in so many pictures dating from
this phase of art a curious general affinity to the
schemes of Chinese and Japanese painting comes
out in the character of the composition : an im-
pression enhanced, indeed, by details like the
parasol-like, concentric arrangement of circles
which symbolises Heaven round the figure of
God the Father.

is no doubt inevitable and much good and use-
ful work will result from it. But in the long
run critics will have to sift the new material
and will find much chaff in the harvest. It is
only now perhaps that we are beginning to find
how much too greedily we bolted the primitives
en bloc, accepting as genuine aesthetic experi-
ence much that was due merely to our enjoyment
of the manner of that period.

It is not uninteresting to note that a genera-
tion of Italians that has been brought up on
Futurism should turn with such zest to their
own painters of the seventeenth century. In
many ways Caravaggio was an expression of a
turbulence and an impatience of tradition similar
to that which Futurism displays. Like the
Futurists he appealed to the love of violent sen-
sations and uncontrolled passions. Like them
he loved what was brutal and excessive. Like
them he mocked at tradition. Like them he
was fundamentally conventional and journal-
istic. The strange thing is that the aspect of
the Italian character which creates Futurism
and Fascism should have taken so long to find
its expression in art. For, up to the seventeenth
century it is hard to find any trace of it. There
had been plenty of swash-buckling, ruffianly
artists before — one has only to think of Ben-
venuto Cellini — but their art showed no evidence
of their predilections. But with Caravaggio and
Crespi and many others this character comes
out. It is not merely a question of violence of
character so much as of attributing an aesthetic
value to violent sensations. In fact the Italian
artists of the seventeenth century invented the
modern popular picture, invented the view of
art which culminates in the drama of the cine-
matograph. In fact they may be said to have
invented vulgarity, and more particularly vul-
gar originality in art. No wonder that Poussin
said that Caravaggio had been sent on earth to
destroy the art of painting.

Going through the series of most attractive

Plate I. Settecentismo

,^'

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little volumes on seventeenth-century art which
the Bibliolica d'Arte Illustrata of Rome is bring-
ing out, one may find the primary and original
sources of the Royal Academy or Salon picture,
the veritable beginnings of that other tradi-
tion which so often gets confused with the
tradition handed down from the High
Renaissance. Caravaggio was a real revolu-
tionary in the sense that he started this new
tradition which has since had such a success
that the followers of the older tradition of Giotto
and Raphael always appear to the world to be
revolutionaries, though they are in fact the real
traditionalists.

As proof of this contention one has only
to consider the very striking painting of 5.
Giovanni Nepomuceno Confessing the Queen
of Bohemia, which was reproduced in the Bur-
lington last August. Here we have already all
the essentials of the Royal Academy or Salon
picture. Not only is everything — planning, light-
ing, drawing — subservient to narrative, but all
the accents are upon what is sensational and
theatrically effective in the narrative. Design,
such as there is, is there only as an afterthought ;
it is not the central motive of the whole. I do
not say that Crespi is always on this level;
what is important is that one finds here the
Salon picture already come into being.

Caravaggio was a much more gifted man and
it is not his talent but his use of it which I am
criticising. In the picture of the Conversion of
St. Paul [Plate I, a] we see his essentially jour-
nalistic talent — what an impresario for the
cinema ! He has made an elaborate study
from nature of a horse in a stable with a man
holding its head. He has only got to stick in
a man lying posed on the floor to make it a
sensational religious picture. No wonder he
despised Raphael's cartoons. The original de-
sign of the horse and man is not without merit
despite the triviality of the observation and the
insistence on details for their illusion effect, but
the whole design comes to pieces when St. Paul
is thus wilfully pushed into the scene, and the
parts have no longer any significance in relation
to the whole.

It would be a mistake to suppose that all Italy
went a-whoring after the new idol ; Domenichino
and Guido Reni show scarcely any influence of
the new ideas, and among those who
were infected by the malady there were
many cases of recovery. Guercino perhaps
never got quite over it, but those who
came most under Venetian influence got
more and more back to the later Ren-
aissance tradition. It is perhaps a little
strange that Venice, which had never thoroughly
absorbed the principles of Renaissance design,
none the less continuously handed on something

of its feeling even to the end of the eighteenth
century. And in that line of descent come two
artists treated of in the series of publications just
mentioned, Domenico Feti and Giovanni Lys.
The picture by Feti, illustrated on Plate II, B —
shows him returning, after many brilliant essays
in narrative genre, to something of the style of
Paolo Veronese.

Lys is a strange and exceptional figure. He
is perhaps the only case of a German artist be-
coming completely acclimatized to the artistic
culture of another land. He began as a discreet
Caravaggiesque, showing in his pictures from
the first a much finer sensibility than those of
his model. In certain of the early genre scenes
there is somethingofCaravaggio's limelight, but
the reminiscence of Dutch genre gives them
a less insistent quality. In the later piece shown
on Plate II, c, we see that like Rubens
he has been studying Correggio and the artists
of the High Renaissance and has arrived at
a somewhat similar position, though the de-
sign and composition are more definitely Italian.
In later pieces he actually anticipates Piazzetta
and Tiepolo, so that his work forms a definite
link in the long-enduring Venetian tradition.

The editors have had the good sense to in-
clude in the series a number of books devoted
to the architects of the time. When we con-
sider these, a curious situation becomes appar-
ent. In the art of painting during the seven-
teenth century the great tradition of the Renais-
sance passed from Italy to other lands — the
great names are all non-Italian, Rubens, Rem-
brandt, Poussin, Claude, Velasquez— there is
no Italian name to put against these. But in
architecture Italy maintains her predominance,
and stranger still, in some cases the very men
who were executing second or third-rate pic-
tures were producing masterpieces in architec-
ture. Bernini is perhaps the one name that
one might put forward as a claimant to high
rank in sculpture. But however indulgently
we mav judge his sculpture, we must admit that
in architecture he shows himself as belonging to
a far higher rank. The case of Pietro da Cor-
tona is even more striking if one compares the
brilliant mediocrity of his painting with his real
masterpieces in architecture.

The Rome that we know is to a very large
extent the work of these seventeenth-century
architects, and even what litde architectural
beauty is scattered about London comes largely
from an echo of their work. It is indeed sur-
prising what these architects made of the tradi-
tion left to them by the High Renaissance. One
would have thought that there was, so to
speak, nothing more to be done without a
sudden break, so complete, so coherent and so
exactly established were the principles of that

163

art. And yet the architects of the seventeenth
century, with scarcely any alterations in the
individual parts of their construction, gave it a
new character. They used almost exactly the
same stylistic elements, the same columns and
pilasters, the same cornices and mouldings, the
same decorative motives, and yet managed to
give to the whole a quite new impression. By
choosing deeper recessions and more salient re-
liefs, by introducing convex and concave sur-
faces in all sorts of varieties, by a less rigidly
rectangular planning, by all these and many
more devices, they developed a whole new archi-
tectural language, at once more striking and
pictorial, so to speak, and yet, in spite of some
florid exuberance, maintaining and even height-
ening the plastic unity. The fact becomes clear
that the ' style ' in architecture is of little im-
portance compared with the use that is made of
it. The great thing is that whatever the style,
it should be practised long enough and consist-
ently enough to enable artists to work through
their interest in it as a style and get to the
fundamental business of proportional harmonies.
And perhaps no style has ever been so thor-
oughly worked in this sense as the Renaissance
classical style.

None the less, there are already signs in the
seventeenth-century Roman architecture of
something of that impatient sensationalism
to which I have called attention in the painters.
Already in Maderno, born as early as 1566,
there are signs in the Palazzo Chigi, for exam-
ple, of a new picturesqueness of surface treat-
ment which is intended to cover a certain poverty
in plastic design.

Rainaldi in the main is a great master of
severe effects of massive relief, as for instance
in the tribuna of Sta. Maria Maggiori. He even
returns almost to quattrocento principles in the
interesting facade of Sta. Maria in Monte Santo
[Plate IV, f], though giving it a new accent
by the heavy shadows of isolated projections.
None the less in the Palazzo del Grillo and in
certain details of Sta. Maria in Campitelli, he
carries even further the hint of picturesque ex-
travagance given by Maderno. The fact is that
out of the Baroque the Rococo was being born,
and the Rococo was destined to destroy the
tradition of plastic design in architecture, and
to endeavour to distract us from its loss by the
variety and picturesqueness of its surfaces.

Pietro da Cortona, born as late as 1596, shows
himself as the most consistently baroque of this
group. It is not without significance that he
was a Tuscan and not a North Italian as
Maderno and Borromini were, and like a Tus-
can he keeps to the great principles of design.
It is very significant that the nearest approaches
to Rococo experiments occur in his early work.

FIG. CUPOLA AND LANTERN OF THE SAPIENZA, BY BORKOMIM

and that as he goes on he becomes more purely
plastic.

The facade of Sta . Maria del la Place [Plate III,
d], seems to me one of the great creations of
this period. Here a new effect in architecture is
obtained by throwing two differently curved
convex masses against a concave background.
In this way Pietro introduces into architecture
something of that complex double plasticity —
convex and concave — which is the main business
of painting. His facade of Sta. Maria in Via
Lata [Plate HI, e], is also a masterpiece of con-
centrated plastic design by which the utmost
impressiveness and mass is given to a small
building — only pedants would object to the
arched archivolt, where its effect is so happy, so
essential to the total unity.

It is, alas ! upon Borromini that most of
these writers fix as the great genius of the move-
ment, and if a distinctive and superficial origin-

164

Cri

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Ci,

■Ci

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f— 4

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F — S. Maria di Monte Santo, by Rainnldi. (Rome)
Plate IV. Settecentismo

^^^?>^T!KW8yJ^■^i3J7XWV^

^-^M p-V

.4 — Landscape, by Diirer. Watur-coluiir. (Ashniok-an Museum, Oxford)
Plate I. The Significance of the Sketch

ality is the mark of greatness, no doubt he looms
large enough. Here at least we get oddity,
extravagance, queerness and novelty pursued as
ends in themselves. No doubt Borromini de-
signed some fine works — the facade of Sta.
Agnese in the Piazza Navona, for instance —
he could not be expected to destroy a fine tradi-
tion all at once. But every move he makes,
every affirmation of his own personality, is in
the direction of cheap and vulgar sensation-
alism. A look at the cupola of the Sapienza
[Figure] will show this clearly. Here every-
thing is meant to attract the eye by its oddity
and caprice. The plastic idea is almost entirely
lost : sudden, sharp, thin saliences, as in the
cornice round the drum, pilasters that give no
sense of density or mass to the wall they adorn,
give to the whole its papery unreality, its air
of being a stage property or a temporary build-

ing for a world-exhibition. In the lantern
there is a return to reasonableness only to allow
Borromini to flourish away more extrava-
gantly than ever in the ridiculous spiral busi-
ness at the top. Even in its origin the Rococo
had something of that wilful caprice, that per-
verse inventiveness, which marked its far more
degraded modern analogue, Art Nouveau.

If this excursion of a painter into the pro-
vince of Architecture needs a justification I
would urge the curious and striking fact that
in Italy, whose predominance in architecture
can scarcely be challenged— in Italy from
Giotto to Pietro da Cortona, the painter and
architect were frequently one and the same
individual. I am quite certain that painting
and sculpture both gained immensely by this
interchange, and I can only hope architects
may agree as regards their own special art.

THE SIGNIFICANCE OF THE SKETCH
BY ALFRED THORNTON

N a recent article in these pages on
the Burlington Fine Arts Club
Exhibition of French Art, Mr.
Walter Sickert based his main
argument on the statement that
" As always the line of cleavage is between the
picture and the sketch from nature, between the
painter of pictures and the sketcher." But
everyone wlio admits the importance of the pic-
ture, also admits the fascination of the sketch.
Some care in reality for little else; others can
see wherein lies the virtue of the picture and
wherein the virtue of the sketch. And in the
sketch there are certain qualities of great signi-
ficance which are more often than not obscured
by the building up of the picture.

The secret of the importance of the sketch
seems to lie in its being the direct product of the
profounder activities of the psyche. The French
psychologists, amongst others, have carried on
considerable research into the nature of artistic
and other creation. And although, thanks to
acute perceptive powers, their tendency has been
to over-elaborate difTerences, valuable facts, if
carefully selected, may be gathered from the
detailed observations of such men as Chabaneix,
Jastrow, Ribot and Dwelshauvers.^ The latter,
indeed, has divided extra-conscious activities
into no less than eight different categories and
six sub-sections ! But for practical purposes
we need only consider some general principles
of interaction between the conscious and uncon-
scious processes. In certain cases an artist
or savant or any creative worker starts on a

1 Chaveniez (Privately printed, Paris).
Jastrow (Sous-conscience. Paris, Alcan).
Ribot (La Memoire, etc. Paris, Alcan).
Dweishauvers (I'lnconscient, Paris, Flammarion).

picture or investigation after due preparation
and study. In a short while unexpected diffi-
culties arise and the work is set aside. But in
some days, or it may be weeks, much to his
surprise, the artist finds that he can resume his
work and carry it to a successful issue. This is
no unusual experience and the work, in the first
instance suggested consciously, seems to have
been continued by mental activities outside con-
sciousness. This is much the process with the
picture. With the sketch, however, little imme-
diate conscious preparation has been under-
taken, but the artist under what may be called
" inspiration," quite independent of will, pro-
duces satisfactory work. Schopenhauer's unex-
pected postulates seemed to him not to be his
own, and an artist such as Aubrey Beardsley
seemed to spring to life fully equipped with
astonishing artistic and literary capacity and
acquired a permanent reputation in the five or
six years of his professional life. In such cases
the artist or savant seems in no way to direct
his inspiration, but is a channel for it, and
subject to it.

But artistic, like other creative work, follows
the usual process of cognition, affect and cona-
tion, or, as Mr. Clive Bell puts it (" Since
Cezanne," London, 1922), has three factors, " a
state of peculiar and intense sensibility, the
creative impulse and the artistic problem." The
sketch is rather the result of cognition and
affect, the picture of all three forms of mental
activity.

But there are certain differences from the
psychological point of view which are full of
significance. Take for example rapid sketches
of landscape by, say, Diirer, Claude, Matisse

169

and the sketches of Dover at Millbank, by Steer.
We can cover a sufficient number of centuries
to make it evident that environment and the
common fund of acquired conscious knowledge
in such cases could not be similar. Yet careful
inspection reveals a strong resemblance in
method and quality of knowledge so far as the
sketch goes. By this I mean that in certain
circumstances it might be difficult to assign a
date to a given sketch, or to say which preceded
which in order of time. Indeed, some of
Diirer's early water-colours might have been
produced by a sufficiently-accomplished member
of the London group. This similarity is
usually confined to landscape, as would be
expected. In the case of figures, even nude
figures, there is generally some feature which
identifies the drawing with a particular period.
Of course the materials used by the artist be-
tray date; but I am here dealing solely with the
painter's concepts and his mode of expressing
them. This common quality is as difficult to
define as it is easy to detect, and is just as full
and mature in the earlier painters as in the later,
resembling in this the intuitive ideas that appear
full-fledged in religious and other spiritual activ-
ities. The significance of this seems to be that
a painter of high capacity under what is called
" inspiration " can draw from sources deep
down in the psyche; from sources underlying
normal consciousness.

It is worth noting, too, that certain methods
of expressing space are neglected in such spon-
taneous sketches; for one feature of sketches by
the best men is the disregard for what is called
" values." The study of values was much in
vogue about 1880-90, and amounted to
attempts to reproduce the exact relationships as
existing in nature between objects in the selected
motif. The exact grey of a wall, for example, as
as it related to a cap worn by a figure was studied
in order to get recession. Indeed, certain enthu-
siastic searchers for values were said to confine
themselves when painting out-door suGjects to
working on grey days alone, between the hours
of twelve and two !

But in the work, however impulsive, of great
painters, spacing is emphasised since it is one
of the direct results of a sense of rhythm, both
of rhvthm parallel to the picture plane and at an
angle to it. The latter rhythm in its turn is the
chief element in the expression of the third
dimension, and good design seems to be the
expression of harmonious relationship between
these two aspects of rhythm.

But if conscious attention, intermittent or
continuous, be directed to the picture — if the
work of art be deliberatelv built up on the in-
spiration of the sketch and its freshness of
design — new elements creep in. One, as Mr.

Bell says, is " the necessity for fully conceived
form into which his (the artist's) experience may
be made to fit." A second is the desire of the
painter to speak to a definite audience, and this
implies the bringing into play of further con-
scious activities. These, in the first place stimu-
lated by the intuitive impulses started in the
artist's mind, are directed by his critical facul-
ties with the purpose of expressing his ideas in
a form that can be understood by some public,
select or otherwise, according to the nature of
the man. But all this implies limitation to a
particular period and a consequent loss in the
spontaneous universality which was to be found
in the sketch. It is true that with the greatest
men this feeling of universality permeates even
the most deliberate composition, yet it is univer-
sality clothed in the language of a period and
not in the language of all time, and is solely
preserved by the survival of significance in the
forms .

Loss of universality may also result when an
artist paints solely for his own satisfaction, since
he also, as well as his public, is the creature of
his environment. Turner's pictures disinterred
from the National Gallery, now at Millbank, are
a case in point. Knowing his public, he kept
his dreams to himself. They are interesting as
documents, but though the colour schemes are
fully carried out, since they are lacking in de-
sign, they miss an element which leads to sur-
vival.

As pointed out by Mr. Roger Fry in his study
of Claude's drawings (Burlington Magazine,
August, 1907), there was a Claude the draughts-
man before nature — user of universal language,
— and a Claude the designer of compositions for
the grand seigneur of his time. The former has
no date, and his swift studies can be set beside
a study by Matisse and yet look modern [Plate
II, B and c]. His pictures on the other
hand can but belong to the seventeenth
century, although they are often rendered
acceptable to us to-day by the universal
element surviving the deliberate action of
his critical faculties. But in comparing
the sketches by Matisse with similar wood-
land subjects by Claude, one is surprised to
find the greater richness of content of the latter.
This no doubt is due to the same causes that
made Claude's completed works also fuller in
content than the work of the modern painter;
his knowledge of facts, whether he cared for
them as facts or not, was greater than the modern
painter's. Facts were wanted by his environ-
ment. Moreover, he had to use them in
relatively great number in order to convey his
concepts to his audience, and this affected even
his swiftest studies. Whether this be a quality
that will be demanded in the future remains to

[70

B — Landxcupc, bv Claude Gellee. AInnoclirnme. (British .Museum)

C — Luiidsciif^c, \)V Matisse. Canvas, ,^3 < in. by 40.6 cm.
Plate II. The Signilicance of the Sketch

,-7'

.4 — Etudiunt cndormi, bv Constantyn Verhout. 1663. Panel, 38 cm. by 30 cm. (National Museum, Stockholm)

Plate I. Pictures bv Constantyn Verhout

be seen, for with the progress of time, painting
has tended to conserve in increasing degree the
precious qualities of the sketch by means of an
abbreviated language, pari passu with know-
ledge gained by the average man of the signific-
ance of such abbreviations. There will, of
course, be the usual swing of the pendulum,
but the tendency seems to be towards the setting
up of a more direct relationship between the
extra-conscious — that is, wordless — ideas of the
artist and those of his audience. Thus the
language of great movements in painting might
be expected to become by degrees increasingly
free from extraneous elements, yet capable of
being understood of the people immediately,
and not, as now, after some lapse of time.

The sketch by Diirer [Plate I, a] is interest-
ing since it shows both the aspect of the picture
and the sketch. The small completed portion
at once gives a date and is not so interesting
to the modern mind as the sketchy part which
is almost ludicrously like some of the best work

PICTURES BY CONSTANTYN
BY A. BREDIUS

N a cleverly-written pamphlet the
ever young Mr. Charles Sedel-
meyer publishes a picture, of which
a coloured reproduction accom-
panies the article, representing a
still-life of books with a skull. He tries to
persuade us that this painting is one of the
lost Vanitas by Rembrandt, mentioned in old
inventories and catalogues. Mr. Sedelmeyer's
clever argument would be convincing indeed —
were it not for the picture. As a matter of fact
there is in this still-life, which I saw when it
was in Sir Charles Robinson's house, nothing
that reminds us of Rembrandt except the in-
scription, " V Ryn," written as the Master never
wrote his name, especially in his early years,
when he signed only with his monogram,
R H L (Rembrandt Harmensz Leydensis).
For a short time, about 1633, he signed
" R.H.L. (monogram) van Ryn," but only a
few pictures have that signature.

The date 1627 does not at all correspond with
the character of this Vaniias, and it must be
spurious. The still-life reminds us rather of
Leyden still-life pictures by Pieter Potter,
Jacques de Claeu and even by the later Collier.
It so happens, however, that I know a picture
in Sweden which reveals the real painter of this
Vanitas : Constantyn Verhout.

The painting is not that of a beginner. It
could not have been done by a young artist like
Rembrandt, whose first endeavours were studies
of light, of chiaroscuro, inspired by Caravag-
giesque influences, or by works of his master

of to-day.

This curious universal kinship of .swift
sketches is made possible by the fact that nature
has not changed since man developed artistic
faculties. Nor has the nature of the artist
changed. But in the picture we see the per-
manent side by side with the relatively
ephemeral, the direct inspiration from the un-
conscious intermingled with features due to con-
scious activities employed in adapting the
language of painting to its immediate human
environment, which is ephemeral. But the
immortality of works of art is due to the univer-
sal qualities of design.

All this does not imply any inferiority in the
picture as compared with the sketch. Each
has its value. Just as intuition and intellect
play their due part in the common life, so do the
sketch and the picture in the realm of painting.
Significance in either has its source in those
mysterious regions of mind whence comes the
greatest mystery of all — aesthetic experience.

VERHOUT

Lastman, as is proved by all the early paintings
by Rembrandt at present known to us. The
work is not that of a young struggler in art,
but of one who has already reached the summit
of his capacity. It was painted by a minor
artist who could not go farther than in this
case he did.

We reproduce the picture [Plate I, a] by
Constantyn Verhout, in the National Museum
of Stockholm, first published in that precious
but rare work by my friend Olof Granberg,
Inventaire G^n^ral des Tr^sors d'Art en Su6de.
The author describes the painting as follows :. —

" Etiidiant endormi, repr^sent^ S mi-corps, assis sur une
chaise, dans un remi-jour, tourn^ A gnuche. II porte un
chapeau noir couvrant ses longs cheveux boucMs, un large
rol de chemise uni et un habit brun-clair. A cot^ de lui, sur
la table, une pile de quatre livres ; un cinquiime est posi
sur la pile et un sixieme sur la table. En outre un enrrier,
une paire de gants et un rouleau de papier. La lumiire
tombe de gauche ^clairant surtout la Teliure claire des
livres. Fond tr^s-obscur. 0.3S — 0.30. Sign(^ C. Verhout
1663. Tris bon tableau. Catalogue du Mus^e National
No. 677."

I do not know of any other artist who painted
in just such a manner these piles of books, with
these parchment bindings, and these red edges.
The books may be described from the topmost
downwards, as follows: i. Parchment back.
2, Brown leather. 3, Parchment. 4, Greyish
brown edged. 5, Brotvnish red edged. Book
to the left. Brownish grey edges.

I publish also [Plate II, b] a picture in the
Ryks Museum (No. 104a Vanitas) dated 1633.
The picture which Mr. Sedelmeyer attributes
to Rembrandt may not be by Verhout, but by
the man who, in' 1633, painted this still-life,

'75

but in any case that man cannot have been
Rembrandt. There is another possibility :
Verhout may have painted in 1633 and in 1663.
But where then are all his other pictures? As
soon as I can I must look in the archives at
Gouda and see what can be found about Con-
stantyn Verhout. It would be interesting if
any of our readers should be able to tell us more
about further pictures by Constantyn Verhout.
All we know about this man comes from
Houbraken, Vol. III. He says that Johannes
Voorhout was sent by his father to Konstantyn
Verhout at Gouda, an excellent painter of
modern subjects, where he stayed for six years.
As Voorhout is said to have been born in 1647,
this must have been about 1663-1665. That
Verhout had been painting other still-life pic-
tures is proved by the Inventory of Engelbert
Graswinckel, " Raedt en Vroedschap " of
Delft, 1738. There is there mentioned " een
stilleven van C. Verhout." What a pity that
this work is not described more distinctly ! He
possessed also a still-life by E. van Aelst, 1643,
T-wo soldiers by de Wit, and a Seated ■woman
by de Wit (Emanuel de Wit). In an inven-
tory of Jacob Touw, at Delft (1682), I found
amongst pictures by Bramer, Steenwyck, Saft-
leven," von Asch,' Porcellis, ter Brugghen

(backgammon players), Honthonst, C. J. Delff,
Beerstraten, de Vlieger, e.o., also, " een out
patroontje van C. Verhout." This old expres-
sion means an old fellow (not an old model,
which is also " patroon.")

In the Catalogues of Hoet we find mentioned
in the Collection (Sale) of Burgomaster Samuel
van Huls at the Hague, " een lesende Heremyt
door van Hout," and, " a room in which a
woman, sleeping, is sitting near a table by
Voorhout. h. i voet 5^ duim, br. i v. li d."
As this is not exactly a subject for Jan Voor-
hout, but recalls very much the picture repro-
duced here, we may ask if " Voorhout " does
not mean here Verhout.

Since writing the above, Mr. J. H. J.
Mellaart has kindly sent me the photograph
shown on Plate II, c, of a picture of an Old
man and young ivoman, sitting at a table
covered with books, and on a shelf behind them
again heaps of books. The figure of the girl,
the shape of the books and the whole arrange-
ment recalls the picture by Verhout at Stock-
holm. The picture was in the Braams Sale at
Arnhem in 1918, under the name of Ochtervelt.
At that time I asked Mr. Mellaart to compare it
with the Verhout at Stockholm. I think this
picture may well be attributed to him.

TWO ENGLISH IVORY CARVINGS OF THE TWELFTH

CENTURY

BY H. P. MITCHELL

IN an interesting communication to the
/January number of the Antiquaries'
Journal Mr. Dalton makes known a
v~^M .^^ fragment of ivory carving dug up in
^^f V F> ig20 on the site of the monastic build-
ings of St. Albans Abbey [Plate I, a].'
He shows that it is closely related to
the ivory tau-head of a staff at South
Kensington, shown nearly full size, front
and back [Plate I, b, c]. The similarity, or
rather identity, of style is so pronounced that
it is clear they are the work of the same work-
shop, if not of the same hand. The designs are
admirably spirited, and the carving is well exe-
cuted. The St. Albans fragment is pierced,
and the back plain, showing that it was to be
mounted on a flat surface, to which it was
attached by small nails, of which the holes re-
main at the edge. Probably it formed part of
a casket or reliquary. It is now in the British
Museum. The tau-head is carved in high relief
but not actually pierced.

Mr. Dalton admits the probability of the frag-
ment found at St. Albans being a local product,

' From a photograph kindly supplied by Mr. G. E. Bullen,
Director of the Hertfordshire County Museum, St. Albans.

and cites St. Albans manuscripts in which similar
designs occur. But finding such designs of
human figures among foliated scrolls of similar
general character in general use in the twelfth
century, and in particular in Southern French
carving in stone, he concludes that the evidence
of provenance is insufficient to establish its origin,
which he regards therefore as an open question.

The place of origin of such twelfth century
ivory carvings, some of which in the past have
been tentatively described as " Northern Euro-
pean," is a subject of much interest. It is clear
that if the fragment from St. Albans could be
identified as a local product it would become an
important documentary piece, and. in providing
the local evidence required, would carry with it
the tau-head shown here. This may well be re-
garded as a sufficient ground for extending the
investigation a little further.

In his description of the St. Albans fragment
Mr. Dalton omits consideration of a feature
which appears to be of some importance, the stria-
tion of the stems of the foliated scroll, a feature
equally apparent in the tau-head illustrated. This
striation or grooving of the stems must have been
a labour of considerable pains. It occurs simi-

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larly in bronze work of the period, as for instance
on the scrolls of foliage of the Gloucester candle-
stick at South Kensington [Plate I, d, e]. It
seems to be suggested by nothing in the nature
of either material, ivory or bronze, or in the wax
from which the bronze was cast ; nor is it reason-
able to suppose that such conventionalised foliage
represents a plant with striated stem, which com-
pelled its reproduction. The explanation is, I
think, much simpler, namely, that the striations
are the pen-strokes of the designs in manuscripts,
where they are often a strongly marked feature,
from which the designs in ivory and bronze were
copied.

If this is conceded then the comparison of the
St. Albans ivory carving with English manu-
scripts becomes much more important than the
comparison with Southern French stone carv-
ings." And the importance of the pen-drawings
as the immediate source of design is not affected
by the origin of their striations, whether in
groups of osier stems in basket-work patterns
or otherwise.^

In Plate II, f and g are initials from the
latter portion of a Latin Bible at Durham
cathedral, one of the books given to the priory
there by Bishop William of St. Carileph (1081-
1096), in which the method of striation with the
pen is fully developed. When compared with
the tau-head at South Kensington it will be seen
that the similarity of design and treatment is
very striking.'

Plate I, d and e, are from the Gloucester
candlestick, cast in openwork by the cire-perdue
process in bell-metal, chased and gilt. It is
recorded by the contemporary inscription to have
been given to the monastery of St. Peter at
Gloucester (now Gloucester cathedral) by Abbot
Peter (1104-1113). Here is an example of English
bronze work of early twelfth century date, in
which the striation of the interlaced stems of foli-
age is strongly marked. Can it be doubted that

2 The influence of Continental schools on English figure-
sculpture of this date has been freely discussed in a well-
known work, and the conclusion has been reached that *' save
in the suggestion of doorway sculpture neither Compostella
nor Toulouse were, we think, responsible for English work.
. . . In the eleventh century there was a practice of native
style in England as the groundwork of what we find in the
twelfth. . . . Our pieces have *heir own manner, which
grew out of our earlier work." Prior and Gardner,
Mediaeval Figure-Sculpture in England, i<)i2, p. I84.

^ Compare the designs of foliated scrollwork with striated
stems on the twelfth-century chessmen from the Island of
Lewis. (Dalton, Catalogue of Mediceval Ivories in the British
hftiseum, pi. xxxviii to xlviii, and p. 64 for the arguments
for their English origin.) For the influence of manuscript
designs on carving, see Prior and Gardner, p. 164.

* These magnificent Durham books of the period imme-
diately after the Conquest, anticipating as they do the art of
the twelfth century, deserve to be most widely known. (Some
of their superb initial letters are reproduced in a series of
photographs issued by the Victoria and Albert Museum.) The
capital B is based on the usual English model seen in the
Harleian Psalter of the late tenth century, at the British
Museum. (See G. F. Warner, Illuminated Manuscripts in the
British Museum, pi. 7.) The other letter is an initial V.

here, as in the ivory carvings, we have the pen-
strokes of some manuscript which provided the
decorative designs ?

The date of the Durham manuscript in the last
quarter of the eleventh century, and of the
Gloucester candlestick in the first quarter of the
twelfth century, suggests that the ivory carvings
should be given a date within the first half
of the twelfth century. These products of Eng-
lish Benedictine monasteries show too close a
relation to differ by more than a short period of
time. Moreover, the transverse folding of the
dresses of the figures in the ivories clearly pre-
serves the Anglo-Saxon tradition of the pre-
vious century.

This dating is corroborated by a splendid initial
P in a manuscript of Rabanus Maurus from St.
Albans in the British Museum (Royal MS., 12.
G. XIV, fol. 6), written about the third quarter
of the twelfth century (the upper portion is
shown in Plate II, j). Here the foliage has
become of the usual Anglo-Norman type
and the earlier tradition of pen-work is replaced
by striping in varying shades of colour with
the brush. The style of the whole is clearly
later than that of the ivory carvings. In rather
earlier St. Albans work, such as the beautiful
series of initials of the Flavins Josephus at the
British Museum (Royal MS., 13. D. VI, VII), =
and the coarser work of the Psalter now at
Hildesheim, written between 1119 and 1146,°
pen-work is seen in full play.

The dating of the ivory carvings in the earlier
half of the twelfth century further diminishes the
value for comparison of the Toulouse sculptures,
since these are admittedly of the latter part of
the century.' The uncouth outline and plain
centre of the tau-head are of course due to the
loss of its mounting of goldsmith's work.'

Considering their very close similarity with
the designs of the Durham Bible (compare, for
e.xample, Plate I, c, with Plate II, f) it would
be tempting to think that we may have in these
ivory carvings specimens of Durham work.
If so we might find here the clue to the Opus
Dunelmense of the St. Paul's Inventory of 1295,
a mystery never yet solved.' The St. Albans
fragment even has the appearance, as has been
said, of having formed part of a shrine
(scrineum) or reliquary, like the St. Paul's

s Some are shown in Warner and Gilson, Catalogue of
Royal MSS., British Museum, 1921, pi. 81.

"Fully illustrated in A. Goldschmidt, Der Albani-Psalter in
Hildesheim, 1895.

' The references to Vitry and Bri^re, Documents de Sculpture
Franfaise, etc., are given in Mr. Dalton's article. One of the
most striking examples is also shown in Professor Gold-
schmidt's book already cited, p. 56.

* Acquired by the South Kensington Museum in 1871 from
the John Webb Collection (No. 372—1871). Unfortunately
there is no record of its previous provenance.

' Item Scrineum de opere Dunelmensi continens Reliquias
sigillatas. (Dugdale, History of St. Paul's Cathedral, ed.
Ellis, 1818, p. 314.)

•79

example. The fact that the previous entry in
the same Inventory is expressly described as
made of ivory '" may be regarded as either for
or against the suggestion. The material of two
Limoges enamel coffers occurring earlier is not
stated.'' But the Limoges work was probably
contemporary with the Inventory, whereas our
ivory carvings are probably a century and a half
earlier.

There was certainly a school of sculpture at
Durham in the twelfth century,'^ with the North-
umbrian crosses of the Anglo-Saxon period as a
source of inspiration. The celebrated bronze
sanctuary knocker of Durham cathedral,
assigned by Canon Greenwell to the time of
Bishop Galfrid Rufus (i 133-1 140), exhibits a real
genius for the grotesque, and is interesting to
compare with the ivory carvings [Plate II, h].'^

Without pressing the claims of Durham too
far, it may be worth remarking that the St.
Albans manuscripts most nearly contemporary
with the ivory carvings, such as the Psalter at
Hildesheim and the Flavius Josephus at the
British Museum noted above, do not show the
most exuberant floral scrollwork of the kind
found in the Durham books. They show a more

1" Item Capsula parva eburnea gravata bestiis et imaginibus
continens multas Keliquias Sanctorum. Ibid.

11 Item dine Coffnc ruhctr de opere linwnicensi (i.e., Limo-
vicensi) quas dedit t'uUo episcopus stantes siipiu .Mtare. Ibid.

i> See Prior and Gardner, pp. 207, 218, 219.

>» Reproduced by kind permission from a photograph by
Judges, Hastings. For the date see W. Greenwell, Durham
Cathedral, 7th ed., 1913, p. 53-

DIEZ, BUSCH AND OBERLANDER
BY WALTER SICKERT

restrained use of foliage decoration, and it is in
the later work of the Rabanus Maurus that such
a free development is reached at St. Albans.
In the South of England the Winchester school
was, of course, pre-eminent for the exuberance
of its floral decoration.

Such designs of figures and monsters among
foliated scrolls were, as Mr. Dalton has rightly
insisted, general in Western European art of the
period, fheir appearance in England was part
of tile free development of art here as
elsewhere, and examples do not need to
be accounted for by direct importation.
Whether attributed to Durham or St. Albans
it seems only reasonable, in view of the
close analogies in manuscripts and bronze
work, to regard these ivory carvings as English
productions. It is surely just such an example
as the St. Albans piece, dug up where it had
evidently lain for centuries, on the site of one
of the greatest centres of medieval craftsman-
ship in England, and showing every possible
relation to English manuscript decoration of the
period, that we are entitled to regard as a docu-
mentary piece for the history of English art. The
proof is fully as convincing as would be held
sufficient, mutatis mutandis, to prove a French
or a German origin for such an object. And it
carries with it the attribution of the tau-head in
the Victoria and Albert Museum to the same
English workshop of the first half of the twelfth
century.

HE arrival at the Kleestrasse, off
the Oktoberwiese, of the week's
Fliegende Blatter on Thursday even-
ings at supper time in the early

_. ^ 'sixties was an event in my father's

household, and to no member more than to me
who was, as the eldest, the only child privi-
leged to sit up — not to supper — but at the
supper-table with my parents. The paper
sheath in which the Fliegende was wrapped,
unlike a modern wrapper, could be slipped off
easily, uninjured, and made a cap which exactly
fitted my head. It was looked upon as my
perquisite. My father would sometimes corn-
plain of the cutting of his blocks, and as in
those days the drawings were done on the
wood itself, and had therefore been cut up,
there was nothing by which to check the work
of the cutter.

The drawings of that period were a com-
posite product of two artists— the draughtsman
and the woodcutter. The 'sixties were, what
the man at the door of the booth wherein the
danse du ventre was to thrill the Paris of the

'nineties, was to call the " vioment psycholo-
gique " of the art of woodcutting. They
struck a balance between the time of Diirer,
when one print could measure ii feet 3 inches
by 10 feet, and the transitional American
labours of Timothy Cole, destined perforce to
be superseded by the camera. The balance
between the two arts was then perfect, in Eng-
land with Keene and the Dalziels, in France
with the divine Cham, Gr^vin and Gustave
Dor6, and in Germany with such men as von
Schwind, Diez, Busch and Oberlander. We
are to-day in the crowning era of photo-zinc,
where the draughtsman is all-in-all, and con-
tact direct between him and the public.
Henceforth the draughtsman fara de se, and
the heightened danger and delight of his re-
sponsibility has given to expression in line a
vitality higher than it has ever attained before.
It has made possible such masterpieces as
Haselden's drawing entitled Old-Fashioned
Elaboration, on page 13 of Volume XII.
The nature of this peculiar modern excel-
lence must form the subject of a more

A — Fragment of ivory carving from St. Albans. 12th century. (British Museum.) B, C — Ivorv tau-head of a staff.
i2th century. (Victoria and Albert Museum.) D, E — Portions of the Gloucester Candlestick, gilt bell-metal, cast
and chased. About mo. (Victoria and Albert Museum.) B, C — nearlv actual size; A, D, E — about three-quarters

Plate I. Two English Ivory Carvings of the 12th century

tiotnai Ciydiauir. j
quod alii daim .aln cd'^yniolo^ia a" ,

F, G— Initials from Bible gWen by Bishop William of St. Carileph, 1081-1096. (Durham Cathedral Library.) H—
Bronze Sanctuary Knocker of Durham Cathedral. Probably 2nd quarter of 12th century. / — Initial P (upper portion)
from St. .Albans MS. Rabanus Maurus. 3rd quarter of I2t'h century. (British Museum). The initials slightly reduced

Plate II. Two English Ivory Carvings of the i-'th century

elaborate study than can be fitted in here. F'or
the moment we are concerned with the delight
of having remembered the pages of once upon
a time.

The end of drawing must be supposed, until
anything can be alleged to the contrary, to be
illustration. Even Mr. Wyndham Lewis's
romantic steel cylinders filled with cannon balls
and fitted with a central grill are, I note with
relief, entitled Women. An artist can only
" speak as he finds."

A great romantic draughtsman of the 'sixties
was Wilhelm Diez, who died in Munich at
the age of 68. He was a lover of military
subjects of the seventeenth and eighteenth cen-
turies. There was often a certain banality in
his always efficient expression of the obvious
pathos of the battlefield, the fate of the gam-
bler, or the tragedy of a village seduction.
The political cartoon on the relations of Prussia
to Germany is curious as being dated
1861. [Fig. a]. It is perhaps too early to
say whether it may not prove to have
been prophetic. Occasionally he rises, and
to rise occasionally in a weekly publica-
tion to exquisite perfection, is to be im-
mortal. The block here shown of the peasant
at the opera is one of the extreme marvels of

the duet between draughtsman and woodcutter.
Why can 1 not give the cutter's name? "The
artful devils," says the peasant, " they're
singing in fours to get through with it more
quickly." [Fig. b]. And only yesterday I
heard the two most brilliant English come-
dians, Osborne and Perryer, at the Coliseum
in an imitation of a coster-girl and a Welsh
boy at a music-hall, " They're putting 'em on
in twos (of the Duncan Sisters). It must be
late. Let's get out of it." The eighteen-
sixties and the nineteen-twenties ! It is in-
teresting to compare the drawing by Diez
of the drowned lady [Fig. d] with the
famous Martyr e Chretienne by Delaroche.
The latter perhaps the worst, as the former is
surely the best imagined romantic rendering
of such an idea, with Millais' Ophelia half-way
between. The exquisite suggestion of the
graceful garden hat that floats with its ribbons
on the lapping waves, theatre as it is, is tender
and witty, where the Delaroche is merely ador-
ably preposterous, and Millais's Ophelia gnan-
gnan .

Wilhelm Busch requires no introduction to
the readers of any country. His Bilderbogen,
his Max and Moritz, his alphabet of natural
history, his bad boys of Corinth, are known

©ertnania anf bent QMntttiS.

A ,$2ngen Sie fic^ nur feft ein, liebeS Srdulein, unb Dcrlafi'en ©te \\i) jonj unb jar uf mirl!"

185

Diez, Busch and Oberlander

and quoted over the whole orb. He is the
supreme modern, the legitimate heir of the
slower moving Diirers, Behams and Hans
Baldung Griins. It is the fashion in the hea-
vier sections of the German Press to decry the
tragic mockery of his later work such as his
Fromme Helene. They object on the one hand
to its plastic frankness and its anti-pietistic
tendency, and secondly to what they call its
" formlessness," as contrasted with the earlier
" accuracy." Both objections show a want of
critical philosoph}'. The anti-pietism and the
frankness are in good German tradition of the
sixteenth century, when we find inscribed on
a drawing " Der Tod hinter 2 nackenten
Menschen und einem kind, propter quam
picturum Sebaldus Beham civitate fuit
ejectus." The artist's greater nearness to
death and the increase of his authority, due to
a world-wide position, enabled Busch in his
old age to write and draw with greater frank-
ness and nearer to his thought. All writing
and drawing is tendentious of something, if it
be only, as our pala;o-tipsters assert that it
should be, tendentious, strictly, of apples, or
vacancy ! In England, a cosier country,
Hogarth's tendentiousness was rather an ex-
cuse for saucy subjects by wrapping " same "
up nicely with a mild pretence at edification ;
rather like American revues which rattle with
great speed from what Walter Scott used to
call double entendre to double entendre, with
the delighted complicity of the audience. But
Busch's comic is tragic and withering. It
really does chastise our habits with laughter.
The objection to the formlessness is merely
ignorant. Busch's whole technique, as he
grew older, was a spring towards light and
ever more light, towards concision and ever
more concision. The more gaily and exqui-
sitely powdered character of his earlier design
has contracted itself into sullen pools of black,
with fairylike transitions from them to the

preciousness of white spaces. His was
an unheard of achievement. To be author,
at once of first-rate comic verse that sticks,
and of first-rate draughtsmanship, and to
marry the two indissolubly. We are still
in England to a great extent under the
heel of the super-goose. To the super-
goose a great comic like Busch " has
not got a nice mind." But the super-goose
must be interpreted by contraries. When the
super-goose says that someone has got " a nice
mind," not knowing the meaning of the word
" nice," she means that he has a mind which
takes her bladders for lanterns. No, Busch's
philosophy is not for our super-goose.

Adolf Adam Oberlander has probably car-
ried the art of drawing in its purity further
than anyone has yet done. To the old MUnch-
ner Kindl who, at the age of 77, has aban-
doned the pencil for the brush, this opinion of
his modest elder colleague's son will certainly
appear a paradox.

Progress is a reality. But one must know
where to look for it. The retouched photo-
graph has massacred serious portraiture. Pro-
testantism and the increasing jealousy of
women has killed both classic figure subjects
and conversation pieces. The walls of the
house-beautiful have been blasted by the fair
sex. Herself bedaubed, she has successfully
driven her painted rivals from the canvas, and
a mediatized army of occupation, called by
courtesy " landscape," holds a melancholy and
transitional sway. Not even, be it noted,
landscape with figures, as in the Carracci or
Turner. If the subject be a Venetian one, not
only is the gondolier songless, he isn't there
at all, nor any gondola may swim. Who
knows whether a " little bit " may not be lurk-
ing in the felze, or, at any rate, whether the
sight of a gondola, or the sound of the word
"lagoon" may not set alight lascivious images
in the brain of that rarer and ever rarer bird,
the male? For Venetian subjects, the bronze
horses, or the Campanile must rival the post-
card for the millionth time. For English sub-
jects, flower-gardens wherein a million red or
yellow dots complacently multiply the an-
nouncement of their unsuitability for transla-
tion, on that scale, into the matter of art. Oh
for one hour of Birket Foster ! Birket Foster,
with his darling little girls playing at cat's-
cradle, or figuring on their little slates ! They
too have had to go. They might grow up,
who knows ?

So art, which, like grass, cannot be killed,
has slipped between the sheets of the papers
whence the fair sex have not, as yet, been able
to chivy her. Routine has continued to con-
fine art-criticism to the criticism of sculpturer^

stone or painted canvas, exhibited in places
with turnstiles. Pages were written, under the
reign of her late Majesty, on such nonsense
as Watts's Physical Energy, or Millais'
" Speak, speak," while the art of the day
was being poured out, undiscussed, in the
columns of Punch over the signature C. K.
Augustus de Morgan in 1850 showed that the
extinction of active speculation, and its replace-
ment by a taste for routine, " to which," he
says, " inaccurate thinkers give the name of
practical," was coeval with the death of Science
in a nation. And the science of criticism has
been no exception.

