DOI Artikel:
Reviews
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20712#0103
Reviews
■collecting the materials for what is practically an
■exhaustive account of all that has been done in
France from the first invention of porcelain to the
latest modern development of the art. After a
brief summary of the general progress made in
Europe before the reign of Louis XIV., showing
how severe was the competition with which French
potters had to contend, M. Auscher describes the
experiment made by the latter that finally resulted
in the production of the French soft porcelain,
properly so-called, that rendered the eighteenth
century illustrious in the history of art. He passes
thence to consider separately each variety, giving
in every case several examples, some reproduced
in colour, and he skilfully weaves into what would
otherwise be a dry technical record many par-
ticulars relating to the authors of the masterpieces,
and the patrons for whom they were produced.
The book concludes with a useful chapter on
forgeries that may save unwary collectors from
falling victims to them, and facsimiles of marks
and signatures are given in an appendix.
Norway. By Nico Jungman. Text by Beatrix
Jungman. (London : A. & C. Black.) 20s. net.—
Although it is evident that much time and trouble
have been expended on the production of this new
book on Norway, it cannot be justly claimed that
the result is entirely satisfactory. The drawings,
accurate enough no doubt, are hard and stilted,
producing the effect of coloured photographs rather
than of original composition^. The “ Romsdall
Waterfall,” “ Midnight Sun,” “ Mundal Fjserland
and Sognefjord,” and “A Lapp Mother and Child,”
are especially prosaic. On the other hand, the
letterpress is full of interest, Mrs. Jungman having
jotted down with charming naivete every incident,
however trivial, which happened on the journey,
so that the reader gets from her a far more vivid
idea of the country and its people than from her
husband’s drawings. The chapters on wedding
festivities, forestry and fisheries contain much valu-
able information, and give an insight into the
meaning of many quaint customs, whilst that on
the arts and crafts throws a light on what is now
being done in remote districts, Mrs. Jungman
declaring that words fail her to express her ad-
miration of Norwegian wood-carving.
Rome. Painted by Alberto Pisa. Text by
M. A. R. Tuker and Hope Malleson. (London:
A. & C. Black.) 20s. net.—Decidedly one of the
best of the many coloured books recently issued
by Messrs. Black, the “Rome” cannot fail to
delight all lovers of the City of the Seven Hills, so
well do the numerous illustrations interpret her
most characteristic features with the effects of
sunlight which add so greatly to their charm, and
so thoroughly in touch with the spirit of their
theme are the authors who have collaborated in
the text. Amongst the seventy reproductions of
typical scenes perhaps the most entirely satisfactory
are those of the Temple of Saturn, from the Julia
Basilica, the same building from the portico of the
Dii Consentes, the choir and tribune of S. Clemente,
the Chapel of S. Zeno in S. Prassede and the
castle and bridge of S. Angelo; but many of
the minor subjects, notably “A Corner of the
Forum,” “The Piazza di Spagna on a wet day,”
and “ The Procession with the Host at Subiaco,”
are also delightful. The book opens with a brief
summary of the history of Rome, ending with the
suggestive query: Has not the Papacy, with all its
faults, been the actual link connecting the ancient
and modern city ? Then follow chapters on
Roman building and decoration, the Catacombs,
the Regions and guilds, the narrative being brought
down to 1870, “after which,” says the writer, “the
confraternities lost their influence, and resolved
themselves into modern trades unions and clubs.”
The Roman Campagna is next described as it was
and as it is, and the remainder of the book consists
of a series of interesting essays on the Roman people
and their mode of life, their religion, and other
kindred topics, the final pages discussing yet once
more the vexed Roman question the solution of
which would appear to be at last close at hand.
Miniatures. By Dudley Heath. (London :
Methuen.) Price 25s. net.—No branch of art
production reflects more vividly than does that of
miniature painting the very aroma of the time
at which its masterpieces were produced, a fact
which accounts to a great extent for the eagerness
with which the many monographs on the subject
are welcomed. That there should be room, after
the recent publication of Dr. Williamson’s monu-
mental work—which, by the way, is not included
in the list of authorities given by Mr. Heath-—for
yet another history of painting in little is a proof
of the perennial interest of the theme. The author
of the new work has a very thorough grip of his
subject, and goes to the very root of the matter,
giving, with a detailed history of the growth of
the art out of the illuminated MSS. of mediaeval
times, very clear definitions of the principles
that should govern those who are taking part
in the modern revival. He wisely avoids indi-
vidual criticism of living artists, though it is
easy for the instructed reader to supply their
names; he pleads for truth and dignity to take the
85
■collecting the materials for what is practically an
■exhaustive account of all that has been done in
France from the first invention of porcelain to the
latest modern development of the art. After a
brief summary of the general progress made in
Europe before the reign of Louis XIV., showing
how severe was the competition with which French
potters had to contend, M. Auscher describes the
experiment made by the latter that finally resulted
in the production of the French soft porcelain,
properly so-called, that rendered the eighteenth
century illustrious in the history of art. He passes
thence to consider separately each variety, giving
in every case several examples, some reproduced
in colour, and he skilfully weaves into what would
otherwise be a dry technical record many par-
ticulars relating to the authors of the masterpieces,
and the patrons for whom they were produced.
