Aeskulap und Venus by Eugen Hollnder

The Burlington Magazine for Connoisseurs, Vol. 52, No. 300 (Mar., 1928), pp. 153-154
Published by: The Burlington Magazine Publications Ltd.
Stable URL: http://www.jstor.org/stable/863589 .
Accessed: 08/02/2013 05:07
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .
http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.
.
The Burlington Magazine Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access
to The Burlington Magazine for Connoisseurs.
http://www.jstor.org
This content downloaded on Fri, 8 Feb 2013 05:07:46 AM
All use subject to JSTOR Terms and Conditions
subject,
and we are refreshed
by
a
description
of
some
building
or
garden
in the admirable
prose
of
which he is master. The book is devoted
mainly
to
architecture,
and would be more
satisfactory
if
it had
given
us more on this
subject
and on archi-
tectural
decoration,
both in its text and its illustra-
tions, leaving
out the
hasty
and rather
superficial
allusions to
furniture, china, tapestry
and the
theatre. The
photographs
show us
buildings
of
great magnificence
and
grace
which belie the
usually accepted theory
that the Teutonic races are
heavy
in their ornament and without
taste,
or that
the classical
style
is
completely
alien to them. It is
true that most of the
original
architects and crafts-
men of the
Baroque period
in Austria and
Germany
were
Italians,
but
they passed
on the tradition to
native artists who used this
style
with
complete
freedom and considerable success. A. DAVIDSON
Pictures and
Painting.
BY MARGARET H. BULLEY.
237 pp.
+ 32 pl. (I
in
col.) (Chatto
and
Windus.) 7s.
6d.
Perhaps
one of the
problems
which will most
puzzle
future historians of the
present age
is its
fecundity
in
pictures
which are
aesthetically
null
and void. It will seem to him natural
enough
that
we should
produce ugly
chairs and
ugly
tables. One
must sit on
something
and at
something
and if one
has lost the
power
of
producing good shapes
then
these
utensils,
which must
perforce
continue to be
produced,
will suffer in
appearance accordingly.
But what
malignant
influence can it be that causes
framed
wall-pictures,
articles whose sole
imagin-
able function would be
decorative,
to
pullulate
in an
age indifferent, perhaps
even
vaguely
hostile,
to
formal
beauty.
I
suppose
the truth is that there has been a fatal
facility
about the
way
in which certain tendencies
of the modern mind have been enabled to take on
solid and visible form. With the assistance of
photo-mechanical process
and
photographically-
influenced
painting
modern
sentimentality (to employ
an unscientific but useful
word)
can be rendered in
a sort of allusive shorthand which
completely
dis-
penses
with the use of
expressive
form.
It is
my
most cherished belief that above all its
other follies our
imaginary
future historian will
blame the nineteenth
century
with facile
exploita-
tion of its own
sentimentality,
and that in
support
of his thesis he will be
constantly turning
to its
curious ideas
concerning
domestic
pictorial
decora-
tion. I should like to ,think that he will then launch
forth into an encomium on the
early
twentieth-cen-
tury
heroes and heroines who
proclaimed
the
great
crusade
against
the Framed
Fatuity.
And I
hope
he will not
forget
to make honourable mention of
Miss
Margaret Bulley
in his
pages.
Miss
Bulley
marches forth with no great blowing
of
trumpets,
but with
conviction, moderation,
and
method-qualities
of which the last two are rare
in aesthetic warfare-and the
wavering
Philistine
who
singles
her out for the
acceptance
of his sur-
render will have no reason to
regret
his choice.
But I must not
give
the
impression
that the
nature of her book is
purely polemical.
She com-
bines with considerable skill the conversion of mis-
guided
maturity
with the instruction of
inquiring
subject,
and we are refreshed
by
a
description
of
some
building
or
garden
in the admirable
prose
of
which he is master. The book is devoted
mainly
to
architecture,
and would be more
satisfactory
if
it had
given
us more on this
subject
and on archi-
tectural
decoration,
both in its text and its illustra-
tions, leaving
out the
hasty
and rather
superficial
allusions to
furniture, china, tapestry
and the
theatre. The
photographs
show us
buildings
of
great magnificence
and
grace
which belie the
usually accepted theory
that the Teutonic races are
heavy
in their ornament and without
taste,
or that
the classical
style
is
completely
alien to them. It is
true that most of the
original
architects and crafts-
men of the
Baroque period
in Austria and
Germany
were
Italians,
but
they passed
on the tradition to
native artists who used this
style
with
complete
freedom and considerable success. A. DAVIDSON
Pictures and
Painting.
BY MARGARET H. BULLEY.
237 pp.
+ 32 pl. (I
in
col.) (Chatto
and
Windus.) 7s.
6d.
Perhaps
one of the
problems
which will most
puzzle
future historians of the
present age
is its
fecundity
in
pictures
which are
aesthetically
null
and void. It will seem to him natural
enough
that
we should
produce ugly
chairs and
ugly
tables. One
must sit on
something
and at
something
and if one
has lost the
power
of
producing good shapes
then
these
utensils,
which must
perforce
continue to be
produced,
will suffer in
appearance accordingly.
But what
malignant
influence can it be that causes
framed
wall-pictures,
articles whose sole
imagin-
able function would be
decorative,
to
pullulate
in an
age indifferent, perhaps
even
vaguely
hostile,
to
formal
beauty.
