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In this bibliography Mr. Russell Sturgis and Mr. Henry E. Krehbiel place Ibefore readers, students, and librarians a thousand carefully chosen works on Fine Art, with descriptive, critical, and comparative notes. They thus enlarge five-fold their contributions to "The List of Books for Girls and Women and Their Clubs," published by the American Library Association m 1895. The notes here given incidentally offer many important canons of art criticism, and may well tempt readers to consecutive perusal. To librarians who wish to select books beyond the thousand here presented, the pages which follow contain valuable indication — as in setting forth he Avery catalogue, on p. 38. The competent and helpful appraisal of literature, ow fairly begun by the American Library Association, it hopes to see extended in the near future. During 1897 it is expected that an appendix may he issued to " The Reader's Guide to Economic, Social, and Political Science," published by the Society for Political Education in 1891. Within a year or two there is promise that an annotated bibliography of American history may be taken in hand, and also a similar guide to the literature of certain important fields of applied science. In the fulness of time it may be possible thus to appraise every Avorthy book shortly after its publication ; and, in addition to the issue of the notes in book-form, to distribute them on cards to follow title cards in the catalogue cases of public libraries and to be pasted in the books appraised. This plan would proffer guidance at the most effective points. The numbers which follow the notes are those of the Dewey Classification. The index is by Mrs. Mary E. Haines, of Brooklyn, N. Y. Mr. Russell Sturgis pursued the study of architecture in an architect's office in New York, and for a year and a half in Europe. He ,^ractised his art from 1865 to 1878, during which time he designed mnny important buildings, including Battell Chapel, Farnam Hall, Durfee Hall, and Lawrance Hall of Yale College ; the Homoeopathic Medical College and Flower Hospital, New York ; the Mechanics' and Farmers' Bank at Albany ; and churches, business buildings, and residences in New York, Albany, Aurora, Tarrytown, and Watertown, N. Y. ; New Haven, Farmington, and Litchfield, Conn ; Minneapolis and Louisville. In 1878 Mr. Sturgis spent some months in France. In 1880 he retired from business on account of weak health and went to Europe. He resided abroad about five years, during which period he renewed his early studies, and spent much time in the important architectural centres and cities rich in collections of fine art. He is a Fellow of the American Institute of Architects ; Life Member of the American Numismatic and Archaeological Society ; Honorary Fellow of the Brooklyn Institute of Arts and Sciences ; Fellow in perpetuity and Member of the Corporation of Preface. the Metropolitan Museum of Art ; Fellow of the National Academy of Design ; Honorary Member of the National Society of Mural Painters. He is an active member of the Architectural League, the Grolier Club, and the Municipal Art Society, of New York ; the Arch.xological Institute of America, and the National Sculpture Society ; the Japan Society, and the Society for the Promotion of Hellenic Studies, of London. He has been President of the Fine Arts Federation of New York since its establishment. At the reorganization of the American Institute of Architect;, in 1868, when, from a New York Society, it became an orfi[anization with Chapters m the principal cities, he was Secretary of the Institute while the elder Upjohn was President and R. G. Hatfield Treasurer. F'rom the organization of the Metropolitan Museum of Art, in 1870, he was an active member of the Executive Committee for several years. From 1888 he was President of the Architectural League of New York for four terms. Mr. Sturgis has written much for periodicals, and has delivered many public lectures as well as addresses before the numerous societies with which he is affiliated, his subject being always connected with the F'ine Arts and especially the arts of decorative design. He was Editor for Decorative Art and Medi?eval Archaeology of the Century Dictionary ; Editor for the Fine Arts of Webster's International Dictionary, published in 1890; and Editor for Architecture and Fine Art of Johnson's Universal Cyclopaedia, edition of 1893-95. In October, 1896, was published his " European Architecture : A Historical Study." Mr. Henry Edward Krehbiel was born in Ann Arbor, Mich., March 10, 1854. In 1874 he became connected with the musical department of the Cincinnati Gazette. In the College of Music, Cincinnati, organized by Theodore Thomas, he was for a time Professor of Musical History. In 1880, on the invitation of the Hon. Whitelaw Reid, he became Musical Editor of the New York Tribune ; his articles in that journal have accredited him as one of the best informed and soundest of American critics. Mr. Krehbiel is in wide acceptance as a lecturer as well as a journalist. In both capacities he addresses himself not only to the enlisted students of music, but to that much more numerous public which desires to add to its pleasure by listening to music with intelligence. The guidance sought at his hands in the formation of libraries for musical clubs has largely determined his selections in the present bibliography. His published works are : " An Account of the Fourth Cincinnati Musical Festival" (1880); "Notes on the Cultivation of Choral Music and the Oratorio Society of New York " (1884); " Studies in the Wagnerian Drama" (1891); " Review of the New York Musical Seasons, 1885-1890," 5 vols.; "The Philharmonic Society of New York: A Memorial" (1892); "How to Listen to Music" (1896). In 1880 he translated and edited "The Technics of Violin Playing," by Karl Courvoisier. He is Consulting Editor of " Music of the Modern World." G. I. FI 4 M I lemy o( Design ; He is an active le Municipal Art and tlie National :ie Promotion of i Arts Federation of the American ty, it became an y of the Institute surer. From the in active member President of the ;red many public ith which he is s and especially rt and Mediaeval rts of Webster's lecture and Fine ctober, 1896, was lich., March 10, )f the Cincinnati dore Thomas, he ition of the Hon, uHc ; his articles and soundest of rer as well as a enlisted students ;s to add to its ight at his hands ed his selections nt of the Fourth )f Choral Music gnerian Drama" ' s vols.; "The >w to Listen to hnics of Violin ; of the Modern G. I. CONTENTS. '1 FINE ART. By Russem- Stukcis. Prefatory Note Preliminary Note : Periodicals and Books in Series . Note on Translations Part I. Books on Fink Art in a (Jenkral Sense : Books of All or Many of the Fine Arts Associated Together Archaeology, Glossaries and Dictionaries Preliminary Note : Archteology .... " " (ilossaries and Dictionaries Part II. Painting and Sculpture: Kngravincj, Etching Illustration Preliminary Note on Painting .... «♦ «' " Sculpture Part III. Architecture and Landscape Gardening . Preliminary Note Part IV. Minor Decorative Arts; Costume, Embroidery, Glass, Inlay and Mosaic, Leather Work, Metal Work, Pottery and Porcelain, Textile Fabrics . Preliminary Note MUSIC. By Henry Edward Krehkiel. Prefatory Note . '. Part I. General Histories " II. Special Histories " III. Ancient and Medi/Kval Music . <' IV, FoLK-SoNG AND NATIONAL MuSIC <' V. Musical Biography " VI. Wagneriana ■" VII. Musical Science and /I'-sthetics " VI II. Musical Criticism and Analysis *• IX. Encyclopedias and Dictionaries " X. Musical Journals " XI. Second-Hand Catalogues . Index . . . page I 1-2 2 2-15 2 2 15-37 •5 15 38-47 37 48-53 48 54 55 56 60 61 63 67 69 70 73 73 74 75 FINE ART. A SELKCTION FROM ITS LITERATURE, WITH NOTES, BY RUSSELL STURGIS, A.M. Ph.I) , Ftllotu 0/ th4 Amtricam Inililutt d/ Archiltcti. PART I Books on Fink Art in a Gknerai- Sense; Books on Art. or Many of the Fine A»t« Associated Together : Archauuigv, Glossaries anu Dictionaries PART II. Painting anu Sculpture. Enoraving, Etching, anu ULt'STRATioN PART III. >*rchitectukk and Landscape Gardening PART IV. Minor Decorative Arts: Costume, Emhroiiiery, Glass, Inlay and Mosaic, Leather Work, Metal Work, Pottery and Porcelain, Textile Fahrics 48 '5 38 A'ew York. January, >897. PREFATORY NOTE. The Fine Arts arc those which are concerned «-ith beauty, expression, anil the power of giv- ins intelllKcnt and exalted pleasure through the senses. The term is often used for those line arts only which appeal to the eye ; it is in this sense that it is u:ied in these notes. These fine arts are called plastic, or con- cerned with moulding and shaping ; and graphic, or concerned with drawing. The plastic arts we call in general sculpture. the graphic arts we call painting;, which term, however, must be stretched to include drawing with many different materials, engraving, and especially engraving made for printing upon paper c)r other material, and also decoration in mosaic and other kinds of inlay. These last, it will be noticed, are merely applications to per- manent materials and in a peculiar way, as by cutting and shaping, of the general principle of drawing on flat surfaces. The Decorative Arts are the same fine arts applied and put to use in making necessary things beautiful. The chief of decorative arts is Architecture, in which building is made at- tractive and interesting by giving to it good form and good color, and sometimes by adding sculpture or painting, or both, to the building. Other decorative arts are Keramics, Glasswork which includes Enamelling, Metal Work of many kinds. Lacquering and other varnish work. Leather- Work iYicluding Bookbinding, and a multitude of arts in which these different ways of ornamenting are used to help one another. It must be understood, before one can go very far in the enjoyment of fine and decora- tive art, that it is generally the object of art itself, and its own value as a work of art, that the artist is interested in. When a person makes a drawing to explain something that he has seen, or when a cut is put into a botany book to explain a flower's shape and make, that drawing or cut will not often be at all valuable as a work of art. In like manner, fine art which has a narrative or explanatory pur- pose is seldom very exalted art, and decora- tive art of course has no such purpose. Illus- tration, as in books and weekly papers, is the best instance there is of fine art ivhich has story-telling or incident for its chief object. Indeed it is well to use the word " illustration" at once and generally for such art. Thus in a book of history a picture of Washington bid- ding farewell to his officers is illustration in so far as an attempt is made to tell the story and to get the costume right and the interior of the room right ; it is pure fine art in so far as the light and shade and color and the grace and force of the composition are concerned. Then there are freedom and truth of gesture; natural- ness of grouping, the probability of the atti- tudes and action of the personages, all of which partake of both illustration and fine art, and connect the two. In a general way. how- ever, it is true that artists care most about the form and color and composition and the re- sulting beauty, origmality and interest in the picture or the bas-relief. The student of art should of course try to see art as artists see it ; otherwise such student will remain in the dark as to what each individual work of art means. TRELIMINARY NOTE : I'ERIODICAI.S AND HOOKS IN SERIES. In this catalogue, articles and periodicals are occasionally named and very many more would be named but that it is not probable that many libraries would procure sets of back numbers of such periodicals. Much of the best writing on art is contained in periodicals, but the articles in question are frequently used afterwards in book form. Fine Art. Hookd ticIoHRlnK to Kcvcra! «cric« «i( fncxpen- sivc lianilliiinkH iiru incritinru'd in thiji c'.'itali>KUt'. In the case o( each ii( these series, it may be easier and nearly us econnmical to purcliase the whole sericH at onic, ami it will tie found that all of the voluinefi are of A(;v, uiossakiks, ani> dictidnakjk.s. I'kKl.IMlNAKV NOIK. : AKC.H.ICOI.DC.V. Some <)f the best writinjj on fine art is to be found in treatises on archi-cology. It is limited to certain branches: thus, a lar^e part of Circek Archaolony is confined to sculpture and painted vases. Within the narrow limits chosen by the author of each work the writing is apt to be very exact in meaning ; and the appreciation of the relative value of ancient works of art and the classification as to dates and schools are often very just. rRKMMINARY NllTK ; r.I.dSSAKIKS AMi ML- noNARIKS. Glossaries of technical terms are always very incomplete, and Kt^'it-'rally poor in that no at- tempt has been made to i{ive the exact force of the noun or adjective as it would be used in a sentence written by an artist or workman who was also an accurate writer. Some k'o^'s^i'ics are named below. As most libraries have xood English dictionaries, it may be said here that the Century Dictionary contains by far the fullest vocabulary of terms used in Architect- ure and in the Decorative Arts of all kinds, including Heraldry and Costume, that has ever been brought together ; and, also, most of the important terms used in painting, sculpture, engraving, etc. The definitions, moreover were prepared with peculiar care. The " In- ternational " Webster Dictionary of 1890 is as careful in this respect as the Century, but only a quarter as large and as full. "The New English Dictionary on Historical Principles," published in New York by the Macmillan Co., may be expected, of course, to contain every word which is properly cimsidered English and with the definition explained and strengthened by quotations of many epochs. Atkinson, J. Beavington. An Art Tdir to Nouthkrn Capitals ok EuRoi'K. N. Y., Macmillan, 1873, $3. The description of a journey through Copenhagen, ChrJBtiania, Stockholm, St. PeterHburg, and other Northern cities. The author, who writes on art for the Saturday Review, the Port/olio, and other English journals, whicli give attention to the fine arts, has made a careful study of those works of art in the Northern Galleries which he thinks especially worthy of atten- tion. He is far from being an ideal critic of art ; he is unfortunately conservative in several ways; the dicta contained in these pages are to be received as the pri- vate opinions of a man who holds his opinions a little too seriously ; but yet it is possible to learn from these cages what rank an important picture in a Northern Museum, little known to foreigners, holds among the other works of an artist or of his school. Concerning buildings and their decoration, too, the facts may be trusted ; they are expressed in an intelligible way, al- though the conclusions may be very rash. It is on the whole a useful book for any one wno will be cautious in accepting its artistic criticism. 014 Babelon, Ernest. ARCiifeoi.oc.iK Orif.ntai.f.. [Hibliothfique de I'enseignemenl des beaux arts. (Hereafter abbreviated as H.E.B.A.).] Paris, Quan- tin, 5 fr. Translated and enl. by H. T. A. Evetts as Manuai, of Orik.mai, Antiqui- ties. N. Y., Putnam, 1S89, $3. A good book by a recognized authority. By Ori- ental Antiquities are meant those of Babylonia, As- syria, Chaldica, Ancient Persia, and other Asiatic countries of remote antiquity. Remains of architect- ure and sculpture, engraved gems, metal-work, etc., are briefly but intelligently treated. 013.3 Bayet, Charles. Precis d'Histoirk dk l'Art. Paris, Quantin, 1894, 5 fr. Any attempt to write a general history of art invites inquiry as to the plan to be pursued, and this is peculiar- I'ine Art. isililf that there may ranslatiiin into Kiik- niaJe. l.AIIiiNs. '. art arc nenerally In will ttj say that the :« into Enijlish are c. It si-enis to be fan read a i^^xv.\^n U (it to translate a should be made by errors noted. NK AKTS ASSnrtATKU r. Some Rlossaries libraries have j{ood y be said here that imtains by far the 1 used in Architect- Arts of all kinds, itume, that has ever I, also, most of the [)aintinK. sculpture, finitions, moreover ir care. The " In- )nary of 1S90 is as 5 Century, but only full. ''The New torical Principles," the Macmillan Co., > contain every word I English and with d strengthened by [Bibliothfique de X arts. (Hereafter ^•M Paris, yuan- id enl. by H. T. A. )RIK\TAI, ANTIQI'I- S89, $3. :d authority. By Ori- ose of Babylonia, As- ia, and other Asiatic Remains of architect- ems, metal-work, etc., ed. ei3.3 r. Paris, Quantin, il history of art invites ed,and this is peculiar- ly thr c»Hc whrn the hiHtnrian ih limited t<> 14^ ttmall paK<'^. which Hpucc munt iilsr cipressed, so strongly antl consistently urged that this book in itself may do much to explain what a work of art is in the mind of its creator, and also how his fellow-artists louk at it. There is no f)e|. ter criticism to be found. It is a biMik of the highest class. 700.44 FkKNcit Traits. N. Y., Scribner, i^-*i), 5-»-4ix p. I)., $1.50. Meadville, Pa.. Flood Vincent (ChautaU(|tia ser.), 4-^31^^" i). I). $1 See the chapter " The Art Instinct " and see what n Siiid III note next foregoing of a work by the s:ime author. 812 Brunn, Heinrich. GRiEniisciiE Kt'NSTOF.sriiicHTF. I. Die An- fiinge und die Ulteste dekorative Kunst. MUnchen, Verlaxsanstalt fllr Kunst und Wissenschaft, 1893. Marks 7.50. The first part of a proposed complete history of Greek art which the late Heinrich Brunn, the recognized chief of classical archaeologists, desired to write. The carrying forward of his work was continually de- ferred because of the rapid increase of the sources of our knowledge. .\t length Brunn ventured to write this introduction to the subject in the form of a history of the early archaic styles. This book will be a stand- ard for years to come. 700.38 Bum, Robert. Ancient Rome and Its Nekjiiiiorhood. II- lus. I.ond., (ieo. Hell & Sons ; N. Y., Macmillan, $2.25. This little book, though less detailed and full and less appreciativeof questions of fine art than Mr. Middleton's "Remains of Ancient Rome" is useful for the study of Roman antiquities. "Rome and the Campagna" by the same author, a much larger book with many Il- lustrations, was excellent in its day but is in oart obso- lete. 013 Roman Lu'eratire in Relation to Roman Art. lllus. N. Y., Macmillan, 1S8S, $2.25. 870 Oellini, Benvenuto, Memoirs of. Transl. by Thomas Roscoe. (Bohn.) N. Y., Macmillan, $1. Transl. by John Adding- tim Syrnonds. N. Y., Scribner, $2.50. This celebrated book is not valuable as a guide to the immediate intelligent knowledge of fine art, but gives a truthful picture of times of violence and individ- ual independence of law and authority, in which times the great art of the XV. and XVI. centuries came into being. Mr. Taine has made much of this peculiarity of the great art epoch of Italy, as in some degree account- ing fur the art to which it gave birth. 020.04 Ohesneau, Bmest. L'Education de L'Artiste. Transl. by Clara Bell as Edvcaiton ok the Artist. N. Y., Casscll, 1886, $2. Out of print. Mr. Chesneau is a first-rate critic, and this book con- tains much matter which may give valuable suggestions to the student. 707 Coffin, Wm. A. The Fine Arts at the Paris E.kposition OK 1880, in the N. Y. A'ation, Vol. XLIX., nos. 1259-1268, inclusive (July to October 1889). The Fine Arts at the World's Fair. CincA(io, 1893, in the A'ation, Vol. LVII., nos. 1466-1471, inclusive (August to Sep' tember, 1893). See what is said of this writer in Part II. Fine Art. Oollignon, Maxlme. ARCnfini,ooiK Grkci.uk. (H.E.K.A.) Paris, Quantin, 5 fr. Transl. Ity J. H. Wn^ht as Mani'ai, ok Grkek Akcii/koi.ocy. N. Y., Cassell, 1886, $2. This book and Mr. A. S. Murray's on the same sub- ject contain all that any person except specral sludents need read, except that this author's "Mythology" (Phila., Lippincott, $3), or any similar treatise, should be referred to. 913.38 Colvin, Sidney. Article Fink Art. Er.tyclopjcdia Britannica, Qth ed. Full of (rood 3ense and just perc-ption. Even wh.it seems frpcif'il will be found to be suggestive and to help to a right sense of what fine art is. The student shoulJ notice an error in speaking of sculpture, etc., as "imitative arts." Fine art should not be said to imitate anything, but only to represent or express what it deals wi'h. Indeed there is no such thing as an imi- tative fine art or a fine art of imitation. Article Art Encvck>p,-edia Hritannica, yth ed. Should be read with above-named article " Fine Art." Oonway, Sir William M. Dawn ok art in the Anciknt World: An Arcii.koi.ocicai. Skktch. N. Y., .Macniil- lan, 1891, $1.25. Valuable for its suggestions as to the probable ori- ffin of those artistic types which have become so famil- iar to the world that it is hard to realize the necessity of accounting for them. In such a book much must be given as probable which cannot be proved in any satis- factory way. This book is 'o b' read as an attempt to bring these probabilities inti. .tnape. It is valuable as an encouragement to independent thought on the part of the reader. 013 Cook, Sdward T. .Sti'uies in Rkskin: Some Aspects of the Work and Teaching of John Ruskin. With reproductions of drawings by Mr. Ruskin in the Ruskin Drawing School, Oxford. Illus. Lond., George Allen, 1890, 5s. That part of this book which is devoted to the art writings of Ruskin may be compared with the work cited under Waldstein. Mr. Cook's work approaches the writings of Ruskin from the side of general appro- val and admiration. 824.86 Art. N. Y.,I)odd,Mead De Forest, Julia B. Short History ok & Co., $2. A popular account of works of art of the better known varieties. It is much sounder in its criticism and more generally trustworthy than some similar compila- tions, out contains serious errors, such as the general information given as to Delia Robbia work, in which the very large and elaborate pieces are ignored, and an unsuitability of the material to these is asserted , and such, also, as the wholly inaccurate account of Gothic vaulting. 709 De Ooncourt, Edmond and Jules. L'Art I)U XVIII. SiKci.K, Paris, Dentu, 1868, 2 V. Out of print. The two brothers De Goncourt were collectors of the fine and decorative art of the XVIII. century, and they were also the authors of semi-historical works de- voted to that period. They had a very accurate and close sense of the value of that art and their writing upon It has critical value. The edition of this book named above is inexpensive ; there is also an edition of 188a with many plates and forming two large octavos. The art of the XVIII. century is more artificial and more the creature of a luxurious society than most of that fine art which is in any way estimable. It has been the custom, especially among English-speaking people, to despise both the architectural and the ex- pressional art of that tin , but it has great merit and the brothers De Goncourt deserve much of the credit of having introduced it to modern critical study. This book is confined to the study of a dozen of the more celebrated painters and draughtsmen of the time, from Watteau to Prudhon. 709 De Laborde, I.c Comic Alexandre. La Rknaissanck dks .Akis \ i.a Coitr pk Franck, id'"" Sifx'i.r:. Paris, Putier, 1S55, 2 v., 24 fr. Great and sudden changes in the condition of the fine arts in any nation have been rare and their history IS generally extremely obscure and wholly impossible to grasp in its details. Either it has taken place at a time when historical record was impracticable or else the records have perished. For these reasons the very singular change in the spirit of art in France in the reigns of Charles VIII. and I.ouis XII., and the cul- mination of the change under Francis I., is worthy of close attention and even the seemingly unimportant facts cited in parts of these volumes have their value as enabling the reader to grasp the true order and sig- nificance of events. To those who like to approach the study of art from the historical and anafytical side, these volumes are extremely valuable. Compare what IS said of the books by MUntz and Mrs. Pattison. 709' Delaborde, Henri. ^iii'DES SIR i.KS Hkaix-.Arts kn Franck et KN Itai.ik. Paris, J Renouard, 1864, 15 fr. This author [has devoted himself esprcially to the study of engraving as his official position requires, but his knowledge of European art since the Middle Ages IS varied and profound, and it is good to have the studies upon art of writers who approach it from different points of view. 709 Dennie, John. Ro.mk ok To-Day and Ykstf.rday. 3(1 cd., with 5 maps and plans, and 5S illustrations from photographs. X. Y., Putnam, iS()f), ?4. A square octavo of nearly 400 pciges with a full index. The text is of the general character of a guide- book made interesting by sympathetic treatment. It can be read aloud continuously: this is hardly true of Middleton's or Raber's book, so thai although the present work pretends to no originality of research, it gives a great deal of information concerning the splen- did monuments of classical Rome. 913 Dennis, Oeorge. Cities ani> Cemfteries f*"-- Etri-ria. Lond., John Murray, 1878, 2 v 21s. The little known and very puzzling art of the ancient Etruscans is treated in this book in the more desultory way of geographical exploration. To be compared with the more orderly and more technical books by Jules Martha. 913 De Pouvourville, Albert. L'Art Indo-Chinois. (B.E.H..\ ) Paris, Quantin, 5 fr. The arts of the great peninsula which our old geog- raphy books called Farther India have been little studied except by the French ; the museums of Europe, other than the Louvre, have few specimens of these arts. The author of this little hook cloes not pretend to have studied these arts in the lands ol Burmah, Siam, Anam. Cambodia, and Tonquin, but he has studied the monu- ments which exist in Europe and the works of those who have made a minute and fuller examination of the architecture, sculpture, and decorative oiijects left from the ancient civilization of these realms or made by the modern inhabitants. These arts are im[»rtant in themselves and will be doubly important in all thor ough study of Chinese and Japanese art. 708.9 Diehl, Oharles. L'Art Hyzantin pans i.'Itai.ie MERinio- .\AI E. Paris, Librairie de I'Art, i8f)4, 15 fr. Embodies an examination, previously unattempted,, of the Byzantine wall-paintings in southern Italy and Sicily. It IS most interesting reading ; and although the 'tudj in detail of these little known pictures woiild lead the student far into the as yet half understood his- tory of mediaeval art, yet everything that can add to his sense of the importance of the art of the Eas.jrn empire should be insisted on. See what is said about the books by Bayet and Essenwein. 708.9' i Di 4 i Fine Art. of a dozen of the more htsmen of the time, from 700 exandre. K IS \ I.A COUR 1)E I'iiris, PiJtier, 1 85 5, in the condition of the en rare and their history e and wholly impossible It has taken place at a as impracticable or else or these reasons the very of art in France in the ouis XII.. and the cnl- Francis I., is worthy of seemingly unimportant olumes have their value 3 the true order and sig- who like to approach the ical and analytical side, 'aluable. Compare what and Mrs. Pattison. 700' Arts kn Franck kt enouard, 1S64, 15 fr. iimseli esprcially to the :ial position requires, but I since the Middle Ages s good to have the studies )roach it from different 700 rESTERPAY. 3(1 ed.. and 5.S illustrations Y., Putnam, i8(/), 400 pages with a full ;ral character of a guide- mpathetic treatment. It ily : this IS hardly true of :, so that although the iriginality of research, it on concerning the splen- >me. 013 >•-- Etri'ria. Lond., 21S. uzzling art of the ancient 10k in the more desultory tion. To be compared lore technical booKs by 013 (H.E.H.A) Paris, iula which our old geog- la have been little studied jseums of Europe, other ipecimens of these arts, loes not pretend to have dI Burmah, Siam, Anam. le has studied the monu- and the works of those 'uller examination of the decorative oiijects left if these realms or made 'hese arts are important )ly important in all thor anese art. 708.0 i.'Itai.ie MKRinio- de I'Art, 1894, 15 fr. ireviously unattempted., ;s in southern Italy and reading ; and although e known pictures would yet half understood his- ■ything that can add to the art of the Easi.jrn See what is said about trein. 708.9' 4 E.xci'RsioNs i\ Grkeck to Recently Ex- plored .Sites ok Classical Interest. Transl. by Emma R. Perkins. Lond., H. Grevcl & Co.; N. Y., Lemcke & Buechner, iSo3, $2. As a help to the study of Grecian art a knowledge of the archjBological explorations from which our re- cent, increase in knowledge has sprung is very valu- able. The translation in this case is vouchea for by competent authority as being well done. The author is a very scholarly and thorough writer. See what is said of his other works. 013.38 Dilke, Lady. .Ari- in the Modern State. Lond., Chap- man & Hall, iS88, 9s. Lady Dilke is the Mrs. Mark Pattison whose works are cited elsewhere. In this book she undertakes to describe the first appearance m th'j modern world of a highly centralized system of nne art fostered by the government and turned alike to industrial and purely artistic uses with deliberate purpose. The historical conditions of the time are explained at length and the conclusionsof the book maybe trusted, although there IS a natural exaggeration to be noticed in what is said of the historicaltendencies and the artistic tendencies, alike. The Protestants were not put down by Richelieu because they were Protestants, but because they desired an imperium in imperio (page 7) ; the art of France under Louis XIV. was not all, or nearly all " royal," nor was the king the only employer of artists in France (page 52). 701 Dohme, Robert. Ki'NST UNI) K(?nstler df.s Mittelalters I'ND DER Nei'ZEIT. LeipzijiT, Seemann, 1877-86, 6 v., 80 marks. This valuable treatise on mediaeval and modern art is divided into Part 1.: Germany and the Netherlands, Part II.: Italy (occupying 3 vols.)? Part III. Spain, France, and England ; Part IV.' The first half of the XIX. century. It is very much to be desired that this book be translated into English. 701 Y., D'Ooge, Martin L. The Acropolis of Athens. IUus. K. Macmillan. Announced without dale. The author is Professor of Greek in the University of Michigan, and was Director of the American School rf Classical Studies at Athens during 1886-87. 013.38 Dresser, Christopher. Japan ; Lis ARciiiTECTfRE, Art, and Art oFMANrKACTLKEs. Lond., Longmans, i8b2. Out of print. The w^ork of a traveller rather than of an expert, but the work of an enthusiastic lover of Japanese art : as It IS interesting reading, it will lead toward an ap- preciation of more exhaustive and more accurate treatises. 700.52 Dyer, Thomas H. O.N Imitative Art. Its Principles and Proc- RESS, with preliminary remarks on Beauty, Sublimity, and Taste. Lond., George Bell & Sons, 18S2. Out of print. From this book can be obtained a considerable knowledge of what exists and what is known to have existed in the way of works of fine art The received opinions of several generations are summed up in it in a sufficiently intelligible way. There is no great origi- nality of perception and little or no discrimination shown ; the only index is that of the works mentioned arranged under geographical hr^ads. A book, there- fore, to read with a view of gaining knowledge of cer- tain well-ascertained facts. ' 701 Emerson, Alfred Editor and reviser Article ARCHyCOLOcv, John- son's Universal Cyclopaedia. Edition 1893-95. Erman, Adolph. Like in Ancienp Ec.ypt. Transl. by Heler» Mary Tirard. lllus. N. Y., Macmillan. 1894, |6. A knowledge of the religion, customs, dress, etc., of the ancient Egyptians is necessary for even a slight understanding ofthelr art, which without it remains an unmeaning and comparatively unimportant decoration. This book may be commended although the original text dates from 1889. The discoveries of the last few years are of singular importance ; we majr reasonably expect to see new editions of this work which will con- tain their results. In the meantime this is the best work of the kind existing, always excepting those by Mas- pero which have their peculiar value. 032 Ffirater, Ernst. DeNKMALE DEUTSCHER BaUKUNST, BiLnNERET UND MaLEREI, v. D. ElNFCHRrNC. DES CllRIS- TENlHb'MS BIS AUK DIE NEUSTE ZeiT. Illus. Leipzig. F. O. Weigel, 12 v., 600 marks. (French translation, published Paris. 1866, out of print.) The recognized monuments of Germany, of the Middle Ages, and later times aown to the beginning of the present century, are given here with suthcient ful- ness and with a text of sufficient analytic value to make the book of importance and to meet the requirements of many students in regard to Germany for those epochs, 013.43 Frizzoni, Gustavo. Arte Lialiana del Rinascimento, Sagc.i CKiiTci. Milan, Dumolard, 1S91, u lire. See what is said under Cavallucci and Selvatico of the desirability of getting Italian thought about Italian art. The present work is more critical than either of the others. 70O Fromentin, Eugene. See his treatises on painting. Part II., in which the true principles of fine art are admirably explained. Frothingham, A. L., Jr. Christian Rome. Illus. N. Y., Macmillan. Announced without date. Early mediaeval archseol- ^feV IS Prof. Frothingham 's specialty; he has resided long in Rome, first, as a student and lately in connec- tion with the American School of Archaeology. 046.6' Qambier, Parry T. .Ministry ok Fine .^rt ro the Happiness ok Life. Lond., .Murray, 1886, 14s, Remarkable as being the work of one of the very few amateur or non-professional artists whose artistic workisof any extent or value, Mr. Gambler was a land owner and man of wealth who did a great deal of mural painting, and who was largely instrumental in introducing the " spirit-fresco "process The paper on "The Adornment of Sacred Buildings" is to be read in connection with Lord Lindsay's Christian Art. That on Gloucester Cathedral is an interesting archaeological essay showing the reader what problems and debatable questions even a minor ancient cathedral church may give rise to. The paper on Colour and Sculpture is nearly superseded by later and more learned work. 701 Gardner, Percy. New Chapters in Greek History : Histori- cal Results of Recent E.xcayations in Greece and Asia Minor. Lond., Murray. 1892, 15s. The account of the recent disco'" its made on the Athenian Acropolis, at Olympia, and at Epidaurus, are, perhaps, the most interesting papers in this vol- ume, but the general discussions entitled " The Verifi- cation of Ancient History," " Eleusis and the Myste- ries," "Ancient Cyprus," and especially "Recent Discoveries and the Homeric Poems" are also of great value. As the whole work is based upon the new discoveries made in the excavation and examination of ancient cities, it is clear that ever/ part of 11 bears directly on the history o( fine art. Reviewed in Am. Jl. 0/ Archtrolo^y, April, June 1893. 013. 3S Fine Art. Oayot, Albert. L'Art Akabk. (H.E.H.A.) Paris, Quantin, 1S93, 5 fr. This book differs from the others of the same series in not being a conservative treatise based upon recog- nized authority and containing statements well verified and criticism which may be readily accepted. It is a serious attempt to discover an origin for the Moham- medan art of Egypt and Syria, and a meaning in that art : in this way it is a first step in a new field of thought. The reader is to accept it for what it is and to realize that the archjcological critics and the students of human belief, alike, will find immeasurable fault with the author's conclusions and his ways of reaching them. This is the beginning of a controversy from which well ascertained trutn may be expected to emerge. Reviewed Atn.Ji. 0/ Archjr}\ Vol. IX., p. 557- V C/17 L'Art Pkrsan. 'B.E.U.A.) Paris, ■Quantin, 1895. 5 fr. Continues the curious inquiry begun in the same author's book "L'Art Arabe." Trie same desire to eet at the Oriental's point of view, and 1.0 find out what ne thought of his own works of art and what he tried to express in them, is the good side of this examination. The less good side is the bold assumption of the truth of many propositions which can neither be proved nor even demonstrated. 709 Oonse, Louis. L'Art Gothique : i.'Architecture, i.a Pei\- TURE, LE DficoR, LA ScULi'TURE. Paris, Quantin, too fr. This beautiful volume is devoted exclusively to the development of Gothic architecture and of the wall- painting, stained-glass, furniture, and more portable decorative work which had that architecture for its stimulus and guidance. Gothic architecture is orima- rily French, of the old royal domain, governed by the Kings of France in the XII. century, and of the prov- inces immediately dependent upon it ; but there is a most valuable derived art, contemporaneous with it in the other countries of western Europe. This work is rather too exclusively French and one must go to other woCe monuments of Constan- tinople ; the treatment of them is not exactly that of the student of art. The monuments, however, are of such extraordinary importance, and are so little known, that even inadequate treatment is valuable to all students. The reader should be warned against accepting the archaeological statements as equally correct , some are very doubtful. 914.961 Oruyer, F. A. Les Oei!vrf.s d'art de t.a Renaissance ITAI.IENNE All TEMPLE DE SaINT-JeAN, Bap- risiK.RE DE Florence. Paris, Loones, 1875, 10 fr. This very ancient building has received continual additions and adornments, and those of the XV. and XVI. centuries are described in this book. The his- tory of a simple structure, constantly added to by rich and varied works of art, which is the history of so many now splendid buildings A Europe, is extremely suggestive to the student. 700 Hamerton, Philip Q. The Intellectual Life. Bost., Roberts. 75 c. or %z ; paper, 50 c. Not a treatise on fine art, but valuable because insisting on the relation of the graphic arts to litera- ture and study. The fine arts generally occupy little space in " the intellectual life" of most scholars and students. Most writers on subjects of human intelli- gence and Its labors and pleasures know very little of the fine arts and misunderstand them ; for which reason this and other books by men who approach the consid- eration of such subjects from the side of tine art are very valuable to the student. 825 1 >% t Fine Art. Transatlantic Sketches. Best., Hough- ton, 18S2, 52. See what is said with regard to this author's book. " Foreign Parts." A sense of how far it is sale for the non-professional traveller to commit himself is an essen- tial part of intelligent writing on the works of art that he meets with ' this sense is possessed by Mr. James in an altogether unusual degree. OlO Jarves, James Jackson. A Glimpse at the Art ok Japan. Bost.. Houghton, 1876, §2. 50. Written in haste, at the time when Japanese art had only begun to excite attention in Europe. It is, more- over, the work of a man not gifted with much insight into line art conditions. The large number of repro- ductions from Japanese picture-books, and the at- tempted explanation of their meaning is, however, an aid to students of the subject if they have not more authoritative works at hand ; it is interesting to see how Europe and the United States philosophized over the new and not well understood fine art when it first came to their notice. 700.52 Jewitt, Llewellyn. Halk Hours Amono Some English Antiqui- ties. Lond., Hardwick & Bogue, 1877, 5s. Out of print. An excellent simple account of the remains of pre- historic mounds, stone circles, etc., also of the earthen- ware, weapons,etc.,of early timesfound in England. A good introduction to the subject of archaeology of the northern nations. There are also chapters on church bells, stained glass, encaustic tiles, and other antiqui > ties of the later Middle Ages. 013.42 Koehler, 8. R. American Art, Illustrated by 25 plates ex- ecuted by the best American etchers and wood-engravers, from paintings selected from public and private collections, with text by S. R. Koehler (Curator of the Print Dept. in Boston Museum of Fine Arts), i vol., folio. N. Y., Cassell, $15. 700 La Farge, John. An Artist's Letters from Japan. Illus- trated by the author. N. Y., Century Co.: 1897, $3. A part at least of the material of this book has ap- peared in the Century Magazine. The book is an- nounced to appear early in 1807. It will be a volume of 250 pages, containing about forty illustrations by the author. The letters will be found to contain much of the most delicate and subtle thought about art that has ever been written even by Mr. La Karge. 700.32 Lanciani, Rodolfo. Ancient Rome in the Light of Recent Dis- coveries. Bost., Houghton, 1889, $6. Mr. Lanciani is so profoundly versed in the archae- ology of his native city and in Roman archaeology throughout the peninsula, that he writes u(>on these topics as a final authority ; even the popular treatment 8 Fine Art. rvT'.' of his theme cannot in any way interfere with the thoroughness of the treatises included in it. Roman archeemoey is of unique importance to all students of the art o7 Modern Europe, and yet it has been but little studied and we are only beginninpr to obtain the power of understanding it in a general sense. These excellent papers are among the most important aids offered to students. 045.6 Pagan and Christian Romk. Host., Hough- ton, 1893, $6. See what is said above under Ancient Rome. The present work is in a sense its continuation, and may be recommended with equal confidence. Among the titles of its chapters are: " Christian Churches." "Christian Cemeteries," " Pagan Shrines and Temples," " Pagan •Cemeteries j " two very interesting chapters deal with Imperial and Papal Tombs. 045.6 History ok the Destruction ok Ancient Rome. Illus. N. Y., Macmillan. An- nounced without date. See what is said of this author under his other works. 945.6 Xiane, Edward William. Manners and Customs ok the Modern Ec.yi'TIans. Illus. Lond., John Murray, 187I, 2 v., I2S. There is no such handbook as this for the study of a country and people of alien race and religion. In order to understand the Moslem nations a familiarity with this book is, perhaps, essential, and is certainly most useful. The fine arts of any race can only be rightly understood by those who are somewhat familiar with the beliefs, customs, and traditions of that people. 913.32 Xaugel, Auguste. L'Oi'TiQUE ET LES ARTS. Paris, Bailliere, 1869, fr. 2.50. Mr. Laugel is a writer of philosophical tendencies, who with a rare intelligence has combined political and scientific thought with philosophy. This treatise is a semi-scientific examination of the part played by the eye in the graphic and plastic arts. 701 Liane-Poole, Stanley. -S'lV Poole, Stanley Lane. Ijechevallier-Chevignard, Edmond. Les Styles Fran(,ais. (B.E.B.A.) Paris, Quantin, 1S92, 5 fr. An admirable treatise in which the great epochs of art in France are well discriminated, and the works of art of all varieties belonging to one epoch are con- sidered and compared. 700 liemonnier, Henry. Etudes d'art et d'histoire de i.'art fran- <;ais au temi's dk Richelieu kt Mazarin. Paris, Hachette, 1S93, fr. 3.50. A valuable book dealing with the long period of French art, the works of which are not much studied out of France. It is too much the custom to dismiss this art of the XVII. century as that of the decadence and as lacking in solid value. 700 Iienormant, Fran9ois. La GRANDE-GRfecE : Paysaoes et Histoire. Paris, A. L6vy, 1884, 3 v., 12 fr. The extreme south of Italy has been very little ex- plored by archaeologists, even since the time of the journey recorded in these volumes in 1879. This jour- ney was only a rapid exploration, which the auther no doubt would have followed up had he lived longer. As a rapid passing in review of the architectural and other treasures of the far South, at once an interesting and instructing book. The historical and legendary value of each place receives full attention ; thus, forty pages are devoted to all that documentary evidence has to give about the ancient Metapontum before the de- scription of the ruined Temple begins; a description which has to be brief because no excavations or re- searches have been undertakea on the site. 013.38 Lethaby, W. R. Architecture, Mysticism, and Myth. Il- lus. N. Y., Macmillan, 1892. Out of print. Forms a curious contrast to the straightforward common sense of the author's " Leadwork." To those who believe that symbolism has an important influence over architecture, this work may be recommended. I is the purpose of these notes to insist upon the artist's view of art as distinguished from the moralist's or the religious teacher's view of art ; it is hard to believe that the artist has been much swayed in the past or that he is now much swayed by other than artistic and struct- ural considerations. This book is in a sense a body of argument on the other side of this question, and may be taken as such. 720. 1 Lttbke, Wilhelm. Geschichte der deutschen Kunst von den frOhesten Zeiten his /ur Gegenwart. Stuttgart, Neff, 1894, 22 marks. A connected history of German art to which on oc- casion the work of Fiirster with its many illustrations would serve as adjunct. The book should be translated, for it IS one of the author's latest productions. 700 Marshall, Henry Rutgers. ..Esthetic Principles. N. Y., Macmillan, 1895, $1.25. The attempt of the author of " Pain, Pleasure, and iCsthetics " to explain in a brief and easily grasped form so much of his theory as should be read by students of art. Metaphysical inquiry into the sources of pleas- ure in art, or in beauty, has but little to do in art-study, but this book is prepared by an architect in active prac- tice and a designer of ability, and demands especial notice on that account. 701 Martha, Jules. Manuel d'Arcii£oloc;ie Etrusque et Ro- MAiNE. (B.E.B.A.) Paris, Quantin, 5 fr. In this handbook Roman art is treated as in a sense a development of the Etruscan art, much modified by Greek influence. Roman art as we know it, that is the art of the Imperial epoch, has little trace left of its Etruscan origin, but it is not to be doubted that the art of the Republic was almost wholly Italian at least, if not wholly Etruscan in a technical sense. The author is entirely competent and has furnished the student here with a book much more valuable than its small size and simplicity would indicate. 913 L'Art Etrusque. Paris, Firmin-Didut & Cie., 1889, 40 fr. A larger and more elaborate work by the author of the book mentioned above. It contains many illustra- tions and IS the best general book on the subject as yet issued. Compare the book by Dennis. 