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New Edition. By Edward Hamilton. (Col- suggested in his Preface, and write us that " the true artist is poet, priest, seer, prophet

, naghi.) This new edition may be said to be “ Nachleben” or " Vie d'outretombe” of musician, actor, all in one. Thrice blest, thrice the completion of a task, and Dr. Hamilton is Raphael which he so desires to read ? The happy man.” We should think so, indeed; but to be congratulated upon it. The task was, history of the reputation and influence of why not six times blest, six times happy doubtless, one of love, but it was also one of Raphael from Sebastiano to Ingres is a task Happy also must be Mr. Little and other labour-and labour, in comparison with most which few writers are so well fitted to perform. "advanced” persons who alone "can discover literary work, quite mis-proportioned to its

The St. Anne of Leonardo da Vinci.


volumes of lyrics, and tomes instinct with the bulk, and, in a sense, thankless. Each line of Alfred Marks. (Privately printed.) Mr. Marks' deepest subtilties of metaphysics, in the works the book is the essence of careful study of learned and interesting paper on the Louvre of Cecil Lawson.” Mr. Little appears to think references

tedious and comparisons unending; picture and the Academy cartoon, in which he that landscape art is the highest, aniınal paintand the art of it consists in the concealing of summarises and arranges with great care all ing the next, and mankind the third in the the labour, the suppression of superfluities, the existing evidence of their origin, was read before scale of subjects for art, for he says, “ After all

, effacement of the worker.

Nor is it easy to the Royal Society of Literature in 1892, and has animals are in a sense more worthy of the do justice to such a book in a current notice, now been reprinted, as it deserved to be, in a

painter's art than are men. In their delineaexcept by a few words of general praise, and separate form. The threads of his narrative tion he is brought nearer to the delineation of the expression of an opinion that its value will and his arguments are made much clearer by nature in its pristinity and purity, although be permanent. Of this there can be little the illustrations, some fifteen in number, show- not so near as he is brought in the representadoubt. Whoever may come after Dr. Hamilton ing the modifications made by Leonardo and tion of natural objects-trees and mountains

, will be, to say the least, very unwise if he does his followers in the original designs. In any clouds and rivers, let us say.".For those who not consult this catalogue, and will be very further investigation as to the actual painter admire this style of writing, this book will be Such labour as Dr. Hamilton's is not likely to Leonardo's cartoon for it, this little monograph page. wise indeed if he succeeds in supplanting it. of the Louvre picture and the existence of only too short, for it is all over on the 181st be repeated by anyone of equal equipments, will be of much service.

Outlines of Historic Ornament. Edited by and, if repeated, will be wasted. It is far more probable that it will be adopted with or

Kunst und Künstler des Neunzehnten Jahr-Gilbert R. Redgrave. (Chapman & Hall.) without acknowledgment. But this is the hunderts. Lieferung 1-14. (Leipzig: Seemann.) | Since the days of Pinnock's Catechisms we

have never seen a book which supplies so natural fate of all books of reference; and there This is a continuation of the well-known is enough of what is undeniably new, and Kunst und Künstler" series edited by Dr. much undigested and inaccurate informaevidently personal, in this catalogue to assure Dohme. The same plan has been adopted with tion in so unpalatable a form. The original it an individual reputation. If it be a com- regard to the present century as that which has work in German must have been trumpery pilation, it is one not only of facts, but of been so successfully employed for the art of enough, but the translation is, we trust


We can easily understand experience, and has the impress of judgment the Middle Ages and the Renaissance. When a parody of it. as well as industry. Of its « enlargements finished, the whole work will form a complete the modesty of the author and translator in the finishing touches which make it as com- review of the lives and achievements of the concealing their names from the public; our plete and trustworthy as such a book can well most celebrated artists in Christian times. If only wonder is that anyone should have been be--we notice, especially, the valuable addition not in all ways so important, the present, and bold enough to proclaim himself its editor. of " lines of publication,” which will be of last, section presents greater difficulties of selec- But Mr. Gilbert Redgrave is evidently of a great use to collectors; and the careful ex- tion if it is to be kept within reasonable sanguine temperament, for he thinks that this amination of the principal collections in the dimensions. It is now some two years since the work may fulfil a useful purpose. country has added much to the information issue of the first part, containing an admirable

Suggestions to China Painters. By M. Louise about the

various states” of the plates. Dr. résumé by Hermanu Liicke of the life and labour McLaughlin. (Cincinnati : Clarke ; London Hamilton has done wisely in generally limit of the Danish painter Carstens, which was Crosby Lockwood.) This pretty little book, ing his catalogue to engravings published not followed by a part devoted to the German archi, which comes to us from over sea, contain: later than 1822. It would have been more tectural artist Schinkel. Then came careful the riper experience of Miss McLaughlin

, the convenient if the different divisions of the book studies of the sculptors Schadow and Rauch by author of Pottery Decoration and China Decora; had been shown in the head-line; and the K. Eggers, and of David d'Angers and Prudhon tion, both of which are excellent practical information given as to the exhibition of the by A. Schmarsow. The later numbers have manuals for amateur painters on china. Miss pictures is so imperfect that it would perhaps been devoted to Cornelius, Overbeck, Schnorr, McLaughlin is the head of the Pottery Club at have been better to omit it altogether. But the Veit, and Führich, who are joined together in Cincinnati the members of which sent over to one is a small blemish and the other an instance one comprehensive study by Veit Valentin, and Messrs. Howell and James's exhibition of 1882 of superfluity rather than neglect.