I
suppose
the truth is that there has been a fatal
facility
about the
way
in which certain tendencies
of the modern mind have been enabled to take on
solid and visible form. With the assistance of
photo-mechanical process
and
photographically-
influenced
painting
modern
sentimentality (to employ
an unscientific but useful
word)
can be rendered in
a sort of allusive shorthand which
completely
dis-
penses
with the use of
expressive
form.
It is
my
most cherished belief that above all its
other follies our
imaginary
future historian will
blame the nineteenth
century
with facile
exploita-
tion of its own
sentimentality,
and that in
support
of his thesis he will be
constantly turning
to its
curious ideas
concerning
domestic
pictorial
decora-
tion. I should like to ,think that he will then launch
forth into an encomium on the
early
twentieth-cen-
tury
heroes and heroines who
proclaimed
the
great
crusade
against
the Framed
Fatuity.
And I
hope
he will not
forget
to make honourable mention of
Miss
Margaret Bulley
in his
pages.
Miss
Bulley
marches forth with no great blowing
of
trumpets,
but with
conviction, moderation,
and
method-qualities
of which the last two are rare
in aesthetic warfare-and the
wavering
Philistine
who
singles
her out for the
acceptance
of his sur-
render will have no reason to
regret
his choice.
But I must not
give
the
impression
that the
nature of her book is
purely polemical.
She com-
bines with considerable skill the conversion of mis-
guided
maturity
with the instruction of
inquiring
subject,
and we are refreshed
by
a
description
of
some
building
or
garden
in the admirable
prose
of
which he is master. The book is devoted
mainly
to
architecture,
and would be more
satisfactory
if
it had
given
us more on this
subject
and on archi-
tectural
decoration,
both in its text and its illustra-
tions, leaving
out the
hasty
and rather
superficial
allusions to
furniture, china, tapestry
and the
theatre. The
photographs
show us
buildings
of
great magnificence
and
grace
which belie the
usually accepted theory
that the Teutonic races are
heavy
in their ornament and without
taste,
or that
the classical
style
is
completely
alien to them. It is
true that most of the
original
architects and crafts-
men of the
Baroque period
in Austria and
Germany
were
Italians,
but
they passed
on the tradition to
native artists who used this
style
with
complete
freedom and considerable success. A. DAVIDSON
Pictures and
Painting.
BY MARGARET H. BULLEY.
237 pp.
+ 32 pl. (I
in
col.) (Chatto
and
Windus.) 7s.
6d.
Perhaps
one of the
problems
which will most
puzzle
future historians of the
present age
is its
fecundity
in
pictures
which are
aesthetically
null
and void. It will seem to him natural
enough
that
we should
produce ugly
chairs and
ugly
tables. One
must sit on
something
and at
something
and if one
has lost the
power
of
producing good shapes
then
these
utensils,
which must
perforce
continue to be
produced,
will suffer in
appearance accordingly.
But what
malignant
influence can it be that causes
framed
wall-pictures,
articles whose sole
imagin-
able function would be
decorative,
to
pullulate
in an
age indifferent, perhaps
even
vaguely
hostile,
to
formal
beauty.
I
suppose
the truth is that there has been a fatal
facility
about the
way
in which certain tendencies
of the modern mind have been enabled to take on
solid and visible form. With the assistance of
photo-mechanical process
and
photographically-
influenced
painting
modern
sentimentality (to employ
an unscientific but useful
word)
can be rendered in
a sort of allusive shorthand which
completely
dis-
penses
with the use of
expressive
form.
It is
my
most cherished belief that above all its
other follies our
imaginary
future historian will
blame the nineteenth
century
with facile
exploita-
tion of its own
sentimentality,
and that in
support
of his thesis he will be
constantly turning
to its
curious ideas
concerning
domestic
pictorial
decora-
tion. I should like to ,think that he will then launch
forth into an encomium on the
early
twentieth-cen-
tury
heroes and heroines who
proclaimed
the
great
crusade
against
the Framed
Fatuity.
And I
hope
he will not
forget
to make honourable mention of
Miss
Margaret Bulley
in his
pages.
Miss
Bulley
marches forth with no great blowing
of
trumpets,
but with
conviction, moderation,
and
method-qualities
of which the last two are rare
in aesthetic warfare-and the
wavering
Philistine
who
singles
her out for the
acceptance
of his sur-
render will have no reason to
regret
his choice.
But I must not
give
the
impression
that the
nature of her book is
purely polemical.
She com-
bines with considerable skill the conversion of mis-
guided
maturity
with the instruction of
inquiring
subject,
and we are refreshed
by
a
description
of
some
building
or
garden
in the admirable
prose
of
which he is master. The book is devoted
mainly
to
architecture,
and would be more
satisfactory
if
it had
given
us more on this
subject
and on archi-
tectural
decoration,
both in its text and its illustra-
tions, leaving
out the
hasty
and rather
superficial
allusions to
furniture, china, tapestry
and the
theatre. The
photographs
show us
buildings
of
great magnificence
and
grace
which belie the
usually accepted theory
that the Teutonic races are
heavy
in their ornament and without
taste,
or that
the classical
style
is
completely
alien to them. It is
true that most of the
original
architects and crafts-
men of the
Baroque period
in Austria and
Germany
were
Italians,
but
they passed
on the tradition to
native artists who used this
style
with
complete
freedom and considerable success. A. DAVIDSON
Pictures and
Painting.
BY MARGARET H. BULLEY.
237 pp.
+ 32 pl. (I
in
col.) (Chatto
and
Windus.) 7s.