913 MaskeU, Alfred. RirssiAN Art and Art Ohjects in Russia. Lond., Chapman it Hall, 18S4, 4s. 6d. Russian decorative art is of two kinds, the tradition- al adornment, as of the semi-Asiatic people, and the much more sophisticated design which has been partly inspired by Western Europe. Concerning the former of these, consult the work named under Viollet-le-Duc, The naturally designed housesof the people are, in some parts of the vast empire, log-houses, of an improved sort, so to speak, and the design of these is sometimes remarkably effective. As regards the less admirable Russian design, the enamelled metal work, rather com- mon in our shops since 1890, or thereabout, may be cited. It is not without merit as combination of color but is hard, cold, and monotonous. 913 Maspero, O. ARCHfeOLOOIE fic.YPTIENNE. (B.E.B.A.) Paris, Quantin, 5 fr. Transl. by Amelia B. Edwards as Eoyi'TIAN Arcii.«ology. Illus. 4th edition, revised. N. Y., Putnam, 1805, $2.25. Puts a very large subject into such form that its main outlines can be easily understood. The present edition is revised to date in accordance with newly discovered facts ; new illustrations are added, such as Fine Art. 5M. AM> Myth. II- an, 1892. Out of to the straightforward "Leadwork." To those is an important influence ajr be recommended. I a insist upon the artist's )m the morahst's or the ; it is hard to believe that ired in the past or that he than artistic and struct- k is in a sense a body of ! this question, and may 720.1 JEN KUNST VON DEN S ZTR GeGENWART. 2 marks. •man art to which on oc- th its many illustrations 00k should be translated, :st productions. 709 N. Y., Macmillan, of " Pain, Pleasure, and f and easily grasped form d be read by students of ito the sources of pleas- it little to do in art-study, 1 architect in active prac- U and demands especial 701 ; ETRt'SQrE ET Rn- 'aris, Quantin, 5 fr. rt is treated as in a sense n art, much modified by as we know it, that is has little trace left of its be doubted that the art 'holly Italian at least, if lical sense. The author IS furnished the student valuable than its small ate. 013 is, Firtnin-Didut & te work by the author of It contains many illustra- ook on the subject as yet Dennis. 013 OnjECTS IN RlSSIA. .11, 1SS4, 4s. 6d. two kinds, the tradition- i-Asiatic people, and the ;n which has been partly Concerning the former led under Viollet-le-Duc. of the people are, in some -houses, of an improved gn of these is sometimes ;ards the less admirable I metal work, rather corn- er thereabout, may be as combination of color tious. 913 NNE. (B. E. K. A.) Transl. by Amelia B. \rch.icoi,ogy. lllus. >J. Y., Putnam, 1895, into such form that its nderstood. The present accordance with newly itions are added, such as those of Petrie and Naville, or those setting forth the text more fully. An accurate and attractive work. 913.32 Dawn ok Civilization: Er.vpT and Chai.- D.EA. lllus. N. Y,, Appleton, 1894, $7.50. Translated by M. L. McClure, a member of the Com- mittee of the Egypt Exploration Fund, and edited by the well-known and universally recognized archae- ologist, A. H. Sayce, Professor of Assyriology at Ox ford. Something, but not much, has been added by the editor to Maspero's text. To Egypt Is devoted nearly three-quarters of the work ; for the archxological study of Egypt is nearly a century old, but that of Chaldaea a thing of yesterclay. The history of these ancient na- tions is inseparable from their fine art, as it is from this that their history is chiefly learned. 913 The STRiT.r.i.E ok the Nations : Ecvi't, SvRiA, AM) Assyria. N. Y., Appleton, 1896, $7.50. In a sense a continuation of the " Dawn of Civiliza- tion," taking up the history of Egypt ut the 14th Dy- nasty. 913 Maxwell, Sir W. Stirling. well. .S',(' StirlinK-Max- Michelangelo, Lives of. .V of the most extraordinary fine art. Compare what is borde. The sense of dec- ure, Is very strong in this sculpture are not wholly irtistic sense, the book is ody uf information. 700 TIENNE. (B. E.B.A.) , 5fr. the sense of the study of its remains is rapidly attaining 1 gained before by the study almost a science, and only imong the modern students icience in the strict sense, admirable introduction to it is one of the best of the belongs. 013 >iez, Charles. T DANS i.'ANTigriTfi : achette, 1882, 30 fr. \rmstrong as History EuYlT. Lond., Chap- extensive work on ancient IS a member of the Institute, architect and a descriptive igaged in producing. The i)ks, and these books have hand published, generally, esto each one of the French th the custom established in rork is named and described, have been alluded to else- nningof the work) asexist- ;, translations, are esijecially >e volumes. On the other sparate notices) which have Armstrong have been well I altogether better to possess arians might do well to en- eir libraries to make some I the original in the certaini y tour translations out of five t, two out of five are absurd. 4 i This work on F-(,'y|it is the most complete embodi- ment we h.ive, in a b.puk of 'iindfratc size, lu' what was known at the lime of us publication about ligyptian art 700.3 lllsnilKK l>K I.'.VRI- HANS T.'ANTIOriTK; ClIAI,- iiKK K.r Ass^•Kll•■.. Paris, I lachuttc, 1SS4, 30 fr. Traiisl. by Walter .ArinstronK as llisioKV 111' .\mii:n i' An 1 IN Cm Ai.D.KA and AssVKlA. Lmi'l., C."lia|)iiian iV Hall, 42s. The SLKiiul liook by tlu'sir authors of the scries spoken of above iiiuler the work on l'^j;ypt It contains miirli more tliat isoritrinal than the IvK'ypt, because tile sullied IS mucli more novel in arclia'oloL'ieal study, and indeed tlie writer knows of no work, lart;e or small, wliicli irives what is ecuuained in tins one. The trea- tise on .Assyrian architecture is a h'rcal addition to our knowlcdKc. 700 HlSldlKK DK I.'.AUT DANS I.'.ANTinriTK . Pllfe- NKIK K'l' C\ I'KK. i'aris. I lachuttc, 1.SS5, 30 fr. Traiisl, tiy Walter .ArmstronK as HisTiiKv (ii- .AMi'i-Nr Akt in Piuknu ia .WD lis Dkikndknliks. Lond., Chapman \ Hall, 42s. The third boi'k of the scries described above. The subject IS so miicli less interestinij than ihose of tlie first two books that eonipanson is unfair. In propor- tion It isenually valuable. 700 HiSTOIKF. DK I.'.\KT DANS I.'.ANTIOI'ITE. J|-DKK, S.vrd.mcne. Svkik El' C.M'i'ADocE. Paris, Hachcttf. 1SS7. 30 fr. Transl. as IIisiokv 111' .Ancii.ni -Aki' in Sai.^''i, 4s. Most works on the arts of peoples not of European traditions are extremely superlicial, eont.iining only hasty impressions as of cme newly struck by the novelty of .in art which he has begun lo examine This book IS that of a man who has studied his siibiect well and gives the reader what small part of his abundant knowl- edge the pages .illoweil him will contain Other books exist which contain manv large ,ind faithful illustrations, but It IS difficult to name one of tins class the text of winch IS so thorough, {onipare, however, fur Moham- medan art, the two books by A. Gayet 700' C.MRo Sketches dk lis Histuky. Mond- MKNi's, A.VD .Siici.M. Like. LoiuI.. ]. S. \'ir- ttlC, TS92, I2S. fill. .'\ study of a city and its neighborhood, if put into such form that hasty travellers may be persuaded to buy It as a guide-book, wil! not often be found a work of much thoroughness. The present author's profound mastery ol his subject has enabled him, however, to make of tins book an excellent introduction to the study of .Mohammedan art in Kgypt as well as of the external aspect of the country and the manners of the people. 000 Portfolio, The. During 1804 and "95 there appe.ired twelve separ.ite books in each year, each book treating a dilTerent sub- ject (7s cents each). In 1896 the number of voiuines was reduced to six for the year, at $1.25 each. These monographs are not all artistic in subject, and some may be called only in a limited sense artistic. The most important are mentioned separately in this list, as there is no better art writing in English to-day than some of them contain ; while many are valuable as af- fording information not elsewhere accessible. The publishers are Seeley & Co., London; the Macmillan Co., New York. 705. Proust, Antonin. L'Art FuANq-Ais. Publication ofliciellc de I;t Commission des Heau.\-Aris. Paris, Paschct, jS<)o. do fr. A book of 180 quarto pages, divided into ten separate chapters by difTerent writi^rs . thus .Andre Michel writes on landscape, Louis Gonse on architecture. There is also a general introduction by Paul Mantz. ny way of illustration there are fifty admirable photogravures be- sides etchings and wood-cuts. There is perhaiis no single book from which so much can be learned con- cerning the French art of the present century 70O Ramsay, William, ntid Lanciani, Rodolfo. ^L\Nt .\i. OK Roman Antii.iiities, revised and partly rewritten liy Koihilfo Lanciani. N. Y., Scrilmer, iSi)?. !r'3. Mr. Lanciani is intimately connected with the gov- ernment and municipal care of the antuiuities of the city of Rome and of Italy in general. All that he has added to this book is very valuable and contains the latest knowledge. The original work by Mr. Ramsay has less to do with tine art ; it was good in its time, and what is left of it in this edition may be .issumed to have been proved trustworthy. See Helbig and Lanciani. 013 Reinach, Salomon. .ANrii.)fri'£s nationai.es ; DEsrRirTKiN rai- SDNNtE DD MISEI DE S At N !-( JEi(M Al N-EN- LaVE. HkON/ES KICfKKS DE I..\ CjAII.E RO- MAINE. Avec 4 heliogravures et Ooodessins par J. Devillard et S. Reinach. Paris, Didoi, 1895, 10 fr. The Museum of St. Germain is devoted to the earlier anti/;;>/ Chirtani, L. Lk .Arti dfl Diskijno in Iialia. Parte Se- conda. Metiio Evo. Milan, N'allardi, 3olire. This volume is tlic second of a series (see under Sel- vatico and also Paravicini). 700 Seymour, Thomas D. HoMFRic Aniuji riiKs. Illus. N. Y., Mac- millan. Announced without date. Prof. Seymour is connected with Vale University, and is Chairman if the Managing Committee of the American School of Classical Studies at Athens. 013.38 Smith, Major R. Murdoch. Persian Aki. Lond., Chapman iV Hall, 2s. One of the South Kensington guide-books ; a little volume of only 60 pages. It contains a few very good illustrations and introduces the rcider to the subject. 700 Stendhal, De, (Henri Beyle.) Promenades dans Rome. Paris, Delaunay, 1S29, 2 V. ( )ut of print. The few works of this early epoch which are marked by a true insight into fine art are well worth reading even in our lime of greater critical knowledge. They su^fgest at least the (juestions which were then seen to exist, and which can never be answered finally or to every one's satisfaction. It is always well to begin again at the day of first incjuiry to see whether our re- cent studies have yet answered all that is required of them. 946.6 Stirling-Maxwell, Sir William. Annals of the Ariists (jf Spain. Illus. Lond., John C. Nimmo, 1S91, 4 v., 84s. \Vith Cloister Life of the Einijeror Charles \'., and Miscellaneous Essays and Address- es ; in all 6 v., N. Y., Scril)ner, $45. Spanish art is very little known in Europe ; this is the only English book, at all adequate, devoted to the Fine Art. IS I Kins: an archrroloKiral Illus. N. Y., Mac- iblc account of Dr. Schlic- : supuDsod sito of Troy nt s wi'll as at some less im- bsi-rvcd that not Or. Schlic- it ttiu matured opinions of d in this bool<. The intro- i out in a suj,'K<-'stive manner iiianswered . f print. lentary Principles in Art ; a y instructive paper, teachiiiK The author pretends to no ists and their ways, but has, ;d very truly artistic conc'u- ^ 825 NO IN IiAi.i.\. Parte tica. Milan, X'allarcii, >t of a series (see under Sc'- so Paravicini). 708 tani, L. I) IN Ii.M.i.A. Parte Se- Milan, N'allardi, 30 lire. nd of a series (see under Sel- ). 700 s. Illus. N. Y., Mac- 1 willioiil (laic. lected with Yale I'niversily, Manajjinfi Committee of the ical Studies ut Athens. 913.38 och. ., Chapman it Hall, 2S. isinfjton ),'uide-books; a little It contains a few very (jood ;s the reader to the subject. 700 Paris, Delaunay, Jeyle.) (IMF,. print. ^arly epoch which are marked e art are well worth reading; er critical knowledge. They ions which were then seen ti) 'er be answered finally or to It is always well to begin nciuiry to see whether our re- iwcreu all that is required of 945.6 William. iisT.s oi' Spain. limmo, iS()i, 4 Illus. v., 84s. of the Emijcror Charles :jus Kssays and Address- Y., Scribner, $45. lie known in Europe ; this is tall adequate, devoted to the subject. The first edition was published in 1848, and the first edition of Velasquez and his Works by the same author was published in 1855; the present work is an enlarged edition containing both works much re- vised and with many parts rewritten. A very interest- ing book to read as well as very valuable (or reference. 700 Story, William Wetmore. RoH.^ Ill RoM.^. New cd. Host., Houghton, 2 v., t2.5<). This book, of which the title signific'- Roman thinRS, or Roman goods, is only in part devoted to artistic matters. It is capable, however, of giving a very strongand intimate feelingof the beauty of the ancient city as it was before its recent regretable transforma- tion, and also of the ruins themselves, which of late years have been made more accessible apd have been more thoroughly studied than ever before. Theltalian sense of the meaning of Italian .irt, the importance of which has been insisted on mother places (see Selvatico and Cavallucci) is also to be found in this book, and it is not to be forgotten that it is the work of a sculptor of ability and lung experience. 945.6 Cxsri.K Sr. An<;ki.o and Tiik Evii. Evk, he- inj,' additional chapters to Roha di Roma. Lond., Chapman iS: Hall, 1S77, los. 6(1. Five .tdditional chapters which might with perfect propriety be bound in with the work entitled " Kobadi Roma." The Castle is the mausoleum of the Emperor Hadrian, built by him to receive the urns of his succes- sors, together with his own, as the great mausoleum of Augustus was considered to be fully occupied. During the Middle Ages its immense solid mass of masonry made it valuable as a fortress, and it was built upon with two or three stories of small rooms, which served as a refupe for the Pope in times of danger. The rec- ord of this building, which fills 150 pages of the present volume, is an interesting piece of architectural history. 945.6 Conversations in a Sti'dio. H(jst., Hough- ton, iS(j4, 2 v., ?2.5o. These conversations deal with literature and sociol- ogy and many topics, but also with the tine arts as they are looked at by an artist. Compare what is said about Hamerton's Intellectual Life. In like manner the book before us is worthy of study for the treatment of the tine arts as formintj a part of the whole world of thought, a tre.itment which it is almost impossible to get e.\cept from an artist who is also a man of cultiva- tion. 704 ExcrusinNs IN Art and Lkttkrs. Host., Houghton, iS(ji, 81.25. Mr. Story was an accomplished sculptor and a prac- tised and gmceful writer- a rare combination. Three of the five papers in this volume are of use to the stu- dent of art. The paper on Michelangelo contains ex- cellent criticism, and that on Phidias isfuU of suggestive analysis of the art of sculpture. 812 Sturgis, Russell. Article Fink Arts, Johnson's Universal Cvclop.xdia, ed. <.>{ lS()3-5. Article Rf.ai.ism in Einf, Art, Johnson's Universal Cyclopitdia. See als(j in the same work. Articles "Painting," "Sculpt- ure," and others on special topics. In Parts II., III., IV. of this list. Japanksk Ari', Johnson's Universal Cyclo- p;pdia, ed. of lS(;3-5. Symonds, John Addington. Rknaissancf. in Itai.v. N. Y., Holt, 7 v., S14. SiKJRi' History of tiik Rknaissancf. IN 1 lAi.v, selected by Alfred Pearson. N. Y., Scribner, 1?3.75. Wiihout showing any profound sense of the inner spirit of fine art, this work is a valuable history of that Eide of the Renaissance which showed itself in painting and sculpture. The treatment of architecture is brief and unsatisfactory. However inadequate, this remains the best history in English of the artistic renaissance in Italy; its value is increased for the general student by the treatment of fine art as ot.e 01; the many mani- festations of the Renaissance. 945 1-IFK OK MirilF.I.ANr.F.I.O HlONAKOI II. IIIUR. Lond., John C. Nimmo, iS(j3, 2 v., 21s. N. Y., Scribner, S7.50. The latest of the many lives of this great artist, and probably the best, containing what seems most neces- sary in the other books on the man and his time and much additional information. There are valuable plates. 920 Taine, Hlppolyte Adolphe. I.a Piiir.osnnnE DK i.'Akt; i.a Piiii.. i>f. i.'Art kn Itai.ik; 1.A Pllll,. DK I.'ARI dans IKS PAVS Has; L'iDfeAL dans i.'Aur; and oiiikr essays. Transl. by John Uurand as Lectures ON Art. ist Series: Tiik Pimi.os- oiMiv OF Art ; Tiik Idkai. in Ari. N. Y., Holt, 82.50. 2(1 Series, Tiik Piiii.osoi'iiy OF ARI' in IiAI.Y, niK NKriIKRI,.VNUS, AND CiRKKCK. N. Y., Holt, ?2.5(). These books have attracted much attention because of the literary reputation of their author, and t)ecau9? of the simplicity of his theories and the ease with which they can be grasped and remembered. The difficulty with such criticism is that any simple theory about a work of art, its nature, its relation to other works of art, and its place in the general world of art, is gen- erally a false, or at least an inade(|uate theory. If a reader is thoroughly familiar with any group of works of tine art, or any c-jioch or style of art, lie will find Mr. Taine's criticism 01 the works or the epoch in question very feeble indeed. It is clear in such a case that the soul of a work of art and its real nature as its author conceived it, and as his compeers undeistand it, are misunderstood by this writer. 701 Tarbell, F. B. History of Grekk Art. With introductory chapter on Art in Egypt and -Mesopotamia. Illus. Meadville, Pa., Flood c% Vincent, $1. 709 Tsountas, Orestos. Tiik Myckn.kan Aok. Transl. from the (ireek, edited and enlarged by Prof. J. Irving Manatt and Dr. Harker Newhall. With about i(3(i illustrations. Host., Hough- t(jn. Announced for early in i8(}7, $0. Dr. Tsountas's original work is a recognized au- thority. In its English dress it will be as complete a treatise as is now possible on that strange type of early art which, while its chief remains have been found in Greece, h not Greek in the usual sense— not even Greek of an archaic period. It appears that the book will con- tain restorations of the ancient houses whose remains have been discovered and their elaborate colored dec- oration. 913.38 Vasari, Oeorgio. Le ViTE DE PiI^ EcrF.I.I.KNTI PlTTORI, SCUL- roRi ED Arciiitkitori. Transl. by Mrs. Jonathan Foster as Lives of the Most Emink.nt Painters, Scii.itors, and Archi- TKCI'S, with Notes and Illustrations, etc. (H(3hn.) N. Y'., Macmillan, v., ?i each. These biographies by Vasari arc the .froundwork of our knowledge of the great Italian artists of the XV and XVI. centuries. Their extraordinary fame as com- pared with the popular appreciation of Spanish, Flem- ish, or Dutch artists is in great part due to this book. It is extremely interesting, full of anecdote and pictu- resque narrative, and gives brilliant pictures of life in Italy during the epoch. The author's statements of fact have often been found erroneous, and are fre- quently corrected in the notes to this translation. This translation is excellent, as is sufiliciently proved by its adoption for the important work of Ulashfit.'d and Hop- kins. (Sec next following item.) 927 Lives of the Painters ; edited and anno- tated by E. H. and E. W. Hlashfield and A. A. Hopkins, with 48 photogravure re- productions of masterpieces of Italian paint- ing and sculpture. N. Y., Scribner, i8()7, 4 v., $15. Sixty of the more important lives in the Vasari col- u Fine Art. I til |! •'II u lection, lakcn from Mm. Foster's transLilion (see itie ^)rt'Vl(>lls lilk). anil ■iccumpanicd by very lull miti-s. >()!h histnnc.il and critic.il. \ careful c.x.iiniii.ition lias salislii'd the writer lli.il no mdrc iinpurtanl lonirihiiliun til art history li.is hcen offered lor many ye.irs Tlie thoroujrhness 'il the rese.irch into the doeiiinents .iiid the clearness of the eliicKlalion ol ihedillicult historical and hio){ra|>hii a! points are only e(|Ualled by the inlelli- jjencc with winch the ditficiilt (|uestions are designed ind selected lor .itlentioii. Tlie art :rilHism is ol .in unusu.dly hiyli i|uality. such a body ol criticism .is is (jiven here forms a very important adiunct to all hooks of biography, including the iinjiort.ini liioi,'raphic.il dictionaries which arc apt to fall in this rc!>pcct. 027 Viollet-le-Duc, E. E. L'AkI' RlsSK, SKS iiRir.TNF.S, SKS £l.l^:MKNTS CDNSin 11 IKS. SON AI'iuiKK. SON AVK.NIK, Paris Miirel I't Cic, 1S77 2? fr. For Russian art, compare also book cited under Maskell. The work now under consideration is .in attempt at a very lhoroui;h and critical analysis of this art, peculi.ir attention heinfftfiven to those processes of budding which effect a decorative result, especially the strange and effective cupolas which take their typical construction from the FJyzantine art ol the VI. cen- tury. That art found a development .imonu the Mos- lems and another amonu the (ireek Christians ol the North, and these two evolutions of the Hyzantine type show singular rcbcmblanccs and must interesting diver- Kcnccs. 709 Waldstein, Charles. TiiK SiT'DV i)K Art in U.mvkkshiks, N. Y.. Harper, 1S95. Si. 25. A lecture conccrninff the teachinc of art as .1 subicct of general knowled^re : that is to say. of the theory, his- tory, and criticism of art, A theory broached hy the author, that artists should strive for university education in the ordinary sense, is certainly the reverse ol the truth; the contrary proposition, that artists should beifin the specialized study of their art \ cry early, cuuld be maintained. See iXation, Nov. 28, 1895, p. 388. 704 The Work of John- Ri-skin : Irs iNKi.iKNn--. I'l'ON MoDKRN TlKILGIfr A.ND LiKK. N. Y., Harper, 1S93. 81. The writinKS of Mr Ruskin on the fine arts are spoken of under his name. The present book in its tirst. chapter, Ruskin as a Writer on Art, gives, perhaps, the best criticism of the subject that exists. Compare the book cited under Cook. 704 Waring, John Burley. St».nk Mo.NfMKNis, TrMfi.i, AND Ornamf.nts OK Rkmoik Aoks. wnic Rkmakks on tiif. Early Arciiukctirk of Irf.i.and and Scotland. Lund., John H. Day, 1S70. Out of print. Contains a Kfcat number of trustworthy drawings and a useful text. I'erhaps the best book for the study of prehistoric and undated buildings, 013 Watts, Theodore. Article " PoKTRY," Encyclopxdia Hritannica, 9th ed. Should be read for the comparison of different Fine Arts, as poetry with painting and sculpture, and for the remarks upon thoughts expressible in painting and sculpture though not in words. White, John Williama. Greek Frivatf; Life. Illus. N. Y. Mac- millan. Announced without date. The author was Chairman of the Managing Commit- tee of the American School of Classical Studies at Athens, and is Professor of Greek in Harvard L'niver- sity. 013.38 Wilson, Charles Heath. Life and Works ok Michael Angelo Bi'o- NAROTTI. 2ded. Lond., John Murray, 1881, 15s. •Mr. Wilson had the rare good fortune to gam access to the scaffolding erected close under the vault of the Sistine Chapel . he Ihrnce analyzed the procrsics used bv Michelangelo m ihe litscoes there which lonsli lute, perhaps, ihe most imjHirlani inonuineni ol ihe painter s art m Kiirope Tins wmilil be a useful life nl the .irtist even without the valuable facts alluded in above. 020 OLOSSARIBS AND DICTIONARIES. (.SVf AV-Ci- ,!/• Jli;,,/ 0/ /Vi>7 /.) Adeline, Jules. Lk.mi.xe dis Tkkmfs D'Ari-. (H.I:,H.A.\ Paris, (.jiiaiuin. ? fr. I'r.insj, .is .Art Dk - 'riiiN,\RY. .Autiinrized .inil enl. ed. N'. V.. Appietiiti, i.>oi. $2.25, So small a hook can only give a few of the terms used in ,irt ; moreover, the translation ol .1 iliclion,iry IS peculiarly difficult, heciuse ol ilie rearninueinent necessary Some terms are used in very different senses in France and in .^meric.i, .is Verandah , and these differences arc nut always marked in this transla- lion. 703 Bryan, Michael. DlcriiiNARY <'l' IVSTNTEUS AND Enc.RAVERS. New edition, edited liy R. E. (jraves. N. Y., MacniiJlan. iS.Sfi, 2 v.. 822.50. This book, in two large volumes, is more costly than most of the books in this lisl, bui it is the smallest one in Knglish th.i' can be recommended There ,ire strange omissions from it, but on the whole it is trust worthy Of course, one does not look to such a book for very critical appreciation of works of art 750 Clement, Clara Erskine, ii //^/Hutton, Laurence. ArIISIS of tiif NlNKlKKNllI CeNTIRY AN1> TiM-.iR Works, Most., Houghton, 83. "i A useful book, revised in the latest cditicm 10 1884, 'S and giving brief biographies of artists, with mention of S their worlis. Its .space is used up ijy a great many -4 vague and insignihcanl critical notices, the preface % says that the "avcr.nge opinion " has been sougtit lor, w but It IS clear that that can never be found Tenor • twenty lines of "an average opinion " on any artist arc ' absolutely useless. If one man had written all the . ;■ notices It would at least be possible to get a comparative notion, but, as it is, neither positive nor comparative informatiun IS given. 027 Harper's Dictionary of Classical Literature and Antiquities. Edited by Harry Thurston Peck, .M..\., Ph.D.. Professor of the Latin L;ini;uaKe ;ind Literature in Columbia I'liiversity. New York. With the co-operation of many Special Contributors; with nearly I5(xj Il- lustrations. Maps, ai;d Diagrams. X. Y., Harper, §6. This book, which is announced ns published at the close of November, i8g6, contains biography, geogra- phy, (ireck and Roman Antiquities, etc., and will, necessarily, be very brief in its treatment of all these subjects. It may be expected to be trustworthy and useful. The list of Special Contributors is excellent. James, Ralph N. P.MNiKRs AND TiiFiR WoRKs a Dictionary of Great Artists who are not now alive ; giv- ing their names, lives, and the prices |)aid for their works at auctions. L > \vl tic. an ) ciei lllU! raintinj; and Sculpture »S inalyicd itio prnccsMs used ;stnts tlurtv vvhltll lolisll inipri.iiii inniuiim'tu ol llic .1- wciiilil t)t' A usflul life 111 : valuable (acts alluded i<> ^ 020 DIOTIONARIES. ad of /'.ft /.) daki. (H.i;.n.A.\ Tr.msl. .IS Aki Dk - •d .ukI cnl. cil. N. Y.. 5- ily civc .1 few of the icrin* translation o( a dation.iry uso ol the rfarranucniLMit re used in vc-ry {llfTcrcnt Uncrica, .is V't-randali , and ways marked in this irunsia 70» MUUer, H. A. niii(;KAI'lllsCIIi;s KrNSTI.I.N-I,r.\IKn\ |iKU Ok- <;i'.NWAKi l.c'i|)/iK Hililliinr Institul iSisa ^1 marks A sm.ili book conlainini; ihc lives ol paintors o( our own limu, marked liy a very lusl lone iif iritic isin It IS very desirable llial U sliuuld be translated iiitu I'.nu hsh 750 Seubert, Adolph. Ai,i.i;i,Mi-iM.s KCnsii r.K-I,i-.xiK<)V, orU'R I.i;- IIKN UNIi U'l'kKK IiI;K 1)I;k( IIM IKS I kn Mii.- DKKN hkk K( nsii.kk. Frankfurt .i/.M.. RUttcii K. LociiiiiK, I"'>'i2, 3 v., 2u marks. Probably the most valuable dietionary of .irtists wliicli exists, as the work of Nailer is full of errors and anlii|ii.iled as well as r.ire and costly, while the ureal work which is to suiiersede it comes out very slowly. Seubert should be translated into English with some inodllicalioiis. 750 Seyffert, Oskar. UlCTMNAKV 'IK Cl.ASSlCAI. AnTKJI'ITIKS, Mv- I llol.fXiV. RKI.KWON 1.1 1 KKA I IKK, AMi ART. I"riini the derm. in. Keviseil .mil filii"il witli .iilditiiitis hv llt'nrv Ni'ii!islii|). .\I..\. .mil J K. Sanilys llliis. N. V., .\latmil- Ian. Ij'v A smaller .mil less expensive bciok than theonecata loRucd under Siiiilh 013 Smith, Sir William, Wayte, William, .m,/ Ma- rindin, O. E. DlCJID.NAKY iiK ("iRKKK AM IlKS 31I Cll. Luiul., Ji ) Ri'MAN ANIH.iII- liin .Murray. 1S91. 3 v., fijs. I'ractically the only hook of the kind accew.ihlp to Rludents, and in spite of errors, omissions, anil inexcu sable inisintcriiretatioiis, it can be used with t;eneral tonrhlrncc That i^^ to say, the proportion ot error to hound ,ind intelliucnt explanation is very small The ideal dictionary ol classical antii|uilies seems to be diffi- cult lo obtain : even the ({reat French work now slowly cominu out in (larts will be extremely diHicult to con- sult, as It is divided into compar.itively few lonk; essays, and has nu minutely divided alphabetical system. 013 IT. us AM) F'.m;kavkrs. il by K. E. (Jravcs. S.Sf), 2 v.. ?22,5o. U'e volumes, is more costly his list, but It IS the smallest L> recommended There .ire but on the whole it is trust oes not look to such a book jn of works of art 750 ,(?;/(/ Button, Laurence. -■.TKKMii Cknury anu St., lloUKhion. ?3- m the latest edition to 1884, lesof artists, with mention of s used up by a creat many ■ritical notices; the preface linion " has been souttht lor, an never be found Ten or ue opinion " on any artist are ne man had written all the possible to yet a comparative ler positive nor comparative ' 027 3f Classical Literature riuirston I'cck, M..\., iif the Latin Lannuanc Columbia Tnivcrsity, he co-iipcratiuti cif many rs ; with nearly i^ikj II- anil Uiagrams. N, Y,, nnounccd .is published at the contains biof^raphy, neo«ra- Antiquities, etc., and will, in Its treatment of all these iccted to be trustworthy and ;al Contributors is excellent. [ Works a Dictionary of are not now alive ; n'w- ives, and the prices jjaid auctions. Lond., I.. L'p- I, 612 p. N'. Y., Scribner, ihree volumes. This Is a per- the too small number of such ist be observed that it does not ,n, because excluding Hollar, ard Edelinck ; nor books like ing sculptors, engravers, archi- ll is hard to explain the omis- and Galland. On the other known in England are treated ided way. 750 TART II PAINTING AKD SCULPTLRK. I'RKf.IMIN.VKV NOIK ON I'AINllNti. Most \vriiin,i; about the art of paintint; has been by persons not very conversant with the actual practice of the art. This is true of all the fine arts ; but it is esi)ecially true of painl- Intj because this art is more popular th.in others, .md also because jiersons who expect to ("mil liter.iry, narrative, nxiral, or reliKioi's sentiment in fine art are naturally led to look lor it most in iiaintiiiK- The student should be on his t;uard an.iinst the discussion of this art as if il were closely .ikiii to writing in jirose or verse. Paintini; has its own lanijua^e and its own set of ideas, which are sullicienl for it. See /'rr/,i/t"-_y .Vo/,: riU-.I.IMIN.\RV NiiTK ON SCn.I'l CUK. Very little has been published, in I^ntjlish. on the art of sculi)ture, except in the form of treatises on Classical Arch.ToloKy. It is to lie noted, however, that much of that avowedly arch.Tological writing is just and discriminat- ing in its dealint; with sculpture. The art of sculpture is far less niisleadinj; to those who have not especially stiiilied it than painting is; it is much less complicated, it is much mure direct and sim|)le in its ajjpeal to the sense of beauty, and in its association with nature. Moreover, it does not appeal so strongly as ])ainting to the iiopular love of anecdote and incident in art. Those who wish to see stories of bat- tle and adventure, or of domestic sentiment and ])athos, will generally choose a collection of |)ictures rather than a sculpture gallery. Therefore the common writing about fine art, looked at from a literary standpoint, is far less harmful in the case of sculpture than in ])aiiit- ing. Alexandre, Arsene. A. L. Hakvk. (L.A.C.) Paris. Librairie de I'Art, iS.-ii), 7 fr. Harye is the well-known sculptor of wild and domes- tic .inimals. The present biography is far from bein|; an ideal critical work, but it may oe accepted as a sufii- cient description of Barye's life and sculpture. Many illustrations. 730 KCOI.K Fl.AMAXnE FT Hoi.I.ANDAISK. Histoire populaire de la Peinture, avec 25ogravures. Paris, Laurens, 1895, 10 fr. This author is a bookmaker in the department of fine art, and produces a great many large illustrated works. They have the fault of being somewhat popu- lar in style and of being verbose ; that is to say, the fault of containing too much writing about a subject and of lacking precision. They are written, however, with an extensive, if not always profound, knowledge of the subject in hand They arc always abundantly illustrated, and serve an cxcellein purpose either alone or in connection with more critical works which they supplement and assist. 750.0 Frkmii Postkrs .vM) Mook-Covkrs. In The .Modern Poster. N. Y., Scribner, iSi}:;. The singular branch of the painting art which the collectors of "posters" are doing so much to encour- age received its largest development in Hans, though, perhaps not originating there. Paper book-covers dec- orated with designs in color are, of course, more at home in Franc;;, where al' books, except a few Christ- mas gift-books and the like, are sold unbound. This article shows the close relation existing between the decorated book-cover and the poster in its ordinary sense The illustrations are excellent. 740 HisrolKK Poi'fl.AIRK DK I.A PKINTfRK' Kl'iiLK Frantaisk. Paris, Henri Laurens, 14 fr. Note what is said above under this author's " ^cole i6 Painting and Sculpture. Flamnnilc." Thin voliimr innt.iiriH .i Kriat miinblirs cspri i.ilfv to the viTy rcti'iil wurks, c t wliicli (livrc ufL' a number. 7S0 lIlsruIKK 1)1', lA I'KIMIKK MlMlAIKK KN Kkanck. I'aris, lli-iiri I.iiuri'ns, fr. 4.51). The iicvrnty-iinc illustrationt in tins litllc vnliimr nrc all drawn ircnn intrri'slmy nri^finals ; lliu liistory nf llic Hiihjcct IH t.ikcn U|i with llic rciKii nl \.iaw\ \IV , anil carrii'd thr(iii),'h lo mir own limr. In l-'riiuli art HO much rxcfllcnt lecliniial anil artistic skill has ymir III battl«'-i>aintinn that a nrparatc trratisi' on tin' siiiijri t IH ilrsiralilr. Tht- prrsi'nt one is hardly complftf, I'lit It will nerve a useful purpoHc, 750 J I'ollIU I'alis I'.Iiidf (Jiian- i:coic t^; KAN C'ARRlfs, IMAUIlk F I' (I'lmi; Ociivri' ct il'iini.' \'ic tin, iS(|5, 25 fr. Sit what is said aliovr iiiulrr this .uithor's I'lamanilc." Jran (ami's was a srul|ilor of fircat and unusual ids, who ilii'il youni; in iH^^i, after havinj; divotid liinsi'lf for Iwinty years mainly to decorative work. I'ottery interested liim greatly, and he produced m.iny nieces of e.xlr.iordinary novelty of form and «l.i/e. The lioiik ccjiitaiiis a Kreat many pictures ut tlicbe and of Ins Hculplure. 730 Allfiton, Waohington. .S'.r Swfi.iser, M. 1". AnderNon, William. J.M'.WKSK \Viinl).i;si;K,\VI\c;s. I'lirtfnliii Miill- onraiih, May, iSi)?. I.innl.i Scclcy iV Co. N. Y,, Macmillan, 75 c The present catalogue is ni.iiniy cnnlined to Kuro- jiean art, as a proper consideration ot (Oriental art leads necessarily towards the inclusion of very costly hooks. The present little work should he noted as written by an entirely trustworthy scholar, the author of lar^'e and valuable works on the same subject. Jap- anese Prints and Color, which li.ive attracted very much attention and have brounht enormous prices of late, are treated here briefly but well. 701 Angelico, Fra. .SV< Swucisir, .M. 1". ArniHtrong, Walter. 'I'lir. .\kI III' Wll.I.IAM (Jl IMIK Ouril.VKDSiiN. I'ortfiiliii .Miiiiiiurapli, I'el)., I>ij3. Lniid,, Sccluy iV Co. N. ^'., Maciiiillaii, 75 i'. Orchardson 'S a painter whose work is admired by painters, as well as a composer of popul.ir subjects of romantic and sentimental character His ^tenius is unic|ue In each of these departments' it is a ^reat pity thai so little of his work is to be seen in America. .Mr. Armslront,' is a very competent critic and biofjrapher. 750 Till'. I.ii'K 1)1' \'i;i.Asi,iiK/.. I'i)ril'iilin .MiiiiD- ),'rapli, lulv, l.Si)f). I.oiiil., Sfclcv iV Co. N. Y.. .Mar'millan, ?i.25. The giant of art, V'elasi|uez, whose life is written exhaustively by Jusli, whose (genius is discussed elabo- rately by Stevenson, and concerning whom there is a Kood mono(;r.iph by I.efort, is tre.ited here by an ex- cellent critic and man of sound jiid^jment. 'I here are four admirable plates and a number of text illustrations all produced by photojiraphic processes. 750 TiiK .Xkt oi' VkI.ASi,iI'|;Z. Portfolio Mdmo- Ki'aph, Oct., iS(/). Loiui., Scclcv is: Co. N. Y.. Macmillan. Si. 25. Forms the natural conclusion of the author's " Life of Velasquez. " TiKiMAS fi.\iNsnoRm'i;ii. rortfolii) Mono- ffraph, .Sept., 1894. I.ond., Scclcy vV Co. N. Y., Macmillan, 75 c. One of the more valuable of these mnnoHraijlis, The illustrations are excellent, the biography ancl criticism brief and full of meaning. 750 Ai.KRKi) Stevens, a biographical study. I'aris, Liiirairie de I'Art, iHSi, 15 fr. Alfred George, or simply Alfred Stevens, was a sculptor who, if he ti.ii! Iiveil i;i It.ily 1 tiiry, or in Kr.ince in the XVI. , would have been oni of the productive and f.imous men of his time. He died in y^TSs leaving behind liiin no lart;e and costly monument except the tomb of the Miike of Wellington in St. Paul'statliedral The story of liis life and work, and the stran^'e w.iy in which he w,is ininused, is well told 111 this book. .Many illustrutiunii. 730 I'mukis Iinks, Cam('.es k i i;. H. .\.) I'lris, (Jtiantin, Babelon, ErnoNt. I.\ (luAVi i;k is Imaii.i.ks. (H. 5 fr. (iem eni;ravinc, as the phr.ise is in Knfflish, included both cameo-cutlmtr ,ind enyr.ivnm in intairlio These arts were at their hiL'hest excellence in aiitli|Uity, but the t'ems of the Ueii.iissance are also beautiful, and there IS modern Work of value. .Mr, llabelon is .in en- tirely competent iuduu and historian uf this subject. 700 Bacon, Henry. I'.\Kls|.\N AkI' .\Mi ,\KI'ISIS. Most., IliUlgh- lon, 1S.'^3, !?3. An account of the arlist-life nf Pans, which is the ^riat centre of art sliiilv in I'airope, and, with this, notices of the painters, I'reiuh and other, whom the author has thought most iiiterestini; as subjects of dis- cussion, (alculiited to >rive a really intelligent sense of the ^'cneral ch.iractir of modern .irt, especially paint- \nv., as It IS found in I'aris. The reader is reinmded how much must be allowed for the dilTerences of opinion even amoni,' the best in- foimed and most profound and delicate critics. .\ change of a few years in the date of an author's re- m.irks may often make a decided change in the point of view he lakes. Thus, it is probable that the remarks devoted to Manet as compared with Alfred Stevens would be very dilTerent if written in i8cift, instead of 188.', or before. In like manner it is perhaps to be re- ),'retted that the three p.iintersof milit.iry sub|ects, I)e- taille, De Neiiville, and Klizabeth Thompson, now I.ady Hutler, should be treated as if they were of miite or nearly the siime decree of merit. 700 Baldry, Alfred Lys. Ai.iii'.iM .MiiMki:: Ills Iji'i: .wu Wukks. I.ond., (icorgc Hell vS: Sons. N. Y., .Macmillan, I>ij4, lr'22.50. Albert Moore was a painter of that class which rather ilisrei,'arils narrative and anecdote and what may be called liter.iry subjects in painliii^.'s. He cared for color and for desijjn in line and mass; he was a painter of almost uneifualled merit both technically and In matter of composition and expression. .After his death in iKijj this handsome volume was prepared to commemorate his work. .\ irrcat number of very beautiful photo- (graphic illustrations ,ire included, and the text is of value. See what is said under Dell's " Burnc-Jones." 750 Bastien-Lepage, Jules. .S',,' Caitwriglit, Julia. Bartolommeo, Fra. .S'., Scott, Leader. Bayet, Charles. La I'l'.iM I'KK I'.i' i.A Sn'i.rri'KF CiirI^tikwk KN Okikm'. I'aris, 'I'horin. \>i^i). fr. 4.50. A treatise in extension or continuation of the same MyzaiUine art author's work on the books by Uiehl. See what is siiid of 750 Y., Cassell, 1S94, %i. Beard, William H. AcriiiN IN .Aur. N. An intcrestint,' book in very simple lanKuage, and with many slight illustrations. It would be useful for the student, as calling; his attention to some of the con- ventional resources of the descriptive painter A ureal deal may be learned from il of the way in which l)ainiers and illustrators work. 707 Beckwith, J. Carroll. Cakcii.i'.s-Di'kan : ICiidi'akd .Mankt. Two articles of •' Modern French M.isters" (which sec). The paper on Manet is peculiarly valuable as (iivintr some familiar insi);ht into the end sought by this, the first of the so-called Impressionists. Painting and Sculpture. »7 ivcil III Italy I XVI., wiiulil have hrcn uni Linnii-i inrn >>( his tJinv. He iiiiil hiin no lari;<' and costly h of thi- Diiki' of Wi'llinKton rtii' '.lory of liiH life and work, Ml li lie w,i» misubi'd, is will illustrutiuiis. 730 ;Kie, and, with this, rnu h and other, svliom the interestun,' as siihjects of dis- ;ive a really intelli(;enl sense f modern .irt, es|iecially paint- I how much must he .-illoweil iiion even aniont; the best in- ind and delicate critics. A \ the date of an author's re- lecided change in the point t IS probable that the remarks npareil with Alfred Stevens f written in iBcjii, inste.ul (jf manlier it is perhaps to be re- iiti'rsof military siib|eils, iJe- Klizabeth Thompson, now eated as if lliey were of \ Arthur ( N. D'Anvera). M.VSI KKI'IH KS 111 IIIK. (iKI.\l .\KTIMS, ,\.|p. 141K1 17110. Ilhis. l.iirnl., (icn, Hell \ Sniis. N. Y., .MaiDiiilan. i.Si)5, $7.51), Process plates of a number of the best known pict- ures in Kurope are L'iven in this volume ; on their ac- count It IS well wortTl possessing The le.xt is of little iiii(ii>rtance, but names .mil dates, reasonably well veri- Jica, give every such book a certur utility. 760 Bell, Sir Oharles. A.N.M'iMV AM" I'llIl.nsoi'IlY iM I'.Xl'Ur.SSlnN ,\s CoNNKl I K.n \\1 I II FlM- .\KI. KiI. (Hcihll.) N. v., .Maiinillan. 1^1. fn. This celebrated book still retains its utility; its views should be lomiiared with those in ll;iinertnn's *• Man 111 .Art," lle.ird s " .Action 111 .Art," .ind D.irwin's " K.ipression of Kmolions in M;in and .Animals." Thi' illuHlratiunii arc deservedly ebteemed. 700 Bell, Malcolm. Sir Kiiw.vKii MiRNK-JiiM'>i. I.onil,, ricf)rj,'c Hell \ .Sons. N. Y., Macmillan, Hiij, ?i). First published in iRii.^ ; the iiresent is the second edition Iturne-Jones is the chief living representative «)f that kind of iiaintintr which was once called I're- Kaphaelite, or, of its natural development. IliITi rinces of opinion as to the value of this artist's painting must, of course, exist and must be very positive and decided. This book represents his pictures and drawing's as well as can be done in black and white and in about hki illustrations. It is suitifested that this book, .Mr. Kliys's book on I.eii,'hton, and that of H,ildry on .Albert .Moore, be compared, especially in their illustrations, as a |,'ood way of fornimi,' an iile;i of the great variety observable in modern Knt;lisli painting. 750 .\vcc Kravures Paris, Librairii: Benedite, Leonce. \.v. Misfii-; nr LiVKMiiorui ct 5 platKhcs hors ic.\te. (I'.^rt, i.'^ij4, iS fr, The Museum of the r-uxembnurpr is peculiarly im- portant to students as containing wh.it have been thought from time to time ilie masterpieces of I'rench painting and sculpture There are other works in which the treasures of this museum are engraved and described, but this is the most recent, 708.4 a Critical I larpcr. ami Historical iS.So. Out ot Bei^jamin, S. O. W. Art in .Amkru-.v ; Sketch. N. Y. print. The afipreciation of different artists and their pecu- liarities IS worthy of praise. It is, therefore, valuable for a history of painting and .sculpture in .America dur- ing the years previous to liSo. 704 Beraldi, Henri. Lks (Ju.wkiks nr I)r\--NF,i-vii':MK Sif:ci.r.. I'.iris, .Morir;iriil iS: ratinit, i>S2, 3 v.. ijo fr. The numerous works intended for the guidance of the student and collector of ancient prints cannot be named in this catalogue The old engravers in almost all cases are considered in special works both critical and biographical. This work on the artistic engravers of our own day has a peculiar utility in presenting the names, and works, of men who are not as yet so well Itnown to the written history of art, 760 Berenson, Bernhard. Ykmiian Paimkrs ok thf. Rknaissance ; With an index to their works. N. Y.. Put- nam, 1895, Si. 25 Mr. Berenson's works on art have made a remark- able impression on thinking people ; the one before us is a little pamphlet ot 80 pages, to which isadded a clas- sified list of the works of 'Venetian Masters occupying 60 pages more, the place where each picture is to be found beinR mentioned. It must be understood that the text of the book itself is not at all of the nature of a catalogue. It is a sympathetic examination into the his'ory and true nature of Venetian painting. 759 5 TlIK, rioKKMIVK I'MMKKs oF I UK RkAAIS- .s.\N( K : With an inile\ to their works. N. v., I'uinam, isi,(i, $1. A hook in iill respects like the " Venetian Painters." We are promised also two other simil.ir volumes, one on the central ll.iliaii p.iinlers and one on the iiorlh Italian painters, thus making a treatise in four voliiiius on the paiiitcritol the Kciiaissancc. 7&U.S I.iiKFS/i) I.orro: iin essay iti constructive iirt criticism. N, Y.. Piitnaiii. isim i|l3.«;o. The two books described above are small handbook*; the present one is a sipiare octavo volume ol w> pages, devoted to ii c'ose examination of the works of a little- known painter who lived troin i.|Koto i:,i.i. This IS a monograph of unusual merit, (ontaining art amount of originaT research which few such tiooks have reijuircd. It is illustrated by ;.bout .'s photographic pl.ites, and text and illustrations together bring the student very close to the spirit ot early Italian painting. Bertrand, Alexis. l'R.\M,nis Kihk, (I.. .\.C'.) I'.iris. I. ihrairiu (le I'.Xri, is.S.s, fr. 7.50. Of this great sculptor there is an admirable notice in llamerton's" .Modern I'renchmen," given m this list. The present Work is adnrneil with some excellent illus- trations of Kude's Work and with two portraits of the m.m. Tliere is no modern sculptor with whom it n easier to sympathize than Kude, and whose work has a greater churm, 730 Blackburn, Henry. R.wiiiii.iii C.M.Di.inir; a jicrsonal meinoir f)f his early art career, Ilius. N, V., Rout- iedne, iSSf), J^, Caldecott was one ot the most original and vigorous of inoderii artists in book illustration. There is as yet no other biography of him than this very interesting and instructive book. 700 Blake, William. .SV, (Jilchrist, A. Blashfield, E. H. l.KiiN liiiNN.M : |r.\\-P\i'r, I..\i'rf.ns, Two papers forming p.irt of " Modern I'rench J-fas- ters," winch see. The article on Horinat contains a great deal of anecdote about artist-hfe in Paris, but has a great deal of artistic criticism mixed with it. In the case of Laurens the critic had the diriicult task of criti- cising an artist who is too much of a story-teller, too much of a narrator, to be a perfectly sound and true modern painter, and also one who, as is here stated, has no power of representing movement, and who is still a man of orodigious ability In each of these cases we wish lor a more fearless critical treatment. Mr. Blashtield's power as critic is fully shown in his edition of Vasari, which see, Bouchot, Henri. La I.iriiiKiKAi'inK. (H. E. H. .