to Canova and Thorwaldsen, who have been some admirable specimens of their skill in underLes Historiens et les critiques de Raphael. By may therefore be said to have been inade in former books, is illustrated with some pretty

allotted to Hermann Lické. Good progress and over-glaze painting. The present, like her Eugène Muntz. (Librairie de l'Art.) M. Muntz this important work by a wise division of designs of her own. calls his little work an “essai bibliographique labour among competent hands. At present pour servir d'appendice à l'ouvrage de Passa - the English school has not been touched, but

Vere Foster's Simple Lessons in Water-Colours

. vant;” and, in a Preface as modest as his title, we see that articles on Turner and Wilkie are

(Blackie.). The present volume of this useful explains his object to compile a catalogue “ aussi promised from the pen of Dr. Ad. Rosenberg: series deals with the painting of flowers, The complet” of books concerned with Raphael, Great care has evidently been taken with the instructions are clear and full, and the coloured leaving alone for the most part periodical lit- illustrations, which are a credit to the school of illustrations after drawings by Miss Ada Hanerature and comprehensive works of the dic- German wood-engraving. For precision this bury are good facsimiles of beautiful drawings tionary kind. His book is for the workers, he school has always been celebrated. In the Human Figure-Elementary. Books I.-IV. says, and not for the idle. We cannot but

cutting of refined outlines and the rendering Poynter's South commend either his intention or the manner of of contours, and in ornamental and sculp- books.” (Blackie.) It is needless to say that

Kensington Drawingsurprise that a scheme so prudent and useful comparisons ; but in suggesting colour,

and the masks, and features have been well selected by should never have occurred to any other of the individual handling of a painter, the Germans Mr. Poynter, and are accurately drawn. On numerous students of the great artist. That

are not, as a rule, so successful as the French. the covers short instructions are given, and the book is clearly and cleverly arranged was We would therefore point out for special com- drawings showing the bones of the different only to be expected of the author of Raphael, mendation the illustrations of the art of Prud- members. 81 Vie, son Euvre et son Temps, and it has that hon, which, while as accurate in drawing and merit of practicality which is only to be found

Elementary Perspective Drawing. By $. J. in the work of those supplying a defect which sympathy with the artist and a brilliance of Cartlidge. (Blackie.) The Principles are play students is indeed smoothed for them now, not on the whole

, this very important undertaking gow: "MacLehose.) The first of these is another

chiaroscuro which leave little to be desired. Linear Perspective. By David Forsyth. (Glaser only by a list of all authorities of importance, is worthy of hearty praise and encouragement. but by few and well-judged words of advice as

of the Poynter series, and has the sanction of to their value and special claims to attention. What is Art? By J. Stanley Little. (Son- the Committee of Council on Education ; the The volume is to some extent removed from nenschein.) Mr. Little answers his question in second is by the head-inaster of the Governscholastic criticism by its plea of imperfection. the first few lines : -"It is Worship. It is ment School of Art, Belfast; the third is by It does not, even in its own sphere, profess to Religion. It is Poetry. It is Truth. 'It is the the lecturer at the Church of Scotland Train; be exhaustive. But we are glad to see that M. apotheosis of the sublime, of the ethereal. True ing College, Glasgow. England, Scotland, and Muutz has thoughts of a more complete bibli- art has no special mission. Its mission is to Ireland have therefore each their own new

and ography. Before, however, he devotes his ener- elevate, to ennoble, to beautify, and to refine. authoritative guides to the art of perspective

, gies to so laborious and dull an ambition, may The pulpit, the drama, and poetry have no and there is not much to choose between we not hope that he will give life to a project other mission." Farther on we learn that them.


emulate the effects of Adrian van Ostade. show remarkable skill in reproducing the more o sonnets we have read for a long while are M. Heilbuth, à painter who, notwithstand- marked characteristics of the modern French 80 vividly imaginative and so richly impassioned ing his exquisite technical accomplishment, schools. Mr. Welden-Hawkins has a large work as those by Mr. Eugene Lee Hamilton in the manages often to be deplorably uninteresting, of somewhat studied pathos" Les pauvres current number of the Magazine of Art. They has a specimen of his remarkable skill, “Pro- Gens”—a night scene, showing two orphans, have been suggested, like so much of Mr. menade,". which is not more exciting than who are but dimly seen through the fogHamilton's poetry, by a work of art-in this other similar works by him. It is, as usual, a laden atmosphere, leaving a house of woe ; case a drawing by Mantegna ; but the impulse boat full of brightly attired figures, in modern this suggests, though on a much larger scale, has been a revolt against the conception of the costume, floating on a calm stream, the varied the sad, low-toned pictures of M. Israels, artist and its obliteration by the poet's more reflections on which are treated in his own un- and is to some extent a new departure fervid vision. The part is alt gether a good surpassed manner.

for the artist. Messrs. Stott, Bridgman, and one, with its admirably illustrated and well- Among the portrait, painters proper, M. others all send works of interest which, written article on Mr. W. L. Wyllie, by Mr. Cabanel, the accredited limner of the Fau- if space permitted, would merit detailed Barnett; its first bright paper on Seville, by bourg St-Germain, has two portraits of ladies. notice. Still more remarkable in another direcMr. David Hannay; its account of Fiji pottery, Unfortunately, this learned artist seems so tion is the Scandinavian group of painters by Mr. St. Johnston; and other contributions weighed down with the necessity for impart- residing in Paris, who have seized upon a by Mr. R. L. Stevenson, Miss Julia Cartwright, ing, above all things, an air of distinction healthier side of French art, and one more in acMr. Blaikie, and Miss Jane Harrison. The

to his likenesses that he often becomes cordance with theirown sentiment and traditions. “ Current Art” (Royal Academy) is also well affected and tiresome. One of the portraits The school of Millet and Jules Breton is the done ; and the engravings after the pictures shown, that of “Madame A. O.,” has, how- one which has inspired them, and which they of Mr. Seymour Lucas, Mr. Linton, and Mr. ever, great charm, and is, of course, admirably are successfully endeavouring, without servile Blair Leighton (hors texte) are admirable.