There is a precocity that is only precocity,
and there is talent that is precocious. We may
be sure that Master Betty was a horrible actor
(though he died in Ampthill Square). Ober-
lander was, in his beginnings, an astonishing
instance of precocity. I have just learnt to my
amazement that the earlier drawings of his in
he Fliegende Blatter which I have regarded

GASTON THIESSON
CARNAC

ASTON THIESSON was thirty-
eight years old when he died almost
unknown, in 1920. Since then the
developments in French art have
given rise to a certain curiosity
about the importance of his position, and last
year at the Salon d'Automne a retrospective ex-
hibition, consisting of thirty examples from the
last ten years of his life, was organised. But
the modest little collection, hung in the midst
of those large and sensationally attractive can-
vases that overcrowd the Salon, failed to gain
much notice from the ordinary visitor.

Thiesson was denied the benefit of a serious
training in the art of painting, a circumstance
which he greatly deplored. It retarded his
development, which otherwise might have
reached a still more interesting phase long before
his death. His serious and profoundly artistic
nature would have guarded him against the
allurements of virtuosity and display before
which so many of those who survived him have
fallen. It was, however, that very characteristic
which forced him to take so long a time to over-
come the difficulties of pictorial construction,
and he was just beginning to master them when
he died.

When, at the age of 19, he came to Paris he
knew nothing, but, visiting the academic salons,
he was attracted by some imitators of Sisley and
Pissaro, and this led him to study the Impres-
sionists. His first works are influenced by them,
yet have an unmistakable personal inspiration
and show a more determined feeling for form.

for forty adult years as standards of skill, style
and lightness, are the work of a youth of seven-
teen. But so it is. For the aptest description
of Oberlander's unique quality we must go to
Bacon. " Homer's verses," he says, " have a
slide, and an easiness more than the verses of
other poets." Oberlander's line has the ex-
pressiveness and the elegance of the whip of a
skilful driver. By the intuition of genius, by
a crystal-clear temperament, he sees and speaks
in terms of limped light and shade. For a
draughtsman, no praise can be higher. (See
Figs, c, g).

But I see you coming. You are going to
talk to me about nobility of subject and so on.
To which I will put to you three questions :
Whether our obscurantist mythologies have
done more good or harm in the world?
Whether anything is more noble or healthier
than laughter? And, in conclusion, whether
you really imagine that the Vision of Saint
Helen, of which I have an Arundel print over
my desk, is a religious picture ?

His search for a completer means of expression
brought him into touch with Cezanne, and he
was one of the very first artists of our generation
who followed that master. But although he had a
great admiration for him, and was profoundly
moved by the perfection of his art, we find him
writing : — "II faut aimer Cezanne, il faut ^couter
ses conseils, mais nous devons recevoir nos
pens^es de la vie et non pas des livres et des
oeuvres d'art."

He was by nature passionate, impulsive and
farouche, so that it was not to be expected that
he would " arrive " quickly. He had none of
the quickness and adaptability which often gives
so bright and fallacious a promise, but had to
assimilate everything he needed by a long and
tedious process of his own.

In those earlier days he passed most of his
time with his wife in a peasant cottage in one of
the remotest villages of Brittany. Here he
would work on month after month, especially in
winter, when the landscape changes but little,
labouring at a single motive, such as a church
tower or a farm building. His determination to
express in paint everything in each subject that
appealed to his senses was so persistent that in
the end the canvas would become loaded and
sombre to an extraordinary degree. The result
was not likely to charm the public, but the work
had to the eyes of a few discerning students a
solidity and a conviction which led them to hope
that when once he had overcome the peculiar
difficulties of his own temperament he would do
work of permanent value.

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Retablo liuth Scenes from the Li\s;enJs of SS. Schiixlian and Julian Ilospitator. l^arly Spanish School. Panel
2.29 m. by 2.44 m. ('I"he S|ianish Art Ciallery)

An Early Spanish Retablo

The seascapes that he painted during the
final stages of this dark and laboured period
show plainly that Thiesson was by nature
inclined to a romantic attitude, which his love of
the wild scenery of Brittany tended rather to
accentuate. But even the work of that time
shows plainly enough how little he allowed
anything like sentimentality to interfere with
real pictorial harmony.

His increasing ill-health and his early death
just failed to prevent him from giving palpable
evidence of what was in him. In those years the
results of his long apprenticeship made them-
selves felt in his rapid evolution towards freedom
of handling, clarity of colour and masterly orga-
nization of light and shade. The works of that
period have a true painter's quality. They are

AN EARLY SPANISH RETABLO
BY TANCRED BORENIUS

simple, sincere and entirely without parade or
ostentation and yet they are already brilliant,
fresh and unconstrained. In the picture of a
Woman reading [Plate, a] we see Thiesson
in his last phase using colour still with great
sobriety but with far greater feeling for lumino-
sity. He was perhaps one of the first of his
generation to turn altogether from the decorative
aspects of design and to insist even at some cost
upon obtaining full relief in light and shade.
Before such a work as the Boy's head on Plate,
B, one might guess that had he lived but a few
years longer he would have been acclaimed as a
painter of the avant-garde, though at the time of
his death he appeared almost as a retardatory
painter.

OMPLETE quattrocento retablos
are rarely seen outside Spain. The
one here reproduced by kind
permission of Mr. Lionel Harris
[Plate], is a typical and well-
preserved example of this characteristic class
of early Spanish Church furniture.

Of considerable dimensions (2.29 m. bv
2.44 m.), the polyptych is in the first instance
devoted to the glorification of two youthful
Saints, one remembered as a warrior, the other
a sportsman — SS. Sebastian and Julian
Hospitator. Both of these are seen in the
principal panel, at full length, dressed in rich
modish costumes of the artist's own time;
St. Sebastian, on the left, holding a bow
and three arrows, the emblems of his martyr-
dom ; St. Julian Hospitator, on the right, with
a falcon perched on his hand, in allusion to his
exploits as a huntsman. On each side of this
central compartment are two others, of smaller
height, each containing two scenes from the
legends of the same saints. On the left we
see thus, in the upper compartment, St. Sebas-
tian appearing before the judge and causing
the mother and father of his two friends,
Marcus and Marcellinus, to desist in their
attempts to make their sons abandon the
Christian faith — the upshot being the conver-
sion of all the parties concerned ; while the
lower compartment shows the martyrdom of St.
Sebastian. On the right again we have two
scenes from the legend, which is familiar to us
from the story in which Gustave Flaubert, out of
the slight material of the mediaeval legend, has

fashioned a character study of such intense and
deeply moving power : in the lower compart-
ment, St. Julian, having slain his father and
mother in mistake, addresses outside the bed-
chamber his wife, the " rich widow of a castle "
in Caxton's tradition of the Golden Legend;
while the scene at the top probably represents
a later episode in the legend, St. Julian seated
outside the hospital which he caused to be
erected " for to harbour poor people," and ad-
dressing a group of infirm men. The predella
contains in the centre a representation of the
Man of Sorrows between the Virgin and St.
John, and in the other compartments figures of
female saints in couples (including, in the first
compartment on the left, St. Engracia, the
character depicted in Bartolome Vermejo's
superb picture in the collection of Mrs. J. L.
Gardiner).

The present altarpiece, which originally was
in a church at the little town of Barbastro, an
episcopal see in "Eastern Aragon, displays
clearly enough in a general way its afSnity to
the work of the Catalan school of the end of
the quattrocento. The nearest parallel to which
I can point is, perhaps, Jaime Huguet's
Retahlo de Santa Julita in San Quirse de
Tarrassa ^ ; but the painter of Mr. Harris's
polyptych has individual characteristics of
style, among which mav be mentioned the
application of colours in fiat washes, a positive
note of vermilion being frequently echoed in
the scheme of colour.

1 Spp Sanpore y Miquel, Los Cuatroccnlistas Calalancs,
Barcelona, 1906, vol. II., plate facing page 20.

193

TWO PORTRAIT MINIATURES FROM CASTLE AMBRAS
BY JULIUS SCHLOSSER

NE mav regard these two tiny pic-
tures [Plate, a, b] as unnoticed, al-
though, some twenty years ago, the
writer did mention them in an un-
familiar German publication.^ Both
pieces can be traced from a once famous collec-
tion in Ambras Castle, which owed its origin to
the Archduke Ferdinand of Tyrol. However,
in the earliest inventories of the collection, even
in the one compiled after the death of the Arch-
duke in I5q6, they are omitted, no mention of
them appearing until the end of the eighteenth
century, in the MS. inventory compiled by the
curator, Alois Primisser. That the two pictures
were long ago regarded by their owners as
forming a pair is indicated by the similarity of
the frames, one of which bears the date 1576.
Besides, the miniatures are both executed in
body colour on similar pieces of circular stiff
paper with blue backgrounds. But the infer-
ence suggested by that and by the frames and
cases, that they are companion pieces is contra-
dicted by the fact that they differ in size, the
diameter of one being 7 cm., and of the other
(the female portrait), 5.5 cm. The former is
very clearly signed and dated, "Julius Clovius
sui ipsius effigiatur retat 30. Salut : 1528."

Ciovio was born in Croatia in 1498, and
having come to Italv as a young man, studied
under Giulio Romano and spent his life as a
celebrated miniaturist until his death in 1578.
He is represented in this miniature in plain
black dress and cap, one year after he had joined
the ecclesiastical estate as secular priest. The
rather ill-drawn lap dog, thrice repeated in the
frame which, however, is much later, probably
conforms with the taste of the period for sym-
bolism, and was introduced as an emblem of
faithfulness and devotion, the work being very
likely intended for some patron of the artist.
The picture is a rather nerveless performance,
but the fact that it is the only definitely known
self-portrait of the world-famous miniaturist
gives it a place apart. For the magnificent
portrait of the old Ciovio at Naples [Plate, c]
has long ago been shown by Justi to
have

by
the
can
like

been not only painted but

a much greater painter, Greco;
supposed self-portrait in the

hardly be attributed to Ciovio
the Greco, must be

signed

and

Uflfizi

but,

much

Vien-

the work of a
more remarkable artist. Although the
nese miniature has been for years in a famous
collection it has remained almost unnoticed.

Only a feeble reflection of it, in which almost
every tie with the original has been lost, has
hitherto been published, the poor touched-up
lithograph which Kukuljevic-Sakcinski, Clovio's
fellow countryman and biographer, inserted in
his Dictionary of Jugo Slav Artists of 1858.^
Neither Williamson nor Herbert, in his well-
balanced article in the Thieme-Becker Kiinst-
lerlexicon,^ which gives a synopsis of the por-
traits by Ciovio, have taken any notice of the
Viennese example.

As we saw, there has been associated with
this work, presumably ever since the sixteenth
century, a second portrait, representing an
elderly lady, which artistically is on a far
higher level than the other. The ordinary
observer assumed as a matter of course that the
two works represented a man and his wife,
while Primisser, an excellent official but no
judge of art, encouraged the same notion.* E.
von Sachen, the able keeper of the late Ambras
collection at Vienna, permitted himself, strange
to say, to embody the same notion in his cata-
logue of the collection, published in 1855,' in
which the statement is also made that the two
portraits are " in the manner of Holbein,"
which of course could never apply to Ciovio.
Still more extraordinary, Waagen himself, as
late as 1866 failed to notice any special differ-
ence of style between the two miniatures. He
thinks that the woman's portrait, on account of
its more delicate conception and scheme of
colour, is probably by another hand, and be-
lieves that in 1576 — the date on the frame,
wliich as a matter of fact proves nothing —
Ciovio, being already seventy years of age,
would not have possessed so smooth a touch."

It is impossible to notice without a smile how
from two separate sources, a complete fiction of
art history has been built up around this ques-
tion. Kukuljevic-Sakcinski who, as has been
stated, knew nothing of the Vienna miniature,'
was the first to refer in the Life of his celebrated
fellow-countryman, to an undated letter ad-
dressed by Ciovio * to a young lady colleague of
his, thanking her for having sent him her por-
trait, and presenting her with his own portrait.
It mav be assumed that these were both minia-

' Album ausgewahller Gegenstdde der Kunstindustriellen
Samtnlungen des Ah. Kaiserhauses. Vienna, Schroll, 1901,
p. 22 and pi. XXXIV. 5 and 6.

2 Slovnik umietnikah Jugoslavenskih. Agram, 1858, p. 155.

3 Vol. \'n., pp. 122-124 (published 1911).

* See his MS. Inventory of the Ambras Collection, 1788,
II., p. 275, in. 51.

5 Die K.K. .'Vmbraser Sammlung. Vienna, 1855, 11., p.
113, no. 7 and 8.

« Die vornehmsten Kunstdenkmdler in Wien. Wien, 1866,
II. 343.

' Leben des G. Julius Ciovio. Agram, 1852, p. 198 sq.

8 Published in the notes of Delia Valle's Siena edition of
Vasari (Siena 1793 X., p. 354, note).

194

A—The Marchioness oj Dorset, niece of Henry VIII. B—Self portrait, by Clovio. Miniature (Castle

School of Holbein the Younger. Miniature' (Castle Ambras)

Ambras)

C — Portrait of Clovio, by F.l Greco. Canvas. (Naples Museum)

<''

Two portrait miniatures from Castle Ambras

tures and the expressions used in the letter
indicate that the addressee was a foreign, i.e.,
not an Italian lady.'

The publication by M. Bertolotti of Clovio's
will and the inventory of his property in 1578
enables us to guess her name. She was a
miniature painter of Flemish extraction, Livina
Teerlinc — mentioned also by Vasari — the
daughter of Simon Binning, miniature painter
of Ghent, who died in 1519. From 1545 she
was working in England for Edward VI. and
for Queen Mary and Queen Elizabeth.'" The
inventory mentions a portrait of her " in a
round box," no doubt the self-portrait which
according to the above letter she sent to Clovio
in her youth." Curiously enough Bradley,
who knows and discusses the inventory of
Clovio, has not noticed this connection. Pre-
sumably the portrait is now lost.

It is amusing to hear Kukuljevic, building on
a passage from Zani'^ which he succeeds in mis-
reading, construct quite a pretty piece of fiction,
quite in the spirit of dying romanticism, about
Clovio and a beautiful young German girl.

But enough of these absurdities; Bradley
cannot ever have seen the Vienna miniature, or
else he, the English author of the Dictionary of
Miniaturists, would of course have been struck
by the enormous difference of style between the
two pictures. His information is, indeed, as
its phrasing shows, quite simply transcribed
from Waagen : this is clear from his assertion
that the portrait of Clovio " lacks " a statement
of his age." Waagen has simply overlooked
it in his memoranda or forgotten to note it
down.

In reality, a whole world separates the two
portraits, in spite of the connection which has
existed between them for ages. Not only
through her age, but also through her higji
rank — indicated by her ermine-lined costume —
the lady is differentiated from her companion.
Her appearance, her dress, and above all things
the style disclose, that not only the sitter be-
longs to another people and country, but that
the artist belonged, not to Italy but the North.
Curiously enough, earlier observers arrived
nearer the truth by way of wrong theories.
Waagen at least realises the superiority of the

9 Pure perch6 gli artefici soglioiio haver caro veder
diverse maniere di quello che operano ho giudicato chc non
sia per dispiacervi di poter considerate quella di noi altri
d'ltalia.

1" See as regards her the article by W. H. Weale in The
Burlington Magazine, IX. 275.

11 Bertolotti, " D. Giulio Clovio principe miniatura " in
Atti e memorie delle RR. Deputazioni di storia patria per t«
pTovincie dell'Emilia. MS. Vol. VII., pt. i, Modena 1881,
p. 274. ' Un Scattolino tondo con il ritratto di Livinia,
meniatrice della Regina d'Inghilterra.'

12 Enciclopedia metodica critico-ragionata delle belle arti
Par-ma, 1820, foil., also containing a dictionary of artists.

"3 Elsewhere fpage 135) Bradley nevertheless gives the
complete inscription.

female portrait while von Sachen mentions the
name of Holbein. As a matter of fact the
artist indirectly responsible for this little paint-
ing can be definitely named — viz., the younger
Holbein. Among his famous cartoons in the
Royal Library at Windsor is a study for it
which, according to the old inscription, repre-
sents the Marchioness of Dorset, a niece of
Henry VIII., who acquired some importance in
English history as the grandmother of Lady
Jane Grey. The cartoon was probably made
during Holbein's second English period, 1532-
1543. In any case it could not have been in-
cluded among his most remarkable productions,
and it is doubtless founded on one of those glass
tracings, which are so characteristic of Holbein,
as was lately demonstrated by Joseph Meder.'*
The Vienna miniature repeats the cartoon in all
its details; those which in the original are occa-
sionally only hinted at or omitted — like the
string of pearls, the ermine lining and the rings
— are carried out with a really miniature-like
precision. Nevertheless, one hesitates to
ascribe the excellent, but yet somewhat nerve-
less work to the great master himself, for out
of the mass of the miniatures assigned to him,
those that are indisputably genuine emerge
distinctly, as, for instance, the examples at
Windsor. The connection with Holbein ex-
plains also why the female portrait stands on so
much higher a level than its companion, that
being symptomatic of all Northern painting in
the Italian manner. That this work is a school
production is indicated above all by the fact
that it is not a unique version. A repetition,
still more nerveless than our example, is the
reproduction belonging to the Duke of Buc-
cleuch and ascribed to Holbein himself, shown
at the Exhibition of Portraits at the Burlington
Fine Arts Club in igog.'^

The art of miniature painting began in the
Netherlands and came to be specially practised
in England. Netherlandish miniaturists, ever
since the beginning of the sixteenth century,
worked in England, and at least in a superficial
way gave Holbein his impulse. In England
this branch of art came to be specially practised
by ladies. Three of them are familiar to us by
name and have even received the compliment of
being mentioned by Vasari in the second edi-
tion (1568) of his Lives : Susanna, daughter of
Master Gerard Hornebolt (as spelt in England)
of Ghent, whom Diirer mentions in his Nether-
landish Diary; Catherine Maynon, of Antwerp,
and finally Livina Teerlinc, ail oi whom were

'■* Meder, Die Handzeichnung, Wien, 1919, p. 467 sq.

'* Burlington Fine Arts Clut) Exhibition of Early English
Portraits. London igoq, pi. XXXIII., i cf. p. iiS. Two
larger portraits of the Duchess (copies after the lost portrait
by Holbein?) are mentioned ibid. p. 74 as in English private
possession.

197

active at the English court." To Livina alone
can we with some show of probability assign
surviving works, viz., two portraits of children
which at one time are said to have borne her
name and which in 1909 were exhibited at the
Burlington Club." It certainly seems most
probable that many of the miniatures that go
under Holbein's name and that are derived
from him are works by these Netherlandish
artists settled in England.

A connection with that curious and apparently
authentic letter from Clovio to Livina Teerlinc
—and this brings us to the point from which we
started — seems thus to be established. In con-
sidering it the mind is led at once to think of
Anglo-Netherlandish surroundings. Clovio's
relations with the Netherlandish art of his time
are rather remarkable. According to the inven-
tory of his estate in 1578 he possessed a number
of pictures and drawings by Pieter Brueghel,
and a miniature, one half of which was painted
by Clovio and the other by his greatest Nether-
landish «)nt^mpora£yV^ This leads us back to

1'' Cf. by Chamberlain, Holbein, I. 268.

1' Catalogue, pi. XXXIII., 5.

18 'Ouadretto di miniatura, la met^ fatta per mano sua
(i.e. Ciovio's) I'altra di M. Pietro Brugole ' (Bertolotti, I.e.,
p. 267).

REVIEWS

William Blake's Designs for Gray's Poems, reproduced
full-size from the unique copy belonging to the Duke of
Hamilton. Introduction by H. J. C. Grierson. 21 pp.
+ frontispiece and 114 ili. + 6 col. pi. (Oxford University
Press.) i;i5 15s. .

The recovery of Blake's long missing designs
for Gray's poems is an event of some moment to
students of his work. As in the case of the illus-
trations of Young's " Night Thoughts," which
they resemble in style and follow closely in date,
the drawings which are large in scale, somewhat
too large it may be for their content, are carried
out in the form of marginal illuminations of the
printed text. It was no doubt Blake's intention
to engrave them, but he did not do so. It is not
unnatural that we should here find him
less deeply moved by his subject than
when in later years he came under the
mightier influences of the Book of Job or of
Dante. The series none the less marks an im-
portant stage in the artist's development, and in
certain respects, more particularly in his bold
and effective use of wash, he far surpasses his
previous accomplishment. A fine achievement
in this medium is the " Fame," appended to the
" Ode for Music." While in sense of movement,
as in the rhythm of its long sweeping lines the
figure is in a characteristic vein, there is some-
thing of Tiepolo in the abandon of the thrown
back head and in the manner in which mere
outline and touches of wash are made to work
magic with luminous spaces of paper. Blake

the frames in which our two portraits were put
by some early owner or collector. They point
beyond Italy to the North. One dated 1576
(that of the female portrait) bears a small tablet
and a reference from the Gospels to the vanity
of the world, and to the wife of Lot: "Quia
nescitis diem usque horam " (Matth. XXV., 13)
" 1576. Memores esto uxoris Lot. Lu 17 (i.e.
Luke XVI I., 32).

Now, a more richly carved, but in its forms
altogetiier kindred mirror-frame in the Louvre '°
bears the Low German inscription : "Gedenck
des wyf Loth." The frame of Clovio's self-por-
trait belongs to the same school and period : it
shows the cartouche motives of the Netherland-
ish engravers of about 1550 — artists like
Cornells Bos or Hieronymus Cock — to whom
the woodcarver here, as in other cases, has gone
for inspiration. But to pursue the argument
further would immediately land us amongst
romantic hypotheses of the kind that have been
sketched above, all the more so as those minia-
ture portraits of children, even were they the
work of Livina, offer no real parallel to the
portrait of Lady Dorset.

13 Molinier, Histoire des arts appliques, II., pi. XVIII., 3.

may well indeed have derived inspiration from
this source, since Tiepolo's sketches were not
infrequently to be met with in English collections
at that date. His rendering of the poet's vision
is marred at times by a proneness to abstrac-
tion in his treatment of the human coun-
tenance, and he is found at his best in such
designs as the noble one of " The Slaughtered
Bards," where the features of his characters are
least in evidence. Too much praise cannot be
bestowed upon the Oxford University Press for
the admirable manner in which the volume is
produced. The drawings appear in their original
scale, with certain pages in duplicate, where the
tints are rendered in facsimile, and no pains have
been spared in making the reproductions as near
flawless as they can be. Mr. Grierson, to whom,
we believe, is due the credit of having brought
the drawings to light, contributes a thoughtful
and discerning preface to the work.

ARCHIBALD G. B. RUSSELL.

Histoire de l'Art depuis les premiers temps chriiTiens
jusQu'A Nos JOURS. Publii5e sous la direction d'ANDRfi
Michel. Tome VI. L'Art en Europe au XVII"
si^cle. Premiere partie. 507 pp., 345 ills, in text, 6 pi.
Paris. (Armand Colin). 50 francs.

It is a pleasure to be able to chronicle the
resumption of this important publication, the
present volume being the first to be issued after
the war : part of it was, in fact, in type at the
outbreak of hostilities, and the tragic caesura
of history is noted by the editor, on p. 291.

198

This, the first part of the sixth volume, treats
of art in Italy, the Low Countries and Spain
all through the seventeenth century, and art
in France up to the accession of Louis XIV.
The general character of this excellent work is
now too well known to make any lengthy com-
ment on it necessary : we can give this portion
of it no higher praise than saying that it fully
comes up to the standard of those that have pre-
ceded it. The illustrations combine, in a wel-
come fashion, typicalness and novelty : and
as a specially useful r^sum^ of a phase of art
history on which handbooks as a rule have not
too much to say we would single out Chapter V
on painting and engraving in France during
the first half of the seventeenth century. T. B.

Print Publications. Reproductions of Chinese paintings in
the British Museum. (Issued by the Trustees). 17s. 6d.
per set. Jan van Eyck, Leal Souvenir, National Gal-
lery, 27s. 6d. ; G. F. Watts, 5>> Galahad, Eton College
Chapel, 37s. 6d. (The Medici Society Ltd.) Baptistk
Monnoyer, Flower and Vase Studies (John Tiranti and
Co., Maple St., W.i.), los. post free.

This set of eight reproductions on cards 25 by
20 inches are issued with a description sheet, by
the British Museum. Two of the paintings are
reproduced in colour, the others in monotone.
The process used is collotype, and the quality
is as high as can be obtained in this country.
The subjects are chosen from widely separate
periods so that it has been possible to include
some of the most celebrated and the most in-
structive paintings in the Museum, including
the remarkable Admonitions of an Instructress,
in the style of Ku K'ai-chih, the eighteenth cen-
tury copy of An Arhat by Wu Tao-tyu, and the
deservedly popular Geese of the Sung period.
Educationists should remark the low price of
this excellent series.

The same process, colour collotype, is used
for the reproduction by the Medici Society of
the far more difficult subjects in oil noted above.
Few can realise what a battle is fought, on such
occasions, between the printer and the painter
before a masterpiece is really well reproduced in
colour, or before the printer, au bout de son
Latin, admits defeat. The Medici Society, it
seems clear, are accustomed to reserve their
best efforts for foemen worthy of their steel.
Sir Galahad in his new greenery-yellery seems
not much less real or more tiresome than in his
pristine state in the Etonian tabernacle. We
_an pass the print uncritically, believing it to
be as good a version as posterity is likely to
demand. Leal Souvenir we felt we had a right
to regard with more severity, to varnish it
(Medici collotypes are often twice as good var-
nished), and to carry it, preparing ourselves for
the worst, to Trafalgar Square ; there to scru-
tinise it at its most objectionable beside the
original. But the comparison convinced us
how good a print it is, and how much skill and

patience had been fruitfully expended on it.
Except that the yellow, that Ephialtes haunting
the chamber of every conscientious colour-
printer, is still just a little too distracting, the
print will do very well, and together with its
quite admirable elder companion, the Head 0} a
Man, will be a sound acquisition for the impe-
cunious collector.

Jean Baptist Monnoyer's flower pieces can
hardly be said to be in key with modern life
and manners, and so luxuriant an edition of
some of his engravings as the one noted above
is for that reason in a sense all the more to be
admired. The spacious pages of the set, with
one engraving done in duplicate on cartridge
paper " suitable for colour rendering," suggest
too an age of greater leisure. This artist, during
his long sojourn of favour and holiday in the
England of Queen Anne, carried from France
into our less elegant society much of that
enticing blend of shyness and vivacity, of
sweetness and flamboyance to which we have
always been so quick to respond and so slow to
imitate. Although in his work science and
taste did not always preside with sufficient
strictness over manual execution, these engra-
vings have a certain personal beauty which
merits the attentive consideration of students of
art and life. R. R. T.

Les Emaux Limousins de la fin du XV^ sifecLE et de la

PREMlfeRE PARTIE DU XVI^ ; feTUDE SUR NaRDON P^NICAUD

et ses contemporains. Par J. J. Marquet de Vas-
selot. 4to. Paris (Auguste Picard), 192L

In the literature of the last seventy years
which has grown up around the subject of the
painted enamels of Limoges, two works stand
conspicuous — the Notice des Emaux du Louvre
of the former gifted Conservateur, the Marquis
de Laborde, first published in 1852, and the
present book. Each is a notable product of its
date, and when we find the penetrating appre-
ciations of artistic quality and brilliant general-
isations of the earlier work replaced in the later
by a method of laborious analysis and detailed
comparison we realise how greatly the condi-
tions of artistic criticism have changed in the
interval.

M. Marquet de Vasselot was confronted with
the task of reducing to order a mass of material
exhibiting all degrees of artistic merit; a host
of works merging into one another by almost
imperceptible shades of difference; where dated
landmarks are few, and clues alTorded by herald-
ry or other persona! association are exasper-
atingly elusive; where the well-meant attribu-
tions of former writers have constructed little
more than a labyrinth of pitfalls; where the
names of imaginary artists play hide-and-seek
with those of real persons; and where these real
persons are credited with biographical details
based on misreadings of documents by a care-

199

less archivist. That is to say he has had to
examine and test afresh every example and every
piece of evidence in regard to the Limoges
ateliers for the period covered by his investiga-
tion.

This, period embraces, roughly speaking, the
first half-century of the industry of painted
enamelling at Limoges. It is characteristic of
its history that no definite date can be assigned
to its earliest products, and we have to be satis-
fied with saying that the art makes its first
appearance in the second half of the fifteenth
century. Equally mystifying is the conclusion
arrived at by the author that although one of
the chief artists concerned, Nardon P^nicaud,
is known to have lived until 1542 or 1543, no
work attributed to him or to his presumed
younger brother, Jean P^nicaud the first, seems
to approach so late a date. The circumstance
suggests the need for caution in adopting at-
tributions based on style and quality, and this
is of course one of the main factors of the
problem.

The author gives detailed descriptions of
220 examples of these early enamels, illustrated
by an album of excellent collotype plates, and
by a process of comparative criticism he divides
these works into nine different groups. Of these
groups four are associated with the artist who
goes by the fictitious name of " Monvaerni,"
with ttie two earliest masters of the P^nicaud
family (Nardon and Jean I) and with the fol-
lowers of Jean. The remaining five groups are
identified by the name of some leading work
or by some peculiarity of character, or are indi-
cated by the title of " ^maux divers " to include
pieces of indeterminate quality.

The conclusions to which M. Marquet de
Vasselot's masterly survey has led him are in-
deed somewhat revolutionary. But in applying
scientific methods of criticism for the first time
to these works prejudices and unsupported
traditions are bound to fare ill. It is something
of a shock to learn that the great triptych of
the Annunciation with portraits of Louis XII
and Anne of Brittany, one of the glories of
South Kensington, may no longer be reckoned
as one of the masterpieces of Nardon P^nicaud.
It is some compensation, however, to find it
serves as the name-piece under which are
grouped several of the most splendid products
of Limoges.

If here and there we feel inclined to question
the author's attributions, he would be the first
to admit that his work does not presume to say
the last word in cases of doubt. What he has
done is to introduce for the first time order
where before was chaos, and to provide a sys-
tem of classification into which further examples
as they make their appearance, may be logically

placed. He has done more than this, for by
clearing the ground of errors and setting out
the known facts based on existing documents
and examples, he has established the early
history of painted enamelling at Limoges on
a solid foundation.

The book is provided with a complete appar-
atus of documents, indexes, and bibliography,
and is admirably printed and produced. In its
breadth of outlook and of antiquarian learning,
in accuracy of detail, and in fulness of refer-
ences to the literature both of its own subject
and of other subjects ancillary, it is a work
which does honour to French scholarship. In
the interests of those who care for Limoges
enamels it is to be hoped that M. Marquet de
Vasselot may some day extend his labours to
deal in similar fashion with the later periods
of the art. H. P. M.

The Tvro. (The Egoist Press, 2, Robert St., Adelphi.) 2S. 6d.

The second number of the, perhaps, not very
happily named Tyro, has appeared, undated,
in the manner of Sinai. It is worth a great deal
more than the money, which cannot be said of
many magazines. Mr. Wyndham Lewis gets
less, as many people get more than justice from
his contemporaries. If there were in this country
an alert and active body of criticism, a magazine
which succeeds in publishing, in one number,
nine such items as " Recent Painting in Lon-
don," " The Essay on the Objective of Plastic
Art in Our Time," the " Tyronic Dialogues X
and F," the story " Bestre," and five drawings
by the same hand, would be gladly and gener-
ously hailed as an intellectual achievement not
only astounding, but of first-rate importance.

Like most professional bombardiers, Mr. Lewis
is at bottom profoundly modest, and, with all his
naughty words, curiously temperate and cour-
teous in his claims. And this rather boyish
modesty leads him to a real undervaluation of
himself, with the following result. He fails to see
that the writer of the Essay " on the objective of
plastic art in our time " is too important as a
critic to exercise, on another page, the function of
an advocate for an individual manner, for a
group of individual painters and paintings, in-
cluding his own. Qua painter, he should follow
the rule of the wise old lady who said, " Never
explain. Never apologise."

Has anything more genial and profound been
said on art than the following?

The game of cricket or billiards is an ingenious test of
our relative, but indeed quite clumsy and laughable, prowess.
These games depend for their motive on the physical diffi-
culties that our circumscribed extension and capacities
entail. It is out of the discrepancy between absolute
equilibrium, power, and so on, of which our mind is con-
scious, and the pitiable reality, that the stuff of these
games is made. Art is cut out of a similar substance.

Walter Sickert.

200

A MONTHLY CHRONICLE

The Clough Collection. — • Mr. G. T.
Clough — a contributor of several scholarly and
thoughtful articles to earlier volumes of this
magazine — presented last }'car to the Manches-
ter Whitworth Institute his remarkable collec-
tion of engravings and woodcuts, principally of
the early German, Flemish and Italian schools.
About one half of these prints have now been
placed on exhibition in the art galleries of the
Institute; and a catalogue, from the pen of Mr.
Clough himself, supplies not only an informa-
tive and stimulating guide to the specimens at
present on view, but will also be welcome as a
useful synopsis of one of the most interesting
and choice collections of early engravings and
woodcuts that have been formed in this country
during the last decades — a collection, on the
acquisition of which, through Mr. Clough's
public-spirited action, Manchester is to be most
warmly congratulated. Among the artists
particularly well represented in this " cabinet,"
Diirer takes a foremost place ; and the series
of early Italian masters is also one of peculiar

LETTER

NICOLA PELLIPARIO.

Sir, — The difhculty of making good arrears
in the study of literature issued on the further
side of the gulf which for four years divided
Europe into two continents, has for me resulted
in what must have seemed to many a strange
omission in my recent article on Nicola Pelli-
pario. (Burlington Magazine, Vol. XLI,
pp. 21, 127.) By the irony of circumstances I
only became aware after its publication of the
notice of the artist by Professor Ritter von
Falke, occasioned by the accession to the Kunst-
gewerbemuseum, Berlin, of two new specimens
of his work, in the official report of the Royal
Prussian Art Collections for October, 1917. Pro-
fessor von Falke has anticipated me in some of
my observations, noticeably in questioning the
view of the late Henry Wallis that Nicola de-
rived his landscapes from Giorgione, and in
recognising the change which came over the
painter's work when he abandoned book-illustra-
tions in favour of engravings of the school of
Raphael as models for his compositions. In the
former case we have not both come to precisely
the same conclusion (Professor von Falke finds
in the Ovid woodcuts of 1497 a sufficient basis
for Nicola's distinctive style of landscape), but
in other respects nothing in the Berlin report
invalidates the points I endeavoured to make.

Professor von Falke is not the first to assume
that the plates in the Correr Museum at Venice
and isolated specimens at Amsterdam, Oxford
and (now) Berlin, belong to a single service.

interest, the selection comprising most of the
great names, and including several specimens
of considerable rarity. As an introduction to
the early history of graphic art, a study of this
collection — not too wide in extent and yet
clearly reflecting the main currents of evolution
— should prove extremely fruitful. T. B.

Lectures. — University College, London,
public lectures by Dr. Borenius, on Fridays at
5 p.m., beginning in October. Mediaeval, Tus-
can and Umbrian Art.

King's College, London, public lectures by
Dr. Percy Dearmer, Tuesdays at 5.30 p.m.,
Oct. loth till Dec. 12th, XVth Century Art;
Tuesdays, next year, XVIth Century Art.

Royal .A^cademy. Arthur Thomson,
F.R.C.S., various dates from Oct. 6th at 4.30
p.m., Anatomy. A. P. Laurie, D.Sc, various
dates from Nov. 15th, at 4 p.m. Pigments, etc.

Mortimer Hall, Mortimer Street, W.r.
Series of four public lectures by Roger Fry, on
Art, Dec. 6th and 13th, 1922, and Jan. loth
and 17th, 1923, at 8.30 p.m.

On the strength of the shield of the Ridolfi of
Florence occurring on the " Calumny " dish at
Amsterdam (which, from a recent inspection, I
am inclined to regard as the finest of all the
works of the master), he suggests that the ser-
vice thus ranged together was probably made
for Piero Ridolfi, who died in 1525, and he
even renames the Correr service the " Ridolfi
service." As against the acceptance of this
view, however, it must be pointed out that two
of the pieces bear the same subject (the
" Calumny ") with only slight variations in
treatment; it seems unlikely that the painter
would have thus repeated himself in a single
service.

Professor von Falke makes a new suggestion
of first-rate importance, namely, that Nicola
Pellipario was the author not only of the
istoriati pieces now generally acknowledged as
his work, but also of maiolica of three other
types : (i) fruit dishes painted over the entire
surface, with a portrait bust accompanied by
a scroll with a name, a class which has long
been assigned to his place of origin, Castel
Durante; (2) large plates with a small figure
subject, generally in yellowish grisaille, within
a blue and white porcellana border; (3) the
pieces with grotesque and candaliere designs,
always associated with Castel Durante. As
regards the first category, I had myself been
struck by the similarity between the finest por-
trait pieces and Nicola's drawing of the figure;
examples of this group at South Kensington

201

which may be attributed to his hand are those
in the Salting Collection labelled Ramazotta
and Proserphina. To the second type belongs
a dish in the same collection with a putto riding
a stag in the centre, and a blue and white design
almost identical with that on a dish newly ac-
quired by Berlin; kindred pieces are another
dish in the Salting Collection, with a recumbeni
female figure and a bianco sofra bianco border,
and a fragment with a nude figure of Judith, of
great charm, found at Urbino and exhibited
there in the Ducal Palace. When I saw this
latter example last year, I was arrested by the
likeness to the work of Nicola. With the third
type, of purely decorative designs, may be as-

sociated a fruit-dish in the Salting Collection,
painted with the arms of Gonzaga above an
open music-book.

It may be of interest, lastly, to note a plate
formerly in the Hainauer Collection, to which
Professor von Falke draws attention as part of
the service bearing a shield charged with a
ladder and a flag. In the allegorical subject de-
picted on this plate we find once more the
naked, kneeling man of the " Calumny "
dishes, suggested, as I have pointed out, by the
Phjethon of the 1497 Ovid.

Yours faithfully,

Bernard Rackham.

Purley, Surrey.

AUCTIONS

Messrs. Hodgson & Co., 115, Chancery Lane. End of
November. Albums of drawings and engravings after old
masters, and the important library from Cassiobury Park,
Watford, property of the late Dowager Countess of Essex.

Messrs. C. G. Boerner, Universitatstrass<;, 26, Leipsig.
Third week of November. An important collection of
French engravings in black and white and in colour. This
sale is accounted for in an unusual way. The amalgamation
of the Vienna Albertino collections with those of the former
Court Library of Vienna has resulted in the new organisation

finding itself possessed of a number of duplicates. A selec-
tion of these is now to be sold, the proceeds from the sale
being earmarked, with the permission of the Reparations
Commission, for new acquisitions. An illustrated catalogue
will be sent on application.

Messrs. Paul Graupe, Berlin. Nov. loth and nth.
Modern Graphic Art, including rare German and other
prints, with nearly complete oeuvre of Klinger and Welti,
also Japanese coloured woodcuts and a small collection of
old masters, comprising works by Diirer, Rembrandt and
Ridinger.

GALLERY AND MUSEUM ACQUISITIONS.

BRITISH MUSEUM.
Pri.nt Room.

Drawings. (All presented by Andrew Oliver, Esq.)

H. Edridge. Rochester Castle and another. Indian

ink wash. .

C. GiLLOT. Soldiers SmokUtg and Playing Cards;

Children Making Music (a pair) ; pen and ink and red

wash.
J. P. Lt'BAS. Study of the Nude. Red chalk heightened

with white.
r. PicART. Original drawings for two of a set of six

subjects from Ovid.
G. Reni. The Magdalen. Red chalk ; the drawing itself

and an offset.
A. Van der Werff. Five pencil drawings, including

two studies for a Caritas Romana.
Prints. ^ ,

A. DE Carolis. Portrait of Dante. Large woodcut

(camaieu). Presented by the artist.
S. Gessner. Six etched vignettes. Presented by A.

Oliver, Esq.
A. Hervier. Thirty-seven etchings, and three portraits

of Hervier. Presented by H. ]. L. Wright, Esq.
MoNOCRAMMiST G. Z. St. Benedict. Woodcut from

Benedictine Missal, Hagenau. 1518.
J. Orii;, R.A. Etching; portrait of his mother. Pre-
sented by Mrs. Barry.
F Rons. M^daille dc Waterloo, lithograph (Mascha

217): and La Greve. etching (Mascha 484, second

state). ,

H. L. ScHAUFELEiN. The Annunciation, B.6. Undes-

cribrd edition with German text.

VICTORIA AND ALBERT MUSEUM.

(The acquisitions marked * are not yet on exhibition.)
Architecture and Sculpture.

Collection of architectural fragments in carved and painted
stucco, marble, and pottery, from the Herzfeld excava-
tions at Samarra, Mesopotamia. 9th oentuTy. Pre-
sented bv the Colonial Office. .

A Set of Eight Figures of the Immortals moulded in
Chinese ink; modern. Presented by Her Majesty
Queen Mary.

Terracotta Relief of Baptism, by George Tinworth.

Presented by Sir William M. T. Lawreince, Bart.
Ceramics.

Vase and stand, stoneware, covered with a deep blue

glaze. Chinese ; probably i6th century. Presented by

James Baird, Esq.
Slipware Tyg with three handles. English (Derbyshire) ;

dated 1710. Bought.
Engraving, Illustration and Design.

*Leon Bakst. Four original designs for costumes in

" The Sleeping Princess."
*F. Sydney Eden. Forty-six drawings of stained glass

in churches in Essex.
*J. M. W. Turner. Four etchings for the " Liber

Studiorum :"

(i) Frontispiece.

(2) Coast of Yorkshire.

(3) Young Anglers.

(4) Be-s-hill. Martello Towers.

*Adolphe Hervier. Seventeen etchings. Presented by
Harold Wright, Esq.
Metalwork.

Two pieces of French silver — a cream-jug with Paris mark
for 1819-38 and a two-handled bowl with Maijon mark
for the same period. Presented by Her Royal Highness
Princess Louise.

A silver Teapot ; London hall-mark for 1817-8. Pre-
sented by Cecil F. Crofton, Esq.

A group of English paste Jewellery- of the first half of
the 10th century and a Necklace of Berlin ironwork of
the same period. Presented by Miss Kathleen Martin.

A wrought-iron Weather-vane, English ; i8th century.
Paintings.

*Gervase Spencer. Miniature portrait of a gentleman.
Signed and dated 1749.
Woodwork.

*Fragment of Plasterwork painted with Cupids and
scrolls in black outline. From Shire Hall, Wilmington,
Kent. English ; second half of i6th century. Pre-
sented bv Edward Yates, Esq.

*Box covered with green velvet, embroidered with the
arms of George III. Purchased.

202

The Viroin of Mercy. Here identified as by Luca Signorelli. Panel, 1.38 m. by 1.09 m. (Col. Douglas Proby)

AN UNRECORDED SIGNORELLI
BY TANCRED BORENIUS

HE identification of a hitherto un-
recognised work by Luca Signorelli
is in itself an event which cannot
fail to arrest the attention of
students; and when, as in the case
of the picture of which the present article treats,
it is a question of a work in a well-known and
frequently studied private collection, a peculiar
psychological interest also attaches to a dis-
covery of this kind.

In the collection of Col. Douglas Proby, at
Elton Hall, Peterborough — which comprises a
number of pictures, like Luini's Child with a
Toy, and Cesare da Sesto's Madonna with the
Bas relief, which are familiar entries in hand-
books under the name of their previous
owner, the Earl of Carysfort — there hangs
a large picture on panel (1.38 m. by
1.09 m.), representing the Virgin of Mercy
[Frontispiece]. In the centre of the com-
position is seen the Madonna, in olive
green robe and a dark blue mantle, pow-
dered with gold and lined with green, which,
with a large gesture, she lifts up so as to afford
shelter to a congregation of men and women
kneeling on the ground. Immediately on the
left of the Virgin, the eye is attracted by a
large mass of crimson, tiie cloak of an eccle-
siastic, while the corresponding figure on the
right is a youth, in yellow brown jacket and
blue hose; on the left and right of these figures
appear, respectively, an old, bearded man in
slate grey cloak and a youth in a purple jacket,
shot with blue, and scarlet hose. The silhouette
of the Virgin's head and arms stands out
against a sky touched by the light of dawn over
distant hills ; while two angels in flowing dra-
peries (yellow and blue on the left and green
shot with red on the right), hold a crown over
the head of the Virgin.

Little is known about the history of the pic-
ture beyond that it was brought to England
by the late Mr. F. Fleischmann, and acquired
from the Fleischmann collection by the late
Earl of Carysfort. It has been ascribed to
Ridolfo del Ghirlandaio, and I imagine that
it must have been a vague general likeness
between the group of worshippers here and the
crowd witnessing the miracle of St. Zanobius in
Ridolfo's famous picture in the Ufifizi,^ which
suggested that attribution. Still, one has
but to put reproductions of the two pic-
tures alongside of one another to realise
what a gulf divides the art which we see here
from that of the painstaking and competent,

1 Reproduced, e.g., in Crowe and Cavalcaselle, History of
Painting in Italy, second edition, Vol. VI, plate facing p. 146.

but dull and uninspired, Ridolfo del Ghirlan-
daio.