\ ) Paris, Quanlin, 5 fr. One of the books of an excellent scries, and not in- ferior to the others, Kven the reproductions, though on so small a scale, arc of utility to the student. Lithog- raphy, introduced during the first quarter of il.e pres- ent century, is an art as closely dependent upon the artist's own eye and hand as etching itself. It is greatly to be regretted that photogra|ihy has caused a comparative abaudunment of this art for popular illus- tration. 763 Bracquemond. I)f Dkssin Fr DK I. A Cori.ErR. Paris, G. Charpentier cs: Cie., iSS?, fr. 3.50. Bracquemond is a painter who has given much at- tion to decorative art, and he is also an etcher of very widespread reputation This volume is a far more an- alytical treatise than those of his brother painters Cou. ture and Fromentin, and is less imaginative and inter- esting : It is in fact a text-book from which much can be learned, 707 i8 Painting ami Sculpture. i I • .. Brllcke, Ernst. TiiK HiM.w Fir.i'RF. : Irs Mkaitif.s anp De- (•Kf IS. With preface liy VVni. Aiulcrsun. Lond., H. Grevel & Co., 1891, 7s. 6(1. A handbook calculated to be of very (jreat use to the student of fif;ure-paintinn, asa subject to l)e studied for enjoyment and cultivation. Whether any hand- books are of any use to the practical student of the filTure is extremely doubtful. Sec what is said of Mr. Hatton's book in this list. 707 Bunner, H. O. Amkkkan Postf.rs, Past and Present. In The Modern Poster. N. Y., Siril)ner, 1S95. In this paper Mr. Dunner has pone further back into a highly inartistic past than the authors of other articles in this volume It is almost as interesting as histiiry, IhouL'h the pictures are reproductions of the ugliest possible originals— or half of Ihcm are. 74.0 Burckhardt, J. The Cicerone: Paintinc.s in Itai.v. Lond., Murray, iS;.}. Out of print. A French edition, Paris, Didot, 2 v., 25 fr. Has been in use for years as a guide-book of the higher class much used by studious travellers in Italy. 708.5 Burne-Jones, .SV;- Edward. .Siv Hell, Malcolm. Oaldecott, Randolph. .SV, Hlackburn, Henry. Callot, Jacques. .SV, Vachon, M. Carpaccio. J»,v Molmenti, P. G. Carpeaux, J. B, .SVf Chesneau, Ernest. Cartwright, Julia (Mrs. Henry Ady). Ji'i.ES Mastien-Lepac.e. Portfolio Monograph, April, I -94. Lond., Seeley & Co. N. V., Macmillan, 75 c. Four splendid photn-engravings and a number of half-tones help in the notice of this great realist. See also Mr. Weir's paper in " Modern French Masters." 705 Jean Fran(;ois Mii.i.et : His Life and Let- ters. Lond.. Swan Sonnenschein iS: Co. N. Y., Macmillan, 1896, S''?. The authoress has c ..lUined the infrtrmafion gath- ered from the books of Sensier and Fied.igniel and much information from articles in the .American maga- zines, together with a number of Millet's letters. The result IS a very good and satisfactory treatise on the man; it may be thought that it is not m;ide very clear what arc the causes of the wonderful fascination which Millet's painting has exercised over his contemporaries. There are nine illustrations fairly successful in giving an idea of as many of the artist's masterpieces. 700 Rathaei.. N. Y., Macmillan, 1895, 2 v., 75 c. each. Made up of the Portfolio Monographs frtr Jan. and Aug., 1895 ; contains a brief record of Raphael's career, in which the attiibution of paintings to himself and to others is based upon the best authorities; the general estimate is just. The needed illustrated work upon Raphael has not yet appeared ; in the meantime the illustrations in this book, and in K;iroly's Madonnas, taken with the text of this volume, serve a temporary purpose. 706 Cavallucci, C. Jacopo. Mani'.m.e 1)1 .SiiiRiA DEM.A Sci'i.Ti'RA. Turin. Ermanno Loescher, (1 lire. A brief historical record with 80 valuable illustrations. See Selvatico, " Le .Arti del Oisegno," for the reason why books in Italian should be sought for and studied ■when they prove to be good. Italian sculpture in the Roman Imnerial epoch was of importance in the history of art, and from 1250 to 1550, or thereabout, Italian sculpture stood at the head of aM that was done in Eu- rope, forming a body of art second ,)nly to that pro- duced by the Greek.s of the (ireat I'eriod. The modern Italian view, when careful and critical, is es'ifcially to be asked to correct, or confirm, the conclusions of writers in French, German, and English. 730 Century Gallery. Selected Proofs from -the Centi'ry Maga- zine AND St. Nicholas. N. Y., Century Co.. 1S93, ?io. A portfolio of proof impressions of wood-cuts. The art of wood-engraving has been develoiied in a peculiar wav in the I'nitcd States, ani 'he (.'fiitmy Magaziiiv (called Scri/'iier's Monthly before i83oor 1881) has been especially the leader in thii development. Compare the volumes described under Cole and Stillman and Cole and Van Dyke. Tliis pccu'iar American wood- engraving comprises much that is beautiful and truly artistic. 705 Chapin, Willis O. Masters and MASTF.RPiErES of Enoravinc. N. Y., Harper, 1S93, !*io. Roth in its text and illustrations this book is useful tc those who wish to begin the study of orints. The illustrations are reproductions in fac-simile, or reduced, of important prints in different kinds. Wood-engraving as well as engraving on metal is included. 769 Chapu. .S,r Fidiere, C). Ohesneau, Ernest. Ar TISTES A.SdI.AIS CONTEMPORAINS ; J. E. Mii.i.Ais, E. MiRNE-JoNEs, ETC. Paris, Li- lirairie de I'Art, 1SS2, 25 fr. See what is said of thiscntic under " L'Kducation de I'Artiste," in Part I. His criticisms of English art have been marked by an insight into its significance which is very surprising in a Continental author. 700 Josiit'A Reyoni.ds. (L.A.C.) Paris. Lihrai- rie (ie I'.'Xrt, 18S7, fr. 3.50. Chesneau h;is given an amount of attention to I'-n - Iish art very rare with a Continental student. Tlic present analysis of the work of a painter who just missed greatness, and who will be a fascinating sti|- FST.UAVINC ons this book is useful study of orints. The fac-simile, or reduced, nds. VVood-engravini; included. 769 RMPORAINS ; J. E. s, Kic. Paris, Li- fr. n ler" L'l'ducation de ims of Enu'lish art have Its sitrniticance which al author. 700 C.) Paris, I.ihrai- I). It of attention to Kn - inental student. The )f a painter who just be a fascinatint; st jdy to be recommended be- lies 700 Transl. l)y L. M. MU.ISII Sillixil. ol' cihn Sparkfs, witli n. X. Y., Casscll, ent writer under other i; is probably careful 750.2 M'X, SA VIK Kl SON iSSo, 25 fr. raphs of recent artists, ve book. Contains a i. If not the urcalest own time, Carpeau.x is lowerful, and original. raiiitiug anJ Sculpture. 19 e interer'.ti:-.;j .'.untai jrK, where a Kroup of ur parts of the world e reiirescntini,' the as- he uToup on the new se," which frroup was t it soon after us eom« 730 ;UAriis AMI Snn- nt detached phases of id a few words about k of e.xact comiirehen- uliar means of e.-tpres- ;count for, but a \i,noA each case. Good and lapter on the Impres- 704 Clarac, Charles, Comtc de. Misfiii UK S( ri.i'Ti'RK, antiqck kt MnoERNE; I)KS( KiniDN, HISTORIi.HK KT (IK.M'llK.irK, Df LolVRK KT l)K I'OCTKS SKS l'.\RTIKS. Paris, Tcxicr, 1820-53, 320 fr. Out of print. 6 V. octavo of te.xt. 6 v. oblon;,' of plates. Contains outline drawings of several thousand works of sculpture, ancient and modern, iiicludin^f many which have never been in the l.ouvre. The te.xt has historical value and tells what p.irts are restored. Al- thouiih not easy to consult, it is of great value as a book of reference, since no other similar work exists. The student will, of course, not take these outlines as adequate representations of the works of art. 730 Clement, Oharles. Dix'AMi's. (L.A.C.) Paris, Lihrairiu (Icl'Art, iSSf), fr. 3.50. A monotfraph on a paintef so recent that he has not as yet reached his assured place in art. Information concerninK such artists is especially difficult to obtain. A trustworthy biography ; the illustrations are most characteristic, some of them being de\|otcd to carica- tures by the master. 750 Clement, Clara Erskine. Handuddk ok CuRisiiAX SvMnoi.s and Sto- lUKs OK I'liK Saints AS Ilhsikaikii in Art. Edited by Katherinc E. Cunway. Host., Houghton, 1S95, S2. Handimok of Lfc.kndarv and M Yriioi.ficicAi. Aim. Host., Houghton, 1895,^3. These two books are intended to explain to those who study paintings representing Christian legend the meaning of the symbols employed and the traditional history of the sainted personages represented. In this resoect the books are like the works of Lord Lindsay and .Mrs. Jameson. A really adequate treatise on this .subject would take the form of a great encyclopaedic work of many volumes, and would involve an amount of study in preliminary investigation and arranging which it IS probable that no one will undertake. Some iclei of the necessary labor, cost, and time required for the work can be gathered by comparison with Rohault (le Fleury's work, "La Messe," and its continuation, *' I.es Saints (le la Messe," whicli two works extend to 12 volumes in quarto, with hundreds of large plates. Nor will it be possible, until such an exhaustive work shall have appeared, to prepare a handbook that shall be really trustworthy. In the meantime the books under consideration will not lead one very far astray, and will give at all events the commonly received explana- tion, which may often be all that is required. 703 Coffin, William A. AmKKICAN Il.I.ISlRATIONS OK To-Dav. Sirib- >iir'.{ Miii^'iiziiii-, Ian., I'eh., and March, 1892. These papers contain a great deal of sound discussion of the peculiar character of Illustration as a line art, and of drawings not strictly Illustration which seem so or are called so because inserted in books and pe.-iod- icals. See next title. A Word Aiiori' P.mmim;. Scn'/'ihr's Mii,i;ii- ziiit\ Ajiril, i8()4. Mr. Coffin is one of the very few painters who write ab )ut the art which they follow. He is a judicious critic, not the slave of schools or of the opinions of his own allies and friends among artists. His writings 111 ly be studied with great protit. TllKODORK RoCSSKAf . PaS( Al. Dai.NAN-HoI- VKRKT. Two articles of " Modern rrenc'.i Masters," which s.'e. Mr. Coffin's critical work is of singular value; it is toind and yet easily intelligible. These two papers y the author, 1S69, 4 fr. See next preceding note. 751 Cox, Kenyon. Prvis Di'. CiiAV,\NNKs : Paii. P.vrnRV. In " Modern French Masters," which see. Mr. Cox, who has given special attention to mural painting, and who IS a practised and a very able writer on artistic subjects of many sorts, treats in these two papers the two men who are probably the most tiowcrful oainters of large compositions for decorative purposes of all the modern world. Crowe, Sir Joseph A. Uandhook ok Paiminc: the (German, Flem- ish, AM) Di'TCH Schools, based on the handbot)k of Kuf^ler. In two [larts. Lond.. John Murray, 1SS9, 24s. Almost entirely a new work, based upon the W.iagen edition of Kugler but remade, with omissions and al- ditions. There is no better book for the study of t'l,. earlier painting of the north of Europe. 759 Crowe, Sir Joseph A., mul Cavalcaselle. O. D. New HisroKv ok Painiim; i.v 1 r ai.v krom THE II. 10 XVI. CENitRY. Drawn up from materials and recent researches in the tirchives of Italy, as well as from personal inspection of the works of art scattered throughout Furope. I.ond., John Murray, iSfiO, 3 v., 63s. Out of jirint. The four principal works by these authors, namely, those devoted to Italian art, are books which it is im- possible to dispense with in any library devoted t ) line art. They are very voluminous, the matter is not skil- fully arranged, and many of the ascriptions have been disputed by good judges. Hut there isnoencyclopjedia of Italian art which contains the result of so much labor and of so large and personal and immediate knowledge of the paintings themselves. The books are sometimes dillicult to obtain and vague promises nf revised editions have been made. 759.5 History OK Paimtm; ix North Italy, Ven- ice, Padca, Vicen/.\, Vi;rona, I"errar.\, Milan, Fruli, Brescia, krom the .\IV. to HIE XVI. Cemirv. Lond., J(jhn .Mur- ray, 1S71, 2 v., 42s. Out of print. Sec what is said of this and the other works by the same authors under " History of Painting in Italv." 750.5 Rai'HAEI. : His Life and Works. Lond., John Murray, i.'^.'*?, 2 v., 33s. See what is said nf tins and the other works by the same authors under "History nf Painting in Italy." .'\part from its value as an analysis nf Raphael's art and an account of its relation to the art of Ins time, this IS a most interesting and instructive book, at oni-e a romance and a valuable piece nf history. 750 TiiLW: Ills Like and Times, with some ac- count of his family. Illus. Loud., John Murray, 1S77, 2 y., 21s. See what is said of this and the other works ny the same authors under "History nf P.iinting in Italy." There is cnniparatively little infnrnialinn in existence concerning the details of Titian's long life; this Imok is devoted mainly to his paintintrs, great ingenuity being shown in ascertaining the historical sei|uence nf undated wnrks. The changes in his style as a painter are followed up with great thoroughness. 750 The Karly Flemish Pmnters; iiii-ir I.iyk.s ,\M) Works. 2d ed. Illus. Lond., John .Murray, 1S72, 15s. N. Y., Scribiier. !;'). First iniblished in 1857, reissued as a second edition in 187J with valuable additions .ind an index. Il treats more fully what is contained in t''e first volume nf Crowe's edition of Kugler, named elsewhere, and is, perhaps, the best book nn the subject. 759.0 Crowninshield, Frederick MiRM. Paimtnc. Host., Ticknor X Co., iS.-Sy. Out of print. Devoted to an examination Into the different proc- esses used in painting on walls, that is tc, say, of large- scale painting in which decorative and expressional art are combined, and m which the artist has in view to provide a picture interesting to the pul lie, although primarily of artistical value as.n decorative composition. Encaustic painting, whicli was the art specially in use among the ancient Romans; tempera, or distemper, which was especially in use in the .Middle Ages; fresco, or painting on wet plaster; painting on dry plaster; painting in oil, as on stretched canvas; and painting by the modern process of water glass, are all described and their methods explained with sulficient fulness to aid in a decision as tu the method to be eiu- ■. (ipRMAN, Fl.KM- based on the ,V() jiarts. Loiul., icd upon the WaaKi'U til omissions and al- foc the study of t'ic- rope. 759 valcaselle. G. C IN llM.V I'RiiM Drawn ii|) fniin searches in the as from personal if art scattereil ,, John Murray, int. se authnrs, naincly. ooks which it is ini- rary devoted t i line he matter is not skil- scriptions liave been re is noencyclopjL-dia e result of so much )nal and immediate nselves. The books nd vaL'ue promises of 759. 5 KTii Italy, \'i-.n- KKDNA, I'KKKAKA, KKliM IIIK XI\'. I.nnd., Juhn .\hir- (if print. other works by the I'aiiUing in Italv." 750.5 WoKKS. I.iiIKJ., 33!*- le other works by the f I'aintint; in It.ily." ysis of Raphael's art ) the art of his time, ructi ve book, at once a iistory. 750 IKS, with some ac- us. Loiul., lohn c other works ny the f I'aintinf,^ in Italy." irmation in e.xisteTK'e s lonn life ; this Ixiok n^'s, ),'reat inj,'eniiity historical se(|Uence of his style as a painter iglines's. 750 KKS ; TIIKIR I.IVKS us. l.ond., John ., Scrihner, 1:6. 'd as a second edition id an inde.\. It treats t''e lirst volume of .■(1 elsewhere, and is, ject. 759.9 Paintiiij:^ and Sculpture. ar 'ritkn History. X. Y., Cassell, 1.SS6, ?2. Out of print. Treats the subject iii a large way, taking up wood- engraving and typography; the crivU- process, etch- ing, engraving with the burin, me/zotint, stipple, printing in color, etc., and an historical account of ihr art. A very useful book. ' 761 GtR.\RI> lu)Kl,lNCK. (L..\.(.".) Paris, Li- brairie de I'Art, fr. 6.50. l.delinck wan a consummate engraver of the times of Louis XIV. and LouisXV. Onlycollcclors c>f prints know much about him, or much ot the other artists of his time, and it is for this reason that this book, with its many facsimile illustrations, is included here. 760 Delacroix, Eugene. .V,v \'t-ron, E. Delaroche, Paul. .SVr Reus, L Kuutz. De Lostalot, Alfred. LkS ClIKKS-I)'(ElYRK DE I.'.\RI' \V XIX. SlK.- fi.K : L'fecoi.K kr,\n(;aisk iik Dki-xcroix A Rkcnai'i.i'. Paris, Librairie Illustree, Mont- gredien, 26 fr. Belongs to the series cnt'.logucd under the namer. of Gonse, Lefort, Michel, and De Wyzewa. The epoch of painting covered by this vo'.ume may be jiut down roughly as iSjolo 1870, thus covermg The later works of Diaz, Couture, Delacroi.4, i.nd .Millet, an 1 the earlier work of the men of our own time. It forms a part of the series of which Michel's book is the lirst, this ore the second, and Lefort's the third. 759.4 Del Sarto, Andrea. .SV<' .Scott, Leader. De Pontes, Lucien Davesies. EitDKS SIR \.\ Pkin rn:K \'eni itknni-:. Paris, Levy freres, 1S67, 3 fr. The .luthor of this book had undertaken a large and exhaustive treatise on Venetian painting, but li:s death prevented its completion. .Ml that was put into shape of that propose.! work is contained in this extremely- suggestive volume. "7^0 K 759 %. De^ardins, Abel. La \'ik Ki' i.'(Ei"YREs i>K Jkan Hoi.ocnK d'apres les manuscrits ineilits recueilies par M. Fouciiuesde \'agoronville. Paris, (^uan- tin, 1S83, io(j fr. This monograph, devoted to the works of the great artist, of which only one or two are commonly known to travellers and archxo'ogists, is a large a"d somewhat expensive work; its 100 foiio pages and very numerous photographs and drawings are devoted, after all, to an artist of the second importance. This is the artist called in Italy Giovanni Pologna, and sometimes in English John of Douai, who is the author of the we'l- known " Mercury Alighting on Earth," and seen poised for a moment on one foot, which is in the Ulhzi tial- lery at Florence, and of the famous bronze doors of the Cathedral of Pisa. The book is valuable lor its c m- sideration of the architectural and decorative concep- tions of the artist, as well as his generally known statues. 700 Destree, Olivier Georges. TllK RkNAISSANCK ok Scfl.rTfRE TN HEI.r.IfM. Portfolio Mono(>raph, X(jv., 1S95. Lond., Seeley & Co. X. Y., Macmillan, 75 c. One of the more important of the new " Portfolio" series, because introducing the reader to an art of which he might otherwise hear little. The art of Helgium is in many ways a thing apart ; the sculpture treated in this essay is not very valuable according to the stand- ards generally set up. 730 22 Painting and Sculpture, Lks i'Kf;-R.\rir.\fii,ii ks • nnU's sur I'art ilucora- tif ct la pc'iiiiiirL' Lii AnKlcterrc. HruxcUcs, DiL-trich, I-"!)?, 4 fr. Valuable as uivinij the opinion of a Continental critic of inHuence on an art peculiarly English. 750.2 De Wyzewa, T. LKS ClIKKS D'fEfVRF. 7>F, L'ART Ai: XIX. -Sli,- ci.K : L.\ Pkimikk kikanckkk. Paris, I.i- brairic Illusircc, Monturcdicii, 20 fr. One of the valuable series of five works catalogued under the names of Cionse, Lefort, I)e Lostalot, and Michel. This volume IS iniurod by the attempt to make a readable book, written in a taKinj,' style, wliile the Held which had to be gone over was much too vast for such treatment. 750 Sidron, Adolphe Napoleon. Mamki. n'lcoNoc.K.M'iiiK ciiRKTiF.N. Transi. by E. J. .MilliiiKton as Chris riAN ico.mic- RAi'iiv : history of Christian art in the Middle Ak<-'s ; with appendices and supple- ments by .Margaret Stokes, (liohn.) N. Y., Macmillan, 2 v., ^3. Dea's with the traditional manner of representing the different personages of sacred history and legend as contained in a ms. of the Byzantine Empire. It should be compared with the works by Guenebault. Mrs. Jameson, and Lord Windsor, as showing the e.xact regulations which were laid down in writing for the guidance of painters of the traditional ages. The practice is described in the two English books espe- cially ; in the book before us the precepts are given positively. 247 Dobson, Austin. W1I.1.IAM HocARTii. N'. Y., Dodd, Mead \ Co., iSi^r, $7.50. A most sympathetic and just analysis of the merits of a great painter who lived in an inartistic time. Thanks to his engravings he will always be belter known as a portrayer and satirist of the manners of his time than as an artist in the more limited sense. But Mr. Dobson hasdonehim iustice in both capacities. There is a'so a smaller treatise by the same author in the "Great Artists Series," Lond., Low, 3s. 6d. N. V., Scribner, $1.25. 750 Donatello. Sec .Muntz, E. Dupre, A. .S.v .Saunier, A. DUrer, Albert. .S'.vCust, Lionel; Ephrussi, C; Scott, \V. H. ; Sweetser, M. F. ;and Thaus- ing, M. Eastlake, l.,uiy. HisroKV OK OlR Ldri), ..S'lV Jameson, .Anna C. Edelinck, Gerard. .SVi' Delaborde, Henri, / V- tiuiite, Ephrussi, Charles. Alhkrt Dlrkk Kf sF.s Df.ssi.ns. Paris, Quan- tin, 1SS2, 70 fr. The drawings by Diirer are of unusual relative im- portance, because of the firm delineation usual in his paintings and those of the (ierman school to which he belongs. The illustrations in this book include what is equivalent to a considerable collection of these tine drawings, together with reproductions of some impor- tant paintings. Many of these prints are important photographic plates printed separately. Such a work as this may be considered as a considerable private gal- lery of works of art, with an intelligent comment far more full and detailed than even the best cata'ogues tif the public museums. Mr. Ephrussi is a well-known collector and a writer who speaks with authority. _ 740 Etex, A. Sec Mangeant, P. E. Parrar, Frederick W. The Lifk ok Christ as Represented in Ar 1 . Illus. N. Y., Macmillan, i,S94, %U. An attempt, similar to the one made by Lady East- lake in her " History of Our Lord " (seo under Jame- sonl, to bring together an account of the works ol an 111 which the incidents in the life of Christ are repre- sented, wliether Hiblical or traditionary. Togethe' with the history o( the Saviour, there is s ime accouru of the representations of Old Testament incidents which were assumed to have relations to similar incidents .ii His history. There are many illustrations, and thcsi- wi'l be found useful, though they arc not of great beauty. 700 FenoUosa, E. F. MiRAI. PaIMINT.S I\ l^OSTON- PfHI.IC Ll- liRAKV. Host., Curtiss iV Co., 1."^'/), 25 c. A pamphlet designed for visitors to the Fioston Pub- lic Library, describing the important wall-paintings completed in 1893 by F'm n do Chavannes, John S. Sar gent, and E. A. .Abbey. The? value ol these paintings is well explained, but the tone of laudation is excessive. 750 Fidiere, O. ClIAI'f, SA A'lE K.\ SON fFCVRE. IIlus. dc 6 heliogravures et de 45 gravtircs en noir et en couleur. Paris, Plon, 1S94, 12 fr. An account of the life and work of an eminent French sculptor who died in 1891 ; the author of many of the most important monumental and other (,'roups, por- trait statues, and ideal compositions in Paris and other cities of France. 730 Fisher, R. iNrKonicTinv to a CAT.vi.or.cE ok the Early I lAi.iAN Prinis in rin. liRinsii .Miskc.m. Lond., lS,S6, iSs. Out of print. .■\ brief introduction to the study of old prints which will be useful to many a beginner. 760 Forgues, Eugene. I-|)I,IC 1,1. \: C(i., iSi/i, 25 c. tors to tho Boston I'ub- lortant wall-paintings avanncs, John S. Sar liK-ol these paintinfjs is audatiua is excessive. FurtwMngler, Adolf. 750 I'VKF.. IlUlS. i)5, 815. Tins IS a romakint,' in En(,'lish, rati - tlian a literal translation, of the important work in (ierman of Dr. I'"urtw,in^,'ler It is a study broujjht down to very late ,'ists in re;;ard to the best known names of the sculptors of anti(|uity and the e-istiiiL; works which may be assij;ned to them in oritiinals or in copies; and also of the Venus de Milo and the Apollo ot the Belvedere. An appendix of si.xty pa(,'es contains a most intcrestini,' account of the buildings on the Acropolis at Athens, In all this lonj; im|uiry the theories advanced are often very bold, and sonic of ihem undoubtedly fail to be accepted .IS final truth ; but the undue boldness of ascription, or datintr, <-:in do no harm except to a reader who is unaware that all assertions as to ancient art arc more or les.i relative 733 MkISI FRWFUKF, I1FK riKIFrillSCIIKN' P|..\SI'IK. Kimsti;esiliii;htli(hc riitcrsiichiintjen. Il- liis. I.ei|)/.itc iiiiii lU'rlin, vein (iicscckc iV Dcvriciit, I •^1^3, S; marks. See the rearranged translation of this hook under the next precedinj,' title, " Masterpieces of (ireek Sculpt- ure." Antt'yican Jotirnai 0/ 733 See a thorouRh review in Ayt:lurolof;y, Vol, IX , )). 220, OainHborough, T. S,i- .Xrmstrom;, VV. Galland, P. V. .V,v llavani, H. Gardner, Ernest A. lI.VNDHdoK OK ClREEK Scri.PTlKi:. IllllR. \ Y., Macmillan, iS<)6, 81.25. This is only half of the proposed work ; it will be when completed the best convenient manual of Greek sculpture in existence. Written in a critical spirit, with large knowledge of archa;olugical research. 733 Gardner, Percy. 'I'vi'KS iiK CiKKFK Coins: an arch.xoloi^ical essay. Illiis. Camhrid^e, University Press. N. v., Macmillan, 88. Not a treatise upon numismatics but an analysis of Greek coinage considered mainly as a branch of sculpt- ure. Sixteen plates contain about 500 photographic reproductions of (ireek coins chosen for their beauty, and these are classified .iccording to the design, the emblem or figure, the head or group which forms their principal subject. Some of the rarest coins and some of the commonest are given here, the attempt being to olTer perfect specimens of the finest types, and to ex- plain and discuss them. 737 Gavarni, Paul. .Si<' Forgues, Eugene. Gilbert, Josiah. L.\Niis(\i'K IN .\ui' Hfforf, Ci..\rnE anp S.\i.- VAi'oR. llhis. I. onii., John Murray, 1S85, 30s. The value of this book to the student will be as an historical record of landscape painting in Europe from the backgrounds of medi.X'val miniatures in books and mosaics K i.',\ki at XI.X. Sif.ci.K. I„\ Scn.rirRF, i-.r i.a CiR.wtrk \t XIX. SIF.CI.K. Paris, I.ibrairie Illustrie, 2f) fr. This work belongs to the scries dtalogued under the names of Lefort, I)e I.ostalot, Michel, and De Wyzewa. This volume may, perhaps, be the most useful and the most welcome to .Vmericaii readers as containing an account of those arts of which t'.iey see the least. The very important sculpture of the modern French school is treated here with great intelligence. The tone of criticism is very just, though with that tendency toward laudation hai-il to avoid in tre.iting the work of one's strongest contemporaries. There are twenty full-page jilates, some photographic, and nearly two hundred drawings in the text. 750 I.A Scfl.l'Tl'RK FraMJAISK DKI'flS l,r, XIV. SiK,<'i.K. Paris, Ouaniin, 1895, do fr. An historical account of French sculpture, beginning with the appearance of the Classical taste in France, late in the XV, century. For Gothic sculpture and the still earlier schools, the author's work, "L'.Art Cioth- ique," may be consulted. Beginning with the masters of the reign of Charles VIII, and Louis XI I,, the history unrolls itself to our own time, and includes artists who are still young men. The illustrations are of great beauty and value, 735 Gower, Lord Ronald. FlOIKK PaINIKKS o|- HoI.TANIi. Lond., Low, iSso, 3s. dd. N. ner, 81.25. An interesting inquiry into a school of painting not much studied. Dutch landscape painting is the founda- tion of modern schools of that art, but the figure paint- ing of the country is less considered than it should be. 750.0 Grahame, George. Ci.AiiiK Lokrain, Painter and Ftciiek. Portfolio .Monograph, March, i>y5. Lond., Seeley ^: Co. N'. Y., Macmillan, 75 c. Valuable chiefly for illustrations of great beauty. Ill the valuable monograph by Mrs. Mark Pattison (now Ladv Dilkel no one of the numerous illustrations IS comparable for be.auty and accuracy to some of these, 750 Gros, /.<■ Jiitrou. Sec Dargenty, G. Gruyer, F. A. La PKINFfRK W ClIATEAl- HE ClIANTII.I.V. V. L Ecoles etran^eres, avec 40 heliog;ra- vures. Paris, Plon, 1S95, 40 fr. The collections at Chantilly have doubled in value to the world at large since the Due D'.'\umale's niag- niticent gift lanches inedites. Paris, Quantin, 1395, fjo fr. Pierre Victor Galland was a decorative artist of very high rank ; a man who knew how to combine painting and the other tine arts in the decoration of a large or small apartment or a series of rooms or halls, and who male tins his principal study, while at the same time lie was a modeller and a painter of easel-pictures of merit. In English-speaking countries this use of all the fine arts together in the ornamentation of buildings IS so little studied that the work of such an artist is apt to be underrated. It is the more important that Amer- icans should inform themselves of the ways of work in a country of such superior achievement as modern France. 759.4 Heaton, Mrs. Charles. CoNcisK HisroKV (II- Painttnc. New ed. re- vised by Cosmo Monkhouse. (Bohn.) N. Y,, Macmillan, 1893, f i.jo. The most valuable of the older small histories of painting. Mrs. Hcaton's book has been entirely re- vised, both as to matters of f.ict and date and as to critical appreciation. During the lifteen years between Its first appearance and the publication of the j)resent t'dition both the history and criticism of art had been greatly remade. This new material has been well used by the eeuor, ' 750 Hemans, Charles Isidore. A UlsKlRY 111' Mi'.KI.KVAI. CHRISTIANITY AND S.scRKi) Art. Lond., Williams & Norgate, 1.S72, 2 v., iSs. The work of an enthusiastic student of what is called sacred art in Italy; that is to say, the painting which has Hiblical or legendary church history for its subject, or which IS in some kin Ired way connected with the service of the church. The book is interesting, and capable of giving much aid to students in the way of suggestion and food for thought, and can hardly lead them astray. 755 Hiatt, Charles. PiriiRF. Posters, Illus. I.ond., George Hell \ Sons. N. V.. Macmillan, 1S95, ^3. The poster, or the illustrated placard, as the title- ne has It, has not always been a study in strong colors at tints. There have been many different attempts at pictorial art applied to advertisement; the value of this book is, that it gives somewhat adequate illustra- tion of many of these different styles of work. Well up to date. See Nation, Nov. 28, 1895, P- 388. 740 Hitchcock, J. R. W. ETcfiiNi; IN Ameripa. X. Y., White, Stnkcs it Allen, 1SS6. Out <.f print. Speaks judicious'y of the beginning of etching in America. The art was more in vogue ojfore the date of this book than it has been since, but the pause in its practice and intiuenc-; can only be temporary. 767 Hogarth, William. .SV<' Dobson, .Austin. Holbein, Hans. .V,v Cundall, J., and Mantz, P. Homes in City and Country. Hy RfssEi.i, Sri-Riiis, John W. Root, Hritf. Prick, Donald (J. MriciiKi.i., S.vmi 1.1. P.\k- soNs, Jr., and W A. Linn. Illus. N'. Y., Scribner, 1S93, §2. The articles in this book are mentioned under the names of their authors. The first article deals with the plan and arrangement of the city house rather than with architectural designing 728 HSpfner, Th. Dii". Hf.ii.ickn in DER CIIRISTI.ICHEN Ki'NST. Leipzig, Hreitkopf iS: HUrtel, 1S94, marks ?.5o. A treatise on Christian iconography, to be compared with the works of Lord 1-inds.iy. Mrs. Jameson, Canon Farrar on the " Life of Christ, fJidron, and others. It IS good to study this subject from the German stand- point. 247 Humphreys, H. Noel. Coin Collector's Manual: Guide to the Numismatic Student in the Formation of a Cabinet of Coins. Illus. (Buhn.) N. Y., Macmillan, 2 v., $3. There are many large and thorough studies of nu- mismatics, both in English and other languages, but the supply of inexpensive books and of those that may serve as introductions to the subject is very inadequate. This book is almost confined to the Greek and Roman coins; only 120 pages are given to the whole field of post-classic Europe. There is a great deal to be learned ifrom it, however, and it contains a number of illustra- tions. See also Lenormant, and for classical antiquity, Gardner. 737 Hunt, William M. Talks on Art. First and second scries. Host., Houghton, 2 V,, $2. Scattered remarks noted down by a pupil of a very able painter who devoted himself also to teaching. Such notes, .separated from their context of direct per- sonal instruction and daily intercourse, can have no value except as suggestions and as stimulus to thought; in this respect these books are useful. 704 Jaccaci, August. Italian Posters and Mi'sic-Rook Coyers. In " The Modern Poster." N, Y., Scribner, 1895. Completes the work of which the other three parts are noticed under Alexandre, Spielman, and Bunner The five illustrations given are from designs by Big- nami, Puriati, Mora da Hohenstein, Menta, and Sarto- ris. They are of high finish and great elaboration ; very different from anything of the modern French school and proportionately interesting to the student. Mr. Jaccaci has allowed himself but a few words in which to explain the peculiarities of this branch of Italian art. 740 Jackson, John. Treatise on Wood-Engraytnt,, Historical AND Practical. Lond., Charles Knight & Co., 1S39; H. G. Bohn, 1S61. Out of print. Has been the standard for many years, the first edi- tion having been printed in 1839, and the subsequent \)Hl I ;■'■ I Piiintiii^^ aiiil SciilhUirc. rh.m^rr'? licinir, in tlip main, additinns of new mailer not worked into llic Ixidv nf ttii' Irxt. It is It-ss critical tlia;) a work of lo-ilay would haw to lie lo claim no- tice, lint i' (oiitains \\ crcat I) uly <>•' valiia'ilc inlor- nialion, with niaiiv i'lii-.tr.itions. Ilclpful if used in connection with the sinaUer Init more technically e.xact hooks mciuiuncd under the nuines uf Cundull aiid I jn- ton. 701 Jameson, Mrs. Aniii). S.\rKi:ii AM) I,i:i;i:m),\rv Aur ; ciliifil with adililidiial notes by Mslellc- M. Iliirll, abini- (laiitly illiisiraloil willi desiLcns (rum aiifii'iit anil iniiiicTii art. Host., llouulitoii, iSi)4, 2 v., !if2.si), rr $f). Mrs. Jameson's work on tlic treattnent of Hihlical and let,'endary persons in Christian art was intended to he a sini;lc book under the one name " Sai ri il and Lcfj- endary Art." This title, however, is practically limited to the lirst two vohinies, which deal with the an^'cls, the persons of tin? New Teslanient, except the Saviour, the \'iri;in and the Saints, whose le^'ends are thou;;ht to be of the widest interest, such as the Virtrin M.irtyrs, the Early Hermits, the Doctors of the Church, etc. The lc»,'endsof the Madonna form another volume, and the legends of the Monastic orders a fourth. I'inally Mrs. Jameson's notes for a similar history of the Saviour as represented in art were taken up by I.adv l'"astlakc, who completed the work. The first lour volumes have been reprinted with revision by Kstelle M. Uurll. This work is excellent for reference in the matter of rccot;nizin;.r a sacred personaije tiy his attributes as niven in .i picture, and as to the jiroper way of repre- sent in r e.icli personage. The historic.il part, the record of thj trrowth of the legends and the chan^'cs in them, is very imperfect, but no better book is readily acces- i;i!>le. The author had no threat knowled^;e of art, and her criticisms are of little value, Compare what is said of Lord Lindsay's book. 247 I,i;i;kniis ok i iik M.vunwA; edited with adili- tioiial notes by Estellc M. Iltirll, abundantly illustrated willi (lesitjiis from ancient and modern art. Host., 1 louu;hton, 1S94, If 1.25, or ?:,. See what is said above under " Sacre I an I Legend- ary Art." 700 I.i:i;km>s r>|.' Tin.-. MoxASiic Ounr.Ks; edited with additional notes by Mstelle M. lltirll, abundantly illiistraU'd with desiijns from ancient and modern art. Host., lIou,ij:iiton, :>i)4, $1.2?, or $3. See what is said above under " Sacrerl ail Lej;end- ary Art." 700 ilisinin- (II- ()l R I, OKI) AS F.XI'.MI'I.iriKD l\ WiiKKs (iK .\Kr. Edited by I.ady I^astlake. 2d ed. X. Y., Longmans, 1865, 2 v., !j8. See \vh,it is sai 1 above under " S,icred and Lcijcnd- ary .Art." This book has been carried farther in the way of illustration, and is a'so much more elal)orate ancl m;)re of a permanent work on the subject than any 1 therof .Mrs. Jameson's treatises. It includesaccounts of the fall of man, much of the (lid Testament history, with the record of J )l:n the Haptist in art. the Murder of the Innocents, etc.; and finally a certain amount of leifpndary matter such as that concerning the Sibyls the history of the Virgin an.l St. Joseph. 232 MkMOIRS (IK E.VKI.V llAI.IAN I'VINIKKS; tlior- iJURlily revised and in part rewritten by r^stelle M. lliirll, with (12 portraits. Host., HouKhton, 1S92, $1.25, or $3. Orifjinary of little value. The chanpcs made in this new edition are improvements in general; the book is one of a. number which serve a certain purpose in re- lating the better known facts about a famous body of men. 750.5 Jones, H. Stuart. .SEi.Kcr I'assauks krom Anttfat W'uitkks Ii.- I.tSlRAl'IVK DK TIIK HlSlDRY OK CiKKKK Sci'i.rirRK ; with translation and notes. N. Y., Macmillan, 1S95, $2.25. Overbcck's " Antiken Schriftcjuellen zur Geschichte der bildenden Ki'inste bei den Greichen," published in 1868, was an attempt to give all the passages in the extant works of ancie'it writeriand inscriptions which bear on (Jreek art. The present work is a selection of the most important and most interi'sting of these passages, with the addition of some which have been discovered more recently. The use if such a book is mainly to show the student how sbghl and vague is the kiiowlidge we can obtain from tie famous writers of antii|uity concerning works of line art. and in this w.t lo elucidate modern arclutological methuds. I ;iy 33 Justi, Kar}. *i 1 iMi:. revised \- Co. 'raiisl. bv the I'hil., DiKOo \'KI .V/.i.ilK/, .\Mi Ills by I'rof. ,\. 11. Keane, and aiilhor. I. Olid., 11. (irevil I.ippiiii'otI, 1S811, ^S. Jiisti's lioo';, in the German, is a st.indar'l of excel- lence in careful biography of an artist. This edition purports to be a close translation of il, and has a few valuable illustrations. The book is called tedious and hard to read consecutive' y, but it will not he found so by a person interested ii lliis man, one of the two or three greatest painters of all limes. .Mr. Stevenson's essay should be read in connection with it if possible. 750.0 Karoly, Karl. (itiiiK TO i'lii', Pmni'Im.s o|- I'i.orkncI': : ;t Complete 1 listoriial and Critical .\eiotint of .All the Pictures and I'rescoes in I'lor- ence, with (.hiotiitions from the Hest .Au- thorities; .Short Notices ( f the Legends and Stories connected with them or their Sub- jects ; and Lives of tiie .S;iints and Chief PersoiKiLies represiMited. Illus. I.ond., George Hell iV: Sons. N. Y., Macmillan, I '^1)3, !:i.?i). The scope of this l)ook is even fuller than that o. its companion, "The I'.aintings of \'enice." Compare w hat is said of that book. 708.5 (IriiiK 111 lllK P.MNlINT.s OK \'f.NIck: an His- torical and Critical .Account of all the pict- ures ill X'enice, with (Juotations from the best .Authorities ; and Short Lives of the \'eiietian .Masters. Illus. Lond., Cieor>',e Hell i'^ Sons. N. Y., ^Licmilhm, iSi)5, 51.50. The title explains the object of this book. Its ob- vious fault IS in the use of criticisms by writers taking absolutely contrary views of art, and by some writers who have given no attenti:in to art at all, so that the standard if judgment applied to one picture is not that applied to another. John Kuskin, < rowe and Caval- caselle. Sir M. A. Layard, Sir A. Hume, W. D. How- ells, Charles Ulanc, .Mrs. Oliphant, Mcrnhard Herenson, and Sir Charles ICastl.ike— it is only necessary lo men- lion such a list of soiirces to show how valueless is the comparative criticism ol>tained. Historically and as ,1 work of reference the book has great value. 708.5 Rm'iim'i.'s M.\I)onn\s .\mi OriiiR (■iUK.\r I'll riKKs ; reproduced from the origin. d p.iintings, with ii life of Raphael, and an account of his chief works. Illus. Lond., (Jeo. Hell I'v: Sons. N'. Y., .Macmillan, 1S94, The plates in this volume, numerous and good, give an erceellent idea of so much of Raphael's art as is apart from his great wall-paintings, 'riiose wall-paintings are of cour>e the really immortal and in their way un- equalled part of his work; Init the easel-pictures, and esiiecially the Madonnas, will always be most gener- ally popular. Compare what is said of the work of Jufia Cartwright above. 700 Keene, C. S. .V.v Layard, ('■ S. Eoehler, S. R. IvrciiiNi;. .An outline of its technical proc- esses and its history, with some remarks on collections and collecting. Illustrated 1 y 30 ])lates by old and modern etchers, and numerous reproductions in the text. N. Y., Cassell, S20. " A sumptuous volume.* 767 1(1 inscriptions wliici) work is a sclfclioii iiiliTcsliiit,' of tlirso inc wliiili liavi- hici) of siiili a honk is i^'lit ami vayiii' is tin- ic laiiious writers of an. and in tliis wav mctliuils. 733 I'lMi:. 'I'l-.iiisl. 1 n-visid |.v ilic i vV (■(.. IMiil., a standard of oxccl- art'^I. 'riiiscilitioii (if it, and lias a few is called tedious and will not be lotind so n, one of lli(> two or Mr. Stevenson's \vitli It if pussiMe. 750.0 !■ I'r.OKKNCK : ;t Critical .\cciiiiiit 1 rtsciic's ill I"l(ir- iin thi- licst Aii- iIk' Lcucnds and cm or tlu'ir Siib- .Saiiits and Chief llliis. I.diid., Y., Macinillaii, fuller than that o. its \'enite." ("omp.ire 708.5 Vf.nk r.: ;iii llis- iit ;c lillari, l>i)5, ?l.5(j. if this l)onk. Its oh- ms by writers takini; and by soinc writers art at all, so that the ne picture is not tliat 1, ( rowe and Caval- Ilume, \V. n. How- Mcrnhard Herenson, ily necessary lo men- how valueless is the Historically and as a ual value. 708.5 I OlIII.K (Ikkat mil the (iritjinal Raphael, atul an llliis. I.oiid., .Maciiiill.-m, lS(j4, ■rous and pood, Rive [iliael'sart as is apart hose wall-paintnif;s and in their way ini- -' easel-pictures, and ays he most ^jencr- iaid of the work of 700 s terhnical proc- ^"iiie remarks (m Illustrated 1 y ern etchers, and the text. N. Y., 767 Painting and Sculpture, ^7 (H.K.M.A.) V.il. 1. La Farge, John. CoNsiix.KA riiiNs ON Paintint.; Lectures Kivcii in lS()3 at the Melropolitan Mtiseiiin of New York. \. Y., .Macniillan, |S()?, ft. a;. The reader of thes ; lectures will fed a certani . Ma:.;a- ziiu\ N. Y., S. S. McClurt' Co.. 12 ikjs., $1. This series of papers began Dec., 1895, was continued to Oct , 1896, inclusive, and concluded .Apr., 1897 It forms a consecutive account of the painting which has us centre in Pans during the hundred years endini; m 1890 or thereabout. Mr. Low is an American painter of reputation and ability, of Parisian teachinj; but now for many years a resident of New V'ork. His articles are illustrated by a great number of tolerably success- ful half-tone prints. 760.1 JkAN LkoN fiKRoMK: MaIKICK UnlTKl UK MoNVKI,. In " Modern French Masters." V'ery careful reading will interpret Mr. Low's guarded expressions of opinion, which opinion is alto- gether wortli having when it is found. That (li'rome IS not much of a painter but a very powerful illustrator, th:it IS, a story-teller and even a historian in line and color, IS an important fact which the author of these notices lets us see, although he does not say it in any one place very plainly. As for the less known artist who, although working as an illustrator, is really an artist pure and simple, Mr. Low's paper is almost the only information about him which is easily accessible ; Us accuracy and precision of statement leave nothing to be desired. 769.4 liilbke, Wilhelm. Gksciiiciitk der Itai.ienischf.n- Mat.frf.i. StuttRart, Ebncr iS: Seubcrt, 187S, 54 marks. First published in 1878 ; docs not replace any of the other rather numerous works on the same subject, but lias its value, and should be added to a library at all rich in works on Fine Art. 735 Macklin, A\-v. Herbert W. Mo.m'mkntai. Brasses. Illus, I.ond., Swan Sonnenschein ..V Co., 1S90, 3s. 6d, N. Y., Macmillan, Si. 25. England is richer than the countries on the Conti- nent in the engraved metal plates which formed the most ornamental part of media;val tombs. These plates are deeply engraved with figures of knights in their armor and ladies in their more splendid dresses ; the study f)f the history of costume owes much to them. The inscriptions are often of historical interest and the engraving, though simple, is well worthy of study as a branch ofthe decorative art of the time. 247.3 Mangeant, P. H. Antoink Etex, Peintre, cm TEC TE. N'crsaillcs, 1', Scfi.rTErR ET Ar- E. Mangeant, 1S95. Ete.x is the celebrated sculptor of one of the great groups on the Arc de I'Etoile. He is far better known as a sculptor than in any other way ; his active career lasted through the reigns of Louis Philippe and Napo- leon IIL 700 Mantz, Paul. Hans H coniiderable. The otographic copies ol e two of the ''GibI s Stuart himself. Tlic nd historically. 759.1 ris, 1S7S. O.P. in early Italian p.iint- ie Florentine School suppose. This boot prcssion referred t'l iry of the art. 759.S L'Akt ai- XIX. ISK DK IncKKS a [redien, Librairie ed under the names lid De Wyzcwa. It •■ earliest epoch of from about 1770 to •cen the Classic and in itself, but its pe- to the works by I)e 759.4 Work, and His Fretich by Flor- ence .Simmonds, edited liy Trederitk Wed- more, Lond., Wm. Meinemanii, 1894, 2 v., 42s. A thorouffh .ind valuable treatise nf the life and works of one of the ureatesl painters of Kuropc, who is also the recognized chief of all etchers, past and present The French original is a large and handsome t)ook with many illustrations; the Kn||flish translation is made slill more showy and expensive, and has added plates 'J'licse costly monographs often contain so much that is valuable to the student that they require special men lion, and this is one o( the best of them There is a smaller work by the same author in the scries called Les Artistes Ctilibres, (Paris, Librairiu dc I'Art, H fr.) 759.0 ^Ti'nr.s sfR i.'lIisTniRF. ni-. i.'Art. I)ik(;(( Vh;i.ASi.iiF./; Lks DftiuTs wv I'avsai;!-, h.sns I.'KcilI.K ri.AMAMiK, Cl.AlDK I.iiKKAlN , I.KS Akis a I, a CntR DK FRfiDftRic II. I'aris, Haihette, iS()5, fr, 3.50. Separate monographs by a very competent writer made into one volume, 750.6 I'.VKS. I'aris, Renoiiard, 1^1, MichielH, Alfred. Van Dyik i-.i sks Ki iS.Si, 20 fr. Has a number of engravings after Van Dyck, and five excellent fac-similes of those remarkable etchings of his, which command the admiration of all artists and are rare and of great value in their best condition. Not cxitctly a critical work ; but the information given of the surroundings of the painter, the condition of the societies in which he liven, and the char.ictcrs «)f the men with whom he associated, is very full and valuable as a preparation for the understanding of the remarkable art of the painter, 750.9 Middleton, J. Henry. Enuravkd Gkms I IK Ci.AssiCAi, Times, with a catalogue of the (leiiis in the Fit/williatn Museum, Cambridge, \. Y., Macmillan, i.S(ji, 83.50. The matter of engraved gems is so very important to the student of ancient art and of decorative art that he may well wish to go farther than the little hand- hooks of Mabclon and Lecoy dc la Marche can take him. This book by an excellent all-round student of art, recently deceased, will be found of the very highest value, and in general seems to be based on a close per- sonal knowledge of the worksof art described. Cameos or gems carved in relief are treated as well as those en- graved as for seals. 