6d.
Perhaps
one of the
problems
which will most
puzzle
future historians of the
present age
is its
fecundity
in
pictures
which are
aesthetically
null
and void. It will seem to him natural
enough
that
we should
produce ugly
chairs and
ugly
tables. One
must sit on
something
and at
something
and if one
has lost the
power
of
producing good shapes
then
these
utensils,
which must
perforce
continue to be
produced,
will suffer in
appearance accordingly.
But what
malignant
influence can it be that causes
framed
wall-pictures,
articles whose sole
imagin-
able function would be
decorative,
to
pullulate
in an
age indifferent, perhaps
even
vaguely
hostile,
to
formal
beauty.
I
suppose
the truth is that there has been a fatal
facility
about the
way
in which certain tendencies
of the modern mind have been enabled to take on
solid and visible form. With the assistance of
photo-mechanical process
and
photographically-
influenced
painting
modern
sentimentality (to employ
an unscientific but useful
word)
can be rendered in
a sort of allusive shorthand which
completely
dis-
penses
with the use of
expressive
form.
It is
my
most cherished belief that above all its
other follies our
imaginary
future historian will
blame the nineteenth
century
with facile
exploita-
tion of its own
sentimentality,
and that in
support
of his thesis he will be
constantly turning
to its
curious ideas
concerning
domestic
pictorial
decora-
tion. I should like to ,think that he will then launch
forth into an encomium on the
early
twentieth-cen-
tury
heroes and heroines who
proclaimed
the
great
crusade
against
the Framed
Fatuity.
And I
hope
he will not
forget
to make honourable mention of
Miss
Margaret Bulley
in his
pages.
Miss
Bulley
marches forth with no great blowing
of
trumpets,
but with
conviction, moderation,
and
method-qualities
of which the last two are rare
in aesthetic warfare-and the
wavering
Philistine
who
singles
her out for the
acceptance
of his sur-
render will have no reason to
regret
his choice.
But I must not
give
the
impression
that the
nature of her book is
purely polemical.
She com-
bines with considerable skill the conversion of mis-
guided
maturity
with the instruction of
inquiring
youth.
With the
help
of numerous well-selected and
youth.
With the
help
of numerous well-selected and
youth.
With the
help
of numerous well-selected and
youth.
With the
help
of numerous well-selected and
well-produced
illustrations she
brings
out
clearly
those two
qualities
of
pictorial
art whose
interplay
renders its
study
so
fascinating,
its
fluidity
which
causes it to mould itself round
every
detail of con-
temporary circumstance,
and its
stability,
which
causes it to
cling through every metamorphosis
to
the
magic power
of
expressive
form.
The book is one of a series of
simple guides
for
which the
publishers
make the
following
sinister
claim-" with a bookshelf of such volumes no, child
and no
grown-up
will feel
ignorant."
Miss
Bulley
has
fortunately
exceeded her terms of reference and
will
go
far towards
dispelling
for her readers the
fact,
but
not,
we
hope
the
salutary feeling,
of
ignorance.
They
should be
warned, however, against treating
her historical
background
as
completely
reliable.
Thus on
page I95
the decadence of Dutch art is
attributed to a loss of national
independence
which
never
actually
took
place,
while the
passage
on
page
I78-"
With the death of Louis XIV an
immediate relaxation was
felt,
Rubens was sent for
by
Marie de
Medicis,
and his influence at once
became
apparent
in French art "-would
certainly
be taken
by anyone
not conversant with the dates
of their deaths to
suppose
that Rubens survived
Louis XIV.
I
presume
that the
passage
means that
pictures
by
Rubens were available for imitation
owing
to
his visit to the French Court
during
the
previous
century.
On the
whole, however,
the book can be con-
fidently
recommended to
persons seeking
to found
an
intelligent
taste for
pictures,
either in their own
minds or those of their
pupils.
H. D. w.
Notes on the Science of Picture
Making.
BY SIR CHARLES
J.
HOLMES.
4th
edition.
317 pp.
+ 19 pl. (Chatto
and
Windus.) Ios. 6d.
It is
eighteen years
since this book
appeared
for
the first
time,
the
only
difference between the two
editions
being
that in the
present
one there are 19
plates.
The
subject
itself is as
interesting
as
ever,
and the
reprint
is
certainly
welcome. It is a
pity
that Sir Charles did not here elaborate more
clearly
the vital
points
of an
interesting problem.
The
book does not
go beyond
its
title, i.e.,
it
only
touches on certain
questions
without
making any
serious effort toward their solution. The lack of
deeper
consideration is the more
regrettable
as since
the first
publication
of this book a
great
deal has
been done on this
subject,
and we feel that a scholar
of Sir Charles's
knowledge
and
power
of
expression
might
have contributed some valuable
help
towards
the final solution of the
problem.
Aeskulap
und Venus. BY DR. EUGEN HOLLXNDER.
488 pp.
fully
i11. in col. and monotone. Berlin
(Propylaen
Verlag).
Venus in one form or another has
always
been a
favourite
subjects
in
plastic
art.
Aesculapius,
in
spite
of
sacrificing
his life in the
attempt
to
help
humanity,
has been much less favoured. Yet some
aspects
of the connexion between love and medicine
have,
since earliest
times, continuously
served for
subjects
both in
painting
and
sculpture.
