DOI issue:
No. 251 (March 1914)
DOI article:Reviews and notices
DOI Page / Citation link:https://doi.org/10.11588/diglit.21209#0174
Reviews and Notices
endeavoured to indicate to the students a line
of thought, and an attitude towards their work,
which can be traced in all important past achieve-
ments and which can reasonably be assumed to
underlie the good work of the present and future.
In all the lectures Mr. Clausen argues with a
sincerity and breadth of mind which can be much
commended in favour of the cultivation of a sense
of serious responsibility in the study and practice
of art, and points out very clearly how the modern
student can profit by the example of the great
masters of the past without sacrificing his individu-
ality and without losing touch with the spirit of his
own time. The book covers very wide ground and
sums up shrewdly and suggestively nearly all the
points which admit of debate in art education of
the more intellectual type; it is written lucidly and
with an agreeable simplicity of style, and it bears
throughout the stamp of real conviction. Coming,
as it does, from an artist who has always been
regarded as essentially modern in his views, it is
undeniably of value to present-day workers in art.
Interieurs Antiens en Belgique. Par K.
Sluyterman (The Hague: Martinus Nijhoff.)
net.—Prof, Sluyterman of the Technical High
School at Delft, has with the assistance of Maitre
Cornette of Antwerp here brought together an
extremely interesting series of interiors from many
of the fine old buildings for which the cities of
Belgium are noted—chiefly buildings of a public
or quasi-public character, the number of purely
residential edifices represented, such as chateaux,
being but few in comparison with the ecclesiastical
and municipal buildings. The interiors themselves,
however, whatever may be the function of the
edifice of which they form part, are mainly of a
domestic character as regards their appointments
and fittings, and as such they exemplify the high
standard of taste and craftsmanship attained by
Belgian architects and craftsmen of old. Among
the interiors of ecclesiastical and monastic buildings,
one finds the sacristies of Tournai Cathedral, the
churches of St. Charles Borromams, Antwerp, St.
Peter, Louvain, St. Gommaire, Lierre, the abbeys
of Averbode and Grumberghen ; refectories in the
abbeys of Heverle and Postel (Moll) and the Black
Sisters' Convent at Louvain; the Chapter room of
St. Vincent, Soignies, and galleries and other
details. The secular buildings represented include
the town-halls of Audenarde, Courtrai, Furnes,
Ghent, Liege, Louvain, Malines, Mons; the Palais
de Justice at Bruges and Furnes; the Plantin-
Moretus Museum and Maison des Brasseurs at
Antwerp ; the Hopital de St. Jean at Ypres; the
Palais dAnsembourg, Liege; and the Chateaux of
Anderlecht, Gaesbeek, Beauvoorde, Mielmont,
Modave, etc. The illustrations are on a large
scale and show the details of the various interiors
with admirable clearness.
Lives of the Most Eminent Painters, Sculptors
and Architects. By Giorgio Vasari. Newly
translated by Gaston Du C. de Vere. (London:
Lee Warner.) Vols. V and VI. 255. net each.
—A special feature of the fifth volume of this new
edition of Vasari's Lives, which is as admirably
translated as its predecessors, is the inclusion
amongst the illustrations of a number of fine sculp-
tures and paintings that are little known out of
Italy. The world-renowned masters Sansovino,
Lorenzo di Credi, Baldasarre Penizzi, Andrea del
Sarto, Dosso Dossi,Pordenone, Caravaggio,Francia,
Parmigiano, Palma Vecchio, Lorenzo Lotto and
others of equally high rank are of courserepresented,
some by fine plates in colour as well as in mono-
chrome, but scarcely Jess beautiful than their works
are some of the examples given of the productions
of others who won but little renown except in their
immediate environment, such as the sculptors
Andrea Ferrucci and Silvio Cosimo, both of Fiesole,
Raphael's gifted pupil Tamagni, of Baccio da
Montelupo and his son Rafaello, Pellegrino da
Modena, Properzia de' Rossi and Bartolommeo da
Bagnacavalla, whose Holy Family with Saints is one
of the most beautiful in the book. The fifth
volume deals in fact with an exceptionally interesting
time in the history of Italion art, when the noble
traditions of Florence were being ably upheld by
Andrea del Sarto, for whom Vasari had a great
predilection. The chief interest of the sixth
volume centres in the account of the early engravers
of prints.
Old English China. By Mrs. Willoughby
Hodgson. (London George Bell and Son.) 255-.
net. Why do we collect Old English China ? The
question is put by Mrs. Willoughby Hodgson, and
is one which, as she recognises, admits of various
answers, as in fact does every enquiry concerning
the motives which actuate those who collect any
kind of objet d'art or bric-a-brac. It is un-
doubtedly true that some of those who collect old
china and other things do so out of love and
reverence for the things which belonged to or were
treasured by their ancestors, but it is also true that
the only, or at all events, the chief incentive in a good
many cases is a desire to possess something which
may yield a profit. Be that as it may, however,
Mrs. Willoughby Hodgson has given us a very
interesting work which on account of the care
169
endeavoured to indicate to the students a line
of thought, and an attitude towards their work,
which can be traced in all important past achieve-
ments and which can reasonably be assumed to
underlie the good work of the present and future.