730 Article Sniooi.s nr I'AiNirNc, F.iicyclop.-edia Hritannica, 9th ed. Gives brief accounts of all the principal schools and names all the greatest masters. Many illustrations. The criticism is generally just. Article Scn.rfrRK, nncyclop.-edia Hritannica, <)th ed. Valuable paper, both technical and historical. Article Wood-Carvinc, Encyclop.x'dia Hritan- nica, 9th ed. Article Tkmi'KRA, ICncyclop.'cdia Hritannica, 9th ed. Describes the process which was most used in Italy both for wall work and panel painting during the days of the early Renaissance. Millet, Jean Fran9ois. .S',,' Cariwriijht, Julia ; Koger-.Miles, L.; (/// iild iirtislH, and sriMic adoiint <>f men \vli>> are imi liiiinlcrs, 'I'liiiH tlic artirif cm Cli.irlcH Ki'tnr, the (IraiiulitHinan and laritattirisl ndnn I'nfuh, \s iidniiralilu art irilli itin. I'hcrir is smnc cmcss (if tn- thii.iaslic praise ipf art whii h lie loves an I "( cnntempt (or artists and i ritii s wlmin lli<- author hniks upiin as wholly astray in their aims and work, lint the hook is almost wholly ritjlit in its tendency. It should hi^ read with lare liy all who really wish to know how artists look at and undcrutunU art and how art should he in- terpreted. 750 Morelli, D. .SV, Willunl, .\. K. Morelli, Oiovanni. IiAi.iAN I'mmiks: Ckhicai, .Snnirs hk TllKlK W'liKKs, Tr-.-insi. by ('mistanci.' Jn- cclvii I'f'iiilkfs. 1,(111(1,, Idhii .Miirrav, i>*()2, 3<)s, N, Y,, Scril.ncr, !«I2. Vol. 1., 'Ilie Mdrt^hfse and Doria-I'atntili ("lallc-rifs. WA. II,, Thu (ialicrics of Miitiicli and Drt'sdc-ii. Thisnulhor Isthccrcatorof asystem of study applied to the authenticity of ancient paintiiiHs l)y means of which he han chafliMiKed the atlrihution of many pict- urrs in the puhlic K'llleries (f I'Uirope. The time lias not come to speak positively as to the linal result of this novel system of inijuiry, which depends upon close Btuily of minute particularities of form and handling in the works of cacti separate master. It is, meantime, of xinKular importance for comparative study and should be compared carefully with the works of Crowe and Cavulcusc-llc and other unulyats uf Ituliun puintin^. 760.5 Morin, Louis. rKKNcii Ii.l.isTRAl'iius. Preface liy Jules Clarctic, Illus., in livi; jiarts. N. Y,, .SiTil)tiLT, iS()3, !»i5. Text not important. Cnntainn ilhistr.ntions, very beautifully reproduced, of the work of many artists of the K"'!i' I'iiris school, amonjf whom are tlic famous painterH Kdouard Detaille and Pierre I'uvis-dc-Cha- vannes; the marvellous draughtsman in black and white, I'aul Renouard ; the prince of modern descrip- tive illustrators and story-tellers, Daniel Vierjie; that master of broad farce who calls himself Caran d' Ache, jind such well-known men as Lynch, Forain, and de Myrbach. An article in the Nniion, vol. ^t, !>. 454 (December 14, iByj), by a very competent writer, draws a comparison well worthy of study lietween the I'rench and the American illustrators, as described in this book and in itu cuinpuniun, fur which suu Smith, F. llopkin- don. 740 Morland, Oeorge. .S'.r Kichards|(iKV III' CiKKKK Scill'l IKK I'miI-K PmihlAS AM> Ills Si'CCESSOks. N. Y., .ScriliiuT, §14. 40. Taken together, these two books make a history of •.ciil|itiire, (Ircik .ind (ir;i'i o-Roin.in. Mr. Murray is in ch.irj,"', at the llritish Miisciini, "f the (ireik .md Uomaii anti(|uitiis, and iian archirolotri^t ol rt pute. The work is ((imposed on siicnlilii' Iiiuh; the reader Is helped hv references to iiiaiiy other authors. 733 Muther, Richard. IIisKiRv OK Modern pAtM ISC. Illus. N. \'., Macniiiiaii, iSc/i. 3 v., ifjo. A book which every library should possess if possi- ble, I'.iintinn of the present century is tre.iied from every point of view, national, stntimcnt.il, soiial; an attempt lieinK made to lUissify artists into sihools, or at least into t;roups, while at the s.iine time the dilli- eultyof making' such a classilicalion accurate isstronjrly insisted on. Departments (.f modern art, which would have seemed very remote from the sympathies or ex- perience of a (ierm.in professor or the employee of a (ierin.in museum, are found to he treated with singular insiKht and sympathy. The short( umiiins of the book are the inevitable ones, su( h as the eompar.itive iKnii- rance of painters who have seldom exhibited on the con- tinent of Kiirope, the total omission of some very able artists -probably from the same reason— and the tak- ing of illustrations, not from the original works, but from reproductions in continental journals. In every such work there is an almost irresistible tendency to treat the literary, or sentimental, or moral side of art, rather to the exclusion of the artistic side. This must always be so, because the artistic expression is extremely difiicult of explanation in words. The lan- KUa^'c o(^ art is very dinicull of translation into any other lan^rua^re. To a ureat extent this difficulty has been overcome in the book before us. The amount of labor that it represents is indeed extraordinary, and it has been well-directed work. 750 OrchardHon, W. Q. .sV. Ariiistroiin, \V. Osier, W. Roscoe. TiNToRKI id. (("i..\..S.) I. (111(1., Low, \^-i), 3s. fid, N'. Y., S( rihiier, !ri.2s. An enthusiastic and ailmiriin; notice of a painter eoncernin),' whom opinions will always differ widely. Some will claim for Tintoretto a place amonj; the half dozen (,'''<'•'''''>' names in art, while to others he must appear a m.m of the second rank, althou^di of consum- mate ability. As there is but little known of his life, a brief biography t;ives all that ca-- be recorded, but the analysis of his work cannot be adetiuatc unless car- ried to considerable length. 750.5 Overbeck, J. (iKscMiciriE HER cKiKciiiscmN Pi.astik. Leipzig, I linriths'sclic lUichliaiidiiiii^', i>S(>2, 2 v., 43 marks. The standard history of Greek sculpture. It needs to be translated into Kn^'lish, the more so that it is written in a (iernian very diflicult for all who are not perfectly at home in the lan^na^e ; that is to say, by the vast majority of English-speakin).; students. The liook is marred by a too j;reat williiiKness to use as of au- thoritative value the W(Jrds of classical writers eoncern- inK works of sculpture These words anMiever critical, nor the writing of men who professed to have studied, examined, and compared worksof art of different epochs. They are mere mention, in the course of a traveller's observation, or else mere allusion ; and, however valu- able they are in the absence of other information friiin the ancients themselves, no real knowledjjeof the char- acter of ancient sculpture is to be gut from them. 733 Paris, Pierre. I.A .S( ii.piiRE Antk.ue. (H.K.H..\.) Paris, yuantin, 5 fr. 'Iransl. as .Mamai. ok An- ( iknt Scn.i'ifKE. Ed. by J. K. Harrison. Phila., Lippincdtt, i8.S(j, $3. Treats of the sculpture of the ancient Asiatic n.i- tions, of Egypt, of Greece, Etruria, and Rome. It cov- ers, therefore, much the same ground as the chapters on .sculpture of the books by Flabelon, CoUignon, Mas- pero, and Murray, named in I'art I.; it is well to com- pare the treatment uf such subjects by ditlerent authors. 732 J\tiiitini^ anJ Siuipturc. 3* • "ii;KK,K Scir.l'riKK Ills SlICCESSOKs. inks make ,i tiintory nf ni.iM. Mr, Murray H in if llic (ircck aiul U»man •.I ul re |iiilr. riir work the fiailcr ii liclin'il liv 733 UN.;. Illus. N. v., J' ). .Ill 111 111 ponsi'ss if possi- rntury it trcalcil friitli sintimriit.il, sm i.il ; an arti"*!** into si limils, nr lie saiiiL' time tlio ililli- tinn accurati' is strongly Mlcrii art, which wmilil the sympathiis ur rx- ■ nr Ihi' irn|ili)yc'r i>f il L- tri'atcd with sinjrular rtiiiminwH nf the linuk s the cnmpar.itivf ijjiiii- uu'xhihitfil nil thricm- isiim iif some vi'ry able rcasiin— anil the tak- lic orikfinal works, but ital jnurnals. In every ,t irresistible temlenty lental, nr mnral siilc of llie artistic side. ThiH le .irtistif expression i* in in words. The lan- of translation into any xtent this ditrieulty h.iH ire us. The amount of :U extraordinary, and it ^ 760 mstriiiin, W. I.onil., I.i'W, \^;i), n\i notice of n painter II always differ widely. I a place ainon^' the half ivliile to others he must nk, allhouyh of consum- little known of his life, at ca"" be recorded, but t be iideiiuatc unless car- 750,6 ■ins('lII-\ I'l.ASTIK. Uiihhaii'lluii^, I.Si^2, eek sculpture. It needs , the more so that it is icult for all who arc nut i^e ; that is to say, by th much to s.iy that the art of riaude— an art very dilliciilt to iritiiise rlu'lilly— IS altiitfetlier well explaine 1 in this book, but it is f.ir mure likely to lead t' correct lluii to erroneous views. 760.4 Paul Veronene. .s.r Vriatir, C. Pennell, Joneph I'KN DkAUINi; ANi- PkV nRAfCIITSMK.N : tlu'ir W'lirk ami their methmls ; a siiuly nf liie art tii-ilay, with tcchniiiil siiKijcstiuiis. Illiis. N. v., .\iacmillai), i'^')^, $1?. Mr. I'ennell is himself an artist in pen drawinc for rejiroduction. In this work he n'ves advie to those wlio would become skilful in the art; he ),'ives also a f;reat number of notices of artists of our time who have ieeii eminent in this art, touether with specimens oi their work. In the course of his argument the desire In insist upon the one merit of skill in pen drawini;, in- tended for reproduction, has led liim into strange criti- cisms of ureat men of the past. For most readers the attractiveness of the book will be in the illustrations, which form a sort of encyclopa-dia of black and white of the day, but in this respect it would be more useful and certainly more entertaininjj if their titles and ley- ends were (,'iven to the pictures. 740 Mmii'KN Ii.i.isiKA TioN. Illus. Lond., (leu. Mel! \ .Suns. N. v., Marinillaii, !?3.5'). It has been sai 1 in speakiii),' of Mr. IVnnell's 1 ircer book on " I'en I)rawin^,^" tliat its chief use to most readers would be that of a treatise on modern book il- lustration. The present volume is useful i.i a similar way, and ii much smaller and less cxoensivi. There- productions are very uneven in (luality. Here, as in the lamer work, the pictures would be more Interesting if the titles were yiven. U55.53 'I'liK Iii.isi KA riiix or HixiKS : a Mamial fur the I'sc of .Stiuk-nts ; Notes fur a Course of I.etturcs at the .Slaile .Sihool, I'liivcrsity <-■ illfj,'c. I.ond., 'I'. I'ishcr L'liwiri. N. Y., Century Co., iSi/i, $1, In this little volume the practical instructions to pen draunhtsnien who wish to work for reiiroduction, which instructions are also includid in the larjjer wmk, are (,'ivcii in a cnmi).ict form, and with additions and a new arraniienient. The author is an enthusiast for the art of which he treats and tu which he has devoted himself. 055.53 Perkins, Charles C. lllSloKKAI. IIaMiIIdoK oK ITALIAN Sril.i'l- 1 KK. Illus. N'. Y., SiTiliiier, l?4. Devoted chiefly to the sculpture of Central and Northern Italy from about ijoi to about 1600. Itcon- l;iins ma y errors, and should be wholly revised in the liK'lit of modern iliscoveries, but it can yive a (,'oi.d L'eneral account of this very important phase of art. 735 Perry, Walter Copland. (Jki-.kk AMI iioMAN Sell. rrruE. Illus. l.otid., Lon^jiuans, 1S.S2. ( )iit of print. Valuable for the systematic arranpcment of the in- formation concerning ancient sculpture as we obtain it friiin the writers of antii|uity, and the comparison of this information with the extant works which are thought to be of the same period. .See, however, what is said, under Overbeck, of what ancient writers have said of ancient art. 733 Phidias. .SV.' Collignon, M. Phillips, Claude. A.MDINK Waitkai'. Portfolio Monograph, lunc, iSi)5, I.ond,. Si-idoy it Co, N. Y.. Nluiinillan, 75 1 . Watteau is in a certain vnie to he cnmp.ireil with Houarlh. Kiicli w.is a painter whose subjei ts were o( NUcli a charactir that lliey , done are regarded in looking at the work n( art, while in e.icli the painting itself is masterly both in intention and leilinic, Kveii i>ainter« disre(;aril lloijarth too iiuuli, f irijcttinK thai lie is si much more than ;i mrrr recorder or a mere i.iricaturist; while Walleau, thou^;li his wi;rk is universally admired by those who are most titled toaiipreciate it, is little rc- jiarded by the student in t'eneial. The present author (alls Watteau the ^realest of silluU maiiters ; but he is, perhaps, even more than this. 750.4 N. Y., Siriliner, Sir InsiiiA Kkvmh.iis i.S()4, $2.50. One nf the best of recent monouraphs nine illustrations from prints by the master Contains 760.2 I'i Spanish. N. Y., Scribner, $2. 759.4 Buxton, H. J. W., lilt,/ Poynter, E. J. (IkKM.VN, IM.KMIsII. AN!) I)i icu Palniinc. N. Y., -Scribner, ^2. 769 Redgrave, Gilbert R. 1 1 jsi< )R y ok Watkr- Ci)l,e impossible to give the biographies of many ar- tists of Morland's rank, respectable though that rank is His pictures are now (1396) in great favor, and that popularity has brought this hook into existence. It contains as complete a list of his paintings, and of the engraving- made from them, as was possible to the author, six illustrations. The narrative is of great in- terest. 75t*.2 Richter, Jean Paul. Leonarho. (G.-^.S.) Lond., Low, 1870, 3s. 6d. N. Y., Scribner, $1.25. An intelligent account of the life and what little is known of the work ol a wholly exceptional genius. It IS impossible to study Leonardo too closely, because accident as well as unfortunate traits of the man have destroyed nearly all his important works of an , be- cause, moreover, as a painter Leonardo is one of the most faulty of masters while also one of the greatest. 759.5 Rlo, A. F. L'Ar r Chretien. N'ouvelle Edition, au^men- t6e. Paris, Retaux, 4 v., 15 fr. An account of Italian art, mainly painting, from the point of view of a devout Catholic, and one far less interested in the purely artistic view of the work of art than in its religious or social tendencies. In spite of this uncritical treatment of the subject, the book has value to any one who is studying Italian painting seri- ously. 750.5 Ei'iLociE .\ L'.-\rt CiiREiiEN. Paris, Re- taj.ix, 2 v., f) fr. Not a continuation in any sense of " L'Art Chretien," by the same author, but rather a treatise upon the in- fluences and theories which led to the composition of that well-known book. This work is mentioned chiefly because of its value in making clear the remarkable attempt to include art in a system of Christian philos- ophy which was made by Lamennais partly with Uio's assistance. 759.5 Leonardo pa Vinci v:v .son I'.coi e. Paris, A. Uray, 1S55, fr. 3.50. See what is said of this writer under his " L'Art Chretien." Leonardo and his art form an interesting subject when treated from this author's point of view, because Leonardo was reputed in his own time to be rather a philosopher than a good Catholic. 759.5 Roger-Miles, L. Le Paysan HANS L'CEivre de J. F. Mii.i.et. lUustree d'un portrait el de 25 reproductions d'a'uvres de Millet. Paris, Flammarion, iS()4, 6 fr. The many w: tray the , sympathetic way. This book treats thoroughness. 14, 6 fr. '. paintings of Jean Fnin^ois Millet, valuable in ways, are interesting especially in that they por- le French peasantry in a peculiarly intimate and .thetic way. This book treats the subject with iL'hness. 759.4 RossetU, D. a. .V,v Sharp, W. ; Stephens, F. (j. ; iiiiil Woovl, v.. Rude, FranQois. .V.y Hertrand, Ale.xis, and Hamerton, I'. G., under "Modern French- men." Ruskin, John. •Modern Painters. Illus. Lond., Geo. Allen, 5 v., £(^ Cis. Index in I v., separate, 14s. The 6 v., N. Y., .Scribner, $48. This work, of which the final volume was first pub- lished in i860, contains much the most important and the safest writing upon art which the author has given us. .Ml Mr Ruskin's message for the world, so far as It relates to fine art, is to be found in these volumes. It may even be said that the more mature thinker upon artistic topics should give time to the careful reading of the third and fourth volumes, as he will find nowhere else the moralist's view and the nature-lover's view of fine art so well expressed. Mr Ruskin's writing on fine art is to be avoided by beginners, because, commencing his critical writing at a very early age, he committed himself to a false theory of fine art, and then abandoned writing on the subiect at about the age of forty, when he would naturally have begun to correct his early errors. A lofty morality and a true love of nature are to be found in his writings of the years 1843-62, but hardly a sound art-cnticism. A small edition of Part II., "Of Ideas of Beauty,' is offered in two volumes, with preface by Professor Charles Eliot Norton. N. Y., Maynard, Merrill & Co., $3- 750 PRE-RArHAEi.iTisM. Lon.. , 5s. Out of print. This pamphlet was issued in 1851, and was intended to plead for the then new and revolutionary school of artists, and to point out the essential truth to nature and the moral dignity of Pre-Raphaelite painting. Ruskin was in no sense the founder, as is often stated, or even the suggestor of the Pre-Raph-telite brotherhood, but he was their warmest defender in published criticism, 750 Giotto and His Works in Padfa ; with plates. Lond., Smith, Elder iS: Co. Out of print. Printed in 1834 for the subscribers to the Arundel Society as an accompaniment to a series of large wood- cuts from the frescoes in the Arena Chapel at Padua. Photographs of these frescoes can now be bought at a low iirice. The text itself is one of the most critical of Mr. Ruskin's publications, and is really of help to the right understanding of the frescoes, and through them of early Italian painting. 759 5 The IIarhoi'Rs of Encland. Engraved by Thomas Lupton, from original drawings made expressly fcjr the work by J. M. W. Turner, with illustrative text, 12 plates. Lond., E. Gambart iS: Co., 1S56. N. Y., Scribner, S3. The text is more than a mere description of each plate. It is a somewhat full exposition of Ruskin's view on landscape painting. The plates are of very unusual value, mezzotints of great beauty and faithful to the noble originals. 740 Elements of Drawinc. In three letters to beginners. Lond., (ieo. .Allen, 5s. Also, with preface bv Prof, Charles El''jt Norton. N. Y., Maynard, Merrill & Co., il^i.50. First published in 1857, and somewhat altered in the second edition ; begins with an attempt to take the youth who has never held pencil or pen in hand, and give him the first lessons. After seven or eight lessons the work passes into general advice and exhortation. It can all be read with great interest and with much profit: it must be remembered that there is always something to be said in favor of the system of drawing with minute attention to detail and close study of the minor forms of nature, although that is not the system most generally in use among artists who are teachers. Compare C. H. Moore's booK mentioned in this list. 740 Araira Pentei.ici ; Six Lectures on the Ele- ments of Sculpture. With illustrations, xii, 207 p. Lond., Geo. Allen, Keston, 1872, 7s. bd. .•Xlso, with preface by Charles Eliot Nortim, illustrated by 20 autotypes and one engraving. N. Y.,' Mavnard, Merrill iS: Co., $2.75. The later works of this author, such .as the present one, dating from his fifty-first year, show a larger sense of the artistic side of art and of tne need in art of some- . 34 Painting and Sculpture. 't- W-l F..~i- thine more than faithful study of nature than his earlier work. They are not on that account more useful to the student. That more critical view of art appears only in detached sentences and the ffcncral tendency is, more strongly than ever, towards mysticism and a poetical treatment of the author's conception of what art might be but never yet has been. 730 TiiK Relatmn Hktwken' Michael AN<;Ei.n AM) TiMOKEi. Lciritl., Geo. Allen, is. The seventh of the course of lectures on sculpture, oi which six arc included in " AratraPentelici." First issued in 1872. 759.5 Ariadne Florentlna; Six Lectures on Wood and Metal En>;ravin(;. lUus. Lond., Geo. Allen, 1876, 7s. Od. Also, with preface by Prof. Charles Eliot Norton. N. Y., Mav- nard, Merrill & Co., $2.75. Ilie reader will understand that this is not a guide to the collector or student of old prints. It is an imagi- native appeal in favor of certain supposed meanings found by the author in prints which he loves. It is a fascinating pursuit to read into works of art meanings which they can be made to contain, but it is better art criticism, and on the whole more instructive, to try hard to ascertain what was the artist's meaning. As regards the archaeological study of the art of engrav- ing, Mr. Ruskin has never given thought to such study, hence his statement of facts is generally open to objec- tior T'eo Val d'Arno ; Ten Lectures on the Tuscan Art directly antecedent to the Florentine Year of Victories. With 12 jjlates. Lond., Geo. Allen, 1.S74, 230 p., 7s. fid. Also, with preface bv I'rof. Charles Eliot Norton. N. Y., Maynafd, Merrill & Co., $2.75. 759.5 The Laws of Fesole: A Familiar Treatise on the Elementary Principles and Practice of Drawing and Painting, as determined by the Tuscan Masters. Arranged for the use of schools. With plates drawn bv the au- thor. Lond., Geo. Allen, 1878, 8s' 707 Mornings in Florence ; Being Simple Stud- ies of Christian Art for English Travellers. 1, Santa Cnjce. "2, The Golden (>ate. 3, Before the S(jldan. 4, The Vaulted Hook. 5, The Strait Gate. 6, The .Shepherd's Tower. Lond., Geo. Allen, 1875, 4s. The conviction expressed repeatedly in these notes that Ruskin is not a good guirle for beginners in the study of art, requires to be urged with especial force in the matter of these guide-books, intended for the use of travellersin Churches and Galleries of Europe. Hisown and others' experience, continued througfi many sea- sons, would alone serve to convince the present writer that the untrained student in ancient art is seriously misled and his time wasted when any attempt is made to visit and study paintings with these books in hand. After one has become familiar with the pictures, these books may be useful as suggesting an ideal of art which is certainly not the artist s view, but may still be de- fended by those who seek in pictures something which is not their pictorial quality. Compare what is said of t'le Supplement of ' 'St, Mark's Rest " below. 704 St. Mark's Rest: The History of Venice, written for the help of the few travellers who still care for her monuments. Two parts and a "first" supplement. Lond., Geo. Allen, 1877, 5s. The remarks on the Carpaccio pictures in the little Church of S. Giorgio del Schiavoni offer the best in- stance possible of a minute examination into the sup- posed esoteric meaning of a painting without reference toitsarti tic qualities. The artistic merit of the Car- paccio pictures is never exceedingly high : for an artist of his time he is not a great master and these pictures are by no means specimens of his best work. The pict- ures of the history of St. Ursula in the Academy art probably superior as works of art, but these and tne S. Giorgio pictures alike, are to be looked upon as illus- trations on a large scale rather than works of art in a high sense. The student would be greatly misled who caught Mr. Ruskin's enthusiasm and who accepted these pictures as in some way models of tine painting. 045.3 (ifiDE TO THE Principal 1'icti'res in the Academy ok Fine Arts at Venice. Lond., Allen, IS. 708.6 SriDiES IN lioTii Arts : Being Ten Subjects Drawn and Described. Lond., Geo. Allen. N. Y., Scribner, $8.50. The value of this book lies in the . cproductions of ten elaborate drawings by Ruskin. It may be safely assumed that the colored plates preserve much of the quality of the originals, as indeed the preface written by an assistant of the author expressly states. The plates in one color are not difficult to make entirely trustworthy by means of modern processes. The text, consisting of detached passages and bits of description, cannot be said to have any independent value. The cover announced as from a design by Burne-Jones, is a curious instance of ornament completely misapplied and ineffective. 707 Saunier, Charles. Ai'c.isTiN Dm'KE, Orfevre, MCdaillei-r et cravecr oknekai. dks Monnaies. Paris, Soci6t6 de Propagation des Livres d'Art, 1894. Nf) price published. An excellent monograph on the work of an artist, not indeed of the first rank, but important in his line. The book is included in this list because this art of die- sinking, although a singularly important branch of sculpture and highly developed in modern France, is little regarded in the English-speaking world. The book in question is inexpensive and easy of access and contains very good illustrations, photographic and other. 730 Scott, Leader. Scii.niRE, Renaissance and Modern. (Art Handbook Series.) N. Y., Scribner, $2. A good cyclopaedic .iccount: many names of sculp- tors and their works, and much brief analysis of their work are given ; the material is well arranged and the book is very readable in spite of its compactness. Many remarks on outlying subjects are questionable, as when the Moors are called " finest architects," and where Delia Robbia wo'k is denied the name of sculpt- ure, and where Vischer's shrine at Nuremberg is called " late Gothic, almost Romanesque." In short, this, bke most of these hastily written English books, is in a general way trustworthy, but rather as a compilation than as a book by a competent critic. 735 Fka BARTOLf)MMEo : Andrea Del Sarto. (G.A.S.) Lond.. i87(). N. Y., Scribner, $1.25. A sympathetic and careful biographical study of two painters ; admirable artists, though of the second rank. Other painters with whom these two were associated, each in his turn, are mentioned, and their relations to the chief subjects cleverly pointed out. The whole forms an interesting and valuable chapter oi the history of the Renaissance, or rather two chapters, one dealing with the later years of the XV. century and the other with the earlier years of the XVL 750.5 Scott, William Bell. PicruKKs liY Veneiian Painters. Lond., Routledge, 1S75, Out of print. 759.5 Picti'res iiY Italian Masters. Lond.. Rout- ledge, 1876. Out of print. See what is said of this author under other titles. Except for certain oddities of appreciation, Scott was a good critic of painting as well as of the decorative arts. 759.5 Albert DOrer : His Life and Works ; Au- tobiographical Papers and Complete Cata- logue. Lond., Lvingmans, i86y. Out of print. The account of the life and works of DUrei occupies only 193 small pages of large print. It is a vigorous ancf sympathetic biography ol a great artist, who was also a worthy man and who lived a somewhat eventful Piu'ntiiii^ and Sculpture. 35 accepted paintini;. 945.3 IN TIIK Lond., 708.6 .I.El'R KT I'aris. es (I'Art, Lond., 769.5 , Rout- lifc. It includes long extracts from the journal which nUrer kept during his jimrney to the Netherlands ; 125 pages are occupied with catalogues of his paintings, drawings, and engravings on copper and on wood. For the general reader, not specially occupied with German art or with print collecting, this is the best life of DUrer. 70O The LiTTi.i; Masters. (G.A.S.) l.ond., Low, 1879, 3s. f)d. N. Y., Scribncr, $1.25. See what is said of this writer under his " Life of Albert Diirer," and elsewhere In this list. The sym- pathy he feels for the greater artists he shows for the minor ones as well. The "Little Masters" are so called partly because of the very small scale on which they worked, producing little prints two or three inches in either dimension. They are Altdorfer, H. S. Beham, Barthel Beham, Al- degrever, Pencz, Binck, and Brosamer. Of these Bar- thel Beham is the author of that astonishing print, the fiortrait of the Emperor Charles V., probably the finest ine engraving in the world (compare Haden's "Notes on Etching '') and of the almost ei)ually fine portrait of Ferdinand, King of the Romans; these are compositions of less unusual dimensions; but in general the works of this master also are very small indeed In like manner Aldegrever produced several large prints, one of them, tiie portrait of John of Leyden, an astonishing master- piece, is reproduced in this book. 760 Sensier, Alfred. La Vie KT l'CEi'vke DE J. F. Millet. Paris, Quantin, iSSi, 50 fr. Sensier was a friend of Millet's; after the death of both the friends, Sensier's manuscript was published by Paul Mantz. A good part of the text of this book has been published in English by The Macmillan Co , for which the reader is referred to the book named under Cartwright. The original work, however, must always be of especial interest to lovers of the refined and essen ■ tially sympathetic art of Millet The volume is a per- fect picture gallery of his work, as it contains twelve large plates and fifty minor illustrations, all of excellent quality. 759.4 Sharp, William. Dante Gahriei, Rossetti ■ a Record and a Study. N- Y.. Macmillan, 1882. Out of print. The most nearly satisfactory life of the poet and painter ; contains also the best general account of the pre-Raphaelite movement Compare the book by Esther Wood and the Portfolio Monograph by F. G. Stephens. 759.2 Shedd, Julia A. Famois Painters and Paintings. 4th cd., revised and enlarged. Host., Houghton, i8()C), $2. Purports only to be a series of brief biographical sketches of about 200 paintersof all epochs, from Ciiotto to Ingres, but it will be found to contain very sensible discussion of the merits and peculiarities of these men and the circumstances of their times. A popular book, but a good one. 750 Famous Srn.rTORs and Sci;lptitre. New ed., revised and enlarged. Illus. Host., Houghton. iS(/), §2. See what is said of this author's work on " Painters and Painting." The present work is a companion vol- ume. 730 Signorelli, Luca. Sec Vischer, L. Smith, F. Hopkinson. American Ilhstrators. Illus.. in 5 parts. N. Y., Scribner, 1892, $15. Contains colored as well as black and white pictures, most of them of merit. The illustrators whose work is treated ol are twenty or more in number, including E. A. Abbey, Howard Pyle, A. B. Frost, Fred. Rem- ington, Will H. Low, Winslow Homer, Kenyon Cox, Elihu Veddcr, and the author himself. Mr. Elbridge Kingsley, the wood-engraver, is also represented by a print from a block engraved direct from nature Those who have not followed the development of American book-illustration may be surprised at the amount and variety of the work recorded here. Compare what is said under Morin's " French Illustrators. " 655.53 Spielman, M. H. HisTDRY fiE PiDuh. Lond., Cassell, i8<)?, lf)S. The journal, Punchy now in its fifty-sixth year of publication, contains the larger part of the work of several great -irtists in black and white, and of several minor ones, who are also admirable designers. They include Charles Keene, one of the most original artists of the century ; John Leach, the possessor of great and very unusual gifts; Lindley Sambourne, a arau(>hts- man who has developed by himself a wholly unique system of pen drawing, and whose powers of grotesque and allusive designs are unmatched ; I)u Maurier, the well-known portrayer of refined society and its gro- tesque side ; Richard Doyle, the greatest caricaturist there ever was who could not draw the figure, as this writer has said elsewhere. This book treats these artists and their work in a very judicious and critical manner ; while it has too much praise for the compara- tively unimportant work of Sir John Tenniel, and can- not, of course, be expected to do justice to the few total failures among Puncl^s artists, yet the pages from 409 to 558 may be taken together as an admirable and most suggestive treatise on the illustrative art in black and white of the last fifty years in England. 741 Posters, and Poster Designinc. in Eng- land, in "The Modern Poster." N. Y., Scribner. 1895. The attempts m England to make posteis artistic date back nearly thirty years, although they were not followed up very steadily. The present tendency is rather towards the Parisian style, although the one by " Weirdsley Daubrey," as well as those it imitates, cou'd only have been produced in England. The illustra- tions, like those of the other three articles in this book, are of great interest and beauty. 740 Stendhal, De (Henri Beyle). Histoire de la Peinture en Italie. Paris, Levy frferes, 1853, 3 fr. An account of Italian painting from the standpoint of a sagacious and enlightened siudent of the early part of the century. The works of Rio, Lanzi, and Lord Lindsay are to be compared with this ; although De Stendhal docs not undertake the same minute examina- tion into individual works of art, his study ot painting IS not the less useful. 759.5 Stephens, F. O. Dante Gahriel Rossetti. Portfolio Mono- graph. May. 1S94. Lond., Seeley \ Co. N. Y.. Mactnillan, 75 c. Perhaps the most adequate treatise on the artist and poet which exists. It is certainly the most richly illus- trated, and the illustrations are expressive of Rossetti's qualities as a painter beyond what could be expected in such a case. It appears, too, that there has been re- markable success in bringinij; together types of the dif- ferent styles of Rossetti's painting and drawing. 759.2 Stevens, Alfred. .SVr Armstrong, W. Stevenson, R. A. M. The Art OK Velasquez. Illus. Lond., Geo, Bell iS: Sons. N. Y., Macmillan, 1S95. ?iS. A small book made large by large type and broad margins. It is a treatise on the painter's art from the point of view of one who thoroughly understands how abstract a thing that art is, how much a matter of con- vention, and how completely the i)aintcr speaks a Ian guage which is not that of literature. Velasquez is taken as the great type of all true painters. This valu- able essay might be and should be published also in a small, inexpensive volume, but such a volume could not contain the 20 tine photogravures nor the 43 lull-page half-tone illustrations which make this a museum ot Velasquez's works. 759 6 Stranahan, Mrs. C, H. History ok French Painting from Its Earliest to Irs Latest Practice, includ- ing an account of the F"rench Ac.;deniy and its Schools of Instruction. Illus. N. Y., Scribner, $3.50. As the French schools of painting have been for a century and a halt the most important body ot graphic >>.<'t;' 'H- :' 36 Painting and Sculpture. m Li-i>! f^\>< art in Europe, steadily growing in an orderly sequence, this book, which relates the external history of this growth and appreciates and qualities it very justly, is important to all students. There are errors, but the work IS surprisingly accurate in the main, and is full in detail. It incluoes a careful history of the French Government's influence and control of the Fine Arts. See also " Meissonier and the Salon Julien " in George Moore's " Impressions and Opinions " in this list. 759.4 Stuart, Oilbert. See Mason, G. C. Sturgis, Russell. Articles i\ Johnson's Univkrsai. Cyci.o- I'.-EDiA. Ed. 1893-5. Chiaroscuro — Drawing — Engraving — Ilm'stra- TION — ImFRESSIONISM — LiTHOGRAPHV — PAINTING — ScLLPTURE — Wood-Carving— Wood-Engraving. See also some of the biographies of artists in the same Cyclopaedia. See also Part I. of this list. STveetser, M. F. Artist Bkx-.kaimiies. New ed., with illus. Bost., HouRhtun, i8(/), 7 v., $8.75. Sold only in sets. Lives of Raphael, Leonardo, Angelo, Titian, Claude, Reynolds, Turner, Landseer, Durer, Rembrandt, Van Dyck, Angelico, Murillo, and Alston. Rather popular in treatment. The latest information seems to have been used in preparing these biographies. 700 Thausing, Moritz. DOrer Gesciiichte seines Lehens UNO seiner Ki'NST. Leipzig, E. A. Seeman, 1876, 30 marks. Probably the standard work on Albert DUrer, and should be translated into English. The illustrations are valuable but not very numerous. It would be easy to make an English edition much fuller in this respect. Compare the work by W. B. Scott. 7OO Thirion, H. Les Adam et CLoniON. Paris, Quantiii, 18S5, 50 fr. Devoted to artists of the XVIII. centurv who are little known outside of France, except as a few terra- cotta groups are shown in collections, or in sales, under the name of Clodion. The fine art of this late period, commonly spoken of as Art of the Decline, or as Ro- coco, or Baroque, is commonly disregaided as lack- ing in purpose and even in good taste. The student of art must learn to disregard these common ascriptions and find out for himself what good there is in art not generally esteemed. The illustrations are numerous, and are almost enough in themselves to supply the in- formation needed. 735 Thomson, D. O. Corot. The Rardizon School ok Painters. With 50 illus. Lond., Simpkin, 1892, 15s. Chiefly valuable for its illustrations. Corot 's work when given without color is, of course, representative of only a part of his peculiar genius. Photographs from nis paintings are^ however, valuable, much as his own etchings are. They represent better, perhaps, than any other portable and easily accessible pictures, the modern school of painting which nearly ignores subject in the sense of portraits of particular scenes— the school which has lea into Impressionism. 759.4 Thombury, Walter. Life ok J. M. W. Turner. N. Y., Holt, 1877, $2. Needed in connection with Hamerton's more sym- pathetic and critical life, because of its tabular refer- ence to the work of the artist. 759.2 Tintoretto. See Osier, W. R. Titian. See Sweetser, M. F. Turner, J. M. W. .SV<' Hamerton, P. G. ; Sweet- ser, M. F. ; and Thombury, W. Upcott, L. 13. Introduction to Greek Sci'i.rTt'RE. N. Y., Macmillan, 1887, Si. 10. One of several books which have been published as companions to a small museum of casts, or a collection of photographs. Valuable in itself as a rather full ac- count of a few important sculptures, pictures of which occur in many books. If it were desired to get a few casts or photographs, they might well be purchased ac- cording to the list given, p. g-ia. 733 Vachon, Marias. jAC(.)rES Callot. (L.A.C.) Paris, Librairie de I'Art, 1886, 6 fr. Callot was an etcher and engraver of the early years of the XVII. century; his work, though by no means of the highest .ank, should yet be studied by every one interested in aiL which speaks strongly of its epoch. Nothing can exceed the frankness and uncompromising truth ofthe artist's intentions; he is absolutely fearless and unreserved whether he is describing a scene of war- like violence and outrage, or a peaceful scene in old Pans, or is engaged in representing 'he costumes of his time. Illustrations well reproduced from the originals. 760 Van Dyck, A. See Guiffrey, J.; Michiels, A.; (:«(/ Sweetser, \L F Van Dyke, John O. Art kor Art's Sake. Seven University Lect- ures on the Technical Beauties of Painting. Illus. N. Y., Scribner, §1.50. Of much value, because it explains in very simple language and in detail how a painter conceives a pict- ure and goes to work at it, and how he looks at the pictures which he and other artists have produced. Should be read with -arc as if a text-book of the painter's trade. 750 How to Jciice a Picture : Familiar Talks in the Gallery with Uncritical Lovers of Art. N. Y., Hunt \ Mains, 60 c. A manual containing useful hints, but nothing that IS not better given in "Art for Art's Sake." Its general tendency is to be approved. 750^ History ok Paintinc. N. Y., Longmans, 1895, $1.50. One of a series of three volumes (see Hamlin, and Marquand and Frothingham). This work divers the range of European art and what preceded it, from Per- sian enamel, tile, and Egyptian wall painting, to the American work of to-day. Each chapter is preceded by a bibliography concerning the period, followed by a list of the important works of art of the same period. The general bibliography before the Introduction is in- comiilete, and contains some works which are not trust- worthy. 750 Velasquez. Lefort, P. R. A. M. :v Armstrong, \V.; Jusii, K.; Michel, Emil; and Stevenson, Vernet, Horace. See Rees, J, Ruutz. Veron, Eugene. Euc.enk Delacroix. (L.A.C.) Paris, Li- brairie de I'Art, 18S7, 8 fr. Eugene Delacroix was the celebrated leader ofthe so- called romantic movement in France under Louis Phi- lippe. For men of our time his fame depends chiefiy upon his work as a colorist ; it cannot be said that his gift in this way is adequately treated in the book before us. That, however, is a most difficult and unusual thing to find in any art criticism. This book gives a good biography of the man and description of his work, with many useful illustrations, 759.4 Viollet-le-Duc, E. E. Hisi'oiRE d'un Dessinatei'R. Transl. as Learninc. to Draw ; or, The Story of a YouNc; Desic.ner. N. Y., Putnam, $2. Under the form of a biography of a young man of natural good ability as a draughtsman and designer. N. Y., Painting and Sculpture. 17 but not of ureal Kcnius, the rinht way of studying art practically is considered, and iruch wise suggestive ad- vice given. 740 Vischer, L. LrcA SKiNnRKi.i.i fNii DiK Itai.ianisciik Rk- NAissANCK. Lcipsic, Veil & Comp, 1S79, 10 marks. The part of Luca Signnrelli in the Italian Renais- sance is inadequately stated in most works on the sub- ject ; on that account this book is peculiarly important to students. 1 f, however, the large work of .MUntz is at hand this special work is nut so indispensable 759.5 Vosmaer, O. Rkmiikandt, sa Vie et ses CEi'vres. La Ilayc, Martinus Nyhoff, 1^77, 10 florins. The first work in which Rembrandt was given a per- sonality which could be understood. Mr. VVismaer nad made fruitful researches which resulted in identifying Rembrandt with his native city, and with recording the chief events of his life in a way not before possible. Much of this narrative is valuable to the student as showing how Rembrandt was regarded during his life and his position in relation to his contemporaries. See Mollett, J. W., for a small book based upon this. 759.9 Waldstein, Charles. CAiAi.odrE OK Casts in the Museum of Clas- sical Arch.'coloKy of the Fitzwilliam Mu- seum, Cambridj.;e, England. Lund., Mac- millan, i88y, is. 6(1. A smaller book of the same general character as that of Mr. I'pcott. It would be useful in connection with that, or without it. 730 Walker, Frederick. Phillips, C. Watteau, Antoine. Sec Phillips, C. Wauters, A. J. Peimtre Flamandf.. (B.E.R.A.) Paris, yuantin, 5 fr. Transl. by Mrs. H. Rossel as The Flemish School of Painti.nc;. N. Y., Cassell, 18S5, $2. The English translation is out of print. Like all the books of this series, the French original is valuable. 759.9 Wedmore, Frederick. ErcHiNC. IN" Enc.i.a.M) ; with 50 illus. Lund., Geo. Hell & Sons. N. Y., Macniillan, iS(_)5, $3.50. Treats the art of etching as it has existed in England during the present century, in brief notices of its differ- ent masters, such as Turner, Wilkie Geddes, Palmer, Haden, Whistler, Legros, and others. The reproduc- tions are not all of equal excellence, and some are de- fective. Useful for reference. 767 Willard, Ashton R. Sketch of the Life and Work of the Painter DomenicoMorelli. Host. .Hough- ton, i8(j5. Si. 25. Valuable as a monograph on an artist little known in America and as a contribution to the history of the contemporary art of Italy. Even if Morelli is not so important a painter as the author of this book takes him to be, this would be a valuable treatise and one full of instruction as to modern art. There are eight chctograuhic illustrations from Morelli's works. 759.5 Willshire, William Hv.ghes. Introdi'ction to the Sti'dy Asn Collec- tion OF Ancient Prints. Lond., Ellis & White, 1877, 2 V. Out of print. There are curious omissions from this work, but it is in spite of them the best book there is for the beginner in the study or purchase of old prints. It is not ol un- reasonable cost. 760 Wilson, O. Heath. Article Fresco, 9th ed. Encyclopredia Hritannica, Woltmann, Alfred, and Woermann, Karl. History of Paintinc. Vol. L, Ancient, Early Christian, and Media'val Paintings ; edited bv Sidney Colvin. N. Y., Dodd, Mead & Co. Wi'th Vol. IL, I20 ; Students' Edition, S7.50. The nrst part of a general history of painting, the best at present accessible in English. It has been condensed from the German original ; there are many illustrations, and the book is certainly useful, how- ever much it laciv in picturesqueness 01 narrative and originality of insight. 759 Vol. IL, The Painting of the Renascencf.. Transl. by Clara Hell. N. Y., Dodd, Mead & Co. With Vol. L, $20; Students' Edi- tion, $7.50. The second part of the work named last above. This v.olume contains a great many illustrations, not of great excellence or beauty in themselves, but of well-chosen subjects and useful for reference. It is, perhaps, the best history of Renaissance painting in the English language. There is an index to this and the preceding parts, but this is not sufficiently complete to make their contents easily accessible. 759 Wood, Esther. Dante Rossetti, and the Pre-Raphaelite Movement. $3- Illus, N. Y., Scribner, 1S94, An accountof pre-Raphaelitism, " more as an ethical than an a;sthetic revolution," as the preface states. There are eight photographic illustrations on a small scale, but important. Compare what is said of Sharp's 'Life of Rossetti" and Stephen's "Portfolio Mono- graph." 759.2 Wood, H. Trueman. Modern Methods of Illi-stratint, Rooks. N. Y., A. C. Armstrong & Son, 18S7, Si. 25. A handbook of the many photographic and other processes lately introduced. Compare the " Illustra- tion of Books" by Mr. Pennell. 655.53 Yriarte, Charles. Paul Veronese. (L.A.C.) de I'Arl, 1S88, fr. 6.50. Paris, Librairie While waiting for an adequate book on this giant of painting the present little monograph will serve our turn very well. The author is well known for his large monographs on Rimini, Florence, and Venice, and other books on artistic subjects. This book contains a great many illustrations, some of them useful outlines of the large compositions of Veronese. 759. 