It is with
this
subject, hardly
accessible to the
general public,
that Dr. Hollander deals. The book is
profusely
well-produced
illustrations she
brings
out
clearly
those two
qualities
of
pictorial
art whose
interplay
renders its
study
so
fascinating,
its
fluidity
which
causes it to mould itself round
every
detail of con-
temporary circumstance,
and its
stability,
which
causes it to
cling through every metamorphosis
to
the
magic power
of
expressive
form.
The book is one of a series of
simple guides
for
which the
publishers
make the
following
sinister
claim-" with a bookshelf of such volumes no, child
and no
grown-up
will feel
ignorant."
Miss
Bulley
has
fortunately
exceeded her terms of reference and
will
go
far towards
dispelling
for her readers the
fact,
but
not,
we
hope
the
salutary feeling,
of
ignorance.
They
should be
warned, however, against treating
her historical
background
as
completely
reliable.
Thus on
page I95
the decadence of Dutch art is
attributed to a loss of national
independence
which
never
actually
took
place,
while the
passage
on
page
I78-"
With the death of Louis XIV an
immediate relaxation was
felt,
Rubens was sent for
by
Marie de
Medicis,
and his influence at once
became
apparent
in French art "-would
certainly
be taken
by anyone
not conversant with the dates
of their deaths to
suppose
that Rubens survived
Louis XIV.
I
presume
that the
passage
means that
pictures
by
Rubens were available for imitation
owing
to
his visit to the French Court
during
the
previous
century.
On the
whole, however,
the book can be con-
fidently
recommended to
persons seeking
to found
an
intelligent
taste for
pictures,
either in their own
minds or those of their
pupils.
H. D. w.
Notes on the Science of Picture
Making.
BY SIR CHARLES
J.
HOLMES.
4th
edition.
317 pp.
+ 19 pl. (Chatto
and
Windus.) Ios. 6d.
It is
eighteen years
since this book
appeared
for
the first
time,
the
only
difference between the two
editions
being
that in the
present
one there are 19
plates.
The
subject
itself is as
interesting
as
ever,
and the
reprint
is
certainly
welcome. It is a
pity
that Sir Charles did not here elaborate more
clearly
the vital
points
of an
interesting problem.
The
book does not
go beyond
its
title, i.e.,
it
only
touches on certain
questions
without
making any
serious effort toward their solution. The lack of
deeper
consideration is the more
regrettable
as since
the first
publication
of this book a
great
deal has
been done on this
subject,
and we feel that a scholar
of Sir Charles's
knowledge
and
power
of
expression
might
have contributed some valuable
help
towards
the final solution of the
problem.
Aeskulap
und Venus. BY DR. EUGEN HOLLXNDER.
488 pp.
fully
i11. in col. and monotone. Berlin
(Propylaen
Verlag).
Venus in one form or another has
always
been a
favourite
subjects
in
plastic
art.
Aesculapius,
in
spite
of
sacrificing
his life in the
attempt
to
help
humanity,
has been much less favoured. Yet some
aspects
of the connexion between love and medicine
have,
since earliest
times, continuously
served for
subjects
both in
painting
and
sculpture.
It is with
this
subject, hardly
accessible to the
general public,
that Dr. Hollander deals. The book is
profusely
well-produced
illustrations she
brings
out
clearly
those two
qualities
of
pictorial
art whose
interplay
renders its
study
so
fascinating,
its
fluidity
which
causes it to mould itself round
every
detail of con-
temporary circumstance,
and its
stability,
which
causes it to
cling through every metamorphosis
to
the
magic power
of
expressive
form.
The book is one of a series of
simple guides
for
which the
publishers
make the
following
sinister
claim-" with a bookshelf of such volumes no, child
and no
grown-up
will feel
ignorant."
Miss
Bulley
has
fortunately
exceeded her terms of reference and
will
go
far towards
dispelling
for her readers the
fact,
but
not,
we
hope
the
salutary feeling,
of
ignorance.
They
should be
warned, however, against treating
her historical
background
as
completely
reliable.
Thus on
page I95
the decadence of Dutch art is
attributed to a loss of national
independence
which
never
actually
took
place,
while the
passage
on
page
I78-"
With the death of Louis XIV an
immediate relaxation was
felt,
Rubens was sent for
by
Marie de
Medicis,
and his influence at once
became
apparent
in French art "-would
certainly
be taken
by anyone
not conversant with the dates
of their deaths to
suppose
that Rubens survived
Louis XIV.
I
presume
that the
passage
means that
pictures
by
Rubens were available for imitation
owing
to
his visit to the French Court
during
the
previous
century.
On the
whole, however,
the book can be con-
fidently
recommended to
persons seeking
to found
an
intelligent
taste for
pictures,
either in their own
minds or those of their
pupils.
H. D. w.
Notes on the Science of Picture
Making.
BY SIR CHARLES
J.
HOLMES.
4th
edition.
317 pp.
+ 19 pl. (Chatto
and
Windus.) Ios. 6d.
It is
eighteen years
since this book
appeared
for
the first
time,
the
only
difference between the two
editions
being
that in the
present
one there are 19
plates.
The
subject
itself is as
interesting
as
ever,
and the
reprint
is
certainly
welcome. It is a
pity
that Sir Charles did not here elaborate more
clearly
the vital
points
of an
interesting problem.
The
book does not
go beyond
its
title, i.e.,
it
only
touches on certain
questions
without
making any
serious effort toward their solution. The lack of
deeper
consideration is the more
regrettable
as since
the first
publication
of this book a
great
deal has
been done on this
subject,
and we feel that a scholar
of Sir Charles's
knowledge
and
power
of
expression
might
have contributed some valuable
help
towards
the final solution of the
problem.