The artist responsible for Col. Proby 's pic-
ture is of an altogether different character :
monumental, severe, even vehement, though
capable at the same time of the expression of
extreme loveliness. Epithets these which, as
will be recognised, apply unreservedly to Luca
Signorelli, of whose individual manner so many
traces appear in the picture as to make an
ascription to him — as I venture to think — self-
evident once his name is mentioned. Some
of the closest parallels are afforded by Signor-
elli's frescoes at Orvieto : the kneeling youths
on the left should be compared with the group
of the " Fulminati " in the Destruction of the
Wicked ; the angels hovering in the air above
the Madonna are absolutely alike in style to
the pair which occurs in the centre of the fresco
of Paradise^ ; the drawing of the hands is pecu-
liarly Signorelli 's; the drapery of the ecclesias-
tic, kneeling on the left, is surely the work of
the same artist who painted the St. Francis in
the Deposition of Christ in the Church of San
Niccol6 at Cortona' — indeed, it would be easy
to go on accumulating proofs in favour of this
attribution.

The picture is of an extraordinary decorative
effect, thanks to the grand and monumental dis-
position of its lines, and the brilliant and har-
monious colouring :. in its delicate observation
of a passing effect of light, the picture stands
somewhat isolated in Signorelli's work, though
not entirely without next-of-kin : as witness, for
instance, the impressive twilight effect in the
picture of Pan in the Kaiser Friedrich Museum
at Berlin. From its very close affinity to the
Orvieto frescoes, the picture would seem to have
been painted about 1499-1501. The subject
suggests the processional banner of some con-
fraternity, and Vasari mentions two such works
by Luca Signorelli (the standards of the Com-
panies of St. Catherine and the Trinity at
Arezzo *), which cannot now be traced ; but
being painted on panel, the picture must no
doubt have been intended to serve as an altar-
piece. Its original destination may some time
be discovered; meanwhile, it is satisfactory to
have restored to the great master of Cortona a
work in which the essential grandeur of his style
appears tempered with a gentleness and en-
gaging quality of which there are not very

' For reproductions of these two pictures sec Crowe and

Cavalcascljp, op. cit.. Vol. V, plalos f.ncing p. lOo.
' See Venturi, Storia dell'arte ilaliana, Vol. VII, pt. ii.,

P- 399-

* Vasari, ed. Sansoni, iii, 689.

The Burlington Magazine, No. 236, Vol. LXI, Nov., 1922.

205

frequent traces in his art. Herein, I think, we
have the psychological explanation of the fact
that his authorship has not up to now been
recognised ; the unfamiliar aspect of Signor-

elli's art, as seen here, not having made his
name obvious at first sight, a kind of critical
impasse was created, causing the fruitless ex-
ploration of other possibilities.

EARLY WORKS BY TINTORETTO— I
BY DETLEV, BARON VON HADELN

in an

know.

reveal

E do not know under which
of the Venetian painters Tin-
toretto studied, and unless we
are helped by some lucky
cliance, such as a discovery
archive, we shall probably never
However, even should some record
in whose atelier the young Tin-
toretto laid the first foundations of his art, the
information would in all likelihood be more
curious than instructive, because the whole
available evidence suggests that Tintoretto, in
everything essential, was a self-taught man,^ in
this respect resembling Michelangelo, who,
although apprenticed to Ghirlandaio, cannot,
strictly speaking, be called Ghirlandaio's pupil.
Since the art of Tintoretto apparently does
not spring from the style of a definite master, it
will be well to try to arrive at a clearer view of the
general situation in the Venetian school at the
time when Tintoretto first invented a style for
himself and began to work independently, i.e.
about 1540. The great classical period which
is marked by such outstanding works by
Titian as the Assunta (15 18), the Pesaro
Madonna (1526), and the Presentation of the
Virgin (1534-38), was approaching its end, and
already there were forces at work, tending
to mould the evolution of art in several
other directions. Regarded from the widest
point of view, the spirit of the Counter
Reformation was now beginning to assert itself
in art, at once reviving and intensifying reli-
gious feeling and allowing humanistic fervour
to abate. But from the point of view of artistic
form, we discern two currents which from that
moment continued to assert themselves more
and more powerfully in Venetian art, and for

1 We are bound to conclude this from the style of Tin-
toretto's earliest pictures, which cannot very well be said to
derive from the manner of any definite, prior Venetian
master. But it is also remarl^able that none of Tintoretto's
contemporaries are able to name his teacher, neither Vasari,
nor Borghini, who in his Riposo (1589) evidently repeats
Tintoretto's own statement when he writes : — " . . egli
stesso (Tintoretto) confessa non riconoscere per maestro nelle
cose del disegno so non gli ariefici Fiorentini ; ma nel
colorire dice aver imitato la natura, e poi particolarmente
Tiziano. " — Thus a study from models, from the works of
Florentine sculptors, from pictures by Titian and from
nature.

Ridolfi (Le Maravaglie dell'arte, 1648, ii. 5), who wrote, it
is true, a hundred years after Tintoretto's youth, but who
may have heard about Tintoretto from the lips of Domenico,
the master's son, had also nothing to state about a definite
teacher. He does say that Tintoretto, as a boy, spent only
ten days in Titian's atelier.

the young Tintoretto acquired an absolutely
fundamental importance; on the one hand, an
early Baroque naturalistic tendency, and on the
other, Mannerism, penetrating from Rome and
Florence."

That fusion of , incipient Baroque and
naturalism is characteristically North Italian.
We can trace it much earlier, without
going beyond the circle of Venetian artists,
m Lotto, and in another aspect in Por-
denone. It is born of a yearning to
express oneself more freely and personally in
form, movement, colour and light, than classi-
cism, governed by severer rules, would allow.
Herein lies the deeper reason for Lotto's inabi-
lity to make any real headway in Venice over
which the classical Titian dominated, and for so
robust and tenacious an artist as Pordenone
being unable to find permanent occupation
there, so that he was forced to lead a restless
nomadic existence. It is customary in brief
descriptions of the peculiar character of Venetian
paintings to contrast Venetian colour with
Florentine drawing. That is a true enough
antithesis, so far as it goes. But characteristic
Florentine drawing and characteristic Venetian
colour are only symptoms of wider facts. The
Venetian is in the end richer and more diver-
sified in colour because he is on the whole more
sensual and receives impressions from nature
more frankly. It is his natural sensitiveness
that causes him to strive also after greater
freedom in form, reduces the severity of

2 A Chinese wall round Venice as a protection against
everything Central Italian has been spoken of. But such a
wall has never really existed. During the first decades of the
sixteenth century, it is especially Raphaelesque elements
which penetrate into Venetian painting. I may mention a
sinole instance : Titian's Madonna and Haints in S. Domenico
at Ancona is nothing but a variation of the Madonna di
Foligno. Generally speaking, Michelangelo's language of
form only reached Northern Italy later; although Pordenone
had already tried occasionally to use it, for instance, when
he painted the Cupola of the Madonna di Campagna at
Piacenza, and there introduced prophets and sybils whose
postures distinctly reveal the influence of the Sixtine Ceiling.
The stricter Mannerism was, however, brought to Venice by
two of its main representatives. In 1539, Francesco Salviati
arrived here, leaving the city only in 1541 ; behind him
remained his pupil, Giuseppe Porta, also called Salviati, not
a remarkable personality, but as regards his education, a
pure Romanist, and as an artistic intermediary very impor-
tant. Then, in 1541, Vasari came to Venice with a staff of
assistants, in order to make for the performance of Aretino's
comedy, La Talanta, an extensive, allegorical, and^ mytho-
logical setting, alia romana, which, even if it soon
perished, is sure to have greatly interested and stimulated
the younger generation of artists.

206

p-'

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B — Studies, by Tintoretto. Drawing. (Christ ClTiirch Library, Oxford)

Plate II. Eariy Works by Tintoretto — I

his structures, and induces a preference
for certain momentary and transitor)' effects
both of movement and of hght. On the
other hand, the Florentine mentality, more
inclined to abstraction, not only in drawing
and composition, but also in colouring and
lighting, aims at a more powerful and occasion-
ally a somewhat schematic consistency. Titian,
during his great classical period, was more
powerfully and deeply influenced by this central
Italian spirit, than is perhaps generally assumed.
But even him we find adopting about 1540 a
style conforming to strictly Venetian tenden-
cies.

Simultaneously, however, Florentine-Roman
Mannerism penetrated into Venice and entered
at once into irreconcilable conflict with native
artistic sentiment. But this type of art, mainly
derived from Michelangelo, had one charac-
teristic that cannot be found in Titianesque
painting; it exhibited a cultivated sense of plas-
tic form. The younger generation in Venice
were impressed with its superiority in this par-
ticular respect ; it must have been at this moment
that the motto originated: — " The drawing of
Michelangelo and the colour of Titian.'" It
was, however, a difficult matter to find a man
strong enough to carry through so tremendous
a synthesis, and it seemed at first as though
Titian were justified in the reserved, even nega-
tive, attitude which he assumed towards Man-
nerism.* Many a Venetian at that time lost all
balance, as for instance Paris Bordone, who had
been brought up in the school of Titian and
now, at the age of forty, wanted as a painter
to be as modern, that is as Roman, as possible.
Bordone thought he could achieve the goal by a
multiplication of contrasted postures in his
figure compositions. The result can be seen in
his Last Supper in S. Giovanni in Bragora at
Venice, and in some of his Sacre Conversazioni —
disjointed compositions full of figures in pain-
fully contorted postures, like those in the Dres-
den Gallery and in the Palazzo Rosso at Genoa.
Other Venetians preferred at that time to take
as their models the etchings of Parmigianino,

3 Ridolfi tells how Tintoretto, as a youth, wrote this motto
on the wall of his studio, but that is surelv a legend. Without
any allusion to Tintoretto, we know that this motto already
occurs in Paolo Pino's Dialogue (1548).

* It is true that at that very time, the beginning of the
'forties, Titian painted those ceiling pictures — now in the
Sacristy of the Salute in which a Roman note has long
been remarked. Yet those were an experiment, or may be
a concession, on the part of Titian, which remained rather
isolated. To what extent the Roman-Florentine Mannerists
themselves looked uixin Titian as their adversary, may be
gathered from the wards of Vasari, subjoined to the account
of his and Francesco Salvlati's story in Venice, complaining
that Venice is no place for the " uomini del disegno. " On
the other hand it is probably only to be explained from a
polemical situation, that Titian had ridiculed the idol of the
Renaissance, caricaturing in a woodcut the three figures of
the Laocoon as monkeys, seeing that this very group was the
plastic non plus ultra, to the " uomini del disegno."

in whom the elements of the Roman style had
already been blended with the freer and more
pictorial vision of the North Italian. Andrea
Schiavone may be mentioned in this connection
as also Jacopo Bassano, who at the outset had
worked in the manner of Bonifazio Veronese,
but had been drawn into the wake of Parmigia-
nino, who, however, represented at bottom
something quite alien to him.^

At this moment Tintoretto appears. He was
born in the autumn of 1518, the year of the
Assunta, which marks the zenith of Titian's
classicism, and at the very moment when at the
Conference at Magdeburg between Martin
Luther and the Papal Legate, Cajetan, one of
the last efforts was made to prevent the great
European schism. As the true child of this
critical period the young Tintoretto emerges,
unsettled, agitated, revolutionary, and not alto-
gether attractive. Indeed we should probably
shake our heads at many of his early experi-
ments, were it not that his more mature works
enable us to find in his less balanced early pro-
ductions traces of the genius of this " terribile
cervello."

The first period of the career of Tintoretto,
like that of many great artists, is surrounded by
an obscurity which probably will never wholly
be dispelled. Comparatively few pictures of
this period seem to have been preserved, and a
definite date is available for only one of them."
Not till the year 1547 does the chronology of his
works, and at the same time the knowledge of
his evolution, grow more exact. Since we know
that Tintoretto was working as an independent
painter as far back as 1539,' we must assume
that the works we here propose to discuss belong
to the period between about 1540 and 1547.
Amongst them we shall be able to distinguish
between somewhat earlier and somewhat more
advanced works, but not so decisively as to
make a clear-cut chronology possible. We
must therefore renounce all subtleties and con-

5 The influence of the etchings by Parmigianino begins
roughly with the Adoration of the Shepherds at Hampton
Court, where the Bonifaziesque foundations of his style are
still patent. There follows a series of pictures, which are
reproduced in the Jahrbuch der Preussischen Kunsisammlun-
gen, vol. XXXV., pp. 52 seq. The transition to his own
manner begins with the Good Samaritan in the National
Gallery.

s It is true that one portrait by Tintoretto at Hampton
Court, No. 114, is also dated 1545 (reproduced by E. Law,
Masterpieces of the Royal Gallery at Hampton Court, Lon-
don, 1904, and by F. P. B. Osmaston, The Art and Genius
of Tintret, London, 1915, pi. cxv). But this portrait throws
so little light on the earliest manner of Tintoretto, that it
need not be taken into account in this connection.

7 On Aug. 22, 1539, he signs as witness to a will, in the
v.'ords " Maestro Giacomo depentor sul champo de san
Chasan." (cf. Italicnische Forschungen hcrausgegehen vom
Kunsthistorischen Institut in Florenz, IV., Berlin, 191 1, p.
126). It is unusual for an artist to refer to himself as
" maestro," and probably to be accounted for by the fact
that the youth of one-and-twenty proudly wished to emphasise
that he already was an independent master.

21 I

sider the early works more as a whole, and so
attempt to trace the artistic forces leading to
the masterpiece, the Miracle of St. Mark, in the
Accademia at Venice, which was painted by
Tintoretto in 1548, when he was not yet thirty.

We can find a convenient starting point for
our inquiry in a picture which can be dated, the
Contest between Apollo and Marsyas [Plate

I, a], which belongs to Col. W. Bromley
Davenport,' and as has already been surmised
by other writers,' is one of the ceiling pictures
which Tintoretto executed for Pietro Aretino
in the first months of 1545-''' The companion
piece, now missing, represented Mercury and
Argus. The view that Col. Bromley Daven-
port's picture is the one painted in 1545 for
Aretino is supported by various considerations.
The style makes it clear both that the picture
is by Tintoretto and that it must have been
painted some years before the Miracle of St.
Mark. The breadth of treatment points to a
definitely decorative purpose, and the rounded
corners, never found in wall paintings of this
period, argue very strongly in favour of its
having been intended to take its place in a
scheme of ceiling decoration.

The picture is peculiarly noteworthy for
another reason. It has a certain hetero-
geneousness of character. Certain passages,
like hands and draperies, are evidently
painted without effort, with a sort of flow
and ease, though at the same time some-
what coarsely. On the other hand the deli-
beration of the postures speaks clearly of the
effort their invention must have cost the young
artist. How artificially is Apollo posed ! If
we examine the figure more closely we feel sure
that it owes less to an instinctive feeling for
natural form, than to a close study of a studio
model. And as a matter of fact we find in one
of the earliest drawings by Tintoretto [Plate

II, b] in the Library of Christ Church, Oxford,
a male statue posed almost exactly in the
same manner as the Apollo, alongside a study
from a Venus torso. After this discovery it is
permissible to surmise that other figures in this
ceiling painting are also derived from sculptural

8 Size 4 ft. 6 in. by 7 ft. 9 in. I have not seen the picture,
but have been able to study it from a large photograph,
which I owe to Mr. Berenson. Possibly this is the picture
which Sir Dudley Carlton, the English Envoy at Venice in
1610-1615, describes in 161S in a list of his pictures as
follows : " The Contention of Mars (sic) and Apollo con-
cerning music by Tintoretto Vecchio.' Cfr. W. Noel Sains-
bury. Original Unpublished Papers of Rubens, London, 1859,
p. 46. It is true that the dimensions — height 5 ft., width
7 ft. (Antwerp), do not quite tally, but, as is well known,
old statements of sizes are rarely accurate.

9 H. Thode, Tintoretto, p. 27, and F. P. B. Osmaston,
op. cit. ii. 183.

1" In February, 1545, Aretino sent Tintoretto a letter of
thanks for the two ceiling pictures which had been painted
in a very short time, and evidently had only just been com-
pleted. Cfr. Pietro Aretino, Le lettere, ed. Paris, 1609, vol.
iii, c. no verso.

models. The way, for instance, in which Minerva
is seated, and the drapery arranged over her
knees, is sculpturesque and reminds one more
particularly of the seated Madonna statues by
Sansovino.

There is nothing surprising in this fact,
since we know through a contemporary
of Tintoretto, Borghini," that the young
painter eagerly drew sculpture whenever
possible; the picture merely confirms a
fact revealed by literary tradition. But now
it is our business to explain the deeper
cause of this keen, and in a contemporary Vene-
tian painter's atelier, rather unusual study.
Tintoretto evidently recognised very early that
the mechanical adoption from prints and draw-
ings of contrasted postures and other sculp-
tural motives did not carry one far, that it was
necessary to penetrate to the source itself if one
wanted to get to the heart of the problem
that Roman-Florentine Mannerism had set the
younger generation of Venetian artists.
Through its descent from Michelangelo this
Mannerism insisted on the essential importance
of plasticity, a real sense for which the student
could acquire, only when he had accustomed
himself, not only to realise as a painter does
the surface appearance of a body, but also to
apprehend its volume. Tintoretto must have
been specially gifted by nature for this kind of
vision, and not only his vision of the individual
figure, but, as we shall see, his whole pictorial
conception was from the outset a special and
plastic one, and hence essentially different from
that of Titian.

In Col. Bromley Davenport's picture, this
particular conception is not quite so definitely
marked as in other early works, because Tin-
toretto's task was in that instance a strictly
decorative one, the special demands of which
he had to take into account. Therefore we had
better illustrate his peculiar method of pictorial
design by other examples of the period. In
the Dresden Gallery" there is an elaborate pic-
ture of the Adulteress before Christ, which in-
cludes groups of sick people come to be healed

'1 Raffaello Borghini, II Riposo, original edition 1584, 1730
ed. (Florence), p. 450 sq.

12 No. 270A, 1.89 by 3.5,sni. The picture came to Dresden
in 1749 from the Imperial collection in Prague. We know
that the Hapsburgs acquired several pictures, from the collec-
tion of the Duke of Buckingham, which had been sold by
auction at Antwerp in 1648. We therefore think it almost
certain that the picture now at Dresden is the one which
previously was in London and is described as follows : " A
large piece, wherein the woman taken in adultery is brought
before Christ and some sick persons are presented to Him
to be cured. Length 6 ft., breadth lift. 3 in." Cfr. The
Duke of Buckingham's collection of pictures, etc., London,
printed for W. Bathoe, 1758, p. 10, No. 3.— H. Thode, op.
cit., p. 5, reproduces a picture which gives the composition in
reverse, and states that this picture is in the Prado at
Madrid. That is, however, an error. The picture is in the
dep6t of the Budapest Gallery, and is not an original, but a
copy after the picture in Dresden.

212

C — The Aihilicrcss bcjorc ClinsI, hert- identitied as by Tintoretto. Canvas, 1.82 m. by 3.35 m. (Dresden Cialler\)

D — Christ ul Emmans, lu-re itlcniilied as bvTintoretto. Canvas, 1.37 ni. by 2.03 m. (Budapest Gallery^

Plate III. Early Works by Tintoretto— I

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[Plate III, c]. Here one clearly realises the
earnestness with which Tintoretto has built up
figure after figure in the foreground in strongly
plastic relief. Indeed he has done so in almost
too noticeable a fashion, as is natural enough
in a young man, who, in his eagerness, does
not quite know how to keep his measure. Now
the natural consequence of the strongly accen-
tuated volume of these figures was that they
demanded not only spaciousness but above all
depth ; in other words a stage on which
these solid figures could really seem to
stand and move about. In the course of
this striving after a stage-like effect, a second
tendency, of very different origin, unites with
the plastic one of which we have spoken — a
tendency towards greater illusion. While
Titian was a classicist in the sense also that he
preferred to depict a transfigured ideal, very
different from reality, Tintoretto aimed from the
first at representing his scenes as convincingly
as possible, at confronting the spectator with
something almost like a real event. This illu-
sionist tendency is essentially a form of realism
based on the riot strictly classic. North Italian
striving towards a closer contact with life. In
many small but significant ways Tintoretto's
deep interest in realism may be seen. In his
depiction of that nude invalid whom Tintoretto
has been at such pains to represent, Roman
fashion, in a " difficilissimo scorzo," he subse-
quently painted bits of dressing on the wounds,
and gave him dust-stained soles — naturalistic
whims at which a Vasari or a Salviati would
doubtless have shaken their superior heads.
But perhaps they would have understood and
approved still less of the shadows of the figures
on the floor painted intensely green, the figure
in the dusky middle distance suddenly depicted
without either drawing or modelling, colour
alone surviving, colour such as the purple grey
of a flesh tint under the dull glistening of a

SOME PORTRAITS BY PIETER DUBORDIEU
BY W. MARTIN

N visiting the Worcester Art

Museum last year, my attention

was drawn by the Director to the

life size Portrait of a Woman,

dated 1631, by an unknown painter,
shown on Plate I, A. Its bold and heavy
touches, and the decorative manner of its treat-
ment in places, suggest at first sight rather a
Flemish than a Dutch master. The sharp edges
of the lips and eyelids, the picturesque lace
sleeves and collar, partly hanging over and
partly turned up, caused my thoughts to turn
to Pieter Dubordieu, and on my return to Hol-
land I found this confirmed by the data and
photographs available there.

golden helmet.

Another element present in Tintoretto's work
from the beginning, and which further contri-
butes to distinguish it from Titian's idealistic
rendering of a situation, is his preoccupation
with momentary occurrences. A characteristic
example of this is a picture" in the Budapest
Gallery. It bears no name and is quite vaguely
given to the Venetian school of the sixteenth
century ; but it is clearly a very early work by
Tintoretto [Plate III, d]. Just think of Titian's
Christ at Emmaus in the Louvre, with its great
calm and solemnity, even the amazement at the
recognition of Christ being only hinted at in
the attitude of the two apostles. But Tin-
toretto's version is filled with violent agitation.
One of the apostles, seen from behind, catches
convulsively at the table, the other turns eagerly
to the host. And in order to increase the rest-
lessness, other figures are introduced in lively,
contrasted motion — a maid who takes a jug
from the boy, an older lad who at the very
moment when the Saviour asks a blessing,
offers Him a plate of sardines. Such a concep-
tion may be shocking, but it is anything but
frivolous. On the contrary Tintoretto's wish
was to illustrate a scriptural episode in- a way
calculated to compel belief on the part of his
public, a public simple like himself, whose
naivete he felt had to be impressed by very dras-
tic methods. In the Bible, reference is made
to a village inn, and Tintoretto felt compelled to
represent in his picture a " trattoria " occupied
by humble people who react violently to sur-
prises. Like everything youthful, the new con-
ception asserts itself with violence, all the more
so as it is not yet completely the master of a
technical means of expression, so that many an
idea emerges more crudely and loudly than was
intended.

1' No. 144, 1.57 by 2.03 m.

(To be continued.)

Indeed, one has only to compare it witii the
woman's portrait' on Plate I, b (the property
of Jonkheer van Lennep, of Heemstede, near
Haarlem), which bears Dubordieu's monogram
with the date 1639, to feel sure of their common
origin. The treatment of the features is just as
characteristic as the turning up of the edges of
the lace collar and sleeves, although the signed
portrait, painted eight years later, is a more
thorough piece of work and is painted less in
the French and more in the Dutch manner.

Pieter Dubordieu was a Frenchman, he was
born in i6oq or 1610 at I'lsle de Bouchard in

1 Reproduced and described in " Meisterwerke der Por-
trait-malerei aiif der Ausstellung im Haaij, 1003. Herausge-
geben von C. Hofstede de Groot, Munich, Bruckmann, 1903."

217

Touraine, and died after 1678; he came to Ley-
den about 1630; from 1636-1638 he worked at
Amsterdam and then again at Leyden.' Among
other worlvs he painted many of the professors
at the University of Leyden. He must have
come to Leyden, just as so many of the French
painters who hved there had done, such as
Durispy and Rembrandt's pupils, Jouderville
and Jacques de Rousseau.

Dubordieu's worl< exhibits a curious mixture
of the French-Flemish style of drawing and
brushwork, and also shows the influence of
Rembrandt's light effects. The portrait at
Worcester shows how Dubordieu, who had
been established for just over a year at Leyden,
modelled his heads after the French manner,
and yet was inspired by van Dyck, as will be
noticed, in the attitude of the body and hands.
In the portrait at Heemstede, painted eight
years later, we see how, while he continued to
aim just as much at plasticity as at the very
beginning, his painting had technically become
almost completely Dutch and his light effects
thoroughly Rembrandtesque.

Two other portraits, hitherto unidentified, I
would also, on the basis of the foregoing, attri-
bute to Dubordieu. First, the very attractive
portrait of a girl, on Plate H, d, from the
Stephan von Auspitz collection at Vienna,
to which my assistant. Dr. H. Schneider,
drew my attention. Here too we have
that sharp delineation of the eyes and
lips, the turned up edges of the collar and
the Rembrandtesque light effect, while the

2 For full details sfe Thieme-Becker, Allgemeines Kunstler-
Ipxicon, in verbo Dubordieu.

A LANDSCAPE BY BUNSEI IN
BY RIKICHIRO FUKUI

'HE name of Josetsu is well known
as that of one of the greatest pio-
neers in the domain of Ashikaga
Idealistic painting. But we now
.^ know of only one authentic speci-
men, the far-famed " Hyo-nen," or " Catfish
caught with a gourd," for many pieces formerly
attributed to him have been found either to be
mere forgeries or to belong to other masters
whose work bears some resemblance to his both
in age and style. Now the seal of " Bunsei
^ ^ " is to be seen on almost all so-

iThis short essay on an important Japanese painting in
the collection of the Boston Museum, may serve, it is hoped,
as an expression of mv deep sense of gratitude to the Staff of
the Department of Chinese and Japanese Art of that institu-
tion, through whose Uindncss I have been enabled to satisfy
a long-felt aspiration to study the famous collection pre-
served in their care. I am obliged also to Miss Chapin, of
that department, for the trouble she has taken to polish my
poor English.

Boston, August 13, 1922.

somewhat incrustated treatment of the embroi-
dery is entirely the same as in the signed
Dubordieu on Plate I, b.

Having fixed the date of the Dubordieu in
the von Auspitz collection as about 1640, we
may attribute the fourth painting by this master,
which we submit to readers [Plate II, c], to his
first Leyden period, the work in this case
being nearly entirely French. The peculiar
turn of the eyes and the acutely observant look
suggests that the work is a self-portrait. Here
again we have the slightly turned up lace on the
shoulders and the same treatment of the eyes
and lips, while the influence of Rembrandt is
unmistakeable. So much so that the former
owner, the well-known art historian, Victor de
Stuers, now deceased, regarded the work as
Rembrandt's.

Dubordieu is one of those comparatively
little known, though so greatly gifted portrait
painters of whom Holland had so many in
those years, and whose works appear under all
kinds of names. That at Worcester was said
to be Flemish ; that at Vienna was called Mor-
eelse or Ravesteijn ; that in the de Stuers col-
lection (now the property of Jonkvrouw Alice
de Stuers) was regarded as a Rembrandt. It
is only by devoting one's attention to the
various manners of painting that were intro-
duced into Holland from about 1590 (a period
during which all sorts of painters came from
Antwerp, France and Germany to Holland),
that one solves these problems. Every day new
traces are appearing of paintings done in some
mixed style such as that of the early pictures
by Dubordieu.

THE BOSTON MUSEUM'

called Josetsu specimens, while the genuine
painting has neither his signature nor his seal,
its authenticity being assured only by a eulogy
written upon it. Of course the genuineness of
the seal in such pieces is out of the question,
and a more fundamental problem is whether or
not the seal itself belongs to this artist.

Although this seal has been ascribed to
■Josetsu since the publication in 1693 of Kano
Eino's Honcho gwashi ("National Painters") —
one of the oldest and most trustworthy works on
our ancient artists — we can easily assert that
this ascription is a mistake, and that there was
another painter whose name was Bunsei, who
was unfortunate enough to be forgotten for a
long time, even his own seal being taken for
that of a famous master. This fact has been
positively proved by the examination of several
paintings, among them a fine specimen, the por-
trait of Yuima in Mr. Tomitaro Hara's collec-

218

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tion [Plate, b]. It bears the seal of
Bunsei, and an inscription which states
that it was painted in the first year of
Choroku (a.d. 1457) — certainly half a cen-
tury after Josetsu's death. But as for-
merly this portrait was thought to be unique,
and as it seemed too great a work to be attri-
buted to an unknown artist like Bunsei, the real
existence of this painter has been until now
doubtful, even the simple style of the seal,
though common in those days, being a ques-
tionable point, because of the ease of forging it.
Last summer I was ordered by the Govern-
ment to examine the treasures of the Daitokuji
temple, where I found two portraits with the
seal of Bunsei. They are so-called " Chin-so "
— that is, portraits of Zen monks — one being the
portrait of Yogi, a famous Chinese Zen priest,
while the other represents a priest of Daitokuji,
a contemporary of the artist's, by name Yoso,
inscriptions by whom are on each piece. I took
special interest in the facts that the style of the
seal was the same as that of the one found on
the portrait of Yuima belonging to Mr. Hara,
and that even the date given in the inscription
on Yoso's portrait indicated exactly the same
era. After a close study of the line used in
these newly-found pieces had yielded me con-
siderable insight into what seems to me the
work of an original artist, I became convinced
of the existence of a painter called Bunsei, who
flourished one generation after Josetsu. He
has, I think, a good claim to a position among
our early Ashikaga masters, though his name
has never been mentioned in literature except
under the mistaken appellation Josetsu. In
February of this year, I presented these two
specimens to the general meeting of the " Com-
mittee Concerning the Preservation of the Old
Shrines and Temples," and they are now regis-
tered as " National Treasures," Bunsei being-
recognised as their painter.

The world already has a settled opinion upon
the artistic excellence of the portrait of Yuima
by Bunsei, though its historical significance is
recognised now for the first time. The two
specimens newly found seem to be inferior to it,
but since the portrait of the monk Yoso is that
of a contemporary of the artist, it may be
thought to illustrate his true merit as a portrait
painter more clearly than the other two which,
so far as their subjects are concerned, are no
more than copies of Chinese originals. How-
ever this may be, it gives us great pleasure to
get a clear conception of one side of Bunsei 's
work through such a fine set of portraits. In-
deed, we now know Bunsei better than Josetsu ;
but is it right to say that he was a special artist
who used solely the method of portrait
painting?

There are many landscapes with the false seal
of Bunsei attributed to Josetsu; they might tend
to show that Josetsu was a landscape painter,
but they have notiiing to do with our artist,
because they are forgeries of Josetsu and not of
him, the seals of Bunsei found on them being
forged ones copied from the source of the
Honcho-gwashi. The question now arises as to
whether all the so-called Josetsu landscapes
bearing Bunsei 's seal are forgeries, among
them the famous painting in the collection of
the Museum of Fine Arts, Boston [Plate, a].
We may confidently say that this is not the case ;
the latter picture constitutes the only exception
known, and we take great pleasure in adding
another to the three paintings by Bunsei already
described, especially since the last one is a land-
scape and may, for that reason, be called a real
discovery.

"A Josetsu landscape from the Kobori Enshu
Collection " — so states the handbook of the
Museum. I feel, however, no hesitation in
ascribing this picture to Bunsei, because the
connoisseursliip of the seal, which is very easy
and sure, is decisive in this case. Needless to
say, the true seal of Bunsei was so long con-
cealed that no one had the opportunity to make
a copy from the original. Mere identity with
its standard, therefore, is good evidence for its
genuineness. But we must further investigate
the style of the painting in order to reach a final
conclusion.

This landscape leads me far away to my
native land, and appears to me like a dream
here in the bustling town of Boston. In a
straw-thatched house which stands near the
water, a hermit leans against a window, enjoy-
ing a distant view; on the opposite side near a
rural gate is a boy looking off in another direc-
tion. This scene may be thought trivial, and
indeed views of the sort — a tall pine tree in the
foreground and a cluster of bamboos and other
trees near a cottage — are very common in land-
scape paintings of the Ashikaga period. It is
the composition as a whole that gives us a
special impression felt now for the first time ;
and secondarily, a peculiar treatment of detail
appeals to our eyes.

In the strong black and white impressionism
cherished by followers of Zen thought, we find
such a principle as might be called an enthy-
mematic syllogism in painting, by which I mean
an extreme simplification or omission which is
rational and makes the statement more compre-
hensive. This is especially the case with the
so-called " grass-hand "—or free and impres-
sionistic— landscape. But our work, though a
tvpical example of the " square style " — or less
broad manner — nevertheless remains a good
embodiment of this principle. It represents a

221

corner of land with a lake view, but the main
portion of the land itself is cut out from the
scene : the major premise is omitted. From
this suggestiveness comes a strong concentra-
tion. When we look further, however, to a dis-
tant view apart from the scene near at hand,
we are sliglitly surprised to find not a little
minuteness. An old man and his younger com-
panion are returning to their home which is,
perhaps, in the grove yonder ; a high mountain
beyond the wood stands out more strongly than
is usual. In a word, the distant view is not a
mere formal one as often happens; subordinate
as it is, it yet plays an important part in filling
out the space left in the foreground of the pic-
ture. With the sage in the cottage, the spec-
tator looks out over the lake ; with ttie boy at the
gate, he views the countryside; and with the
two figures in the background, he wends his
way homeward from the water's edge, he knows
not when or how. Probably such a union of
fore- and backgrounds is very rare, though the
result is a peculiar manifestation of the funda-
mental principle of omission. One sees here a
trutn of nature through the eyes of a Zen artist.

As for the colour composition of this work,
we find a rather usual scheme, the so-called har-
mony of a dominant hue. But the excellence
with which the strong black line is accentuated
in the delineation ot the tall tree and in the
shadow of the huge rock baffles description ;
needless to say, the centre of the linear com-
position is thus made more distinct and effective,
rhere is a peculiar softness in the nuances of
black with certain delicate undertints which pro-
duces the effect of a lakeside atmosphere.

Studying this work in a more detailed manner,
we may find some of the characteristics of our
artist. The commanding pine tree reminds us
of Shubun. Some of the brushwork on the rock
and the cluster of trees seems to have a particu-
cular analogy with that of Geiami or Keishoki.
With jasoku, a more typical similarity will be
observed in the treatment of the distant view.
In spite of all these corresponding points, how-
ever, no doubt can exist that this work is no
amalgamation of the work of those masters : a
consistent unity of style appears even in the
bend of the branches and the shape of the rocks.
The style is sincere and refined, though not so
masterful as that of Shubun or Geiami. We
feel as if we were talking with a Zen priest, who
describes a poetic landscape with gentle but
comprehensive words. Even if we did not know
who the artist was, examination would, I think,
convince us that in spirit and technique he
could be no other than a pioneer in the field of
Ashikaga landscape. Sincerity, as in the bloom
of youth, is his merit, but we see also in his
work some reminiscence of a precursor of whom

he was an adherent.

Let us now consider a few points in regard
to the portrait paintings of our artist. In the
portraits of Yuima and Yogi, we find a few
traces of a Chinese prototype, as we mentioned
before. Bunsei's masterpiece in this domain of
art is the portrait of Yuima and not that of
Yoso, though the latter sat in person before the
artist. All these considerations lead us to be-
lieve that Bunsei was not a sufficiently great
artist to maintain his original characteristics
strongly and evenly impressed in all his works.
And this is indeed a true feature of Bunsei's
work, for he belonged to too early a period to
be so mature as Shubun or Sesshu. As for the
relation between his portraits and this landscape,
we can not easily realise, in comparing the two
different kinds of work, the identity of their
source in one man. And, in any case, a single
specimen of landscape painting is scarcely suffi-
cient basis on which to form a conclusion. We
can, however, safely acknowledge that the pain-
ter of the portraits may also be the artist of this
landscape. Though there is no positive proof
as regards the style on which to base our
opinion, no disproofs exist, and at least the unity
of the age of their production and some con-
sequent community of treatment and of spirit
may be conceived as supporting the theory of
their common origin, though these considera-
tions are too vague in themselves to lead us to a
wholly definite conclusion.

After all it is the seal of Bunsei which fur-
nishes us testimony sufficient in itself to enable
us confidently to attribute this landscape to
Bunsei, while examination of the painting at
least tends to corroborate this view. Important
as it is, the seal is very simple, and, I believe,
deserves to be fully described here. It is the
so-called " square seal with red letters," an im-
pression taken from a wooden seal. Its size
and certain peculiar features of the calligraphy
— for instance, the formation of the character
"tsuki ^ " in " sei jf " and the cur-
vature of the under part of the character " Bun
3C " — which are not exactly reproduced in
forgeries copied from the Honcho-gwashi, make
it easy to detect false seals from the genuine,
since there seems to be but small chance for a
forgery to have been made from Bunsei's origi-
nal seal. The seal is about 20.6 cm. square.

As for the artistic value of this landscape,
something has been demonstrated during the
preceding examination of its style, but it would
be necessary to consider the whole field of Ashi-
kaga Idealistic painting in order to define its
relations fully and to come to a more elaborate
conclusion. It may well be a delicate question,
and is, at any rate, beyond the scope of this brief
article. I may say, however, that I am inclined

222

A — Landscape, here identified as by Runsei. On paper, 73 cm.
by 32.7 cm. (iMiiseum of Fine Art.s, I^o.ston, U.S.A.)

i^-i0J^

tmmmm^^'

;r.^; ^(f^^•
fi^ ^ -i'

)^^-^

^^ft

^^■^.tV^^iA

^*1 ^^ J, ■ ^'>

^^^'t?*

!-«

/i — Portrait of Yuinia, by Hunsei. 1457. On paper,
92.7 cm. by 34.6 cm. (IMr. Tomitaro Hara,
Yokohama)

A Landscape by Biinsei in the Boston Museum

:?■

A — (a) Cup, 1657-8, (b) Miniature cup, probably by
John Sharpe. Jacobean, about 1620

B — Set of six spoons, 1(352-3. Engraved
with crest and monoeram

C — Cup, once tlie property
of Barnaul's Inn. About
161 7-8

7) — Chalice with paten cover, bv F — Snuff box, made in Dublin in 1801
John Plummer. York plate of 1602-:! and engraved with the names of the officers

of the 38th Foot (ist Staffordshire Regi-
ment)

The IJovd Roberts' Bequest of Old English Plate to Manchester

to believe that this work stands artistically, as
well as historically, on a level with the famous
" Hyo-nen " of Josetsu.

In conclusion, to say a word about our artist
himself, we know nothing of him from any men-
tion in literature, and from the inscription on
his works we learn nothing further than the
period of his activity. But the fact that two of
his works, made possibly one for Yoso and one
for a pupil of his, still exist, and especially the
fact that one is a portrait of the priest Yoso
himself, may be interesting testimony to the
friendly relations between our painter and the
Daitokuji priests. Our imagination is carried
still further by a consideration of the relation of
Kobori Enshu, a famous tea master in whose
collection this landscape was, with Daitokuji,

for his name has long been connected with that
of Kohoan, a monastery in the precincts of that
temple. Be that as it may, Bunsei was prob-
ably a priest-artist, connected in some way with
Daitokuji. It is a curious fate which enriches
with the single specimen of his landscape paint-
ing known to us the collection of the Boston
Museum, to which belong also ten paintings of
the far-famed Daitokuji Rakan set. It seems
to me that Bunsei 's landscape, though of a
different kind, may be estimated as highly, both
artistically and historically, as these famous
paintings of Rakan. No one, indeed, who
makes a serious study of Ashikaga painting can
dispense lightly with this work ; and I feel it an
honour to look for the first time upon a unique
landscape by a great and long-forgotten artist.

THE LLOYD ROBERTS BEQUEST OF OLD ENGLISH PLATE

TO MANCHESTER

BY E. ALFRED JONES

HE bequest of the late Dr. Lloyd
Roberts of Manchester of the whole
of his collection of Old English
Plate to the Manchester Art Gallery
and Museum is a notable addition of
a branch of English craftsmanship hitherto un-
represented there. The sixteenth century is
represented by three pieces, all chalices of the
conventional forrn introduced into the service of
the Church of England after the Reformation.
One was made in London in 1569 and the others
at Exeter, in 1575 and 1576. There are also
several Apostle and Seal-top spoons. Among
objects dating from the seventeenth century are
bleeding bowls of the years 1654-5 and 1697-8,
a paten of 1637-8, a caudle cup of 1659-60, a
beaker of 1675-6, a plain plate of 1685-6, and
candlesticks of 1685-6 and 1691-2, as well as a
considerable number of Apostle, Seal-top and
other spoons illustrating fashions in vogue dur-
ing that century, especially from Charles II to
the accession of Queen Anne.

Of the 315 items, the six following specimens
have been selected for illustration : a plain cup
on a tall baluster stem, a well-recognised type of
Jacobean and Carolean times, dated 1617-8,
and interesting as one of the trea-
sures scattered abroad at the dispersal
of the property of the defunct Barnard's
Inn, one of tiie old Inns of Chancery.
Engraved on the cup are the initials and arms
of the donor, one G. Neale. [Plate, c]. The
second piece is a plain Commonwealth cup of
1657-8 [Plate, a (a)]. In the collection is an
earlier cup of similar form, dated 1639-40, and
engraved with these initials and date :

H. I.

J. R.

1646.

The third is a rare miniature cup
of Jacobean type, wrought at Youghal in Ire-
land, probably by John Sharpe in or shortly
after 1620. [Plate, a (b)].

Among the spoons the set of six of the Com-
monwealth period, dated 1652-3, may be de-
scribed as exceedingly rare if not unique. They
are engraved on the backs of the bowls with a
lion crest, in a contemporary laurel wreath, and
on the handle ends with a monogram. [Plate, b] .
A single spoon of the same form and engraved
with the same crest, but unmarked, is also in the
collection.

A chalice with paten-cover, engraved with a
conventional band of strap-work and foliage, is
of interest chiefly as an example of old York
plate, wrought in the year 1662-3 by John
Plummer (a member of a well-known family of
goildsmiths of York) for Christ's Church, in
King's Court, in that ancient city, and as a late
survival of the shape and decoration of the con-
ventional Elizabethan chalice. [Plate, d]. The
name of the Church and the date, 1662, are
engraved upon this chalice, which was sold some
years ago by the custodians.

The last piece is a curious snuff box, divided
into four compartments for four kinds of snuff —
Lundy, Scotch, Rapee and Mackoba — and en-
graved with the names of the officers of the 38th
Foot (or ist Staffordshire Regiment) and the
date, 4 June 1801. Two of these officers were
native-born Americans, namely, Lieut. -Colonel
Spencer Thomas Vassall (who was mortally

227

wounded in the storming of Monte Video in
February 1807) and Major John Lindall Bor-
land, both from Massachusetts. This relic of
the old custom of snuff-taking was made at Dub-
lin in 1801 when this regiment was stationed in
Ireland. [Plate, e]. One object worthy of
mention is a plain tankard with a domed cover
of the year 1667-8, the gift of William Mans-
field to the Society of Ticket Porters in the City
of London.

Although this bequest is not noteworthy for

CHINESE TEMPLE PAINTINGS
BY ARTHUR WALEY

N the year 845 a.d. the Emperor Wu
Tsung, discovering that China sup-
ported an excessive number of Budd-
hist clergy, compelled nearly 300,000
of them to return to their lay occupa-
tions. Four thousand six hundred temples were
pulled down in the large towns and forty thousand
in the country.

In his Records of Painting in Successive Ages,
published in 847 a.d., Chang Yen-yuan gives a
list of the principal works of art (mainly wall-
paintings) which were to be seen in the temples
of the two capitals (Ch'ang-an and Lo-yang) be-
fore the cataclysm of 845.

Technique
In addition to wall-paintings (both coloured
and in black and white) he mentions paintings on
silk, on wooden wall-panels and on panels open-
ing out from the wall. Not a few were unfinished ;
some had been unskilfully coloured by workmen.
Such remarks as " spoilt by workmen," " colour
spoilt," etc., constantly recur.

The mention of paintings in black and white
by Wang Wei is of interest, as he is credited
with the invention of this technique.
Subject
A few Taoist pictures are mentioned, but most
of the religious paintings are Buddhist. The
author's interest in Buddhist iconography was
evidently slight. His descriptions are often
vague; thus, " A Deity," " An Assemblage of
Deities," " Spirits," etc. He mentions " a Bod-
hisattva on a lion and another on an elephant "
without identifying them as Samantabhadra and
Manjushri.

Where the subjects are named they correspond
to a marked degree with those of the paintings in
the Stein Collection. The commonest are: (i)
Illustrations to the Lalita Vistara, (2) The Death
of Buddha, (3) The Manifestations of Hell, (4)
Mandalas of the Diamond World and Western
Paradise, (5) The Visions of Queen Vaidehi, (6)
The Hindu deities Indra, Brahma, etc., the Loka-
pala Vaishravana, (7) The Miracles of Maitreya,
the Buddha to Come, (8) The Eight Princes dis-

many rare examples of old English plate, the
bequest will be warmly welcomed by the citizens
of Manchester as a solid nucleus for a Museum
collection. Moreover, craftsmen and students
and others may derive practical lessons from the
simple dignity and beauty of form of many
objects in the comprehensive range of eighteenth
century plate. Dr. Lloyd Roberts also be-
queathed to the Museum a notable collection of
old English glass, including several specimens
of Jacobite and other rare glasses.

tributing relics of Buddha's body (this subject is
also illustrated in a wall-painting at Tung-huang),
(9) Ascetic priests, (10) A set of Illustrations to
the " Record of Western Countries " is also
mentioned.