5' I i PART III. ARCHITECTURK AND LANDSCAPE GARDENING, I'RF.I.IMINAKY NOTK. Although Architecture is ii Decorative Art, and should logically be put under that head ■(see Pyifiitory Xotc), it is more convenient to treat it separately, esjjecially because of the enormous number and importance of the books in many languages which are devoted to archi- tecture alone. Of these liooks but a small number are in English, either in their original form or in translation ; and of the books which arc in English only a very few, and those not often valuable, are of moderate cost. The Fine Art of Architecture has a curious history. From the earliest historical times to the XV. century there was a general tendency for styles to develop naturally and spontaneously one out of another. One style would perhaps disappear in a time of conquest and in the ruin of the civilization wliich had created it ; then the conquerors, perhaps after a long time of little artistic production, would evolve a new style. Occasional attempts were made to re- vive a style of former times, but these were never of much importance. In the XV. cen- tury, however, a deliberate attempt was made in Italy to return to the style of the Roman Empire ; that is, to the system of architectural decoration seen in the ruined buildings of about the years 50 to 350 a. D.. found in Italy and in ' other countries rmation a))(;ut archi- tecture, but it is to be observed that their writers have generally no experience either in building or in designing buildings. Architecture is so complex an art that positive and peremptory opinions ai)out it should be mistrusted, from whatever source they come. Nearly all great excellences in the art bring their errors and faults with them ; more than the fine arts proper, architecture is a series of compromises, and the lust has to be given up very often for the second best. The attention of students is called to the Avery Architectural Library at Columbia University, New York. Mr. Samuel P. Avery and his wife have founded this library as a memorial to their son, Henry O. Avery, an architect, who died in 1S90. More than fifty thousand dollars have already been given to this foundation, expended in books and periodicals on architecture and (lecoralive art. The choice of books has been careful. The library is accessible to all |)ersons, both i)y day and in the evening, except on Sun- days. For catalogue see under Avery. Academy Architecture: An Annual Architect- ural Review, published by "Academy Ar- chitecture," Lond., 18S9 and subsequent years. N. Y., Scribner, §2 each. Each annual issue of this book forms a small quarto, Published at a low price and containing half-tone and line-cut pictures of architectural drawlntrs shown in the annual exhibitions of London, Edinburi^h, and Glas- gow ; together with plates of buildlnus and details which have been actually carried out. It is not to be supposed that all or half of the designs here itiven are really meritorious, but the selection is remarkably good, and any library may be the better for such an annual gathering of the better class of modern architectural designs. 720.5 Adamy, Rudolf. ARCEHTKKTdMK AI'K HISTORISCIIER r.M) .KS- IIIKIISLHER Grindlage. Hannover, Hel- wing, iSS3-{. N. Y., Macmillan, 1893,12. A very good account of the origin and growth of the great styles of Western Europe, from 1150 to 1500, with useful illustrations. It 1:* the work of a very competent •nan, and should be studicij with care. 723.5' L'Arciittecture Romane. (H.E.H..A.) Paris, guantin, 18SS, 5 fr. This excellent little book should be studied in con- nection with the same author's " Gothic Architecture," which is, of course, its sequel. It is to be hoped that this book on " Romanesque Architecture " will also be translated. 723.4 Descrii'iion I)E i.'AnnAYE Mont Saint-Mi- chel El' i>E SES AiioRDs, prec6d6e d'une notice histori(|ue. Paris, Uumoulin, 1S77, 9fr. Mont Saint-Michel is a little town built around a mon- astery and surrounded by fortified walls of the Middle Ages. The site which it occupies is a high pyramidal rock, an island at high tide. The buildings of the con- vent are crowned by a large church, the walls and many of the private buildings are unaltered work of the Middle Ages. It is a gem of beauty and interest. Mr. Corroyer has made a most valuable monograph of it, illustrated by 130 figures, of which some are large folding plates. No book contains a stronger impression of Romanesque and Gothic architecture as they were to those who built and used the structures. 723.44 Daniell, A. B. London City Cmcrches. Illus. N. Y., Scribncr, i8(/), $2.25. The greater number of the churches mentioned in this book are the work of Sir Christopher Wren ; they are of considerable value in the history of architecture. They are admitted to be excellent specimens of the later revived classic style inspired in the mam by the works of J'alladio at vicenza and elsewhere in Italy. This style lacks meaning, variety, and warmth, but it is now much in fashion among architects ; these Enjf- lish buildings are good e.iampTes of its employment in small and inexpensive structures. The book is very in- teresting and useful as a guide-book to buildings which are not visited as much as they should be. 724 De Forest, Lockwood. Indian Domestic ARCHiTECTrRE. N. Y,, Lockwood De Forest, 7 E. loth St., $2. Devoted exclusively to the dwellings of northern In- dia, and contains only twenty-five photographs, which, however, are well selected as to subject, and adequate in themselves. Mr. De Forest is an artist who has de- voted much attention to the perpetuation of Indian wood-carving, and to design calculated \o embody sucb j..:o .1 'V ! i ■ ■(; m 4° Aichitectutt- and Landscape Gardening:;, hi i carvinjj. made in India for the purpose. The adver- tising papes at the end of the book arc surrounded by curious borders, arranged by Mr. l)e Forest himself in the Indian taste. 722.4 De L*Orme, P. Sec Vachon, M. JDurm, Josef. DiK Haikinst dk.r Grif.ciikn (Tiik ARciri- •|K( TIKF, <>i' nil'. Grkk.ks). 2(1 c(l. Darm- stadt. Arnold HerKstracsser, 1S92, 20 marks. Thi ) is one volume of the crcat work entitled " Hand- buch dcr Architektur," and of its second part, whose general title is " Die Bauslile." Each volume is to be had Beparately. It is greatly to be desired that these volumes, of the sccona part at least, should be trans- lated into English by competent persons, f )r no his- t )rical works on architecture, for the periods covered by them, arc obtainable. They are very fully illus- trated, the volume before Ui containing 260 nijurcs ; the buildings are treated from the different points of view of construction, decorative style, and utilitarian purpose. It IS believed that the volumes will be kept up to date by means of new editions; at least in the case of the book under consideration, the first edition was issued in 1881, and eleven years later the present edition came out with very important changes, made necessary by the advance in archaeological research, and with additions in thewavof tables, and the like. In each volume there is a bibliography ; not complete, indeed, but including the more important works which the student should have within his reach •. in the pres- ent volume this bibliography is in two parts, on pages 2 and 365, the first part referring to the history of archi- tecture in general, and the second lo that o( the Greeks, especially. Persons to whom the German language is not per- fectly familiar will find this text much less difficult than that of some other works on the same subject 722.8 DiK lUrKrNST dk.r Etruskf.r (Tiif, Arciii- TKCTl-RK OF TIIK EiRl'SCAN'S) : DlF. HaT- KUNSl'DKR RoEMKR (TlIK ArCIIITKC TIRK OF TIIK Romans). Darmstadt, Ucrj^straesser, 1SS5, 20 marks. For the character of the series to which this book belongs, see the same author's work on the " Archi- tecture of the Greeks " Only a few pages are given to Etruscan art ; it is to be remembered that we know little ot it, and that little of minor importance to the student of other and succeeding styles. Compare the works of Martha and Dennis. As to the "Architecture of the Romans," this sub- ject has been very little studied in comparison with the more thorough work given to the smaller and less elaborate subject of Greek architecture ; the ■2^o pages devoted to it in this volume are wholly inadequate to the treatment of so vast a record. At the same iime, no better book exists, and probably none so good. 722.6 EasUake, .SV;- Charles L. History ok tiik Gothic Revival. Lond., Longmans, 1S72. Out of print. Gothic architecture has never wholly died out in England, even in the time of the most decided classical tendencies: as early as 1840 there was a vigorous at- tempt made to restore it to complete control of all building in England. This did not succeed, of course, and it may be said that the Gothic revival has failed because it has not resulted in the development o) a natural style, developing itself along the natural lines, but only a more or less archiological reshaping of ancient types. As, however, the architecture most in favor and having the strongest theoretical base, be- tween 1850 and 1870, is thoroughly treated in this book, it is well worthy of study. No more deliberate at- tempt has ever been made to restore an ancient art, and the conditions which surround it, than this Eng- lish attempt, which had excellent and vigorous work- men at its head, and a religious, national, and archaeo- logical basis. 723«5 Enlart, C. Orioinks Fran^aisi^s I)k i.'Architf.cturk GoTHiQUE EN Italik. Paris. Thorin & Fils, 1S94, 20 fr. This work is the result of new discoveries, in part original with the author, as to the first appearance of Gothic architecture in Italy, and the Northern in- fluences which caused it to appear. It contain) 34 photographic plates and 131 other illustrations, and i • a most interesting account of a class of buildings Ijttia known or visited. It is a medium-sued octavo, of moderate cost. 723.5 Essenwein, P ugust von. DiK Ai's(;.\n(;e i>er ci.AssisfTiKN H.viKfNsr (Tiik Graihai, Disai'Pk.xrance of Classi- cal Archhecti'ke, as in the Cliristian Church-building which rcplacccl it): Die I'oRISETZrNC, HER CLASSISCIIEN liAlKINSl' IM OSIRuMLSCIIEN ReICTIE (TiIE C.^RRVINC, ON OF Classical .Arcihtectike in the K.vstern Empire, the Hyzantine Architect- ure considered as a natural developiiienl (if the Classical Roman). Darmstadt, Uerg- straesser, marks 12.60. This volume is as good in its way as the volumes of the same Handbuch Series which are prepared by I)r Durm, th( ugh it is somewhat less uniijue 11 its excel- lence, as treating on a subject which has been more carefully studiecT m proportion to its magnitude. If considered as part of a general history of architecture in Europe, this would be the third volume, following the two by Dr. Durm. 723.1 Die romanisciie ind die c.otiiisciie V>.\v- KiNsr- I. Die Kriecshaikinsi' (Rom.w- ES(.ifKANi) Gothic AKciiiiEcrrRE: i. Mili- tary Urii.DiNc). With ne.xl title, in I V(.l., Dannstadt. Hergstraesser, lO marks. See what is said ol the scries under Durm above. The subject of mediaeval architecture begins with this volume, which is devoted to the fortresses, the strong castles, the border-towers, the fortified churches, and the city-walls ot the Middle Ages. 723 Die romanisciie vnii die cotiiisciie Hac- KfNsr ; 2. Der Wohnhai; (Ro.manesc.ue AND Gothic ARciiiTECTfRK : 2. Domkstic HriLDiNc). With next preceding title, in I vol., Darmstadt, Hcrgstraesscr, 16 marks. See what is said of the series under Durm above The present book may be considered the second volume of medixval architecture Mediieval church building is not yet covered by any volume ot this series ; and this is the more to be re- gretted, becauselhe whole development of Romanesque architecture in us later ages, and of Gothic architect- ure, was in the churches AV\A their construction As this has not been recognized in the preparation of the firesenc series, and the derived and secondary buildings lave been allowed to take precedence of their originals, artistically speaking, it can hardly be hoped that the Middle Ages as a whole will be as well treated in this series of works as are the classical, Byzantine, and Moslem styles. As separate essays, well and abun- dantly Illustrated, they are of great value. 723 Fergusson, James. A History of Architf.ctt'Re in all Coln- ■TRIES, FRfiM THE EARLIEST TiME 'TO THE Present Day. In 5 vols. 3d edition. Edited by R. P. Spiers. Lond.. Murray, iS(j3. f)3s. An earlier edition is published in 2 v., N. Y., Dodd, Mead & Co, $7.50. (This firm an- nounces for the near future a reprint of the latest revised editi(jn.) These two volumes form the history proper, treating the architecture ol European peoples and its origin in VVestern Asia and Egypt, and coming down to the time of the Renaissance. It is important to procure this latest edition. Many serious snortcomings and errors of the original work are supplied and corrected in it. It IS the only architectural history ot any value in Eng- lish, and so it is named here in spite of its considerable cost, and of the uncritital character ot the original work. Mr. Fergusson was not a builder or designer, and much of his book was written, in the first place, without personal knowledge of the buildings discussed and before the day ol abundant photographs. 720.0 History of the Modern Styles of Archi- tecture, 3d edition. Revised by Robert Archilectine ami Landscape (larJeniii^;. 4» Kerr. I.ond., Murray, iS Eastkkn .Akciiitkci- IKK. Lond., Murray, 31s. dd. N. Y,, Dixid, Mead & Co., $10. This volume completes the seric^^. It contains the only consecutive account in En>;lisli of the styles of Intiia. The account of architecture in China, Japan, etc., is very inferior and slight. 720.0 Fletcher, Banister, nihl Fletcher, Banister F. History (IK ARriiiTKCTrKK fok tiik .Siidkni', Craftsman. am> Amatkir ; bciiiij a Com- parative View of the Historical Stylus from the Karlifst Period. Lond.. H. T. liats- ford. X. Y.. Stribner, i8()f), S4.50. The 160 illustrations are remarkably well selected. Most of them are m.idc from photographs by the collo- type process, and these are of d.fferent degrees of clear- ness The text is not attractive for continuous reading, but IS intended for reference, and is devoted to an elaborate comparison of different styles. See the pres- ent writer's review of the book in the An/iitirturni A'ccorc/,\ 6,no.i. 720.0 Ffirster, Ernest. ARCIH'TKCTrUK 111- CiK.RMANV, .SVi' Part I., p. 20. of this bibliography. Franz-Pascha. DiK Haikinst des Islam (The ARCitiTF.CTrRF, iiF IsI.AM./.r. , of the Mohaminedan people). Darmstadt. Hergstraesser. 1S87, 11 marks. See the description of this series under Durm. By- zantine architecture was checked in its growth by the conquests of the Saracens; its only development of later years is to be found in the Mohammedan archi- tecture of Damascus. Cairo. Cordova, Granada, and the Moslem countriesgenerally, Thissubiect istreated in the volume before us, whicfi supplies the fullest gen- eral essay on this architecture that is available. Com- pare Lane-Poole 723.3 Freeman, Edward A. HiSTORKAI. AND ARCIIITKCTfRAT, SkKTCIIF.S. ciiiF.Fi.Y Italian. Lond , Macmillan, 1876, IDS. ()d. Out of print. Interesting papers on ancient cities and their build- ings of great historical value to all students of archi lecture. The author studied architecture all his life, and although wholly out of touch with it .is scieniitic building or as tine art, he saw its value as material tor liistory. • 720.4 SKETCIIF.S FROM TIIK StrilJF.CT AND NeICIIMOR Lands of \'knice. Illus. N'. Y., Mac- millan, iSSi. 82.50. Similar to the above n continuation of it. devoted to the little-known country from Treviso and Udine down the Illyrian coast to Cattaro , and also to Trani, Otranto. and the island of Corfu. 945 Article Normans. Encycloprtdia Hnt.-innica, (jth ed. Valuable points on their .irchiteclure in England and Sicily. Freeman, Edward A., ,111,/ Oardiner, Samuel R. Article En(ilaM). History, Encyclopaedia Britannica, qlh ed. Mr. Freeman made a life-long study of architecture (see his works mentioned above) : this article contains many valuable passages on the topic, as on p. 300, 310, 317, etc. Oailhabaud, Jules. MoNiMENTS anciens et modernes ; collection formant une histoire de I'archiiecture des diffOrents peuplcs i toutes les i-poqiies. Paris, Didot, 1865, 4 v., 336 fr. Wholly out of print, and can only be bought from second-hand catalogues, but no mocfcrn book rej laces it. The first volume deals with rude stone monuments and with classical antiquities ; the second with the early mediajval buildings, etc The artists employed lomake the measurements and drawings were in many cases men who have become very famous since, and much of this 'prentice work was done with religious care and enthusiasm. As a general thing, enough plates are given to each building, or group of buildings, to give a sufficient idea of its cTiariicter, and even of its details. It would be of the highest value li the work could be reproduced with a text revised in the light of mod- ern critical knowledge. 720.0 Oerspach, Edouard. La MosaIoie. (H.E.H.A.) Paris. Quaniin. 5fr. Treats of the art of mosaic as seen in the remains of classical antiquity, of its continued practice during the By/.antine perma, and of its employment in later times. Even the art of the XIX. century is touched upon in a few ludicious words. A chapter on the technicalities of the' manufacture, and one on the proper system of us design, conclude the book. The art of mosaic should be studied by everyone. See what is said below under MUntz. 721.67 Ooodyear, W. H. Oi'TUAi. Refinements in MEni/F.VAi. Arcui- ■TECTfRE. In the Art/iitirtiinil A'lton/, N. Y., Vol. VI., No. I. Also reprinted separately as "Guide to the Exhibition of the Goodyear Collection of Photographs of Italian Architecture and Sculpture, and of the Survey of the Italian Mediajval Build- ings." The author has made a special study of ancient and modern buildings, careful measurements of which have revealed curves in the horizontal or vertical sense in lines generally assumed to be straight. The well- known curvature of the stylobate and the architrave of the Parthenon affords a well-known instance; this •.•■as discovered by "enrose, but Mr Goodyear claims to have discovered very many similar instances, and the present essay deals with those of the early Middle Ages in Italy Mr Goodyear's article named here is the first of a series he is (1896) contributing to the Archi- tectural Record, He purposes to treat the theme in book form. 723 Oriffin, Sir Lepel. FAMOfS MoNfMF.NTS OF CENTRAL INDIA. Lond., Sotheran, £'-, 5s. An oblong folio volume of photographs, which it is to be hoped will prove permanent See what is said under Le Bon ; the book there mentioned is more com- plete but the photographs are smaller and much less beauiifu' m themselves than these. 722.4 Owilt, Joseph. Encycloi'.'Edta of Arciiitecti'rf •. Histori- cal, Theoretical, and Practical. Re- vised by Wvatt Papworth. N. Y.. Long- mans. 18SS, |i7.5o. Has passed through many editions. Attempts to combine in one thick volume a history of the art. the mathematics which the practitioner is supposed to re- quire, some knowledge of statics and mechanics, and many pages of directions as to practice, together with a very full bibliography and a glossary of terms used in architecture, which covers nearly 200 pages. It is. therefore, not without value, and reference to it will far more often be useful than misleading. What it most lacks, perhaps, is delicacy of distinction in the account of architectural styles. As to the practical part, one cannot make himself an architect bv studying a book or many books, but many questions that arise may be answered by referen :e to these pages. 720.3 Hamlin, A. D. F. History of Architecture. N. Y., Long- mans, i8(/), $2. One of the series of "College Histories of Art," of which Van Dyke'- "History of Painting" was the ill ■! tV' IXl. 42 Architecture ami Landicape Gariivniiii:;. P' !:i!}' first. I'rof. Hamlin'fbdiik is intended mainly for study, as m the colli-Kt tlass-rinim, and inucli is made of the lists of '■ miinumcnts " which conclude the chapters. These are surprisingly complete. At the head of each chapter is also a list of books recommended, very ju- diciously made U|i, except that one would like to e.x- etude some books published sixty years or more affo, which cannot be trusted. The text itself is sin(;ularly intellijfent, and indicates a firm (jrasp of the reality rather than of the mere external appearance of things. Harris, Thomas. TiiKKK I'l-.KKiDs OK Fnci.isii A kiiiii r.criKK. I.niid., H. T. Miitsfoid, 7s. fid. This book assumes it as evident that the lifctcsscon- dition of modern architecture reijuires an entirely new beKinnintj in order that any livin^; architecture may arige. Writin;,' for English people, the author advises the adoption of Elizabethan and Tudor architecture and the fjradual developmentof these styles, liy the use of mcxlern materials and appliances, into u modern style. 720.42 Harrison, Frederick. AnNAI.S ok ,\\ Ol.l) M.^NOK-Ilol SK, .SiTTON I'l.ACK, Cini.DKoKii. lllus. N. Y., Macniil- lan, iS(j3, S14. For the study of ancient drmestic architecture, and foraK'>od understanding; of Elizabethan architecture in general, nothing better could be offered than this most interesting book. A part of the text is devoted to family history and the like, but much of it is immediate- ly connected with the building itself. The illustrations comprise photographic views, colored prints of stained glass, plans, and details of the sculpture and wood- work. 720.42 Haupt, Albrecht. BaKKIINST DEK ReNAISSANCK in PORTtT.AI, von i4()5-i64o. Frankfurt a/M., llcinrich Kel- ler, 1895, 2 v., 40 marks. Portugal is so very little known as a country with architectural remains that the publication of this small quarto, with its three hundred pages and as many il- lustrations, is an immense gain t.i the general study 01 architecture. Firtunately, it is a good book, not pre- tending to completeness, but thorough, and displaying singular insight. 720.469 Havard, Henry. La Franck Artistiqi'k v.v Moncmentale. Paris, La Librairie Illustree, Montgredien, 6 v., 180 fr. Each volume c.intains eight or nine monographs on an important building or group of buildings. There are in all 1^0 photographic plates, and perhaps 400 il- lustrations in the te.xt, some photographic and some from drawings. The text itself is written in every case by some person especially well informed as to the building in question. It will be seen that here is to be had at ii very slight expense a remarkable encyclo- paedia of trustworthy information concerning the fine architecture of almost all epochs. 720.44 Huss, Oeorge Martin. Rational Biimiinc. a translation of the ar- ticle Constriction, in the " Dictionnaire Raisonn6 del' Architecture Fran9ais"of Eu- gene-Emmanuel Viollet-le-Duc. lllus. N.Y., MacmiHan, 1S95, $3. The paper in the original occupies more than half of one of the volumes of the famous French work quoted in the title. Construction, according to Roman- esque and Gothic methods, as followed from the XI. to XVI. century, was much more elaborate than the con- struction of classical times, and far more logical and based upon reason than that of later times. Mr. Huss has given us a translation of this in a volume of 350 pages, with all the original illustrations. The transla- tion is altogether exceptional in its minute faithfulness to the original text. 721 Isham, Norman M., anti Brown, Albert F. Early Rhode Island Houses. lllus. Provi- dence, R. L, Preston & Rounds, 1895, $2.50. A thorough and critical study of very early American building, tracing tee traditions which govern it back to English hiiiiiling if earlier times. .\ tiook t 1 he commended Nlronglv. See the writer's review of it in AyckittLtiirit Kicoril, v. 6, no. i. 720.74 JacksoUj T. O. MoDKKN CiOTIIlC .AKrillTKCTl'KK. I.ninl., Henry S. King iS: Cn., 5s. Out nl iirinl. This little book of 2116 pages considers theattenipted Gothic revival in Great Hritain from the point of view of sound reasoning and true analysis. In this connec- tion nearly all the important considerations which should inrtuencc modern architectural practice, and do not, are properly presented. It is a v.iluahle book for every student of architecture to read, and the general propositions laid down in it should be carefully j>on- dcred. 724.3 I).\I.M.\TI.\,TIIEQt'ARNERo, .WD IsTUIA. lilus. Oxfcird, Ciarcndun Press. N. Y., .Macinil- lan, 1SS7, 3 v., $10.50. One of those valuable books nn architecture which are made up by the author's personal observations, in a region rich in monuments of art. On the eastern coast of the Adriatic the remains of the late Roman, of early Romanesque, and later Romanesque art are very abundant, and have been much less studied than those of more accessible parts of Europe. To the general reader it may be said that the aspect and character of a land in which ancient buildings remain almost intact is admirably reproduced. 724.8 Kerr, Robert. The Gentleman's IIokse ; or, II, S4S. N. Y., Siribncr, $33. do. This work will be, perhaps, more uenerally useful than the book by the same authors on civic architecture. This Work is uniform with the other in style and ap- pearance. 720.41 Marquand, Allen. (jRKEK ARCllllEmTRE. IlluS. N. Y., Mai- millan. .Announce-d without date. The author is I'rofcssor of Fine .Art at Princeton I'niversity. 722.8 Mathews, Charles T. TuK SioKV OK ,\R<:mrKirrRK. X. Y., Ap- pleton, 18(^1, $3. 720.9 Melani, Alfred O. .\Kriiri KiriKA Itai.iana, Parte Prima ; Ar- chitcttura Pelasgica, Etrusca, Italo-Greca e Romana. Milano, Ulricu lloepli, 1SS7, 2 v., (1 lire. This book, which forms one of the Hocpli Manuali, is selected for mention because it is very desirable to read the history of every style as it is written by the writers of the same nationality; and also because they are two volumes on the tine arts printed in Italian which are within re.ich of American students, and because the Italian view of fine art ought to receive more atten- tion than it docs. This second edition is a useful little book, though not containing what French and Amer- ican writers would consider the latest conclusion of archa;ology. 720.45 Merson, Olivier. Les Vitrakx. (li.E.H.A.) Paris, Quantin, 5fr. .\ small treatise on the large and difficult subject of glass painting and decorative windows, ancient anct modern. Highly valuable as an introciuction to the subject ; written with great good sense and large knowl- edge. It is not surprising that the recent triumi)hs of American glass painting are ignored. 720.8 Michaelis, Adolf. Der Parthenon. MiteincmTextheft. Illus. Leipzig, Breitkopf iN: Iliirtel, 1870, 30 marks. Though a small and thin folio on the famous ruined temple at Athens, with a mere pamphlet of text, con- tains everything that the student generally requires for a knowledge of the building. Peculiarly valuable is the engraved representation of all the sculptures of the building which are known to exist ; the slabs of the naos frieze being numbered according to the places which they are known to have occupied, or thought to have occupied, originally. The sculptures of the pedi- ment are, of course, not so easily placed. All theories on that subject arc merely theories. 722.8 Middleton, J. H. Article Rome, Toror.RAriiv and Arch/TJol- o(;y, beginning p. 807, Encyclopiedia Bri- tannica, Qth ed. See what is said of this writer's book on Rome, in Part I. Mitchell, Donald O. The Country House. In " Homes in City and Country." N. Y., Scribner, 1893. Mr. Mitchell has for many years been a landscape gardener by profession. The essay under consideration IS rather historical than didactic ; it contains an admi- rable account of growth and change of country houses in the northeast of the United States. Moore, Charles Herbert. Development and Character of Gothic Architecture. Illus. N. Y , Macmillan, 1890, $4-50. An enthusiastic and scholarly book devoted to the ».i : M l| !i= 44 Arihili'cttiie anJ Lani/sia/if France except in certain iiiHlancvs. t i» H l>iK)|< to be Ktudieil with the Krcutrst care by any one (lesirinK to IcndW tlie facts as tncy nffer thcmiR-lves to a very careful anil cl(me Htudent who is not himnelf n huilder. Attentive readint; of it cannot hut K>ve the reader larser views of the Importance of a more minute inquiry into the essence nnd origin of architectural forms than is Kenerally bestowed. 724.3 MorrlR, William, nuil Mlddleton, J. Henry. Artiilc Mi'R.VI, I)K.ri)KAllHN, F,myil(ip.T'(lill Uritaniiica, i)th <•(!, Cfood both in th '. architecture and the painting. The illustrations are also very valuable. Mttntz, Sug^ne. La MiisaI'.'I K ClIKl^.riF.NNK rF.NOAVT I.KS I'KK- MiKKs siiri.Ks. I. La 'rf(hni<|iif ; IL La M an archa.'ologist. Still their joint work, and the work of .Mr Parker alone, havesurticcd to furnish sluilenls with a work which may hold its place even after more criti- cal books shall have apfiearod. There are a ureal num- ber of illustrations, generally trustworthy. 720.42 Parker, J. H., and Turner, T. H. UoMKsl II- Aknil IKlirKK in KN FROM KuwAKi) L 10 KiciiARi) H. Oxford, 1H53. < )iit of print. The second of a series (see Turner, T. II., and also Parker, John Henry). 720.42 Pariona, Samuel, //-. Smai.i, CoiNTRY I'l.At Ks. In "Homes in City and Country." N. Y., Scrihner, i!e gar- dening. It IS very fully illustrated with wood-cuts and half-tone prints from nature. The oaper on ("ily Parks and that on lawn planting for small places, are of im- mediate interest to every one. 710 Piatt, Charles A. 1 lAI.IAN {JaKDENS. N. v.. Harper, lSo4. fS- A thin <|uarto with many photographic illustrations, devoted to a branch of decorative art very little studied in modern times, but worthy of the closest examination by all who are interested in architecture— the system and the art of laying out gardens so as to be closely in harmony with the architecture of large country houses. Such gardening reached its highest development in Italy in the XVII. century. Compare Ulomtield and Thomas. 712 Price, Bruce. TiiK SniiRHAN HoiSE. In " Homes in City and Country." N. Y., .Scribner, 181)3. Mr. Price is an architect of New York City who, at the time of the appearance of this article, had himself built many houses at Tuxedo Park and elsewhere. The paper, unlike most of the others in the volume, is wholly concerned with the buildings of the day. It includes illustrations of fourteen characteristic houses by nearly as many different architects. Ramee, Daniel. HisToiRK GfisftRAl. HE I," ARniiTECTiTRE. Par- is, Amyot, iSOo-62, 2 v., 36 fr. A far more systematic history than that of Fergus- son. It IS, indeed, composed on right lines for such a work. It docs not contain the latest results ot archaeo- logical study, and the illustrations, though of the kind most needed for the text, are too few for its full ex- planation. Like most treatises on architecture, the narrative stops with the earlier Renaissance, giving but the slightest mention to all that follows the Xv\ century. 1 1 has been stated that this book contains many errors ot fact and date. 720.0 Reber, Franz Von. KlNSrC.ESCIIK.lITF. DE.S MlTTEI.AI.TERS. Lcip- zic, Weinei, lO marks. Transl. by J. T. Clarke as History ok Meulkvai. Art. N. Y., Harper, 1S87, $5. Of medixval fine art Architecture is very much the most important form, and it includes most of the other arts as practised during the Middle Ages. This translation is unusual in being the work of a very competent writer. A small glossary of technical terms is added. 709 Robinson, W. Garden Design and Architects' Gardens. Two reviews, illustrated to show, by actual Afihiti'cture and Landiia[u),'t;estivc. uencral views o( the same cities from hil'-tops near. Not students of architecture only, but reailers of medi- leval and later historj; and stuclenis of the line an of ' ■ ' rcmclv buifirestivc. 720.46 Soot, John W. TllK Cliv IlnfSK IN- TIIK Wksi. Ill " Homes in City and Country." N. Y., Scribncr, 1S93. The houBcs examined are nearly all nf very recent date, and in this respect the article differs from those by Mr. Mitchell and Mr. SturRis in the same volume. A dozen western houses, well selected, are given in the illustrations. The article will be found very much too laudatory of the designs criticised, and more hopeful than IS sale. Rosengarten, A. DiK Ak( 111 1 KKTONisciiKN Styi.artf.x, Hraun- schwui^, Vieweft, 13 m, Transl. as Hand- HODK ni.- ARciinKcriRAL Styles, lllus. N, Y., Scribntir, $2.50. 720 Ruflkin, John. TnK Skvkn Lamps of ARCiiiTF.rTi'RE. Lond., Geo. Allen, 7s, 6d. With preface by Charles Eliot Norton, N. Y., Maynard, Sicrrill & Co,, I2.75, This book was first published in 1849 : it is a marvel- lous piece of work for a man under thirty ; compact and vigorous in thought, imaginative— a real poem with- out metre— superbly written, with sustained strength and flexible adaptation of language to thought. As a book of art criticism, it is of no value. The architect- ure it treats of is a dream, a conception of the writer, having no connection with the actual Gothic buildings of Europe, upon a close study of which it is supposed to be founded. The first edition contained 14 prints from soft ground etchings by the author, which, al- though from very careful drawings, were not success- ful mechanically The second edition, 1855, contained illustrations "drawn by the author and rc-ctched Ijy R. E. Cuff,' with, moreover, the frontispiece carefully engraved on metal, 720.4 TiiK Stones of Venice. Lond., Geo. Allen, 2 V,, los. Also, with preface bv Charles Eliot Norton. N. Y,, Maynard, Merrill & Co., 2 v., $3. This work was completed m 1853 in three large vol- umes with many illustrations. It is not advisable that the student should depend upon its conclusions or even Its suggestions. It is even more decidedly character- ized than the author's other works by that false theory of criticism which may be stated thus: Reason out first what a given work of art ought to express, and then compare the actual work of art with your conclusion ; and denounce it boldly if it deviates from such a stand- ard. Those books onlyare to be used for edification which follow the opposite course, and begin by examining carefully what the work o( art does say and is meant to say, and then go on comparing this with other works , is re-made to serve as an inex- pensive (/;t>i' ll-fck/}: 720.40 Lack of Okic.inality i\ .AuciiriF.crtKK ; a ])apcr in the Kiii;iiii;riii^' Miii;iniiic, X. V., Vol. VI., p. II (October, 1S93). This brief paper is an attempt to show that the pov- erty and feebleness of modern architectural fine art is; sutllciently accounted for by the way in which the ar- chitectural profession is conducted. The architect being paid by a percentage on the cost, and the build- ings being needed in great haste, that there may be no Inss by money lying idle, the tendency is toward mak- ing the architect a mere fiduciary agent. Article Grecian .■\RciniKCTrRE, Johnson's Universal Cyclopiudia, ed. 1S93-5. Article Hoi'SE, Johnson's Universal Cyclo- pedia, ed. 1S93-5. The City IIocse in the East ano South. In " Homes in City and Country." N. Y., Scribner, 1S93. This paper, the first in the volume mentioned, is especially aimed at describing the arrangements and plans of the houses built before 1850, but gives a few instances of later buildings as specimens of what was being done in New York between 1880 and 1890. Should be read in connection with Mr. Mitchell on the " Country House " in the same book. Texier, Charles, <;>/ Statf.s. Illus. N. Y., Putnam, i8()3, $5. There is naturally but little artistic pottiry made in America, but there are a few old wares that are attrac- tive, and two cr three modern establishments have produced decorative pieces as g()od, perhaps, as modern industrial conditions allow. The present work repro- duces in photography a great number of pieces, and al- though the true effect ot the painted vase is noi easy to render in photography, even apart from its coloring, such pictures sliTl have value for reference. The text IS, of course, mainly historical 738 Benson, W. A. S. Elements ok lL\NnirRAFT and Dksicn, Il- lus. N. Y., Macmillan, $i.f>o. Intended for school workshops, but its directions for simple carpenter work and the making of book-shelves and tables are excellent, and are illustrated with 94 drawings. The soundest principles of design are ex- plained in simple language and well enforced. This part of the book ii important, because there is a strong tendency in our times towards mere taking of designs from old works. This shows how designs are made, originally. The final chapter gives good general ideai as to coloring, and a lung bibliography is added. • 740 Birch, Samuel. History of Ancient Pottery, Ecvi^tian, Assyrian, Greek, Etruscan, and Roman. Lond.. John Murray, 1873, 42s. A standard of reference, although newer books con- tain much not given in it. See A. S. Murray and Lau. 738 Minor Decorative Arts. 49 II- Birdwood, Sir Oeorgo O. M. Industrial Arts ok India. Lond., Chap- man & Hall, 1880 2 V , 14s. Not very thorough. Relates raiher to the modern and def^eneratf art ot India than lo its finer develop- ments in the past. There is however, much ol the original spirit letl in Indian decoration Persons brought up in European habits ol thouehi cannot leatn too much of thai instinctive ornameniation such as Europe also possessed down to the XVI century, but has now almost wholly lost 600 Blanc, Charles. Gkammairk des Arts DftcoRATips : cl6cora- ti(jn interietite etc la Maison, Paris, Lau- rens. 13 fr. See what is said nboui the same author s ' Gram- maire des Arts du Dessin,' in Pan I 740 Bonnard, Camille. C* trustworthy and valuable the text is singu- larly critical and business-like In all these respects, but especially the last the book is worthy of great praise It is in itself a vauable introduction to the study not only ol old plate but also ol decorative :iri in many aspects. 736 I. A CfikAMiotTK ; FaIencf.s- Paris Librairie de I'Ari. Oarnier, Edouard. DlCnoNNAlRF. I)F. GKftS-PoTEKIF.S i8y3 30 fr. This '■mall book is devoted almost exclusively to the curious and interesting glazed potteries of the XVII. and XVI II centuries- ol such admirable varieties as those known by the names of Nevers. Mousi lers, Rouen , Saint-Porchaire (which last means Henri II. ware), Marseilles, Deltt, and Oouai, The English -vares of the period are also touched upon These beautiful varieties of decorative poilcry are liiile studied in America, where the taste is generally for the more deh- cale and more costly wares There are a number of colored plates, but cheaply made, as the whole work is inexpensive. 738 Orandidier, Ernest. La Ckramiijik Ciiinoise. Paris, Firmin- Oidot, iS(j4 65 fr. See above under Du Sartel The present work con- tains 42 plates in black and white, giving 180 pieces of porcelain in admirable photogravures by Dujardin The author of this book is a great collector, and all the pieces Hescribcd or pictured are taken from his own cabinets. It cannot be said that the history of Oriental porce- lain IS thoroughly known to Europeans Vear by year more is learned, and from this point of view the latest book may be thought the best. The assertions concern- ing dates, places of manufacture, and the significance of emblems and the like are always open to revision. 738 Ouiffrey, Jules. HisroIRK UK I.A TaI'ISSKRIK DKITIS I.E MriYEN ACE jisijr'A Nos jofks. Tours. Alfred Mame. 1884. 20 fr. A larger book than the little handbook mentioned under Mdntz on he same subject A large octavo of 510 pages, with many illustrations, of which four are cFiromo-lithographs of excellent ciccution. The sub- ject of tapestry recommends itself to every student of decorative art. This volume is very trustworthy and even approaches Ihe completeness of a history See a.so Havard and the handbook by MUntz. 746 Havard, Henry. Les Arts de i.'AMEriti.EMENr . La Veruerie, avec 430 illustrations par H. M61in Paris, DeluKrave, 1S94, fr, 2.50 One of the scries of books on the fine and mdusirial arts used in the way of furniture and decora on Mr Havard turns his fiands to many branches of art and IS rather a compiler than an original workman but his books arc sure to be good of their kind . and some have been excellent Ol late years he has given especial attention to decorative art His work has secMttd high esteem in his own country 645 La Tai'Isserie, 90 illustrations par S. Htigard. Paris, Del.igrave 1893. fr. 2.50 Compare what is ■•aid of the art of tapestry under Guiflrey Thisisanother work of about the same scope, and perhaps equally serviceable as a book of general reference 746 Hildebrand, Hans. INDISIRIAI. ArIS of ScANDINAVI.^ IN HIE Pacan Time, Lond., Chapman it Hall 1S83. 2s. 6d There IS much that is interesting in the decorative art of the early northern peoples. These arts have not had great influence on the later and more developed art of Europe , for this reason they are worthyof study by those who are interested in the forgotten and worthy efforts of the human mind 609 Hottenroth, Friedrich. Le Cosh'me, i.ES armes, i'siensii.es, ofiti.s DES TEt'l'LES ANCTENS ET MODERNES. 2 vols. in I. Paris, Guerinet. 1S90. 70 fr. A very handy history of costume, many examples be- ing grouped on each page, 390 Jaennicke, Friedrich. GRfNDRISS DER KeRAMIK IN BF.ZlJr, AfF DAS KuNsi'tiEWERHE. Eme historische Dar- stellun^ ihres EntwickelunijsKanges in Eu- ropa dcm Orient und Ost-Asien von den aeltesten Zeiten bis ;.uf die Gegenwart Stuttgart, Paul NefT, 1879, 42 marks. A large octavo of nearly 1200 pages, containing 450 illustrations besides 2645 marks and stamps. Probably the most systematic history of pottery and porcelain. (H.E.H.A.) I'iiris, by A. S. Cole as Phila., Lippincott, 746 so far ni least as toncern'i ihc wares nf F.urope from the medicpval epoch to mo:)crii times. AnlKiuity and the Orient receive but slight notice 738 Lau, Theodor. DiK GkIKCMISCIIKN VasKN, IMKK FoKMK.V INI) Dkcoraiionssvstkm. l.eipziu;, K. A. Scc- inann, 1S77, 2 v., 5O marks. This small folio, with 44 plates in colors, is the best book from which to jjet a knowlccige of the forms and general decoration of Greek vases. The vessels, of many different shapes, are shown in their general form, both in outline and co'or ; scctionsof them are given to show the thickness of their material, and the painted patterns and figures are given on a larger scale. In short, It is a handbook of ancient ceramic art, for the te.xt IS simple and easy of reference and of comprehen- sion. 738 liofebure, Brnest. Urddekiks v:y I)i;NrF.i.i,Ks. . iJuatitin, 5 fr, Transl, Emhkoidkky AM) Lack, 18S8, $3.50 I, 1895, $3). 1;, historical s ol typical 686 IlMKS AM> Out of !nce, and the hich attempt 738 Firmin- imber are in treated and,. 'in|{S and ac- IS In Europe ly as the cos- lefly of a de- count of the erived. Not \ trustworthy 390 ime. IK. Paris, ncral knowl- ition Man\ s. 738 A.) Paris, tins, brineinjf inning oflhe 300 Lond. lolcs, a small ber of wood- great deal of 609 kND ROMAN' ArIS, HoS' Arts, iS(j3, in Museum,, teristic. Mr Vnt'quities, is 738 Librairie lUtistrtt, MontRredien, 18S5, 24 fr. This very inexpensive book seems not to be much in use out o( Krance. It will be lound extremely useful and capable of giving information even at some length under many separate headings. No such work, as yet Kublished, cvenap|iroachescompleteness, and one book as to be used to supply what is lacking to another, both as to terms dehned and as to the information given under each. 740 Rudler, P. W. Article Ena.mki,, Encyclop.xdia Hritannica, Qth ed, A very full paper, and valuable. Saward, B. O., und Oaulfeild, S. T. A. Dictionary oi- Neeulewokk. See Caulfeild. Scott, WiUiam Bell. Hai.k-Hoir Lechres on the History and Praciice Ol- riiE Fine and Ornamental Arts. Lend., Longmans, 1874. Out of print. In this little handbook Mr. Scott has used his sympa- thetic appreciation of the decorative arts to give an account of the arts of the earlier and later Middle Ages. This narrative passes into an account of the earlier schools of modern painting and so into general considerations concerning designing There are nine- teen lectures contained in the volume, and this would account for its disconnected character. It consists, in fact, of the somewhat unfinished and unelabnrated notes (if an artist who, while thoroughly familiar with the essential facts, had never mudc a study of minor details. 707 Segiiin, Joseph. Le Dentei.i.e, Histoire, Description, Fa- HRICATION, HiHi.iouRAi'iiiE. Paris, Roths- child, 1875, i(x) fr. Fifty photographic platesof fine specimens of ancient lace are accompanied by 100 pages of text which, with- out being a final or exhaustive nistory ol the subject, is yet of great value. This book should be used in con- nection with Mrs. Palliser's. 746 Steele, Frances Mary, unU Adams, Elizabeth Livingston Steele. Heai'ty oi.- Form and Grace ok Vestire. N. Y., Dodd. Mead & Co., 1892, $1.75. A valuable and suggestive protest against absurdi- ties in modern dress; also extremely suggestive to the student of figure painting when associated with cos- tume In this latter direction the book may be used as IS indicated in the notes on Brlickc and Hatton, Part II The illustrations in this book are far less artistic than those in the books named abuve, but they serve a good purpose. 390 Sturgis, Russell. Articles, Johnson's Universal Cyclopaedia, Edition 18(^3-5 : "Costume," "Decorative Art," "Embroidery," "Enamel," "Furniture," "Glass in Artistic Design," " Lacquer," " Metal Work," " Porcelain," " Pottery," "Tapestry," "Textile Fabrics," and many shorter articles. Transactions of the National Association for the Advancement of Art and its Applica- tion to Industry. LlVKRi'ooi.MEETlNii, 1888. Lon(l.,i88S. Out of print. There are many volumes which have resulted from meetings of artistic associations, If this one is selected for mention it is because the Society :n question repre- sents a great deal of conscious purpose in the way of spreading among the people, botii the practice and the api)reciation of fine art, and also because the speakers and readers of papers were generally men very much in earnest and men of practical experience. Thus the paper byW. Holman Hunt on ".\rt Education " and that by Reginald Hallward on the " Emancipation of the Picture," in which he attacks the Koyal Academy, represent a somewhat unconventional and even revolu- tionary view of teaching art practically. Thus, a'so, the alliance of sculpture and other tine arts to building, which is an important part of the combined art whicTi we call architecture, is treated by three artists and ex- perts—George Simonds, J. Belcher, and VV. A. S. Benson. There are, perhaps, 40 papers in this volume, and many of them are of great suggestive value. A paper read at a meeting is seldom exhaustive, but it is apt to contain hints which arc not so naturally found in larger works. 605' Viollet-le-Duc, E. E. DicnoNNAiRE Raisonne di' Mohii.ier Fran- (,Ais DE i.'£i'0(ji;e Cari.oviniuenne a i.a Renaissance. Paris, A. Morel i.V Cie., 1S75. 300 fr. This work is several dictionaries in one. The first volume IS devoted to furniture, with as an appendix some very interesting essays on the method of con- struction in the Middle Ages. The second volume deals with utensils in one alphabet, then with gold- smith's work, then with musical instruments, and then with sports and pastimes, including hunting and the tournament, and gives finally a few pages to tools of the carpenter, blacksmith, etc.— a very curious ency- clopaedia of life in the Middle Ages. The third and fourth volumes are devoted to dress, the fifth and sixth to armor and weapons. The text is throughout of the most suggestive cnaracter, and generally trustworthy ; the illustrations have that extraordinary value which has been spoken of under the same author's " Diction- ary of Architecture." 