Aeskulap
und Venus. BY DR. EUGEN HOLLXNDER.
488 pp.
fully
i11. in col. and monotone. Berlin
(Propylaen
Verlag).
Venus in one form or another has
always
been a
favourite
subjects
in
plastic
art.
Aesculapius,
in
spite
of
sacrificing
his life in the
attempt
to
help
humanity,
has been much less favoured. Yet some
aspects
of the connexion between love and medicine
have,
since earliest
times, continuously
served for
subjects
both in
painting
and
sculpture.
It is with
this
subject, hardly
accessible to the
general public,
that Dr. Hollander deals. The book is
profusely
well-produced
illustrations she
brings
out
clearly
those two
qualities
of
pictorial
art whose
interplay
renders its
study
so
fascinating,
its
fluidity
which
causes it to mould itself round
every
detail of con-
temporary circumstance,
and its
stability,
which
causes it to
cling through every metamorphosis
to
the
magic power
of
expressive
form.
The book is one of a series of
simple guides
for
which the
publishers
make the
following
sinister
claim-" with a bookshelf of such volumes no, child
and no
grown-up
will feel
ignorant."
Miss
Bulley
has
fortunately
exceeded her terms of reference and
will
go
far towards
dispelling
for her readers the
fact,
but
not,
we
hope
the
salutary feeling,
of
ignorance.
They
should be
warned, however, against treating
her historical
background
as
completely
reliable.
Thus on
page I95
the decadence of Dutch art is
attributed to a loss of national
independence
which
never
actually
took
place,
while the
passage
on
page
I78-"
With the death of Louis XIV an
immediate relaxation was
felt,
Rubens was sent for
by
Marie de
Medicis,
and his influence at once
became
apparent
in French art "-would
certainly
be taken
by anyone
not conversant with the dates
of their deaths to
suppose
that Rubens survived
Louis XIV.
I
presume
that the
passage
means that
pictures
by
Rubens were available for imitation
owing
to
his visit to the French Court
during
the
previous
century.
On the
whole, however,
the book can be con-
fidently
recommended to
persons seeking
to found
an
intelligent
taste for
pictures,
either in their own
minds or those of their
pupils.
H. D. w.
Notes on the Science of Picture
Making.
BY SIR CHARLES
J.
HOLMES.
4th
edition.
317 pp.
+ 19 pl. (Chatto
and
Windus.) Ios. 6d.
It is
eighteen years
since this book
appeared
for
the first
time,
the
only
difference between the two
editions
being
that in the
present
one there are 19
plates.
The
subject
itself is as
interesting
as
ever,
and the
reprint
is
certainly
welcome. It is a
pity
that Sir Charles did not here elaborate more
clearly
the vital
points
of an
interesting problem.
The
book does not
go beyond
its
title, i.e.,
it
only
touches on certain
questions
without
making any
serious effort toward their solution. The lack of
deeper
consideration is the more
regrettable
as since
the first
publication
of this book a
great
deal has
been done on this
subject,
and we feel that a scholar
of Sir Charles's
knowledge
and
power
of
expression
might
have contributed some valuable
help
towards
the final solution of the
problem.
Aeskulap
und Venus. BY DR. EUGEN HOLLXNDER.
488 pp.
fully
i11. in col. and monotone. Berlin
(Propylaen
Verlag).
Venus in one form or another has
always
been a
favourite
subjects
in
plastic
art.
Aesculapius,
in
spite
of
sacrificing
his life in the
attempt
to
help
humanity,
has been much less favoured. Yet some
aspects
of the connexion between love and medicine
have,
since earliest
times, continuously
served for
subjects
both in
painting
and
sculpture.
It is with
this
subject, hardly
accessible to the
general public,
that Dr. Hollander deals. The book is
profusely
illustrated and is full of
extremely interesting illustrated and is full of
extremely interesting illustrated and is full of
extremely interesting illustrated and is full of
extremely interesting
'53 '53 '53 '53
This content downloaded on Fri, 8 Feb 2013 05:07:46 AM
All use subject to JSTOR Terms and Conditions
matter,
but the fact that it
really
comes more
within the
boundary
of medicine than art
prevents
us from
giving
it the
space
it deserves.
Painted and Printed Fabrics. BY HENRI CLOUZOT and
FRANCES MORRIS. xvii + i08
pp. + 93 pi. (I
in
col.)
New
York, (Metropolitan
Museum of
Art.)
This
publication, brought
out under the
aegis
of
the
Metropolitan Museum,
New
York,
deals with
one of the most beautiful of the minor arts. In
India,
the native home of the raw material as well
as of the
industry,
the " cotton
print," painted by
hand,
was a real work of
art,
as Mr. G. P. Baker's
recently-published
work has
clearly
shown. In the
West the
printed
fabric
began
as a humble retainer
of the richer stuffs.
Opaque pigments
were
stamped upon
the linen or woollen
ground-the
first " Manchester cottons " were of wool-in
patterns mostly
borrowed from the silk fabrics for
which
they
served as
inexpensive
substitutes. The
ART IN AMERICA: THE ML
Glass is
probably
as much used
to-day
as it
was in Roman times. Beautiful modern work is
to be seen in the
sturdy glass
vessels of Maurice
Marinot of
Troyes
and
Lobmeyr
of Vienna and in
the more delicate
designs
of Edward Hald and
Simon Gate of
Orrefors,
Sweden.