The book concludes with a useful chapter on
forgeries that may save unwary collectors from
falling victims to them, and facsimiles of marks
and signatures are given in an appendix.
Norway. By Nico Jungman. Text by Beatrix
Jungman. (London : A. & C. Black.) 20s. net.—
Although it is evident that much time and trouble
have been expended on the production of this new
book on Norway, it cannot be justly claimed that
the result is entirely satisfactory. The drawings,
accurate enough no doubt, are hard and stilted,
producing the effect of coloured photographs rather
than of original composition^. The “ Romsdall
Waterfall,” “ Midnight Sun,” “ Mundal Fjserland
and Sognefjord,” and “A Lapp Mother and Child,”
are especially prosaic. On the other hand, the
letterpress is full of interest, Mrs. Jungman having
jotted down with charming naivete every incident,
however trivial, which happened on the journey,
so that the reader gets from her a far more vivid
idea of the country and its people than from her
husband’s drawings. The chapters on wedding
festivities, forestry and fisheries contain much valu-
able information, and give an insight into the
meaning of many quaint customs, whilst that on
the arts and crafts throws a light on what is now
being done in remote districts, Mrs. Jungman
declaring that words fail her to express her ad-
miration of Norwegian wood-carving.
Rome. Painted by Alberto Pisa. Text by
M. A. R. Tuker and Hope Malleson. (London:
A. & C. Black.) 20s. net.—Decidedly one of the
best of the many coloured books recently issued
by Messrs. Black, the “Rome” cannot fail to
delight all lovers of the City of the Seven Hills, so
well do the numerous illustrations interpret her
most characteristic features with the effects of
sunlight which add so greatly to their charm, and
so thoroughly in touch with the spirit of their
theme are the authors who have collaborated in
the text. Amongst the seventy reproductions of
typical scenes perhaps the most entirely satisfactory
are those of the Temple of Saturn, from the Julia
Basilica, the same building from the portico of the
Dii Consentes, the choir and tribune of S. Clemente,
the Chapel of S. Zeno in S. Prassede and the
castle and bridge of S. Angelo; but many of
the minor subjects, notably “A Corner of the
Forum,” “The Piazza di Spagna on a wet day,”
and “ The Procession with the Host at Subiaco,”
are also delightful. The book opens with a brief
summary of the history of Rome, ending with the
suggestive query: Has not the Papacy, with all its
faults, been the actual link connecting the ancient
and modern city ? Then follow chapters on
Roman building and decoration, the Catacombs,
the Regions and guilds, the narrative being brought
down to 1870, “after which,” says the writer, “the
confraternities lost their influence, and resolved
themselves into modern trades unions and clubs.”
The Roman Campagna is next described as it was
and as it is, and the remainder of the book consists
of a series of interesting essays on the Roman people
and their mode of life, their religion, and other
kindred topics, the final pages discussing yet once
more the vexed Roman question the solution of
which would appear to be at last close at hand.
Miniatures. By Dudley Heath. (London :
Methuen.) Price 25s. net.—No branch of art
production reflects more vividly than does that of
miniature painting the very aroma of the time
at which its masterpieces were produced, a fact
which accounts to a great extent for the eagerness
with which the many monographs on the subject
are welcomed. That there should be room, after
the recent publication of Dr. Williamson’s monu-
mental work—which, by the way, is not included
in the list of authorities given by Mr. Heath-—for
yet another history of painting in little is a proof
of the perennial interest of the theme. The author
of the new work has a very thorough grip of his
subject, and goes to the very root of the matter,
giving, with a detailed history of the growth of
the art out of the illuminated MSS. of mediaeval
times, very clear definitions of the principles
that should govern those who are taking part
in the modern revival. He wisely avoids indi-
vidual criticism of living artists, though it is
easy for the instructed reader to supply their
names; he pleads for truth and dignity to take the
85