In all the lectures Mr. Clausen argues with a
sincerity and breadth of mind which can be much
commended in favour of the cultivation of a sense
of serious responsibility in the study and practice
of art, and points out very clearly how the modern
student can profit by the example of the great
masters of the past without sacrificing his individu-
ality and without losing touch with the spirit of his
own time. The book covers very wide ground and
sums up shrewdly and suggestively nearly all the
points which admit of debate in art education of
the more intellectual type; it is written lucidly and
with an agreeable simplicity of style, and it bears
throughout the stamp of real conviction. Coming,
as it does, from an artist who has always been
regarded as essentially modern in his views, it is
undeniably of value to present-day workers in art.
Interieurs Antiens en Belgique. Par K.
Sluyterman (The Hague: Martinus Nijhoff.)
net.—Prof, Sluyterman of the Technical High
School at Delft, has with the assistance of Maitre
Cornette of Antwerp here brought together an
extremely interesting series of interiors from many
of the fine old buildings for which the cities of
Belgium are noted—chiefly buildings of a public
or quasi-public character, the number of purely
residential edifices represented, such as chateaux,
being but few in comparison with the ecclesiastical
and municipal buildings. The interiors themselves,
however, whatever may be the function of the
edifice of which they form part, are mainly of a
domestic character as regards their appointments
and fittings, and as such they exemplify the high
standard of taste and craftsmanship attained by
Belgian architects and craftsmen of old. Among
the interiors of ecclesiastical and monastic buildings,
one finds the sacristies of Tournai Cathedral, the
churches of St. Charles Borromams, Antwerp, St.
Peter, Louvain, St. Gommaire, Lierre, the abbeys
of Averbode and Grumberghen ; refectories in the
abbeys of Heverle and Postel (Moll) and the Black
Sisters' Convent at Louvain; the Chapter room of
St. Vincent, Soignies, and galleries and other
details. The secular buildings represented include
the town-halls of Audenarde, Courtrai, Furnes,
Ghent, Liege, Louvain, Malines, Mons; the Palais
de Justice at Bruges and Furnes; the Plantin-
Moretus Museum and Maison des Brasseurs at
Antwerp ; the Hopital de St. Jean at Ypres; the
Palais dAnsembourg, Liege; and the Chateaux of
Anderlecht, Gaesbeek, Beauvoorde, Mielmont,
Modave, etc. The illustrations are on a large
scale and show the details of the various interiors
with admirable clearness.
Lives of the Most Eminent Painters, Sculptors
and Architects. By Giorgio Vasari. Newly
translated by Gaston Du C. de Vere. (London:
Lee Warner.) Vols. V and VI. 255. net each.
—A special feature of the fifth volume of this new
edition of Vasari's Lives, which is as admirably
translated as its predecessors, is the inclusion
amongst the illustrations of a number of fine sculp-
tures and paintings that are little known out of
Italy. The world-renowned masters Sansovino,
Lorenzo di Credi, Baldasarre Penizzi, Andrea del
Sarto, Dosso Dossi,Pordenone, Caravaggio,Francia,
Parmigiano, Palma Vecchio, Lorenzo Lotto and
others of equally high rank are of courserepresented,
some by fine plates in colour as well as in mono-
chrome, but scarcely Jess beautiful than their works
are some of the examples given of the productions
of others who won but little renown except in their
immediate environment, such as the sculptors
Andrea Ferrucci and Silvio Cosimo, both of Fiesole,
Raphael's gifted pupil Tamagni, of Baccio da
Montelupo and his son Rafaello, Pellegrino da
Modena, Properzia de' Rossi and Bartolommeo da
Bagnacavalla, whose Holy Family with Saints is one
of the most beautiful in the book. The fifth
volume deals in fact with an exceptionally interesting
time in the history of Italion art, when the noble
traditions of Florence were being ably upheld by
Andrea del Sarto, for whom Vasari had a great
predilection. The chief interest of the sixth
volume centres in the account of the early engravers
of prints.
Old English China. By Mrs. Willoughby
Hodgson. (London George Bell and Son.) 255-.
net. Why do we collect Old English China ? The
question is put by Mrs. Willoughby Hodgson, and
is one which, as she recognises, admits of various
answers, as in fact does every enquiry concerning
the motives which actuate those who collect any
kind of objet d'art or bric-a-brac. It is un-
doubtedly true that some of those who collect old
china and other things do so out of love and
reverence for the things which belonged to or were
treasured by their ancestors, but it is also true that
the only, or at all events, the chief incentive in a good
many cases is a desire to possess something which
may yield a profit. Be that as it may, however,
Mrs. Willoughby Hodgson has given us a very
interesting work which on account of the care
169