603 Walker, Louisa. Varied Occitpations in .Strinc.work, Com- pRisiN(; Knotting etc. N. Y., Macmillan, i8()f), $1.25. An artistic book of its kind; gives directions for very pretty and varied work in netting, fringing, etc. 746 Worsaae, J. J. A. Indi:strial Arts OK Denmark. Lond., Chap- man & Hall, 1882, 3s. 6d. One of the South Kensington Museum handbooks, by a very competent writer. Deals with the art cf the earliest ages only. Many illustrations and a map of the kingdom of Denmark as it was down to 1660, at which period its boundaries were much reduced. 600- K ClIVRrn s, Needi.k- oK Sorin Chapman catalogues ; nsive knowl- tion occupies ins many de- page illustra- md embroid- 247 Ks, Paris, MUSIC. 1 A SELECTION FROM ITS LITERATURK, WITH NOTES, BY HENRY EDWARD KREHRIEL, Musical Kiiiior Xen< York Trihunc. Author of ^^ Studies in the Wagnerian Jiraira, " Jii>7v to Listen to Music," etc. PART I. Generai, Histories 55 PART 11. Special Histories (ok instruments, mirms, kh'ntkies, notation, periods, (iKiiAsizATioNS, btc.) 56 PART 111. Ancient and Medi.hvai, Mi'sic 60 PART IV. FoLK-SoNo and National Mfsic 61 PART V. BiocRAFHV 63 PART VI. Wauneriana C/ PART V'll. Science and ^I^sthetics (incliding treatises on the elements oi- misic and a i-kw lkadin(1 TEXT-IIOOKS) ^9 PART Vni. Criticism and Analysis 7° PART IX. Encyclop/Edias and Dictionaries 73 PART X. MisiCAL Jolrnai.s 73 PART XI. List or Second-Hand Dealers who issl'e catalogues devoted to misical literatire. . . 74 PREFATORY NOTE. In preparing this list it was my aim prac- tically to cover the entire field of books on music which are obtainable and are, in my opinion, the best of their kind. Tiie list is neither as full nor as radical as it might have been made, for it was deemed necessary to yield a point occasionally out of consideration for some who are likely to consult it with other purposes than serious study. A large proportion of the most valuable books on music in existence are in German. Many of them were published in the first half of the present century, which was peculiarly rich in scientific and painstaking investigators, such as Kiesewetter, Hellermann, Westphal, Forkel, and, later, Ambros and Paul. The books of these men laid the foundation for nearly all the general and special study which has been pur- sued since in the science and art of music. But they were not books for the many, and in consequence have not remained in print. Where it was possible to replace an old work written in German or French with a more modern book, or a trustworthy one in English, I have done so, but I have valued the classics too highly to omit them simply because to buy or consult them might be attended with some inconvenience. McH-eover, whenever it has been possible I have consorted with a rare, expensive, or voluminous work one of more modest dimensions and scope. I have also givtn preference to American re- prints, for practical reasons, though often re- gretfully. In spite of the age and comparative rarity of the books which are designated as out of print by the mark "O.P.," it is possible to find near- ly all of them in the course of time by watching the catalogues of the second-hand book-dealers, those of Leipsic especially. These "Antiqua- rian" dealers obtain possession of fine collec- tions every year, and there is scarcely a biblio- graphical treasure which a collect(jr need be without so he be diligent in search, patient in waiting, and willing to jiay the price — which is seldom extravagant. The dealers whose ad- dresses are appended to this list will always furnish their special catalogues on application. The special lists of writip'.s devoted to F(jlk- Song, National Music and Wagner's Art are thought to be justified by the great interest displayed in these subjects lately by writers and literary and musical clubs. The very many applications for help in this department which I have received from all parts of the United States are proof of the extent and sincerity of this interest. In the case of a few works of particular rarity I have indicated where they may be consulted in New York. In the Lenox and Astor libra- ries are large and exceedingly valuable depart- ments of musical works. That in the former consists of the collection made and bequeathed by the late Joseph W. Drexel. A check list of the collection shows 5542 titles of bound vol- umes and 766 pamphlets. The real value of the Drexel collection is not disclosed by either the check list which Mr. Drexel published in 1S69 or the augmented list printed for the li- brary of which the earlier list was the founda- tion. Both are incomplete as well as faulty, Music : Genital History. 55 55 S6 to 6i £/ and the former was made before some (jf the must interesting features of the collection were adtled. An intelli^;cntly annotated catalogue of these hooks is a ^xtiM desideratum. It is the intention of the authorities to catalogue all the works comprehensively. An attractive jKjrtion of this collection lies in the manuscripts of the late Dr. Edward F. Rimbault, purchased by Mr. Drexel in 1S77. These include many note-books and copies of (jld manuscripts made by Dr. Rim- bault in the course of his historical investiga- tions. The Astor Library has a reasonably full work- ing collection, well up to date, of books on mu- Xc'o York, JiiiiUdrv, 1897. sical history, theory, and biography. The works of the later Oerman and Helgian investi- gators are well represented. There are also to be found the interesting pul)lications of texts and scores by the Plain .Song and Madrigal .Society of Londcjn, as well as the issues of the Dutch, Swedish, and (ierman Antitpia- rian Societies. The collection is also rich in scores. The Musical Department of the Newberry I,i- ' brary, Chicago, has full scores of the great composers, and the more important historical and critical works in English, French, German, and Italian. 11. E. K. 69 70 73 73 74 PART I. GENERAL HISTORY. Ambros, August Wilhelm. GKSCIIICIirE PER Ml SIK. MiT ZAHI.RF.ICIIEN NoTKNHEISI'IEI.EN INI) MlSlKHEII.AGKN. Dritte AuHage. Leipsic, F. E. C. Leuckart, 1892, 5 vols., 63 marks. In every respect the most thorough and scholarly history of music yet written. Unfortunately the author died while giving the finishing touches to the fourth volume, which brings the story of musical de- velopment down to the culmination of the a cafiella style in Palestrina. The revision of the manuscript of the last volume was accomplished byG. Nottebohm. In the third edition the first volume, devoted to the music of ancient Greece and the Orient, has been en- tirely rewritten by B. von Sokolowsky to make it con- form with the more recent discoveries and theories of Rudolph Westphal and F. A. Gevaert in this depart- ment. The second volume was revised by Heinrich Rcimann, the third by Otto Kade. A necessary com- panion to the first edition is the index (AV»;«t'« und Sachregisier'), prepared by Wilhelm RUumker, and Fublish'ed as a separate volume by Leuckart in 1882. n the third edition each volume has its own index. 780.0 Brendel, Franz. OESCIIICIITE PER MrSIK IN ITAUEN, DEt'TSCH- I.AM) UNI) FraNKREICH, VON DEN ERSTEN ClIRISTICIIEN ZeITEN HIS AlF DIE GeGEN- WART. FUnfundzwanzig V^orlesungen. 7th ed. Leipsic, Heinrich Matthes, 1S89, 636 p., $3-(>0' All Brendel's writings are permeated with the pro- gressive spirit which made him one of the most effec- tive champions of the neo-Germanit school which cul- minated in Wagner and Liszt. Nevertheless he stops short of being an extremist in his historical writings. His lectures are invigorating. 780.0 Bumey, Charles. A General History oi' Mt'sic, from the Earliest Ages to the Present Period. Lend., printed for the author at.d sold by Payne & Son, at the News-Gate; Robson & Clark, Bond-Street ; and G. G. J. & J, Robinson, Paternoster Row, 1776-1789, 4 vols. O.P. See note under Hawkins. 780.0 Dickinson, Edward. Guide to the Study of Musical History AND Criticism. Oberlin, O., Edward Dick- inson, 95 p., 75 c. The author is professor of musical history at OI>erlin College, and his book, which beginners in the study will find helpful, is in the form of syllabuses for lectures and references to authorities. 780.0 Forkel, Jobann Nicolaus. Al.LCEMEINE GESCIIICIirE DER MusiK. Leip- sic, 1788-1801, 2 vols., xxxvi, 504, xviii, 776 p. O.P. The first of the larger histories undertaken in Ger- many. Though fie had Hawkins and Bumey as pre- decessors and sources, Forkel developed his work on independent lines, at least so far as the manner of pres- entation is concerned. The book is incomplete, carry- ing the story of music only down to the middle of the XVI. centurv. Though out of print the history is fre- quently hstcd in second-hand catalogues. 780.9 Hawkins, .SV;- John. A General Hisiokv of the Science and Practice (IF Mi'sic. N. Y., Novello, Ewer & Co., 8 vols., xxxvi, 486, 493 p., $8.40. A third vol., 63 p. of portraits, may be had separately, $6.40. This work was originally published in 1776 The present edition, 1875, is the second reprint by ttte No- vellos, the first having been issued in 1853. '' contains a bfographical sketch of the author and his posthumous notes. Vol. III. is devoted to ropper-plate portraits. Hawkins's History suffered somewhat unjustly at the outset by comparison with Burney's, the first volume of which was issued in the same year that paw the ap- pearance of Hawkins's. For this Burney's greater reputation as a musician and the livelier literary style which he commanded were responsible. Latterly there has been manifest a disposition to reverse the early judgment, the fact being recognized that Hawkins was the more painstaking investigator of the two. Both histories are antiquated, but are nevertheless val- uable to the student because of their voluminous illustrations. 780.0 Henderson, W. J. The Story of Music. N. Y., Longmans. 212 p., $1. In no respect a conventional history, but a series of pleasantly w ritten and suggestive essays on some of the phases through which music has passed from the ordination of its elements till to-day. 780.4 Hunt, H. O. Bonavia. Concise History of Music from the Com- mencement OF the Christian Era to the Present Time. N. Y., Macmillan, 184 p., 90 c. Designed for the use of schools, and to that end pro- W. t 5^> Ml/sic : Special Histories. fS : I I Tided with a list nf examination questions. Section I, chiefly u chrnnoloeical and bio){raphicul record; Section II. a series of tables of musicians and musical events; Section III, a summary in which the xrowth of the art is traced. An excellent book for systematic study, und also helpful fur quick reference. 780.9 K:e.sewetter, R. O. jCiESCHIClUK DKR EiTRorAisrHAnENm.ANn- ISCIIKN ODKR INSKRF.R IIKI IKIEN MlSIK; Uar- stelluriK ihres Ursprungs, ihres Wachs- thumt'sundihrcrstufenwciscnEntvyickelung von dcm erstcn Jahrhundert dcs Christen- thums bis auf unsere Zeit. 2d cd. Leipsic and N. Y., Hreitkopf & Hartel, 1S46. O.P. This history, whose author was one of the most In- <1ustrtous investiKators that ever lived and the uncle of the historian Ambros (see above), is admirable in its con- ciseness and lucidity. It is still included in the cata- logue of the publishers, but is out of print, and can only be bought at second-hand It was published in an Eng- lish translation as "A History of Modern Music in Western Europe " in 1848, but this has disappeared, though there is a copy in the Drexel Collection in the Lenox Library, New York. 780.9 Ijang^ans, W. The History of Music iv Twelve Lect- ures. Transl. from the German by J. H. Cornell. New and enlarged edition. N. Y., Schirmer,$l.5o. A good translation of the lectures delivered by Dr. Langnans in the Neue Akademie tier Tonkunst, at Berlin. The author belongs to the new romantic school, and devotes nis last lecture to Wagner ; it is biographical and expository rather than critical. The preceding chapters are not overburdened with biograph- ical detail, ^nd trace the devebpment of music through its principal phases in an interesting and instructive manner. 780.9 XAacfarren, O. A. MrsicAi, History Briefly Narrateh and Technically Discussed, with a roll of the names of musicians and the times and places of their births and deaths. Lond., A. & C. Black. N. Y., Macmillan, 220 p., $i.75. A reprint, with amplifications, of the article " Music," in the 9th edition of the Encyclopaedia Rritannica. A model of encyclopedic writing in clearness, terseness, and Comprehensiveness. Touching the questions of modern musical polemics the author'a attitude is ex- tremely conservative. His Roll of Names i» defective from an American point of view. 780.9 Naumann, Emil. The History of Music. Transl. by F. Prae- ger, edited by the Rev. .Sir F. A. Gore Ouseley, Bart., Mus. Doc. Professor of Music in the University of Oxford. With numerous illustrations. N. Y., Cassell & Co., 2 vols., xii, 758, 574 p., $10. Chiefly valuable for its illustrations. I'rofessor Ouse- ley added chapters to cover the history of music m England more fi.lly than was done by the author. Naumann must I read with caution. He was not an original investig.>tor. 780.9 Reissmann, August. Allcemkine Gesciiichte der Mustk. Mit Zahlreichen, in den Text gedruckten Noten- beispielen und Zeichnungen, swerful friend in the British nobility, and all doors swung open at his approach. He visited the libraries and examined their treasures; conversed with almost every then living musi- cian of eminence; visited the theatres like the most in- ^-eterate and confirmed of pleasure-seekers: worshipped in the cathedrals like the most devout of Catholics, at- tended services in the churches like the most pious Lutheran, and went up into synagogues like a Jew in whom there was no guile. He did not always note the words of the preacher's text, but he seldom omitted a memorandum on the tone and compass of the organ and the taste and skill of the organist. The rccora of his tour, when written out and printed, filled three vol- timcs which, by Dr. Johnson's own confession, became the model of the latter's' Tour to the Hebrides.' The volumes pictured the then state of music in the coun- tries visited, and they have remained till to-day the delight of musical students, as much for the honest and straightforward style of the recital as for the vast num- ber of significant and suggestive facts which are mar- shalled in their pages."— Krbhbiel, ",Vi;<«^« the Cul- tivation 0/ Choral Music" 780.040 Celler, Ludovico. Lks Ori(;ines i)K L'OrfeRA et Lk Bm.i.et de l.A Reine(I58i). I'^tude sur les Danses, la Musique, les Orchestres et la Miseen scfene au XVI*-' siecle, avec un aper^u des pro- grfes du Drame lyrique depuis le XIII" siecle jusqu'a Lully. Paris, Didier & Cie., l8f)8, 364 p., fr. 3.50. Contains instructive notes on the dances of the XVI century, which entered largely into operas and suites, and a valuable study of Haltazanni (or Baltagerini, uf (erwards called M . de Beaupoyeulx) and his Ballet comique dc la royne. 782 Crowest, Frederick J. The Story ok BRinsir Mi'Sir, from the Earli- est Times to the Tudor Period. N. Y., Scribner, 1S96, 306 p., $3.50. Evinces no profundity of insight or extensive re- search but serves a purpose in helping reierence to special details. 780.042 Edwards, C. A. Ori-.a.ns and Orp.av BfiT.mNr. • A Treatise on the History and Construction of the Organ from its Origin to the Present Day, with Important Specifications. lUus. Lund., "The Bazaar" Office, iSSi, 248 p., 5s. 786.5 Edwards, H.'Sutherland. TiiK Prima Donna, Her History and Sur- roundings from the XVM. to the XIX. cen- tury. Lond., Remington & Co., 1S8S, 2 vols., 320, 302 p.. 24s. A series of gossipy sketches more entertaining than critical. 782 Engel, Carl. Mf.sicAi. iNSTRfMENTS. With numerous wood-cuts. Lund., Chapman iS: Hall. N. Y,, Scribner, 12S p.. $1. No. s of the South Kensington Museum Handbooks. A helpful little work in the study ol ancient and med- iaeval instruments. 787 Fillmore, John Oomfott. PiANoi'-oRTE Mi'sic, its History, with Bio- Rraphical Sketches and Critical Estimates of its fireatest Masters. Phila., Theodore Presser, 245 p., I). I1.50. Unnecessarily extended in its biographical depart- ment, but valuable, especially to the younger piano forte students, in its exiiosition of the growth of the mechanics of pianoforte playing. 786.1 Fink, Gottfried Wilhelm. WeSKN INI) (iESClllCIITE DER Ol'ER. Leipsic, (leorg Wigand, 1H38, 335 p. O.P. Useful because of the paucity of books treating specifically of the history of opera. It ends with the period of Rossini, 782.1 Qalilei, Vincenzo. DlAI.Olio DKl.l.A Ml'SIfA AnTKA K. I>E1.1A MoDERNK. Florence, 15S1. O.P. Extreii.ely valuable and therefore included here, though rare even in the second-hand shops of (ler- ■many. The author was the father of the great astrono- mer Galileo Galilei, and one of the Klorentinc coterie that introduced tbemimodic style of music. His book is a polemic in the controversy between the reformers and the contrapuntists. It is also interesting as pub- lishing for the first time the three ancient Greek hymns of Dionysius and Mesomedes. (See Bellermann.) A copy IS in the Drexel collection, Leno.x Library, New York. 780 Hanslick, Eduard. Geschichte dks Contertwesens in Wien. Vienna, 1869, Wilhelm Braumllller, 43S p. O.P. An extremely valuable book, especially in its earlier chapters, which tell of the introduction of public con- cert^, ngt only in Vienna but in other European capi- tals. 761, Hart, George. The Violin and Its Mrsic. N. Y., Ditson, 1883, xi, 484 p., $3. 787.1 Heron-Allen, Edward. De FiDiciTj.is Biiii.iOGRArHlA; being a basis of a Bibliography of the Violin and all (jther instruments played with a bow in Ancient and Modern Times. Lond., Griffith, Far- ran & Co., II parts, 2s. 6d. each; others to follow. 787 Hipkins, A. J. A Description and History of the Piano- I'ORTE AND OK IIIK Ol.DER KeVHOARD STRiNfJEi) Instruments. Lond. and N. Y. Novello, Ewer & Co., 12S p., $1.20. This book belongs to the publishers' "Music Prim- ers and Educational Series. It is included in this list because of the need of a modern work of modest d|. mensions having authority. It is a model of condensed erudition, 786.1 Hogarth, George. Memoirs of hie Opera in Italy, France. Germany, and Ench-and. Lond., Richard Bentley, 1S51, 2 vols., 376, 379 p. O.P. Second edition of the ^ame author's " Memoirs of the Musical Drama " published in 1838. 782.1 Hopkins, Edward J., and Rimbault, Edward F. The Organ, Its History and Cons iRrcnioN: A Comprehensive Treatise on the Structure and Capabilities of the Organ, with specifi- cations and suggestive details for instru- ments of all sizes, intended as a Handbook for the Organist and Amateur. Preceded by an entirely new History of the Organ, memoirs of the most eminent builders of the XVII. and XVIII. centuries, and other matters of research in connection with the II: I'll 58 Music : Special Histories, .i SUltjCC't, 31I I'll, I, Mini., RollCTt CofkN 1^ Cn. N. v., Scluilirrth, \>^'-; , (fs(> |>., Jim. RxhaiiMivc and nchnliirly— thmiKh sdiniMif Dr. Kim- buult'H It >t('incnl>t muy bu accviitcu witli cauticm. 780.5 HutohinKon, Tlnoch. Misir III' iiiK Hiiu.k; or, Kxplanatnry nutrs upiin lliusc passani's in thi- Satrt'il Siri|ii- iirc'S which rehitu tn .Music, iticiinliiiK a lirii-f view of Ik'hrcw I'octry. Hosf.. (imiM iS: I.inciijn. N. \'., Sheldon iS: Co., iS(i4, 513 p. ().!'. Very useful, cspcci.-illy fur the literary or thenlnifical Mudent who wmlieH tn kiinw the »i({niticance of the musical terms in the Dible. 783 Kiesewetter, U. O. SCIIICKSAIK IMI HKSrilAKKKMIKIr HKS Wi'ir- I.ICUKN (Jks.vnc.ks, VDin frtlhen Mittelalter liis zti ilcr KrH'idun^j dus drainatischen .Styles urid den AnfUn^en der Oper. Mil Musikalischcn HeilaKen. Leipsicand N. Y., Hreitkopf iV HUricl, 1842, xii, 105 p., paper, $5- 50. IndispenHnble to the Rcrious student of operatic be- KinnmKs and the monndic style. The musical illustra- tions contain excerpts from I'eri, Caccini, and Monte- verde. In an appendix a German translation ot a lar^e portion of Caccini's Nuovt musichc printed in Flor- ence in 1601. 782.1 Kieaewetter, R. O., aiul FetiH, F. J. V'KKii.\MiH.i.iN(iKN. Hckroond en ritRcvcn d in French. Hoth essays are of value, and the buuk is frequently Itsted " • 780.049 in the German catalof^ucs. Hrehbiel, Henry Edward. NciTKS ON TlIK Cl!|.riVATIO\ OK ClfOKAI, Mi'sic, and the Oratorio Society of New York. N. Y., Schulierth, 1SS4, k/j p. $1.25. The Piiii.iiAUMnNir SoriETY ok New York. A Memorial, published on the occasion of the Fiftieth Anniversary of the Founding of the Philharmonic Society, April, 1S92, by the Society. N. Y., Novello, Ew«r & Co., i8()2, 183 p., %\. Contains the full programmes of fifty years, Hsts of officers, members, and subscribers, etc. 780.0 Blaretzek, Max. Crotciieis A\n Quavers ; or. Revelations of an Opera Manager in America. N. Y., S. French, 1855. 346 p., $2.50. O.P. Sharp.? and Flats, a sequel to " Crotchets and Quavers." N. Y., Schuberth, i8(p, 87 p., 50c. Recitals of memories and experiences in a light vein which are not to be taken too seriously by searchers for historical fact. The first book is long out of print, but the price is taken from Scribner's Musical Lit- trature Lilt. The second appeared in paper, and the American Musician Publishing Co., tnat originally issued It, IS no longer in existence. 782 Mathewa, W. S. B. A IIiMiKKii Ykaks or MfSIc I\ .\MF.Rir.\ .\n Acciiimt of .Musical I'W'fort in .America during' the I'ast Century, inchidinn I'opiilar Music and SinKin^; .Schools, Church Music, .Musical Conventions and T'estivals, ( )rchis- tral. Operatic, ;ind Oratorio Music; Im- provements in Musical Instruments; Popu- lar and the Higher Musical Kdiicition ; Creative Acti\ity, and the Itcginiiiiig of a National .School of Musical Composition. \ full and reliat)le Summary of American Musical Kffort as displayed in the Personal History of Artists, Composers and Kdu- cators. Musical Inventors, and journalists, with upwards of 2(xj full-page Portraits of the most distinguished VVorkers, together with Historical and Hiographical Sketches of Important Personalities, Chic. (1. I.. Howe, 1889, 715 p., I5.50. 780.973 Mount Edgecumbe, Harl k/. Mrsic.M, Kkmimsckniks, chiefly respecting the Italian 0|)era in England. 3ded. Lund., TS2S. O.P, Valuable for its ^hmpses into English taste and cus- toms a century an". 782.6 Naylor, Edward W. SiiAKKSi'KAKi-. AMI Misic With illustrations from the music of the X\'l. and XVII. centuries. I.ond., J. M. Dent *\: Co. N. Y., Macmillan, 181/), 225 |)., $1.2?. One of the Temple Shakespeare .Manuals. Generally correct and readable. 780.4 Paleographie Musicale. F.\(-siMii.Ks riiororvi'ioi'F.s pes PRiNTirAi'x MaNTSI RIIS DE CHANI' (iKElJOKIKN, AMllRO- SIEN, M()/AK.\IIE, (iAI.I.KA.V, |)ul)li6s par les Hiinidictins de Solesmes. Paris, Alphonse I'icard. Leipsic and N. Y., Breitkopf iS: lliirtel. Four numbers have been issued each year since i8Sg. Per year, fS. A work of rare value to all students of mediicval church music in generaland thedevel :)pmcnt of musical notation m particular. The first manuscript reproduced IS the celebrated r.ne in the Library of the Monastery of St, Gall, which Lambillotte published (in lithographic /ac-simiM as the Anii/ihonaire de Saint (irt',i;oire but which Gevaert has proved to be simply s Vantalo- >•(«;«— that is, the book of a solo sinticr. The work is dedicated to Pope Leo XIII, and is expected to be completed by a.u. 1900. 780.8 Perkins, Oharles 0., a)id Dwight, John S. HisroRV oKiiiE Handei.am) Havhn Society OK HosroN, MAssAt.iirsETTs. From the Foundation of the Society to its seventy- fifth season, i8i5-i8RR No iFNirirRIF r, l.eipsii- and N. Y., Uri-itkopf iV IMlrti-l, 1S7S, xvi, 3rt) p., with twelve plates illiistralini; the (levelupinent of notes, the staff, ami the • lefs, !j'4. A b<)i>k thai stands practically alone in itsilepart- nictu. A Hlii>rt treatise liy the Hume aiilhi>r f musical notation is prinlid as No. 1% of the Sam HI I urn; Musikalischer ri>>7r,iv>', published by Hreitlsichord, etc. To which is added a Selection of Interesting Sjieci- itiens of Music composed for Keyed- Strinj,'ed Instruments. Lond., Cocks. N. Y., Schuberth, iSfx), xi, 420 p., $3.75. An important work. The music in the Appendix consists uf compositions by Hlitheman, Hyrd, Hull, Frescobaldi, du Mont, Chambonniires, Lully, I'urcell, Muschhausor, Kuhnau, Mattheson, D. Scarlatti, Cou- perin, ). S. Rach, Handel, MufTat, dc .Mundonville, and C I'. E. lUch. • 786.1 Ritter, Frederic Louis. Mt;si(; IN Amkkk A. New edition with ad- ditions in 1890. N. v., Scribner, 521 p., I2. A necessary book because its field is shared with no other; but it is ill balanced and its statements must be received with caution. 780.943 Sohletterer, H. M. Das DKCistiiK Sincspiki,, von scinen ersten Anfiln^jen his auf die neuestc Zeit. Augs- burg, J. A. Schlosscr, 1S63, 340 p. (). P. 784.3 GKsniiniTF. r>F.R Oftstt.iciif.n Diruri'M; i'nd KiKiiii.iciiKN To.NKiNsr, in Ihrem Zu- sanimenhange mil der Politischen und So- cialen Entwickelung insbcsondere des Deutschen Volkes. Hanover, Carl Rilmp- ler, 1S69. 588 p. O.P. 783 Studikn zur Geschiciitf. der Franzosischen MusiK. Berlin, R. DamkOhlcr, 1884-1885, $580. 780.944 Schletterer's contributions to musical history are all valuable as putting material into the hands of the stu- dent otherwise difiicult to arrive at. His study of the German Singsfiiel contains the texts of a number ol German and Latin Easter and Passion Plays of the XMI. to the XVn. century, as also the text of Opitz's Dafne. His volume of Studies in French Music em- braces: I. History of theCourt Orchestra of the French KinGTS (from the Merovingians to Charles X.), 2j6 p.; II History of the Musicians' Guilds and the Rots ties yiolons of Pans, 152 p.; III. Preliminary History and First AKempts of the French Opera, 199 p. Shedlock, J. S. 'rilF, I'lAMil-DRIK, SoNAI A : IIS ()K|I1INANI» DiA-Floi'MKsr. I.ond., Mclhuen \" Co. N, Y., Scribner, i*^')!;. 245 p., $2. A book with a good purpoae, well fultillcil. 786.41 Vidal, Antoine. I.Ks Insiki MK.NTS \ Akciiki; les Faiscurs, les joueurs d'iiistrunKiits, leiir Mistoire, sur Ic Continent Kuropten. Suivi d'un Cata- logue K^neral de la Musicp '• de Chambre. ()rn6 de planches uravees d I'eau forte, par Frederic Hillemachcr. Paris, Jules Cl'aye^ 1877. 3 vols. O.P. A magnificent work in its scope and matter ns welf as Its artistic execution. Practically it is out of print and is usually bought at second hand. In i88g the por- tion referring to manufacture was reprinted under the title. La Luthirie /n fran9aise, lies Ar).(ume(Us, cles Notes et les Mfeludies orifjinales. 41"" ed. E'arls, A. Franck, 1846, 2 vols., .\ix, 400, 49'j p., 56 p. of imisic. (3.1*. Supreme in its department. In 1841 fifty-three of the songs were translated into German by A. Kelltr and E. von Seckendorff and published by L. F. Fues in Tubingen. This edition along with the later Fiench version is occadonally to be met with at second-hand. 784.4 Walker, Jcaeph O. HisroRRAi. Mkmoirs of thk Irish H.vrks, Interspersed with Anecdotes of and occa- sional Observations on the Music of Ire- land. Also, an Historical and Descriptive Account of the Musical Instruments of the Ancient Irish, and an Api)en(li.\ containing several Hio)i;rai)hical and other Papers, with select Irish Melodies. Lond., 1786, the body of the book 166 p., the Appendi.x 129 p. O.P. An important work, seldom appearing in second- hand lists. There is a copy in the Lenox Library, New York. The appendix contains dissertations on the ancient Irish harp, the style of ancient Irish music, the poetical accents of the Irish, the bagpipe (in Italian), memoirs of Cormac Common, an " Account of thtee Hrass Trumpets found near Cork, with Remarks there- on," an essay " On the Construction and Capability of the Irish Harp, in its Pristine and Present State," and a number of old Irish melodies. 780.04 15 Wallaschek, R. Primitivk Misic. An Inquiry into the Ori- gin and Development of Music, Songs, In- struments, Dances, and Pantomimes of Sav- age Races. N. Y., Longmans, x.xii, 326. y p., $4.50. 780.9 PART V. H I O G R A P H Y , makes up^ Apthorp, William F. Hector Hkri.ioz : .Selections from His Let- ters and .itlsthetic, Humorous, and Satiri- cal Writings. Transl., with biographical sketch of the author. N. Y., H"ult, 427 p. $2. A readable translation of well-chosen extracts from Berlioz':! French writings, " First Journey to Oer- many," " Musical Grotesques," and " A Travers Chants." In an appendix are M. Guillaume's dis- course at the funeral of Berlioz and a catalogue of Berlioz's compositions. 785 .S'lY Poole, Reginald Bach, Johann Sebastian. Lane; Spitta, P. Baini, Oiuseppe. Mkmorik sroRio -c-KiTirin-; dk.i.i.a Vita k DEI.I.K Ol'ERK ni GlOVAN.M PlERLlRJI DA Pai.kstrina. Sfi- Kandler. 783 Beethoven, Ludwig'van. TlIKMAlTSCIIES VeRZEICIIMSS SAMMTI.ICIIER iM Drick erschienen Wekke von Ll'Il- \vi(i VAN Heeitkiven. Leipsic and N. Y., Breitkopf & Hiirtel, 1S51, $3.80. " Catalogues of Beethoven's works were attempted by Artaria, Hofmeister, and Cranz, but the first one worthy of the subject was issued by Breitkopf & Hiir- tel in 1851—' riiemitisches I'erzeichniss' etc., large 8vo, 167 p. The second edition of this, edited and en- riched with cojjious notes, remarks, appendices, in- dexes, etc., by Mr. G. Nottebohm (Leipzig, 1868, pp. 1, 220), leaves little to be desired. It is arranged in the order of the opus number of the pieces— where they are numbered — that is to say, in the order of pub- lication."— .S';V licorge Grove. Both editions are occasionally listed tn second-hand catalogues. The first edition may be consulted in the DrexeT collection, Lenox Library, New Y(~rk. For Lives of Beethoven see under Marx, A. B.- Nohl, I..; Nottebohm, G.; Oulibischeft, A,; Schindler, /.; Thayer, A. \V. 780.943 Benedict, Sir Julius. Wehek. (Great Musicians series of biogra- phies, edited by Francis Hueffer. ) Lond., Sampson Low. N. Y., Scribner, 176 p.,$i. A well-written and authoritative book which derives special interest from the fact that the author was a pupil of Weber. A valuable feature is the descriptive catalogue of Weber's compositions. 785 Berlioz, Hector. At roKiocRAi'iiv. From 1S03 to 1S65. Com- prising His Travels in Italy, Germany, Rus- sia, and England. Transl. by Rachel (Scott Russell) Holmes and Eleanor Holmes. N. Y., Macmillan, 1S84, 2 vols., 336, 411 p., A necessary help to a study of the eccentric French penius, but as a literary work wofully deficient in that It has no index and few references to dates. See Life under Apthorp, W. F. 785 Bombet, L. A. O. The Lii'e ok Havdn, in a series of Letters written at Vienna. Followed by The Like OK Mozart, with observations on Metasta- sio and on the Present State of Music in France and Italy. Transl. from the French. Lond., John Murray, 1817. O.P. A fascinating book but a shameless plagiarism. The original waspuDlished in Paris in 1814. The first Eng- lish edition appeared in 1817, the second a year later, both in London. Reprints were published in Provi- dence in 1820, and Boston in 1839. Though claiming to be original the book is little else than a translation of an Italian work entitled I.c Haydine ovvero Letters sulht i'ita f le O/tere del celebre Maestro Ciuse/ife Haydn, by Giuseppe Carpani, an edition of which ap- peared in Milan in 1812. Bombet was the pseudonym of Henri Beyle. Both works may be consulted at the Lenox Library, New York (Dre.tel Collection). 785 Brahms, J. .V< v land, J. A. Deiters, H., mul Fuller-Mait- 64 Musical Biography. Oarpani, Oiuseppe. Le Haydine. Ovvcro Letterc sulla Vita e le Opere del celebre Maestro Giuseppe Haytin. .V(V Bombet. '786 Oherubinl. Sec Crowest, F. J. Chopin. Ste Karasowski, M.; Liszt, F, ; Niecks, F. Ohrysander, Friedrich. G. F. HAndei,. Leipsic and N. Y., Rreitkopf & Hartel, 3 vols., viii, 455, vi, 481, iv, 224 p., $9.10. Vol. I. was published in 1858, Vol. II. in i860, and the first half of Vol. III. (all that has appeared) In 1867. A work designed to be a companion piere to Spitta's "Bach," Jahn's "Mozart," and Thayer's " Beetho- ven." Its completion is extremely doubtful. It car- ries the story of Handel's life down to 1740 and to that limit is exhaustive, not to say prolix, 783 Orowest, Frederick J. CuERfniNi. N. Y., Scribner, 115 p., $1. Conventional in style. Its chief claim to interest is its subject. 783 Cummings, William H. PrRCELi- Lond., .Sampson Low. N. Y., Scribner, 124 p., $1. Trustworthy and necessary for the correction of errors in the early histories. 783 Deiters, Hermann. Johannes Hraiims. A Hiographical Sketrh. Transl. with additions by Rosa Newmarch. Edited, with a preface, by J. A. Fuller- Maitland. Lond., T. Fisher Unwin. N. Y., Scribner, iSSS, viii, 160 p. $1.50. 785 Edwards, H. Sutherland. Rossini and the Modern Italian School, Lend., Sampson Low. N. Y., Scribner, H4 p., |i. • Bright and readable. Donizetti and Verdi are briefly discussed in the concluding chapters; there is a list of Rossini's published works in an appendix. 782.5 Frost, H. P. Schubert. Lond., Sampson Low. N. Y., Scribner, 128 p., $1. An adequate life of Schubert is yet to be written. All the biographies printed thus far, and they are not many, are short, and none equals in literary manner and interest the article by the editor .n Grove's Dic- tionary. The present book is as full as the ordinary biography and nas an excellent feature in a chronologi- cal catalogue of Schubert's compositions. A German biography by Niggli included in Breitkopf & HUrtel's " Musikalische Vortriige " is to be commended for its contribution to our knowledge of the composer's habits and private life. 784 Fuller-Maitland, J. A. ^LvsTERS OF German Ml'sic. N. Y., Scribner, 289 p., $1.75- The ablest volume of the " Masters of Contemporary Music " series. Separate chapters are given to Brahms, Bruch, Goldmark, Rheinberger, one to Kirchner, Reinicke, and Bargiel, one to Joachim and Clara Schu- mann, one to Hcrzogenberg, Hofmann, Bruckner, and Draeseke, and one to Nicod^, Richard Strauss, Hans Sommer, and Cyrill Kistler. 780.943 Oluck. See Newman, E. Qounod, Charles FranQois. Memoirs ok an Artist. An Autobiography. Rendered into English by Annette E. Crocker. Chic, Kand, McNally & Co., 1895, 223 p., $1.25. 5itson, 202 p., Ir.25. It IS a misnomer to call Liszt's poetical, almost hys- terical essiiy a "Life" of Chopin Its biographical material is meagre and faulty, but the boo! is valua- ble as a study of Chopin's art by a fellow-artist and friend For CoRRKsi'ONnENCE 01- Wagnkr and Liszt see ll'agner in Part VI. For " Life of Liszt " see under Xohl, L, For "Als Kuenstler und Mensch "' see under Ramann, L. 780.943 Marx, A. B. Liiiiwio VAX Hf.f.tiiovf.n, Ledf.n rxn Scuaf- FF.N. In zwei Theilen mit chronologischem Verzeichniss der VVcrke und autograjih- ischcn Hcilagen. Dritte Auflage. mit lie- rUcksichtigung der neuestcn Forschungen diirch gesehen und vermehrt von Dr. Gustav Hehncke. Herlin, Otto Janke. N. Y,, Lemcke & Huechner. 2 vols., 365, 456 p., paper, $5.35; cloth, |6. 10. A critical biography written with ardent sympathy and in a sanely poetical style, with analysis of the larger com|)ositions of Beethoven which give it a place not filled by any English biography. 780 GucK iNi) niK Opf.r. Mit dem wohlgetrof- fenen Portrait Gluck's, einem Autographen und vielen Musik-beilagen. Herlin, Otto Janke, 18^13, 2 vols,, 464, 390 p., I4.20. Valuable, but prolix. 780.943 Mendelasohn-Bartholdy, F. See Lampadius, W. A. Newman, Ernst. Gi.rcK and Till Opera. A Study in Musical History. Lor.d., Hertram Dobell. N. V., Scribner, 1895, yxt p., I2.40. Obviously intended to take the place of the German •work, Cluck unci tUeO/>er. (See .Mar.x.) 782.3 Niecks, Frederick. Frkdkrick Chopin as a Man am> Mtsician. N. Y., Novello, Ewer iS: Co., 2 vols., 340, 375 p., Sio. A standard work, the ablest yet written on the sub- ject, though unduly extended by dissertations on unes- sential topics. Contains appreciative and intelligent analyses and criticisms and a well-compiled and anno- tated list of Chopin's published compositions. 780.943 Nohl, Louis. LiVKsoF Rff.tiioven, Haypn, Liszt, Mozart, AND Wacnek. Transl. by George P. Up- ton and John J. Lalor. With portraits. Chic, A. C. McClurg & Co., 5 vols., 75 c. each. 780.943 Nottebohm, Oustav. Heeiiiovemana. Aufsiitze und Mittheilun- gen. Leipsic, Rieter-Hiedermann, 1872, 203 p., 7 marks. ZwEiTE Heethoveniana. Nachgelassene Aufsiitze. Leipsic, Rieter - Hiedermann, 1S87, X, 590 p.. 20 marks. Reprints of Beethoven's sketch-bonks, invaluable to Beethoven students. The second volume left unfinished by Nottebohm was completed by E. Mandyczewski. 780.943 Oulibischeff, Alexander. Heetiioven, ses Critiques et ses Glossa- TEiRS. Paris, 1S57. O.P. Beethoven, seine Kritiker und seine Aits- i.EdER. Aus dem Franzcisischen iiberzetzt von Ludwig Bischoff. Leipsic, Hrockhaus, 1S59. X. 373 P- O.P. A polemic directed against Lenz's " Beethoven ei ses trois styles." (Sec Le.nz in Part VIII.) NouvEi.LE Bior.RAPiiiE DE MozARi", suivie d'un aper9U sur I'histoire g6n6rale de la Mu- sique. Leipsic, Hrockhaus, 1S44, 3 vols. O.P. Mozart's Leren cndWerke von Alexander On.iHisciiEFF. Neu Hearbeitet und wes- entlich erweitert von Ludwig Ganitner. 2d ed. Stuttgart, Ad. Hecher. 1S64, 4 vols., xix, 331, 328. 392, 348 p. O.P. The historical " aperifu ' in the original attacked the later compositions of Beethoven ana provoked Lenz (see Part Vlll.) to write his "Beethoven et ses trois styles.- 780.943 Paine, John Enowles, Editor, Famous Composers and Their Works. Host., J. B. Millet Co., 30 parts, I15. (In 6 vols.. I24. ) This work was sold on subscription. It is serious critical biography by well-known writers, with studies of the growth of music in various countries. The mu- sical illustrations were edited by Theodore Thomas and Karl Klauser 780.0 Palestrina. See Kandler, F. S. 66 Musical Biography. »lV I Pohl, O. F. JosKi'H Haydn. Leipsic, Breitkopf & Iiartel, 2 \(j1s., XX, 423, vii, 3S3 p., $6.30. The author was librarian of the Gesellschaft dcr Musikfreunde in Vienna. A residence of three years in London was largely occupied in investigations touchin); the visits to that city of Mozart and Haydn, the results he embodied in his book " Mozart and Ha/dn in London" (1867^ He then undertook to do for Haydn what Jahn (see) had done for Mozart and Snitta (see) for Bach. Unhappily his Haydn biogra- phy was unfinished at his death in 1887, after it had carried the history of the composer to the end of 1790; but so far as it goes it is a court of last resort on all questions of fact concerning the composer. 780.943 Pole, William. The Story ok Mo/art's Rkqi'ikm. With a fiu-simiU. Lond., Nuvello, Ewer & Co., ]87<}, ()i p., 40 c. A fine marshalling of the facts in the much con- troverted story of the A'tv«;Vw, leaving the Question of the exact extent of Mozart's work unsettled. 780.943 Poole, Reginald Iiane. Sebastian Hacii. Lond., Satnpson Low. N. Y., Scribner. 13S p., $1. An excellent compendium- a vast amount of infor- mation well brought out and well stated. It is one of the best volumes in "The Great Musicians" series, and challenges attention as the first biography of Hach written in England. 780.943 Fougin , Arthur. Verdi : An Anecdotic History ok His Like AND Wf)RKs. Transl. from the French by James E. Matthew. N. Y., Scribner, 1887, xi, 3oSp.,$2. 780.945 Purcell. See Cummings, W. H. Ramann, L. Franz Liszt. Ai.s Kcensti.er i'nd Ai.s Menscii. Leipsic and N.Y., Breitkopf & HaneL 18S0, 1887, and 18(^4. 2 vols, bound in 3, .xii, 570, viii, 315, xii, 531 p., $8.20. An exhaustive work authorized by Liszt, largely written under his supervision, but somewhat hysterical in Its admiration and devotion. 780.943 Reissmann, August. Life and Works ok Robert Schkmann. Transl. from 3d edition of the German by Abby Lani{d(jn Alger. Lond., George Bell iS: Co. N.' Y., Macmillan, 276 p., %\. A critical biography, with intelligent discussions of Schumann's principal compositions. 780.943 Rockstro, W. S. Life OK Geor(;e Frederick Handel. With introducl(jry notice by George Grove, D.C.L. N. Y.. Macmillan, 452 p. $2.50. Trustworthy and servicaable. Contains a valuable catalogue of Handel's works and t<. genealogical tree. 780.943 Rossini. .V.^ Edwards, H. S. Rubinstein, Anton. AuTOBiocRAi'iiv, 1829-18S9. Transl. from the Russian by Aline Delano. Bost., Little, Brown & Co., 1S90, viii, 171 ])., |i. A Conversation on Mrsic. Transl. fot the auih(jr by Mrs. J(jhn V. Morgan. N. Y., C F. Tretbar, 146 p., %\. The latter volume contains a frank confession of Rubinstein s attitude toward his contemporaries. 780.947 Schindler, Anton. The Life of Beeitioven ; including the bi- ography of Schindler, Beethoven's corre- spondence with his Friends, numerous characteristic traits, and remarks on his musical works, edited by Ignace Moscheles; to which is added the Life and Character- istics of Beethoven, from the German of Dr. Heinrich Diiring. Bost., Ditson, 390 p., 81.50- A reprint of the Moscheles book of 1841, with the ad- dition of the preface to the WolfenblUtel edition of Beethoven's sonatas as translated for Dwinht's Jour- nal 0/ Music ., that preface consisting of Dr. Di'iring's sketch. Theoriginalof Schindler's "Biographie" was published in MUnster in 1840, but Moscheles took more credit for it than the author when he translated or adapted it for the London publisher in 1841. The inti- mate relations which existed between Schindler and Beethoven during the last few years of the latter's life give great worth lo the book as an original sourceof in- formation Its value as an authority, though fre- quently attacked, has been confirmed by Mr. Thayer. (See Thayer, A. W.) 780.493 Schoelcher, Victor. The Life of Handel. Bost., Ditson, 492 p., $2. The French original of this work has never been printed. Schoelcher was not a musician but apoliti- cian, who, as a republican, was expelled from France on the accession of Napoleon III He lived in London till 1870, and his book was the fruit of an enthusiasm for Hanflel created and nourished there. Though ex- tremely faulty. It iongenjoyed great popularity because there was no modern English biography of Handel. It hasnow been supplanted by Rockstro s "Life." (See Rockstro.) 780.943 Schubert. See Frost, H. F.; Kreissle H. v. Schumann,R. See Reissmann, A. , Wasielewski, J. V, Spitta, Philipp. Johann SEBAsriAN Baih : His Work ana In- fluence on the Music of Germany, 16S5- 1750. Transl. from the German by Clara ' Bell and J. A. Fuller-Maitland. N. Y., Novello, Ewer iS: Co., 3 vols., 656, 721. and 419 p., $12. O.B. A monumental cxampleot German thoroughncssand devotion. 780.343 Spohr, Louis. AiMouioc.RAi'iiY. Transl. from the German. Lond. Longman 1S65 vii, 327, 242 p., $3.50. O.P. Conlaining many interesting comments on Spohr's contemporaries, especially Beethoven 780943 Streatfeild, R. A. Masteksok Iiai.i.vn .Misic N. Y., Scribner, 1S95, 270 p.. $1.75- Sketches of Verdi, Boito. Mascteni, I'uccini, Leon- cavallo, and a final chapter devoteiTlo Bazzini, Sgam ball, Facciu. and iilancinelli. 780.945 Thayer, Alexander Wheelock. LiJDWiG VAN Beeiiioven's Lkbi'N. Nach dem Original Manuscript, deutsch bear- beitet. Berlin, W. Weber. N. Y., Lemcke & Buechner, 3 vols., 3S4, 41O, 519 p., paper. $7. The court of last resort for all nuestions touching the man Beethoven; there is no discussion, beyond the historical, of his compositions. Written in Eng- lish by an American, and translated by Dr. H Deiters. The three volumes published respectively in 1866, 1872, and 1879 bring the life of Beethoven down to the end of 1816. A fourth volume is yet tocome. The work represents thirty-five years ot labor and its authority IS indefectible. 780.943 ]\'agnen'ana. 67 CiiKoxor.oGisc'UEs Vf.rzkiciiniss dkr Wekkk LfDWiG VAN Hkktiiovkns. Herliii, 1S65, Ferdinand Schneider, viii, 20S |). O.P. " A cataln(;ue from a different pmnl of view " (from that published by Rrcitkopf & HUrtel— see lUitho- lien) "in the order of the production of the worl. J. Lang. Illustrated with 14 phototypes from origi- nal drawings by Fantin-Latour, 15 por- traits of Richard Wagner, and 113 text cuts; scenes from his operas; views of theatres, autographs, and numerous cari- catures. Host., J. H. Millet Co., 2 vols.. $10. A critical biography written in a sprightly and en- 68 JVagneriana. lertainmK vein by a distinRuished French writer, an enthusiastic admirer of Wagner's music and a calm and discriminatinK judKe of his personal character. There are evidences in tne translation of unfamiliarity with French musical terminology and Wagner's works. 782.2 Erehbiel, H. E. Sudif.s IN TiiK Wacnerian Drama. N. Y., Harper, 197 p., $1.25. Contents: Chap. I., The Wagnerian Drama: its Frototypes and elements; Chap. II., "Tristan und solde' ; Chap. III., "Die Meistersincer von NUrn- berg"; Chap. IV., " Der KingdesNibeiungen"; Chap, v., "Parsifal." 782.2 Kufferath, Maurice. TiiK Pausifai. i"lde," N. Y., Schirmer (25c.). 782.2 Music: Science and .Esthetics. 69 PART VII. SCIENCE AND /ESTHETICS. AmbroR, A. W. TlIK HolNDAKIF.S OF MfSIC AM) I'OKTRV : A Siii>Y IN MisicAi, iiilsTHF.Tics. Trunsl. from the German by J. H. Cornell. N. Y., Schirmer, 187 p., $2. Entertainini; as well as suRRestivc. An answer to Hanslick's "The Beautiful in Music." which sec. Free from the ordinary obscurities 01 metaphysical writinK. and full of illustrations drawn from tne other arts. It combats the notion that feelinKS arc neither the aim nor the content of music, but points out the limitations of musical expression and warns at;ainst the extravagance of descriptive, or programme, music. 780.1 Berlioz. Hector. A TUKATISK ON MonF.RN INSTRT'MF.NTATION AM) Oiuiiksikaiio.n; to which is appended The Chef d'Orchestre. Transl. by Mary Cowden Clarke. New edition, revised and edited by Joseph Hennett. N. Y.,Novello, Ewer & Co., 18S2, 257 P-. $4-So. Has always been the chief authority-in its depart- ment. The hook contains an exact table of the com- pass, a sketch of the mechanism and study of the ((uality of tone and ejpressive character of the instruments of the orchestra and a large number of examples in score. 785 Broadhouse, John. Musical Acoistics: The SrtiDF.NTs' IIki.m- iioi.rz, or The Phenomena of Sound as coniiectei! with music. Lond., Reeves. N. Y., Scribner, 440 p., $3. 6'- St-e Hruadhouse. 781>1 JadasHohn, 8. A Mam Ai. of IIarmo:;y. Transl. from the third augmented and carefully revised (ier- man edition by Dr. Th, Baker. N. Y , Schirmer, 292 p., $2. The author is the most distinguished pcd.iR<>KUc in the Faculty of the Conservatory of Lcipsic, a clear, strong, logical, and scicntitic thinker and leasuncr 781.3 Krehbiel, H. E. How TO LisTKN TO Music, N. Y., Scrihner i8(/), .vv, 361 p., $1.25. Contents : Introduction, settini? forth that the book is not for professional musicians, hul foruniauKlit lev ers of music: Recognition of Musical Elements Con tent and Kinds of Music ' The Modern Orchestra At an Orchestral Concert ; At a Pianoforte Recital , At the Opera . Choirs and Choral Music , Musician, Critic, and Public Illustrations comprise simple explanatory music, conductor's core, and orchestral instruments. 780.4 .