Together
with
the
development
of the
industry
has come an
increased interest in old
glass. Many private
and
public
collections are
being
formed. The most
notable recent
purchase
in this field is that of the
Jacques
Miihsam
Collection,
which came to America
last fall from Berlin and has now been divided
equally
between the
Metropolitan
Museum in New
York and the Art Institute of
Chicago.
The
division was made
by
Dr. Robert Schmidt and
Dr. Otto von
Falke,
with the result that each
institution hasl a
representative
collection of
authentic German and Dutch
glass ranging
in
period
from the fifteenth to the
early
nineteenth
century.
In
many
cases the
pieces
are
signed
and
dated. This
gives
two of our most influential
museums collections which rank in
quality,
if not
in
quantity,
with those of similar
type
in the
Victoria and Albert and the British Museums.
The Miihsam Collection has been
fully published
by
Dr.
Schmidt,
one volume in
I914,
and another
in
1926,
and no detailed account of its contents
need be
given
here. The
Metropolitan's
share has
been described
by
Miss Louise
Avery
in the
January
Bulletin of the
Museum,
and the Art
Institute of
Chicago
will devote its entire
April
Bulletin to the
remaining portion.
The
Metropolitan
has
recently
installed some four
hundred vessels which
include, among
other
things, many
beautiful
examples
of German
Waldglas,
enamelled
receptacles
of
many shapes
and
patterns,
Bohemian
gold glass,
the celebrated
ruby
glass
of
Johann Kunckel, stipple-engraved goblets
by
Frans Greenwood and D.
Wolff,
and the earliest
known
piece
of German
cut-glass-a
covered
beaker made
by Caspar
Lehmann in
1592.
Several
pieces
stand out in one's mind after see-
ing
the collection. The series of
green glass
r6mers
begins
with the
low, wide-lipped types
and
matter,
but the fact that it
really
comes more
within the
boundary
of medicine than art
prevents
us from
giving
it the
space
it deserves.
Painted and Printed Fabrics. BY HENRI CLOUZOT and
FRANCES MORRIS. xvii + i08
pp. + 93 pi. (I
in
col.)
New
York, (Metropolitan
Museum of
Art.)
This
publication, brought
out under the
aegis
of
the
Metropolitan Museum,
New
York,
deals with
one of the most beautiful of the minor arts. In
India,
the native home of the raw material as well
as of the
industry,
the " cotton
print," painted by
hand,
was a real work of
art,
as Mr. G. P. Baker's
recently-published
work has
clearly
shown. In the
West the
printed
fabric
began
as a humble retainer
of the richer stuffs.
Opaque pigments
were
stamped upon
the linen or woollen
ground-the
first " Manchester cottons " were of wool-in
patterns mostly
borrowed from the silk fabrics for
which
they
served as
inexpensive
substitutes. The
ART IN AMERICA: THE ML
Glass is
probably
as much used
to-day
as it
was in Roman times. Beautiful modern work is
to be seen in the
sturdy glass
vessels of Maurice
Marinot of
Troyes
and
Lobmeyr
of Vienna and in
the more delicate
designs
of Edward Hald and
Simon Gate of
Orrefors,
Sweden.
Together
with
the
development
of the
industry
has come an
increased interest in old
glass. Many private
and
public
collections are
being
formed. The most
notable recent
purchase
in this field is that of the
Jacques
Miihsam
Collection,
which came to America
last fall from Berlin and has now been divided
equally
between the
Metropolitan
Museum in New
York and the Art Institute of
Chicago.
The
division was made
by
Dr. Robert Schmidt and
Dr. Otto von
Falke,
with the result that each
institution hasl a
representative
collection of
authentic German and Dutch
glass ranging
in
period
from the fifteenth to the
early
nineteenth
century.
In
many
cases the
pieces
are
signed
and
dated. This
gives
two of our most influential
museums collections which rank in
quality,
if not
in
quantity,
with those of similar
type
in the
Victoria and Albert and the British Museums.
The Miihsam Collection has been
fully published
by
Dr.
Schmidt,
one volume in
I914,
and another
in
1926,
and no detailed account of its contents
need be
given
here. The
Metropolitan's
share has
been described
by
Miss Louise
Avery
in the
January
Bulletin of the
Museum,
and the Art
Institute of
Chicago
will devote its entire
April
Bulletin to the
remaining portion.
The
Metropolitan
has
recently
installed some four
hundred vessels which
include, among
other
things, many
beautiful
examples
of German
Waldglas,
enamelled
receptacles
of
many shapes
and
patterns,
Bohemian
gold glass,
the celebrated
ruby
glass
of
Johann Kunckel, stipple-engraved goblets
by
Frans Greenwood and D.
Wolff,
and the earliest
known
piece
of German
cut-glass-a
covered
beaker made
by Caspar
Lehmann in
1592.
Several
pieces
stand out in one's mind after see-
ing
the collection. The series of
green glass
r6mers
begins
with the
low, wide-lipped types
and
matter,
but the fact that it
really
comes more
within the
boundary
of medicine than art
prevents
us from
giving
it the
space
it deserves.
Painted and Printed Fabrics. BY HENRI CLOUZOT and
FRANCES MORRIS. xvii + i08
pp. + 93 pi. (I
in
col.)
New
York, (Metropolitan
Museum of
Art.)