composed; but its effect is not heightened by imitation, to adapt to their own wants. Espe

the attempt to deal with masses of blue of vary-cially remarkable are the works in this style The Portfolio for June is not striking. Mr. ing tints in the dress and background. The of M. Edelfelt, who sends “En Mer-Golfe de Armstrong's contention that our Leonardo is perilous contest with this colour seems to have Finlande ;” M. Smith-Hald, whose two marine the original, but unfinished, and that the

a great fascination for modern French painters, pieces are full of breezy freshness; M. Kroyer, Louvre Vierge aux Rochers” is by another and this year's exhibition shows them constantly who sends a remarkable "Pêcheurs de Skagen;' hand, is plausible and well supported, and

Une there is a good facsimile of a beautiful head

by grappling with the difficulties to which it and M. Werenskiold, whose picture,

A succès de scandale has been Confession "-representing a peasant mother, Rossetti; but the etchings are not of the first attained by Mr. Sargent's much-discussed who, closely embracing her young daughter, class.

“Portrait de Madame . which

repre- listens sorrowfully to her confession of evidently In the Revue des Arts décoratifs M. A. Vala- sents a lady stánding with one arm resting on unhappy love-is a work which for natural, brègne's papers on “Les Ornements de la a table, in an evening dress of black satin, unforced pathos has few equals in the exFemme " and M. Paul Mantz's on “Les which displays the sculpturesque beauty of her hibition. Meubles du XVIII. Siècle” do not decline in form with a liberality remarkable, and re- To describe in detail the numerous and often interest. The magazine is well illustrated, as marked, even in modern Paris. The painter has gigantic landscapes proper would be a difficult usual.

deliberately rendered, with extraordinary skill and in some instances ungrateful task. The Jahrbuch der königlich preussischen Kunst- and almost, cynical audacity, the effect of tendency of the most modern French landscapesammlungen. Funfter Band. 11. Heft. (Berlin : enamelled flesh and of hair which owes its painters is to affect huge canvases, often finely Weidmann.) The studies and articles in gold to art. The intention, no doubt, was to composed and accurately observed, but revelthis number are of considerable interest. The produce a work of absolutely novel effect-one ling too much in bright greens of painful subjects include " Albrecht Dürer's Portrait of calculated to excite, by its chic and daring, the crudity and too sharply contrasted shadows. the Elector of Saxony” (Frederick the Wise), admiration of the ateliers and the astonishment What is more important, however, most of by W. Bode; “A Sketch by Michelangelo for of the public; and in this the painter has these works are deficient in the pathetic sugthe Tombof Julius II.,” by A. Schmarsow; “ The probably succeeded beyond his desire. The gestiveness which has characterised the great Ornament of the Little Masters,” by A. Licht- peculiar style of Mr. Sargent's work is the school of French landscape during the last thirty wark; and “The Frescoes in the Schifanoja more to be regretted because it contains years, and are on a scale quite excessive as Palace at Ferrara,” by F. Harck. The illus- passages showing much technical accomplish- compared with the interest they excite. Howtrations of all kinds are, as usual, admirable. ment; especially noticeable are the fine drawing ever, that great school is worthily represented The etching after Dürer's

portrait of Elector and firm modelling of the beautiful neck and by at least two powerful and nobly pathetic Frederick in the Berlin Gallery is by Albert arms of the sitter: the head, on the other painters. The first of these is M. Tarpignies, Krüger.

hand, has been somewhat sacrificed. M. who sends two landscapes, the finer of which Chaplin shows two admirable specimens of the is “ Lever de Lune," a beautiful design, in which

meretriciously elegant yet brilliant style in the effect of the newly risen moon is exquisitely THE SALON.

which he is facile princeps ; two very interest- rendered. On the whole, however, the power and ing and refined portraits, which suffer, how-variety of this painter were better shown at the