The temples were not exclusively decorated by
religious paintings. Many landscapes are men-
tioned; also pictures of pine-trees, peacocks,
dragons, tigers, " denizens of the deep," etc.
At the Temple of the Great Cloud at Ch'ang-an
was a painting of "Various Beasts of the Wilder-
ness" attributed to Chang Hsiao-shih (Giles,' p.
44), famous for the fact that " having died, he
came tjo life again."

Artists
(i) Chang Seng-yu (Giles, p. 30).
The Ting-shui Temple- contained three wall-
paintings of Indra by this celebrated sixth century
artist, all imported from elsewhere.

At the T'ien-kung Temple (Lo-yang) two
Bodhisattvas on wooden panels, brought from
the south.

(2) Wu Tao-Tzu's pictures are frequently men-
tioned ; for example, a famous set painted by him
in the Dhyana Hall of the Ching-ai Temple at
Lo-yang in the year 722 a.d. : "Illustrations of
the Sun-treasure and Moon-treasure Siitras "
(Nanjo's Catalogue 62 and 67), "Buddha's Life,"
and the " Retributions of Sin." The last was
drawn by W^u, but finished by Chai Yen, a
famous colourist, who closely followed Wu's
style.

"Illustrations to the Diamond Sutra" are also
mentioned. " On the north wall of the east
aisle of the Great Hall at the T'zu-en (" Merciful
Favour") Temple there is an unfinished picture
supposed to be by Wu. But when one looks
close, one sees that it isn't." The same might
be said of most of the pictures attributed to him
to-day.

Of Wu's pupils the most frequently mentioned
is Lu Leng-ch'ieh (whom Giles on p. 53 calls Lu
Leng-chia, a pronunciation inconsistent with his

1 History of Chinese Pictorial Art, second edition.
' The temples referred to were at Ch'ang-an (modern
Sianfu) unless otherwise stated.

228

A-Po„„:, ..ere ide„.i6ed as by Tiepo.o. C».v»s, 584 cm. by 47 cm. (Mr Max Ro.hschMd)

Plate I. A Tiepolo Portrait

own dictionary, and on p. ig6 confuses with
Mount Langka in Ceylon). He painted Hell
Scenes at the Ch'ung-fu Temple, a Death of
Buddha with inscription at the Pao-i Temple, two
very large paintings one on each side of the
Middle Gate of the Avatamsaka Temple, etc.

Wu's disciple "Mr. Li" (personal name un-
known) painted illustrations to the Suvarna Prab-
hasa Sutra at the Hsing-t'ang Temple.

(3) Han Kan (Giles p. 61).

This is the artist to whom the British Museum's
" Boy-rishi riding a Goat " was formerly attri-
bued. The Hsing-t'ang Temple preserved his
portrait of the Abbot Phsing, translator' of the
Tantric Vairocana Sutra, who died in 727 a.d.

Black and white paintings by him are also
mentioned, and " two Bodhisattvas spoilt by
having been coloured by workmen."

(4) Wei-ch'ih I-Seng (Giles p. 44).

A native of Khotan, who came to China and
made his home in the Feng-en Temple at Ch'ang-
an. At this temple was preserved a painting by
him of " the king and princes of his country."
The same artist painted a " yellow dog " and
an eagle preserved at I^o-yang. For this painter,
see Ostasiatische Zeitschrift, 1920, p. 300.

(5) Chou Fang (Giles p. 71).

A picture attributed to him was reproduced in
the Burlington Magazine, XXX (opp. p. 210).
It was not this picture but a similar one which was
acquired by the late Mr. Freer The picture re-
produced in the Burlington is presumably still
in China.

At the Sheng-kuang Temple he painted a
" Kuan-yin by the Moonlit Waters " and the
"Bodhisattva who covers Sin" : haloes and bam-
boos coloured by another artist. Other interest-
ing paintings mentioned are a landscape by Li
Chao-tao (see Ars Asiatica frontispiece) and a
peony by the famous flower-painter Pien Luan.
Calligraphy

The following interesting items may be enum-
erated : (i) an inscription by Wang Hsi-chih, the
most famous of the ancient calligraphers, at the
Ting Shui Temple; (2) an inscription (presum-
ably in Chinese) by the famous Indian priest
Dharmakala who came to China in 250 a.d.;
(3) many paintings inscribed as well as painted
by Wu Tao-tzu ; (4) a painting of cranes bv Hsieh
Chi (Giles p. 44) with an inscription by Ho Chih-

3 In collaboration with the Indian^ prie'^t SubbaUaraslmha.

A TIEPOLO PORTRAIT
BY R. R. TATLOCK

HE portrait on Plate I has been
exercising the ingenuity of critics
for some weeks. A varietv of
theories have been offered which had
only one thing in common, that the

chang, who introduced the poet Li Po to the
court of Ming Huang.

Marvels

" In the Pao-ch'a Temple there is a Bodhis-
attva painting that used to turn its eyes and look
at people ; but the Abbot Wen-hsii spoilt it by
letting workmen paint it over."

There are other stories of this kind; also of
deities appearing to painters, and the like.

"When Yang T'ing-kuang" (frequently men-
tioned in these records) " was painting a picture
of Samantabhadra . . sacred relics of Buddha's
body fell down from Heaven on to his brush-
point." (cf. Giles, p. 53).

The Museum at Hang Chow

The Emperor Wu Tsung's Prime Minister, Li
Te-yu, had once been Governor of Hangchow
and had built here a temple called the Kan-lo
("Manna") Temple. During the Reformation
of 845 this temple was spared at Li Te-yu's re-
quest, and many works of art from other temples
in the district were removed to it. Thus it be-
came one of the earliest " Museums." Among
its treasures were (i) Ku K'ai-chih's Vimalakirti,
removed by Lu Chien-tzii in 825, but afterwards
surrendered to the Imperial Collections. (For
this artist see Burlington IV, 39); (2) a Bodhi-
sattva by Lu T'an-wei (fifth century) ; (3) three
paintings by Chang Seng-yu ; (4) an ascetic by
Han Kan ; (5) tow paintings by Wu Tao-tzu.
Sculpture

The Buddha-hall of the Ching-hai Temple at
Lo-yang was famous for its sculptures. These
included a Maitreya made in imitation of Bodhi-
sattvas as depicted in the " Western countries "
(India, etc.) under the superintendance of Wang
Hsiian-ts'e. The names of two modellers and
that of the artist who gilded the image are given.
In this and other sculptures mentioned " the
haloes and emblems were carved by Liu Shuang, ' '
of whom we know nothing. But Tou Hung-kuo,
who modelled various Vajrapani, lions, etc., in
this temple is known as a painter. He held a
position at Court in the seventh century. The
same temple contained several huge copper
incense-burners, one of them designed by a fairly
well-known painter, Mao P'o-lo; a set of copper
banners designed and made by another known
artist, Chang Li-pa ; and a set of banners painted
on silk, with copper feet, also designed and made
by him.

names found for the work were all great names.
And it is no doubt true that only a first-rate
painter could have expressed himself with as
much vivacity and grace, or could have contrived
to produce as much effect with the same simplicity

231

and economy, or could have divided the rectangle
with the same cleverness. If we were to consider
less what this type of painting is than what it
ultimately led to, we might be a little repelled by
it, but nothing would be more misleading than
to do that.

It will be seen from the illustration that there is
much in the painting of the drapery to remind us
of Tintoretto, and still more, not only in the tech-
nical method but in the vision itself, to suggest
Veronese. And yet it will be agreed that the
work is later than that, though conforming to
the same local culture. A month or two ago Mr.
Roger Fry, after a short discussion of the subject,
threw out the suggestion that the artist might be
Tiepolo; but his departure abroad has prevented
his giving more attention to the matter. Since
then a fuller study of the problem has led to the
confirmation of Mr. Fry's suggestion. Again and
again throughout the oeuvre of Tiepolo a figure
similar to this appears ; so much so that the eye
is baffled by the multitude of attitudes and em-
bellishments which the artist invented for his
too favourite model. Sometimes she even appears
with little alteration of features in the character
of a youth. But in her original guise we find
her depicted in the Alexander and Campaspe
with ApeJles,^ in the Museum at Sigmaringen ;
in the Mcecenas displaying the Arts before Augus-
tus in the Hermitage Gallery ; and perhaps
even as the gaudy angel in the early fresco of
Sarah and the Angel,' in the Pal. Dolfino, in
Udine. Perhaps the picture on Plate II, b, il-
lustrates this best while showing the similarity in
the painting of the draperies.

A figure very like this appears more than once
in the compositions of Sebastiano Ricci, notably

1 Giamb. & Dom. Tiepolo, von Eduard Sack. III., p. 193.

2 Giamb. &■ Dom. Tiepolo, von Eduard Sack. 111., p. 38.

A VAN EYCK FOR MELBOURNE
BY SIR CHARLES J. HOLMES

HE announcement that the Trustees
of the Felton Bequest have acquired
for the Melbourne Gallery what is,
perhaps, the only work by John Van
Eyck which remains accessible to
purchase, is one to be received with no less re-
spect than pleasure. When some little time ago
they purchased a splendid and famous portrait by
Van Dyck, it seemed as if they might be adopting
a standard of purchase as high and rigorous as
that which governed the making of the greatest
collections existing elsewhere. That supposition
is now verified. There is indeed a splendid
audacity in acquiring for a collection, which is
as yet in its infancy, an example of John Van
Eyck : like the audacit)'^ of some pioneer crossing
a great territory to its farthest limit and planting

in King Solomon worshipping the idols, in the
Turin Gallery, but not with quite the same char-
acter and certainly with little of the elegance and
none of the beauty of design of the work before
us. Ricci's colour is also different, being more
schematic, duller and without the touch of oddity
in the very delicate harmony of greys and pale,
liquid tint's of this work. All circumstances con-
sidered, the attribution to Tiepolo appears as
much the soundest. The handling and the
colour proclaim it as an early work, and this
leaves it probable enough that it was a study from
the model which would afterwards be used and
re-used in the course of the busy artist's work on
larger compositions. There is no reason why
several such studies may not have been done, and
such may still exist somewhere, though we do not
know of them.

Apart from its intrinsic beauty the work is a
valuable document. It shows us how Tiepolo
saw his subjects from his early years. From the
beginning he accustomed his eye both while
drawing and while painting, to accept the sort
of generalisation that occurs in nature when the
object is visible through a transluscent atmos-
phere. Even when he drew or painted a head a
few feet away, he delighted to feel in imagination
the details fuse together, the masses broadened
and the colours rarified and made as delicate as
those in a distant prospect. It was his habit of
giving rein to this impulse that more than any-
thing else contributed to his taking to the decora-
tion of lofty ceilings where his airy figures could
impart the effect of being thrust away from the
eye and up from the earth into a spiritual, if
topsy-turvy, limbo by themselves — this just in
the same way as his conjurings with perspective
aimed, too, at giving his groups of cloudy figures
a kind of heavenesque remoteness of their own.

his standard there as evidence of his claim to the
whole of it. Once established in Melbourne, this
Van Eyck must, as it were, establish a terminus
a quo for the future growth of the Gallery. Stand-
ing as a landmark to illustrate the first wonderful
outburst of the craft of painting in oil, it must
inevitably influence the attitude of future Gallery
Directors towards each new acquisition. By its
mere presence it must make impossible the casual
acceptance of trifles, for each offer will have, con-
sciously or unconsciously, to be weighed and
considered with reference to its place in the long
chain of artistic genius and achievement which
lies between the efforts of the present day and
this their remote ancestor. Australia will in-
evitably desire to supply the chief links in that
great chain, and spare no effort to make those

2 "J 2

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links worthy of the jewel with which the chain
begins. But this effort, inevitable in any active
and ambitious community, though it may result
in the making of a superb collection may in after
years be (as I have previously suggested) even
more valuable in the influence which it will
exert upon the National outlook. These tangible,
visible proofs of the achievement of older civilisa-
tions impress the reality of those civilisations
upon us with a force which the noblest creations
of literature cannot exert. And whatever the
material needs of the moment may be in these
comparatively youthful centres of human energy,
their growth must necessarily be casual and cap-
ricious until it is controlled by a consciousness of
past experience, by a recognition of the continuity
of civilised life, and by a true eye for the relative
place in that life which the communities of the
moment occupy.

The purchasers of this little Van Eyck have
thus, perhaps, done more for Australia than we
can at present estimate. At the same time it may
well be a source of legitimate pride that Mel-
bourne will possess the single example of the Van
Eyck's work which exists in the Antipodes, or
in the whole Southern Hemisphere. Indeed, it
will be necessary to travel as far as Philadelphia
to see what Hubert Van Eyck could do, while
as for John he is to be seen nowhere else except
in Europe.

The tiny panel (26.4 cm. by 18.4 cm.) is well
known. It was exhibited by its former owner, Mr.
Weld-Blundell, at the Guildhall in May, 1908,
and was described by that unique authority, the
late Mr. James Weale in the Burlington Maga-
zine for June, 1906 (Vol. IX, p. 184), as well as in
his other books on the brothers Van Eyck. All re-
productions made hitherto have failed to do the
picture justice. It was covered till quite recently
with a thick coat of brown varnish, furrowed with
deep cracks, under which the rich colouring
showed with a certain blurred splendour, but all
delicate detail was hidden. The removal of this
varnish has revealed the painting in a wonderful
state of preservation, indeed some of the little
high lights, like those on the still-life to the right,

seem for the moment almost too brilliant to those
who remember the work in its former mysterious
obscurity. It is dated 1433, and so is contempor-
aneous with our three pictures in the National
Gallery (1432, 1433, 1434), near which, by the
courtesy of its new owners, it will be allowed to
hang for a month or two.

It would be ungenerous to grudge the posses-
sion of such a picture to Melbourne, yet it is
permissible to indulge in a little friendly regret.
For if in point of supreme perfection of tone and
detail the Melbourne Madonna (though a miracle
of craftsmanship) does not quite equal our in-
comparable Arnolfini, it has certain other merits
which our examples of John Van Eyck cannot
claim. The Child is perhaps the most attractive
of all the children that John is known to have
painted. Something of his brother Hubert's love
of beauty survives in the infant's good looks and
fair curls, painted with a Correggio's pleasure
in their delicacy. The design, too, has a breadth
and simplicity worthy of the great Italians, and
amounting almost to grandeur, if the word can
be rightly applied to anything, so minute. The
spreading robe of red is fitted into the picture
space with the most cunning audacity, and the
great pyramidal mass formed by the figures is
redeemed from immobility and made a centre of
living movement by dexterous use of the
waving gold pattern on the brocade which hangs
behind. So vigorous indeed is the flamelike toss-
ing of this pattern that the emphatic verticals
and horizontals elsewhere are all needed to retain
stability. Had Van Eyck ever completed the ex-
quisite St. Barbara in the Antwerp Gallery, he
might perhaps have surpassed this Madonna
design, for there the problem of relating figures
to architecture in perfect harmony is on the point
of being solved. But among the other experi-
ments which this great pioneer of our art has
left to us (for, it must be remembered, all John
Van Eyck's compositions were necessarily ex-
perimental), none is more bold and more feli-
citous in design than this tiny panel. The merits
of the execution will be apparent to all who have
good eyesight or magnifiers.

A GREEK GLASS VASE FROM CHINA
BY jOSE PIJOAN

HE Royal Ontario Museum is an
ambitious building in the grounds
of the University of Toronto. The
top floor has the Natural History
collections installed in show cases
in the brilliant and efficient manner to be found
onlv in America. The other floors of the
Museum are occupied by the Archaeological
collection which was started by one of the men
who " have been over there." In Toronto's

case the man happened to go to Egypt, and
consequently the antiques of the Museum
began with mummies, coptic garments, pre-
Pharaonic implements, casts of temple walls,
etc. One by one classic and Middle-age en-
thusiasts went " over there " too, and the
Royal Ontario Museum soon could boast of
such exhibits as an Augustus Marble Head,
Panathenaic amphores, Valencia ware, a col-
lection of shoes, the wedding dress of a

235

Queen. The Museum seemed fated to grow
into the same sort of depository of miscellane-
ous objects as the other provincial museums
of the world, until during the war, there passed
through Toronto on his way to England, the
wealthy and cultured Tien-Sin merchant, Dr.
George Croft, who became deeply interested
in the institution. Since then, Dr. Croft has
kept sending to Toronto large consignments of
Chinese antiques, for which the trustees of the
Museum pay, when they can, at cost price,
much below the market value.

In one of the Croft consignments composed
chiefly of ceramics and paintings from Tien-Sin,
there came two years ago the extraordinary piece
which is the subject of this note (Plate on p. 250).
It is a glass vase 9 inches high and 10 inches
wide in its widest part Its shape is almost that of
a classic hydria without handles, although rudi-
ments of these survive in the three atrophied
knobs not big enough even to tie the strings
to hold a cover. The vase is dark brown.

of the three medallions, the most interesting
feature of the engraving, bear decorated helms.
Their warrior-like character is weakened by the
long curl on each of the cheeks. Most prob-
ably the artist intended to depict three
Amazons. Two of the helms have a decora-
tion of the flying horse, the other has a snake
as in the case of the helm of the Gonzago
cameo, which these engravings resemble so
much in size and style.

The vase is therefore an important object
with a claim to the serious attention of scho-
lars ; and had it been found in Egypt or the
Near East instead of in China, it would have
given rise to wide interest. As a matter of
fact' its discovery in China, when considered
together with its great antiquity, is more than a
little puzzling. Although it is impossible to
give its exact date and origin, its style points
to the Hellenistic period, and we believe the
most sane guess is to suppose it to have been
made in Alexandria. No glass of any kind has

rather reddish and without irisations. The
whole thickness of the glass seems to be per-
meated with iron salts, which has changed its
appearance to that of bronze, and as the vase
has never been broken, the absence of cracks
and restorations increases this bronze-like
appearance. The transparency of the material
can be realised only when the object is held up
against the light, when also the surface seems
to be rather irregular like blown glass, and the
thickness also to vary. The vase clearly seems
to have been carved from a block of glass in the
same manner as those carved in stone. The
object bears no traces of any earth or mud. If
it was ever filled with earth, it must have been
thoroughly washed before arriving at the
Museum.

The external decoration is of a perfect class-
ical style, and consists of a not very deeply
engraved central band of a large grecas, inter-
rupted by three medallions with a head in each.
The palmettos in between correspond to the
three knobs or atrophied handles. The heads

been found in Southern Russia. If the vase
was made in Syria we should expect it, by all
we know of Syrian glass, to have been blown,
not carved. The land of vases carved in hard
stone was Egypt. The question of when and
why and how it was taken to China we leave to
be answered by Sinologues. Whether it was
one of the importations during the days of
Wuttei, the sixth Han, whether it arrived in
China in a Scythian chariot or was carried by a
Buddhist pilgrim from Bactriana, or by some
Nestorian monk of Khotan, we shall not try to
decide here, but shall satisfy ourselves with
bringing before our readers this photograph
and description of an object that will probably
be regarded as the most important Greek work
yet found in China.

For two years we have been aware of the ex-
istence of the Croft vase in the Royal Ontario
Museum, but, to be frank, we delayed publish-
ing it because we thought it might be a "fake."
We did not for one minute doubt the sincerity
of Dr. Croft; his reputation puts him above all

236

suspicion of having tried to pass a counterfeit.
However, we feared Dr. Croft might have
bought in good faith and shipped to the
Museum he so generously befriends, one of
those international fakes which, when they do
not pass in Greece, go to Syria, and if nobody
bites there, go to Alexandria, and that perhaps
the vase had been taken to the Orient in
modern times from Egypt. We waited
patiently until we had the chance to see Dr.
Croft personally last May, when we spoke
with him at length on the subject. From
our conversation we did not get much
information, but we did learn that the
Croft's vase had certainly been found in

REVIEWS

The Thousand Buddhas. Recovered and described by Aurei.
Stein, K.C.I.E. Introductory Essay by Laurence Bin-
yon. Published by H.M. Secretary of State for India
and the Trustees of the British Museum. 77 pp. of te.xt ;
48 plates. (Bernard Quaritch).

The story of the hidden store in the cave-
shrine at Tunhuang, on the extreme western
frontier of China proper, is one of the most stir-
ring in the annals of archaeological discovery. It
is now too well-known to bear retelling here. Sir
Aurel Stein was the first European to investigate
the mass, measuring some five hundred cubic
feet, of closely packed manuscripts and paint-
ings accidentally discovered seven years before
he visited the place in 1907. The means taken
by the distinguished explorer to obtain posses-
sion, for the British Museum and the new Mus-
eum at Delhi, of a goodly share of these precious
relics are recounted in his " Ruins of Desert
Cathay " and again in " Serindia." Our regret
that Sir Aurel Stein was unable to carry away
the hoard en bloc is tempered by the knowledge
that M. Pelliot in the following year sorted out
his share amounting to about one-third of what
remained. The latter's visit to Peking in 1909
and several published accounts resulted in news
of the relics spreading, and at the end of that
year the Central Government directed the rem-
nants of the library to be forwarded to the
capital. These orders were evidently not strictly
complied with; for in 1911 Mr. Tachibana was
able to acquire at Tun-huang a quantity of
manuscript rolls, and when in 1914 Sir Aurel
Stein revisited it he added substantially to his
collection.

Soon after the hidden hoard was first come
upon by workmen engaged in restoring the cave-
shrine, and before Sir Aurel Stein arrived at
Tun-huang, the find had been reported to the
provincial officials and specimen manuscripts
forwarded to the Viceroy's yamen ; but no action
was taken beyond the issue of a vague order that
the relics were to be preserved in situ. It was
the story of the Nestorian Monument over again.

a Chinese tomb in the province of Honan.
Mr. Croft told us he bought the vase
from a modest Chinese collector, of mandarin
education, who had been supplying him with
the results of his personal excavations in the
necropolis of the vicinity in which he lives, in
the interior. Dr. Croft suggested that the
vase's perfect condition may be due to its
having been walled up within a Tang tomb as
an object precious to the deceased. This was
merely a suggestion, but from the information
offered by Dr. Croft, we rest assured that the
vase in the Royal Ontario Museum was actually
found in China, where it must have been taken
ages ago.

Chinese officialdom showed its customary in-
difference till spurred into activity by foreign
intervention. When at last the bulk of the
hoard left by Sir Aurel Stein and M. Pelliot
was on the road to Peking, pilfering was allowed
to occur at the various resting places, and it
seems unlikely that the best examples ever
reached the National Museum. Certainly fine
T'ang manuscripts were to be picked up for
next to nothing in most unexpected places. The
present writer had several offered to him as
late as 191 2. Had they all been left in Chinese
hands, assuredly most of the collection would
have been dissipated through various channels
into all parts of the world and no such compre-
hensive survey as the work under review would
have been possible.

It is fitting that " The Thousand Buddhas "
is dedicated to the memory of Raphael Petrucci.
This distinguished critic and enthusiastic
student of Far-Eastern art had in 1911 under-
taken to describe the paintings collected in the
Stein expeditions, but the war and his untimely
death in 1917 cut short his labours. His rare
insight and appreciation in this domain are re-
vealed in contributions to the Burlington
Magazine and other publications, and their in-
fluence is traceable in these pages. Happily
Sir Aurel Stein obtained the collaboration of
Mr. Laurence Binyon, who with his usual
charm of expression and his wide grasp of the
subject contributes an introductory essay-

The title " Thousand Buddhas " is derived
from the name given to a series of cave-temples
hewn out of a conglomerate cliff near the oasis
of Tun-huang. The extreme dryness of the
place and protection afforded by drifted sand
and other d6bris blocking up the entrance to the
particular grotto containing the hollowed recess,
in which the relics lay hidden, account for their
perfect preservation during more than ten cen-
turies. Evidence from all sources indicates that
the deposit took place not later than the begin-

237

ning of the eleventh century, probably in face
of threatened danger, and that the hiding place
remained undisturbed till the discovery in 1900.
Though the most distant date found on any of
the pictures is one corresponding to the year
A.D. 864, probably many of the pictures are
much earlier. We are led to this conclusion
partly by the age of the manuscripts, one of
which was found by Dr. Lionel Giles to have a
colophon dated a.d. 406.

The pictures range in height from seven feet,
and therefore size precludes some of them from
being adequately reproduced in book form. This
consideration and the fact that problems of
Buddhist art and iconography appeal to many
who are not equally interested in all the multi-
tudinous results of Sir Aurel Stein's expeditions
led to " The Thousand Buddhas " being pub-
lished apart from the detailed Report entitled
" Serindia." We have here a portfolio of thirty-
three plates each measuring 25 in. by 2oi in.,
twelve of which are in colour; and there are also
fifteen smaller plates most of them coloured. All
the reproductions, three-colour and half-tone,
reach an admirable level of excellence. The
originals are, of course, the pick of what Sir
Aurel Stein carried away, and he took the
greater part of all the pictorial relics preserved
at Tun-huang. This publication thus offers the
first representative criteria for filling the gap in
our knowledge of Buddhist painting between
the fifth and tenth centuries. Indeed, it dis-
closes a hitherto unknown stage in the art while
on its way eastward through Asia. Two extreme
phases at either limit of the progress were al-
ready familiar to us as represented in the
Ajanta frescoes and in the ancient relics of
Buddhist art preserved in Japan ; but Chinese
and Central Asian examples were rare and often
of doubtful genuineness. The period under dis-
cussion is recognised as a golden age when
religious fervour called forth the loftiest genius
of Chinese artists. Unfortunately we have left
to us little more than written records and
alleged copies of these masters' works. It was
not to be expected that a small town on the
far western confines of the empire would yield
examples of the first rank. Nor do we find any
of the Tun-huang pictures reaching a very
exalted plane. What we do get from this halt-
ing place on the main highway of communica-
tion between China and outside civilisation is
the spectacle of several different elements in the
act of mingling ultimately to shape the tradition
that flourishes to the present day throughout
the Far East.

The chief foreign influences to be traced at
their meeting with native standards are Hellen-
istic (as interpreted at Gandhara), purely
Indian, Persian and Central Asian. They

combine in varying proportions in the paint-
ings, and the general practice is observed of
following foreign models when the figures are
objects of actual worship and of religious im-
port. Accessories and scenes not of devotional
significance are given Chinese treatment. For
instance, episodes from Buddha legends appear
in Chinese guise; costume, architecture, pic-
torial conventions and racial types are purely
Chinese. In his essay Mr. Laurence Binyon
advances an interesting theory to account for
this.

Many of the pictures are votive offerings,
and, just as in early European art, portraits of
the donors form part of the design. Thus the
secular art is displayed of a period which has
left few other relics of the kind. Costume and
other intimate human particulars are also re-
corded. Invocations to their patron saints are
inscribed on some of the paintings by the
votaries ,and they provide precious glimpses of
the worldly aspirations, religious hopes and
family relations of sojourners in that distant
outpost of Chinese civilisation more than a
thousand years ago.

The student of Buddhist iconography finds
here a rich field for research. The popularity
of the bodhisattva cult, characteristic of Maha-
yana doctrine, is amply illustrated. Among the
bodhisattvas Kuan-yin appears to have claimed
the greatest number of devotees then as she
does now ; but it is noteworthy that the male
form of Kuan-yin preponderates in the Tun-
huang pictures. At the present day the closest
rival to Kuan-yin in reverential favour is Ti-
tsang, the saviour from hell's torments. Every
year many thousands of pilgrims visit his shrine
on Chiu-hua, one of the Four Famous Moun-
tains of Buddhist China. This exalted status
among the bodhisattvas must have been given
him by Chinese votaries; for his Indian proto-
type was of small account. It is significant
that neither of the seventh century pilgrims
Hsiian Tsang and 1 Ching so much as mention
him. The date when Ti-tsang's cult first entered
China and the history of its rise in popularity
still await full investigation. It is fitting, there-
fore, that Sir Aurel Stein calls special attention
to pictures which may have been painted not
long after its introduction and yet exhibit the
same elaboration that characterises it in modern
times. Two plates show the bodhisattva presid-
ing at a scene which conveys a peculiarly
Chinese conception, the Kings or Judges of the
Ten Courts of Hades. Sir Aurel Stein falls
into a strange error Iwhen he describes the
Judges as holding " narrow rolls of paper."
The object grasped by each in both hands is
the memorandum tablet, hu. It figures so fre-
quently in all forms of Chinese artistic expres-

238

sion, dating from the earliest time to the
present day, that perhaps a few words on the
subject will not be out of place here, especially
since, so far as I know, it has not been dis-
cussed before.

The Book of Rites, which gave most minute
directions about the daily life of the ancient
Chinese, described the tablet, slipped under the
girdle, as part of every person's dress. The
emperor carried one made of jade, feudal princes
and the higher officials one of ivory, and
humbler folk one of bamboo ornamented or
plain according to rank. The tablets were
shaped square or rounded at the corners to con-
vey certain symbolic meanings. The length
was put at two feet six inches, and it tapered at
either end from a width of three inches in the
middle. Here it should be remarked that the
Chinese foot-measure has varied widely at differ-
ent times and in different localities ; and prob-
ably these ancient shuttle-shaped liu were about
twenty of our inches long. Originally an object
of purely useful purpose for the jotting down of
notes, the hu became in time an emblem of
ceremonial and of dignity. Every official carried
one when received by the emperor, and while
the audience lasted he held it respectfully in both
hands before his eyes. This is the posture of
the Ten Judges in the presence of the mighty
Ti-tsang, to whom they thus signify their sub-
servience. The use of the hu continued down
to the Revolution, and, after the lapse of a few
years. President Yiian Shih-k'ai actually re-
vived it. The shape changed slightly from
time to time; the modern form tapers at one
end and varies in length from 17 to 22 inches and
in breadth from 2^ to 3J inches.

In conclusion it should be mentioned that
" The Thousand Buddhas " is by no means the
last word on Buddhist art as displayed at Tun-
huang. The walls of the cave-shrines are
adorned with a vast number of frescoes, and
there are some images too. Photographs of
these and a description from the able pen of
M. Pelliot are in the press. The student will
look to M. Pelliot's great work as a necessary
complement to the admirable publication under
review. W. Perceval Yetts.

TosKANiscHE Maler im XIII. Jahrhundert. By OSVALD
Sir6n. 340 pp. + 130 pi. Berlin (Cassirer.)

Too long has the period of Tuscan Duecento
painting remained a playground of extremely
vague notions : true, much ink has been spilt
in comparatively recent times over the question
of the claims to priority of the Florentine and
Sienese schools ; but we have had to be patient
in our wait for a sustained effort to give a de-
tailed account of the various schools of painting
which flourished in Tuscany during that cen-
tury of such capital importance for the evolution

of Italian art. For these reasons, the publica-
tion of Dr. Siren's volume is much to be wel-
comed, seeing that it deals at length, not only
with the Florentine school of the Uuecento, but
also with two other schools, which, thougli
highly important in that century, were of curi-
ously slight consequence during later periods —
the schools that is, of Lucca and Pisa. As the
author himself points out, there are two con-
siderable omissions in his treatment of the
theme covered by the title of the volume — the
school of Arezzo and, above all, that of Siena —
but even within its present limits the book con-
tains sufficient new or unfamiliar material to
make it of exceptional interest to students.

Although documentary evidence regarding
the masters of this period is much scantier than
one could wish, there is yet sufficient of it to
enable the historian to operate with, at any
rate, a few individualities distinguishable by
name. In Lucca we have thus Berlinghiero
Berlinghieri {jl.c. 1228 — signed Crucifix in the
Lucca Gallery), his son Bonaventura (records
1235-1274, signed picture, dated 1235, in S.
Francesco at Pescia), and Deodato Orlandi (re-
cords 1288-1327, three signed pictures); in Pisa
Giunta Pisano (records 1 202-1 258, two signed
Crucifixes at Pisa and Assisi), and Enrico di
Tedice {fl. c. 1254, one signed Crucifix at Pisa);
and in Florence Coppo di Marcovaldo (records
1 260-1 274, one signed Madonna in S. Maria
dei Servi at Siena), and Cimabue (records I272-
1302, one authenticated work, St. John, in the
mosaic of the apse of the Duomo at Pisa).
Between these artists, their scholars and anony-
mous contemporaries. Dr. Sir^n divides a
material of some ninety items, discussed at
length in the body of the book and conveniently
arranged in lists at the end of the volume — a
series the extent of which denotes assiduous re-
search, even though, naturally, it would be
possible to point to examples which have
escaped Dr. Siren's notice. With regard
to the fine Crucifixion in Mr. Henry Harris's
collection, assigned by Dr. Sir^n with a query
to Giunta Pisano, it may be mentioned, by the
way, that so far from being of " unusually
small dimensions," i.e., 23 by 12J cm., as
stated on page 163, the picture is of consider-
ably larger and quite usual size (56.5 by 32.5
cm.), and hence by no means of an " almost
miniature-like character."

An extremely valuable feature of the book
are the reproductions, which for the first time
enable one to obtain a synopsis of the perform-
ance of the three above-mentioned Tuscan
schools during the Duecento, most of these for-
bidding-looking frescoes and panels having
been ignored even by the big and enterprising
Italian firms of photographic publishers. The
illustrations, naturally, are of essential import-

239

ance in aiding one to follow Dr. Siren's argu-
ment, which is coloured all through by a senti-
ment of keen appreciation of the aesthetic
significance of the current of art which is repre-
sented by the works discussed. Whether in
recognising a definitely non-naturalistic ten-
dency in this phase of painting the author
does not, however, tend somewhat to strain his
argument, is another question. Space forbids
to enter into a detailed discussion of the indivi-
dual attributions ; there are some which, as you
read the book and consult the illustrations, seem
very plausible, whilst others are less con-
vincing : thus the fact that the proven-
ance of the pictures, discussed on pp. 94-
114, invariably, when ascertainable, points
to Florence, appears to be a stronger
argument against the theory that they are
by a Lucca master than the author admits.
But the real checking of Dr. Siren's views could
only be done before the paintings themselves ;
and I could imagine no more enjoyable task for
a picture-lover's holiday in Tuscany than,
having first read Dr. Siren's account of the
fascinating period of which his book treats,
following this up by investigations in situ. t.b.

Etruscan Tomb Paintings. By Frederick Poulsen.
Translated by Ingeborg Anderson, M.A. 63 pp. -f- 47 pi.
Oxford (Clarendon Press). 15s. net.

Etruscan Art has been rather hardly treated.
Indiscriminate enthusiasm was followed by a
neglect, which has allowed the very monuments
to decay and disappear; and only recently has
the subject received the critical attention it de-
serves. Mr. Poulsen's book, well translated
and adequately illustrated, makes an admirable
introduction. Wisely, it makes the ethnogra-
phic significance of Etruscan painting its main
theme, rather than its aisthetic value. Indeed,
a chronological survey of tomb paintings shows
them to be mainly pastiches on contemporary
Greek work, without Greek restraint or fit
choice of theme. Yet these assemblies of
borrowed motives have a definite character of
their own which justifies Mr. Poulsen's remark,
" Sex and cruelty are the basic group of the
Etruscan mind." For example, in a group of
works representing the future life as an eternal
symposium, men and women recline on the
same couch, an idea repellant to the Greek
mind; and Mr. Poulsen very neatly refutes
Weege's theory that these women are simply
hetcerce. Likewise, in the treatment of scenes
from the athletic games associated with obse-
quies, there is a note of savagery absent from
Greek work; and the character of these scenes
suggests an origin for the more brutal contests
of the Roman gladiators. Still, more idyllic
elements are sometimes present. Fluteplayers
not only perform at banquets, but stimulate
athletes, encourage cooks, and relieve the

tedium of masters chastising their slaves. One
important conclusion reached by Mr. Poulsen
is that the e.xplanation of many details in the
costume and ritual of the Romans, must be
sought in Etruscan practice ; and that in Roman
art, such motives on sepulchral monuments as
the two genii holding a cloth probably has an
Etruscan origin. More speculative is the
attempt to trace relation between the political
and social decline of the Etruscans, and in-
creasing emphasis on horrific and demonic ele-
ments in their art. Certainly there is here a
curious parallel to the course of events in Italy
during the Renaissance and Counter-Reforma-
tion. But questions like these need more de-
tailed consideration than the scale of the present
book justifies, but which Mr. Poulsen's learning
and critical acumen raise the hope he will under-
take in the future. w. g. c.
Claude Lorrain. By Walter Friedlaender. 256 pp.
Berlin (Paul Cassirec).

To all students of seventeenth-century art the
name of Dr. Walter Friedlaender is of course
familiar as that of the author of an excellent
volume on Nicolas Poussin ; and they will
therefore know what to expect from a mono-
graph by him on the other great French seven-
teenth-century master whom we almost instinct-
ively bracket with Poussin, namely, Claude
Lorrain. It is now some time since Claude has
been made the subject of a volume to himself
on a more extensive scale; in fact. Lady Dilke's
elaborate monograph was published as far back
as 1884, and even Mr. Edward Dillon's de-
lightful and instructive little book on Claude —
curiously enough not specially mentioned bv
Dr. Friedlaender — is now close upon twenty
years old. The three main sections of the
present volume deal, respectively, with Claude's
paintings, etchings and drawings. To a
present-day observer, the immediate appeal of
Claude's impromptu drawings and sketches
from nature is such as to cause an inclination to
neglect his more carefully planned and executed
pictures : but everyone who has at all given the
latter a closer attention can bear witness to how
much they grow on you, and how close the ties
— for all apparent elements of formality and
convention — which connect the Claude of the
pictures with the Claude of the drawings. The
comprehensive survey of Claude's pictures
made by Dr. Friedlaender — excellently sup-
ported by reproductions — is therefore exceed-
ingly welcome and valuable. The etchings are
made the subject of a closely-reasoned attempt
at chronological classification ; and the draw-
ings are treated of in an essay which groups
the material clearly and conveniently, and is
illustrated by specimens chosen not only from
the incomparable collection in the British Mu-
seum, but also from less known repositories

240

among which the Berlin Print Room has con-
tributed particularly full and interesting series
of examples. As Dr. Friedlaender himself
remarks, the whole subject of Claude's draw-
ings is one which has never yet been system-
atically gone into : few more fascinating sub-
jects of art history could probably be suggested
than an exhaustive inquiry into this province
of Claude's work, though the task is neces-
sarily a lengthy one. The aim of Dr. Fried-
laender's book is not to be the final work on
Claude even of our generation : but all further
research devoted to this master will derive con-
siderable utility from his painstaking and well-
balanced study. T. B.

Vermeer of Delft. By E. V. Lucas, with an Introduction
by Sir Charles Holmes. 48 pp. + 13 pl- (Methucn).
los. 6d.

Following upon Mr. G. Vanzype's new and
enlarged edition of his book on Vermeer, Mr.
E. V. Lucas's brief study of the master is more
in the nature of an appreciation than a criti-
cism. But it is the inspiring appreciation of
a confessed lover of the master, while Sir
Charles Holmes's admirable introductory note
touches critically on some technical aspects and
the chronological order of his work. A master
who worked for at least twenty-three years, and
of whom there are extant only thirty-seven
pictures universally accepted, must have left
others to a world which admired him and
sought to possess his work even in his life-
time, and Mr. Lucas tempts us to wonder with
him where the others are to be found — not only
those whose existence the records of Vermeer's
three sales record (in 1679, two years after his
death in 1682 and 1696), but also those which
an artist, who left only one pure landscape, one
street scene, and one religious subject, must
surely have produced. Who will be the fortu-
nate finder of " the gentleman washing his
hands," the " Interior with revellers " and the
" Devideuse " or " Spinner " — the re-dis-
covery of which (it was in England in 1865) the
author likens to the conquest of Mount Everest
or the Poles? Here is a quest in which every-
one who knows the master's work may take a
hand. R. c. w.

British Heraldry. By Cyril Davenport. 222 pp., 210 ills.
(Methuen.) 6s.

Heraldry has had its day. The faking of
arms, pedigrees and titles by the bourgeoisie
has deprived it of much of its historical value
and led to a neglect of a science, which might
be very useful to art historians. The following
passage from p. 162 of Mr. Davenport's book
is a description of another type of folly. " Of
late years there has been a very interesting and
curious tendency to choose new supporters,
carefully analogous to, or explanatory of, the
main circumstances of distinction, that have
earned the titles to which they are assigned.

This can easily be seen by looking at the
achievements of any of the new peers in any
illustrated peerage. For instance, Earl Roberts
has two soldiers. Lord Fisher has two sailors.
Lord Ashbourne has symbolical figures of
Mercy and Justice, and so on." We can only
deplore the amount of dusty bric-a-brac whi.:h
blocks the path of modern England. This book
will be useful to beginners who want to learn
up the elements of heraldry. But we think it
would have been better to have stopped a few
centuries ago, leaving more space for a proper
examination of mediaeval heraldry rather than
have put in " a complete index of supporters,"
which will be out of date next time the Prime
Minister issues a new list of peers. " British
Heraldry " is more redolent of Debrett and ;ill
its follies than of the history of the Middle
Ages. But then Debrett costs £6 6s. and this
book only 6s., and there may be people who
want to know what Lord Birkenhead's coat of
arms is. F. b.

The Owen Pritchard Collection of Pottery, Porcelain,
Glass and Books. Catalogued by Bernard Rackham,
M.A., and Sir Vincent Evans, F.S.A. xvi + 104 pp.
and 13 pl. lUust. (John Lane). los. 6d.

The chief strength of this collection, now in the
possession of University College, Bangor, is the
English porcelain and earthenware, which ade-
quately represents all the chief English factories.
The Chinese and Japanese porcelain is chiefly
interesting as shewing the influence of manufac-
ture for Western markets. The books include
numerous examples from modern presses, such
as the Doves, the Eragny and the Vale. The
illustrations though small are well chosen and
arranged, and the introductions are adequate.
Though Sevres and other P'rench factories are
not represented, Mr. Rackham would have done
well to mention them. As it is, the unlearned
reader may imagine that English soft paste is an
indigenous product, influenced only by China
and Meissen. w. G. c.

The Architecture of Robert and James Adam, 1758-1794.
By Arthur T. Bolton. 2 vols. Folio. Vol. I, 344 pp.
ill. + I pl. Vol. H, 362 pp. ill. + 92 pl., viii. pp. (Coun-
tiv Life Offices) £S 8s.

Much has been written on the work of the
brothers Adam, who migrates from Scotland
and left their mark not only in London, but, here
and there, throughout England ; much that has
been sheer uninformed nonsense, but with ex-
ceptions, such as Mr. Swarbrick's " Robert
Adam and his brothers," published as recently
as 1916, which is just as erudite, although not
so exhaustive, as Mr. Bolton's two monumental
volumes.

Mr. Bolton remarks in his preface: " It is
certain that there is a stage in any artistic de-
veloprnent when the form in u.se has become so
crystallised, that the artistic spirit of the time
must take refuge in the uttermost elaboration of

241

detail, thus marking time, if you will, until a

breach is made by the rising pressure of a fresh
creative movement." The question then arises,
Did Robert Adam (for he was the guiding spirit)
take refuge in this " uttermost elaboration of
detail," or did he experience the " rising pres-
sure of a fresh creative movement?"

To say that Robert Adam left his impress on
so much of London, in the Adelphi, Portland
Place, Mansfield Street, St. James' Street, St.
James' Square, Gower Street, Bedford Square,
and elsewhere, is to say that his style is dis-
tinguishable at a glance. It is peculiar in little
else than in its " utter elaboration of detail,"
and in the sarne detail repeated time after time,
until it becomes almost nauseating, some four or
five motives, no more, occur again and again.
Now that Robert Adam's work can be viewed
through a perspective of about a hundred and
fifty years, a careful and just observer may well
question the fairness of such a criticism and
judge Adam's work, apart from — almost in spite
of_his ornament, and consider his strong points
as well as his limitations. That he was obsessed
by a stucco — that of Liardet, in which he had a
commercial interest — is known, and to be re-
gretted. This led to his over-use of ornament,
interiorly, even at the expense of good taste, and
exteriorly, at the expense of durability,
in which quality the Liardet stucco was
woefully deficient. He was also wanting
in the practical knowledge of many of
the materials which he used; witness his
pendant swags overhanging the mirrors of
his glass-frames, where wood or composition had
to be cored with wires. Another great obstacle
to the realisation of the good qualities of Adam's
London work is due to the fact that posterity has
not been contented to leave it as it was origin-
ally finished. This applies even to the houses
in the Adelphi, which, being the Adams' sanc-
tuary, so closely associated with their work, one
would have thought might have been left un-
touched. Stories, or utterly unnecessary bal-
conies, have been added, as in Portman Square,
facades have been re-ornamented, and other in-
congruous additions or alterations made long
enough ago to look like an original part of the
structure. Many of the interiors have fared even
worse. Again, much of the brothers' work was
mere addition or restoration — as at Nostell, for
example, where Robert Adam jostles James
Paine. So that, in justice to the Adams' work,
one should judge of its merit in houses where
the scope was arnple, as at Osterley, the Isle-
worth home of the rich banker, Robert Child.
Here Adam had almost complete sway, and a
rich and indulgent patron — a necessity, as his
work was never cheap !