This
publication, brought
out under the
aegis
of
the
Metropolitan Museum,
New
York,
deals with
one of the most beautiful of the minor arts. In
India,
the native home of the raw material as well
as of the
industry,
the " cotton
print," painted by
hand,
was a real work of
art,
as Mr. G. P. Baker's
recently-published
work has
clearly
shown. In the
West the
printed
fabric
began
as a humble retainer
of the richer stuffs.
Opaque pigments
were
stamped upon
the linen or woollen
ground-the
first " Manchester cottons " were of wool-in
patterns mostly
borrowed from the silk fabrics for
which
they
served as
inexpensive
substitutes. The
ART IN AMERICA: THE ML
Glass is
probably
as much used
to-day
as it
was in Roman times. Beautiful modern work is
to be seen in the
sturdy glass
vessels of Maurice
Marinot of
Troyes
and
Lobmeyr
of Vienna and in
the more delicate
designs
of Edward Hald and
Simon Gate of
Orrefors,
Sweden.
Together
with
the
development
of the
industry
has come an
increased interest in old
glass. Many private
and
public
collections are
being
formed. The most
notable recent
purchase
in this field is that of the
Jacques
Miihsam
Collection,
which came to America
last fall from Berlin and has now been divided
equally
between the
Metropolitan
Museum in New
York and the Art Institute of
Chicago.
The
division was made
by
Dr. Robert Schmidt and
Dr. Otto von
Falke,
with the result that each
institution hasl a
representative
collection of
authentic German and Dutch
glass ranging
in
period
from the fifteenth to the
early
nineteenth
century.
In
many
cases the
pieces
are
signed
and
dated. This
gives
two of our most influential
museums collections which rank in
quality,
if not
in
quantity,
with those of similar
type
in the
Victoria and Albert and the British Museums.
The Miihsam Collection has been
fully published
by
Dr.
Schmidt,
one volume in
I914,
and another
in
1926,
and no detailed account of its contents
need be
given
here. The
Metropolitan's
share has
been described
by
Miss Louise
Avery
in the
January
Bulletin of the
Museum,
and the Art
Institute of
Chicago
will devote its entire
April
Bulletin to the
remaining portion.
The
Metropolitan
has
recently
installed some four
hundred vessels which
include, among
other
things, many
beautiful
examples
of German
Waldglas,
enamelled
receptacles
of
many shapes
and
patterns,
Bohemian
gold glass,
the celebrated
ruby
glass
of
Johann Kunckel, stipple-engraved goblets
by
Frans Greenwood and D.
Wolff,
and the earliest
known
piece
of German
cut-glass-a
covered
beaker made
by Caspar
Lehmann in
1592.
Several
pieces
stand out in one's mind after see-
ing
the collection. The series of
green glass
r6mers
begins
with the
low, wide-lipped types
and
continues through
the taller ones with their
many continues through
the taller ones with their
many continues through
the taller ones with their
many
Eastern
product,
with its delicate and ineradicable
stains,
was a
very
different thing, and readers of
this book will see how these "pintadoes " took
Europe by
storm when
they began
to arrive in the
ships
of the East India
Companies. Investigation
was followed
by imitation,
and thus the foundations
of our
great cotton-printing
industries were laid.
M. Clouzot
explains
the
growth
of the
industry
in
France. The
productions
of
Jouy,
illustrated in
this
volume,
after
designs by
such artists as
J.
B.
Huet and Horace
Vernet,
show the level reached
by
the
greatest cotton-printing factory
that France has
known. Miss Morris adds an
illuminating
account
of the rise of the
industry
in the United States.
It
may
obviate some
slight misapprehension
to
point
out that the first fabric illustrated
(Plate I),
of
early
Christian
times,
must
assuredly
be of
linen,
not cotton. A. F. K.
Eastern
product,
with its delicate and ineradicable
stains,
was a
very
different thing, and readers of
this book will see how these "pintadoes " took
Europe by
storm when
they began
to arrive in the
ships
of the East India
Companies. Investigation
was followed
by imitation,
and thus the foundations
of our
great cotton-printing
industries were laid.
M. Clouzot
explains
the
growth
of the
industry
in
France. The
productions
of
Jouy,
illustrated in
this
volume,
after
designs by
such artists as
J.
B.
Huet and Horace
Vernet,
show the level reached
by
the
greatest cotton-printing factory
that France has
known. Miss Morris adds an
illuminating
account
of the rise of the
industry
in the United States.
It
may
obviate some
slight misapprehension
to
point
out that the first fabric illustrated
(Plate I),
of
early
Christian
times,
must
assuredly
be of
linen,
not cotton. A. F. K.
Eastern
product,
with its delicate and ineradicable
stains,
was a
very
different thing, and readers of
this book will see how these "pintadoes " took
Europe by
storm when
they began
to arrive in the
ships
of the East India
Companies. Investigation
was followed
by imitation,
and thus the foundations
of our
great cotton-printing
industries were laid.
M. Clouzot
explains
the
growth
of the
industry
in
France. The
productions
of
Jouy,
illustrated in
this
volume,
after
designs by
such artists as
J.
B.
Huet and Horace
Vernet,
show the level reached
by
the
greatest cotton-printing factory
that France has
known. Miss Morris adds an
illuminating
account
of the rise of the
industry
in the United States.
It
may
obviate some
slight misapprehension
to
point
out that the first fabric illustrated
(Plate I),
of
early
Christian
times,
must
assuredly
be of
linen,
not cotton. A. F. K.