ever, from mannerism and wilful dulness of recent exhibition of the “ Aquarellistes," which M. BESNARD, a former prix de Rome," sends a colour, are shown by M. Elie Delaunay; and contained a whole series of his works. Beside large diptych, destined for the decoration of the galleries also contain interesting works in him may be placed M. Pointelin, a follower, in the Ecole de Pharmacie, which he calls “La male portraiture by M. Carolus Duran, M. some respects, of Corot, whose principal conMaladie-La Convalescence.”. One wing shows Gervex, and M. Cormon (whose “Portrait tribution, “Le Sentier des Roches,”* though a female figure apparently in mortal agony, de M. Marcel Déprey” has rare charm and studiously low in tone, has a gray-blue sky of tended by ministering women and a physician; sympathy), and two grave and beautiful works magnificent depth and atmospheric effect, comthe other represents the recovery of the same on a small scale by M. Dubois. The dashing and bined with a sombre wood scene in which tones person, who totters forth into the summer air, dexterous, but offensively vulgar, portrait by M. of the darkest yet most harmonious green and supported on either side, and greeted by a little Clairin of the dancer Málle. Žucchi in the cos- buff predominate. If the art of this painter child, which stretches out its arms in childish tume of a ballerina also deserves mention. Mr. were not somewhat limited in scope and glee. The work is especially curious as show- Whistler exhibits two comparatively early works monotonous in its mode of expression, he ing an attempt to combine two elements very —the well-known "Carlyle” and “Portrait of would be entitled to a place among the difficult to assimilate—style and harmonious Miss Alexander;” and M. Fantin-Latour has first of his countrymen. Of a somewhat composition on the one hand, and the technique the sober-hued, pathetic portrait of a lady lower order, yet still fine, is the art of M. and subjects affected by the “Impressionnistes” painting flowers, called "L'Etude,” which was Nozal, who sends, among other things, a grandly on the other. Though there is much in the in last year's Academy: this, which is in its way designed landscape, “ Etang de la Mer-Rouge picture to admire-especially the pathetic a masterpiece, has not either there or here excited à Brenne," and some remarkable pastels. M. figures of the mother and child in the “Con- all the attention which it deserves. The cele- Demont has a poetic and well-conceived moonvalescence”--the attempt cannot but be pro- brated Belgian painter M. Emile Wauters has rise, “ La Nuit,” which is unfortunately timid nounced a mistaken one; the peculiar technique a huge portrait of a “ blue boy” on a pony of and unpleasant in handling. Very "refined gives as its results not so much the bright extraordinary shape and dimensions—a work technique and much delicacy of feeling are shown flat tints of decorative art as a sort of wan hardly worthy of his reputation. The face of the in" Les Bords du Loing- Seine-et-Marne," by transparency in the figures, which imparts to child is wooden and unpleasant in expression, and M. Pelouse. The National Gallery of New the whole the air of an unsubstantial dream. no attempt has been made to take into account South Wales, which has obtained this picture, M. Bastien-Lepage is represented by one small the atınospheric conditions under which the is to be congratulated on the acquisition. picture, “La Forge," painted with much painter has deliberately chosen to work. Landscapes of considerable power are also convigour and finish, in which he, abandoning for

The Anglo-American group of painters re- tributed by M. Damoye and M. Montenard. once his open-air subjects, has sought to siding in Paris fully maintain their ground, and The section containing the etched and engraved


work is, as usual, of remarkable variety and with remarkable perfection and mastery, and the name is lost, but which by style and excellence. In the present notice it is impos- the work on the whole fully deserves the honour material is most probably of Amenemhat II., sible to do more than allude to the magnificent it has obtained. A similar recompense has his successor. This noble statue is, perhaps, etching of M. Bracquemond after the "David" been awarded to a beautiful and highly original unique among Egyptian colossi in not having of M. Gustave Moreau, for which there has group, “ Berger et Sylvain," a robust and nobly any pilaster at the back, but being fully dejustly been allotted to him the “Médaille formed shepherd sporting with a baby fawn, veloped equally all around. Of the next king, d'Honneur.” The extraordinary refinement and which he holds high in the air. Without Usertesen II., there is only the upper part of perfection of the technique is not more remark- approaching too close an imitation of reality, the trunk remaining from a fine statue in hard, able than the intuition and sympathy which he this statue is true to nature, full of vitality, close yellow sandstone; this is happily identihas shown in translating the painter's poetic and harmonious in general conception; the fied by a minute fragment of a cartouche on a yet strange and visionary design. We are treatment of the hair, and of the sheepskin piece of similar stone from the throne of the tempted to hope that, if Mr. Burne-Jones's which forms the drapery, savours too much of figure. His successor, Usertesen III., erected magnificent “Čophetua” is to be engraved, the clay and too little of the marble into which some building here, as his name remains on an the task will be entrusted to M. Bracquemond, it is to be translated. There may be further entablature ; it is remarkable that he is there who, in dealing with a kindred spirit, has shown mentioned among the numerous works worthy called "beloved of Osiris,” a title doubtless such transcendent ability.

of remark a decorative figure, “Salomé,” by intended for a repudiation of the Set worship The display of sculpture, notwithstanding the M. Pépin, the pedestal of which, in the taste of San. Osiris is never mentioned here in other very important abstentions already pointed out, of that of Cellini's "Perseus,” is of beautiful epochs. It is probably this dynasty who also is still of much interest, and again proves the design; a Galathée,” by M. Marqueste, re- executed the gigantic red granite sphinxes supreme power and fine style of the French markable for the happily chosen attitude and which were afterwards so often re-appropriated. artists in this branch. In spite of occasional the unusual elevation of the style in which the Thus during the Middle Kingdom there was an aberrations of taste and exaggerations, the nude has been treated; "Un Sauveteur,” a important temple here which was decorated French must still be pronounced the only living vigorously modelled figure by M. Mombur, with a continuous series of magnificent royal and true school of sculpture in Europe; for somewhat wanting in refinement; and a charm- statues, executed in the most intractable the Italian artists (to whom cannot be denied ing statuette by M. Puech, “Jeune Homme au materials. astonishing executive skill and occasionally Poisson.” Among the innumerable busts, the To the temple of the XIIth Dynasty Sebakpiquant conceptions) resort to tricks of style most interesting is perhaps M. Rodin's portrait hotep III. and VI. added their statues ; and so unworthy, and indulge in such utter per- of his brother-sculptor, M. Dalou, which is the hitherto unknown Prince Nehesi placed versions of the art, that it is impossible for remarkable for the fiery spirit in which it is here a granite obelisk dedicated to Khem, one a moment to place them on the same level conceived, and for the sympathetic truth of the side of which was covered with a long inof comparison. Perhaps the most original rendering; M. Rodin, however, has too great scription. It is certain that two more obelisks, work, however, shown this year, though it an affection for the physical defects of humanity, and probably about six, belonging to this period may be surpassed in point of breadth and and represents them too faithfully. The same were entirely re-faced and worked up by elevation of style, is the “ Mephistopheles " artist's bust of “Victor Hugo” fails through Rameses II. The scarcely known King Marof M. Antokolsky, a Russian artist, who in the exaggeration of the treatment, which im- masha’u added a fine pair of statues of Fery 1878 obtained a “Médaille d'Honneur” for his parts to it an air of ferocity rather than of large size. And we may, perhaps, see a glimpse celebrated “Christ.” The fiend is represented inspiration. It is impossible here even to of history in the fact of Apepi the Hyksos naked, seated in an attitude of repose on a rock. allude to the numerous iconic figures, or to the asserting his dominion by only inscribing his The concentrated icy malignity of the face is medals, wax models and medallions, cameos name on the statues of Mur-masha’u; this of extraordinary effect; and the slight nervous and engraved stones, which are exhibited in suggests that he may have personally conquered form, with its accurately rendered bone struc- connexion with the sculpture.