A comparison between his preserved designs

in the Soane Museum — to the curatorship
of which Mr. Bolton succeeded after the
regrettable death of that kindest of friends to the
student, Mr. Walter Spiers, in 1917 — and the
work which was actually executed in such houses
as Gawthorp (now Harewood House), Nostell
Priory and elsewhere, will show how much
Adam was indebted to the rationalising influence
of the cabinet-makers, Thomas Chippendale
among the number, who worked for him. Yet
with all these deficiencies, and despite his addic-
tion to over-ornamentation, there is no doubt
that Robert Adam, as a designer as well as an
architect, was a genius, and an amazing one at
that. Although he carried aristocratic England
with hirn, built up a gigantic clientele, and de-
voted himself to his tasks with extraordinary
energy, he was more than merely successful.
Allowing for the fact that he was supported by
a large staff in addition to his brothers James
and William, a study of the vast collection
of drawings in the Soane Museum leaves no
doubt of the power of his personal touch, as ap-
parent in the actual drawing as in the designs
themselves. These drawings show Adam to have
had a scholarly acquaintance with the classical
styles, especially the Roman, from which his
style is directly derived, but so had many other
architects of his time. He had an amazing fertility
of invention in adapting that type of ornament,
but that fertility was shared equally with men
like Richardson, Carter, Crunden, Pergolesi and
Cipriani. It is in the wise use of space, in the
proportioning of the dimensions of rooms to
window and door spaces, that Adarn really ex-
celled. The result is that though both his build-
ings and his interiors may be cold, formal or
severe, unhomelike, if you will, they are always
designed in better proportion than those of his
contemporaries.

Of the history of the brothers, of their work in
Scotland, together with that of Adam senior,
their migration to London, the scheme of the
Adelphi on land reclaimed from the Thames —
which was to make the Adams' fortunes, yet was
so nearly their ruin — of the assistance of Lord
Bute (" Scotsmen shoulder to shoulder ") in the
legalising of a lottery for the sale of this and
other London property possessed by the
brothers, both Mr. Bolton and Mr. Swarbrick
have given full accounts. The author knows
his subject, has been most painstaking, and has
the further advantage of living with the sixty
odd volumes of the original drawings of the
" Adelphi," which are in his care. Since the
death of Mr. Walter Spiers, no one could have
done the work as well or as gracefully.

If one may express a preference for a par-
ticular portion of this fine book, I should select

242

:^'

The Upper Entrance Hall, Nostell Priory, Wakefield, designed by Robert Adam
Reviews

A — Two-leaved screen, by Hoitsu. Japanese, i8th century. 1.7 cm. by 1.7 cm. (Messrs.
Yamanaka)

Plate I. Monthly Chronicle

the chapter on " Robert Adam's critics," and
for the same reason with which George Bernard
Shaw prefaced his lecture on " Great Men : are
they real?" namely, that he was in the same line
of business himself. Bearing in mind that
Robert Adam, when he was permitted to do so,
left his mark not only on ceilings, but on the
floors also, in the way of specially designed
carpets (at Osterley the lustres, door furniture,
grates, fenders, and, I suspect, much of the
silver also, were from his designs), the follow-
ing quotation from " Nutshells," by Jose
Macpacke, a bricklayer's labourer (1785), is
especially delicious :

Something in this stile I should be very much inclined
to prefer to that generally applauded, where festoons obey
various lateral kinds of gravity, unknown to nature and
philosophy, and in which the chese cake and raspberry
tarts, upon the ceiling, vie with, and seem to reflect those
upon the floor with such wonderful precision, and where
the insupportably gorgeous ceiling, and the fervently flowing
carpet, cause the poor bare walls to be seemingly dissatisfied,
uneasv, and impatient to retire from such fine company, as
if conscious of their meanness and poverty.

A MONTHLY CHRONICLE

Japanese Screens at Suffolk Street.—
An exhibition of Japanese screen-paintings is
always exhilarating. Glory of colour feasts the
eye; happy audacities and surprises of design
stimulate the mind. Messrs. Yamanaka's Octo-
ber exhibition at the Suffolk Street Galleries had
not perhaps so high an average of quality as their
two similar exhibitions before the war; but some
admirable works were included. Screen-painting
was practised in Japan from the earliest times :
but it was Kano Yeitoku, one of Japan's greatest
masters — directing, like his contemporary
Rubens, a crowd of gifted pupils — who created
a special tradition for this type of art, which is
essentially a kind of mural painting. Fusing the
gorgeous decoration of the Tosa style with
Chinese breadth and vigorous brush-work, he
and his followers showed how flowers, trees and
isolated motives from landscape could be made
into designs of a grandeur and significance
rarely found in Europe outside figure-composi-
tions. One or two of the screens exhibited be-
trayed the splendid design of Yeitoku's school.
Of Tosa work, the Thirty-Six Poets, by Tosa
Ilirochika, was the most important, though not
rivalling Korin's famous screen of the same sub-
ject ; the drawing of the figures is of great
vivacity. In the Kano stvle a screen attributed
to Tokinobu, and another, of Chinese sages, at-
tributed to Sanraka, were good specimens. A
new and superbly decorative style of screen-
painting was created in the seventeenth century
ijy Koyetsu and Sotatsu, though more often
associated with their brilliant follower, Korin.
Whether the Man Punting and the Lady Musi-
cian are actually by Sotatsu or not, they give an

The portico at Osterley is a good example of
Adam's dignity, the Hall at Nostell Priory
shown in the accompanying plate, of his
aristocratic charm. The latter recalls to
mind three illustrations on page 308 of
Vol. II, two of a settee or day bed, one
of a ribbon-back chair to match, both part of
a suite. These are given as " Chippendale,"
and may be frorn the hand of the great crafts-
man, but this is not furniture original to the
house. The late Lord St. Oswald informed me,
when I was at Nostell some eight or nine years
ago, that the set was bought in Wakefield by
his father, thirty years previously. One would
like to think that this was actual Chippendale
work returning to the great house for which it
was made, but this is an assumption for which
no evidence exists. But a slip of this kind is a
small matter when one considers the splendour
and completeness of the whole publication.

H. c.

adequate idea of his boldly simplified design
and rare colouring. A later master of this school,
Hoitsu, was represented by a small screen.
Young Fir and Red Acacia [Plate I, a],
on a silver ground, which, though not
of the bigness of the earlier masters, is
exquisite in colour and handling. Here one
felt a personal quality in the work, missing in so
many screens which one can only attribute rather
vaguely to a school and period. A pair of screens
of Bamboos in Snoiv, ascribed to a late Tosa
master (of a time when the traditional character-
istics of the old schools were often submerged
under other influences) impressed by its magnifi-
cent design in sharp greens and white on a dark
ground. ^-- ''•

The London Group. — It lis plain that the
London Group has reached a crisis in its career.
I wonder how many members realise that that
is so. Eight years ago the youthful wildness
attributed to it by those who criticise in conversa-
tion and in newspapers, made it, to English eyes,
as obnoxiously thrilling as another Gunpowder
Plot. But to^ those who were watching the art
of Europe as well as that of England, these youth-
ful students were more like a row of learned
clerks. For such, it was easy to observe that
they were simply trying to stand in a line with
the' school of Continental painters who were
forcing a way through the breach Cezanne and
his earlier colleagues had made in the wall sur-
rounding French Impressionism. The tamencss
of the task did not save the English contingent
from having to suffer at the hands of the English,
all the hardships that genuine pioneers have to
put up with. But no handicap has been so great

245

as that which has, since the last exhibition of the
Group, well nigh disappeared. What hope for
the labours of the disciples when the gods were
unknown ? So long as the great French artists
on whose principles the Society was acting, were
unknown in England, so long were their fol-
lowers bound to remain misunderstood and un-
popular. In these last few months there has
occurred very quietly a change in the attitude of
the picture public. We may with convenient
inaccuracy regard it as having been ushered in
by the exhibition of modern French art last
summer at the Burlington Fine Arts Club, an
institution moulded by the forces that determine
the acceptability of schools of painting to Eng-
lish cultivated society, for the first time in
England there were brought together without the
customary display of thunder and lightning a
good collection of Impressionist and non-Impres-
sionist French pictures, and in that tranquil at-
mosphere it was generally realised that there was
great worth in both. It was, no doubt, also
realised that a decade of hostile criticism had not
discouraged collectors from bringing into the
country quite a number of C^zannes, Renoirs,
Gauguins and others; that is, that there was " a
demand " for them ; and from that moment even
the ranks of Tuscany thought it would be as well
to cheer. That, however, had of course nothing
to do with another event which followed. The
exhibition included one very remarkable Cezanne
landscape. The Trustees of the Tate Gallery, in
circumstances that called for wisdom and cour-
age, accepted it for their collection, where it
now hangs. These are but two external signs of
the time. A third one can be seen in the pages of
the new volumes of the Encyclopcedia Britannica
where modern painting is dealt with in a way
that would have been incredible a very short
time ago. Whatever the London Group's per-
formances may amount to, it now seems clear
that their principles are accepted as sound, and
that they are seen to be in the main current of
European art, which cannot honestly be said of
other English societies. How they will confront
such an accompaniment to success remains to be
seen. That depends on their merit as men rather
than as artists. Perhaps after so long and so
stiff a climb uphill the pilgrim may reasonably
be expected to keep his feet on level ground.
He may even realise that Cezanne is becoming
too old to have any more children. Certainly
no artists have prepared themselves more dili-
gently to withstand the perils of applause,
though the fact that the group has, and
knows that it has, within its doors or at its call
most of the ablest painters in England, is as
dangerous for the Group as it is deplorable for the
country.

For the moment it is satisfactory that the pre-

sent imperfect and in some respects disappoint-
ing exhibition is probably the best the Society
has yet had. Among the pictures we saw that it
is no party triumph that has occurred but a re-
conciliation— a triumph for both parties. We saw
several exhibitors openly flirting with Impres-
sionism and at one moment it looked as if Mr.
Bavnes was going to get down on his knees be-
fore everybody. It is curious how others of the
same mind who came out when to be un-post-
impressionist was to be pitiable, swung away to
the extreme left rather than reveal the taint of
conservatism. Mr. Bomberg wears his jazz uni-
form here but appears simultaneously at the
Independent Gallery in a crinoline. Having read
Mr. Middleton Murry's foreword to the cata-
logue, I found myself regarding the pictures
as " embodiments of a vision of things "
and, in the way one does at exhibitions,
classifying the artists according to their
various attitudes towards visible life. Some,
like Mr. Sickert and Mr. Porter, seemed to be-
long by nature to the streets and the fields, to look
on the world with the eyes of the world, so that
everybody can see at once what they are at. This
is not a usual thing in our modern painting, and
in the London Group is very rare ; an odd cir-
cumstance when one remembers how emphatic-
ally most of the English artists of the past —
think of Constable, Crome and the eighteenth
centurv — proclaimed the ordinary man's attitude
to life, making the one or two exceptions, notably
Whistler, appear quite foreign in the history of
English culture. Other exhibitors, like Messrs.
Grant and Baynes, Mrs. Bell, Miss Lessore and,
I think, all the women painters who interested
me, seem to have retreated from the highway,
each into a peculiar parlour, there to contrive a
less uncouth and more real because more personal
world of her own. Still others, notably Mr.
Fry and Mr. Gertler appear to regard objects, any
objects, solely as material to be arranged on a
canvas. They have a problem of form and colour,
a painter's problem to resolve, and while their
minds are on that they have no pleasure in any-
thing else. They allow no careless expression to
escape them but use the same forcible language on
all occasions. This attitude of detachment is most
typical of the London Group and is typical of
present-day Continental painting as a whole, and
it is round it that the storms have raged whose
lessening billows still mutter on our shores. Then
there are certain actor fellows, enjoying a sort of
semi-popularity among elderly converts to post-
Impressionism, who endeavour, and indeed suc-
cessfully, to be up-to-date by apeing the manner-
isms of the old-time prophets — mad and sane
alike. To them the attitude of these adepts is as
sentimental as it is to nature. Rhapsodists like
the author of " Drink deep or touch not I" and

246

B — Flowers, by Keith Baynes. Canvas, 45 cm. by 54.6 cm. (London Group Exhibition)

;3^i.f

t-si

C—On the Bare, by Frederick J. Porter. Canvas, 33 cm. by 40.6 cm. (London Group Ex-
hibition)

Plate II. Monthly Chronicle

Vase, carved from glass. Height, 22.9 cm., width, 25.4 cm.
Probably Greek, found in China (Royal Ontario Museum,Toronto)

A Greek Glass Vase from China

f)_Horse, Renaissance bronze, modelled on those of St. Mark,
Venice. (Heseltine Collection)

£— Grey hound, Renaissance bronze. Paduan.
(Heseltine Collection)

Plate HI. Monthly Chronicle

its twin sister are as out of place in tiie exhibition
as those in the glass annexe who play the penny
whistle so dolefully to Messrs. Heal's aesthetic
flower pot.

But after all, the critic cannot put his finger on
what makes the picture a good work of art. He
can explain only one facet as it appears from the
place where for the moment he stands, and I am
far from suggesting that the groups I have indi-
cated are final. From another angle it would be
absurd to class Miss Lessore with Mr. Baynes, or
Mr. Gertler with Mr. Fry. But I think it may be
true that the members of each group have devel-
oped mainly from one aspect of their spiritual
fathers. But even that implies the fact that an-
other classification which would take more ac-
count of what we see to-day and less of what we
know as history, would be more just. For even
since their last exhibition, some of the painters
have changed their character. Mr. Fry is the same
man but intenser, more austere, more minute, and
almost terrifyingly conscientious. Mr. Porter is
the same man but more romantic, and in his rom-
anticism more at ease. Mr. Baynes is a new man
altogether. Whoever could have guessed from his
one-man, or rather half-man, show a few months
ago that he would paint with this grace and free-
dom. How odd it is when an artist holds to a
technique just because he sees that it expresses
aptly the ideas of someone else quite unlike him-
self, and how pleasant it is to witness such a one
jumping his hurdle. No one can say that Mr.
Gertler has filched anybody's technical method.
His brushwork is altogether his own, and from
one square inch to another of the large picture
he exhibits, his method never varies. The picture
will no doubt be objected to because it is what
is called ugly, but nobility of planning outweighs
that as it did in the case of greater painters who
could sometimes be " ugly " enough — like
Velasquez. But the inflexibility of a brush
governed not wisely but too well is monotonous ;
the objects depicted, of cloth, porcelain, flesh,
etc., all seemed tightened up like drums, each
resounding with exactly the same note. Unity of
surface is achieved at too great a cost. And yet
there is something big in this man's work, though
saying so in face of that picture may be too like
prophesying. Nor must we prophesy of Mr.
Grant whose chief picture leaves me colder than
anything I have seen of his since he showed a
large nude in the same gallery a year ago. His
charming personality seems now to be repre-
sented by two strangely distinct types of art. The
one to which this picture belongs, is the more
recent, the more ambitious and the less satisfy-
ing. He may be working out in three dimensions
a fresh system that will end in being a still richer
index of his emotional experiences, but on the
face of it this disjointed work gives no hint of

such a thing. I prefer Ariel when he does not
emulate Prospero. Mr. Sickert's huge devil-may-
care sketch simply shimmers with vitality. It,
too, may be considered " ugly " (by a quite
different set of observers.) " But I wonder
whether people like it?" I heard a fair admirer
say. I wonder whether pigeons like peas, r.r.t.

The Heseltine Collection of Bronzes and
Majolica. — There is always an element of melan-
choly in the dispersal of a great collection, especi-
ally of one which bears markedly the stamp of its
owner's individuality. So it is with the Hesej-
tine bronzes now on exhibition at Alfred Spero's,
35, King Street. Among them are many famous
pieces; yet it is not the orthodox, sold with
warranty type which predominates, but rather the
intriguing, speculative piece which attracts the
collector whose eyes are on the object rather than
the name of its maker. Such are the Centaur and
Deianira, composed in the manner of Giovanni
de Bologna but of workmanship suggesting an
earlier date and Paduan influence; a Marsyas, in
connection with which the name of Pollaiuolo
has been mentioned, despite a suspicious ele-
gance and suavity of handling; a bearded nude
figure, called The Executioner, on which Padua
and Florence both have claims; The Witch, by
Bode definitely given to Bellano, by others to the
seventeenth century on account of its vivacity and
exaggerations, features nevertheless just as
characteristic of the transition from Gothic to
Renaissance as of the Baroque ; and the charming
figure of a seated child, inexplicably classed by
Bode as Venetian work of the late sixteenth cen-
tury, but with more affinity to Florentine work of
an earlier date. Thus, there is plenty of oppor-
tunity for the amusing game of attributions, for
which Bode's work provides so many interesting
and provocative suggestions. But the super-
structure reared on that work has already
become overweighty for its foundations, as the
ascription to Pollaiuolo of a whole group of
bronzes on the strength of one hundred-year-
old attribution witnesses. More spade work
is needed and less bandying about of great
names, with realization of the fact that
the Renaissance bronze is largely a repro-
ductive art. But the mists of controversy
leave the aesthetic merits of some pieces un-
obscured. Among these is a group of fine animal
pieces of Paduan origin such as the greyhound
[Plate HI, e], goat and elephant, wherein
realism is tempered by true imaginative in-
sight; while the horse [Plate HI, d] so ob-
viously modelled on those of St. Mark, yet
shows the independent inspiration of its maker.

The fourteen pieces of majolica in the collec-
tion, chiefly from Urbino and Faenza, strike the
same note as the bronzes. A few, such as the
Maestro Giorgio plate signed and dated 1531,

251

are of the orthodox type ; others give more food
to the eyes and thoughts. Among these are a
good plate of the Amatori type, probably from
Castel Durante ; a puzzling plate ascribed to the

LETTER

" PICTURES BY CONSTANTYN
VERHOUT."

Sir, — Mr. D. S. van Zuiden of the Hague
has been so kind as to make some researches in
the archives of Gouda for me. There he did
indeed find mention of Constantyn Verhout, " op
de Turfmarckt," as living there in 1666. He
paid a small tax (" Klapgeld ") in 1666 and

AUCTIONS

Messrs. Sotheby, Wilkinson & Hodge, 35, New Bond St.
Nov. bth and 7th — Persian and Indian MSS. and worlds of
art, including a collection of miniatures and drawings relating
to the princes, people and religions of India, a Persian MS.
of the Shah-Namah and a few good pieces of Persian pottery
and objfts d'art. Nov. 8th — The collection of engravings of
the Dutch, German and Italian schools, the chief feature of
which is the series of familiar Kembrandts and some Man-
tegnas, property of Baroness Lucas. Nov. 9th — English
pottery, porcelain and furniture, and various objets d'art,
several properties. Nov. loth — A further instalment from
Parham Park, of the property of the Baroness Zouche of
Haryiigworth. Among the furniture is a walnut arm chair
of about 1700, but whether of English or Dutch origin it
is difficult to say, as communication between England and
Holland was very close at that date. With the exception
of the original ruching which has been used as borders and
has now perished, the upholstery is in its original state.
The chief interest lies in the superb needlework. Although
the chair appears to be original in every way, the needlework
itself is ot two nationalities. The centre panel of the
back, which is executed in very fine stitch, is a subject

same factory with a Raphaelesque subject (La
Vierge aux cuisses longues), and Urbinoesque
elements ; and a Xanto plate, said to represent
Michelangelo at work on a statue. w. g. c.

1667. For the moment this is all, but it proves
once more that Houbraken is trustworthy. The
name is spelt both Verhout and Voorhout. Per-
haps the master was a relative, possibly an uncle,
of his pupil Jan Voorhout.

Yours faithfully,

A. Bredius.
Monaco, 5th October, 1922.

after Watteau, surrounded by festoons of flowers on a wine-
coloured ground. This needlework, which is unmistakeably
French, is extremely fine, both in design and execution.
Ihe seat, which has evidently been made to match it, is of
English workmanship, with all the differences one would
expect to find. I he lot next to this chair is a set of five
single chairs, also of about the same date, evidently made
to match, with needlework seats and back, but without the
centre panel. The needleworli on these is English through-
out. Together they make an interesting set of unusually
high quality ; and needlework, the backgrounds of which
have this peculiar wine-coloured tint, are extremely rare. n.c.

Messrs. Paul Graupe, Berlin. Nov. loth and nth — An
extensive collection of modern graphic art, including the
nearly complete oeuvre of Klinger and of Welti ; also Japanese
coloured woodcuts and a few old masters, including Diirer,
Rembrandt and Ridinger.

Messrs. Hodgson & Co., 115, Chancery Lane, will sell
at the end of November the extensive library from Cassiobury
Park, including an album of original drawings and studies
by old masters of the Flemish and Italian schools, which
should prove of interest to collectors of minor works of art.

GALLERY AND MUSEUM ACQUISITIONS.

NATIONAL GALLERY, Millbank.

P. H. Calderon. By the Waters of Babylon (oil). Pre-
sented by Mrs. K. Calderon.
J. D. Innls. Twilight in the Aveyron (water-colour).

Presented by Mr. J. R. Fothergill.
W. Strang. Landscape (oil). Purchased.
BRITISH MUSEUM.
Print Room.
Prints.

Alvarez (Brazilian Engraver). Portrait of the Emperor

Pedro 1. Mezzotint (1825).
Anna Lea Merritt. Portrait of Sir Leslie Stephen

(etching). Presented by the artist.
Sir J. E. Millais. Fisher Girl; recent impression from
an etched plate in the possession of Mr. Ralph Amato.
Ceramics and Ethnography.

Amber glass bowl, Roman, from a tomb in Ithaca. Pre-
sented by Dr. and Mme. J. K^ser.
Two Chinese porcelain vases showing two stages in the
process of decoration. Presented by J. Highfield Jones,
Esq.
Semi-porcelain box with cream-white glaze and carved
petal design on the cover. Found with cast of Chik Tao
(995-997 A.D.) in the foundations of the Kiating Pagoda,
Szechwan. Purchased.
Vase painted in black under a turquoise glaze. Rakka

pottery, 12th century (?) Purchased.
Persian pottery bowl with black ground and white slip

decoration of geese, etc. 9th century. Purchased.
Persian pottery bowl ; engraved ornament. 9th century.
Purchased.
VICTORIA AND ALBERT MUSEUM.

(The acquisitions marked * are not yet on exhibition.)
Architecture and Sculpture.

Set of plaster casts of the Gate of Honour erected at Gon-
ville and Caius College, Cambridge, in 1534. Presented
by the Warden and Fellows.
Marble bust of Caracalla with bronze drapery, Scagliola
pedestal. Italian ; 17th Century. After the antique.
Presented by n. Willson, Esq.
Ceramics.

Plate, Chinese blue and white porcelain, Ming. Presented

by Professor Masumi Chikashige.
Plate, Chinese porcelain with painting in red and green
on powder-red ground, Ming. Presented through the
National Art Collections Fund by Lt. -Colonel K. Ding-
wall, D.S.O.
Engraving, Illustration and Design.

'Studies (3) for Sculpture by A. Rodin.
Indian Section.
*A ceremonial Mace of agates and other Cambay stones,
and jewelled jade. Formerly belonging to Wajid 'All
Shah, the last King of Gudh. Lucknow, Oudh ; iSth
century.
"Ten examples of carved crystal, of which five are also
jewelled. Mogul; 17th century, and Nepalese, I7th-i9th
centuries. (Two exhibited.)
*Large gilt-and-jewelled copper figure of the Dhyani-
Bodhisattva Avalokita. Nepalese or Tibetan ; possibly
i6th century.
Library.

Illuminated Manuscript Koran. Indian (Kashmir), early
19th century, in contemporary painted papier mach^ bind-
ing. Presented by C. E. Parkes, Esq.
Paintings.

"Miniature portrait of Beechey by Saunders.

"Miniature portrait of the Rev. Dr. Foster by W. Grimaldi.

252

The Deposition. Flemish tapestry of the 15th century. Detail. (Victoria and Albert Museum)

EDITORIAL : Leo7tardo in the consulting room

LL really new scientific theories ap-
pear before examination rather ab-
surd; and those of the psychologist
have the still worse fate of appearing
after examination, unpleasant, be-
cause they largely depend on routing out
from the recesses of the mind the very things
we have hidden there because of their distasteful-
ness. In a way, it would have been better if
general readers had continued to regard the sub-
ject as one for specialists as they have done with
most other developments of science. But that was
not to be expected ; a study of the mind appeals
to us as the most important study the mind can
undertake, and when the modern scientist turned
his instruments of perception in upon himself
no intelligent man could resist the temptation to
apply his eye to the lens. In doing so one ought
to bear in mind that the psycho-analyst started
and still primarily remains a pathologist. But
his consideration of the minds of the insane led
him inevitably to study less abnormal types, such
as those of neurotic, nervous and eccentric people.
Everybody who deviated permanently or tem-
porarily from the normal was subjected to ex-
amination, irrespective of whether his condition
was considered psycho-pathological or not. By
this process the poet, the artist, the musician,
the prophet, the reformer, the criminal and,
finally, ordinary members of society were studied.
Minor errors of speech, acts of forgetful ness,
oddities of conduct were regarded as temporary
deviations from the normal, and together with
dreams were found to be important manifesta-
tions of theunconsciousprocessesof the mind. It
was this widening of the scope of psychological
research that arrested the attention of so many
lay readers. The specialist in mental processes
thrust his surprising theories under the eyes of
specialists in a dozen other subjects, including
art.

The art specialist, with his hands already full,
is at a great disadvantage in considering such of
those books as encroach upon his territory. For
each of Freud's works supposes on the part of
the reader not only some little knowledge of
psychology as a science, but above all that com-
plete familiarity with it as a question which alone
enables the ordinary man to consider it without
repulsion. The situation is, in that respect, a
little like the situation of evolution just before
Darwin made his historic selection from the
then existing evidence ; and the parallel is main-
tained when we realise that even when one has
mastered the Freudian theory of the uncon-
scious, expounded in some forty books, Jung
and others have still to be tackled. Before that
task is accomplished the reader's attention will

The Burlington Magazine, No 237, Vol. LXI, Dec, iqaa.

again and again have been directed to other
fields of inquir}^ and before long he will be con-
fronted with the latter-day results of several
separate courses of investigation — suggestion and
hypnotism, behaviourism, and some physiology
with special reference to the nervous and the
glandular systems, fair judgment of any one of
these subjects requiring some knowledge of the
others.

Perhaps only the art student who is also a
student of aesthetics and who believes that a
sound system of esthetics must be the outcome
of a study of psychology, will be prepared to
undertake a task like this. But a wider circle
of students will probably be drawn by anything
the scientist has to say about the personality of
one of the greatest artists. Little surprise will be
felt that among the peculiar manifestations of
the mind the phenomenon of genius should have
attracted the attention of the psychologist. But
unhappily the admiring student of a genius is
likely to be repelled at the very outset by the idea
of his hero being regarded as abnormal, and as
belonging to a type related to the neurotic. Even
the admission by the psychologists that the
genius represents the noblest outcome of the
overcoming of an abnormal hereditary tendency,
will hardlv appease the offended enthusiast.
However, if he can bring himself to read one
general book on psycho-analysis, and then a
few books by psychologists who have attempted
to examine this question of the artist genius,
he may realise that the work of this kind that is
being done is at any rate both useful and
honest.'

But it is likelier that the art student will turn
directly to Freud's litde book on Leonardo da
Vinci, which will be unfortunate, for as a be-
ginner's book it has every possible disadvantage.
It was written in a moment of leisure between
two large volumes and when Freud was actively
engaged in his chief work as a medical specialist.
One doctor wrote it, a second translated it —
abominably — and a third contributed the pre-
face, so that it has the concentration and frank-
ness of a medical treatise, and is therefore less
suitable than some of the others for lay readers.
Besides the book is something of a tour de
force. In it Freud subjects his method to the
most rigorous of tests. Leonardo being dead,
cannot be psvcho-analysed in the usual way, and
Freud, confronted with only the meagre available
facts regarding the artist's life, tries to apply
the knowledge he has acquired from his vast ex-
perience of the mentality of living subjects to

1 Der Kiinstler, by Otto Rank, Vienna, iqo7 ; Dichtung
und Neurose bv Stekel, Wiesbaden, iqoo- also Meyer, Lenan,
Kleist. The best general book is Freud's Introductory lec-
tures on psyciio-analysis (Macmillan), Eng. translation.

1 2SS

the reconstruction of Leonardo's most intimate
character. What Freud searches for in the ac-
counts of Leonardo's career are evidences of the
artist's instinctive life. He fastens upon certain
details of an apparently trifling- nature which
would be passed over as meaningless by the
ordinary biographer. The chief of these is the
single, strange mention Leonardo makes of his
childhood in his private notebook, in which he
describes how, when a child in his cradle, a vul-
ture flew down to him from the sky and caressed
him. Freud disposes of the improbability of
such a story by assuming that the vulture scene
is not a true memory but a phantasy of later
days which the artist transferred by a familiar
trick of the mind into his childhood, thus giving
it far more importance as evidence of the nature
of Leonardo's emotional tendency. Other pecu-
liar details in the notebook are discussed : the
extraordinary manner in which his mother's
death is recorded only by a list of funeral ex-
penses ; the recording of petty expenses and the
omission of great ones ; the laborious details
about the expenses incurred through the paltrv
thefts of the little boy Jacomo; the studied pre-
cision of the entry, consisting only of two short
sentences, recording his father's death, in which
he repeats the hour of death twice, makes his
father eighty years of age instead of seventy-
seven, and mistakes the number of his children ;
the extraordinary difficulty he experienced in
finishing his paintings, the sudden ruslies from
painting to scientific investigation, appearing
as a symptom of a mental conflict between two
desires representing art and science ; the fantastic
experiments with wax animals and a tame lizard
fitted with glittering wings; the blowing up of
the sheep's intestines till they filled the room;
the letters to the " Diodario of Sorio, viceroy of
the holy Sultan of Babylon" ; the reference to the
"Academia Vinciana." These and other peculiar
details, correlated with the odd and tragic cir-
cumstances of Leonardo's child life, are used to
identify the painter's mentality as belonging to
a definite type of man familiar to the mental
specialist in his consulting room, a type not
normal indeed, but certainly not mad.

Critics seem to regard this book as primarily
a work on aesthetics, but this is far from being
so. What Freud has to say of Leonardo is of
value rather as biography. He does succeed in

giving us an extraordinarily intimate portrait
of the artist, a portrait as clear and delicate as a
silverpoint drawing. And above all he shows
us what it was that Leonardo felt such an im-
perative need of expressing by his art and by his
scientific investigation. We learn how when he
painted the St. Anne he was fusing together the
mental image of his models, of a religious subject
and of a memory of his own childhood. In other
words, we learn why he painted and investigated
at all but not why he painted and investigated
so well. When Freud examines Leonardo's pic-
tures it is with a conscious purpose, not with
assthetic detachment. That purpose is to seek
in the picture evidence of what may have been
in the painter's mind. Freud is investigating
the artist, not his art, and the artist not because
he is an artist, but because he is a man with all
the inhibitions and compulsions which, accord-
ing to the nature of their reaction to each other,
account for the artist's extraordinary character.

Critics have also given the impression that
Freud is a violent partisan oblivious to the
limitations of his method. That this is far from
being the case is made clear by an extract from
the book on Leonardo, which is otherwise suffi-
ciently informative and curious to be worth
quoting :

The two characteristics of Leonardo which remained
unexplained through psycho-analytic effort are first, his
particular tendemcy to repress his impulses ; and second, his
extraordinary ability to sublimate the primitive impulses [to
find expression for them through a substitutive action].

The impulses and their transformations are the last
things that psycho-analysis can discern. Henceforth it
leaves the place to biological investigation. The tendency
to repress, as well as the ability to sublimate, must be
traced back to the organic bases of the character, upon
which alone the psychic structure springs up. As artistic
talent and productive ability are intimately connected with
sublimation we have to admit that also the nature of
artistic attainment is psycho-analytically inaccessible to us.
. . . Even if psycho-analysis does not explain to us the
fact of Leonardo's artistic accomplishment, it still gives us
an understanding of the expressions and limitations of the
same. It does seem as if only a man with Leonardo's
childhood experiences could have painted the Moiina Lisa
ajnd the Saint Anne, could have imposed upon his works
the sad fate they suffered, and so attained to unheard-of
fame as a natural historian ; it seems as if the key to all
his attainments and failures was hidden in the childhood
phantasy of the vulture.

The other thing which the critics of this book
have failed to deal with is the whole argument
in favour of a connection between art and, in
its widest conceivable sense, sex. They have
shirked the point ; and to be frank, so have we.

UNPUBLISHED CASSONE PANELS— VI
BY TANCRED BORENIUS

N the gradual evolution of the vast
majority of museums it almost in-
evitably happens, more particularly
p^^^^ through gifts or bequests, that they
^>*9 become possessors of objects which

do not strictly come within the scope of the col-
lections in question. And in that somewhat
alien setting, such items are naturally apt to
escape the attention of students in the particular
field to which they belong.

256

1/5

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—

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<i;

'— ^

>— ^

E-H

•v

Not many people go to the British Museum
in search of pictures by artists of the Western
hemisphere : and yet it contains not a few
European paintings of more than usual interest.
This is not a suitable connection in which
to discuss those wonderful fragments of the
thirteenth - century wall-paintings from the
" Painted Chamber " at Westminster Palace,
now at the British Museum, which are among
the most remarkable English Primitives which
have survived ; but I should like to avail myself
of the opportunity of referring in this series of
notes to a cassone panel in the same collection,
which, although duly noted by Dr. Schubring'
is doubtless but little known and has never be-
fore been reproduced.

The panel [Plate], presented to the
Museum by Major-General Meyrick in 1878,
represents two incidents from the life of Alex-
ander the Great. The greater part of the com-
position is occupied by a rendering of the
Battle of Granicus, B.C. 334, in which Alexander
was victorious over Darius, whose figure, seated
high up on a battle chariot, attracts the eye al-
most in the centre of the composition. Immedi-
ately on the left of the closely-packed meMe of
the cavalry battle, we then have the next scene :
the mother of Darius, Sisygambis, accom-
panied by her suite, kneeling before the youthful
victor.

In its general scheme, the composition follows
the disposition of the panel which occupies the

1 Schubring, Cassoni, No. 160. The panel is exhibited in
King Edward VII's Galleries.

front of one of the two Cas.soni, now belonging
to Viscount Lascelles, which were discussed in
these columns by Dr. Schubring some years
ago and figured at the Early Florentine Exhibi-
tion of the Burlington Fine Arts Club in the
summer of 1919.^ And arguing ex analogia we
are probably justified in concluding that the
Cassone originally adorned by the panel at the
British Museurn, had as its companion one
showing the same scene as Lord Lascelles's
other Cassone : a composition interpreted by
Dr. Schubring as the Marriage of Alexander
and Roxane and by Dr. Weisbach' as the
Triumph of Darius.

In spite of the similarity in general disposi-
tion between the British Museum panel and that
on Lord Lascelles's Cassone, the two pictures
cannot be ascribed to the same artist, seeing
how greatly they differ in actual style. They
are no doubt products of the Florentine school,
and about contemporary — that is, painted about
1450 :but the artist of the British Museum panel
has considerably reduced the number of units
in his scheme, and altogether simplified the
design, which fills the space in a manner evinc-
ing considerable sense of decorative appropri-
ateness. The panel is on the whole in a very
good state of preservation, and the gold of the
carefully - tooled passages harmonises very
happily with the brown and dull greens and
greenish blues which predominate in the scheme
of colour.

2 See the Burlington Mac-izine, vol. XXII (January, 1913),
p. 196 sqq.

3 W. Weisbach, Trionfi, p. 32, n.i.

A TAPESTRY IN THE MURRAY COLLECTION
BY A. F. KENDRICK

RS^ f^SKl T is inevitable that efforts to make
IUmI lis))) fresh acquisitions for the national
collections should occasionally end
in failure. When these mishaps
occur, it is not always possible to
take refuge in the philosophy of the inimitable
Angler : "" Nay, the trout is not lost; for pray
take notice, no man can lose what he never
had." The object in question may have long
been in the country, and indeed such cases form
the chief problem to be dealt with to-day. The
loss would have been irreparable if the tapestry
which forms the subject of this notice [Frontis-
piece and Plate II, b] had left England, as it
very nearly did, a year ago ; for it is unique in the
national collections and probably in the country
as well. That it did not go was primarily due to
the benefaction of the late Captain H. B. Murray.
But the sum available under this bequest would
not have outrun competition had it not been for
the goodwill and public spirit of a group of
London dealers who, not for the first time,

waived personal interests in order to join in the
effort to secure the tapestry for the nation, with-
out commission or profit of any kind accruing
to themselves.

The tapestry first came to notice on its dis-
covery by Lord Willoughby de Broke some
years ago in a cupboard at Compton Verney.
Although " treasure trove," it had in the end
to be sacrificed to conditions brought about by
the war, and last year Messrs. Sotheby were
instructed to sell it by auction. The size (g ft.
II in. by 3 ft. 8 in.) would render it suitable for
hanging before an altar or at the back of the
choir-stalls, but it can only have been brought
out on special occasions, as the marvellous pre-
servation of the colours shows. Although a few
of the threads have perished, the loss is hardly
more than the mere lapse of four and a half
centuries would easily account for. The
materials are chiefly woollen threads, and the
dilapidations are almost entirely confined to
these. Silk is sparingly used for high lights,

and gold and silver thread for richness in the
draperies and haloes.

The chief advantage which this panel has
over most tapestries of its age lies in the state
of the flesh-tints, which are among the first to
suffer as a rule. Their remarkable freshness
and delicacy adds immensely to the effect of the
work. The weaver's skill is not shown in any
fineness or regularity of texture, but rather in
the way that he uses the resources of his craft
to expresss his theme. In the scenes of the
Deposition and the Entombment a remarkable
contrast to the living figures is afforded by the
pallor of the body of Christ. The rendering of
the thin texture of the winding-sheet in the latter
scene allows the stonework of the sepulchre to
be visible through it. The sky is in tlecks
passing from pure white through successive
shades to a deep blue.

The treatment is altogether worthy of a mas-
ter. Amid so much poignant grief there is no
theatrical note in gesture or facial expression
anywhere. Is it permissible to hazard a guess
at the name of the designer? If so, that of
Roger van der Weyden comes first to the mind.
Such problems have their pitfalls, for no good
tapestry counterfeits a painting. Even if it
aims at a pictorial effect, which it may rightly
do supposing that success is assured, the result
is as different as the means employed. Artists
of the first rank often made preliminary designs
{fetits patrons) for tapestries, and they even
collaborated at times in the grands patrons
which the weavers had beside them at the

FRENCH EIGHTEENTH CENTURY FURNITURE IN THE
WALLACE COLLECTION-I

S. MacColl

F with pictures it is well to study the
I back as well as the front for evidence

of authorship and history, it is
I doubly so with furniture during a

period when concealed signatures
were customary. The packing away of the
Collection during the war and the work of re-
arrangement delayed my intention of making a
thorough and complete examination of the
furniture at Hertford House, and the provision
of a lift has rendered it easier. Besides .the
bronze-worker's signature of Caffieri and the
inlaid names of Riesener and Foulet two
ebeniste stamps were certainly known to exist,
those of Dubois and Leieu ; in other cases a
name had been assigned with high probability ;
but neither Molinier nor Lady Dilke, who gave
some study to the subject, had an opportunity
of searching for stamps or other records not
visible on the face. In collections public or

loom ; but no master-painter of experience
would expect the tapestry to have any deceptive
resemblance to his painted design. An attribu-
tion to Roger van der Weyden, if it may be
made in this case, is not inconsistent with the
obvious date and probable locality of origin of
the tapestry. Clearly it belongs to the
middle years of the fifteenth century. At
that time Brussels had not yet earned
the fame it afterwards enjoyed. Tournai
and Arras were the foremost centres of tapestry-
weaving, and they prospered under the patron-
age of the Dukes of Burgundy. Roger was a
native of Tournai, and there he served his
apprenticeship. Robert Campin, his master,
as well as his fellow-pupil Jacques Daret, made
designs for tapestries. So far as Roger him-
self is concerned, a well-known set of tapestries
at Berne preserves the designs of some paintings
of his which perished in the seventeenth cen-
tury ; and a tapestry in the Louvre reproduces
his picture at Munich of St. Luke painting the
Virgin. It should be borne in mind that even
if Roger were the designer of the tapestry under
consideration, no preference for Tournai over
Arras as the place of weaving would necessarily
be implied, for by the middle of the century
he was already settled in Brussels as town-
painter.

There is a charming touch of French grace,
so alien to the realistic art of the school of the
Van Eycks, and it seems reasonably safe to
locate the tapestry somewhere on the Franco-
Flemish borderland.

private these records often lurk unseen and
they are not always easy to find. They may
be under a slab, on the back, on the edge of or
beneath a drawer, or right underneath the
object. They are often carelessly impressed,
filled up or mutilated, and it is astonishing how
loosely the strict regulations of the mattrise seem
to have been carried out.' The officers of the
corporation had the right of entry into the
workshops and could seize or destroy any
pieces not properly made and marked with the
master's name and the ME which meant maitre-
ebeniste. But we find names without that addi-
tion, and pieces nameless where we should expect
a signature. On the other hand the name may
be stamped twice, thrice or oftener. One can
never be absolutely sure of the absence of a

1 The stamp period is from about 1744 till the Revolution
with a short break in 1776. Royal workers in the Louvre
and some privileged settlements were exempt.

260

_4— ]5ureau by J. V. Kr.sk-l. 86.4 cm. by too. 3 cm. by 96.5 cm.

7j_Ck)ck-case by lial
ihasar l.icutaucl. 2.36 m.
b\- o.s6 m. bv 0.36 ni.

C — C'aski'i b\- Anininc I'.nilki. 35.6 cm. by 37.2 cm. by 45.7 cm.

/) — Siii'naiun' b\ .Xnloine
iMiulIel and mail rise .stamp
on the casi<et (c)

Plate I. Imcik-Ii Eighteenth Century I'tirniture in the Wallace C()llectii)n — I

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name. In one case I had called in six pair of
eyes to support my own scrutiny of two com-
panion pieces without result, but as they were
going down in the lift the accident of light re-
vealed a faint and incomplete impression on one
of them, and with this clue I discovered the
name, faint but in full upon the second. In
another case black paint had obliterated all but
a trace of the tops of the letters, nearly covered
by a reinforcing piece of wood. Such a hunt
has its mild excitement and a proper history of
the period cannot be written till a search for these
evidences has been pursued. The illustrated
catalogues of the Royal Collection at Windsor
by Sir Guy Laking, of the Jones Collection by
Mr. Brackett, of the Louvre Collection by M.
Gaston Dreyfus and of Russian Collections by
M. Denis Roche, have added to the material
provided by earlier books : on the other hand
the Repertoire of Les Artistes Decorateurs
du Bois by the late M. Vial and his collabor-
ators has advanced the documentary study of
which M. de Champeaux was one of the
pioneers. It is time that the Wallace Collec-
tion added to the common stock of knowledge,
and I therefore anticipate the publication of a
catalogue by giving here some of the results ob-
tained. I will begin with a summary list of
signed pieces in the order of the existing cata-
logue. The signatures of »metal workers and
clock makers are not here included, nor marks
of provenance, of which I shall speak later.

Gallery I.
Nos. 24, 26-30, Armchairs. Stamped G. JACOB.

Gallekv II.
Nos. II and 12, Cabinets. Stamped A. WEISWEILER.

Gallery VI.
Nos. xiii, xiv, Armchairs. Stamped VITEL.

Gallery IX.
No. 13, Buffet. Stamped J. F. LELEU
No. 20, Commode. Stamped with false signature, RIESNER

[iic]
No. 27, Bureau. Stamped J. U. ERSTET.
No. 31, Table. Inscribed Louis Le Gaigneur, fecit. (See Bur-
lington Magazine, December, 1915.)
Gallery X.
No. 26, Commode. Stamped P. GARNIER.
Nos. 32 and 34, Commodes, Stamped MARCHAND. (Now
in Gallery XVI.)

Gallery XI.
No. 14, Cabinet. Stamped I DUBOIS ME. (Now in the

Hall.)
Nos. 24-29, Chairs. Stamped M. GOURDIN
Head of Grand Staircase.
Nos. 21, 31, Cabinets. Stamped J. F. L. DELORME

Gallery XII
No. 4, " Londonderry " Cabinet. Stamped on each section

E. LEVASSEIJR.
Nos. 22b, 22c, Chairs. Stamped I. B. LELARGE.

Gallery XIII.
No. 4, Corner-piece. Stamped J. H. RIESENER

Gallery XVI.
No. 44. Casket. Stamped ANT/FOULLET ME. (Now in

Gallery VIII).
No. 46, Commode. Stamped four times under slab with un-

unusually large FM. (Now in Gallery XV).
No. 4S, Console Table. Stamped I DUBOIS ME. (Now in

Gallery XIII).
No. 52, Console Table. Stamped J. F. LELEU ME. (Now
in Gallery XIII.)

No. 53, Commode. On back are initials, but probably of
owner, EBB, as on two pieces in Jones Collection,
and one in that of Mr. Victor Ames.
No. 58, On the back of the CafTieri Commode is a Urge

double V or W.
No. 59, Cabinet. Stamped JOSEPH. (Now in Gallery

'XVII.)
No. 60, Commode. Stamped E. LEVASSEUR ME.
No. 66, " Stanislas " Bureau. In addition to signature of
Riesener and date in inscriptions to be facsimiled later,
are large letters DC twice branded underneath. (Now
in Gallery XI.)