^ullak, Adolph. The ^sthkttcs of Pianoforte Pi.ayino. Transl. by Dr. Th. Maker, from the thirtl German edition, revised and edited by Dr. Hans Bischoff. N. Y., Schirmer, 328 p., $2. A most admirable book, suggestive alike to pianist, critic, or mere lover of the art. Its most grievous de- tect lithe Teutonism of the translator's English. The author discusses, at the outset, the nature and limita tions of the pianoforte's tone, then the history of its technical manipulation, the "methods'' of C. P. E. Bach, Cramer, Hummel, Kalkbrenncr, Czerny, De Kontski, Theodore and Adolph KulIak,P1aidy. Kohler, Thalberg, and Riemann, and then presents his theories as to technique, time, rhythm, accentuation, dynamic expression, and poetical content in pianoforte music 786.3 Pole, William. The Phii.osopiiy ok Mfsrc; being the sub- stance of a Course of Lectures delivered at the Royal Institution of Great Britain, Feb- ruary and March 1S77. 3d edition revisecl I.onii.. Kegan Paul. N. Y.. Scribner, l8(ji, 7,2^ p .f:.. Entirely trustworthy 781 Prout, Bbenezer. CorNiEKPiiiN r : .SiKirr anh Fkee. I.ond., Augeiier. N. Y., Schuberth 249 p., $2. 781.4 Harmony: Its Theory and Practice. I.ond., Auyener. N, Y., Schuberth, 254 i),.$2. 781.3 Fi'd'E. I.ond., Augener. N. Y. Schuberth. 245 P..52. DoiMI.E CofNTERI'OINT AM) CaNON. Augener. N. Y., Schuberth. $2. MisK'Ai, Form. Schuberth. §2. Lend., Augener. 786.86 I.ond.. 781.4 N. Y.. 781.6 INSTRI'MENIAITON. I.ond. and N. Y,. Novel- lo, Ewer &Co., 144 p , 75 c. 781.6 Riohter, Ernst Friedrich. Maniai. OF Harmony , a Practical Guide prepared especially for the Conservatory of Music at Leipsic. Translated from the latest German edition by John P Morgan. 17th edition. N, Y.. Schirmer, 1896, 219 p., $2, For forty years this has been recojfnijtcd as a stand ard work. A proof of its wide popularity is that it h.-'S t>een iranslated into English, Dutch, Swedish, Russian, Polish, and Italian Mr. Morgan's translation was made in 1867 from the fifth German edition, and the 6 resent is reprinted iruin the original plates. (See roekhoven.) 781.3 Tyndall, John. SocM). 3d edition revised and enlarged. N. Y.. Appleton. 1S77, 44S p.. $2. Always an authority 781.1 Zahm, Rev. J. A. SoiNi) AND Mrsir. Illus, 1S92, 452 p., $2.50. Chic, McCIurg, 781.1 PART VIII. CRITICISM AND ANALYSIS. .Apthorp, William F. Mt'SICIANS AND Mt'SIC LoVERS, AND OTHER Essays. N. Y., Scribner. 346 p., $1.50. Criticism with an agreeable literary flavor, the re- flections and conclusions of a studious man and an ex- perienced judge. Two of the essays discuss the rela- tionship between the art, the musician, the critic, and the public. The remainder are mostly critical biog raphy, the subjects being Bach, Meyerbeer, Offenbach, Franz, Dresel, and Dwight. 780.4 Chorley, Henry F. Thirty Y'ears' Mi'sicai, Recollections, Lond., Hurst & Blackett, 1862, 2 vols. XV, 312. 323 p. O.P. 780.4 Music and Manners in France and Ger- many. A Series of Travelling Sketches of Art and Society. Lond., Longmans, 1S41, 3 vois,, 301, 302, 290 p. OP. 780.944 Modern German Mcsic. Lond., Smith, El- der & Co.. i8';4, 2 vols, in i, 371, 41S p. O.P. 780.943 The author was for over thirty years musical re- viewer for the Atlientruni. His criticisms are not free from unreasonable prejudice, and the significance of the new romantic movement never dawned on him, but he was frank, honest, and controlled an interesting style. " Modern German Music " is a reprint, with additions, of the best of his writings in " Music and Manners." Ourwen, John Spencer. SiiDiKs IN Worship Mrsic. ist Series. Chiefly as regards Congregational Singing. 2d edition, revised and enlarged. Loncl., J. Curwen & Sons. N. Y., Scribner, 1888, viii, 507 p.. S2. Sti'dies in Worship Music. 2d Series. Musical Criticism and Analysis, 71 781 I.ond., $2. 781.4 I.und.. I.oikI.. 781.4 Lond., |. Curwcn it Suns. N. Y., Scril)- IHT, 1SS5. 208 p., $1.25. The second scries contains brief accounts of the Cliaptl Royal and the Choir Sth^tolf' o( Westminster Abbey and St. Paul's ("athcdral. The first ha; an ex- cellent bibliui;ruuhy uf Protestant church music. 783.0 De Lenz, W. .See I.l'iiz. Edwards, H. Sutherland. TilK LvRiiAi. I)k.\m.\. Kss.nys on Suhjcrts, Ciimposers. and Executants of Modern Opera. Lond., W. II. Alien i'<: Co., 1881, 2 vols., 31C), 312 p. O.P, Rnlertainin((, but not to be taken too seriously is criticism. CosTKNTs • Opeiatic Origins; History o( Her Majes- ty's Theatre; Covent Garden and the Royal Italian ()pcra; The Romantic and the Necromantic; Lyrical .-nd Dramatic Subjects, The picturesque side oi the "3on Juan LeKend; The Original Don Juan; Don Juan in Italy, France, and EnKland; Molitre's Don Juan; Mo- zart s Don Juan described by Hoffmann; Alfred dp Musset's Don Juan; Poushkin's additional scene for " Kaust " and new last act for "Don Juan"; The Faust of Historj- and of Legend; How Dr. Faust he- came a dancer; The Operatic Faust; The Flying Dutch- man. TannhUuscr: I.ohenBrin; Robert the Devil; Mey- erbeer smce "Robert le Diablfc", Verdi, and I'our of bis Operas; Aida and the Manzoni Requiem; Some of Rossini'3 Works; Donizetti and Rellmi; The Mignon and Hamlet of Ambroisc Thomas; Shakespearian Ope- ras. Carmen; The ever-popular Martha; An Operatic Centenary. Decline and Fall of the Tenor; Extinction of the Ballet; Operatic Management; Musical Agents; Libretti; Operatic and Theatrical Anomalies; The Lit- erary Maltreatment nf Music; Dictionaries of Music; Grove's Musical Diciionarv; Quartette Concerts and the Classical in Music; Reasonableness of Opera; Tatra FUred, and the Music of the Hungarian Gypsies; The Byeways of Bookmaking. 780.4 Bhlert, Louis. Fko.m TiiR ToNF World ; a .Skriks ok Es- .sAYs. Transl. from the German bv Helen I). Tretbar. 2d ed. N, Y., C. F, tretbar, 307 P-. $1-50. Criticism by one of the most delightful writers on music that Germany has produced — a musician of keen discernment, of warm love for his art, and withal a master of a poetical and sympathetic literary style. The second, undated, edition was published in 1803, and contains essays on Brahms, Wagner's " ParsifaV' and Liszt as a litterateur, which are not in the first edition. Of special value are the essays on "Tristan und Isolde," the Bayreuth festival, " Parsifal," "Schumann and His School," "Chopin," and " Brahms." 780.4 Ella, John. Mi'sicAi, Sketches Abroad anp .\t Home. With original music by Mozart, Czcrny, Graun, and others. Vocal Cadenzas and other Musical Illustrations. 3d ed. re- vised and edited by John Kelcher. N. Y., Schuberth, 1878, xx, 440 p., $2.75. A collection of notes, historical, biographical, critical, and anecdotical, written by Prof. Ella for the Recorii, which he published in connection with his chamber concerts, or " Musical Unions," as he called them. 780.4 Elterlein, Ernst von. Beethoven's Svmi'iionies in* their Ideal Significance Explained. Transl. from the German with the Author's approval by Francis Weber. With an account of the facts relating to Beethoven's Tenth Sym- phony. Lend., Reeves. N. Y., Scribner, 118 p., %\ 50. 785.1 Beethoven's Pianoforte Sonatas. Ex- plained for the Lovers of Musical Art. Transl. from the German by E. Hill. With a Preface by E. Pauer. Lond., Reeves. N. Y., Scribner, 118 p., $1.50. 786.41 Finck, Henry T. Ciiiti'iN AND OiiiKR Essays. N. Y., Scrib- ner, I1.50. CoNTHNTs • Chopin, the Gre.itcst Genius of the Pianofoile; How Comiposits Work . Schumann as Mir rored in his Letters; MuhIc and Morals, Italian .ind German Vocal Styles; German Opera in New Vurk 780.4 Orova, .SVr Oeorge. Ukf.iiiiiven am> His N'ink Swiiicimes. Lond. and N. Y., Nuvcllo, I'.wtr iV Co., 4CX) p., $2.40. The analyses of Beethoven's Symphonies which ap- peared for many years in the programme books ol the Crystal Palace Concerts over the signature |G1. wore, as every English music-lovcr knows, wnttin by Sir George Grove. They have been reprinted many times and must stand as the most suggestive and interesting popular commentaries of their kind ever written. In this volume, published in 1896, Sir George has gathered thtm together, extended some of them, and atipendcd notes and interesting historical data touching the com- posilion of the works and their early performances 786.1 Hadow, W. H. SriDiEs IN Modern Mcsic With Portraits. N. Y., Macmillm, 2 vols., 335, 312 ])., $4-5'). Chiefly taken up with critical biography, written with discernment, independence, and forcefulness, and in an agreeable style. The first series treats of Berlioz, Schumann, and Wagner ; the second of Chopin, Dvorak, and Brahms. The opening essjiy {>f thehrst scries is de- voted to Music and Musical Criticism ; of the second tO' a study of the Outlines of Musical Form. These es- Siiysare ingenious efforts to discover a basis for judg- ment on musical art-wurks, and are valuable for their suggestiveness. 780.4 Hanslick, Eduard. Al^S DEM CONCERISAAL, 1870. 534 p.. $4- Vienna, Hraumllller, Die Moderne Oi'er. Berlin, A. Ilofmann & Co., 1875. 341 p. O.P. MirsiKAi.isniE Stationen. 2d ed. Berlin, AUgemeiner Verein fllr Deutsche Litera- tur', 1885, 361 p.,|i.8o. (Part H. of Die Moderne Oper.) AtS DEM Oi'erni.eken der Gec.enwart. Berlin, Ail. V. filr D. L., 1885. (Part HL of Die Moderne Oper), 379 p., $1.80. SfiTE. Aufsiitze Ubcr Musik und Musiker. Wien, Prochaska, 1885, 291 p., $2.25. Misikalisches Skizzenbitch. 3d ed. Ber- lin. All. V. filr D. L., 1888. (Part IV. of Die Moderne Optr), 335 p., $i.So. Mt;siKALiscHESiJNi)LnTERARiscnES. Berlin, All. V. filr I). L., i88(). (Part V. of Die Moderne Oper), 359 p., $i.So. CONCERTE, COMPONISTEN, UNI) VlRTfOSEN, der letzten filnfzehn Jahren 1870-1885. Berlin, All. V. filr D. L., 1887, 447 p. ,.$2.40. Ai's DEM Tagebuche FINES MusiKERS. Ber- lin, All. V. filr D. L., 1892, (Part VI. of Die Moderne Oper), 360 p., $1.80. FienfJahreMusik(i89I-i895). Berlin, All. V. fllr D. L.. 1896. (Part VII. of J)ie Mo- derne Oper), 402 p., $r.8o. Reprints of the critical feuiUetons of the cleverest, 'wittiest, and most genial of modern German critics, who has been on the staff of the Neue Freie Presse since 1864, and Professor of Music at the University of Vienna'since 1861. He has been long the leader of the opposition to Wagner, his theories of the capacity of 7» Musical Criticism anJ Analysis. musical e.xprcmion belne incnntiittent with the ino>, and tilled with the charm i)f kikhI litcruturc. Ahou' halt the vol- ume IS devoted to WaKner and his latter-day works ; the rest to a study of the evolution of pianoforte music and a sympathetic essay on Schumann and the pro- Krammc symphony. 780.4 iHoImei, Edward. A Kamiii.k Amont, the Mt'siriANS or Gkk- MANV. (jivinu some Account of the Operas of .Munich, I)resilen, Merlin, and other cities, with KemarltjKs Oi'ftKAs (Dictiontiairc lyriijuc) contenant I'analyse et la nomen- clature (le tous les opC-ras et opferas- comiques repr6sent6s en France et a I'ttran- ger (lepuis I'origine de ce jjenre d'ouvra^es jusqu'si nos jours. Compl6t6 par lies Suppl6ments p6riodiques maintenant & cet ouvraRe un caract^re d'actualit6. Paris, Ad- ministration du grand Dictionnaire univcr- sel. N. V,, Lemcke & Uuechner, 952 p., $7. 780.3 Orove, Sir Oeorge. DlCTIO.NARY OK Mi'SIC AND MfSICIANS (A.D. 1450-1889), by eminent writers, English and foreign. Illus. Appendi.x edited by J. A. FuUer-Maitland. Illus. N. Y., Mac- millan, 5 vols., ^25. The only really comprehensive encyclopedia ol music m English. Frequently faulty in statement (the appendix is chiefly occupied with corrections) and not always well balanced in its estimate of the musical activities of the different peoples of the worlds yet un Indispensable book of reference to the serious student. 780.3 Mendel, Hermann, and Reiumann, A. MiSIKAI.lSCIIKS CoNVKKSAIlnNs-LK .\irON. Eine EncyklopUdie der Gesammten Musik- alischen Wissenschaften. Merlin, R, Op- penheim. 1.H70-1882, 12 vols., marks 88.50. The most complete and scholarly musical eneyclo- pcedlaever undertaken in German. Dr. Mendel car- ried It on to the letter M in Vol. VII. (he died in ■ 876). After his death Herr Keissmann undertook the editorship. List & Francke, of Leipstc, began the issue of a cheap edition in 1894, 3 v,, pap., 40 marks, N. Y., Schubcrth, $ia,8o. 780.3 Riemann, Hugo. Misik-Lkxikon. 4th edition. Leipsic, Ma.K Hesse, 1894, 1210 p.. 12 marks. Of this admirable work an English translation by J. S. Shedlock has been published in 14 parts by Augener in London (N. Y., Schuberth), each part 40 c.; 1 vol., cl., $6. OpKHN-HANnnucH. Repcrtorium der Dra- matisch - musikalischen Literatur (Opern, Operetten, Ballette, Melodramen, F'anto- mimen, Oratorien, dramalische Kantaten, etc.). Leipsic, C. A. Koch, iSS;, 743 p., $4.80. 780.3 Stainer, Sir John, and Barrett, W. A. Dictionary ok Musical Tkrms. Lond. and N. Y., Novello, Ewer & Co., 456 p.. $3. A standard authority and the best work of Its kind in English. The publishers have issued an abridged edition in their series ol Music Primers, 96 p., 65 c. 780.3 PART X. MUSICAL JOURNALS. THEETrnE, 170S Chestnut St., Phila., Month- ly, $1.50 per annum. The Musical Courier, 19 Union Square, N. Y., Weekly, $4 per annum. Music, 1402-5 Auditorium Tower, Chic, Monthly, $3 per annum. The Musical Times, i Berners St., Lond. 21 E. 17th St., N. Y.), Monthly, $1.25 per annum. The Mu.sical Standard, 185 Fleet St., Lond., E. C, Weekly, $5.20 per annum. Die Redende KOnste, Leipsic (Constantin Wild's Verlag), Weekly, $2.40 per annum. Musikalisches Wochenblatt, KOnigstrasse, No. 6, Leipsic, Weekly, $3.20. Monatshefte fPr Musikgeschichte, Robert Eitner, Templin. Allgemeine Musikzeitung, 27 Spreestrasse, Charlottenburg (Berlin), Weekly, $3.20 per annum. SiGNALE FCR die MUSIKALISCHE WeLT, RosS- strasse No. 22 I, Leipsic, Weekly, I2.40 per annum. Gazetta Musicale di Milano, Ricordi, Mi- lan, Weekly, $4.50. Le Menestrel, Paris, H. Heugel, Weekly, $4 per annum. ZeITSCHRIKT KOR lNSTRUMENTENBAU,.Paul de Wit, Leipsic, Weekly, $3.20 per annum. 74 Music. PART XI. SECOND-HAND CATALOGUES. ^li Baer, Jos. & Co., Rossmarkt i8, Frankfort- on-the-Main. Beijer, J. L., Neudegasse 21, Utrecht. Hertling, R. Viktoriastrasse 29, Dresden. Cohn, A., Mohrenstrasse 53, Berlin W. Geigcr & Jedele, Stuttgart. Gilhofer 1.S: Ranschburg, I Bognerstrasse 2, Vienna. Kirchoff & Wigand, Marienstrasse 19, Leip- sic. Liepmannsohn, L. Bernburgerstrasse 14, Ber- lin S. W, ListiS: Francke.Universitatsstrasse i3,Leipsic. Meehan, B. & J., 32 Gay St., Bath, Eng. Parnell, L. & S., 12 Rockley Rd., Lond. W. Reeves, William, 185 Fleet St., Lond. Schmidt, C. F., Cacilienstrasse, Heilbronn. Scribner's, Charles, Sons, 153 Fifth Ave., N. Y. (In appendix to " Musical Literature List "). Spirgatis, Marienstrasse 23, Leipsic. Weigel, Oswald, Kcinigstrasse i, Leipsic. Welter, H., 59 Rue Bonaparte, Paris. PRICKS : In Germany: 1 marker shilling=:i franc 25 centimes. In Austria : i Gulden (fl.) = i mark So pf. = I shilling 10 pence — 2 francs 20 centimes. In Holland ; i Dutch fl, rin = 2 francs 10 cen- times=i mark 72 pf. = 1 shilling S pence. Lemcke & Buechner, 812 Broadway, G. E. Stechert, 11 East Sixteenth St., and E. Schuberth & Co., 23 Union Square, N. Y., import second- hand books on order at the following prices, duty not included : mark, 2S c, franc, 24 c, Austrian florin, 48 c, shilling, 28 c. INDEX. Alibey, E. A. See Fennllosa, Murr.l IKiintinir in Boston Public Library, 2j; Smith, American illustrators, 35. Aclic, Caran d'. See Morin, French illustrators, 30. Acoustics, musical, Broadhouse, 69. Acropolis of Athens, D'Oogc, 5 ; dis- coveries made on, see Gardner, Chapters in Greek history, s; paint- ed statues found on, in 1883 and 1886, see CoUiKnon, Hi;;toire de la sculpture Grecquc, 19 ; buildinps on, F urtwiingler, 23. See also Ath- ens. Action in art, Beard, 16. .■\ s; Painters; Scuhitors. Arts and craftsessays, Morris, 51-52. Asia, Eastern, ancient architecture in. .See irinuth and Slater, Architect- ure, classical and early Christian, 46. Asia, Western, origin of European architecture in. .See Fergusson, His- tory of architecture in all countries, 40 ; ancient architecture in, Kee Smith and Sla'er, Architecture, classical and early Christian, 46. vKi WM 76 Asia Minor, recent excavations in, Gardner, 5; hi ;tory of ancient art in, Perrot am/ Cnipiez. 11; cities in, see Longfellow, Cyciopicdia of works of architecture, 43, Assyria, antiquities of, fiabelon, s, see also Perrot ami Chi,)icz, His- toryr of ancient art in Kffypt and Syria, 11; strujfgle of nations 1:1, Maspero, 9; ancient architecture i:i, see Smith and Slater, Architecture', classical and early Christian, 46. Assyrian pottery, Hirch, 48. Assyrian sculpture, Redford, 32. Astor Library, musical department of. See Prefatory note, 55; Musici Scrlptores Grteei, 60. Athens, studies in, see Harrison, In- troductory studies in Greek art, 7; mythology and monuments of an- cient, Harrison, 7. See also Acrop- olis. Atkinson, J. n., 2. Atkinson, T. 1). .V,<- Foster, J. K., and Atkinson, 50. Atlas of classical antiquities, Schrei- ber, 12. Avery Architectural Library, 38-39. See also Prefatory note, 31. Babelon, E., 2, 16. Rabylon, Sayce, 12; antiquities of, nabelon, 2. Hacchius, on musie. See Musici Scrip- tores Gra;ci, 6o. Bach, C. I'. K. Sec liimbault, Piano- forte, 59; Kulliik, ^iKsthetics of pianoforte plaving, 70. Bach, Johann Sjbastian, Poole, 66; Spitta, 66; see also Bitter, Beitrajje zur Geschichte , 6). Bas-reliefs, Renaissance and later, I see Maskell, description of ivories in South Kensington Museum, 51. Pastien- Lepage, lules, Cartwright, 18. Baudry, Cox, 20. Baumker, W. .SVv Ambros, Gcschicli- te der Musik, 55. Bayet, C, 2, j6. Bazzini. 6'ir StreatfeiM, Masters of Italian music, 66. Beard, W. H., 16. Beauty, ideas <:f. See Ruskin, Mod- ern painting, 33. Beauty of form and grace of vesture, Steele and Adams, 53. Beckwith, J. C, 16; see also Modern French masters 29. Beethoven. Ludwig van, 63, Marx, 65, Nohi. -. Nottebohm, 65, Ouli- biscl ff, Schindler, 66, Thayer, 66-67, Grove, 71, Etterlein, 71, Lenz, 72, Teetgen, 72. Before the soldan. See Ruskin, Morn- ings in Florence, 34. Behan, B. See Scott, The little mas- ters, 35. Behan, H. S. masters, 35. See Scott, The little Index. Belcher, J. See Transactions of the National Association for the Ad- vancement of Art, 53. Belgium, revival of sculpture in, Des- triie, 21; old masters of, Fromen- tin, 22; painting in, see Lafenestre and Richtenberger, Painting in Europe, 27. Bell, Mrs. Arth., 17. Bell, Sir Chas., 17. Bell, Clara, trans. See Chesneau, L'education de I'artiste, 3; Wolt- maiin <» «r^ VVoerman, Paintings of the Renascence, 37; Spitta, Johann Sebastian Bach, 66. Bell, Malcolm, 17. Bellermann, F., 60; see aUoVKiaXory not!, 64. Ben.dict, Sir J., 63. Bened te, L., 17. Benjamin, S. G. W., 17. Bennett, J., ed. See Berlioz, 69. Benoit, C, 67. Benson, W. A. S., 48. See also Tran- sactions of the National Association for the Advancement of Art, 53. Beraldi, H.. 17. Berenson, B., 17. Berlioz, Hecior, 63, 69; Apthorp, 6(. Bertrand, A., 17. Beyle, H. See Stendhal, 13. Bible, music of the, Hutchinson, 57; Stainer, 61. See also Hebrew mu- sic. Bignami. .Siv Jaccaci, Italian posters, Billings, R. W., 39. Binck. .SVv Scott, The little masters, 35. Binders, characteristic school of, Fletcher, 49-50. See also Book- binding. Binding. See Bookbinding. Biographies, of artists, Blanc, 3, Cle- ment «« Fuller-Maitland, Masters of Ger- man music, 64. Brasses, monumental, Macklin, -28. Hrendcl, F., 55. Brescia, history of painting in, from XIV. to XVI. century, Crowe and Cavalcaselle. 20. Brick and marble in the Middle Ages, Street, 46; in Roman buildings, see Smith and Slater, Architecture, classical and early Christian, 46. British Columbia, Indians of. Boas, 61. British Museum, the Fillct-lier in, i:ee Collignon, Histoire de la sculpt- ure GrecquCj i_); Italian prims in, I'lsher, 22 ; Gre<:k and Roman ar- liquities in, jrown, 42. Brown, Mrs. J. C, collection of. .v.v Brown, Mary E., and Brown, \V. A., 61. Brown, .Mary E., and Brown, W. A., 61. Brownell, \V. C, 3. Bruch. .SV'i- Fuller-Maitland, Masters of German music, 64. Brlicke, Ernst, 18. Bruckner. See I'uUer-Mailland, Mas- ters of German music, 64. Bruneau. .See Hervey, Masters of French music, 64. Brunn, H., 3. Bryan, M., 14. Bucknall, B., trans. .See Viollet-le- Duc, 47. Building and loan associations, Linn, 4 Builamg, Papwortli, 44; rational, Huss, 42. Index. 77 See Villc- Bull. See Rimbault, Pianofiirle, sg. Hunncr, H. C, 18. Burckhardt, J , i3 Burlincam^, E. L., trans. See War- ner, Art life and theories, 68. Burlington Fine Arts Club, catalogue of. See Haden, Etched work of Rembrandt, 24. Burn, R., 3 Hurne-Joiies, Sir E. Bell, 17; see also Chesneau. Artistes Anglais contein- porains, 18. Hirney, C, SS, 5l5-57- Bjrty, P., 49 Busslcr, Luclwig, 69; see also Cor- nell, 69. Butler, A J., 39. Butler, Lady. See Bacon, Parisian art and artists, 16. Buxton, H. J. W., 31; rtwr/Poynter, 31. Byrd. See Rimb^lt, Pianoforte, 59. IJyzantine architecture, Texicr ami Pullen, 46, see alsit SalzeiiDerij, Alt- Christliche Baudcnkraale v. Con- stantinopel, 45, Smith and Slater, Architecture, classical and early Christian, 46; considered as a natural development of the classical Roman, see Essenwein, Die Fortsetzung der classischen Baukunst im oitriimisch- cn Reiche. 40; Church of St, Sophia an example of, see I^ethaby ami Swainson, 42. See also Oriental ar- chitecture. Byzantine art, Bayet, 3, 16; in South- ern Italy, Oiehl, 4; survival of, in Russia, see Viollet-le-Duc, L'art Russe, 14; use of mosaic in, see Ger- spach. La mosaique, 41. See also Oriental art. Caccini. .See Kiesewetter, Schicksale und Heschaffenheit des Weltlichen Ocsanges, 58. Cairo, Poole,ii;jfC((/«) Franz-Pascha, Die Baukunst des Islams, 41. Caldecott, R., Blackburn, 17. Callol, Jacques, Vachon, 36. Cimeos. See (iem engraving. ■Canada, Chansons populairesdc, Gag- non, 62. Cantatas, standard, I'pton, 72. Canterbury Cathedral, architectural history of, Willis, 47. Capella style, of Palestnna. .SVv Am- hros, ("reschichte der Musik. ^5 ;aran d'Ache illustrators, 30 Caran d'Ache See Mori ilK. 5 n. Pi rench Carcassonne, buildings of the Roman time and Middle .Ages in, see Mac- gibbon, Architecture of Provence and the Riviera, 43. Caria, history of ancient art in, Per- rot rtnuin, to; of loan collection of plate in Fitzwill- iam Museum, Foster «« 65. Collignon, M.j 4, 19; see also Rayct, O., and Collignon, 52. Colonial furniture, Lyon, 51. Colonna, Vittoria, Harford, 7. Color, Bracquemond, 17, see also Gambler, Ministry of fine art, 5; Japanese, see Anderson, Japanese wood-engravings, 16. Columbia University. Avery Archi- tectural Library of, 38-39 ; music collection, see Musici Scriptores Graeci, 60. Colvin, S., 4 ; ed.. see Woltmann and Woermann, History of painting, 37. Composers, famous, and their works, Paine, 65; see also Hanslick, Con- certe, Componiste u. Virtuosen, 71. Concerts, Hanslick, Gcschichte clcs Concertwesens in Wien, 57, Aus dem Concertsaal, 71, Concerte, Com- poniste u. Virtuosen, 71 ; Kretzch- mar, Fiihrer durchdcn Concertsaal, 72. Constantinople, Grosveiior, fi. Church of Sancta Sophia in, Lethaby u (/(/ Swainson, 42; Alt-Christliche Bau- denkmale v., Salzenbcrg, 45. Consular diptychs of the iv. and v centuries. See Maskell, Descrip- tion of ivories in South Kensington Museum, 51. Conversation on music, Rubinstein, 66. Conversations in a studio. Story, 13 Conway Kathenne E. See Clement, 19. Conway, Sir W. M., 4, 19. Cook, K. T , 4, 19. Cook, Martha W., trans. SV ■ Liszt, 65. Copenhagen. .SVf Atkinson, Art tour to northern capitals of Europe, 2. Copt;c churches of Egypt, Butler, 39. Cordcr, F., 69. Cordova, architecture of. .See Franz- Pascha, Die Baukunst des Islam, 41. Corfu. .See Freeman, Sketches from th'j subject and neighborlands of Venice, 41. Cornelius, P. See Pfoh', Die moderne Oper, 72. Cornell, J. H., 69; trans., see Lang- hans, 56, Benoit, 67, Heintz, 67, Wolzogen, 68. Corot, 20, Thomson, 36; see also Blanc, Artistes de mon temps, 3. Correggio, Ricci, 32-33. Corroyer, E., 39. Costume of ancient Egyptians, see Erman, Life in ancient Egypt, 5; early Venetian, see Molmenti, La vie privt'e ii Venise, o; value of seals for, Lecoy de la Marche, Les sceaux, 27: on the engraved plates of medix'val tombs, see Macklin, Monumental brasses, 28; of the Renaissance, see Molmenti, Carpac- cio, 29; historical, Bonnard, 49, Racinet, 52; media?val, Dcmay, 40; ancient Greek, Evans, 49; an cient and modern, Hottenroth, 50; French, Renan, 52; see also Viollet- le-Duc, Dictionnaire raisonnd du mobilier Fran(;ais, 53; collection illustrating, in South Kensin;?ton Museum, Rock, 52; modern, see Steele uW Adams, Beauty of form and grace of vesture, 53. Counterpoint, fugue, and double counterpoint, H;iiipt,69, Prout, 70. Country house (The), Mitchell, 43. Country of Horace and Virgil (The), Boissier, 3. Country places, small. Parsons, 44; beautifying of, see Van Rensselaer, .Art out of doors 47. Couperin. See Rimbault, Pianoforte, 59- Courajod, 1 ., 20. Cousseinaker, E. de, 60. Couture, T , 20; see also De Lostalot, Chef d'cEuvres de I'art au xix. sii'cle, 21. Cowen. .Sir Willeby, Masters of Eng- lish music, 67. Cox, Kenyon, 20; see also Modern French masters, 29, Smith, Ameri- can illustrat(5rs, 35. Cra.ner, piano methods of. See Kul- lak, 70 Crane, Writer. See Morris, Arts and crafts essays, 51-52. Cranz. .Sf.' Beethoven, 63. Crocker. Annette E., trans. See Gounod, 64. Crotchets and quavers, Maretzek, 58. Crowe, Sir Jos. A., 20; and Caval- caselle, 20. Crowest, F J., 57, 64. (Trowninshield, F , 20. Cummings, W. H., 64. Cundall, Jos , 21. Curtis-Cholmeley, Counte.is Isabel, trans. See Cattaneo, L'architet- tura in Italia, 39. Curwen, J. S., 70-71. Cust, L., 21. Cyclopaedias. See Johnson's univer- sal cyclopa;dia, Encylopxdia Bri- tannica. Cyprus, ancient, see Gardner, New chapters in Greek history, 5; his- tory of, .f(V Perrot ami Cfiipiez, Histoire de I'art dansranliquitt-, 11. Czerny, piano methods of. See Kul- lak, 70. Dagnan-Bouvcrct, Coffin, ig. Dalmatia, the yuarnero and Istria, Jackson, 42. Damascus, architecture of .SVc Franz-Pascha, Die Baukunst des Is'am, 41 Damascus ware. Fortnum, 50. Dance (Tho), history of in Gcrriiany, Bochme, (u'scliichte des Taiizes in Deut.-,chland, 51 ; in the xvi. cen- tury, see ('cllcr, Les origines de I'opc'ra et li' ballet de la reine, 57. Daniell, A. E., 35. Dargenty, G , 21. Darwin, C. R , 21. Davillier, liaron C, 21. Davis, .Uiss L. }, trans. See Miintz, La tapisserie, 52. Dawn ot art in the ancient world, Conway, 4. Dawn of civilization, Maspero, 9. Day, C. R. 61-62. Decamps, Clement, 19. Dcccan (Thei, music and musical in- struments of, I.>ay, 61-62. De Champeaux, Alfr., 21, 49. Deck, T., 49 Decoration, Gothic, Gonse, fi; appli- cation of art to, Ruskin, 12; mural, Galland, 25. Decorative arts, minor (department), 48-54. Decorative arts, Blanc, Grammaire des arts du clessin, 3; minor, see Gonse, Gothic art, 6; treatise on, Bracquemond, Du dessin et de la couleur, i;;; history of, De Cham- peaux, 21; in England, .«■<• Destrce, Pre-Raphaelites, 22; evolution o.', Balfour, 47; Decorazionee Industrie artistiche, Melani, 51; Egyptian, Pe- trie, 52; dictionary of, Rouaix, 52- 53; monograph on, Sturgis, 53. See also .Mural painting. De Forest, J. B., 4. De Forest, L., 39. Degas. .See Lecomte, L'art impres- sioniste, 27; also Moore, impressions and opinions, 29. De Goncourt, E. and J., 4. Deiters, H., 64. De Kontski, piano methods of. .See Kullak, 70. De Lahorcle, Alex , 4. Delahorde, Henri, 4, 21. Delacroix, Eugine, Veron, 36; see also Blanc, Artistes de mon temps, 3 ; De Lostalot, chef d'lcuvres de Part au xix. sitcle, 21. Delano, Aline, trans. See Rubinstein, 66. Delaioche, Paul, Rees, 32. Delineation. See Drawing. De Lostalot, Alfr.,21. Demay, J. (J., 49. Deniniin, A., 49. De Neuville. .See Hacon, Parisian art and artists, 16. Denmark, industrial arts of, Wor- saae, 53. Dennie, J., a. Dennis, G., 4. De Pontes, L. D., 21. De I'ouvourville, A., 4 Design, and color, Bracquemond, 17; of mosaic, see Gerspach, La nio- saiiue, 41; elements of handicraft and, Benson, 48; application of plant forms to, see Lilley and Midg- ley. Studies in plant form, 51. Designing, principles of, see Moore, Examples for elementary practice in delineation, 21; decorative. Crane, .vis. .9t-c Wolzogen,68. Domestic archit\. O'OoKe, M. I.., 5. Uoria-l'amtilia Galleries. See Morelli, Italian painters, 30. Double counterpoint, theory of coun- tt-rpoint, fugue and, Haupt, fiy; and canon, Prout, 70. lylc, R. See Sp: J':iii, li, 33. Doyl iclman. History of Dracseke. See Fuller-Mait'.and, Mas- ters of German music, (14. Drama, the musical, Schur ■, 68. Dramatic composition, first attempts at. See Reissmann, Alljjcmcinc (Ic- schiclite der Musik, 5''). Drapery. See Evans, Chapters on Greek dress, 41). Drawing, Hamerton, ^4, Sttirgis, j'i; figure-, Hatton, 24; examples for elementary practice in, Moore, jy; elements of, Ruskin 33; Kearnint; to draw, Vi illct-le-Duc, 3"^- (7-. Drawings, of Diirer, Kphrussi, :'.•. Scott, 34-35; of HIake, Gilchrist, 23; of Turner, .(■■<■ Ruskin, Harbours of ICngland, 33; of Ruskin, ivt' Ruskin, Studies in both arts, 14. Dresden (lallery. .SW .Morelli, Ital- ian oainters, 30. Dresel. See Apthorp, Musicians and music-lovers, 70. Dress, .S'fV Costume. Dresser, Chr,, 1;. Drcxel collection, Lenox I.ihr.iry. .Sir Prefatory note, 51, Kiesewet- ler, I'l, Galilei, 57, .Amint, Gi, Beet- hoven, 63, Hombct, 64, Carpani, 64, Gretry, 64, VVagenseil, 03. Drury, V..^ 22. Duban, I'. .S'.-i- Plane, .\rlistes de miin temps, 3. Dubois. .S<(' Ilervey, Masters of I'rench music, 64. Du .Maurier, George. .SV.' Spielman, History of /'n 1:. //, 35. Du .Mont. See Rimbiault, Pianoforte, Duprt', Saunier, 34; see also 31anc, .\r- tistes de mon temps, 3. Duran 1, J., nuns. See Taine, t ;. Durand - Ruel. See Lecorate, Im- pressiimist art, 27. Diirer, Alberi, Cust, 21, Ephrussi, 22, Scott, 34-35, Sweetser, Artist biog- raphies, 3*^1, Thausing, 3''i. Durli.un Cathedral, Uillifigs, yj. Durm, }., 40. Du Sartel, ()., 4Q. Dutch etchers of xvii. century .V.,' Hamerton, Etchings of Rembrandt, ■■■\- Dutch masters. See Cole, Old Dutch and I'lemish masters, ly; see ,/A,> Holland. Dutch school of art, Alexandre, 13, Cole, 19, Crowe, 20, (iower, 23, Havard, 25; see also Holland. Dwight, J. S. .sv,' Perkins, C. C, 58, Apthorp, Musicians and music-lov- ers, 70. />V'ii;/i/'s- Journal of Music. See Schindler, 66. Dyeing, .k.' Morris, Arts and crafts Dyer, T. essajMj, 51-52- "■,H.,5. Eastern architecture. See Oriental architecture. Eastlake, Lady. See Jamesonj His- tory of our Lord as exemplihed in works of art, 26. Eastlake, Sir C. L,, 40. Eaton, W. See Modern French mas- ters, 29. Ecclesiastical architecture, of Scot- land, M;icgibbon,j«(^Ross, 43. See also Cathedrals, Churches, Sacred buildings. VA&y.Z., trans. .Vf Haupt, 60. Edtlinck, G., Delaborde, 21. ImJe.x. Education de I'artistc, Chcsneau, 3. Edwards, Amelia B., tra ns. See Nlas- pero, ArchJologic Egyptienne, 6-9. Edwards, C. A., 57, Edwards, C. L., 62. Edwards, ri. S., 57, 64, 71. Egypt, life in ancient, E-man, 5; Mo- hammedan art in, see Gayet, L'art Arabc, 6; modern manners and cus- toms in. Lane, 8 ; history and ar- chieology of, M:'-S lero, 9; art in aii- cient, Perrot rt«(/Chipiez, io-ii;a-t of Saracens in, Poole, 11; ten years' di,'ging in, Petrie, 11 ; art in, see Tarhell, History of Greek art, 13; sculpture in, see Paris, La sculpture anti(|ue,^o, Rcdford, Sculpture, 32; ancient Coptic churches of, Butler, 39; origin of European architecture In, see I'ergusson, H istory of archi- tecture of all countries, ,)o; ancient architecture in, .rtf Smith ami Sla- ter, 46; p ittery of. Birch, 48; decora- tive art of, Petrie, 52. Egyptian music. See Rcissmann, ,\1!- gemeine Gcschichte der Musik, s"); Kiesewetter, Die Musik der Araber, 62. Ehlert, L.,71. ICIeusinian mysteries. See Gardner, New chapters in Greek history, 5. Elizabethan architecture. See Har- ris, Three periods of English archi- tecture, 42; Harrison, Annals of an old manor-house, 4.', Ella, J , 71. Ellis, A. J., trans. .SW- Helmho'.tz, 69-70. Ellis, W. .\ , trans. See Wagner, Co. Elterlein, K. von, 71 Emancipation of the picture, Hall- ward. See Transactions of the Na- tional Association for the Advance- ment of Art, 53. Embroidery, Sturgis, 53 , English, see Alford, Needlework, 48 : and lace, Lefebure, 51 ; processes in, ifcLilley and .Midgley, Studicsin planlform, 51; modern. Turner, jtv Morris, .'Vrts and crafts essays, 51-52. Emerson, Alfr., 5. Emoticms, expression of, Darwin, 21. Enamel, Rudler, 53, Sturgis, 53; Chi- nese, see Paleologue, L'art Chiiiois, 10; Persian, itft' Van Dyke, History of painting, 36. Encaustic, tiles, see Jewitt, Half- hours among some English an- tiquities, 7; painting, jcf Crownm- shield. Mural painting, 20-21. Encyclopaedia Britannica. .See Col- vin, 4, Murray, 10, Sayce, 12, Walts, 14, Hamerton, 24, Middleton, 21, 43, Morris, 30, Reid, 32, Wilson, 37, Freeman, 41, Freeman and Gard- ner, 41, Lewis, ((/(/Street, 42, Morris and Middleton, 44, 51, Papworth. 44, Rudler, 53 Macfarren, 56. Encyclop.xdias and dictionaries of music (d^|>artment), 73. Engel,C., 57, 62. /■:ni,'ineeriMi^ .tlai^azine. .See Sturgis, 46. England, harbours of, Ruskin. 3; landscape gardening in, see Hln'm field and Inigo, 39; history of. Free- man, 41. English antiquities, Jewitt, 7. Englisli architecture, three periods of, Harris, 42; rise and decline of mod- ern, Lofiie, 42 ■ domestic, from Richard 11. to Henry VIII., Parker. 44; from Edward I. to Richard II., Parker and Turner, 44. English art, Kunst u. KUnstler des Mittelalters u. derNeuzeit, Dohrae, 5; Artistes Anglais contemporains, Chesneau,i8: in collect ion of Charles L, see Phillips, Picture-gallery of Charles I., 31; history of water- color painting in England, Red- grave, 31. English music, old, popular, Chap- pell, 61 ; masters of, Willeby, 67I; see Ills.' Hognrth, memoirs of the opera in England, 57; also British music. English school of painting, century of painters of the, Redgrave, R. and 79 S., 32; dictionary of artists of ...e, Redgrave, 32, Engravers, Bryan, 14, Beraldi, 17, Linton, 28, Cole, 19; see also Dela- borde, Edelinck, 21 ; also Etchers. Engraving, Sturgis, 36; see also Dela- borde. Etudes sur Ics beaux arts en France et en Italic, 4, Hamerton, Present state of the fine arts of France, 7; Japanese, Anderson, 16; masters and masterpieces of,Chapin , i3; American, see Century gallery, t3; on mediaival tombs, see Macklin, monumental brasses, 28. See also Etching, Wood-engraving. Engravings, American, see Koehler, American art, 7, Cole's, 19, Dilrer's, 21, Hogarth's, 22: after Van Dyck, sje .Michiels, Van Dyck et scstMives, 2j; Lupton'a, see Ruskin, Harbours of England, 33. Enlart, C., 40. Ephrussi, C, 22. Epidaurus, discoveries at. .See Gard- ner, -New chapters in Greek history, 5- Episcopa! crooks. .See Maskell, De- scription of ivories in South Ker.- sington Museum, 51 Epochs in art, (iothic, xii. century, see Gonse, L'art Gothique, 6; I'r. France, sej Lechevallier-Chevig- nard, Lcs styles Francais, 8 ; of the XVII. century, see LemoniMer, I->tudes dart et de I'histoire d'art I'rani.ais au temps de Richelieu et Mazarin, 8; of Charles VIII., see Muntz, La Renaissance en Italic et en France, 9; of the decline, see Thinon, Les Adam et Clodion, 36, Wnlflfcn, Renaissance und Barock, 47, the romantic, see Vi'ron, Eugene Delacroix, 36, Italian Romanesque, see Cattarieo, L'architettura in Italia, 39; Roman, of the republic and the empire, see Martha, Mani' el d'archeoloL,'ie Etrusque el Hj- maine, 8. Erk, I.., and Biihme, F., 62. Erman, A., 5. Essenwein, A. von, 40. Etchers, Haden, 24 ; etching ni d, Hamerton, 24; Dutch, of the xv i. century, see Hamerton, Etchings o.' Rembrandt, 24; Licvre, see Mantz, Hans Holbein, 28 , Callot, see Vachon, Jacques Callot, 36. See iilsn Engravers. Etching, Delaboide, 21, Haden, 24, Koehler, 26; see also Bracquemond, Du dessin et de la couleur, 17; Chapin, Masters and masterpieces of engraving, 18; in America, Hitch- cock, 25; seeului Koehler, American art, 7; in England, Wedmore, 37; see also Scott, The little masters, 35- Etchings, o' Rembrandt, Haden, 24, Hamerton, 24; fac ".imiles of Van Dyck's, .H-. Michiels, Van Dyck cl ses eleves, 29. .See a is ' Prints. Etex, Antoine, Mangeant, 28. ICthenngton, L. M., trans. See Chcs- neau, La peinture Anglaise, 18. Etruria, cities and cemeteries of, Dennis, 4- sculpture of, Paris, 30. Etruscan architecture, .Martha, 8 ; Durm, Die Baukunstder Etrusker. 40. Etruscan art, Dennis, 4; and archi- tecture, Martha, 8. Etruscan pottery. Birch, 48; ,tc<' d/jo Robinson, Vases in the Boston Mu- seum, 52. Euclide.3, on music .See Musici Scrip- tores Graci, 60. Europe, art tour to northern capitals of, .'itkinson, 2. European architecture, Sturgis, 46. Evans, M M. {l.adv Evans), 49. Evetts, B. T. A., trans. See Babclon, Archeologie orientale, 7. Excursions iiiartand letters. Story, 13. Excursions in Greece, Diehl, 5. Expression inart,,vc.- Beard, Action in art, 16; anatomy and philosophy of. Bell, 17. Expression of emotions in man and animals, Darwin, 21. 8o Index. Eye (The). See Laugel, A., L'optique et les arts, 8. Faccio. See Streatleild, Masters of Italian music, 66. Fa ence. See Pottery. Falrholt, Costume in England. See Prefatory note, 48. Farrar, F. W., 22. FaurCs See Hervey, Masters of French music, 64. Fenollosa, E. F., 22. Fergusson, J., 40-41. Ferrara, history of painting in, from XIV. to XVI. century, Crowe and Cavalcascllc, 20. Fclis, F. J. See Kiesewetter, R. G., rt«(/Fctis, 58. Ffoulkes, Constance J., trans. See Morelli, Italian painters, 30. Fidiculis bibliographia (De), Heron- Allen, 57. Fidii-re, O., 22. Fitcure-painting, Brllcke, The human lij;ure, 18; figure-painters of Hol- land, Gower, 23; figure-drawing and composition, Halton, 24-25; see also Millet, Some artists at the Fair, 9, Steele «»;-rt«i. .iVc Uoissier, 3. Fisher, R., 22. Fitzwilliam Museum, Cambridge, catalogue of gems, Middleton, 29; casts in. Waldstein, 37 ; loan collec- tion of plate, Foster ami Atkinson, 5°. FlanJrin. Sei Blanc, Artistes de mon temps, 3. Flemish school of art, Alexandre, 15, Cole, 19, Conway, 19, Crowe <»«i/ Cavalcaselle, 2oj Wauters, introduc- tion of landscape in the, see Michel, Etudessurrhistoiredel'art,29. See also Dutch school of art. Flesche, Francis La. See Fletcher, Study of Omaha Indian music, 62. Fletcher, A. C.,62. Fletcher, B., and Fletcher, B. F., 41. Fletcher, W. G., 49-50. Florence, guide to the paintings of, Karoly, 26; paintmg in,.tul Biihme, 6a, see also Reissmann, All- f:emeine Geschichte der Musik, 56 ; ireek, Kiesewetter, Ueber die Mu- sik der neureren Griechen,62; Gyp- sy, see Liszt, Des Boh6miens ct tic leur Musique en Hongrie, 62; In- dian, Day, 61-62; Irish, Walker, 63 ; Russian, Istomin ami Liitsh, 6z; of savage races, scr Wallaschek, Prim- itive music, ^13. Folk-song and national music (de- partment), 61-53. Forain. :^ee Morin, French illustra- torsi, 30, Foreign parts, James, 7. Forgues, Eug., 22. Forkel, J. N., 55; see also Prefatory note, 54 Fiirstcr, Ernst, 5. Fortnum. C. D. E., 22, 50. Fortresses of the Middle Ages. See Esr.f^n.vein, Die Komanischeund die Gothisc'ie Baukunst: die Kriegs- baukunst, 40. See also Churches, Castles. Military architecture. Fortuny, Davillier, 21. Foster, Mrs., trans. .'>ee Vasari, 13. Foster, J. E., a mi Atkinson, T. D., 50. Fra Bartolommeo. See Rartolom- meo, /'mi. France, antiquities of, Reinach, n; see also, Reinach, Roman sculpture, 32. France artistique et monumental, Havard, 42. Francis I. .SV^ De I.aborde, La Re- naissance des arts ii la cour de France, 4. Franck. See ttcrvey. Masters of French music, 64. Franz. See Apthorp, Musicians and music-lovers, 70. Franz- Pascha, 41. Frederic 1 1^ arts at the court of. See Michel, Etudes sur I'histoire de Part, 28. Freeman, E. A., 41. French Academy and its schools of instruction. See Stranahan, His- tory of French painting, 35-36. French architecture. Chateau, 39, .u-e also Havard, La France, 42; origin of Gothic architecture in, Enlart, 40; in development of Gothic archi- tecture, Moore, 43-44; index to, from the XI. to XVI. century, see Sabine, Table analytique, 45 ; see also France, antiquities of. French art, Brownell, 3, DelaL rde, 4, Hamerton. 7, Proust, 11; styles of, Lechavellier- Chevignard, 8; Kunstu. Klinstlerdes Mittelaiters, Diihme, 5, see also Rosenberg, Ge- schichte dir modernen Kunst, 12; history of, Alexandre, 15-16, Stran- ahan, 35-36; Renaissance of, Palti- son, 10, Delaborde, 4; au temps de Richelieu et Mazarin, Lemonnier, 8; Renaissance A I'epoquede Charles VIII., Mllntz, 9; Parisian, Bacon, 16; of Delacroix and Regnault, De Lostalot, 21, masterpieces of, Lc- fort, 27; in the reign of Louis XV., see Mantz, Fran<;ois Boucher, 28; from Ingres to Delacroix, .ft' Mich- el, Chef d'le'.ivres, 28; modern mus- ters of, see Modern French masters, '29. French bookbinding. .Tec Fletcher, Bookbinding in England and France, 49-50. French costume, Renan, 52; see aiso Viollet-le-Duc, Dictionnaire rai- sonn^ du mobilier Francjais, 53. French illustrators, Morin, 30. French music, history of, jcc Brendel, Geschichte der Musik in Italien, Deutschlandu. Frankreich, 55; pres- ent state of, Burney, 56-57; and opera, Hogarth, 57, Celler, 57; stud- ies in, Schletterer, 59; popular, of Brittany, Villemar<|ue,Barzaz-Breiz, 63; masters of, Hervey, 64; and manners, Chorley, 70. French traits, Brownell, 3. Frescobaldi. See Rimbault, Piano- forte, 59. Frescoes, Wilson, 37; "spirit-fresco" process, see Gambicr, Ministry oi fine art, 5; of Raphael, see (iood- year, Roman and medii'val art, 6; Florentine, jic Karoly, (iuide to the paintingsof Florence, 26; of Correg- gio, see Ricci, Antonio Allegri aa Correggio, 32-33 ; of Giotto, see Ruskin, Giotto and his works, 33. See 4i/u' Mural painting, Tempera. Fringing. See Walker, Varied occu- pations in stringwork, 53. Friuli, history of painting in, from XIV. to XVI. century, Crowe <««.«■ Cavalcaselle, 20. Fnzzoni, Gustave, 5. From the tone world, Ehlert, 71. Fromentin, Eug. , 5, 22; Gonse, 23. F")St, A. B. See Smith, American illustrators, 35. Frost, H. F.,64. Frost, W. H.,67. Frothingham, A. L. Stv Marquaiid, A., nn,i Frothingham, 28. Frothingham, A. L.,j' , 5. Frothingham, Afiss, trans. See Col- lignon, Phidias, 19. Fugue, Prout, 70; and counterpoint,, tneory of, Haupt, 69. FuUer-Maitland, J. A., 64, <■. German music, history of, Brendel, Geschichte der Musik in Italien, Deutschland u. Frankreu li, 55; Boehnie, Geschichte des T.inzes in Deutschland, 61 ; i)resent state nf, Burney, 36-57 ; and opera, Hogarlh, 57 ; and concerts, sec Hanslick, Geschichte des Concertwcsens in Wien, 57; and song, Reissmann, Das Deutsche Lied, 5S v,, Krk and Biihme. Deutsche I.iederhort, 62 ; religious, in connectio 1 with the de- velo|)ment of the people, Schlet- terer, Das Deutsches Slngspiel, 59; m.isters of, Fiiller-Maitland, 64; moJern, Chorley, ^y. and manners. Chorlcy, to; •"" the Hunslick, 71, Holmes, Ramble amontj the musi- cians of Germany, 72. Gt'rome, J. I.., Low, 28. Gerspach, E., 41. Oevaert, F. A., 60, 60; see also Am- bros, Geschicte der Musik, s5. Gibson, \V. H.,y. Gilbert, J., ?j. Gilchrist, Alex., 23. Giotto, and his works irn Padua, Rus- kin, 33. Glasjnapp, C. F., 67. G!asf, Cninese, set Pal^olopue, I-'art Cliinois, io;painted, jfc Merson, I-es vitraux, 43; stained, xee Gonsc, L'art Gothique, 6, Jewitt, Half-hours amonf; some Knjf. antiquities, 7; col- ored prints of, .'i'e Harrison, Annals of an old manor-house, 42; in artistic desitrn, Sturiris, 53; sre niui HavanI, Les arts dc ramcublemcnt : la vcr- rerie, 50. Gloss;iries (department), 14-15. Gloucester Cathedral. -SVf Gambier, Ministry of line art, 5. Gluck.and the opera, Marx, ^5, New- man, 65. Godard. .SVc Hervey, Masters of I'rench music, G^. Golden Kate, .bfc Kuskin, Mornings in I'lorcnce, 31. Goldmark. .see Fuller-Mailland, mas- ters of German music, 64. Goldsmiths' work, in South Kensing- ton Museum, Pollen, 52; in the Mid- dle A(,'es, iee Viollet-le-Duc, Dic- tionnaire raisonnd du mobilier Frani;ais, 53 ; see also Saunier, Au- gustin Dupr^, 34. Gonse, I.., fi, 23; see also Proust, I.'art Francais, 11. Goodyear, VV. H., 6, 41. Gothic architecture, (ionse, 6, Cor- royer, 39; plea lor revival of, Kus- kin, 12; and Romanes'iue, see Cor- royer. Description de I'Abbaye Mont St. Michel, 39; from the Ital- ian point of view, see Hoito, Archt- tettura del medio evo in Ualia, 39; history of revival of, Kastlake, 40, see also Dillings, Architectural il- lustrations, 39, Lewis ami Street, Architecture, 42 ; French origin of, Enlart, 40; modern, Jackson, 42; development and character of, Moore, 43-44 ; and Renaissance, Smith at:,f Poynter, 45-46; in Spain, Street, 46; of North Italy, .v4 ; see aiso Hervey, Mas- ters of French mu^ic, 64. Gow, (i. C, 69. (iower, /.or,/ U., 23. Grahame, G., 23. Granada, architecture of. See Franz- Pai-cha, Die Haukunstdes Islam, 41. Grand-Gri'ce (La), Lenormant, 8. Grandidier, E., 50. (iraphic arts, Hamerton, 24. Graun. .'■<<• Bitter^ Beitrage zur Geschichte des Oratoriums, 56. Graves, R. K., eil. See Dictionary of painters and engnavers, 14. Greece, excur ions in, Dichl, 5 ; re- cent excavations in, Gardner, 5; history of art in (irimitive, Perrot ii ml Chipiez, II ; philosophy of art in. Tame, 13. Greece, (ireater (La Grand-Gri-ce), I.enormant, 8. Grri-k antiquities. See Antiquities. Greek archeology. See Brunn, Griechisclie Kunstgeschichte, 3, Collignon, 4, Gardner, 5, Murray, 10, Paris, 30. Ste also Greek an. //h/rx. Greek architecture, Marquand, 43 Sturgis, 46 ; cyclopiedia of works of, Longfellow, 43 ; ancient, see Smith do./ Slater, Architecture, clas- sical and early Christian, 46; see al.w Durm, Die Baukunst der Griechcn, 40. Greek art, Brunn, Griechische Kunst- (;eschichte, 3; introductory studies in, Harrison, 7, 24 ; studies in. Pa- ter, 10; history of, Tarbell, 13. See nlio Greek sculpture, Mycena-an age. Greek coins, type;; of^ Gardner, 23. Greek dress, cnapiersi n, Evans, 49. Greek lines and other architectural essays. Van Brunt, 46-47. Greek music, ancient, Musici Scrip- tures Gra;ci, 60, Paul, 60, Will- iams, 61, Westphal, 61, Kiesewet- ter, 62 ; hymns of Dionysius and Mesomedes, Bellermann, 60, tee n/sn Galilei, 57, Williams, 61. Greek private life, White, 14. Greek sculpture, masterpieces of, FurtwUngler, 23 ; handbook of, Gardner, 23; select passages illus- trative of, Jones, 26; nistory of, Col- lignon, 19, Murray, 30, Overbeck, Geschichte der Griechischen Plas- tik, 30; ancient, Redford, 32; intro- duction to, Upcott, 36 See also Greek archieoFogy, Greek art, Greek studies, Pater, 10. Greek vases, in the Boston Museum, Robinson, 52; see aiso Birch, His- tory of ancient pottery, 48. Gregorian chant, see Reissmann, All- gemeine Geschichte der Musik, 56, Pak'ographie Musicale, 58, Gevaert, 60, Lambillotte, 60. Gri'try, A. V.. M.. 64. Griffin, Sir Lepel, 41. Grimm, H. F., 6. Gros, liarnii, Dargcnty, 21. Grosvenor, E. O., 6. Grove, Sir G., 71, 73 , see also Beet- hoven, 63, 67, Jahn, 64, Rockstro, 66, Kreiiisle, 65. Growoll, .