him, as he did not thus mark any of the ture, without being unpleasantly realistic, is

CLAUDE PHILLIPS. colossi of the earlier kings. His moderation fully in keeping with the subject. Probably

in this respect places him far above Rameses the type of the cold negative Spirit of Evil, as conceived by Goethe, has never been more hap


II., or that yet worse offender Merenptah

1. The Hyksos kings continued the decoration pily embodied. M. Chapu shows two finely

of the temple by adding statues and sphinses wrought decorative statues, “Pluton” and HAVING now finished for this season the to it, all executed in black granite, which “Proserpine,” the noble style and execution examination of the area of the great temple, a probably came from the Sinaitic quarries

, of which owe much to Greek art; especially brief historical outline may be given of this which they had access. It seems as if they admirable is the subtle rendering of the muscles site, embodying what has been observed and never obtained red granite from Syene for in the statue of Pluto. M. Falguière's “Nymphe discovered, without repeating the details their works, so that the colour is presumably Chasseresse" is full of life and vivacity, and described in the topographical account pub- a test of the original authorship of a statue. remarkably-perhaps unduly-daring in atti- lished in the ACADEMY for March 15. The The XVIIIth Dynasty is still an entire blank tude; yet it wants style, and is in type too work has only been of an exploratory nature - here; but it seems that when Rameses II. much a repetition of the artist's former suc- trenches and pits—and not a general and final began his works on this site, he must have

The somewhat conventional Graeco- clearance of the site. Such would be a labour found a great temple, richly furnished with an Roman art of M. Guillaume is adequately repre- of years, even irrespective of the rest of this historical series of 'statues, which probably sented by the “Monument élevé à Duban," a great city, on which the workmen are now could not be matched elsewhere. nobly wrought monumental bust in bronze on occupied in testing various parts.

The work of the XIXth Dynasty is by far a plinth of marble.

The earliest remains are two blocks bearing the most prominent at San, as Rameses II, It is impossible to accord unstinted praise to the cartouche of Pepi, which belong either to not only had the courage to appropriate and the elaborate design of M. Dumilâtre for a the VIth, or perhaps to a descendant of Pepi alter whatever would be of use to him, but monument to be erected to La Fontaine, which in the VIIIth Dynasty. These stones have also executed a vast amount of original work, includes, besides a bust of the poet placed on been

reworked, and the nature of the building Requiring a statue of his mother, he took one an elevated pedestal, a nymph or allegorical to which they originally belonged is still of a princess of the XIIth Dynasty; altered it figure, with huge, fluttering draperies, and a unknown. In the next period--the XIIth by having the dress and hair elaborated in a number of beasts and birds of all kinds, in- Dynasty-it seems that San was the Northern Ramesside style, in place of the antique simtended to suggest his Fables. There is remark- capital of this Theban dynasty; Memphis, as is plicity; trimmed away the sides of the lower able skill shown in the modelling of many parts well known, hardly shows a trace of this age, part of the thumbs, as they were thought to of the work ; but the whole is offensive from whereas here are important remains of the heavy; and then put on a bold inscription its want of concentration and of repose, and its greater part of this dynasty. Of the first king, appropriating it, while the

face, being fairly appearance of instability. If the plaster model Amenemhat I., there is a colossal red granite pleasant, was left untouched.

His many already so offends by overstepping the limits of statue ; and it seems certain that the columns Obelisks I have described before, and his deface, the art, what will be the

effect of the work when afterwards used by Si-amen were derived from ment of the original inscriptions from some be Rhinocéros attaqué par des Tigres," shows all the dynasty. They are of the clustered-lotus | older statues were re-arranged in an enlarge the artist's well-known vigour and power in type, and have a delicacy of style, and a | and altered temple; the sanctuary, with its modelling; but the subject is surely a some- brilliant finish, which cannot be ascribed to massive sides of granite, was erected; numerous what far-fetched and improbable one, unworthy the XIXth

Dynasty, or still less to the XX Ist; | stelae, some of great size (up to forty toni of treatment on so huge a scale. A first-class the dull vermilion-red colour of the granite is were placed beside the sanctuary ; the approach medal has been given to M. Rolard for his peculiar

, and is only paralleled by that of the | to the

temple was adorned with an avemente Ener" inanimate form of his son just rescued Usertesen 1., there is the lustrousa statue in and far in front of the present pylon stood Strikingly original ; but the nudeo is treated surpassed in art by the similar status, of which pylon near the existing one (perhaps of line