Gallery XVIII.
No. 4, Secretaire. Stamped J. H. RIESENER and also

G. BENEMAN.
No. 12, Secretaire. Stamped J. H. RIESENER.
No. 20, Bureau-toilette. Curiously branded under a drawer

LxExLEU in large letters.
No. 24, Secretaire. Stamped J. H. RIESENER.
No. 30, Secretaire. Inlaid in the marquetry is foulet.
No. 44, Commode. Stamped J. H. RIESENER.
No. 52, Secretaire. Stamped J. F. LELEU ME.
No. 54, Table. Under drawer are the large and rough
initials J R L S.

Gallery XIX.
No 3, Cabinet. Two stamps, of which in one case

M ME survives ; possibly M. CARLIN, but

the obliteration has been deliberate.
No 4 Work-table. Stamped twice M. CARLIN ME.
No. 16 Table. Stamped I DUBOIS ME.
No. 19, Etagere. Stamped A. WEISWEILER.

Gallery XX.
No. 6, Secretaire. Stamped A. WEISWEILER.
No. II, Secretaire. Stamped A. SCHUMAN.
No. IS, Serre-papiers. Stamped 1 DUBOIS on both parts.
No. 16, Worli-table. Stamped R-HV-|-L4-C ME.
No. 17, Writing Table. Stamped I. DUBOIS.

Gallery XXI.
No. 9, Cabinet. Stamped E. LEVASSEUR ME.
No. 29, Long-case Clock. Stamped B. LIEUTAUD.
No to Sofa: Nos. 31-38, Armchairs. Stamped C.
MELLIER & CO, CABINET MAKERS, LONDON,

No. 45, Upright Bureau with Clock. Stamped M. CARLIN
'ME.

Gallery XXII
No 25 Sofa ; Nos. 26-33, Armchairs ; Nos. 34-35, Causeuses.
All stamped G. JACOB.

Here, then, leaving out doubtful cases, are
twenty-three names on sixty-three pieces, some
familiar, others only names, or even unknown to
the records. I shall deal at present with the
signed pieces of " BouUe " work, all later than
A. C. BouUe the elder.

J. U. ERSTET'S name is absent from the
available records unless under the form " J. W.
Erster," master in 1774, who lived "dans les
Celestins " and in the rue des Jardins till 1791-
One signed piece by him is recorded in a private
collection; a rosewood bureau in Louis XVI
style. There is also " Joseph Ertet," who
married in 1789. The name Erstet may very
well have been a phonetic spelling of the Danish
Oersted. Now here [Plate I, a] is a piece
which not unreasonably from its design was set
down as by A. C. Boulle himself, " and in his
finest stvle." An identical palmette mount
appears on a commode of the same general con-
ception. No. 6 in M. Dreyfus's Louvre Cata-

~ 2 These chi^irs, which by no fault of tha makers have
hitherto passed for Louis Seire work, were m.ide on a l-rench
model in Sir Richard Wallace's time to frame the f-Khteenth-
century tapestries. A close inspection shows that the g.Idmg
was F:nPlish, the " burnish " beneath the gold bemg blue,
not red.

265

logue, given definitely, I do not know on what
evidence, to A. C. Boulle. Its slab is of the same
beautiful black and gold marble, called in French
" portor." Our marble is broken at one
corner; a strengthening slab of stone has been
added beneath, and this fits into an extra top
of wood, doubtless a later addition, along with
the little appliques at the corners.

ANTOINE FOULLET was, in 1757, jure
of the corporation and master of the Confr^rie
de Ste. Anne au convent des Carmes Billettes.
No other piece by him is on record, but this
casket [Plate I, c] with its cipher of royal
L's, illustrates how production of " Boulle "
work went on under Louis XV.

BALTHASAR LIEUTAUD is another
Louis XV worker. I place him here, though
there is no metal and tortoiseshell inlay on his
clock ; hut the ebony veneer that gave its name
to the ebcnistes along with gilt brass mounts
persists. He became a master in 1748 and lived
till 1780. This must be one of his later pieces,
after 1770 perhaps, showing the influence of
J. C. Delafosse. There is another regulateur by
him in the Jones Collection and one at Versailles.
Indeed he appears only to be known as a clock-
case maker. The clock, whose works are by Ferdi-
nand Berthoud (in Paris, 1746-1807) is said to
have been taken from the Tuileries in 1793,
whitewashed to conceal its value, and bought
from a pork-butcher some fifty years ago.
[Plate I, b].

JACQUES DUBOIS and JEAN FRAN-
COIS LELEU are also characteristic Louis XV
workers, Leleu in the Oeben-Riesener group,
Dubois chiefly famous for the black lacquer and
vernis Martin pieces in the Wallace Collection
decorated with gilt-bronze figures attributed to
Falconet. Dubois was jur6 in 1753 and died
about 1773, but his widow continued the busi-
ness, as widows had a right to do, till sometime
between 1783 and 1787. Leleu was master in
1764, and is known to have lived till 1787. It is one
of the surprises of this inquiry to find both men
manufacturing " Boulle " work : no such pieces
are hitherto on record. What is more the two
console-tables are exactly alike except for a little
bronze mount inserted by Dubois above the
masks; the design of the B^rainesque singeries
on the slabs also differs. [Plate II, e]. (These
slabs are not, like the rest of the work, shell on
brass but brass on shell.') Now, apart from the
slab patterns and the little urn-lamp below, the
design of these tables goes back to one of the
models engraved by A. C. Boulle himself, and is
the most exact case I know of such correspond-
ence. The significance of all this is worth notice.

3 A table with the same curved legs and mounts is illus-
trated on p. 70 of Molinier's Le Mobilier XV Ih et au XT7//c
Steele, and attributed to Boulle.

The name of a cabinet-maker stands for very little
in the matter of design. He received a slietch
(often, it is true, of a rough or even sloppy
kind) from some architect or ornamental
draughtsman, and applied his craft to render it
as best he could. For models of bronzes he
must apply to a sculptor and go to a bronze-
founder and chiseller to have them carried out.
A few men, like A. C. Boulle, were privileged
to produce their own bronzes; Cressent, though
a sculptor by training, got into trouble for con-
travening the rules. This dividing up of design
and execution accounts for a good deal of in-
coherence, and many of the bronze mounts were
" stock " pieces, applied to different designs by
different hands. We cannot be sure, therefore,
that the ebiniste's mark means more than a re-
sponsibility for the putting together of the piece,
its veneer and inlay.

The second piece signed by Dubois [Plate
II, f], one of a pair of heavily designed cabinets,
is of later style, with a minimum inlay of brass
and pewter only.

The first piece by ETIENNE LEVASSEUR
[Plate II, g] illustrates how full of pitfalls the
work of the " Boulle " continuers or revivers
is in the absence of documents. It was des-
cribed as of the Regency period (1715-23).
Now Levasseur was born in 1721 (he died in
t8oo) and was not a master till 1766, so that our
piece, which has the maitrise mark, must be of
that date or later. As he lived in the Faubourg
St. Antoine, where there was a privileged com-
munity, largely foreign, he no doubt produced
work before that date and may have signed it or
may not. According to his grandson he served
five years in the atelier of one of the Boulles, so
that he carried on their tradition without a break
till the end of the century. To group him, there-
fore, as a " Boulle " revivalist with Montigny
and Jacob under Louis XVI is a mistake,
though he benefited by the revival.

It is only recently that Levasseur's name has
been detected on pieces attributed to the Boulles
in the Louvre. The two remaining pieces identi-
fied here [Plates II, h and HI, j] are therefore,
useful documents, and they are found to group
with works bv two other men, JOSEPH and
J. F. L. DELORME [Plate HI, k and m]. Of
the first, little is known" ; he is associated with
pieces in lacquer and wood-marquetry. The
second is not known at all, unless he be the
Delorme who became master, also in 1766, by
whom no pieces are reported.

All four pieces illustrate the limited and

* The mystery about Joseph is cleared up by Comte F_. de
Salverte, In a forthcoming work, Les Ebenistes du XVIII'
Sidcle. He was Joseph JBaumhauer, a German attached to
the service of the Court under Louis XV soon after 1767.
He died in 1772.

266

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" stock " character of type and mounts. They
are all properly bookcases, of which a design
engraved by BouUe is archetype. So with de-
tails. The keyhole mounts on the huge
" Londonderry " Cabinet, with their ap-
pearance of double-eagle heads crowned,
might be thought to point to a royal
command. This device, however, appears on
the Mazarin commodes, which are authentically
Boulle's. The same device appears on Levas-
seur's other cabinet and on that by Delorme :
also on the armoire standing opposite the
Londonderry cabinet in Gallery XII (No. 3)
and on various pieces elsewhere. The device of
the Cupid in flight suspending a curved frame-
work is a smaller variation' of a motive on the
same armoire where the suspensions end in the
trophies of the Delorme cabinet. The curved
mounts above appear on a cabinet at Windsor
(Catalogue, Plate 30) above a figure of Flora or
Spring, of which more presently. The counter-
part has a Ceres or Summer. The corner mounts
are the same as those in the Delorme. The
corner-pieces on the doors of the Londonderry
Cabinet contain smaller versions of the mask on
the corner-pieces of the other Levasseur cabinet.

That cabinet [Plate III, j] is one of a pair
bought from the Koucheleff-Bezborodko family.
They are counterparts, but it is the second part
(shell on metal) that is signed, and there are
differences in the wood of the interior and a
difference also in the constitution of the gilding.
There is a curious note in Madame Vigde le
Brun's Souvenirs in which she describes a
visit to Prince Bezborodko's " salons encombr^s
de meubles achet^s a Paris." They came, she
says, from the elaborated ^b^niste " Dagu^re '"
and most of them had been so well imitated by
the Prince's serfs that it was impossible to dis-
tinguish copy from original. It is just possible,
though in a high degree unlikely, that No. 23
is one of those reproductions.

The Delorme cabinet has the same mould-
ings, base, 'outer feet and top-slab under its
marble as the Levasseur piece : indeed, these
features are common to a whole group of
" meubles a hauteur d'appui " ; some of them
go back to an engraved Boulle type. But the
corner-pieces are those to be found in a number
of armoires, one of them the example already re-
ferred to in Gallery XII. They are also on the

* It appears in this shape on No. iii in the Louvre, a
cabinet formerly assigned to Boulle himself. It has the
Delorme corner pieces, eagle-head keyholes, but also the key-
hole device of a crown over a lyre with torches en sautoir,
which is to be found on two curious commodes in our
gallery XVII (Catalogue XVI, 61-65.)

® Volume III, p. 71.

' The furniture was from the quantities sacked and sold at
the Revolution from the royal palaces. A catalogue of a
later sale in 17,000 lots, many covering a group of piecei,
exists in MS. Daguerre sold his stock in 1793.

cabinet reproduced by Lady Dilke opposite p. 137
of her book on French eighteenth-century furni-
ture. She says, " designed by Slodtz," but the
drawing by one of that family does not show these
mounts (Molinier, op. cit., p. 128). It shows the
central figure and two trophies. The Delorme
cabinet is precisely, in design and dimensions,
the same as one in the Louvre which M. de
Champeaux reproduced in the Portefeuille des
Arts Dicoratifs, Plate 193, except that it is a
counterpart, with trifling variations, and that the
Louvre example is stilted up by an inlaid
band above the base, probably an addition.
The central figure is a pendant to ours. This is
No. 15 of M. Dreyfus's catalogue. The figure
is called " Mars," and apparently the corres-
ponding piece is No. 10 with a " Pomona " (our
figure). These are now assigned to the " Boulle
atelier."

The Joseph cabinet [Plate III, k] introduces
us to other stock reliefs. There are two sets, a pair
of Apollo and Marsyas and Apollo and Daphne,
and a set of four Seasons, or perhaps more
properly Flora, Ceres, Bacchus and Hiems. The
Marsyas is seen in the centre of the Joseph
cabinet, two of the Seasons at the sides : the
other two are round the corner. Bacchus appears
again on the Weisweiler, which follows the
Joseph in various details. It would be tedious to
enumerate the pieces on which these figures
appear in the Wallace Collection (and elsewhere) ;
there are four of the Marsyas, three of the
Daphne, and twelve of the various Season
figures. Lord Hertford could not resist them.
The "Seasons" are authenticated as used, if not
designed by Boulle ; two of them appear on one
of his engravings.

The " Boulle " cabinets by ADAM WEIS-
WEILER are another of the surprises of this
quest. He became a master in 1778 and is as-
sociated with fragile furniture executed for
Marie Antoinette. He is another illustration of
the readiness with which those craftsmen turned
from the later fashions to do a bit of " Boulle "
when it was wanted [Plate III, l].

I have not the space mow to enter on the
question how much of A. C. Boulle's own work
survives in the Wallace Collection or elsewhere.
Probably not a great deal ; and some of the most
certain examples make him out a clumsy and
extravagant designer. How far the design was
his own is a farther question. There is a
preliminary work to be done in the painful
tracking down of the common motives to their
source and elimination of signed pieces. Levas-
seur and others will probably reclaim a good deal
as executants. The name Boulle has become a
superstition, and also the limitation of Boulle's
own work to the reign of Louis XIV. Boulle did
not invent metal inlay : he himself survived

269

Louis XIV by seventeen years, and one of his
sons by thirty-nine years. The production went
on throughout the century and came down to our
own times. In the 'seventies' there were various
Httle masters producing " Buhl " in London,

* A son (?)of Louis Le Gaigneur was at work in Gloucester
Mews at that period.

A DRAWING BY ANTONELLO DA MESSINA

and exporting a good deal to France. Nor
would there be much difficulty at the present
day in repeating, were it desired, the achieve-
ment of Prince Bezborodko's slaves.
{To be continued.)

N.B. — In additions to vol ii of \'ial, /. U. Erstet does
appear on two Louis XVI pieces.

BY GUSTAV GLUCK

N the Staedel Institute at Frankfurt
there is an early silverpoint drawing
[Plate, a] on white prepared paper,
^^^ » «-~ ^o which, only lately. Dr. Josef Meder
fff-y ^^ — "^ has drawn attention in his instructive
book on the technique and evolution of drawing.'
It is a study of the nude from the living model
which must have served for the figure of one of
the thieves in a picture of the Crucifixion of
Christ. The artist, as may be seen from the il-
lustration, has given the slender, beardless, com-
paratively youthful model a pose peculiarly suit-
able for his purpose. The forms of the lean
body are carefully modelled, with the exception
of the hands and feet which are more summarily
indicated. The character of the drawing pro-
claims both a definite sense of style and an inti-
mate observation of nature which gives a
peculiarly plastic form to what the draughtsman
saw. Nevertheless it has so far remained un-
certain to what school the sheet ought to be at-
tributed. When it was first reproduced in the
publication of drawings in the Staedel Institute'
it was labelled the work of an unknown Italian of
the first half of the fifteenth century. Dr. Meder
has, however, with a truer sense of its technique
and spirit, ascribed it to a Netherlandish artist
of the second half of the same century.

Nevertheless I believe that this remarkable

sheet ought to be ascribed to an Italian, to a

Southerner who painted entirely in the manner

of the old Flemings and who, one may therefore

assume, also drew as they did. I am thinking of

no less a man than Antonello da Messina, that

manv-sided intermediary between Northern and

Southern art. The use of this study of a thief

cannot, it must be admitted, be traced in any of

the known Crucifixions by Antonello. But the

same physical forms may be observed in his

Crucifixion of 1475, in the Antwerp Gallery

[Plate, b]. For one thing, the body of Christ

shows the same slender build, the same line

drawn in at the waist, the same vertical division

of the breast and vigorous accentuation of the

ends of the ribs. Still more patent are the

analogies, if we consider the thief on the left of

Christ, whom Antonello, favouring a new whim,

' J. Meder, Die Handzeichnung, Vienna, 1919, p. 389.
a Portfolio VIII, plate 5.

shows tied not to a cross, but to a barren tree.
Here, too, we find the emphatic tossing back of
the head, the accentuation of cheek-bones and
collar-bones, the rounded and yet lean shoulders,
which conceal part of the throat and head, the
right hand hanging forcelessly down, the curv-
ing line of waist, the Jong knees, the weak,
slender ankles. The drawing in question also
resembles other works which are (ascribed to
Antonello da Messina — apart from the Cruci-
fixion in the National Gallery which is so closely
akin to the Antwerp one. The forceless bend of
the wrist of the right hand is paralleled in the
Madonna in the collection of Mr. R. H. Benson
in London, in the Lamentation over the Dead
Christ in the Museo Correr at Venice,^ and
finally in the boldly foreshortened figure of the
young soldier lying on his back in the back-
ground of the big picture of St. Sebastian in
the Dresden Gallery in which the foreshortening
of the head of the figure stretched on the ground
should also be compared with the head of the
thief : the treatment of the nose, the nostrils and
slightly opened mouth is here quite similar.

As regards the ascription to Antonello of this
very remarkable picture of St. Sebastian, I ven-
tured more than a decade to express some
doubts," and to emphasise the pronouncedly
Venetian character of that work ; but in doing
so, it now seems to me that I did not take suffi-
ciently into account the changeable, easily im-
pressionable character of Antonello's art. The
specialists on the subject seem, indeed, through
their silence to have expressed their disagree-
ment with my doubts, and above all Mr.
Berenson, in his two papers on Antonello, pub-
lished a few years ago,' has passed over them
to the order of the day. Since then, the same
critic has also given the ascription of the Dres-
den St. Sebastian a pioneer support through the
very convincing attribution to Antonello of the
important picture of the Enthroned Madonna
and Child in the Kunsthistorischen Museum at
Vienna. That this picture is a fragment of the
last and famous altarpiece of S. Cassiano, also

s These two pictures reproduced and discussed by Mr.
Berenson, The Study and Criticism of Italian Art, third series,
London, iqi6, p. 81, 89.

■> Kiinstgeschichtliches Jahrbuch der K. K. Zentral-Kom-
mission fUr Kunst-und historische Denkmale, 1919, p. 212.

' Reprinted loc. cii.

270

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.1 — Secular cup, luiglish, 3rd quarter ot
15th century. Height, 14.9 rm. (Marston
Church, Oxfordshire)

B — Cocoanut cup mounted in silver gilt. English, about
1500. (St. Augustine's College, Canterbury)

C — Domestic cup and cover. Probably a
copy of a German or Netherlandish cup of
the first half of the i6th century. (Fare-
ham Church, Hants)

Old Plate at the Church Congress

D — Secular bowl. Probably linglish, earlv ibth century
Diameter, 17. i cm. (St. Michael's Church, Bristol)

seems to me extremel}' probable. To this may
be added, that just as in the case of the Madonna,
a second fragment may be identified in the col-
lection of the Archduke Leopold William under
Giovanni Bellini's name. This fragment now
exists only in a small copy in Tenier's Gallery
picture belonging to Baron Alphonse Rothschild
in Vienna, and in an engraving in the Theatrum
pictorium, published by the same Flemish
artist : a narrow picture with a St. George who
stands, with a long lance, resting on the ground
beside a female saint with a wreath of roses in
her hair (St. Rosalia?). If this supposition be
accurate, one would have to imagine the altar-
piece of S. Cassiano as analogous in composi-
tion with the picture by Marcello Fogolino in
the Mauritshuis in The Hague as an Enthroned
Madonna with six saints, of whom St. George
on one side and St. Michael on the other are
certain. It seems less probable, that the frag-
ment referred to formed an independent part of
the altarpiece.

The relations of style between these frag-
ments with their purely Venetian character, and
the St. Sebastian, ;are absolutely convincing.
However, the great difference remains striking
between the nude figure of St. Sebastian and
those in the two above-mentioned Crucifixions
in Antwerp and London, especially when one
considers that the St. Sebastian must have been
painted during the period covered by the dates
of these two smaller pictures, 1473 and 1477.
This difference can probably only be explained
by assuming that the Crucifixions with their
antiquated look were preceded, in the work of
the artist — who had begun as an imitator of

the Flemings — by earlier versions.

An earlier picture of the Crucifixion, one lead-
ing up to the versions in Antwerp and London,
seems indeed to be what we must associate with
that study of one of the thieves — more severe
and less fluent in its form — which I took as my
starting-point, and which evidently has served
for an earlier version of the theme of the Cruci-
fixion which no longer exists. As far as we
may judge, the two thieves were also here, as in
the Antwerp picture, not tied to crosses but to
dead branches of trees. The manner in which
the arms are tied in the Frankfurt drawing
seems to indicate clearly that they could not
have been fastened to the much heavier arms of
the cross; so that this device probably takes us
back to an early period. For the rest, this
hypothetical picture must have been still closer
to the Netherlandish manner than the two
existing later versions. Also, the silverpoint
technique entirely corresponds with that in use
in the Netherlands. To conclude, as Dr. Meder
does, from certain weaknesses and superficial
passages that this is the work of a copyist, does
not seem to me necessary ; for even the most
important Netherlandish drawings are almost
always artistically a little inferior to the pictures.
This applies in the first place to those of Jan
van Eyck, among which we may count the por-
traits of Cardinal Albergati at Dresden, of
Jakobaeus of Bavaria and the Man with the
Falcon at Frankfurt, and of an Old Man in the
Louvre. In early Netherlandish art — on the
lines of which also Antonello began — the full
delicacy of the rendering of form is reserved for
the finished picture.

OLD PLATE AT THE CHURCH CONGRESS
BY E. ALFRED JONES

HE Exhibition of Ecclesiastical
Arts and Crafts at the Church Con-
gress at Sheffield in October ex-
ceeded in interest the Exhibition at
Birmingham last year^interesting

as that was — both in the variety and number of

the exhibits.

Some of the plate has already been described

and illustrated in books and periodicals. For

example, the Henry VII chalice and paten

from Clifford Chambers Church and the late

Elizabethan tankard from Heddington Church

were illustrated in my article in the Burlington

Magazine for December last.'

Four objects have been selected for illustra-
tion in this brief Note, on account of their rarity

or special interest. The first is a small English

secular cup, dating from the third quarter of

the fifteenth century, from Marston Church in
I B.M., Vol. XXXIX, p. 254 (Dec.)

Oxfordshire [Plate, a]. The plain conical bowl
is joined by a cable moulding to the plain trum-
pet-shaped stem, the base of which is pierced at
the edge with conventional quatrefoil tracery
and has a cable moulding. Three talbots or
hounds, standing on plain oblong pedestals,
support the cup, and in this particular recall
the three lion supports on a cocoanut cup at
Gonville and Caius College, Cambridge, and
the three demi-figures of angels on a cocoanut
cup at New College, Oxford, both dating from
the fifteenth century. The measurements are :
height, 5I in., diameter of the mouth, 4J in.,
and of the base 3f in. Scratched on the base
is the name of the original owner, George Skyd-
more. Thanks to researches made by the Rev.
H. E. Salter, Fellow of Magdalen College,
Oxford, some account of this good man is avail-
able. He was a well-known and prosperous
butcher and bailiff of Oxford in 1455, and in

275

1468 he married his second wife, and died
before 1478. How this cup came into the posses-
sion of this Church is not revealed in the earliest
inventories {i.e., the first years of Elizabeth),
where a " Town Cup " as well as a chalice is
mentioned. It is assumed, not without good
reason, that this secular vessel is the actual
" Town Cup," and that it was used by the
parishioners for the " Church Ales "■ — men-
tioned in the inventories with their apparatus —
of the parish held twice a year. The " Town
Cup" disappears from the inventories after a few
years, leaving only the chalice. The old cus-
tom of " Church Ales " is recorded in the
Churchwardens' Account Books of Bassing-
bourne for the year 1497, on view at this Ex-
hibition. And what would seem to be a protest
against using a silver Sacramental flagon for
distributing ale on those festive occasions is
contained in the inscription on the silver flagon
of 1674-5 from St. Michael's, Bristol, wherein
the pious donor, Jonathan Blackwell, goes so
far as to declare that this vessel shall be for-
feited " if lent or imployd to any other use "
than that of the Sacrament.

Oxford wills go no further back than 1530, and
therefore no help may be sought in the will of
George Skydmore as to the future destination of
the Marston cup at his death. The suggestion has
been made that it may be the earliest vessel in
use as a chalice in continuous service (for about
460 years) in an English Church to-day ; but in
the absence of more definite proof of the gift of
it for that purpose by Skydmore himself, the
suggestion cannot be sustained. This is, how-
ever, a comparatively minor point. The rarity
of English secular plate of the fifteenth century
is in itself sufficient to enhance the history and
value of this little cup.

The second piece is an English cocoanut cup
of about the year 1500 from St. Augus-
tine's College, Canterbury [Plate, b].
silver-gilt mountings comprise a wide
scribed with the delightful invitation

Velcom ze be dryng for charite.
On the shoulder the mount is chased with
leaves. The nut is supported by three jointed
bands of Gothic foliage, with a cable running

THE DERBY DAY
BY WALTER SICKERT

»F the masterpieces of British art,
'Frith's Derby Day remains, since
fthe memory of living man, the most
ipopular, as it is certainly the most
^unaffectedly enjoyed painting in the
National Gallery. It is said, and there is nothing
astonishing in the fact, that it accounts for more
sixpences at the turnstile than all the other pic-

lip.

The
in-

down the centre. A modern wooden stem and
base replace the originals of silver-gilt. A tradi-
tion has survived in the Fagge family (to whom
it had belonged until 1920, when it was pre-
sented by a member of that family to the Col-
lege) that it was the " Grace Cup " of John
Foche, or Essex, last Abbot of St. Augustine's
Monastery, Canterbury, who signed the deed of
surrender of that religious house to Henry VIII
in 1538. The Gentleman's Magazine for 1759
(Vol. 29, page 271) contains an account of this
cup, and in the Occasional Papers of the College
(No. 141) are some further particulars by the
Rev. R. U. Potts concerning it.

An unknown piece of early secular plate,
dating from the beginning of the sixteenth cen-
tury, was brought to light at this Exhibition, in
a small circular bowl, 6| in. in diameter, from
the Church of St. Michael, Bristol [Plate, d].
The side of the bowl, except for the plain lip,
is covered with large spiral lobes, such as may
be seen on English plate of the end of the fif-
teenth, and the beginning of the sixteenth,
century. In the centre is a raised circular disc
chased with flowers, from which every vestige
of the original enamel has disappeared. Radiat-
ing from this disc are " flames of fire," in the
manner of those on two rose-water dishes of
1493-4 and 1514-5 at Corpus Christi College,
Oxford." This dish has been in possession of
this Church since 1684, the date inscribed upon
it with the name of the Church.

The last piece selected for illustration is a
foreign domestic cup and cover, \o\ in. high,
erroneously described as a ciborium, from Fare-
ham Church in Hampshire [Plate, c] In
shape, and in the style of the lobes covering the
whole of the cup, it might be ascribed to the first
half of the sixteenth century, and the country of
origin as Germany or the Netherlands. It is
however, probably an old copy of an early cup.
The whole has been re-gilt and restored and the
flame-like finial added. In an inventory of the
plate and other objects in this Church in 1552 a
" standing copp of silver with a cover " is in-
cluded, and the assumption has been made that
this cup is that actual piece of plate.

a lllubtrated in Old Oxford Plate, by H. C. Moffatt.

tures put together. Most elderly men will con-
fess that through good affectations, if any affec-
tation can be said to be good, and ill affectations,
they have, from their childhood, remained faith-
ful to the Derby Day. It is natural to all ages
to like the narrative picture, and I fancy, if we
spoke the truth, and our memories are clear
enough, that we liked at first the narrative pic-

276

ture in the proportion that it can be said to be
lurid. My uninfluenced interest certainly went
out, first of all, to Martin's Belshazsar's Feast,
and then to Cruikshank's Bottle, in the South
Kensington Museum. It was only when the
mist and the driving rain of intellectual snob-
bishness, coinciding more or less with the period
of puberty, and the consequent " urge " to com-
pete in agreeing with ladies a little older than
ourselves, that we become ashamed of our true
loves, and fidget from novelty to novelty after
the will-o'-the-wisp of authority. Authority, of
which I will now endeavour to define the present
terminus. I say the present terminus, because,
alas ! experience has taught us that no terminus
even is permanent in its location.

In A.D. 1922, the terminus so far as careful and
anxious inquiry can gather is (lo!) here. The
great paintings of the world are got out of the way
by the convenient anathema of " illustration."
Mantegna, Michelangelo, Veronese, Canaletto,
Ford Madox Brown, Hogarth, Leech, Keene,
e tutti quanti, falling, certainly, under the head-
ing of " illustration " must, I am afraid, go.
Rubens, I note on an invitation I have recently
received from the Medici Society, and a few
other worms of that ilk, can still be mentioned
in decent company, but only, if you please, as
"the ancestors of Cezanne!" Remains, I
imagine, of British art such works alone by
sedulous young men in Soho as will yield, in
a photograph, a superficial resemblance with the
lurches of Cezanne's well-meaning brush. One
puzzle only is left. Cezanne was certainly trying
to illustrate men playing at cards, or places in the
South of France. Remains then, perhaps, we
must say, as laudable alone, unsuccessful illus-
tration.

The tragic element in the career of Frith is
that the immense eiTort of such a monument as
the Derby Day must have gone far to account
for the premature exhaustion of his talent. It
was perhaps a price worth while to pay for a
work which has held the attention of the world
for three-quarters of a century, an attention that
the visitor to the National Gallery can to-day
assure himself to be as fresh as is the picture it-
self in its pearly colours and its exquisite finish.
Enthusiasm sustained at such white heat begets
enthusiasm, and the love that the painter most
visibly lavished on his everv invention and his
every cunning touch has easily been returned to
him a thousandfold by generations of young and
old, of gentle and simple, not only of his own
countrymen but of all nations. The Derby Day
is certainly, humanly speaking, one of the
great victories over death. I should like to see
graven on the painter's tomb the verse of
Homer :

Ofoj Kfiv09 e>]v TcXeaai kpyov re tTro? re
for none ever deserved it more.

A work of this kind cannot be seen at a glance.
There is an interesting article by Poe, whom the
French have incorrigibly dowered with a
diieresis, just because his " e " is mute, in which
the limited capacity of sustained attention in the
human brain is alleged in favour of the short as
against the long poem. I hardly think the
analogy can be pressed in the field of painting.
The close of an Epigram by Martial pulls up
with its thump, like Mrs. Jack Gardner's four,
or royalty's three gondoliers, at the palace, while
the opening still sounds in the ear. A picture
has perhaps the right to be, if it likes, not only
a skin of wine, but a cellar, with its beneficent
potentialities spread over, not one, but several
lifetimes.

Surprises lurk in the Derby Day like Easter
eggs. Turn for a moment from the familiar
foreground figures, the languid swell with the
(alas !) extinct green veil on his still, thank God,
current topper, from the little acrobat, from the
footman and the lobsters, from the ruined little
gent, from the flurried bobby, and look at the
left centre of the middle distance, at the profile
of the lady under a green parasol, superb and
enigmatic in her barouche, who is addressed
by the beau brun on foot, the veritable homme
fatal, and note how they are both silhouetted
against a blaze of light. What a passage of
learned chiaroscuro in colour ! What a reputa-
tion a " Alodern " would have made with that
passage alone ! What a bobbery at the Tate !
Those davs were happy in more than one re-
spect. Not only were such pictures painted and
exhibited for all to see. Their translations were
available for the poor, in the exquisite, and now
defunct art of line-engraving. The central
ornament of my study is the engraving by
Sharpe of the Ramsgate sands, with its in-
exhaustible variety of linear treatment. The
painting lives again, but the skill and tact of the
ensrraver's execution has made of it a second
something. Some day when the younger genera-
tion have become what the French call more
assis, and acquired what the German's call a
little SitsfJeisch, the art of engraving from paint-
ings will be taken up again. The need is too
urgent for the harmonious pages of black and
white that are now relegated, more or less, to the
dining-rooms of country hotels. Teachers of
painting are incessantly pestered by ex-students
who apply to them for direction as to what they
are to paint ! The only possible answer at
present is: "If you have nothing in your •
stomach, don't paint. Nobody asked you to
paint." But I would rather say, " Perhaps you
have a real taste for the crafts of draughtsman-

277

ship, or more, a positive love for them, without
having originating faculty. Perhaps you have
patience and industry. Buy a sandbag and a

EARLY WORKS BY TINTORETTO— II
BY DETLEV, BARON VON HADELN

graver, and learn to engrave the paintings of
those painters who suffer rather from having too
much to say."

UST as Tintoretto assumed an
essentially different attitude from
that of his classical predecessors in
regard to religious subjects, so also
when confronted with subjects from
classical antiquity he appears as the representa-
tive of a new generation. The spirit of the
times has changed. The incipient counter-
reformation gives fresh strength to faith, and
this demands a graphic rendering of sacred sub-
jects. On the other hand, the excessive respect-
fulness towards humanism begins to wane. In-
cidents from mythology and classical history
descend from the heroic transfiguration into
which the Renaissance had raised them, into a
more earthly sphere, and come to be depicted
drastically and graphically, as, for instance, in
the Tarquin and Lucretia, also a very early
work by Tintoretto, now in the Depot of the
Prado at Madrid.' [Plate I, a]. Tintoretto's
imagination always takes as its starting point
the event which he conceives with the utmost
vividness. That is how the picture comes into
being. In this case he has imagined the brutal
scene as a most violent fight, with the furniture
in a wreck, all the articles of clothing, arms and
household chattels thrown about the room, and
even the baldacchino of the bed pulled down.
In the midst of all this highly realistic jumble,
the very artificial motion of the two figures
seems doubly out of place. But the clash be-
tween realism and mannerism is entirely typical
of this group of Tintoretto's youthful works.
The motive of the Lucretia is borrowed from
Michelangelo. It corresponds — though in re-
verse, since it is probably derived from an en-
graving— fairly closely with the nude youth on the
right of the Erythraean Sybil on the ceiling of
the Sixtine Chapel. Nor is the very artificial pose
of Tarquin likely to have been invented ad hoc,
though we cannot definitely name the model
that the aspiring young artist used in this case.
Certain resemblances may be traced between it
and the statue by Michelangelo known as the
Victor but they are not striking enough to justify
us in asserting the connection. It is just worth
while referring to the sculpture, as it represents
the general tendency from which this motive
probably springs.

1 No. 392, I.S8 by 2.71 m.— H. Thode, in the Repertorium
fiir Kunstwissenschaft. xxiii. 433, states that this picture in
1571 was sent to Philip II, in which connection Thode refers
to the Dialogos of Carducho. But here again the distinguished
scholar is mistal-:en. Carducho, op. cit. p. 349, speaks of a
work by Titiafi.

Tintoretto has given a sort of burlesque, even
Decamerone-like interpretation to the delicate
relations between Venus, Mars and Vulcan in a
picture which belongs to Frau von Kaulbach, of
Munich.^ [Plate II, b]. Vulcan enters, not with
the legendary golden net, but like any jealous
old man. Mars, however, has had to seek refuge
under the table, where a yapping dog threatens
to betray him. That is the comical, but also the
moral point of the mythological scene trans-
formed into an anecdote. The heroic Mars cuts
the most ridiculous figure. How far this moral-
ising takes us from Titian's idealisations, still
faithfully reflecting the Humanist's reverence
for everything classical ! In the Print Room
of the Staatliche Museen at Berlin we find
the sketch' for this picture [Plate II, c]
quickly, almost rudely, but with marvellous
brio, thrown on the paper, a state-
ment of the essentials only, of the kernel of the
artistic problem, and for that reason specially
valuable to us. In it we can very clearly see
what the young Tintoretto was mainly concerned
for. He imagined his picture not in the flat
space enclosed by the frames but in a room, as
it were, behind the aperture of the frame.
These two bodies of accentuated volume are
disposed obliquely behind one another and
along the same oblique line the room recedes in
space as far as the circular mirror, which remark-
ably enough occurs in this first idea of the com-
position, thus forming an integral part of the
initial conception. It is the focus of perspective.
But it is probably also connected with certain
theories and aspirations of that period, about
which we learn from the Dialogue by Paolo
Pino, to which reference has already been made.
In that Dialogue it is argued that with the aid
of reflections the art of painting might be made
to rival sculpture in the representation of the
three-dimensional world.

A litde later than the works so far discussed
is a Sacra Conversazione, in the possession of
M. Ch. A. de Burlet." [Plate III, d]. The

2 The late Professor F. A. von Kaulbach told me that he
acquired the picture in Paris about 1890. It is possibly the
work that belonged to Sir Peter Lely : Venus, Vulcan, and
Cupid on a bed, life siz€, length 4 ft. 5J in., breadth, 6 ft. 7 in.
Cf. A Catalogue of Sir Peter Lely's Capital Collection of
Pictures (annexed to the Catalogue of the Buckingham Collec-
tion already quoted), p. 42, No. 24. . ■ u

3 No. 4,193. Pen-drawing, washed and heightened with
white on blue paper, 204 by 273 mm.

* Size 1.23 by 1.70 m. Herr von Auspitz in Vienna possesses
a repetition of this picture by Tintoretto himself, reduced to
the Madonna, as a three-quarter-length.

278

Derby Day, by Frith. Canvas. Detail. (National Gallery).
The Dcrbv Day.

A—Tarquin and Lucretia, by Tintoretto. Canvas, i .88 m. by 2.71 m. (Prado)
Plate I. Early Works bv Tintoretto — II

B— Venus, ]'ulcan and Cupid, by Tintoretto. Canvas, 1.36 m. by 2.01 m. (Frau von Kaulbarh. Munich)

C_Sketch for Wnus, l/f/ani and Cupid, by Tintoretto. Pen and wasli, heightened with white, 20.4
cm. by 27.3 cm. (Staatliche Museen, Beriin)

Plate II. Early Works by Tintoretto— II

D — Sacra Conversazione, h\ Tintoretto. Canvas, 1.2,^ m, by 1.7 m. (M. C. A. de Riirlet)

E — The Death oj lli)li>jernes, bv I'intorcttn. Canvas. (Prado)
Plate III. Ivailv Works bv Tinioretto— II

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poses — of which those of the Madonna
and St. Elizabeth clearly betray their
Michelangelesque origin — now no longer
show any of that extreme strain which
characterises the apostles in the Supper at
Emmaus or the figures in the Woman taken in
Adultery, whose movements are at the same time
somewhat violent and clumsy. By this tirne
Tintoretto has entered into the Roman language
of form to such an extent as to enable him to
begin to express himself in it fluently. Nay, he
now proceeds to achieve the synthesis of Vene-
tian colouring and Tuscan plastic form. It is
plain that the colours now are arranged in the
picture so that the light tints, as far as possible,
coincide with the projecting forms, and bring
out these still more, but without reducing colour
thereby to subjection to plastic effect. On the
contrary, what happens is that the plastic values
co-operate with the colour values by securing for
them greater possibilities of variation through
the projection and recession from the light into
shade, and again back into light.

The style of the Death of Holofernes in the
Prado at Madrid^ [Plate III, e] enables
us to assign it to this early period, and
even to place it definitely at the finish
of that period. It is a closely studied,
extremely carefully painted work, though
perhaps for that very reason not specially
pleasant, and has, moreover, a strangely varie-
gated colour. Perhaps some external conditions,
possibly the expressed wishes of the person who
commissioned the picture, are responsible for its
cold, strange effect. At any rate it is evident
that Tintoretto has been at special pains to
create something sumptuous and rich, something
rather at variance with his own temperament,
which was unaffected, very manly and imbued
with a somewhat melancholy earnestness ; so that
when he attempts to be gorgeous or festive he
always seems heavy, and even occasionally a
little vulgar. This holds true even for the work
of his old age. Consider how easily the light-
ness and gaiety of Paul Veronese eclipses Tin-
toretto in the Ducal Palace. But another bor-
rowed feature observable in this picture may
have been a contributory cause of its academic
coldness. The figure of the woman kneeling,
seen from behind, is borrowed from Raphael's
Expulsion of Heliodorus, and leaves us with the
impression that the ambitious Tintoretto has
made a conscious effort to give the composition
as Roman an air as he could. This picture may
be described as the least Venetian — nay, the
least Tintoretto-like — ever painted by Tintoretto.

With the Last Supper, in S. Marcuola at
Venice [Plate IV, f], which bears the date
August 27, 1547, we reach, so far as chronolog)'

' No. 391. Now in the Depot.

is concerned surer ground.* In comparison
with Tintoretto's later versions of this theme, the
composition must be described as still primitive.
It is disposed in such a way as to conform with
the shape offered by the canvas. It has its
extension in width instead of being obliquely
constructed into the depth, as is later the case.
But if in this case Tintoretto still places the table
in the traditional manner, parallel to the specta-
tor and right in the middle of the picture, yet he
does differ essentially from his predecessors inas-
much as he makes more of his series of Apostles,
spread out in one plane, than a mere co-ordina-
tion of a number of isolated coloured silhouettes ;
he compresses them into plastically complete
groups whose effect is all the more powerful
because together they fill the picture space, as it
were to the point of bursting.' This extreme
crowding of the picture, noticeable also in the
Sacra Conversazione just discussed, and even in
the Supper at Emmaus, is another peculiar
feature differentiating Tintoretto from his prede-
cessors, whose classical feeling demanded not
only a much more lucid view of the individual
parts- — and for that reason a much less closely-
knit composition — but also a certain harmony
and balance between the figures and the back-
ground against which they are set.

In many ways the Last Supper is still reminis-
cent of the preceding works, but it takes us finally
beyond the stage of the beginner's explorations.
It is true that it still remains almost impossible
to conceive the sudden and rapid progress which
during the next few months led Tintoretto to
paint the Miracle of St. Mark, a picture that
reaches one of the summits of European paint-
ing. But such a sudden, volcanic eruption of
gigantic forces is quite one of the characteristics
of Tintoretto genius.'

6 In the eighteenth century the picture has been
patched in the lower part and even more extensively
above. These additions are indicated in the reproduc-
tion. The companion piece to the Last Supper was once
a Washing of the Feet, which is now in the Escorial. Reasons
of style make it, however, indubitable that the Washing of
the Feet was painted considerably later than the Last Supper,
probably about the middle of the next decade.

' For instance, the motive of the Apostle, seen from behind
and leaning against the table, is based on the pose of one of
the two Apostles in the Christ at Emmaus in Budapest. This
harking back to motives which represent earlier discoveries,
is often noticeable in Tintoretto, but these are hardly ever
quite literal repetitions, but are rather variations, the later
versions almost always being the more mature.

8 It has not been my intention in this connection to refer
to all the Tintorettos executed before the Miracle of St. Mark.
In order not to be too prolix, I have, for instance, passed
over the Assunta in the Accademia at Venice, which Thode
has already correctly described as a comparatively early work ;
I have likewise passed over the six Cassone panels in the
Vienna Gallery, hitherto ascribed to Andrea Schiavone, amd
recently referred to by myself (in the ZeiUchrift far btldende
Kunst new series, xxxiii. 27 sqq) as early works by Tin-
toretto. On the other hand, I cannot here treat at any
length of the pictures which other authors, incorrectly, as it
seems to me, regard as vouthful works by Tintoretto. Only
briefly will I refer to some of these pictures, which, through

287

being wrongly assigned to the first phase of Tintoretto's
career, have, I think, been a particular obstacle to the c'ear
perception of Tintoretto's beginnings : Among works that could
not possibly be by Tintoretto are three altarpieces in Vene-
tian churches ; (i) A St. Demetrius in S. Felice, by an imita-
tor of the master ; (2) a Christ Enthroned between 55. Mark
and GalUis, in S. Gallo, by a minor follower of Bonifazio ;
(3) a Presentation in The Temple in the Carmini, perhaps by
Polidoro, as my friend Dr. Giuseppe Fiocco thinks. Genuine
works by Tintoretto, but of much later date, are the following

pictures : — (i) The Finding of the Cross, in S. Maria Mater
Domini at Venice, ordered by the Scuola del SS. Sacramento,
which was on'y founded in 1561. (2) The Miracle of St.
Agnes, in S. Maria dell' Orto, of the end of the 'sixties.
Scarcely earlier are also two compositions, closely akin to one
another, one {3) the Miracle of the Loaves and Fishes, formerly
in Ruskin's possession, now in the Metropolitan Museum at
New York, and (4) Moses Striking the Rock, previously m the
collection of Mr. Charles Butler in London, and now in the
Staedel Institute at Frankfurt.

GUIDO DI SAVING & THE EARTHENWARE OF ANTWERP
BY MARCEL LAURENT

URING the last twenty years the
early faience of the northern Nether-
lands, decorated, as is well known,
in the style and in the actual colour-
ing of Italian maiolica, has been the
subject of several excellent studies.^ To the
wares described in these studies, found at Mid-
delburg. Delft, Rotterdam, Leeuwarden,
Cologne and London, must now be added those
discovered and preserved in Belgium. For this
purpose it will be necessary to go back to a
relatively early period. I propose first to study
the pavement of Herckenrode, in Belgian Lim-
burg, now in the Mus6e du Cinquantenaire, at
Brussels.

I. — The Herckenrode Pavement.
The abbey of Herckenrode was sold in the
fifth year of the French Republic and became the
property of the Claes family. Later, the stained
glass from the abbey passed in 1864 to the
cathedral of Lichfield,'' the pavement with which
we are dealing, in 1888, to the museum of Brus-
sels. The tiles were already at that time mounted
in the frames which still contain them, but others
exactly like them still paved the floor of the in-
firmary, a building of the seventeenth centurv.
Neither set of tiles remained in its original
position.