\. S'ee Prideaux, HTstorical sketch of bookbinding, 52. Gruyer, F. A., 6, 23. Guinrey, Jul.. 23-24, 50. Gwilt, J., 41. Gypsy music. See Liszt, Des Bohe- miens et de leur musuiue en Hon- grie, 62. Hadcn, F. S., 24, Wedmore, 37. Hadow, W. H., 71. Half-hours among some English an- tiquities, Jewitt, 7. Hall, Florence P., trans. See Jul- lien, 67-68. Halle, Adam de la, Coassemakcr, 60. Hall ward, R. See Transactions of the National Association for the Ad- vancement of Art, 53. Hamerton, P. G., 6-7, 24. Hamlin, A. D. F., 41-42. Handel, G. F.,Chrysander, 64, Rocks- tro, 66, Schoelcher, 66j sie n/.\,' Bit- ter, Beitrage zur Geschichte des Oratoriums, 56; Rimbault, Piano- forte, 59. Handel and Haydn Society of Bos- ton, history of, Perkins. i«(/Dwight, Handicraft and design, elements of, Benson, 48. Hanslick, E., 57,69, 71-72. Harbours of England, Ruskin, 33. Harford, J. S., 7. Harmony, Prout, 70; for teacher and pupil, Brockhoven, 69; and metre, Hauptmann, 69; manual of, Jadas- sohn, 70, Richtcr, ^o. Harper, C. G., 24. Harps, Irish. St, Harpsichord. Sei forte, 5^,. Harris, T., 42. Harrison, F., 42. Harrison, Jane E., Paris, 30. Harrison, Lucy M. F.,6i. Hart, G., 57. Hatton, R. G., 24-25. Walker. ■ j. Rimbault, Piano- 7, 34; <•(/., see See Allen, W. Artns and Hermann, See Jamc- mai.son, Viollet-le- 81 Haupt, A., 42, 69. Hauptmann, M., 6g. Havard, H.,25, 42, 50. Hawkins, .S/>- J., 55, Haydn, Joseph, Bombct, 6<, Carpani, 64, Nohl,65, Pohl,66, Townsend,67. Head, P. R. See Poynter, E. J., an,l Head, 31. Healy, G. P. K. See Modern French masters, 29. Heathcote, W. F.., trans. See Haupt- mann, 69. Heaton, .i/rs. C, 25. H cbre w music, A rends, 60, Saalschutr, 00-61; .di' ,ilsn Reissmann, Allge- meine Geschichte der Musik, 56. Hebrew poetry. .V,-,' Hutchinson, Music of the Bible, 58. Heintz, A., 67. Helbig, W., 7, a nil Lanciani, 7. Helmlio'tz, H. L. F., 69-70; see also- Broadhouse, 69. HemanSj C. I., 25. Henderson, VV. J., 55, Heraldry. See Boutell, armour, 49. Hermann. See Mendel, anil Reissmann, A., 73. Hermits, legends of early. _ son. Sacred and legendary art, 26. Heron-Allen, E., 57. Hervey, A., 64. Herzogenbcrg. .V,c Fuller-Maitland, Masters of German music, 64. Hiatt, C.p25. Hildebrand, H , 50. Hill, Emilyj tr,ins. See Karasowski, 65, Elterlein, 71. Hipkins, A. J., 57; see also Day, Music and musical instruments 61 Southern India and the Deccan, 61-62. Hispano-Moresco ware, Fortnum, 50. Histoire d'un dessinateur, Violiet-le- Duc, 36-37. Histoire d unc Due, 47. Historical art. .Tiv Hamerton, Man in art, 24; Dargcnty, Baron Gros, 21 ; value of seals in, see Lecoyde la Marclie, Les sceaux, 27 interest of, .v(v Macklin, Monumental brasses, 28; tivii/.w Military painting. History, verification of ancient, see Garclner, New chapters in Greek history, 5; inseparable from fine art, .v<<- Maspero, Dawn of civilization,!). History of our Lord as exemplified in works of art, Jameson, 26. Hitchcock. J. R. W., 25. Hoebcr, A. See Modern French masters, 29. Hofmann. .Viv Fuller-Maitland, Mas- ters of German music, 64. Hofmeister. See Beethoven. Hogarth, G., '.y. Hogarth, William, Dobson, 22; see n/so Phillips, Antoine Watteau, 31 Hohenstein, M. da. See Jaccaci, Italian posters and music-book cov- ers, 25. Holbein, Hans,Cundall, 2i„Mantz, 28. Holland, old masters nf, Fromentin, 22; figure painters of, Gower, 2U art of, Havard, 25; see also Dutch school of art. Holmes, E,, 64, 72. Holmos, kachelS. R., ,;>/'■'• 'lAo Trans- actions of the National Association for the Advancement of Art, 53. Huntini; in the Middle Aj{es m France. Set- Viollct-le-Duc, Dic- tionnairc raisonnti du mobilier Francais, 53. Hurl), Estelle, ,;i. Si-r Jameson, Sa- cred and legendary art, 26. Huss, G. M., 42. Hutchinson, E., 5 'lutton, L. Hutton, 14 Hymns of Dionysiusand Mesomedes, Bellcrman, 60; sec also Galilei, 57, Williams, 61. Iconography, Christian. See Pcrati', L'archeologie Chn'tienne, 10; Cle- ment, Handbook of Christian sym- bols and stories of the saints, 19 ; Didron, Manuel dMconotraphie Chretienne, 22; Farrar, Life of Christ as represented in art, 22; Hemans, History of raediicval Christianity and sacred art, 25; Hiipfner, Heiligen in der Christ- lichen Kunst, 25; Jameson, Sacred and legendary art, 26 ; Lindsay, Sketches of the history of Christian ail, 27 Ideal in art. See Taine, Lectures on art, 13. Ideality in Greek art. See Harrison, Introductory studies in Greek art, 24- Illuminated manuscripts. See Manu- scripts. Illustration, Sturgis, 36 ; modern, Pennell, 31 ; American of to-day. Coffin, 19; see also Black and white work, Book-illustration. Illustrators, American, Smith, 35 ; French, Morin, 30 ; see also Black- burn, Randolph Caldecott, 17; Lay- ard, Life and letters of Charles Samuel Keene, 27. Illyria, coast of. See Freeman, Sketches from the subject and nei^hborlands of Venice, 41. Imatfination in landscape painting, Hamerton, 24. Imitative art. Dyer, 5. Impressionism, Sturgis, 36; see also Hamerton, Present state of the fine art of France, 7, Thomson, Corot, Impressionists. See Lecomte, L'art impressionniste, 27; Beckwith, Ed.. ouard Manet, 16; Child, Art and criticism, 18. Impressions and opinions, Moore, 2.3. India, industrial arts of, Birdwouu, Indian aichiteclure, domestic, De Forest, 39-40; history of, Fergusson, 41 ; famous monuments of. Griffin, 41; see also Le Bon,,Les monuments derinde,42. Indian musii and musical instru- ments, Day, 61-62; S':e also Reiss- niann, Allgemeine Geschichte der Musik, 56. Indians, American. See American Indir.ns. Indo-Chinese art, De Pouvourville, 4; see also Chinese art. Industrial arts of Japan, Dresser, 5 ; of India, Bird wood, 49 ; historical sketches of, Evans, 49 ; of Scandi- navia in the pagan time, Hildc- brand, 50; of Spain, Riafio, 52; of Denmark, Worsaae, 53. See also Ruskin, Two paths, 12; Morris, Arts and crafts essays, 51-52. Indy, d'. See Hervcy, Masters of French music, 64. Inigo, T. See Blomfield, R., and Inigo, 39. Insignia, royal, noble, and clerical. See Lccoy de la Marche, Les Kceaux, 27.' Instrumental music, beginnings of, see Kcissmann, Allgemeine Geschich- te der .Musik. 56; history of in the XVI. century, VVasielewski, 59. Instrumentation, Prout, 70; and or- chestration, modern, Berlioz, 69 ; new treatise upon, Gevaert, 69. Instruments, musical. See Musical instruments. Intaglio. See Gems, Seals. Intellectual life (The), Hamerton, 6. Ishatii, N. M., and Brown, A. F., 43. Isham, S. See Modern French mas- ters, 29. Istria, Dalmatia, and the Quarnero, Jackson, 42. Italian architecture, Melani, 43; in the Middle Ages, Boito, 39; from the VI. to the xi. century, Cattaneo, ?;9; French origins of Gothic in. En- art, 40; cyclopa;dia of, Longfellow, 43; see also Freeman, Historical sketches, 41 ; also Renaissance. Italian art. Etudes sur les beau.\- arts en France et Italic, Delabordc, 4; Kunst u. Kiinstler des Mittelalters u. der Neuzeit, Dohme, 5; Arti Italiana del Rinasciment'o, Frizzo- ni, 5; Arti del desegno in Italia, Paravacini, lo, Selv.Ttico, 12, Scl- vatico ami Chirtani, 12; philosophy of, see Tame, Lectures on art, 13; Venetian and Florentine painters of the Renaissance, Berenson, 17; history of painting in Italy, Crowe an(iiiai. See Desjardins, La vie ct I'ccuvrcs de Jean Bologne, 21 Johnson's universal cyclopa;dia. See Emerson, A., 5; Helbig, W., airl Lanciani, R., 7 ; Sturgis, 12, 46, 53. Joncicres. .See Hervcy, Masters of French music, 64. Jones, H. S., 26. Jones, Inigo, and Wren, Loftie, 43. Journals, musical, list of, 73. Jubilee singers. Marsh, 62. Judiea, history of .incient art in, see Perrot ami Chipiez, 11. Jullicn, A., 67-68. Justi, K., 26. Kade, O. .See Ambros, Geschichte der Musik, 55. Kal!:brenner, piano methods of. See Kullak, 70. Kancllcr, 1> . S., 64. Karasowski, M., 65. Karolv, K., 26. Keane, A. H., Ira its. ."Tfirjusti, Diego Vclas(|uez and his t;me, 26. Kecne, C. S., Layard, 27 ; see also Moore, Modern painting, 30; Spiel- man, History of I'mu/i, 35. Keller, A. See Villemarqui-, (13. Kerr, K., 42; retitser, see Fergusson, History of the modern styles of ar- chitecture, 40-41. Kiesewettcr, K. G., 56, 58, 60, 62; and Fetis, 58; see also Prefatory note, 54. Kingsley, E. See Smith, American illustrators, 35. Kirchner. .S'lV Fuller-Maitland, Mas- ters of German music, 64. Kistlcr, C, See Fullcr-Maitland, Masters of German music, 64. Klauser, K., eil. See Paine, 65. Kleczynski, J., 72. Knotting. .SVv Walker, Varied occu- pations in stringwork, 53. Koehler, S. R., 7, 26; see also Buxton, English painters, 31. Kiihler, piano method of. See Kul- lak, 70. Krehbiel, H. E., 58, 68, 70. Kreissle, H. von, 65. Kretzschmar, H., 72. Kuflferath, M., 68. Kuhnau. See Rimbault, Pianoforte, Kulia 70. llak. A., 70. Kullak, T. See Kullak, A., Lace, Lefebure, Broderies et den- telles, 51; history of, Palliser, 52; history, description, manufacture, bibliography, see Seguin, Le den- telle, 53. Lacquer, Sturgis, 53 ; Japanese, see Gonse, L'art Japonais^ 6 ; Chinese, see Paldologue, L'art Chinois, 10. LaFarge, J.,7, 27. ^. ^ ^ Lafenestre, O., and Richtenberger, E., 27. Lalor, J. J., /ra«j. .9* Edward Burne-Joi.es, 17. I.emonnier, H., 8. Lemoyne. see Mantz, Francois Bou- cher, LemOTne ct Natoire, 28. LenormanI, r ., 8, 27. Len >x Library. See Musici Scriptores Grieci, 60, Walker, 63 ; also Drexel collection. Lenz, W. de, 72. Leonardo da Vinci, Richter, 33, Rio, 33 ; see also Sweetser, Artist biogra- phies, 36. Leoncavallo. .SVcStreatfeild, Masters of Italian music, 66. Lethaby, W. R., 8, 51, and Swainson, 42. Levant, architecture of the. See Longfellow, Cyclopcedia of works of architecture, 43. Lewis, T. H., ermann, History of paintinK, 37; Maskell, Descrip- tion of ivories in South Kensington Museum, 51. Media;val Christianity, Homans, 25. MeHiicval costume, nemay,49 Mediicval music, Hope, R. C., fc. Meissonier, and the. Salon Julien. .SV^ Moore, Impressions and opin- ions, 29. Meistcrsinpcr (Diet. .SVi' Mastcr- sinjfers of Nllremberp, IJcnoit, 67, Heintz, 67. Wagenseil, 68. Melani, A. O., 43, 51. Menard, R., 9. Mendelssohn-Bartholdy, Felix, Lam- padius, 65 ; see also Hitter, Bei- trage zur Geschichte des Oratori- ums, 66. Menestrel (itO, 73. Menta, Ste Jaccaci, Italian posters, 35. Merson, O., 43. Merulo. See Winterfeld, Johannes Gabrieli, 59. Mesnurd, L., 28. Mesomedes, hymns of, Rellermann, 63; see also Galilei, Dtalogo dell.i musica antica e della moderne, 57; Williams, Music of the ancient Greeks, 61. Mesopotamia, art in. See Tarbell, History of Greek art, 13. Metal work, Sturgis, 53; oriental, see Babelon, Archi?ologie Orientale, 2; Russian, see Maskell, Russian art, 8; engraved, see Ruskin. Ariadne Florentina, 34; loan collection of plate in Fitzwilliam Museum, Fos- ter and Atkinson, 50. Metaphysics of art. See Marshall, iEsthetic principles, 8. Metupontum. See Lenormant, La Grand- Grfece, 8. Metre, nature of harmony and, Hauptmann, 69. Metropolitan Museum. See La Farge, Considerations on painting, 27; col- lection of musical instruments in, see Brown and Brown, 61. Meyerbeer. See Apthorp, Musicians and music-lovers, 70. Michaelis, A., 43. Michel, A., 28 ; see also Proust, L'art Franyais, 11. Michel, E., 2,.'-2p. Michelangelo, i;fe of, Grimm, 6, Har- ford, 7, Symonds, 13, Wilson, 14, Sweetser, Artist biojjraphies, 36, see also Story, Excursions in art and letters, 13; relation between Tin- toret and, Ruskin, 34; works of, see Goodyear, Roman and mediicval art, 6. Michiels, A., 29. Middle Ages. See Medixval art, ar- chitecture, costume, Music. Middlcton, J. H., 9, zg, 43, 51; see also Morris a>ir/ Middleton, 44. Midgley, W. See Lilley, A. E. V., and Midgley, 51. Milan, history of painting in, from XIV. -XVI. century, Crowe and Ca- yalcaselle, 20. Mi'itary architecture. See Essenwein, Die Romanische und die Gothische Baukunst, 40; in Scotland, Macgib- hon and Rons, 4 ;; civil and, «■<• Ro- hault de FIcury, La Toscane au Moyen Age, 4";. Military painting, history of, Alex- andre, 16. Millais, .V/> John, Chcsneau, 18. Millet, F. D.,9. Millet, Jean Francois, Cartwright, 18, Sensier, 35 ; see also De Lostalot, Chef d'criivresde l'art au xix. sit'Cle, 21 ; the peasant in the work of, Roger-Miles, 33. Millington, E. J. .SVc Didron, aj. Miniatur./ painting, history of art of, I'roperi, 33. Ministry of tino art tn the happiness of life. Gambler, 5. Minor decorative arts (department), 48-'i4. Mitchell, D. G.,2.;, 43. Mitchell, J. A.,Q. Mitchell, Lucy L., 29. Modelling in wax. .S';-56, Kiesewetter, 56, Langhans, 56, Mac- farren, 56, Naumann, 56, Reissmann, 56, Rockstro, 56, Wasiclewski, 59; present state of, Burney, ,s6-i;7 ; olden lime. Brooks, 57; aiicienl, Arends, 60; ancient and modern, Galilei, 57; ancient and national, Engel, 62; Shakespeare and, Nay- lor, 58; religious poetry and church-, Schletterer, 59; primitive, Walla- schek, 63; essaj's upon, Gri'fry, 64; structure of, Gow, 60; beautiful in, Hanslick, 6gj how to listen to, Kreh- biel, 70; philosophy of, Pole, 70; studies in worship-, Curwen, 70-71; studies in modern, Hadow, 71: live years of, Hanslick, 71; purity in, Thibaut, 72; cyclop.Tcaiasof, Ctiam- plin ««r^ Apthorp, 73, Mendel ami Reissmann, 73, Riemann, 73; dic- tionaries of, Clement rt«- Musikalischc stationcn, TIanslick, 71. Jtiisikalisches HoilieiiHiilt, 71, Muther, R lu/.arabi( Musicale, 58 K.,30. Muzarabic cnant. See I'ali-oHraphie Myccniian a^e (The), Tsountas, 13; see also I'errotrtMi/C'hipiez, Histoire de I'art dans I'antiquitc, 11. Myrl>ach,de. See Morin, French il- lii.tralors, 30. Mysticism iii aichitecturc, Letliaby, 8, see also liuskin, Aratra Pentclici, 31-14 ; in art, see Gilchrist, Life 01 William lilakc, 33. See also Sym- bolism. Naples Museum, the spear-bearers in. .Viv Ci lliKnon, Histoire de lasculpt- ure Grcccpie, 19. .\',itio,i ( ///,■). Set Coffin, 3, Hiitt, 25, Morin, 30. National Assiiciatinnfor the Advance- ment of Art and its Application to Inilustry, transactions ot, 51. National Gallery, popular nandbook of, Cook, 19 ; new pictures in, see Moore, Impressions and opinions, 29. National music, f( Ik-sonn and, (dc- ))artment), 61-63. National music, mtroduction to the study of, EnL'cl, 62. Natoire. See ftlantz, Francois Bou- cher, I.emoyne, and Natoire, 38. Naumann, K., 56. Naylor, K.W.,"58. Nederlandschc Instituut van Weten- schafen. See Kiese wetter uW Fetis, \'erhandelin>;en, 58. Needlework, as an art, Alford, 48; dictionary of, CaulfeiUl ami Sa- ward, 49; I.efebure, Broderies et dentelles, 51; in collection of church vestments, South Kensinjrton Mu- seum, see Rock, 52. See also Tapes- try. Neitzel, O., 72. Ne->-Germanic school. See Brcndel, Gcschichte der Musik, 5s. Netherlands, art in the, iJohmc, Kunst u. Kiinstler des Mittclallers u. der Neuzcit, 5; Taine, Lectures on art, 13; see also Alexandre, Ecole Fla- mande ct Hollandaij-e, 15; Cole, Old Dutch and Flemish masters, 19; Fromentin, Old masters of Belffium and Holland, 22. Netherlands, music in the, Kiesewct- icr ami Fetis, Vcrhandelin^ten, 57; see also Reissmann, Allefjemeine Gcschichte der Musik, 56; present state of, Uurney, 56-57. Netting. .S'lV Wall.er! Varied occu- pations in strinKwork, 53. Nettlcship, H., e,i. See Seyffcrt, 15. Neue Akuiieiitte tier ronkuptst. See Laniihans, History of music, 56. Neville, R„ 44. New England, colonial furniture of, Lyon, 51 ; early history of music in, see Brooks, f)fd(n time music, 56 ; musical culture in, see Perkins rt«r/ Dwisht, History of the Handel and Haydn Society cf Boston, s8. Newberry Library, musical depart- ment. .SVc- Prefatory note, 55. Newhall, B., trans. See Tsountas, '3- Newman, E., 65. N?wman, Miss S. E. .Sit' Fletcher, Study of Omaha Indian music, 62. Newmarch, Rosa, tra ns. See Deiters, 64. Nibelungcn Lied; see Riiig of the Nibelunx, Dippold, 67, Woliogen, 68. Nlckerson, M. P., trans. See Gonse, L'art Japonais, 6. Nicodi'. See P'uller-Maitland, Mas- ters of German music, 64. Nicomuchus, on music; see Music! Scriptores Grsci, 60. Niecks, F., 65. NiKf{li,lifeof Schubert by. .9** Frost, Life of Schubert, 64. Nimes, buihlinffsof the Roman times and Middle Ayes in. See Macgib- bon. Architecture of Provence unci the Riviera, 4 1. Nohl, L., 65. Normans, Freeman, 41. Norton, L. E., 10, see also Ruakin, 13, JJ. 45. Notation, historical stories of, Rie- mann, 59. Notes of travel and study in Italy, Norton, 10. Nottebohm, G.,65, see also Ambroa, Gcschichte der Musik, 55; e■'; in Italy, France, Germany, and Enjjland, Hogarth, 57; modern, Hanslick, 71; PfonI, 72; (fuide to Cjerman, Neitzcl, 72; dic- tionary of, Clement and Larousse, 73; Rieman, Opcrn-Handhuch, 73 ; see also Edwards, Lyrical drama, 7'- Optique (L') et Ics arts, Laupel, 8. Oratorio Society of New York, Kreh- bicl, 58, Oratorios, contributions to the history of, Ritter, Beitriige zur Gcschichte des Oratoriums, 56; standard, Up- ton, 72. Orchardson, W. Q. Armstrong, 16, Orchestra, and how to write for it, Cordcr, 69 ; of the xvi. century, see Cclier, Les origincs de I'optra, 57- Orchestration, instrumentation and, Berlioz, 69. Organs and organ-building, Edwards, 57; history of, Hopkins and Rim- bault, 57-58, Oriental antiquities, Babelon, 2. Oriental architecture, .See Fergus- son, History of Indian and Eastern architecture, 41, Seealso Byzantine architecture. Oriental art. See Byzantine art. Oriental music. See Ambros, Gc- schichte der Musik, 55. Ornaments, stone monuments, tumuli and ornaments of remote ages. Waring, 14 ; prehistoric and sa%age of our own time, see Balfour, Evo- lution of decorative art, 48. Orvieto Cathedral. See Norton, Notes on tr.-vel and study in Italy, 10. Osier, W, R., 10, Otranto, .See Freeman, Sketches from the subject and neighborlands of Venice, 41, Oulibischcff, A., 65. Ouseley, A'e-i. Sir F. A, G.,ed. See Naumann, 56, Overbcck, J,, 33 ; Antikcn Schrift- queller zur Gcschichte der bilden- den KUns'.e bci den Griechen, see Jones, 26, Owen, A, C, 10, Padui, history of painting in, from XI V'. to X\'I. centu'y, Crowe and Cavalcasi lie, 20; Giotto and his works in, Ruskin, 33. Paine, J. K.,«r/.,6s. Painters, Vasari, 13-14, Bryan, 14, Jaini », .4; Venecian, llrrens-.v. B., 52. Palmer, See Wedmore, Etching in England, 37. Palustre, L., 44. Piipworth, W., 44; rej'iser, see Gwilt, Encyclo] iedia of architecture, 41. Paravicini,. T, V., 10, and Selvatico, 12. Paris, P., 30. Paris E.xiJosition, tine arts at. Coffin, 3. Paris, opera house, see Chcsneau, Le statuaire J. B, Carpeau.x, 18; arc de I'Etoilc, see Mangeant, Antoine Ete.x, 28 ; lights before, see Marx, Henri Regnault, 28 Parisian art and artists, Bacon, 16. Parker, J. H.,44, aW Turner, T. H., 44. Parma, frescoes of Correggio in, see- Ricci, Correggio, 32-33. Parry, C. H. H., 72 ; see also Willeby, Masters of English music, 67. Parsifal, Wagner's, Kufferath, 68; guide through the music of, Wolzo- gen, 68 ; see also Schuri, Le drame musical, 68. ^. IMAGE EVALUATION TEST TARGET (MT-3) 1.0 us Uii i22 1.1 IL25 i 1.4 Hiotographic Sciences Corporation 23 W9ST MAIN STRilT WEBSTIR,N.Y. MSSO (716)S72-4S03 \ ^\^ SJ :\ \ v\ '^ o %" k o S6 Index. Parsons, S. P.,.7V., aj, 44. Parthenon, Michaelis, 43 ; curvature of the stylobate and architrave of, see Goodyear, Optical refinements in media;val architecture, 41. Passion plays of the xiii. to the xvii. century. See Schletterer, Das Deutsche Singspiel, 59. Pater, Walter, 10. Pattison, Mrs. M., 10, 31 ; see also Dilke, /.arfy, 5. Pauer, E. See Elterlein, 71. Paul, O., 60; see also Prefatory note, 54- Pausanius. See Harrison, Mythology and monuments of ancient Athens, „7- Paysage, See Landscape. Paysan. See Peasant. Pearson, A. See Symonds, Renais- sance in Italy. 13. Peasant in the works of J, F. Millet, Roger-Miles, 33. -Peck, H. T., ed. See Harper's diction- ary of classical literature and an- tiquities, 14. Pen-artists, English, of to-day, Har- per, 24. Pen drawing and pen draughtsmen, Pennell, 31 ; Sambourne's unique system of, see Spieltnan, History of Punch, 35. See also Blacic and white, Book illustration, Illustration, Illus- trators. Pencz. See Scott, The little masters, T,35- „ , Pennell, J., 31. Perati!, And., 10. Peri. .SV* Kiesewetter, Schicksale und Beschafltenheit des Welti ichen Gesangs, 58. Pericles. See Collignon, Histoire de la sculpture Grecque, 19. Perkins, C. C, 31, and Dwight, J. S., 58. Perkins, Emma R., trans. See Diehl, Excursions in Greece, 5. Perrot, G., and Chipiez, C, lo-ii. Perry, W. C, 31. Persia, antiquities of. See Babelon, Archsologie orientale, 2. Persian art, Gayet, 6, Smith 12. Persian music. See kiesewetter. Die Musik der Araber, 62. Persian pottery. See Fortnum, De- scriptive catalogue, 50. Petrie, W. M. F, 11, S2. Pfohl, F., 72. Phidias. See Story, Excursions in art and letters, 13; Coltignon, His- toire de la sculpture Grecque, 19; Murray, History of Greek sculpt- ure, 30. Philharmonic Society of New York, memorial of the fiftieth anniver- sary of the founding, Krehbiel, 58. Phillips, C, 3(. Philosophy of art, Taine, 13. Philosophy of music, Pole, 70. Phoenicia, history of ancient art in, Perrot and Chipiez, 11. Phrygia, history of ancient art in, Perrot and Chipiez, 11. Pianoforte, description and history of, and of the older keyboard stringed instruments, Hipkins, 57; music. Fillmore, 57 ; origin, pr-^gress, and construction, Rimbault, 59; playing and literature, Weitzman, sg; sonatas for, Shedlock, 59; aesthetics of, Kul- lak, 70. Pictures, old-fashioned historical, see Dargenty.Le Baron Gros, 21; how to judge. Van Dyke, 36 ; emancipa- tion of. Hall ward, see Transactions of the National Association for the Advancement of Art, 53. Pisa Cathedral, bronze doors of. See Desjardins, Jean Bologne, 21. Pissaro. See Lecomte, L'art impres- sionniste, 37. Plaidy, piano method of. See Kullak, 70, Planch^, History of British costume. S*i Prefatory note, 48. Plans. See Maps and plans. Plant form, studies in, Lilley and __Midgley, 51. Flast jc casts. St* Caats. Plate, Middleton, ji; illustrated cata- logue of , in the Fitzwilliam Museum, Foster ««(/ Atkinson, 50. Piatt, C. A., 44. Plutarch upon music, Westphal, 6t. Poetry, Watts, 14; Homeric, see Gard- ner, New chapters in Greek history, 5 ; music and the boundaries of, Arabros, 69. Pohl, C. F., 66. Pole, W., 66, 70. Pollard, A. W., 31. Pollen. J. H., 52. Polyphony, first efforts in. See Reiss- mann, Allgemcine Geschichte der Musik, 56. Pompadour interiors. See Mantz, Francois Boucher, 28. Pompeii, archaeological rambles in, Boissier, 3. Poole, R. L., 65. Poole, S. L., n. Porcelain, Sturgis, 53 ; of the United States, Barber, 48: of China, Du Sartel, 49: history of, mediaeval and modern, Marryat, 51 ; of all times and nations. Prime, 52. See also Ceramics, Pottery. Portfolio {The), 11. Port/olio monographs : Armstrong, Art of W. Q. Orchardson, 16. Art of Velasquez, 16, Life of VelaaCj •.-r, 16, Gainsborough, 16 ; Cartwriglit, Jules Bastien-Lepage, 18, Raphael, 18 ; Cundall, DUrer's engravings, 21; Dcstrt^e, Renaissance of sculpt- ure in Belgium, 21 ; Grahame, Claude Lorrain, 21 ; Phillips, An- toine Walteau, 31, Frederick Wjl'r- er, 31, Picture gallery of Charles I., 31; I'ollard, Italian book illustra- tions, 31 : Stephens, Dante Gabriel Rossetti, 35. Portrait painting. See Hamerton, Man in art, 24. Portraits, of Medicean dukes of Mi- chael-Angelo, jt^«" Goodyear, Roman and mediaeval art, 6 ; of sovereigns, see Lecoy de b Marche, Les sceaux, 27 ; of Washington, see Mason, Life and works of Gilbert Stuart, 28 ; of Marshall Prim, j See Smith, American illus- trators, 35. Quarnero (The). See Jackson, Dal- matia, the yuarnero and Istria, 42. Racmet, A. C. A., 52. Radcliflfe, A. G, 32. Ramann, L., 66; trans., see Liszt, 62. Ramdc, D., 44. Ramsay, W., 11. Raphael, Harford, 7, Cartwright, 18, Crowea«rfCavalcaselle,2o, Karoly, 26, MUntz, 30; see also Sweetser, Artist biographies, 36. Rational building, Huss, 42. Rayet, 0.,a«(/ Collignon, M., 52. Realism in fine art, Sturgis, 13. Reber, F. von, 44. Redende Ktinste (Die), 73. Redford, G^ 32. Redgrave, G. R., 31. Redgrave, R. and S., 32. Rees, J. R., 32. Regnault, \\.,yiaxx,^i\ see also'BXa.nc, Artistes de mon temps, 3; De Los- talot, Les chefs d'ceuvres de l'art du xix. si^cle, 21 ; Hamerton, Mod- ern Frenchmen, 24. Reid, G., 32. Reimann,H. 5?? Ambros, Geschich- te der Musik, 55. Reinach, S., u, 32. Reinicke. See Fuller-Maitland, Mas- ters of German music, 64. Reissmann, A., 56, 58-59, 66; see also Mendel and Reissmann, 73. Religious art, Hamerton, 24. See also Christian art. Sacred art. Religious poetry, and music, Schlet- terer, Geschichte der Geistlichen Dichtung u. KirchUchen Tonkunst, 59- Rembrandt, Michel, 28-29, Mollett, 20, Vosmaer, 37, see also Sweetser, Artist biographies, 36; etched work of, Haden, 24; etchings of, Hamer- ton, 24. Remington, F. See Smith, American illustrators, 35. Renaissance (The), and modern art, Goodyear, 6; in France, De La- borde, 4, Pattison, 10: in Italy and France, MUntz, g; in Italy, Frizzoni, 5, Pattison, 10, Symonds, 13, Gniy- er,Les oeuvres d^art de la Kenais- sance Italienne au Temple de Saint Jean, 6, MUntz, Histoire de l'art pendant la Renaissance, Les pr^- curseurs de la Renaissance, 10; see also Molmenti, La vie priv^e & Ve- Index, 87 nise, 0, Vischer, Luca Signorelli u. ftalienische^ Renaissance, 37; die Venetian and Florentine painters of, Berenson, 17; sculpture of, Scott, 34; painting of, Woltmann and Woermann, 37; architecture of. Pa- lustre, 44, Smith and Poynter, 4^- f6; in Portugal, Haupt, 42; and Jaroque, Wtilfflin, Renaissance und Barock, 47; ses also Molmenti, Car- paccio, 23; MUntz, Donatello, 30; Pollard, Italian book illustrations, 31; Scott, Fra Bartolommeo, 34. Renan, A., 52. Reyer. See Hervey, Masters of French music, 64. Reynolds, Sir Joshua, Chesneau, 18, Pnillips, 31; see also Sweetser, Ar- tist biographies, 36. Rheinbergcr. See Fuller-Maitland, Masters of German music, 64. Rhode Island houses, early, Ishum a>id Brown, 42. Rhodian ware, Fortnum, 50. Rhys, E , «. Riano, J. F., 52. Ricardo, H. Sec Morris, Arts and craftsessr.ys, 51-52. Ricci, C, 32-33. Richardson, R, 33, Richelieu, Ktudes d'art et d'histoire de I'art Fran^ais au temps au Rich- elieu et Mazarin, Lemonnier, 8. Richtenberger, E. See Lafenestre, G., and Richtenberger, 27. Richter, E. F., 70; see also Broek- haven, 69. Richter, J. P., 33. Riemann, H., 59, 73; see also Kul- lak, 70; trans., Gevaert, 60. Rimbault, E. F., 59; see also Hop- kins, E. J., and Rimbault, 57-58. Ringof theNibelung, Wagner's, Dip- pold, 67; guide through the music of, Wolzogen, 68. Rio, A. F., 33. Ritter, Fanny R., trans. See Schu- mann, 72. Ritter, Frederic L., 59. Riviera, architecture' of the, Macgib- bon, .J3. Roba di Roma, Story, 13. Robinson, E., 52. Robinson, T. See Modern French masters, 29. Robinson, W., 44-45. Rock, I'ery Ke?: Dr., 52. Rockstro, W. S., 56,66. Rococo. See Mantz, Franfois Bou- cher, 28, Thirion, Les Adam et Clodion, 36 ; Renaissance and, Wiilfflln, 47. Rodin. See Lecomte, L'art impres- sionniste, 27. Roper-Miles, L., 33. Ronault de Fleury, G., 45; see also Clement, Handbook of legendary and mythological art, ig. Roman antiquities. See Rome. Roman architecture, Durim Die Bau- kunst der Roemer, 40; Essenwein, Die Ausgiinge der ciassischen Bau- kunst, 40; see also Smith and Slater, Architecture, classical and early Christian, 46. Roman art, Goodyear, 6; literature in relation to, Burn, 3. Roman literature in relation to Roman art. Burn, 3. Roman music. See Reissmann, All- gemeine Geschichte der Musik, 56. Roman pottery, Birch, 48 ; vases in the Boston Museum, Robinson, 52. Roman sculpture, Reinach, 32, Red- ford, 32. Romanesque architecture, Corroyer, L'architecture Romane, 39 ; Essen- wein, Die Romanische und die Gothische Baukunst, 40; Jackson, Dalmatia, the Quarnero and Istria, 4»- Romantic school of music. See Lang- hans, 56. Rome, archiEology of, Helbig and 1 ync'iani, 7 ; Manuel d'archeologie Etrusque et Romaine, Martha, 8 ; manual of Roman antiquities, Ram- say aW Lanciani, It; and Pompeii, Boissier, 3; ancient, and its neigh- borhood. Burn, 3; history of the de- struction of, in the light of recent discoveries, Lanciani, 7-8 ; remains ofancieit, Middleton,9, 30; pagan and Christian, Lanciani, 8 ; Chris- tian, Frothingham, s; of to-day and yesterday, Dennie, 4 ; walks in, Stendhal, 12. Root, J. W., 25, 45. Rore, C. de. See Wir.terfeld, Johan- nes Gabrieli, 59. Roscoe, T., trans. See Cellini, Ben- venuto, 3. Rosenberg, A., 12. Rosengarten, A., 45. Ross, T. See Macgibbon, D., and Ross, 43. Rossel, Airs., trans. See Wauters, Peinture Flamande, 37. Rossetti, D. G., Sharp, s^,, Stephens, 35i Wood, 37; see also Rossetti, W. Rossetti, W. M., 12. Rossini and the modem Italian school, Edwards, 64 ; see also Fink, Wesen u. Geschichte der Oper, 57. Rouaix, P., 52-53. Rousseau, Theodore, Coffin, 19. Rubens, Peter Paul. See Gilbert, Landscape in art, 23. Rubinstein, 66. Rude, F., Bertrand, 17; see also Ham- erton. Modern Frenchmen, 24. Rudler, F. W., 53, Ruskin, J., worlcs of, 12, 33-34, 45 ; ed., see Owen, Art schools of medi- !eval Christendom, 10 ; studies in. Cook, 4; work of, Waldstein, 14 ; see also Cook, Popular handbook of National Gallery, iq, Chesneau, La peinture Anglaise, 18. Russian art, Maskell, 8, VioUet-le- Duc, 14 ; influence of Byzantine on, see Bayet, L'art Byzantin, 3. Russian music, Istomin and LUtsh, 62. Rustic school. See Hamerton, Pres- ent stale of fine art of France, 7. SaalschUtz, J. L., 60-61. Sabine. H., 45. Sacred art, history of mediaeval Chris- tianity and, Hemans, 25 ; Hopfner, Die Heiligen in der Christlichen kunst, 25; and legendary art, Jame- son, 26. 5ff a/.;0 Christian art, Re- ligious art. Sacred buildings, adornment of, see Gambler, Ministry of fine art, 5, Lindsay, Sketches of the history of Christian art, 27, Butler, Ancient Coptic churches of Egypt, 39. See also Cathedrals, Churches. St. Gall, singing school of, Schu- berger, 61 ; see also PaWographie Musicale, 58, Gevaert, 60, Lambil- lotte, 60. Saint-Germain-en-Laye, Museum of. See Reinach, Antiquities nation- ales, II. St. John, Temple of. See Temple of St. John. St. Mark's rest, Ruskin, 34. St. Nicholas. See Century gallery, 18. St. Paul's Cathedral, history of, Long- man, 43; see also Armstrong, Alfred Stevens, 16. St. Petersburg. See Atkinson, Art tour to northern capitals of Europe, 2. Saint-Sacns. See Hervey, Masters of French music, 64. St. Sophia, church of, Lethaby and Swainson, 42; see a/jo |.Salzenberg, 45- Saints, stories of, in art, Clement, 19; see also Jameson, Sacred and leg- endary art, 26. Salvator Rosa. See Gilbert, Land- scape in art, 23. Salvayre. See Hervey, Masters of French music, 64. Salzenberg, W., 45. Sambourne, L. See Spielman, His- tory of Piittch, 35. Sanderson, C. See Morris, Arts and crafts essays, 51-52. Sandys, J. E., ed. See Seyffert, 15. Santa Croce. See Ruskin, Mornings in Florence, 34. Saricep art in Egypt, Poole, 11. Sardinia, hMa/j0Cavallucci, Sensier, A., 35. Seubert, A., 15. Seven lamps of architecture, Ruskin, Seward, T. F. See Marsh, Story of the Jubilee singers, 63. Seyffert, O., y. Seymour, T. D., u. :Sgambati. See Streatfeild, Masters of Italian music, 66. Shadwell, C. L. See Pater, Greek studies, 10. 'Shakespeare and music, Naylor, 58. Sharp, W.. 35. 'Sharps and flats, Maretzek, 58. Shedd, Julia A., 35. Shedlock, J. S., jm ; trans., see Wag- ner, Richard Wagner's letters, 68. Shepherd's tower (The). See Ruskin, Mornings in Florence, 31. Sicily, Byzantine wall-paintings in. See Diehl, L'art Byzantin dans I'ltalie m^ridionale, 4. Sienese school of art. See Mesnard, Paintings at Sienra, 38. Signa'.e fiir die Musikalische Welt, Ti- Signorelli, Luca, Vischer, 37. Silversmiths' work in South Kensing- ton Museum, Pollen, 53. See also Goldsmiths' work. Simmonds, Florence, ira ns. See M i- chel, Rembrandt, 38-29; Ricci, Cor- reggio, 32-33. Simonds, G. See Transactions of the National Association for the Ad- vancement of Art, 53. Simson, J. P., trans. See Weber, 67. Sisley. See Lecomte, L'art impres- slonniste, 27. Sistine Chapel, frescoes of Michel- angelo in, see Wilson, Life and works of Michelangelo, 14; story of Genesis in, see Goodyear, Roman and mediseval art, 6. Sketches from the subject and neigh- borlands of Venice, Freeman, 41. Slade School lectures on illustration of books, Pennell, 31. Slater, J. See Smith, T. R., and Sla- ter, 46. Slave songs of the United States, Allen, Ware, and Harrison, 61 ; see also Marsh, Story of the Jubilee singers, 63. Smith, F. Hopkinson, 9, 35. Smith, G. W., 31. Smith, R. M., is. Smith, T. R., and Poynter, E. J., 45- 46; ant/ Slater, J., 46. Smith, j'jVW.W., 15. Snuff-boxes. See Propert, History of miniature art, 33. Sokolowsky, B. von. See Ambros, Geschichte der Musik, 55. Some artists at the Fair, 9. Sommer, H. See Fuller-Maitland, Masters of German music, 64. Sonatas, pianoforte, Shedlock, 59. Songs, of the xv., xvi., xvii., and XVII. centuries, Mmne-Master-Folk, see Reissmann, Das Deutsche Lied, 58-59; secular, Kiesewetter, Schick- sale und Beschaffenheit des Welt- lichen Gesangs, 58 ; German, Reiss- mann, 58-59 ; Erk and BUhme, 63; American slave, Allen, Ware, and Harrison, 61, Marsh, 62 ; Ba- haman, Edwards, 63 ; Canadian, Gagnon, 63 ; of Brittany, Ville- marqu^, Barzaz-Breiz, 63 ; Irish, Walter! 6i. Sound, Tyndall, 70; and music, Zahm, 70. South Kensington Handbooks: Smith, Persian art, 17 ; Evans, Industrial arts, 49; Worsaae, Industrial arts of Denmark, 53 ; Engel, Musical in- struments, 57. South Kensington Museum, bronzes of European origin in, Fortnum, 33; Malolica, Htspano-Moresco, Persian, Damascus, and Rhodian wares in, Fortnum, i/a ; ivories an- cient and medieval in, Maskell, st ; ancient and modern furniture and wood-work in, Pollen, 53 ; ancient and modern gold and silversmiths' work in. Pollen, 53 ; collection of church vestments, dresses, silk stuffs, needlework, and tapestries in. Rock, 53. Spain, Kunst und KUnstlerdes Mittel- alters und der Neuzeit, Dohme, 5 ; artists of, Stirling-Maxwell, 13-13 ; La peinture Espagnole, Lefort, 37 ; Gotnic architecture in. Street, 46; industrial arts of, Riafio, 53. Spanish school of art, Lefort, 37. Sparkes, J., ed. See Chesneau, La peinture Anglais, 18. Spielman, M. H., 35. Spiers, R. P., ed. See Fergusson, History of architecture in all coun- tries, 40. Spinet. See RImbault, Pianoforte, 59. "Spirit-fresco" process. See Gam- bler, Ministry of line art, 5. Spitta, P.,66. Spohr, L., 66. Stage setting of the xvi. century, see Celler, Les origines de I'op^ra et le ballet de la reine, 57. Stained glass. See Glass. Stainer, Sir J.; (>\\and Barret, 73. Stanford. See Willeby, Masters of English music, 67. Statham, H. H., 46. Statuettes, Renaissance and later, see Maskell, Description of ivories in South Kensington Museum, 51. Steele, Frances M.,(t»f/ Adams, Eliz- abeth L. S., 53. Stendhal, de (Henri Beyle), 12, 35. Stephens, F. G., 35. Stevens, A., Armstrong, 16 ; com- pared with Manet, see Bacon, Pa- risian art and artists, 16. Stevenson, R. A. M., 35, trans. See Delaborde, 31. Stigand, Isabella, S. E., trans. See Wasielewski, 59. Stillman, W. J. See Cole, Old Italian masters, 19. Stirling-Maxwell, Sir W., 12-13. Stockholm. See Atkinson, Art tour to northern capitals of Europe, 2. Stokes, Marg. See Didron, 33. Stone, carved. See PaUologue, L'Art Chinois, 10. Stones of Venice, Ruskin, 45. ijcorv- W. W., 13. Story of a young designer, Viollet-le- Duc, 36-37. Strait gate (The). See Ruskin, Morn- ings in Florence, 34. Stranahan, jl/rj. C.H., 35-36. Strauss, R. See Fufler-Maitland, Masters of German music, 64. Streatfeild, R. A., 66, 72. Street, G. E., 46. Stringwork, varied occupations in. Walker, 53. Struggle of the nations, Maspero, 9. Stuart, Gilbert, Mason, 28. Studies in both arts, Ruskin, 34. - c, H Studies in modern music, Hadow, 7«- Studies in worship music, Curwen, 70- 7'' Studio methods and conversation. Couture, 20. Sturgis, R., 13, 36, 53; European archi- tecture, 46 ; see also Homes in city and country, 25. Styles Fran(,-ais (Les), Lechevallier- Chevignard, 8. Suite, Hanslick, 71. Sullivan, Sir A. See Willeby, Mas- ters of English music, 67. Surrey, old cottage and domestic ar- chitecture in southwest, Nevill, 44. Sutton Place, annals of, Harrison, 42. Swainson, H. See Lethaby, W. R., and Swainson, 42, Sweetser, M. F., 36. Swords, Japanese. See Gonse, L'art Japonais, 6. Symbolism, Christian, see Lethaby, Architecture, mysticism, and mytn, 8. See also Iconography. Symonds, J. A., 13 ; trans., see Cel- lini, 3. Symphonies, standard, Upton, tj. Syria, Mohammedan art in, see Gayet, L'art Arabe, 6 ; ancient art in, Per- rot and Chipiez, 11 ; cities of, see Longfellow, Cyclopaedia of works of architecture in Italy, Greece, and the Levant, 43 ; see also Maspero, Struggle of the nations, 9. Tables, making of, see Benson, Ele- ments of handicraft and design, 48. Taine, H. A., 13. Talks on art. Hunt, 35. Talmud (The), the magrepha of. See SaalschUtz, Geschichte u. WUrde- ng der Musik bei den Hebriiern, I. Tapestry, Sturgis, 53; history of, Guif- frey, 50, Havard, 50, MUntz, 52 ; in collection of church vestments. South Kensington Museum, Rock, 5a. .SV^ also Textile fabrics. Tarbell, F. B., 13. Teetgen, A., 73. Tempera Middleton,39. See alsoVtw- ral painting. Temple of St. John Baptistery, Flor- ence, CEuvres d'art de la, Gruyer, 6. Ten years' digging in Egypt, Petrie, II. Tenniel, Sir J. See Spielman, His- tory of Punch, 35. Terra-cotta, Greek. See Murray, Handbook of Greek archaeology, 10; French, Thirion, Les Adam et Clo- dion, 36. See also Pottery. Texier, C., and Pullan, R. P., 46. Textile fabrics, Middleton, 51, Sturgis, 53 ; collection of church vestments, dresses, silk stuffs, needlework, and tapestries. South Kensington Mu- seum, Rock, 53. See also Tapestry. Thalberg, piano method of. Set Kul- lak, ^o. Thausing, M., 36. Thayer, A. W., 66-67. Thibaut, A. F., 73. Thirion, H., 36. Thomas, A. See Hervey, Masters of French music, 64. Thomas, T., ed. See Paine, 65. Thompson, B. (Lady Butler). See Bacon, Parisian art and artists, 16. Thomson, D. C, 36. Thornbury, W., 36. Thoughts about art, Hamerton, 7. Thoughts of great musicians, La Mara, 72. Tiles, Persian, see Van Dyke, His- tory of painting, 36 ; processes in. see V.\\\^y and Midgley, Studies in plant form, 51. Tintoretto, Osier, 30; and Michael Angelo, Ruskin, 34. Tirard, Helen M., trans. See Erman, Life in ancient Egypt, 5. Titian, Crowe a>4/^Cavalcaselle, 20; see also Sweetser, Artist biogra- phies, 36. Tombs, papal and imperial. See Lan- ciani. Pagan and Christian Rome, 8 ; at San Lorenzo, .r^^ Goodyear, Roman and mediaeval art, 6. Tone, on the sensations of, Helm- holtz, 69-70 ; From the tone world, Ehlert, 71. Tools and implements, of ancient and modern peoples, Hottenroth, Le costume, les armes, ustensiles outils des peuples anciens et modernes, 50 ; of carpenter, blacksmith, and other craftsmen of the Middle Ages, see Viollet-Ie-Duc, Dictionnaire raisonnd du mobilier Fran9ais, 53. Tournament in France in the Middle Ages, see Viollet-le-Duc, Diction- naire raisonn^ du mobilier Fran9ais, 53- Town halls, Viollet-le-Duc, Histoire d'un Hotel de ville, fownsend, P see Jahn, 64. Townsend, Pauline H;, 67, trans.. Trani. See Freeman, Sketches from the subject and neighborlands of Venice, 41. Transactions of the National Associa- tion for the Advancement of Art and its Application to Industry, 53. Transactions of the Royal Institute of British Architects. See Willis, 47. [ La Transatlantic sketches, James, 7. Tretbar, Helen, trans. Set Ehlert, ?«• Treviso. See Freeman, Sketches from the subject and neighborlands of Venice, 41. Tristan und Isolde, Wagner's guide through the music ofi Wolzogen, 68. Trouveres. See Coussemaker, Adam de la Halle, 60. Troy, Schliemann's excavations at, Schuchhardt, 12. Troyon. See Blanc, Artistes de mon temps^j. Tryon, D. W. See Modern French masters, 39. Tsountas, C, i-\. Tu tor architecture. See Three peri- ods of English architecture, Harris, 42- Tumuli. See Monuments. Turkish music. See Kiesewetter, Die IVf usik der Araber, 62. Turner, J. M. W., Thombury, 36; see also Sweetser, Artist biographies, 36; Ruskin, Lectures on architecture and painting, 12, Harbours of Eng- land, 33; Wedmore, Etching in Eng- land, 37. Turner, Mary E. See Morris, Arts and crafts essays, 51-52. Turner, T. H.,46. Tuscan art, lectures on. See Ruskin, Val d'Arnoawrf Laws of Fesole, 34. Tuscany, A traverslaToscane, MUntz, to; in the Middle Ages, Rohault de Fleury, 45. Tuxedo Park. See Price, The subur- ban house, 44. Two paths (The), Ruskin, 12. Tyndall, J., 70. Undine. See Freeman, Sketches from the subject and neighborlands of Venice, 41. Upcott, L. E., 36. Upton, G. P., 7a; trans., see Nohl, 65. Universities, study of art in, Wald- stein, 14. Utensils. See Tools. Vachon, M., 36, 46. Val d Arno, Ruskin, 34. Van Aalst, J. A., 63. Van Brunt, H., 46-47. Van Dyck.A., Guiflrey, 23-24; and his pupils, Michiels, 29; see also Sweet- ser, Artist biographies, 36. Van Dyke, J. C., 36; see also Cole, Old Dutch and Flemish masters, 39; Modern French masters, 39. Van Rensselaer, Mrs. S,, 47. Vasari, G., 13; see also Mesnard, La peinture ft Sienne, 28. Vases, Greek, see Murray, Mythol- ogy and monuments of ancient Athens, 7, 10; their form and deco- ration, Lau, Die Griechischen Vasen, ihre formen und decoration- system, 51; Etruscan and Roman in Boston Museum, Robinson, 52. Vatican, the Amazon in the. See CoUignon, Histoire de la sculpture Grecque, 19. Vaulted book (The). .See Ruskin, Mornings in Florence, 34. Vaults of the Middle Ages. See Gothic vaulting Vedder, E. See Smith, American il- lustrators, 35. Velasquez, Armstrong, 16, Justi, 26, Lefort, 27, Michel, 29, Stevenson, 35; see also Stirling-Maxwell, An- nals of the artists ofSpaln, 12-13. Venetian art, BouUier, 3, De Pontes, 21 ; see also Karoly, tiuide to the paintings of Venice, 26. Venetian music. See Reissmann, Allgemeinc Geschichte der Musik, Index. 56, Winterfeld, Johannes Gabrieli, 59- Venice, La vie priv^e ft Venise, Mol- menti, 9; history of painting in, from XIV. to XVI. century, Crowe and Cavalcaselle, 20; guide to paintings of, Karoly, 26; St. Mark's rest: the history of, Ruskin, 34; Academy of fine arts at, guide to the principal pictures, Ruskin, 34; sketches from, Freeman, 41; stones of, Ruskin, 45; architecture of, Rus'cin, 45. Venus de Milo. See FurtwBngler, Masterpieces of Gr^ek sculpture, Verdi, Pougin, 66; see also Edwards, Rossini, 64 ; Streatfeild, Masters of Italian music, 66 ; Pfohl, Die Mo- derne Oper, 72. Vernet, Horace, Rees, 32. Veron, E., 36. Verona, history of painting in, from xiv. to XVI. century, Crowe and Cavalcaselle, 20. V^ronise, Paul, Yriarte, 37. Verrall, Marg. de G., trans. See Harrison, Mythology and monu- ments of ancient Athens, 7. Vicenza, history of painting in, from XIV. to XVI. century, Crowe and Cavalcaselle, 20. Vidal, A., 59. Vienna, concerts in, Hanslick, Ge- schichte des Concert wesens in Wien, 57- Vienne, buildings of the Roman time and Middle Ages in. See Macgib- bon. Architecture of Provence and the Riviera, 43. Vierge, D. See Morin, French illus- trators, 30. Villemarqu^, H. de la, 63. Vinci, Leonardo da, Richter, 33, Rio, 33; see also Sweetser, Artist biog- raphies, 36. Violin (The), and its music, Hart, 57 ; bibliography of, Heron-Allen, De fidiculis bibliographia, 57 ; and in- struments played with a bow, Vi- dal, Les instruments ft archet, 59. Viollet-le-Duc, ii. E., 14, 36-37, 47, ^3 ; see also Huss, ^2, Sabine, 45. Violoncello and its history, Wasielew- ski, 59. Virgil, country of, Boissier, 3. Virgin, holy. See Madonna. Virgin martyrs. 5>f Jameson, Sacred and legendary art, 26. Virginal. See Rimbault, Pianoforte, Virtuosi, Hanslick, Concerto, Com- ponisten u. Virtuosen, 71. Vischer, L., 37. Vitraux. See Glass. Vosmaer, C, 37. Wagenseil, J. C, 68. Wagner, R., works, letters, etc.. 68 ; life of, ~ Nohl, 65, Finck, 67, Glase- napp, 67, llueffer, 67, Jullien, 67-68; guiae through the muiic of, Wolzo- gen, 68. See also Wagneriana (de- Wsartment), 67-69. agner drama, legends of, Weston, 68;studiesin, Krehbiel, 68. See also Wagneriana (department), 67-69. Wagner story-book. Frost, 67. Wagneriana (department), 67-69. Waldstein, C, 14, 37. Walker, Fred., Phillips, 31. Walker, J. C, 63. Walker^ Louisa, 53. Wall painting, Byzantine, Diehl, L'art Byzantin, 4 ; Gothic, Gonse, L'art Gothique, 6; Egyptian, Van Dyke, History of painting, 36. See also Frescoes, Mural painting, Tempera, Wallaschek, R., 63. Ware, C. P. See Allen, W. F. 61. Waring, J. B., 14. 89 Wasielewski, W. J. von, 59, 67. Watrous, H. W. See Modern French masters, 39. Watteau, A., Phillips, 31; see also De Goncourt, L'art du xviu, slide. W^a'l fatts, T., 14. Wauters, A. J., 37. Wayte, W. See Smith, Sir W., 15. Weapons, Maindron, Les armes, 51, see also Jewitt, Half-hours among s^me Enclish antiquities, 7; of an- cient and modern peoples, Hotten- roth, Le costume, les armes, uten- siles outils des peuples anciens et mcdernes, 50. Weber, Carl Maria von, Benedict, 63, Weber, M.M., 67. Weber, F., trans. See Elterlein, 71. Weber, Baron M. M. von, 67. Wedmore, F., 37; ed., see Michel, Rembrandt, 28, Weir, J. A. See Modern French mas- ters, 29. Weitzmann, C. F., 59. Weston, Jessie L., 68. Westphal, R,, 61 ; see also Ambros, Geschichte der Musik, 55 ; Pref- atory note, 54. Whistler, J. M. .See Wedmore, Etch- ing in England, 37. White, J. W., 74. Widor. See Hervey, Masters of French music, 64. Wilkie. See Wedmore, Etching in England, 37. Willaert, A. See Winterfeld, Johan- nes Gabrieli und sein Zeitalter, 59. Willard, A. R., 37. Willeby, C, 67. Williams, C. F. A., 61. Willis, Rep. R., 47. Willshire, W. H., 37. Wilson, C. H., 14, 37. Winterfeld, C. von, 59. Woermann, K. See Woltmann, A., and Woermann, 37. Wmfflin, H., 47- Woltinann, A., owrf Woermann,K., 37. Wolzogen, H. von, 68: trans., see Schur^, 68. Wood, Esther, 37. Wood, H.T.,37. Wood-carving, Middleton, 29, Sturgis, 36 ; Chinese, see Pal^ologue, L'art Chinois, 10 ; Indian, De r orest, 39- 40. Wood-engraving, Sturgis, 36, Cun- dall, 21, Delaborde, 21, Jackson, 25- 26, Linton, 28; see also Century gn\- lery, 18, modern French masters, 29, Ruskin, Ariadne Florentina, 34, Smith, American illustrators, 35. Woodwork, ancient and modern, in the South Kensington Museum, Pol- len, 53. Wooldridge, H. E. See Chappell, Old English music, 61. World's Columbian Exposition, fine arts at. Coffin, 3 ; some artists at, Millet, 9. Worsaae, J. J. A., 53. Worship music, studies in, Curwen, 70-71. Wortman, Dr. Alfr. See Cundall, Hans Holbein, 31. Wren, Christopher, Inigo Jones and, Loftie, 43 ; see also Daniell, London city churches, 39 ; Longman, His- tory of the three cathedrals dedi- cated to St. Paul, 43. Wright, J. H., trans. See CoUignon, Archeologie Grecque, 4. Yriarte, C, 37. Zahm, Rev. J. A., 70. Zarlino. See Winterfeld, Johannes Gabrieli und sein Zeitalter, 59. Zeitschri/t fur Instrumenteiau , 73. LIST OF BOOKS FOR GIRLS AND WOMEN AND THEIR CLUBS: As a Volume, in Paper Covers, 50 Cents ; in Cloth, fx.oo. IN PARTS : on pages one-fourth the size, in paper covers : PART I. — Fiction, by a reviewer for 7'he Nation, 10 cents. PART II. — Biography, by assistant librarians of the N. Y. Free CircuIatinR Library ; History, by Reuben G. Thwaites ; Travel, by Miss A. R. Hasse ; Literature ; Poetry, Essays, and Criticism, by G. Mercer Adam ; Folk-Lore, by Stewart Culin. 10 cents. PART III.— Fine Arts, by Russell Sturgis, A.M., Ph.D., Fellow of the American Institute of Architects ; Music, by H. E. Krehbiel, musical editor JVeJc York Tribune. 10 cents. 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