The design is, perhaps, not black granite. Fine as this is, however, it is two statues of Rameses. Probably there was a



stone); but of that no certain trace remains, the inexhaustible mine of Ramesside structures; the numerous notes accompanying the transexcept a pair of granite statues about twenty- the very lowest block is an architrave of lations were the result of long and careful study four feet high, which still lie there. But above Rameses II. turned over; the cone of the wall on the spot, and of a free communication with the whole of this mass of building towered is a broken obelisk in quartz breccia of the same other antiquaries. A number of papers read upward a vast figure of Rameses himself, the king, and a great part of the blocks was before meetings of the St. Albans Architectural great building scarcely reaching to its waist; derived from the immense colossus of Rameses and Archaeological Society and other societies of this colossus (which appears to have stood before mentioned.

he looked upon as occasional work done for about one hundred feet in height, besides its In the XXVth Dynasty the temple was still special occasions, but prepared them all with pedestal) there are several fragments—parts of in use, as Taharka erected a stele near the line the minutest care. At St. Albans he will be a foot and leg, and part of the crown-remain- of early statues ; and there is also a fragment much missed in the society, of which he had ing in the pylon. This seems to be the largest of another stele of about the same age. Of the been one of the hon. secretaries since 1870 ; statue known, and the heaviest block of which next dynasty, a porcelain ornament with the as also in every good work in the neighbourwe have any remains. Of Merenptah I. there name of Psamtik II. was found on the south hood. is but little original work-two or three statues, of the temple area. Some later king appears not much exceeding life-size, in a poor style, to have worked at San, possibly Nekhtnebf. Perigal, who had been a member of the Royal

THE death is also announced of Mr. Arthur being all that he executed. But his treatment The signs of this are-first, in a great pave- Scottish Academy since 1841. of the older remains is unpardonable: he de- ment in the north-east corner of the area, faced the statues of the XIIth Dynasty in a where a block of Sesonk I. or II. was cut up most brutal manner with his cartouches; and, and re-used, and this would scarcely occur in not content with that, he erased the older the same dynasty; secondly, three sphinxes of NOTES ON ART AND ARCHAEOLOGY. names, and substituted his own, leaving the late type have been found associated with exquisitely carved titles of the original pos- Ptolemaic tablets, and two of them had evidently MR. J. P. MAYALL took a photograph of sessors to give the lie to his theft. Of come from some earlier position. To some late Mr. Gladstone during his recent stay at Rameses III. there iş but a single statue. king, perhaps of the XXIInd Dynasty, must be Hawarden for the series of Artists at Home Some of the blocks bearing the same car- attributed the rebuilding of the great wall on

(Sampson Low), in which the Prime Minister touches as Rameses II. are of such very the north and north-west, on which side it had finds a place by reason of his being Professor inferior work to the other sculptures that they been so much ruined (probably by a siege) that of Ancient History at the Royal Academy, At would seem to belong to a later Ramesside only two courses of Pisebkhanu's bricks are

« Rem

the same time Mr. Mayall took a king, probably the XIIth; and this is con- remaining in some parts.

brandt photograph” of Mr. Gladstone, and firmed by one such block having an earlier Of Greek times some monuments of the also photographs of several members of his sculpture on one side in the style of Rameses Ptolemies are found; four tablets of Ptolemy II.

family. II. At the end of the XXth Dynasty, San have been discovered, and the great decree of MR. W. THOMPSON WATKIN, author of appears to have fallen to decay, and to have Canopus found by Lepsius is of Ptolemy III. Roman Lancashire, is making progress with the been largely ransacked for building material. This latter was found on the north side of the companion volume on Roman Cheshire, already This is the only explanation of the fact that great temple; whereas the Ptolemaic temple in announced in the ACADEMY. The chief feature Si-amen, of the next dynasty, worked up a great which it was probably erected has been dis- is, of course, a detailed account of the numerous amount of ruined material of Rameses II. ; and covered on the south side. Hence it appears to remains that have been discovered in modern yet he never shows any spite to the existing have been removed for building purposes (just times in the city of Chester, the Roman Deva. remains of Rameses, never defacing the figures as Si-amen moved and broke up all the stelae There will also be descriptions of the stations or hieroglyphs, or substituting his own. His of Rameses II.), and this is confirmed by at Kinderton, Northwich, and Wilderspool; work is so very poor that he cannot have had the level where it was found being of Roman and of such minor posts as Meols, Nantwich, skill and appliances at command; and, thereage.

&c. The volume will be abundantly illustrated fore, he would hardly destroy the buildings of Of Roman times there remains a large well, with wood-cuts after photographs specially Rameses in order to erect comparatively rude with a long flight of twenty-two steps descend- taken; with a map of the county showing the structures. To Si-amen we may attribute all ing to a doorway in it, and continued within it roads and sites; and with plans of the principal the late work about the sanctuary, since no as a circular staircase. This well is close to stations. It will be published by the author later cartouche has been found there. This the north side of the great avenue or hall of (22 West Derby Road, Liverpool), at the sublate work includes a large enclosure or hall, of columns, being cut through the mud which had scription price of £1 5s. which only the granite blocks worked up in washed down into the temple. It is massively The Council at Cambridge has recommended one part of the wall and the granite lintels of constructed of limestone, and in perfect con

a grant of £100 out of the Worts Travelling the doors remain ; also a colonnade in front dition. The bottom cannot be reached owing Scholars' Fund to Mr. A. H. Smith, who has of the sanctuary, the exquisite columns of to water; but next season it will be desirable joined Mr. Ramsay in his archaeological exwhich owed their form to Amenemhat I.: they to pump it out, and so discover the ancient ploration of Phrygia. were placed on roughly shaped bases, bearing water level, which will give the geological

THE second instalment of the "Current Art” an inscription of Si-amen, and crowned with datum of the sinking of the land. Such is the a massive entablature, which was never finished, outline of the history of this site, of which I


papers in the Magazine of Art for but was left rough, as from the quarry. The hope before long to publish the details.