In the Brussels museum there are fourteen
panels, containing altogether 505 tiles; 400 are
polychrome, the remainder decorated with spravs
in blue of the Hispano-Moresque type; I should,
however, hesitate to assert that these last formed
part of the original pavement. The relative ar-
rangement of the motives can easily be recog-
nised : in the middle, a square tile "bearing the
bust of a man or woman, an animal, a bird, a
plant motive or a rosette ; surrounding this, hex-
agonal tiles with floral designs, branches, spravs
and bouquets together with spirals. The whole
gimip_ofj:iles assembled together forms an octa-

1 For the bibliography of the subject see E. Neurdcnburg,
Oud Aardewerk . . . in Net Nederlandsch museum . .
te Amsterdam, Amsterdam, 1917 ; B. Rackham, in Bur-
lington Magazine, XXXIII (1918), pp. 116, 190, and XXXIV
(1919), P- 121 ; Nanne Ottema, in Oude Kunst, 1918, pp.
231. 255; also the recently published volume of A. Hovnck
van Papendrecht De Roitcrdamsche plateel en tegelbakkers
tn hun product, Rotterdam, 1920.

- a. Bamps, Bulletin des commissions royales d'art et
d'archiologie, XIII (1874), P- " i two panels are in the
Victoria and Albert Museum.

288

gon. All the tiles are i6 mm. thick; the square
ones measure ii by ii cm. Most are in good
condition.

Attention has already been drawn by von
Falke to the Herckenrode pavement ; he con-
siders it to be an Italian work, imported into
Flanders at the end of the fifteenth century.^
And in truth the tiles point to Italy in all their
details, in types of figure, costume, ornament,
drawing and colour [Plate I, a]. If the plant
motives alone are considered [Plate I, b] the
pavement comes very near to that of San Pet-
ronio, at Bologna, which is known to have come
from the Faventine workshop of the Betini
family and to have been carried out between i486
and 1487.* The two are very nearly identical.
At first sight, therefore, nothing would seem
more certain than the conclusion of von Falke.
But it is questionable whether ornament is a
very safe basis of comparison, being in its nature
conservative. It is better to draw one's conclu-
sions from the fieure and busts.

We have here thirty-two gentlemen wearing
gowns, caps (berets), and hats; thirty-four ladies
of distinction have their hair confined by fillets,

^ Von Falke, ^lammlung Richard Zschille, Berlin, igii.
* Meurer, Italienische Majolikafliesen, Berlin, i8Si, and
Ferrer, Fliesenkeramik, Strasburg, 1901 (after Meurer).

.4 and B — Pavement-tiles from Herckenrcide. (Musee du Cinquantenaire, Brussels)

C — Tlie Conversion of St. Paul. Tile picture, dated 1547. (^X'leeschhius, Antwerp)

Plate I. Guido di Savino and the Earthenware of Antwerp

(

''>i6iMttllttMMm>>

/) — Drug vases, probably Antwerp earthenware. (Musee du Cinquantenaire, Brussels)

E — Drug vase. (Musee du Cinquantenaire,
Brussels)

F — Porringer. (Musee du Cinquantenaire, Brussels)

G — Fragment of a dish. (Musee du
Cinquantenaire, Brussels)

H--Roman Charity. Deep dish of earthenware. (Ryks-
museum, Amsterdam)

Plate n. Guido di Savino and the Earthenware of Antwerp

wimples or nets. Are these details also to be
taken as indicating tlie end of tlie fifteentli cen-
tury ? I append a drawing (Fig. i) of tfie bust
of a youth whose headdress seems to me very
characteristic, as does his cloak ; he resembles
Charles the Fifth at the age of twelve or fifteen,
as seen on Brussels tapestries of the first third
of the sixteenth century. Other headdresses also,
notably a tall brimless hat, denote that the fif-
teenth century is past. Moreover, as Mr.
Bernard Rackham has suggested to me, it is not
so much with the pavement of San Petronio at
Bologna as with that dated 15 lo in the church of
San Sebastiano, Venice, ° that the tiles from
Herckenrode should be compared. This differ-
ence of some twenty years may have, as regards
the origin of the work, the most important con-
sequences, but this question will be discussed
later, when I have explained the real identity
of the great Antwerp potter of the sixteenth cen-
tury, Guido di Savino.

II. — Guido Andries alias di Saving.

Every historian of maiolica has read the pass-
age in the treatise written in 1548 by Piccolpasso,
the potter of Castel Durante, relative to the
maiolica of Antwerp. Passing in review various
centres of the pottery industry in Italy and
abroad, Piccolpasso refers to the clays employed.
" In Flanders," he says, " quarried clay {terra
di cava) is used. I mean at Antwerp, where this
art was introduced some time ago (gia) by one
Guido di Savino of this place [Castel Durante]
and is still carried on at the present day by his
sons."^

There is no need to lay stress on the import-
ance of this piece of evidence; but its interest is
remarkably enhanced by researches conducted
about 1886 by the Antwerp archeeologist de
Burbure.' These researches I have been able,
thanks to the kind assistance of M. Bisschops,
archivist of the city of Antwerp, in part to verify,
in part to correct and complete.

I will here summarise the information given
by de Burbure : From 15 13 onwards there lived
at Antwerp a Venetian potter named Guido
Andries. He made stoneware. He was twice
married and had children by both wives. He
bought in succession houses in the March^-aux-
Oiufs and in the Rue des Peignes, in which
place he set up his kilns. His sons and des-
cendants continued the manufacture after him
until one of them, Willem van Brecht, sold
the house in 1581. De Burbure adds that this
Guido is doubtless the same as Guido di Savino.

' H. Wallis, Italian ceramic art, the albarello, fig. 99 — loi,
London, 1904.

• Li tre libri del arte del vasaio (1548), printed at Rome in
1857 ; French translation by Claudius Popelim, Paris, 1S58.

' L. de Burbure, Bulletin de I' Academic royale d'archio-
logie (Antwerp), 1886, p. 152. Cf. P. Genard, Anvers d
travers les Ages, Brussels, 11, p. -60.

But if this is so, what is the meaning of the word
"Venetian," seeing that Guido di Savino came
from Castel Durante, and of the statement that
Guido made stoneware, when Piccolpasso is
talking of a maiolica potter? As a matter of
fact, I have been able to establish with certainty
that Guido Andries is mentioned in the Antwerp
archives, with the quahfication " Italian "
(italiaan), not " Venetian." As to the state-
ment that follows, it is due to the fact that
de Burbure did not find the name of Guido in the
lists of the Guild of St. Luke (the first entries of
the names of potters date from 1550), and that
in his time the stoneware of the Rhine valley
was believed to be Flemish and known as gres
des Flandres.

The career of the Italian, Guido Andries,
according to the documents so kindly
brought together for me by M. Bisschops,
was actually as follows : From 15 12 —
and not 1513 — onwards he was established
at Antwerp as potbackcr, geleyerspotbacker
(" gallipot-maker ") ; he is described as a mar-
ried man. His wife was named Margaret Bol-
lekens. Their domestic affairs soon prospered,
for on March 23rd 1513 (n.s.) Guido and Mar-
garet bought a house called the Great Eagle {den
grooten Arend), situated in the March^-aux-
CEufs, and on June 26th, 1520, they exchanged
it for another, the Salmon {den Zalm), in the
Comerpoort,* the present rue des Peignes.
Margaret Bollekens died, probably childless' be-
fore the month of December, 1529. As to Guido,
he married as h's second wife Anna van Duren,
by whom he had seven children, Lucas, Frans,
Joris, Jan, Guido, Andries and Barbara. He
died before November, 1541. His widow was
again married, before 1545, to Frans Frans,
like Guido a geleyerspotbacker, and the factory
continued to operate without a break. This is
proved by the fact on March i8th, 1562, Anna
van Duren sold it to her eldest son, Lucas
Andries, himself also qualified as geleyerspot-
backer, who carried it on till his death between
1572 and 1576. His wife, Gertruy Snoye, mar-
ried again ; her husband, the potter, Willem van
Brecht, did not carry on the craft until his
death, and sold the house in 1581.

The names Joris and Frans Andriessen
were enrolled in the Guild of St. Luke in 1552.
One of the sons of Guido Andries, Guido the
second of that name, figures in the documents as
koopman van geleyerswercke, geleyerspotbacker
and potverkooper, literally " crockery mer-
chant," gallipotmaker " and "pottery-vendor";

* At the end of the eighteenth century the designation
Camerpoort was no longer understood. It was assumed to
be derived from the word Kam (a comb), hence its present
name.

' Her brothers and sisters claimed the reversion of her
inheritance.

293

but it will now be granted that he might be des-
cribed as manufacturer and vendor of faiences.
He died a short time after 1586. At that time
numerous geleyerspotbackers were inscribed at
the Guild of St. Luke.

We have here a series of facts and dates which
coincide exactly with the information given by
Piccolpasso about Guido di Savino. We have
on the other hand all the tiles exhibited as local
productions in the archaeological museum (the
Vleeschhuis) at Antwerp, notably the large tile
picture of the Conversion of St. Paul, dated
1547 [Plate I, c], and all the Antwerp tiles
in the Claes Collection in that city, sorne
of which, dated 1544, go to make up
panels with specimens in the museum
[Plate III, j]. All these tiles, as M. Claes
himself has assured me absolutely, came from a
house in the rue des Peignes, where most of
them were found in a heap in the garden. This
house was the location of the factory founded
by Guido Andries. Unless we are to pretend
that two persons named Guido, both Italians and
both /aience-potters, followed parallel careers at
Antwerp, unless we are to suppose that one of
them, who, witness Piccolpasso, was well-
known, has left us nothing, whilst the other,
hitherto almost unknown, has left behind numer-
ous specimens of his handiwork, including a
masterpiece, we must admit that the two are one
and the same individual.

III. — The Tiles of the Antwerp Factory.

In view of what has been established, shall we
continue to say that the Herckenrode tiles came
from Italy ? Is not their Italian, or more pre-
cisely their Faventine style of decoration ex-
plained by the origin of Guido Andries (or di
Savino) and the date of his settlement at Ant-
werp ? For the same reasons can we not under-
stand why the costumes depicted on them have
nothing Flemish about them? Again, as we
know, the plant motives in the decoration of the
pavement lingered on in their archaic form in
Northern maiolica as late as the seventeenth cen-
tuy ; is not the reason for this immediately ob-
vious ? It is because they had been transplanted
far from their county of origin and continued with
little modification from generation to generation.
Finally, it stands to reason that the nuns of
Herckenrode would not, about 1515, give orders
for pavement-tiles to be brought from Faenza
which they could so conveniently obtain near at
hand, at Antwerp. The beautiful pavement in
the Brussels museum may therefore be regarded
as the earliest work known to us of Guido
Andries, alias di Savino. W^e must include with
it a tile in the Claes Collection decorated with a
bearded bust which bespeaks very definitely the
beginning of the sixteenth century [Plate III,

j] and another painted with an amorino in
the Mus^e Meyer van den Berg, at Antwerp.

The Conversion of St. Paul (1547) was exe-
cuted after the death of Guido by Frans Frans,
perhaps even by the elder sons of the latter. This
large picture (193 cm. x 97 cm.) is based on an
engraving dated 1545 by Enea Vico. It is
worthy of note that with its background in bold
blue strokes, its blue outlines and modelling, its
lemon-yellow and ochre, and its spiral, shell-like
clouds it recalls Nicola Pellipario of Castel
Durante, whose manner seems to have been
adopted by the factory. The two friezes forming
the upper and lower borders are also Italian in
character ; but when we come to consider the two
lateral pilasters with their ironwork and cut
leatherwork motives, their caryatid pedestals,
interlacements, garlands and grotesques, we find
a purely Flemish type of ornament ; it is the style
employed in 1549 by Pieter Coecke of Alost'° for
his friezes in carved wood for the H6tel de
Moelenere, now preserved, like the tile-picture,
in the Vleeschhuis Museum. Thus Flemish
art, about 1545, made its influence felt in maiolica.
In 1550 Jan, brother of Cornelius Floris, was
enrolled in the Guild of St. Luke. He became
so well-known that in 1563 he was summoned to
Spain by Philip II and received from him the
official title of " Master of the Asulejos."^^

Three tiles in the Musee du Cinquantenaire,
Brussels, come from a picture similar to the
Conversion of St. Paul, showing the border, the
tone of blue, and the clouds of the latter.
Amongst the tiles from the Claes Collection here
reproduced those belonging to the same category
will readily be recognised ; they are characterised
by amorini, satyrs and other similar figures.

The purely ornamental motives are character-
istic of a whole group of pieces — in the Claes and
Osterrieth Collections and the Antwerp, Mayer
van den Berg, and Cinquantenaire Museums
[Plate III, k]. They include garlands, scroll-
work, interlacements and rosettes. There is a
fine motive, exemplified by six tiles in
the Antwerp museum, in which may be
recognised the deeply-cut oak leaves of Castel
Durante. The distinctive colours are blue for
the outline, shading and the boldly applied
background, ochre-yellow for the washes of the
figures and ornaments. The green in the latter
is very fresh, with a tendency to run. The
characteristic by which, as it seems to me, the
productions of Antwerp can best be identified is
the use of canary-yellow, especially its use in
the borders, in which it appears as a band in as-
sociation with a band of blue. I will also draw

'" Genard (op. cit.) is in error in attributing this style to
Cornelius Floris.

" Pinchart, Bulletin des commissions royales d'art et
d'archiologie, XXI (1882), p. 369.

294

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attention to a motive in the borders which makes
its appearance about 1545 in the form of a parch-
ment scroll and later develops into a series of
coils and small circles. The tiles of latest date
(of the end of the sixteenth century) are house-
signs — the Fox and the Crane and the Red Rose
in the Antwerp Museum, the Pansy and the Ele-
phant still built in on house fronts near the corner
of the Longue rue neuve.

IV. — Antwerp Pottery.

What finally was the pottery made at Ant-
werp ? Were jugs, dishes and drug-pots made
during the sixteenth century in the worlvshop of
Guido and elsewhere ? This is probable in the
nature of the case, but there is a document to
prove it which I owe to the erudition and kind-
ness of M. Fernand Donnet, of Antwerp. It
is a bill of lading of October 15th, 1531 :

" Oliver Roland, master after God of the
vessel named the Marie, of Cradon in Brittany,
acknowledges receiving on board, on behalf of
Jehan Lacombe, merchant of Bordeaux, five
barrels of cendre gravelee,^^ which he undertakes
to deliver at Antwerp to one Antoine [surname
omitted], maker of paper images, dwelling at the
Dial d la Camermorte, or, in his absence to n
Venetian [name omitted], maker of drug-vases
(faiseur de pots d'appothicaire), dwelling in the
rue de Crambeporte facing the Golden Lion.'"^

I reserve for another occasion the study of this
text in relation to the documents, but I wish to
state here and now that in 1531 drug-vases, and
therefore also bowls and jugs of various kinds,
were being made by an Italian in the rue des
Peignes (we recognise the deformations which the
word Camerpoort has undergone in the French
text. Now articles of these kinds have been
found, intact or in fragments [Plate II, d, e, f,
g], in great quantity at Antwerp,''' and also in
isolated speciniens at Termonde and Herenthals.
Are they not Antwerp productions? And among

12 Cendre graveUe, produced by charring shoots of vine or
preferably raw tartar or dried lees of wine, is much used
in the fabrication of certain colours and particularly of vine-
black (M. F. Donnet).

13 Extract from the Bulletin de la SociHi archiologique
de Bordeaux, III, 125.

1^ F. and V. Claes, Annah's de la federation archiologique,
Congres d'Anvers, 1885, I, p. 153.

those from Middelburg, London, Cologne, etc.,
are there not many of the same origin ? This
is a question which I have put successively to
Mr. Rackham, whose views on this still novel
problem were so valuable to me, to Dr. Elisa-
beth Neurdenburg, Miss Peelen and Mr. Hudig,
who are so thoroughly well-informed on the
origins of maiolica in the northern Netherlands.
All replied in the affirmative.

From this moment how many things explain
themselves ! Whilst tile-pavements changed in
decoration, archaism continufd in pitchers,
bowls, drug-vases and all kinds of pottery.
Figures at the same time are not entirely want-
ing, particularly that of the Virgin, a Virgin
half Italian, half Flemish (Claes Collection).
Geometrical and plant motives arrange them-
celves for a slow evolution. We have here a
development which is capable of being traced.
Certain fine specimens, of doubtful origin, here
find their explanation. Thus, my colleagues in
the museum at Amsterdam could never make up
their minds to regard as Dutch"* a fine poly-
chrome dish in the Rijksmuseum of which the
principal subject is the Roman Charity. It has
a border of amorini, grotesques, vases of
fruit and ironwork motives [Plate II, h].
On the back it has the accompanying mark
below the date 1601, within a double
border of floral scrolls and radial leaves
similar to those on the backs of
Sienese maiolica dishes. These floral scrolls,
relegated to the back of the dish, are seen in their
primitive form in the Herckenrode tiles; the
grotesques, vases and ironwork motives are, at an
earlier stage of their development, the Flemish
element in the Conversion of St. Paul. Lastly,
on the base of a charming polychrome bowl
in the Claes Collection we find a
mark built up in a similar fashion.
A , Do not all these points indicate an Ant-
^-^H werp origin? When at some future
M\I date the history of earthenware in
the Netherlands comes to be written, the produc-
tions of Antwerp will provide a remarkably copi-
ous and interesting material for the first chapter.

'5 Verbal communication by Dr. Neurdenburg and >ir.
Hudig.

A FRANS GREENWOOD GOBLET
BY SIR JOHN RISLEY

GLASS goblet, hitherto unre-
corded, decorated and signed by
Frans Greenwood, appears to be
worthy of a note in the Burlington
Mag-^zine. Hartshorne (" Old Eng-
lish Glasses," pp. 54 sqq.) gives some account
of the art of etching on glass through a film of

wax, by the action of fluoric acid upon the lines
or stippled parts bared by a steel point, as in
copper-plate etching. To this art, he says,
many Dutchmen applied themselves with great
success throughout the eighteenth century, and
adds:. "Foremost of these artists is Green-
wood, whose admirable works, ranging between

297

1722 and 1743, are now very scarce." Several
examples of this form of glass decoration are to
be found in the British Museum, including two
masterpieces by Greenwood, one of which is
illustrated in Bate's " English Table Glass "
(No. 193).

As already indicated, Hartshorne includes
Greenwood amongst the Dutch engravers, and
it would appear from his two names that he was
of Anglo-Dutch extraction, possibly a scion of
an English family which had settled in Holland
and acquired Dutch nationality and ideas whilst
retaining the English surname unaltered. How-
ever this may be, some of his work, at any rate,
was executed on glass of English manufacture,
as in the case of the specimen now illustrated.
This is, indeed, a characteristic English goblet
of heavy " flint glass," a fine upstanding piece
(11 J inches high), with a straight-sided bowl,
a massive baluster stem with collars and tears,
and a plain domed foot — obviously dating about
the end of the first quarter of the eighteenth
century. The foot has unfortunately been
broken in half and mended, but this is a com-
paratively unimportant blemish, seeing that the
glass is otherwise undamaged and the engrav-
ing on the bowl, which constitutes its real
interest, remains perfect.

As will be seen from the illustration, the bowl
shows a woman in a cap raising her right

hand, and with the left holding on her lap a
small dog of the Italian greyhound type, whilst
by her side is a man with his face twisted into
a rather unpleasant grin, holding in his two
hands a cat. The fondness of the school to
which Greenwood belonged for allegorical sub-
jects suggests the possibility that this picture
was intended for an allegory of married (cat
and dog !) life, but an ordinary portrait of, say,
a tavern-keeper and his wife, without any double
entente, is an equal possibility, and the design
is one of those in which different people may
read a different story. It is for experts in
national costume, etc., of the eighteenth cen-
tury to pronounce an opinion as to the nation-
ality of the dress here portrayed, but the whole
picture seems generally to have a Dutch rather
than an English character.

Outside the engraving, at its bottom left-hand
corner, is the signature " F. Greenwood fecit,"
inscribed with a diamond in flowing italics.
The opinion may perhaps be hazarded that this
is quite an early example of Greenwood's work,
partly because the glass on which it is executed
cannot well be later than 1730 and probably dates
a few years earlier, and partly because the en-
graving, though admirable in many respects,
has not the fine and filmy delicacy to which
Greenwood attained when he brought his art to
its highest degree of perfection.

A SPANISH-ITALIAN TRECENTO ALTARPIECE
BY AUGUST L. MAYER

OME time ago there passed into the
possession of Don Luis Plandiura,
whose house in Barcelona contains
a most important collection of
Spanish art of the Middle Ages, a
large triptych from the Church of Estopifian in
the province of Huesca. The three parts run
up into sharp gables, the central panel
displaying an almost life-size figure of
a saint, possibly St. Lawrence, set against
a gold background, with the kneeling
donors, a knight and a priest, and their
coats of arms, at his feet. The sides, divided
into small panels, represent scenes from the life
of the Saint, as well as episodes from the lives
of other martyrs. The gables contain the
scenes of the Crucifixion, Resurrection, and the
Holy Women at the Grave. The inscription of
place names on some of the scenes is very
remarkable. Thus one reads the words "O
Aragona " near an architectural subject, and
"Osca," the ancient form of Huesca, still used
in Catalonian dialect, on a town scene.

The triptych passes as a Spanish work. I
doubt, however, if this classification is above
criticism. Should it be, then the piece would

be a most important example of Spanish
trecento painting executed under Italian influ-
ence. It would be untrue to say that, owing to
its unquestionable power, the piece cannot be
the work of a Spaniard of that time. The works
of Ferrer Bassa, a contemporary of the painter
of our picture, are enough to prove that nothing
can be assumed on these grounds.

It is noteworthy, however, that the predom-
inant Italian influence is not Sienese as in
Ferrer Bassa's work, the derivation of which is
easily accounted for by the relations between
Catalonia and Avignon and France, but of the
School of Giotto. One can hardly credit a
Florentine influence, however. Not only those
elements, which we shall shortly examine and
prove to be French, are against such a supposi-
tion, but above all the notion of placing the
Crucifixion directly above the saint's nimbus,
blending both subjects into one composi-
tion. If the painter were an Italian, one would
have to seek for his home further north than in
Florence.

The question of the painter's origin is com-
plicated bv elements which are to be found in
the pictures in the gables but not in the style of

298

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the main composition. The Crucifixion dis-
closes Gothic characteristics in its sentiment as
in its drawing, which have no relation to the
art of Giotto and his followers. Its lineation
and gracefulness are far removed from Giotto's
plastic directness, his seriousness and weight,
though in the large scene one remains aware
of a permeating Giottesque element. The other
scenes of the Women at the Tomb and the
" Noli me tangere " are at any rate partly Ita-
lian in character, particularly the figures of the
three women and the angel, who are closely re-
lated to the figures in the central panel. But the
handling of the landscapes, particularlv in the
" Noli me tangere " panel, produce a non-Ita-
lian effect, and are reminiscent rather of French
miniatures. It is quite possible that an Italian
provincial artist, perhaps of North Italy, came
to Spain by way of France and there executed
among other things this most important work.
But this is only a hypothesis, which can perhaps
be upset.

As far as the date is concerned, one might
place the work in the middle of the fourteenth
century, from the consideration that the painter
cannot be regarded as a pioneer; it may, how-
ever, be rather earlier. At any rate I believe
that this important altarpiece is a valuable new-
example of the School of Giotto which will
interest both the students of Spanish and of
Italian fourteenth-century painting.

[Mr. A. Van de Put has kindly contributed
the following note on Dr. A. L. Mayer's article.
— Ed. Burlington Mag.^^zine.]

The saint vested in a dalmatic, holding a
palm and a book, represented in the central
panel, is not St. Lawrence — as might be at first

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(Parsons). 6s. ' '^'

Naps and Doubles.— Mr. Rutter's new book
raises as early as on its outside wrapper
the questions of general interest that are
now too seldom considered in dealing with
the writings of the so-called critiques d'avant-
garde. In the fourth line the term " repre-
sentative artists " is used. There is no
such thing as d " representative artist."
The term is a political one, and cannot
be applied to artists at all. It is, for in-
stance, a custom with journalists to lump
together a certain number of painters of the
early Victorian period as Preraphaelites. Let
us consider merely two. There is Millais, who
was deficient in invention and conviction, and
Ford Madox Brown, whose every line is in-
formed with thought and power. Can Millais
be said to represent Ford Madox Brown ?

supposed in connexion with the incident repre-
sented in the middle outer compartment of the
triptych's sinister wing (spectator's R) — but St.
Vincent, likewise a native of Osca, who suf-
fered martrydom under Diocletian at Valencia.

In the dexter wing (spectator's L), we have in
the top compartments (i) Vincent's committal by
his parents Euticius and Enola to his vocation
under the bishop, St. Valerius, at Osca [Plate
II, b] ; (2) his reception of deacon's orders at
the hands of St. Valerius, bishop of Csesar-
augusta. This city is indicated by the inscrip-
tion C [ivitas] Aragona [Plate II, c]. The
beginning of their persecution is seen below,
deacon and bishop being brought before the
Roman Governor Datianus at Fa/eMc[ia].

The top compartments in the opposite panel
show the Governor pronouncing sentence of
banishment against St. Valerius, who retires
to Enet (cf. "Espana sagrada," 2 ed., xxx, 106),
here marked Anat. Those below depict St.
Vincent's martyrdom : his being stretched upon
a saltire cross preparatory to being torn with
hooks (cf. the painting by J. Gasc6 in the Vich
Museum); then upon la couch studded with
blades (here spikes?) over a raging fire ; his sub-
sequent incarceration and appearance when
spied upon by the persecutors.

Estopiiian and Enet are, alike, in the neigh-
bourhood of Barbastro.

The arms accompanying the donors are,
apparently : (i) a chief; (2) a tree within a bor-
dure cheeky or lozengy ; (3) uncertain, (i) May
be Entenza, but identification depends in any
case upon their tinctures.

It seems incredible that the triptych has not
been published by one or other of the excur-
sionist societies of the region. a. v. de p.

And, on the other hand, what has Ford Madox
Brown done that he should be supposed to
represent Millais? In politics it may be said
that a delegate represents, for a time, half the
voters, plus his majority, and that is all.

We have a right to ask that those who select,
as a career, the profession of letters should take
a little interest in the meaning of words; as
much, say, as a painter does in the direction of
lines. The verb " to represent " needs an
accusative. Whom do the painters in Mr.
Rutter's book represent besides themselves ?

What, moreover, is the exact meaning of
"authoritative" information? One can only
conclude that it means information furnished
by the painters themselves. But the passing
on of ex parte statements is the function of the
interviewer, not of the critic. The paragraph
ends by a suggestion that Mr. Rutter's ac-

303

quaintance " with the man as well as with his
work " adds greatly to the value of the book.
On the contrary, a writer with a proper sense
of what criticism means would rather endeav-
our, so far as possible, to avoid being hampered
by personal contact with the authors of work
that he proposes critically to consider.

It is, of course, probable that the authors of
books do not themselves dictate the paragraphs
on wrappers intended to be thrown away. But
they would place themselves in a stronger posi-
tion by insisting on the absence, even on a
paper wrapper, of compromising flapdoodle.

These things would not be worth saying if
it were not that trifles of the threshold have a
certain premonitory value. We find in the
book that, like all the critics of the van, Mr-
Rutter cares immensely, if somewhat con-
fusedly, that the painters of the team he
favours should "get on," and sell their pic-
tures, and " triumph " over the troops of
Midian, the troops of Midian whom he con-
ceives as prowling and prowling around in
gilded splendour in Burlington House. It is
a romantic conception of the function of critic-
ism, astonishing in its innocence. Mr. Rutter
quotes, as a slap in the eye for the troops of
Midian, that at least four painters from the New
English Art Club have been taken away from
their easels and made curators of public gal-
leries ! He congratulates himself on the "cap-
ture " of the press by members of the New
English Art Club. Surely all this is rather a
compromising form of advocacy, even as
advocacy — for advocacy it is, or politics, or
propaganda, all perfectly permissible things.
But it cannot be called criticism. Take the
following paragraph : —

These last two exhibitions have been rather embarrassing
to the professional critic. From sheer force of habit he
wanted to go on damning the Royal Academy as he had
done since he first learnt to write. Yet when he looked
around he found the galleries full of works by painters
whom he had praised for years past at the New English
exhibitions. He could not honestly say that all these
artists were now painting less well than they had done ;
and yet it went very much against the grain to have to
admit that the Academy of the present was better than the
Academy of the past.

" We could not honestly say that all those
artists were now painting less well than thev
had done! " This amounts to an admission
that the professional critic would like to sav
what was not true, because the painters in
question were not playing for the side the critic
favours, but that he didn't dare to. I confess
that I have a higher opinion of the profession
of letters than to believe this. And here we
come to the point. The critique d'avantgarde
all over Europe has forgotten that criticism is a
branch of literature, that it exists in and for
itself, and that it is just as important as the art of
painting pictures.

If criticism aspires, as it must, to the same
durability as painted canvas, it really must not
deal in such false antitheses as that between
" conception " and " execution," or set up
such nonsensical categories as that between
" pre-war " and " post-war " painters. Why
not "pre-Tichborne-case" painters, and "post-
Tichborne-case " painters? Walter sickert.

Trionfi. By Werner Weisbach. 162 pp. + 60 ill. Berlin.
(Grote'sche Verlagsbuchhandlung.)

The present volume enlightens us, in a most
welcome fashion, about a peculiarly fascinating
province of Italian Renaissance art, treating as
it does of the triumphal pageants which figure
so largely among the subjects which inspired
painters, engravers and sculptors of the period
in question. From its association with classical
Rome, the theme of the Triumphal Procession
was one which inevitably appealed to the ten-
dencies of Humanism ; and to treat adequately
of its reflection in art, it is necessary to be exten-
sively acquainted, not only with the several
works of art themselves, but also with the
literary sources and historic events with which
they are connected — a condition this, which Dr.
Weisbach's monograph amply fulfils. Recon-
structions of classical triumphs, contemporary
triumphs, legendary, mythological and allegori-
cal triumphs, and the Christian Trionjo — there
are the four categories, of which the main por-
tion of the book treats: it is followed by a
chapter of considerations on the relations be-
between the Triumphs and the Sepulchral Monu-
ments, and a final resume deals with the
diffusion of the subject of the Triumph outside
Italy. One follows Dr. Weisbach's account
with a sustained interest in the many aspects of
Renaissance art and civilisation generally which
it discloses ; and several results of importance in
their bearing on individual works of art may be
derived from these pages. The author thus
gives reasons for dating the Triumph of Scipio
Africanus (not, as interpreted by Dr. Schubring,
the Triumph of Julius Ccesar), and its com-
panionpiece in the Mus^e des Arts D^coratifs,
about the year 1466; and he demonstrates
convincingly that the front of one of the
Cassones formerly belonging to the Earl
of Crawford, and now in the possessior
of Viscount Lascelles, represents not the
Marriage of Alexander the Great and Roxana,
but the Triumph of Darius (cf. Burling-
ton Magazine, vol. xxii, pp. 196 sqq). Of
great interest is the discovery that the two
Bacchiaccas, reproduced on pp. 92 and 93, are
companion pieces — Youth, by the way, is not
in the Benson collection, but in that of Sir Otto
Beit. Of the inspiration derived by the Vene-
tian Cinquecento from Petrarch's Trionfi (see
p. 88), there is, in addition to the Bonifazios

304

quoted by Dr. Weisbach, proof in three big
frieze-like compositions by Andrea Schiavone in
the Cook collection at Richmond. The book is
all through excellently illustrated ; among the
reproductions now for the first time published,
perhaps the most interesting is that rare thing,
a Venetian fresco of the quattrocento, viz., the
Triumph of the Doge Jacopo Marcello {ob.
1488), which forms part of his tomb in the
church of the Frari. t.b.

The Early Ceramic Wares of China. By A. L. Hethering-
TON. xviii + 160 pp. ill. + 45 pi. (Benn Brothers.)

;^3 as-
Little more than five years have passed since

the appearance of Mr. R. L. Hobson's Chinese
Pottery and Porcelain was made the occasion of
a survey in these columns of the literature of the
subject in European languages. It is hard to
believe that in so short a period Mr. Hobson's
book has become unprocurable except at a pro-
hibitive price, whilst the only other critical work
on the subject that has been issued in the inter-
val has also passed out of print. These facts
are significant. The study of Chinese art
archaeology is growing rapidly, and not less the
interest awakened by it amongst connoisseurs.
Only in the study of early /Egean civilisation
can we find anything like a parallel to this phe-
nomenon. The material for study steadily
accumulates, especially pottery, which is at the
same time one of the least destructible embodi-
ments of art, and that most convenient and
attractive to the collector. In these circum-
stances there was clearly room for a new work
dealing more particularly with the earlier phases
of Chinese ceramic history; this want is well
supplied by the scholarly book of Mr. A. L.
Hetherington, which takes the student as far as
the end of the medieval period, and provides a
thorough and ably reasoned survey of all the
early wares that have as yet come to light.

The new work not only gathers up all that
had previously been written on the subject, but
also makes new and original contributions to
criticism, many of which will meet with accept-
ance as solutions of points hitherto obscure. A
typical case may be cited. A class of heavy
celadon dishes with uncrackled jade-like green
glaze has been found widely distributed in the
regions covered by Chinese commerce in the
Middle .'Vges. They show characteristics, in
their massiveness especially, approaching those
of the recognised productions of the Ch'u-chou
kilns in Ming times; in quality of glaze, how-
ever, they more nearly resemble the Lung-
ch'iian ware of the Sung dynasty, to which
period uncritical connoisseurs are too ready to
assign them. Mr. Hetherington's very reason-
able suggestion is that they represent the output
of Lung-ch'iian as modified to meet the require-
ments of the great export trade which developed

under the Yiian emperors.

The illustrations are of a high standard, the
coloured plates being better than any coloured
reproductions of pottery that have yet been pub-
lished in England. It is a sign of the recent
growth of Chinese archaeology that none of their
subjects would have been accessible if the book
had made its appearance twenty years ago. We
are indeed rapidly leaving behind the days
when the Chinese were generally regarded as
little better than barbarians with somewhat
entertaining manners and customs, and the
Summer Palace could be looted without a qualm
by a western government with pretensions to be
the most enlightened in the world. We may
hope that nowadays Yuan-ming Yuan would be
as safe from such outrage as Versailles or the
Escorial. But we are slow to realise that Chinese
civilisation differs greatly in kind but little in
degree from our own, and to give it the serious
attention demanded by such an admission. To
this desirable end the study of Chinese ceramics
and the appearance of thoughtful works of criti-
cism such as that of Mr. Hetherington may
contribute not a little. The reputation for
sound scholarship in this branch of art history
won for England by Franks and Bushell is one
of which we may well feel proud ; we may justly
claim that it is being well maintained in the
present generation, and this latest contribution
to Chinese ceramic literature is thoroughly
worthy of its predecessors. b.r.

Italian Renaissance Furniture. By Wilhelm von Bode.

Translated by Mary E. Herrick. 48 pp. + 71 pi. New

York (Hepburn). $4.

It is nearly twenty years since Dr. von Bode
first published " Die Italienischen Hausmo-
bel der Renaissance," and this monograph of
his on Italian furniture has remained until quite
lately practically the only treatise on the sub-
ject. During his constant journeys to Italy on
behalf of his museum Dr. von Bode made
himself personally acquainted with the various
types of Italian furniture. Occasional ex-
amples were still to be found, though in ever
decreasing numbers, in the houses for which
they were originally made ; but the greater part
had to be sought for in the shops of the prin-
cipal dealers, which Dr. von Bode made it his
duty to visit systematically. The trading in old
furniture resulted in its being carried from its
native places into the larger towns where re-
cords of its history were lost ; so that the work
of classifying the characteristics of provincial
types was difficult enough even at that time
and tends each year to become harder and
harder. No assistance in this direction was
given by the public museums of Italy, which had
nothing' to show in the way of furniture— a defect
which scarcely any effort has yet been made to
remedy.

305

In classifying the Renaissance furniture of
Italy Dr. von Bode set himself, then, to a
pioneer task. He grouped it under four main
headings, namely, Florence and Tuscany,
Venice and the mainland, the north-west ter-
ritories, and Rome and Naples. Though com-
paratively slight, and full of possibilities of
correction and expansion, his little volume co\-
ered the ground in an admirable manner; and
connoisseurs and students both in England and
America have long waited for a translation. It
is to be feared that they will be disappointed
with the result as now published ; for the trans-
lation in every respect reads like the work of
one who is very imperfectly acquainted with the
English language. The foreword is signed by
Bode, but it seems unlikely that the learned
doctor, with his well-known knowledge of
English, could have made himself actually
responsible for the translation. h. c. s.

The Pewter Collector. By H. J. L. J. Mass^, M.A.
xiii + 314 pp. Illust. (Herbert Jenkins). 7s. 6d.

Pewter worth collecting, save as old metal, is
not common. Coming into use mainly as a sub-
stitute for more precious metals, both for domes-
tic and ecclesiastical purposes, it has played an
important part in the evolution of tableware
from wood and leather to pottery and glass ; but

A MONTHLY CHRONICLE

Chinese Jade. — The collection at present ex-
hibited at Messrs. Spink and Son, King Street,
St. James's, has recently received some interest-
ing additions of various dates and types. Among
them is an exceptionally large Ming bowl of
grey jade, deeply carved with cloud, wave and
dragon rnotives, with its original stand in dark
wood whereon the cloud and wave motives are
repeated. A smaller eighteenth century bowl
shows similar design and decoration, with less
swing and bravura. Both are good examples
of how oriental work in jade and similar
material, even more than in porcelain, helped
to breed rococo art in Europe. More reticent,
and equally good in workmanship, is a five-
footed bowl with handles, decorated in low re-
lief inside with a dragon design, and outside
with scroll and lotus motives. Specially note-
worthy are two bowls in dark green jade; one
of the Ming period carved in relief with peach
trees in whose foliage bats appear, the other of
the seventeenth century with dragon head
handles and incised conventional decoration,
which suggests the influence of the metal
worker [Plate]. Similar and even more
stylized handling appears in two contemporary
vases also of green jade, square in plan and
massive in design, with elephant head handles.
Other good pieces are a white jade Ming vase,
of graceful shape, covered with an unusual

the character of the material makes it unsuitable
for elaborately decorated work, and the art of
the pewterer has been almost entirely imita-
tive, producing no characteristic or distinctive
designs. Thus, the attraction of pewter largely
depends on the quality of the metal, which varies
immensely despite much regulation and super-
vision in the past ; so that one of the first requi-
sites for a collector is the power to distinguish
good metal from bad. It is to Mr. Massd's credit
that enthusiasm does not make him uncritical.
He knows and explains what good pewter is, and
refuses to encourage the indiscriminate collection
of pint pots, the chief use of which he regards as
providing solder for the repair of more interest-
ing pieces. His book gives much useful infor-
mation based on wide reading and first-hand
experience. In particular, the list of pewterers
and description of their touches is very complete.
The chief defect is unsystematic arrangement and
multiplication of historical details, unaided by a
system of generalization or a good index. The
illustrations are good but ill arranged. W. G. C.

Christmas Illustrated Books.— Shortage of
space has made it necessary to discuss these on
page iv, following " Contents," in our adver-
tisement section.

arrangement of intertwined dragons in low re-
lief; and a more fantastic eighteenth century
wine vessel in the forrn of a lotus which was
exhibited in 1915 at the Burlington Fine Arts
Club. Among the figures, a reclining sage with
the symbolic three-legged toad is marked out
by its excellent workmanship ; and to this
quality is added singular beauty of material in
two upright figures of sages in emerald green
jade. w. G. c.

Exhibitions. — Owing to the great pressure
on our space we find ourselves unable
at this late date to deal as we should have
liked with two exhibitions that opened just too
late to be noticed in our last month's issue. We
refer to the important Goupil Gallery Salon
where a large and very varied series of English
and foreign modern pictures may be seen until
about Christmas Day. At the French Gallery
there is an interesting exhibition which seems to
indicate a welcome expansion of interest on the
part of the management. The exhibition of
Chinese art at Whitechapel Gallery will appeal
to our readers. At Agnew's there is a loan
exhibition of old masters on behalf of ex-Service
men, which not only on account of the deserving
cause for which it stands, we strongly recom-
mend to our readers. It is an admirable exhibi-
tion of a kind that has become lamentably rare

306

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B — The Dead Christ supported by Angels, by Francesco Zaganelli da Cottignola. Panel
by 2.03 m. Lunette of the altarpiece below. (Erskine Collection)

T .02 m.

C — The Baptism of Christ, by Francesco Zaganelli da Cottignola.
(Erskine Collection)

Plate II. Auctions

Panel, 2.06 m. by 1.97

in London. Early this month an exhibition of
water colours by J. R. Cozens will be opened at
the Burlington Fine Arts Club.

Corrigenda. — November issue p. 217. The

LETTERS

" UNIDENTIFIED ENGLISH
EMBROIDERIES IN THE MUSEUM
CINQUANTENAIRE IN BRUSSELS."

Monsieur, — Dans le Burlington Magazine
d'aodt 1922 (p. 75), sous le litre " Unidentified
English embroideries in the Museum Cinquan-
tenaire in Brussels," nous avons lu le tr^s int^res-
sant article de M . George SaviUe Seligman sur les
broderies de ce Mus^e. Nous lui serious fort
reconnaissant de nous dire si les certitudes qu'il
nous donne sur les orfrois anglais ont 6t6 trou-
vtes dans un livre de I'^poque du XIIP ou du
XIV"" si^cle, ou bien s'il les a d^couvertes dans
un inventaire ou dans tout autre document don-
nant ces details, ou encore s'il a vu sur beaucoup
de miniatures anglaises de cette epoque, des per-
sonnages a barbes multicolores ou des architec-
tures analogues a celles representees sur les
broderies visees? En ce cas, est-on sur que ces
elements ne se retrouvent pas sur des enlumi-
nures faites par des artistes d'un autre pays?

Nous ne disons pas que M. Seligman ait tort,
mais nous voudrions qu'il appuie ses affirma-
tions par des documents.

Quant aux dates qu'indique I'auteur, il
semble qu'elles concordent presque avec celles
notees par nous. II dit par example que I'orfroi
(PI. II, C.E., No. 9) est du dernier quart du
XI IP siecle ; nous le renseignons comme etant du
XIIP-XIV" siecle. Le meme brodeur et le meme
dessinateur (parfois c'est le meme personne) ont
pu vivre et travailler a la fin d'un siecle et au
commencement d'un autre, on en a assez de
preuves sous les yeux en ce moment.

Pour la broderie (PI. II, D., No. 10), le cata-
logue du Musee est d'accord avec M. Seligman
— nous nous en felicitous — on a toutefois ajoute
un point d'interrogation apres la mention
" anglais."

L'auteur nous obligerait fort s'il voulait bien
repondre k ces differentes questions.

Isabella Errera.

[The following is M. Seligman's reply to the
above. — Ed.]

Cher Monsieur, — En principe, Madame Errera
a bien raison quand elle etaye I'identification de
certaines broderies sur des miniatures mais, en
fait, je ne crois pas qu'il soit possible d'operer

AUCTIONS

Messrs. Sotheby, Wilkinson & Hodge, 35, New Bond
Street, on Dec. 5, the interesting collection of pictures, chiefly
by the Old Masters, which belonged to the late Mr. David

woman's portrait [Plate I, b] bears Dubordieu's
full name (not monogram), with the date 1637
(not 1639). It was, therefore, painted six years
later than the portrait shown on Plate I, a.

ainsi. Les nouvelles connaissances de I'art de la
broderie, acquises depuis 15 ans, sont incalcul-
ables. Rock, Lady Cilford, de Farcy, Bock ont fait
non seulement des erreurs, mais des omissions,
que I'experience de recents auteurs due a de lon-
gues observations et a des comparaisons attentives
des recents auteurs ont combiees. Ainsi, pour
1 'architecture a 5 lobes, il est vraisemblable qu'on
retrouve, ces 5 lobes dans les arcatures de cer-
taines miniatures fran^aises, flamandes et meme
allemandes de ces epoques; mais, a ma fcon-
naissance, seules, les broderies anglaises des
XIII, XIV et XV possedent cette par-
ticuliarite. Mon regrette Maitre, M. de Farcy,
est absolu sur ce point. Une autre particu-
liarite de I'Opus anglicanum c'est sur les joues
le point (en spirale) qu'on trouve sur les joues
des personnages et se voit egalement sur les
broderies italiennes jusqu'^ la fin du XIV'
mais a part ces deux pays aucun autre ne la
possede. Ainsi les arcatures et le point en
spirale sont des identifications certaines et elles
sont encore plus absolues lorsque dans une
meme broderie elles apparaissent toutes deux.
L'eminent conservateur du Musee Victoria and
Albert, Mr. Kendrick ecrit dans son ouvrage
" English Embroidery."

Among the characteristics of this English work, one
which in itself has been considered to afford sufficient
evidence of such an origin is found in the treatment of the
faces. These are generally worked in a kind of spiral
starting from the centre of the cheek.

et un peu plus loin :

The hair and beard are often of an unnatural colour.

