Studio: international art (47.1909)

Reviews and Notices

devoted mainly to design, advanced physics and
kindred subjects. The teaching staff of the School
of Architecture consists of Messrs. J. L. Ball
(General Director); E. F. Reynolds (Soane Medal-
list, 1903); W. H. Bidlake, M.A., A.R.I.B.A.
(Pugin Scholar, 1885); F. B. Andrews, A.R.I.B.A.,
John B. Surman, A.R.I.B.A.

REVIEWS AND NOTICES.

The School of Madrid. By A. de Beruete.
(London : Duckworth & Co. ; New York : Charles
Scribner’s Sons.) 7s. 6d. net.—The gifted son of
a gifted father, Senor A. de Beruete—whose valu-
able work on the School of Madrid has been well
translated by Mrs. Steuart Erskine—has ably
carried on the investigations inaugurated some ten
years ago into what has been aptly called the terra
incognita surrounding Velasquez and his followers.
The dominating personality of the great Court
painter had practically swallowed up all lesser
lights, but many of the works assigned to him are
now claimed to have been produced by certain of
his contemporaries, who, though not exactly his
pupils, were all more or less strongly influenced by
him. His book, the illustrations of which include
several pictures not before reproduced, as well as
much information now for the first time published,
carries on the history of painting in the Peninsula,
so ably begun by his father in his important
work on Velasquez, down to the time of its decline
under the alien influence of the Italian Luca di
Giordano. The writer devotes the bulk of his
space to the great master’s son-in-law, Juan Bautista
Martinez del Mazo, who has been practically dis-
covered by the Beruetes, and to whom are given
several celebrated paintings hitherto unhesitatingly
attributed to Velasquez. Three of these are cele-
brated works belonging to London collections, and
with other less well-known works are dissected by
the brilliant young Spanish critic with a discern-
ment that, whether the opinions he advances be
endorsed or not, cannot fail to command respect
and attention, every point of affinity and disparity
between the styles of the two artists being so clearly
defined.

Brush, Pen and Pencil. The Book of Tom
Browne. (London : A. & C. Black.)—Mr. Tom
Browne is well and favourably known to readers of
Punch, The Tatler and other English papers, by
his excellent humorous sketches. The little
monograph on his work contains many favourable
examples, culled for the most part from various
periodicals, and supplemented by sgme unpnE
328

lished notes from his sketch-book. The coloured
examples from his more serious work do not show
him at his best.

How to Appreciate Prints. By Frantz Weiten-
kamp. (London : Grant Richards.) 7s. 6d. net.
Very simple and straightforward, yet most difficult
of achievement is the aim of the author of this
book, for he makes no claim to historical complete-
ness for his work, but gives only such data as
illustrate the principles he wishes to enforce. His
dominant motive is to enable authors to share his
own keen delight in masterpieces of etching, en-
graving, and the kindred arts, and were it possible
to communicate the critical spirit with which he
is himself endowed his book would no doubt add
largely to the number of true connoisseurs. As it
is, it is to be feared that it will be read only by
those who are already in sympathy with the writer’s
enthusiasms, many of whom, whose knowledge is
not equal to their taste, will welcome the clear
explanations of processes with which each section
is prefaced, and appreciate the numerous good
reproductions of famous etchings and engravings
enriching the text.

Stained Glass Tours in England. By Charles
Hitchcock Sherrill. (London : John Lane.)
js. 6d. net.—In this book the author has done for
England what he did in a previous work for France.
He conducts the reader through various tours to
Cathedral cities and other places of interest, where
fine examples of stained glass may be seen. Mr.
Sherrill has all an American’s enthusiasm for things
English, and writes as interestingly and as sym-
pathetically about stained glass in this country as
he did in “ Stained Glass Tours in France.” The
various itineraries he maps out for the reader
strike one as being extremely well arranged, and
apart from its undoubted charm, the work should
prove of very practical value as a guide book.

A Catalogue Raisonne of the Works of the Most
Eminent Dutch Painters of the Seventeenth Century.
Based on the work of John Smith, by C. Hof-
stede de Groot. Translated and edited by
Edward G. Hawke. (London : Macmillan &
Co.) Vol. II. 251. net.—-The second volume
of Mr. Hawke’s excellent translation of the Dutch
edition of the well-known Catalogue Raisonnd of
John Smith, deals with Albert Cuyp and Philips
Wouverman and well maintains the high level of
excellence of its predecessor. As in the latter, the
work of the learned Hofstede de Groot has been
supplemented by notices of many pictures not
mentioned by him, and an index of the painters
and engravers mentioned in the text has been