July will contain engravings of "The Ininscriptions of Si-amen are but few, and very


truders,” by Mr. E. J. Gregory; " 'Twixt Day rudely executed; they are all modelled on

and Night;" by Mr. W. J. Hennessy; Mr. Ramesside forms, and he is never called high

Edgar Barclay's “Sporting with the Leaves priest of Amen, which seems to show that he

that fall ; ” M. Auguste Rodin's statue of is not to be identified with Her-hor. The next


L'Age d'Airain" (from a drawing by the work that we find at San is the great wall of We regret to record the death at Cairo of Mr. the Missing,” the last of which will form the

sculptor); and Mr. Walter Langley's “ Among Pisebkhanu. This is now ascertained to have E. T. Rogers, better known as Rogers Bey, frontispiece. The editor contributes an article extended around the whole of the temple area, following at the south-east corner the limits of made himself the first authority on all matters of

who, by his learning and his enthusiasm, had on French “Stage Royalties,” with portraits an earlier pavement of massive construction, connected with Mahommedan art in Egypt. Clairon, and others.

Adrienne Lecouvreur, Michael Baron, formed of three layers of stone. This wall was He was the guiding mind in the commission an entirely original work apparently, as the recently appointed for the preservation of Arab

THE second annual meeting of the National bricks in its very middle, forty feet from the out- monuments; and it is little more than a year Society for Preserving the Memorials of the decorated the

sanctuary, as glazed pottery tablets 1883) the discovery of the mausoleum of the at 4. p.m., in the rooms of the Archaeological with his cartouche are found there. Sesonk I. or II. also worked here, as a block was found that he leaves behind him is unrivalled for will take the chair.

Abbasside Khalifs. The collection of Kufic coins Institute. The Bishop-suffragan of Nottingham with his names, reworked in a pavement on the extent and rarity.

THE "prix du Salon " has been awarded by north-east. Osarkon II. worked here, and on a large scale, as he carried materials from the MR. RIDGWAY R. LLOYD, M.R.C.S., died at the jury to M. Paul Leroy for his portrait. The

exhibition will close on June 20. temple of Rameses II., and re-erected them in his house, Boroughfield, St. Albans, on Sunday, a templo outside of the great wall; but this June 1, at the age of forty-one. His studies in

We have received from Messrs. Chatto & was apparently unfinished, as in the avenue of archaeology and ecclesiastical antiquities had Windus Dumas' Catalogue illustré du Salon, columns are some whose cartouches he has centred largely round the abbey church of which is now in its sixth year. Both in its appropriated, though they were not yet removed St. Albans, in the history and well-being of general get-up, and in the mode of reproto his temple. But the principal work that which he took the deepest interest. His Altars, duction employed, it compares very favourably remains of this dynasty is the great pylon Monuments, and Tombs existing A.D. 1428 in St. with the corresponding enterprises in this built by Sesonk III. This was erected from Albans Abbey is well known and highly valued; country,

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reuther played Dr. Hubert Parry's Pianoforte in contact. Referring to Wagner's well

Concerto in F sharp major. Since it was pro- known conclusion that Beethoven's Ninth GERMAN OPERA AT COVENT GARDEN. | duced at the Crystal Palace in 1880 it has been Symphony has sounded the last note in absoWEBER'S “ Der Freischütz' was given last revised and partly rewritten by the composer. lute music, the lecturer ventured to disagree Friday week, June 6. It was a treat to hear The slow movement is charming, and the open- with him. Another interesting point was that the work in its original form-i.e., with spoken ing allegro improves upon acquaintance. The Wagner was never able to ascertain condialogue instead of the recitatives used when the performance was an admirable one, and, at clusively, in portions of his works, whether Opera is performed on the Italian stage. Berlioz the close, composer and interpreter were called the poetry or the music first revealed itself was the first to write recitative music, and to the platform. Mr. Dannreuther played with to him. Mr. Moncure D. Conway will also to arrange some of the composer's music great precision and brilliancy, and in the long deliver the next lecture, on July 1, at the for a ballet-for only in this form could "Der and difficult cadenza at the end of the finale same place. Freischütz” pass the portals of the Académie showed his perfect mastery of the key-board.

We would call attention to some recent royale de Musique. But this conversion of The programme included Méhul's sparkling the work into a Grand Opera was by no means Overture “ La Chasse du jeune Henri” and publications of Messrs. Novello :—A vocal score an improvement; and when, as was the case Beethoven's Pastoral Symphony. Herr Theodor of Spohr's Mass in C, lately noticed in the

ACADEMY on the occasion of its performance at Covent Garden, the singers prove them- Reichmann, from the Vienna Opera-house, was selves good speakers and intelligent actors, heard to great advantage in Wotan's Abschied by the Leslie Choir. It is a work which we the reversion to the proper mode of presenting from “ Die Walküre.”

commend to the notice of choral societies; they the work is most satisfactory. The numerous

will derive pleasure and profit from the study alterations in, and maltreatments of, "Der claims our notice this year, not by reason of edited by W. S. Rockstro for the use of the The Cambridge University Musical Society of it. — Palestrina's Missa Assumpta est Maria

, Freischütz" are Richter gave us a pure and faithful version. any, novelty, but from the fact that Herr Bach Choir. The music was not sung in Pal