A moins d' admettre que tons les arbres de
Jesse des XIL et XIV'' si^cles, catalogues Opus
anglicanum sont italiens il faut admettre que
les particuliarites qui les caracterisent et qui se
retrouvent dans le No. 9 (excepte les 5 lobes)
identifient cette pi^ce comme anglaise. Je serai
tr^s heureux de connaitre une broderie fran^aise
contenant ces particuliarites. Quant a I'epoque
outre le costume, les plis des costume indiques
par des traits simples fortement prononces sont
un des caracteristiques indisrutables du XIIP ; au
XIV*^ les plis ont une caracteristique differente.
Je pourrai fournir encore d'autres preuves du
bien fonde le mon article mais je crois que
celles que je viens de presenter suffiront a refuter
les objections presentees.

G. Saville Seligman.

Erskine, of Linlathen, Forfarshire, and 33, Brompton Square,
S.VV., a well-known collector and sometime Chairman of ihe
Trustees of the National Gallery of Scotland. A certain

311

numbfr of the most remarkable of the Italian pictures were
bought in Italy in the 'forties by an ancestor of the late owner,
Mr. Thomas Erskine. Some of the pictures are well-known
from their appearance in public exhibitions — e.g. Sebastiano
del Piombo's Portrait of Cardinal Enckenvoerdt (No. 72),
and Garofalo's Portrait of the Artist as a Musician (No. 54);
others will now be seen in London for the first time, and
among them attention will no doubt principally be attracted
by the two pan-els by Francesco Zaganelli [Plate 11, B and
c], origiJially forming an altarpiece in the Church of S.
Domenico at Faenza (Nos. 92, 93), and a noble Bronzino
portrait (No. 21). Of pictures by artists other than Italian
may be specially mentioned the attractive full length of
a young lady bv Aelbert Cuyp (No. 27) [Plate I, A, p. 286],
a fine example by that rare master Cornelis Vroom (compare
the Burlington Magazine, December, 1919, p. 261), and a
quite charming sketch in oils by George Romney, Child
Asleep (No. 80). Several of the above are reproduced in the

GALLERY AND MUSEUM ACQUISITIONS.

well-illustrated sale catalogue. Dec. 8th. Chinese Works of
Art, including several fine Sung and Ming paintings. Tang
tomb figures and European furniture of various periods.

Me. F. Lair-Dubreuil at the Gallery Georges Petit, 8,
rue de Size, Paris, Dec. 4th. Among a fine collection of
i8th century furniture and objets d'art are a number of
pictures, including an excellent Portrait of a Man (8) of the
1 6th century Ferrarese school. At Hotel Drouot, Dec. 6th.
Engel-Gros collection of ancient textiles, Coptic, Oriental and
European, with many examples of the greatest beauty and
rarity. At Hotel Drouot, Dec. 7th. Engel-Gros collection
of stained glass, French, German, Swiss and other schools,
13th to 18th centuries. At Hotel Drouot, Dec. 7th. Ch.
Haviland collection of modern paintings and drawings with a
charming pastel Sur le Bateau (9), and the extraordinary
telling, Les Jockeys avant la course (42), both by Degas,
a fine Puvis da Chavannes, La Toilette (47), and three Rodin
sculptures.

BRITISH MUSEUM.
Print Room.
Drawings.

Fourteen drawings by D. Cox, R. Hills, G. R. Lewis,

and S. Prout. Presented by J. R. Holliday, Esq.
A. E. Chalon. R.A. Six Portraits of Malibran, Cervetto,
Tamburini and other actors and musicians; water-
colours.
M. Detmold. Bellerophon on Pegasus. Pencil study for

the artist's last etching. Presented by Mrs. Detmold.
J. A. D. Ingres. Raphael and the Fornarina ; pen and

sepia wash, 1818.
J. Havard Thomas. Four pencil drawings of Italian

peasants.
A. Watteali. Man seated, playing the violin. Red and
white chalk. Presented by W. Rodgie, Esq.
Prints.

The Master of the Banderoles. Mass of St. Gregory,
Lehrs 66 (only one other impression known, at Halle) ;
from the Odiing Collection.
ZoAN Andrea. Virgin and Child after Diirer, p. 35.
Five rare engraved portraits from the William Salt
Library, including one of Richard Cromwell (eques-
trian, published by P. Stent), of which only one other
impression is known.
Various etchings by J. Callot, L. B. Phillips, W. G.
Reindel, W. P. Robins, and S. Vacher, and woodcuts
by O. Bangemann, E. Lambert, and C. A. Wilkinson.
Presented.
Oriental Sub-Department.

The Spirit of the Forest. Siamese painting. 18th

century (?)
.1 Man with a Camel. Ink and gold. Persian drawing.
i6th century.
Coins & Medals.

Silver medallion of Syracuse, of the early fourth century
B.C., by the " Unknow-n Artist." Presented by Edward
Philips Thompson, Esq.
VICTORIA AND ALBERT MUSEUM.

(The items marked * are not yet on exhibition.)
Architecture and Sculpture.

Ivory Relief. Copy, probably early 19th century, of a
panel in the Quedlinburg Casket. Presented by Romolo
Piazzani, Esq.
Head in Stone, by Modigliani. Intended as a door jamb.

Presented by Henry Harris Esq.
St. Anne with the Virgin and Child. Figure in painted
oak. Lower Rhenish or Westphalian, second half of
14th century. Bought.
*rcMi(.! and Adonis group in wood. French; period of
Louis XVI. Presented by J. R. Saunders, Esq., through
the National Art-Coll'^ctions Futid.
Ceramics.

Wall-vase, blue and white porcelain. Chinese ; reign of

Wan-li. Presented hy R. Arnold, Esq.
Blue and white porcelain bowl. Chinese ; early Ming

dynastv. Presented by Ren^ de I'Hepital, Esq.
Blue and white porcejain jar. Chinese; early Ming
dynasty. Presented by A. L. B. Ashton, Esq.

Figure of a gardener, Worcester porcelain, iSth century.

Presented by Herbert Eccles, Esq.
Dish, Swansea porcelain. Presented by F. E. Andrews,

Esq.
Stained glass panel. English ; 14th century. Purchased.
Engraving, Illustration and Design.
*Drawings (18) of English Wall Paintings, by E. W.
Tristram.
Indian Section.
A set of Thirty-two painted and gilt ivory Chessmen, made
at Jodhpur, Rajputana, about 1800. Presented by G. A.
Clarkson, Esq.
Library.

*Copy of the rare book : A treatise on Silhouette Like-
nesses, by Monsieur Edouart. London, 1835.
Metalwork.
Sealing-wax Case. Brass, chased and engraved. Made
by Virgo, of Sheflfield. English ; dated 1656. Presented
by Miss Ethel Gurney.
Communion Flagon. Pewter, engraved. Presented bv

Sir C. M. Marling, K.C.M.G., C.B.
Small Sword and Sheath, the hilt of silver, cast and chased.

English; London hall-mark, probably for 1750-1.
Six Hunting Swards with silver hilts. English ; dating

from 1702 to 1750.
Coffer of Wood, covered with red velvet and bands of
tinned iron. Italian ; i6th century. Presented by
Romolo Piazzani, Esq.
Caster. Silver, London hall-mark 1694.
Pendant. Enamelled gold ; in form of a pistol. English ;

second half of i6th century.
Spoon. Silver with knob in form of a Moor's head.
English ; isth century.
Paintings.

•Two Water-colour drawings by C. E. Holloway, be-
queathed by the late T. Batterbury, Esq.
Woodwork.

Fragment of a cornice from a Devonshire screen, early

i6th century. Presented by William Bailey, Esq.
Fragment of tracery of a Suffolk screen, isth century ; and
three panels carved with figures, period of Henry VIIl.
Presented bv Frank Jennings, Esq.
Tea Caddy, uin-shaped, decorated with curled paper work.
Engli.sh ; late i8th century. Presented by A. G. Lewis,
Esq.
Ceramics and Ethnography.

Chinese porcelain bow! of Ju type with engraved dragon.

Presented bv .'\. L. Hetherington, Esq.
Chinese porcelain bowl, blue and white, early Ming. Pre-
sented by W. W. Winkworth, Esq.
Chinese pottery bowl with " hare's fur " glaze and painted

medallions. Sung. Presented by C. T. Loo, Esq.
Chinese pottery vessel from Szechwan. T'ang. Presented

bv Mrs. Elliott.
Miscellaneous Chinese wares collected in Szechwan.

Purchased.
Pottery pitcher. English ; 14th century. Presented bv
Alan O. Claughton, Esq.

312

CLASSIFIED INDEX TO VOLUME XLI, No. 232, JULY, TO
No. 237, DECEMBER, 1922

EXPLANATORY NOTE. — Cross references are given under the foUowmg headings : Architecture — Artists and Craftsmen —
Authors (of writings included in this volume) — Carvings and Sculpture — Ceramics, Enamels and Glass — Furniture —
Metalwork — Ownership (of objects referred to, owned (i) Collectively, by Nations, Public Corporations and Private
Associations, (2) Individually, by Private Owners and DeaKrs) — Prints, Enc.ravings ^nd Etchings — Textiles — Titles,
Complete List of (intmspersed in alphabetical order with the titles of the following sections. Auctions, Letters, Monthly
Chronicle [ =M-C], Reviews). The definite and indefinite article in all languages is printed throughout but ignored in the
alphabetical series.

ARCHITECTURE—

S. iMaria dell:i Pace, Rome ; Pl. 165.
S. Maria in Via Lata, Rome ; PI. 165.
S. Maria di Monte Santo, Rome ; PI. 168.

ARTISTS AND CRAFTSMEN—

Andrea di Giusto(?) Triumphs. (Mr. Walter Burns)
PI. 105.

The Anghiari Master. The Triumph oj Scipio Africanus
(M. Guido Ainnot) PI. 105.

.Antonello da Messina. Crucifixion (Antwerp Museum) ;
Drawing (Staedel Institute, Frankfurt) PI. 271.

Artist Unknown. Still life (Rijksmuseum) PI. 177.

.•\vignon (School of). Crucifixion. Fresco (Chartreuse de
Villeneuve-les-.Avignon) PI, 55 Crucifixion. Panel
(M. L. A. Gaboriaud) PI. 52.

Balducci (Matteo). Spring, Summer, Autumn. Painels
(.Mr. W. H. Woodward) PI. 20.

Baynes (Keith). Flowers (London Group) PI. 247.

Bazzani (Giuseppe). Christ in the Garden (Prof. Podio,
Bologna) PI. 71.

Beale (Mary or Charles). Girl's Head; Girl with a Cat;
Laughing Boy ; Man with a Pipe. Drawings (British
Museum) PI. 142.

Bell (Vanessa) a • The Frozen Pond PI. 35 ; Portrait of
Mrs. M. PI. 3*2 ; The Seine PI. 35.

BuNSKi. Landscape (Museum of Fine Arts, Boston,
U.S.A.) ; Portrait of Yuima (Mr. Tomitaro Hara) PI.
223-

Busch. Wood engraving PI. 187.

Caravaggio. The Calling of St. Matthew. Detail (S.
Luigi dei Frances!, Rome) PI. 65 ; The Conversion oj
St. Paul (S. Maria del Popolo, Rome) PI. 159.

Cavallino (Bernardo). St. George (Prof. A. Gualtieri,
Naples) PI. 68.

Clovio. Self-portrait. Miniature (Castle Ambras) PI. 195.

Crespi (Lo Spagnolo). .St. John Nepomuceno confessing
the Queen of Bohemia (Pinacoteca, Turin) PI. 68.

CuYP (.Albert). Portrait of a young lady (Erskine Collec-
tion) PI. 286.

DiEZ. Wood engravings ; PI. 185, 186.

DuBORDiEU (Pieter). Portrait of a Woman (Wcvrcester Art
Museum, U.S.A.) PI. 216 ; Portrait of a Woman (M. van
Lennep, Heemstede) PI. 216; Portrait of a Girl (M.
Stephan von Auspitz, Vienna) PI. 219; Self-Por-
trait (?) (Mme. .Alice de Stuers) PI. 219.

DOrer. Landscape. Water-colour (Ashmolean Museum,
Oxford) PI. 168.

Early Spanish School. Retablo, with Scenes from the
Legends of SS. Sebastian and Julian Hospitator (Span-
ish Art Gallery) PI. 192.

English School. Triptych. 14th century (Messrs. Dur-
lacher and Co.) PI. 11, 115.

EupiiRONios. An Attic red-figured Cup (Sr. G. de Ferrari)
PI. 123.

Feti (Domenico). Elijah in the Wilderness (Staatliche
Museen, Berlin) PI. 162.

Florentine 5chool. Scenes from the Life of Alexander
the Great (British Museum) PI. 2fi8.

Fontana (Lavinia). Portrait (Sir Lionel Earlo) 41 ; PI. 40.

French School. Holy Trinity -vith Angels (National Gal-
lery) PI. 80.

Frith Derby Dav. Detail (National Gallery) PI. 270.

Gell^e (Claude). Landscape. Monochrome (British

Museum) PI. 171.

Giotto (School of). Scenes from the life of St. Vincent
(Don Luis Plandiura) PI. 290, 302.

Greco. Portrait of Clovin (Naples Museum) PI. 195.

Greenwood (Frans). Engraved goblet, English (Sir John
Risley) PI. 296.

Guido di Saving. 288.

HiROSHioE. Colour Prints; PI. iiR.

Hogarth. Sketches for a Rake's Progress (No. i) (Sir
Robert Witt) PI. 13. (No. 3) (Ashmolean Museum,
Oxford) PI. 13. (No. 7) (Ashmolean Museum, Oxford)
PI. 16.

Holbein the Younger (School of). The Marchioness of
Dorset. Miniature (Castle Ambras) PI. 195.

LARGiLLiftuE. The Duke of Brittany and Mme. de la Mothe-
Houdancourt (formerly Burdett-Coutts Collection) PI.
126; The family of Louis .\IV (Wallace Collection) PI.
123 ; La Mar^chale de la Mothc-Houdancourt (Musie
Nationale de Versailles) PI. 126.

Leonardo da Vinci 255.

Lys (Giovanni). Venus and the Three Graces (Uffizi Gal-
lery, Florence) PI. 162.

Martinez (Jos^). Peasants Warming Themselves.

(National Gallery) PI. S3.

Masaccio (Studio of). The Nativity (National Gallery)
PI. 83.

Matisse. Landscape PI. 171.

Morales (Luis). Head of Christ (Sir Claude Phillips) ;
Madonna and Child (The Spanish Art Gallery) PI. 132.

Morazzone, Crespi and Procaccini. Martyrdotn of SS.
Ruffina and Seconda (Brera, Berlin) PI. 74.

Niccol6 di Pietro Gerini. Mystical Subject (Earl of Craw-
ford and Balcarres) PI. 154.

Oberl.^nder. Wood engraving. PI. 186.

Pellipario (Nicola). Apollo and Daphne, Maiolica plates
(British Museum) PI. 129; Apollo and Marsyas : The
Calumny of /Ipelles (Ashmolean Museum, O.xford) ;
Subject from " Dialogues of the Dead " (Victoria and
Albert Museum) PI. 129; Narcissus and Echo; Solo-
mon adoring an Idol (Museum Corrcr, Venice) PI. 26;
Perseus and Andromeda ; The Story of Callisto. Maio-
lica plates (Victoria and Albert Museum) PI. 23.

Piazzetta. Judith and Holofernes (Lazzaroni Collection,
Rome) PI 71.

Pietro da Cortona. S. Maria della Pace (Rome) PI.
165. S. Maria in Via Lata (Rome) PI. 165.

Porter (F. J.) On the Bure (London Group) PI. 247.

Prud'hon. 28 ; La Danseuse au Triangle. Drawing (Mme.
Deligand) ; Danseuse jouant des Cymbales. Drawing
Mme. FoA) ; Venus au Bain (M. Ed. Desfoss^s) Pl. 29:
Venus and Adonis. Drawing (M. le G<5n^ral Vicomte
de la Villestreux) Pl. 32.

Rainaldi. S. Maria di Monte Santo (Rome) Pl. 168.

Saavedra (Antonio del Castillo y). Holy Family (National
Gallen-v) PI. 80.

Sicnorelli (Luca). The Virgin of Mercy (Col. Douglas
Proby) Pl. 204.

Strozzi (Bernardo). The Blessing of Jacob (Pinacoteca,
Pisa) Pl. 65.

Thiesson (Gaston). Boy's head (M. Paul Poiret) ; Woman
reading (Mme. Gaston Thiesson) PI. 189.

TiEPOLO. After the Bath. Detail (Royal Gallery, Berlin)
PI. 233 ; Portrait (Mr. Max Rothschild) PI. 230.

TiNTORF.TTO. The Adulteress before Christ (Dresden Gal-
lery) PI. 213; The Contest between Apollo and
Marsyas (Col. W. Bromley Davenport) PI. 208;
Christ at Emmans (Budapest Gallery) Pl. 213;
The Death of Holofernes fPrado) Pl. 283 ; The Last
Supper (S. Marcuola, Venice) Pl. 286; Sacra Conver-
sazione (M. C. A. de Burlet) PI. 282 ; Studies.
Drawing (Christ Church Librarv, Oxford) PI. 209.
Tnrquin and Lncretia fPrado) Pl. J70 ; Venus. Vtilcan
and Cupid (Frnu von Kaulbach, Munich) ; Sketch for
Venus. Vulcan and Cupid. Drawing (Staatliche
Museum. Berlin) Pl. 282.

Titian. Judith (Mr. A. L. Nicholson) Pl. So- St. Sebas-
tian (Hermitage) Pl. 86. , ^ , , c-

Titian (after). Salome with the head of St. Jolm. bn-
graving by L. Vorsterman Pl 89.

Van EvcK. 17; Madonna (National Gallery of Victori.i.
Melbourne) Pl. 233.

Van Oost the Eldek (Jacob). Two Boys (National

Gallery) PI. 83.
Verhout (Constantyn). Etudiant cndormi (National

Museum, Stockholm) PI. 174.
Verhout (attributed to). Old Man and Girl at a Table

(Braams Collection, Arnhem) PI. 177.
Veisen Oiwake. Colour Print; PI. 118.
Z.AGANELLi DA CoTTiGNOLA (Francesco). The Baptism oj

Christ, and The Dead Christ supported by Angels

(Erslcine Collection) PI. 310.
ZuRBAUAN. The Immaculate Conception (National G.-iUery

of Ireland, Dublin) PI. 40 Portrait of a Child with a

Flower (Pierpont Morgan Collection) PI. 43.
ZVL (G. P. van). The Concert. Drawing (Brunswick

Gallery) PI. 149; The Concert Party (M. Paul Mat-

thev, Paris) PI. 146 ; Six Figures in a Courtyard (M.

Victor Koch) PI. 146; The Toilet (The Earl of

Dysart) PI. 149.

authors-
Baldwin Brown (G.). The origin and early history of
the Arts in relation to Esthetic Theory in General —
I 91; Fig. 92; —II 134; Fig. 135.
Beazley (J. D.). .'\n Attic red-figured Cup 121 ; PI. 123.
Bell (C. F.). Three Sketches by Hogarth 11; PI. 13, 16.
Borenius (Tancred). Unpublished Cassone Panels — IV 18 ;
PI. 20; —V 104; PI. 105; VI 256; PI. 268. A
Portrait by Lavinia Fontana 41 ; PI. 40. Some Re-
flections on the last phase of Titian 87 ; PI. 86, 89.
A Florentine Mystical Picture 156; PI. 154. An
Early Spanish Retablo 193 ; PI. 192. An Unrecorded
Signorelli 205 ; PI. 204.
Bredius (A.). Pictures by Constantyn \'erhout 175 ; PI.

174. 177-
Carnac (A.). Gaston Thiesson 188 ; PI. 189.
Casson (S.). Some Greek Bronzes at Athens 137 ; PI. 139.
Constable (W. G.). Largilliire ; an iconographical note

122 ; PI. 123, 126.
Christie (Archibald H.). The Development of Ornament

from .Arabic Script — II 34; Fig. 35.
Eden (F. Sydney). The .Arms and Badges of the Wives of

Henry VIII 109; PI. 108.
Edmunds (Will H.). The Identification of Japanese Colour

Prints— IV tig; PI. 118.
Friedlander (Max J.). The Van Eycks and their Fol-
lowers 17.
Fry (Roger). A Crucifixion of the Avignon School 53 ;

PI. 52, 55. A Toad in White Jade — I 103 ; PI. 102.

Settecentismo 158; PI. 159, 162, 165, 168.
FuKui (Rikichiro). A Landscape by Bunsci in the Boston

Museum 218; PI. 223.
Gamba (Count). The Seicento and Settecento Exhibition

in Florence 64; PI. 65, 68, 7:, 74.
Gluck (Gustav). A Drawing bv .Antonello da Messina 270 ;

PI. 271.
Goiffrev (Jean). The Prud'hon Exhibition in Paris 27;

PI. ag, 3a.
Hadeln (Detlev, Baron von). Early Works by Tintoretto

— I 206; PI. 208, 209, 213; — II 278; PI. 279, 282,

283, 286.
Holmes (Sir Charles). Recent Additions to the National

Gallery 76 ; PI. 80, 83. A Van Eyck for Melbourne

232 ; PI. 233.
Jones (E. Alfred). The Lloyd Roberts Bequest of OW

English Plate to Manchester 227 ; PI. 226. Old Plate

at the Church Congress 275 ; PI. 274.
Kendrick (a. v.). a Tapestry in the Murray Collection

269; PI. 254, 268.
Laurent (Marcel). Guide di Savino and the Earthenware

of .Antwerp 288 ; PI. 289, 292, 2g6.
Letiiaby (W. R.). a Fourteenth Century English Trip-
tych no ; PI. Ill, 115.
Loojiis (Roger Sherman). Vestiges of Tristram vn Lon-
don 54; PI. 58, 61.
MacColl (D. S.). French Eighteenth Century Furniture

in the Wallace Collection — I 260: PI. 261, 264, 267.
Marti.n (W.). Some Portraits by Pieter Dubordieu 217;

PI. 216, 2ig.
Mayer (August L.). Some Unknown Works by Zurbaran

42 ; PI. 40, 43. A Spanish-Italian Trecento Altar-
piece 2g8 ; PI. 2g9, 302.
Mellaart (J. H. J.). The Works of G. P. van Zyl ij7 :

PI. 146, 149.
Mitchell (H. P.). Two English Ivory Carvings of the

Twelfth Century 176; PI. 182, 1S3.

PijOAN (J.). a Catalonian Fresco for Boston 4; PI. 2, 5,

8. A Greek Glass Vase from China 235 ; PI. 250.
Pope-Hennessy (Una). A Toad in White Jade — II 103:

PI. 102.
Rackham (Bernard). A New Work by Nicola Pellipario at

South Kensington — I 21; PI. 23, 26; — II 127; PI.

129 ; Letter 201.
Reitlinger (Henry Scipio). The Beale Drawings in the

British Museum 143 ; PI. 142.
RisLEY (Sir John). A Frans Greenwood Goblet 297 ; PI.

296.
Schlosser (Julius). Two Portrait Miniatures from Castle

Ambras 194; PI. 195.
Seligman (George Saville). Unidentified English Em-
broideries in the Museum Cinquantenaire in Brussels

75 ; P'- 74. 77; Letter 311
Sickert (Walter). Vanessa Bell 33 : PI. 32, 35. Diex,

Busch and Oberlander iSo; PI. 186; Figs. 185, 187;

The Derby Day 276 ; PI. 279.
Tatlock (R. R.). a Tiepolo Portrait 231 ; PI. 230, 233.

Two Pictures by Morales 133 ; PI. 132.
Thornton (Alfred). The Significance of the Sketch 169;

PI. 168, 171.
Waley (.Vrthur). Chinese Temple Paintings 228.

CARVING AND SCULPTURE—
The Heseltine Bronzes and Majolica [M-C] 251 ; PI. 230.
Some Greek Bronzes at Athens 137 ; PI. 139.
TTiree-legged Toad. Chinese jade (Col. Popie-Hennessy) PI.

102.
Two English Ivory Carvings of the Twelfth Century 176;

PI. 182, 183.

CERAMICS, ENAMELS, AND GLASS—

The Arms and Badges of the Wives of Henry VIII log;

PI. 108.
.An Attic red-figured Cup 121 ; PI. 123.
A Greek Glass Vase from China 235 ; PI. 250.
Guido di Savino and the Earthenware of Antwerp a88 ;

PI. 289, 292, 296.
A New Work bv Nicola Pellipario at South Kensington —

I 21 ; PI. 23,' 26 ; —II 127 ; PI. 129.
A Frans Greenwood Goblet 297 ; PI. 296.

FURNITURE—
French Eighteenth Century Furniture in the Wallace Collec-
tion — I 260; PI. 261, 264, 267.

METALWORK—
The Lloyd Roberts Bequest to Manchester 227 ; PI. 226.
Old Plate at the Church Congress 275 ; PI. 274.

OWNERSHIP (COLLECTIVE) OF OBJECTS
ILLUSTRATED—
Amsterdam. Rijksmuseum. .Artist unknown. Still Life

PI. 177. Roman Charity. Earthenware dish PI. 292.
Antwerp. Museum. Antonello da Messina. Crucifixion

PI. 271. X'leeschhuis. The Conversion of St. Patil.

Tile picture PI. 2S9. Tiles PI. 296.
Athens. National Museum. Bronze Figures PI. 139.
Berlin. Staatliche Museen. Domenico Feti. Elijah in

the Wilderness PI. 162 ; Tiepolo. .ifter the Bath.

Detail PI. 233. Tiintoretto. Sketch for Venus, Vulcan

and Cupid. Drawing PI. 282.
Boston. Museum of Fine Arts. The .iscension of Christ.

Fresco PI. 2, 8. Bunsei. Landscape PI. 223.
Bristol. St. Michael's Church. Secular bowl PI. 274.
Brussels. Cinquantenaire Museum. Unidentified English

Embroideries PI. 74, 77. Pavement tiles from

Herckenrode PI. 289. Drug vases and porringer,

probably .Antwerp earthenware PI. 292.
Budapest Gallery. Tintoretto. Christ at Emmaus PI. 213.
Canterbury. St. .Augustine's College. Cocoanut cup PI. 274.
Chartreuse de Villen.>uve-les-Avignon. School of .\vignon.

Crucifixion PI. 55.
Dresden Gallery. Tintoretto. The .Adulteress before Christ

PI. 213.
Dublin. National Gallery of Ireland. Zurbaran. The

Immaculate Conception PI. 40.
Durham Cathedral. Bronze Sanctuary knocker PI. 183.

Initials from Bible given by Bishop William of St.

Carileph PI. 183.
Fareham Church. Hants. Domestic cup and cover PI. 274.
Florence. Uffizi Gallery. Giovanni Lys. Venus and the

Three Graces PI. 162.
Frankfurt. Staedel Institute. Antonello da Messina.

Drii-vim; PI. 271.

London. British Museum. Nicola Pellipario. ApoUo and
Daphne: Apollo and Marsyas. Maiolica plates PI. 129.
Mary or Charles Beale. Man with a Pipe; Girl's
Head; Girl with a Cat; Laughing Boy. Drawings
PI, 142. Claude Gell^e. Landscape. Monochrome
PI. 171. Fragment of ivory carving from St. Albans;
i2th century PI. 1S2. Florentine School. Scenes from
the Life of Alexander the Great PI. 268.

National Gallery. French School. Holy Trinity with
Angels PI. 80. Jos^' Martinez. Peasants Warming
Themselves PI. 83. Studio of Masaccio. The Nativity
PI. 83. Jacob Van Oost the Elder. Two Boys PI. 83.
Antonio del Castillo y Saavedra. Holy Family PI. 80.
Frith. Derby Day. Detail PI. 279.

Victoria and ."Mbert Museum. Nicola Pellipario. Perseus
and Andromeda ; The Story of Callisto. Maiolica plates
PI. 23. Carved ivory casket. Early 14th century PI.
58. Carved wooden casket. Circa 1350 PI. 58.
Sicilian coverlet. Late 14th century PI. 61. Thur-
ingian wall hanging, appliqu^. Circa 1370 PI. tii.
Nicola Pellipario. Subject from " Dialogues of the
Dead." Maiolica plate PI. 129. Ivory tau-head of a
staff. 12th century PI. 182. Gloucester candlestick.
i2th century PI. 182. The Deposition, Entombment
Flemish tapestry. Mid. 15th century

and Resurrection.
PI. 254, 2b8.
Wallace Collection.
XIV. PI. 123. J.
Foullet. Casket
case PI. 261. J.
Dubois. Cabinet

PI.

Eyck.
Mar-

195-
for a
for a

Largilli(''re. The Family of Louis
U. Erstet. Bureau PI. 261. .^ntoine
PI. 261. Balthaser Lieutaud. Clock-
F. Leleu. Console table PI. 264. J.
PI. 264. Etienne Levasseur. Com-
mode aiud Londonderry Cabinet PI. 264. Cabinet PI.
267. A. Weisweiler". Cabinet PI. 267. Joseph.
Cabinet PI. 267. J. F. L. Delorme. Cabinet PI. 267.
Madrid. Prado. Tintoretto. Tarquin and Lucretia

279. The Death of Holofernes PI. 286.
Marston Church, Oxfordshire. Secular cup, English

274-
Melbourne. National Gallery of Victoria. \ an

Madonna PI. 233.
Milan. Brera. Morazzone, Crespi aind Procaccini.

tyrdom of SS. Ruffina and Seconda PI. 74.
Naples Museum. El Greco. Portrait of Clovio PI.
O.^ford. Ashmolean Museum. Hogarth. .4 Sketch

Rake's Progress (No. 3) PI. 13. .1 Sketch

Rake's Progress (No. 7) PI. 16. Nicola Pellipario.

The Calumny of Apelles. Maiolica plate PI. 129.

Diirer. Landscape. Water-colour PI. 168.
Christ Church Library. Tintoretto. Studies. Drawing

PI. 2og.
Pisa. Pinacoteca. Bernardo Strozzi. The Blessing of

Jacob PI. 65.
Rome. S. Luigi del Fiancesi. Caravaggio. The Calling oj

St. Matthew. Detail PI. 65.
S. Maria del Popolo. Caravaggio. The Conversion of St.

Paul PI. 159.
St. Clemrait de Tahull. Virgin in Majesty. Fresco PI. 8.
Santa Eulalia d'Estahon. Baptism of Christ. Fresco

PI. 8. , ,, ..

Santa Maria d'Esterri. The Adoration of the .Uaji.

Fresco PI. 5.
St. Petersburg. Hermitage. Titian. St. Sebastian PI
Stockholm. National Museum. Constantyn

Etudiant endormi PI. 174.
Turin. Pinacoteca. Ciespi, called Lo Spagnolo. St. John

Nepomuceno confessing the Queen of Bohemia PI. t)8.
Venice. Musco Corrcr. Nicola Pellipario. Narcissus and

Echo; Solomon Adoring an Idol. Maiolica plates PI.

26.
S. Marcuola. Tintoretto. The Last Supper PI. 286.
Versailles. Mus^e .N'ationalc. Largillii-re. La Marechale de

la Mothe-Houdancourt PI. 126.
OWNERSHIP (INDIVIDU.AL) OF OBJECTS
ILLUSTRATED—
Arabras Castle. Clovio. Self-portrait. Miniature PI. I9.S-

School of Holbein the Younger. The Marchioness of

Dorset. Miniature PI. 195.
.■\rnot (.^L <;uido). The .\nghiari

Scipio Africanus PI 105.
Auspitz (M. Stephan von, Vienna

a Girl PI. 219.
Braams Collection ^Aruheml. Constantyn \ erhout (attri-
buted to). Old .Wnii and Girl at a table PI. 177.
Burdett-Coutts Collection. LargilliiVe. The Duke of Brit.

tany and Mme. de la Mothe-Houdancourt PI. 126.
Burlet (M. C. A. de). Tintoretto. Sacra Conversazione

PI. '283.

86.
Verhout.

Master. The Triumph of
Dubordicu. Portrait of

Burns (.Mr. Walter) (?).\ndrea di Giusto. Triumphs. Two

panels PI. 105.
Claes Collection (.Antwerp). Dated tiles PI. 296.
Crawford and Balcarres (The Earl of). Niccol6 di Pietro

Gerini. Mystical Subject PI. 152.
Davenport (Col. W. Bromley). Tintoretto. The Contest

between Apollo and Marsyas PI. 208.
Deligand (Mme.). Prud'hon. La Danseuse au Triangle.

Drawing PI. 29.
Defoss^s (M. Ed.). Prud'hon. ]'dnus au Bain PI. 29.
Durlacher (Messrs.). English School. Triptych. 14th cen-
tury PI. Ill, 115.
Dysart (The Earl of), van Zyl. The Toilet PI. 149.
Earle (Sir Lionel). Lavinia Fontana. Portrait 41 PI. 40.
Erskine Collection. Francesco Zaganelli da Cottignola.
The Baptism of Christ; The Dead Christ supported by
.Angels PI. 310.
De Ferrari (Sr. Guglielmo). Euphronios. Attic red-figured

Cup PI. 123.
FoA (Mme.). Prud'hon. Danseuse jouant des Cymbales.

Drawing PI. 29.
Gaboriaud (M. L. A.). School of Avignon. Crucifixion

PI. 52.
Gualtieri (Prof., Naples). Cavallino. St. George PI. 68.
Hara (Mr. Tomitaro). Bunsei. Portrait of Yuima PI. 223.
Kaulbach (Frau von, Munich). Tintoretto. Venus, Vulcan

and Cupid PI. 282.
Koch (M. Victor), van Zyl. Six Figures in a Courtyard

PI. 146.
Lazzaroni Collection (Rome). Piazzetta. Judith and Holo-
fernes PI. 71.
Lennep (M. van, Heemstede). Dubordieu. Portrait of a

Woman PI. 216.
Matthey (M. Paul, Paris), van Zyl. The Concert Party

PI. 146.
Nicholson (Mr. A. L.). Titian. Judith PI. 89.
Phillips (Sir Claude). Morales. Head of Christ PI. 132.
Pierpont Morgan Collection. Zurbaran. Portrait of a Child

with a Flower PI. 43.
Plandiura (Don Luis, Barcelona). School of Giotto. Scenes

from the Life of St. Vincent PI. 299, 302.
Podio (Prof., Bologna). Giuseppe Bazzani. Christ in the

Garden PI. 71.
Poiiret (M. Paul). Gaston Thiesson. Boy's head PI. 189.
Pope-Heninessv (Co!.). Three-legged toad. Chinese jade

PI. 102.
Proby (Col. Douglas). Signorelli. The Virgtn of Mercy

P'- 204.

Risley (Sir John). Frans Greenwood. Engraved goblet,
English PI. 296.

Rothschild (Mr. Max). Tiepolo. Portrait PI. 230.

The Spanish Art Gallery. Morales. Madonna and Child
PI 132. Early Spanish School. Retablo with Scenes
from the Legends of SS. Seba.itian and Julian Hospi-
tator PI. 192.

Stuers (Mme. Alice de). Dubordieu. Self-Portrait PI- 219-

Thiesson (Mme. Gaston). Gaston Thiesson. Woman head-
ing PI. 189.

de La Villestreux (M. le G(in^ral Vicomte).

Venus and Adonis. Drawing PI. 32. „ , , „

Witt (Sir Robert). Hogarth. .1 Sketch for a Rake s Pro-
gress (No. i) PI. 13- . f, ■ c

Woodward (Mr. W. H.). Matteo Balducci. Sprmg, Sum-
mer, Autumn PI. 20.

PRINTS, ENGR.WINGS, AND ETCHINGS-

L'hommc aux deux trompettes. Raimond (M.). Fl. 26.
The Death of Achilles. Woodcut from Ovid s Meta-
morphoses " PI. 26. Solomon adoring an Jdol.
Woodcut from the " Hypnerotomachia Poliphile PI.

The Identification of Japanese Colour Prints— IV 119; PI.

Busch, biez and Oberliinder iSo; PI. 185, 186, 187.

TEXTILES— „,. . , .■.^„

Siciliain, coverlet. Late 14th century (Victoria and Albert

Museum) PI. 61. . ~. /\-„.^,;,

Thuringinn wall ha^nging. Applique. Circa 1370 (\ ictoria

and Albert Museum) PI. 61.
rnidentifi.-d English embroideries in the Museum Cinquan-

tenaire in Brussels 7,"; : P'- 74. 77. 3"-
A Tapestry in the Murrav Collection 269 ; PI. 2.,4. 268.

TITLES, COMPLETE LIST OF—

.An Attic red-fiau.cd Cup. By J, D. Beazlcy >- ^ ?'• "3-
The Arms and Badges of the Wives of Henry VIII. By F.
Sydney Eden 109; PI. 108.

Prud'hon.

Auctions— (July) 50; (September) 151; (October) 202;

(November) 252; (December) 311; PI. 286, 310.
The Beale Drawings in the British Museum. By Hetiry

Scipio Reitlinger 143 ; PI. 142.
A Catalonian Fresco for Boston. By J. Pijoan 4 ; PI. 2

S, 8.
Chinese Jade. W. G. C. [M-C] 306; PI. 307.
Chinese Temple Paintings. By Arthur Waley 228.
A Crucifixion of the Avignon School. By Roger Fry 53 ;

PI- 52, 55-
The Clough Collection. T. B. [M-C] 201.
The Derby Day. By Walter Sickert 276 ; PI. 270.
The Development of Ornament from Arabic Script — II.

By Archibald H. Christie 34 ; Fig. 35.
Diez, Busch and Oberlander. By Walter Sickert 180 ; PI,

1S6; Figs. 185, 187.
A Drawing by Antonello da Messina. By Gustav Gliick

270 ; PI. 271.
An Early Spanish Retablo. By T. Borenius 193 ; PI. 192.
Early Ting Ware at S. Kensington. E. E. B. [M-C] 198.
Early Works by Tintoretto. By Detlev, Baron von Hadein

— I 206; PI. 208, 209, 213; — 11 278; PI. 279, 282,

283, 286.

Editorial —

Adniissioti Charges at the British Museum, 53 ; " Expert-
ising," 3; Leonardo in the Consulting Room, 255;
The Problem of the Provincial Gallery, 155.

A Florentine Mystical Picture. By T. Borenius 156; PI. 154.

A Fourteenth Cemtury English Triptych. By W. R. Leth-
aby no ; PI. iii, 115.

A Frans Greenwood Goblet. By Sir John Rislev 297 ;
PI. 296.

French Eighteenth Century Furniture in the Wallace Col-
lection—1. By D. S. MacColl 260; PI. 261, 264, 267.

Gallery and Museum Acquisitions (July) 50; (August) 99;
(September) 152 ; (October) 202 ; (November) 252 ;
(December) 312.

Gaston Thiesson. By A. Carnac 188; PI. 189.

A Greek Glass Vase from China. By Jos^ Pijoan 235 ;
PI. 250.

Guido di Savino and the Earthenware of Antwerp. By
Marcel Laurent 288 ; PI. 289, 292, 296.

The Hescltine Collection of Bronzes and Majolica. W. G. C.
[M-C] 251 ; PI. 250.

The Identification of Japanese Colour Prints — -IV. By Will
H. Edmunds 119; PI, 118.

Independent Gallery, R. A. Stephens [M-C] 46.

The International Theatre Exhibition. Desmond MacCarthy
[M-C] 47.

Japanese Screens at Suffolk Street. L. B. [M-C] 245.

A Landscape by Bunsei in the Boston Museum. By Riki-
chiro Fukui 218 ■ PI. 223.

Largilli^re : An Iconographical Note. By W. G. Con-
stable 122 ; PI. 123, 126.

Letters — (July) 48; (August) 99; (October) 201; (Novem-
ber) 252; (December) 311.
Art " Scholarship." Hugh Blaker 49.
The Bernini Bust at the Victoria and Albert Museum.

Rachael Poole 49.
The Mind of Corot and his change of style. Alfred Thorn-
ton 49.
Nicola Pellipario. Bernard Rackham 201.
Paint versus the Rest, R. Gleadowe 99.
Pictures by Constant™ Verhout. A. Bredius 252.
Unidentified English Embroideries in the Cinquantenaire.
Isabella Errara, G. Saville Seligman 311.

The Lloyd Roberts Bequest of Old English Plate to Man-
chester. Bv E. Alfred Jones 227 ; PI. 226.

The London Group. R. R. T. [M-C] 24s ; PI. 247.

Maurice Rosenheim, F.S.A. C. H. R. [M-C] ci8.

Monthly Chronicle— (July) 46 ; (August) 98 ; (September)
148; (October) 201 ; (November) 245 PI. 244, 247, 250;
(December) 306 PI. 307.

A New Work by Nicola Pellipario at South Kensington. By
B. Rackham — I 21 ; PI. 23, 26; — II 127: PI. 129.

Old Plate at the Church Congress By E. Alfred Jones
27s ; PI. 274.

The origin and early history of the Arts in relation to
/Esthetic Theory in general. By G. Baldwin Brown —
I 91; Fig. 92; —II 134; Fig- 135-

Pictures by Constantvn Verhout. By A. Bredius 175, 252.

PI. 174, 177.
A Portrait by Lavinia Fontana. By T. Borenius 41 ; PI. 40.

The Prud'hon Exhibition in Paris. By Jean Guiffrey 27;
PI. 29, 32.

Recent additions to the National Gallery. By Sir Charles
Holmes 76 ; PI. 80, 83.

Reviews —

(July) 45 ; (August) 95 ; (October) 198 ; (November) 237 ;

PI. 244 ; (December) 303.
The Architecture of Robert and James Adam 1758-1794.

Arthur T. Bolton 241 ; PI. 244.

British Heraldry. Cyril Davenport 241.

Claude Lorraiin. Walter Friedlaender 240.

Collectanea Variae Doctrina2 97.

Constable, Ciainshorough and Lucas. Sir Charles Holmes
96.

The Early Ceramic Wares of China. A. L. Hethering-

ton 305.
Lcs Kmaux Limousins de la fin du XVme siicle et de la

premii*'re partie du XVIme. J. J. Marquet de Vasselot

199.
English Goldsmiths and their Marks. Sir C. J. Jackson

45-
Etruscan Tomb Paintings. Frederick Poulsen 240.
Greek Vase Painting. Ernst Buschor 45.
Histoire dc I'Art depuis les premiers temps Chretiens

jusquii nos jours. Andr6 Michel 198.
A History of Architecture on the Comparative Method. Sir

Banister Fletcher 45.
Indian Drawings. Text by C, Stanley Clarke 97.
Italian Renaissance Furniture. Wilhelm von Bode 305.
Mary Davies and the Manor of Ebury. C. T. Gatty 98.
La Miniature Flamande au Temps de la Cour de Bour-

gogne. Count Paul Durrieu 95
CEuvres choisis de Maitres Beiges 46.
The Origin of the Cruciform Plan of Cairene Madrasas.

K. A. C. Creswell 97.
The Owen Pritchard Collection of Pottery, Porcelain,

Glass and Books 241.
Perspective as applied to Pictures. Rex Vicat Cole 45.
Print Publications, 199.

The Pewter Collector. H. J. L. J. Masse 306.
Sculpture of To-day. Kinrton Parkes 98.
Some Contemporary Artists. Frank Rutter 303.
The Thousjmd Buddhas. Aurel Stein 237.
Toskanische Maler in XIII Jahrhundert. O. Sirin 239.
The Tyro, 200.

Vermeer of Delft. E. V. Lucas 241.
William Blake's Designs for Gray's Poems 198.
The Seicento and Settecento Exhibition in Florence. By

Count Gamba 64; PI. 65, 68, 71, 74.
Settecentismo. By Roger Fry 158 ; PI. 159, 162, 165, 168.
The Significance of the Sketch, By Alfred Thornton 169;

PI. 168, 171.
Some Greek Bronzes at Athens. By S. Casson 137 ; PI.

'39-
Some Portraits by Pieter Dubordieu. By W. Martin 217 :

PI. 216, 219.
Some Reflections on the last phase of Titian. By Tancred

Borenius 87 ; PI. 86, 89.
Some Unknown Works by Zurbaran. By .August L. Mayer

42 : PI. 40, 43.
A Spanish-Italian Trecento Altarpiece. By August L.

Mayer 298 ■ PI. 299, 302.
A Tapestry in the Murrav Collection. By A. F. Kendrick

269 ; PI. 254, 268.
A Tiepolo Portrait. Py R. R. Tatlock 231 ; PI. 230, 233.
A Toad in White Jade— I. By Roger Fry; —II. By Una

Pope-Hennessy 103 ; PI. 102.
Three Sketches by Hogarth. By C. F. Bell 1 1 : PI. 13, 16.
Two English Ivory Carvings of the Twelfth Century. By

H. P. Mitchell 176; PI. 182, 183.
Two Pictures by Morales. By R. R. Tatlock 133 ; PI. 132,
Two Portrait Miniatures from Castle-Ambras, By Julius

Schlosser 194 ; PI. 195.
Unidentified English Embroideries, Museum Cinquantenaire.

By George Saville Seligman 75 ; PI, 74, 77, 311.
Unpublished Cassone Panels. By Tancred Borenius — IV

tS; pi. 20; —V 104; PI. :os; —VI 256; PI. 258.
An unrecorded Signorelli. By T. Borenius 205 ; PI. 204.
A Van Evck for Melbourne. By Sir Charles J. Holmes

232 ; PI. 233.
The Van Eycks and their Followers. By Max J. Fried-
lander 17.
Vanessa Bell. By Walter Sickert 33 ; PI. 32, 35.
Vestiges of Tristram in London. By Roger Sherman

Loomis 54; PI. 58, 61.
The Works of G. P. van Zyl. By J, H, J. Mellaart 147;

PI. 146, 149.

316

rt' fv «J W6f

1
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