Richter kindly consented to conduct Beethoven's estrina's time without expression and certain The performance was, on the whole, exceed seventh Symphony at the concert held in the changes of tempo. Whether or not Mr. Rockstro ingly good. Frau Biro de Marion as Agathe Guildhall, Cambridge, last Tuesday afternoon. has gone farther than the composer intended was decidedly weak, but Frau Schuch-Proska There are times when an audience tries to be acted and sang the part of Acnnchen most enthusiastic, and other times when it really is however, he assumes sole responsibility for all

seems to us open to question. In the Preface, Max, and Herr Wiegand distinguished

himself so:cThere was no mistake about the applause marks of forte and piano and indications of time. as Caspar. The orchestra, under the direction and gave a superb rendering of the work. and 62. There is some smooth and even clever

-The Organists' Quarterly Journal, parts 61 of Herr Richter, played the lovely music in a most delightful manner. We cannot praise the attended any of the Richter concerts in London, that we would single out as specially attractive

. Very possibly some of his audience had not writing in these two numbers, but not one piece stage arrangements in the incantation scene. and on such the dignified behaviour of the The editor, Dr. Spark, contributes an Andante Rudolph declared that the ghostly forms conductor must have made a powerful im- expressivo to part 61, and in it we find also a “chilled and awed” him, but the effect on the

pression. Directing without book


be audience was by no means so terrible.

quiet unobtrusive Andante by J. H. Wallis

. Dr. On Wednesday evening, June 11, Lohen- advantages; Herr Richter owes his success St. David's hymn-tune, in vain tries the various

imprudent, but it brings with it undoubted J. C. Tiley, in his fugue on the first section of Elsa, singing the part in German for the first quite as much to the movement of his

eyes as devices of augmentation, diminution, and intime. It is impossible for us to say anything was given for

the second time by the Cam- dryness of the

piece. Of part 62 we need only

Brahms' Requiem version, but they proclaim rather than hide the about this performance, for we were unable to bridge Choir. The work is a difficult one, and mention a bright, though not very original, gain admission. We presented the letter signed Mr. Stanford must be praised for his courage Improvisata by E. T. Driffield and an Andante by Mr. H. Franke granting us the usual press in attempting it with the means at his disposal, by George Gardiner. pass, but were informed that the house was and with limited rehearsal. The performance, in full. While rejoicing that the German Opera truth, was rather a rough one- --plenty of vigour, Company is doing so well, we cannot but regret but a lack of refinement and want of attention that no previous warning should have been to light and shade.


In many places also the given to members of the press, enabling them, orchestra was too loud. We cannot agree with London Agents, Messrs. W. H. SMITH & Sor, if so disposed, to provide themselves with the conductor's tempi in the first four movetickets. We say " members,” for we were not ments; some were too fast, others too slow. 186 Strand. alone in failing to obtain entrance.


The solo parts were taken by Mrs. Pagden
and Mr. H. E. Thorndike. The programme Copies of the ACADEMY can also be obtained
included Brahms' Tragic Overture, admirably

rendered under the conductorship of Mr. every Saturday morning in EDINBURGI of
Stanford. The concert was well attended.

Mr. MENZIES; in DUBLIN of Messrs. W. H The series of Richter concerts is rapidly drawing to a close. At the seventh, on Thursday,

SMITH AND Sons; in MANCHESTER of Mr. June 5, Berlioz' “Symphonie fantastique” was

MUSIC NOTES. played. This clever, though eccentric, work

J. Heywood. Ten days after date of publiwas noticed at length in the ACADEMY when The fifth public concert of the St. Cecilia

cation, in New York, of Messrs. G. P. produced at one of Mr. Ganz's concerts in 1881, Society will take place next Thursday evening, so that we need only mention the performance, June 19, at St. James's Hall, when an in

Putnam's Sons. which, with one exception, was exceedingly teresting programme is announced, including good. In the second movement there ought to works by Bach, Spontini, Hiller, Volkman, and

PARIS. have been four harps instead of two; the music C. V. Stanford. The band and chorus of ladies was lacking in brilliancy owing to the want of will, as usual, be under the direction of Mr. Copies can be obtained in Paris every Satur balance of tone. Liszt's “Hungarian Rhapsody” No. 3 in D major, scored for orchestra, THE members and friends of the London

day morning. is lively enough, but its artistic value is very branch of the United Richard Wagner Society small, and we consider it quite out of place in of Germany met on Monday, June 9, at the a Richter programme. The czimbalom, the house of the president (the Earl of Dysart) to

TERMS OF SUBSCRIPTION national instrument of Hungary, is used, and hear a lecture by Mr. Ferdinand Praeger, enthe effect is peculiar, though scarcely satis- titled · Personal Reminiscences of Richard factory. An attempt was made to encore the Wagner.” This life-long friend of the master

THE ACADEMY. Rhapsody, but some vigorous marks of dis- testified to his generosity, and to the absence approval induced the conductor to counter- of conceit and envy in his nature ; he touched

(PAY ABLE IN ADVANCE.) mand the order which he had actually given upon his great powers as an orchestral confor its repetition. Frau Schuch-Proska sang ductor, and his marvellous gift of embuing

YEARLY. two songs—an aria from Mozart's “Cosi fan every character with strong individuality in tutte ” and the “Cavatina” from Weber's his part-writing; and he spoke of his friendship “Euryanthe; in the latter she was very with Cipriani Potter, Tausig, Roeckel, and If obtained of a Newsvendor or successful. The programme included the others. “Leonora” Overture No. 3 and the usual selec- indirect cause of his political exile in 1848, for

Roeckel appears to have been the

Including Postage to any part

of the United Kingdom. tion from “ Tristan.”

Roeckel possessed, to a remarkable degree, the including Postage to any part On Monday evening, June 9, Mr. E. Dann- power of influencing men with whom he came



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