JHSAM COLLECTION OF GLASS
prunts,
to the delicate
seventeenth-century
varieties
-those with
strawberry prunts
on the shaft and an
inward curve at the
top
which we see in still-life
paintings by
Kalf and Claesz and Metsu. The most
beautiful of these is a Rhenish r6mer dated
i6o8,
which retains the Gothic tradition in its
shape
though
it is decorated with foliate bands of
Renaissance enamel work. N. Hudson Moore
illustrates another vessel identical in
shape
with this
one, which is dated i606 and bears the emblem of
Prince Maurice of
Orange.
Among
other enamel
pieces
is a beaker
(Reichs-
adler
Humpen)
with the double-headed
eagle
of the
Holy
Roman
Empire, crowned, haloed,
and
bearing
the crucified Christ on its breast. The date is
I587.
There are a number of vessels of this type
in
European
collections. Some have the orb and
cross instead of the crucifixion, and all show on the
wings
the various divisions of the
Empire.
A
spirited design
of a man on horseback decorates
another beaker of the late sixteenth
century,
and
one shows the
Ungar family-father, mother,
and
five
children,
with crosses over the heads of those
who had died. Still another
represents
the four
classes of
society: nobleman, priest, soldier,
and
peasant.
One of the most
interesting
of the Dutch
pieces
with
diamond-point engraving
is a tall
glass which,
according
to the
inscription,
was
given
to
Jan
Steen in
1676.
Above the
lettering
is
represented
a studio with an
artist, probably
Steen
himself,
painting
at an easel. The view
through
the curtain
drawn to one side reminds one of Vermeer's
painting
of An Artist at Work.
The collection also contains
many examples
of
Dutch
stippling.
One of these reveals the
shadowy
form of a
goddess,
a
park,
and a fountain.
It is dated
1728
and
signed by
Frans
Greenwood,
who is credited with
having
invented this delicate
technique. According
to Dr.
Hudig, however,
it
was used
by
Anna Roemers a
century
before.
Another
stippler
of renown was D.
Wolff,
to whom
are attributed seventeen of the Miihsam
goblets.
One is
signed
and dated
1792.
Such are a few of the facts
regarding
the
JHSAM COLLECTION OF GLASS
prunts,
to the delicate
seventeenth-century
varieties
-those with
strawberry prunts
on the shaft and an
inward curve at the
top
which we see in still-life
paintings by
Kalf and Claesz and Metsu. The most
beautiful of these is a Rhenish r6mer dated
i6o8,
which retains the Gothic tradition in its
shape
though
it is decorated with foliate bands of
Renaissance enamel work. N. Hudson Moore
illustrates another vessel identical in
shape
with this
one, which is dated i606 and bears the emblem of
Prince Maurice of
Orange.
Among
other enamel
pieces
is a beaker
(Reichs-
adler
Humpen)
with the double-headed
eagle
of the
Holy
Roman
Empire, crowned, haloed,
and
bearing
the crucified Christ on its breast. The date is
I587.
There are a number of vessels of this type
in
European
collections. Some have the orb and
cross instead of the crucifixion, and all show on the
wings
the various divisions of the
Empire.
A
spirited design
of a man on horseback decorates
another beaker of the late sixteenth
century,
and
one shows the
Ungar family-father, mother,
and
five
children,
with crosses over the heads of those
who had died. Still another
represents
the four
classes of
society: nobleman, priest, soldier,
and
peasant.
One of the most
interesting
of the Dutch
pieces
with
diamond-point engraving
is a tall
glass which,
according
to the
inscription,
was
given
to
Jan
Steen in
1676.
Above the
lettering
is
represented
a studio with an
artist, probably
Steen
himself,
painting
at an easel. The view
through
the curtain
drawn to one side reminds one of Vermeer's
painting
of An Artist at Work.
The collection also contains
many examples
of
Dutch
stippling.
One of these reveals the
shadowy
form of a
goddess,
a
park,
and a fountain.
It is dated
1728
and
signed by
Frans
Greenwood,
who is credited with
having
invented this delicate
technique. According
to Dr.
Hudig, however,
it
was used
by
Anna Roemers a
century
before.
Another
stippler
of renown was D.
Wolff,
to whom
are attributed seventeen of the Miihsam
goblets.
One is
signed
and dated
1792.
Such are a few of the facts
regarding
the
JHSAM COLLECTION OF GLASS
prunts,
to the delicate
seventeenth-century
varieties
-those with
strawberry prunts
on the shaft and an
inward curve at the
top
which we see in still-life
paintings by
Kalf and Claesz and Metsu. The most
beautiful of these is a Rhenish r6mer dated
i6o8,
which retains the Gothic tradition in its
shape
though
it is decorated with foliate bands of
Renaissance enamel work. N. Hudson Moore
illustrates another vessel identical in
shape
with this
one, which is dated i606 and bears the emblem of
Prince Maurice of
Orange.
Among
other enamel
pieces
is a beaker
(Reichs-
adler
Humpen)
with the double-headed
eagle
of the
Holy
Roman
Empire, crowned, haloed,
and
bearing
the crucified Christ on its breast. The date is
I587.
There are a number of vessels of this type
in
European
collections. Some have the orb and
cross instead of the crucifixion, and all show on the
wings
the various divisions of the
Empire.
A
spirited design
of a man on horseback decorates
another beaker of the late sixteenth
century,
and
one shows the
Ungar family-father, mother,
and
five
children,
with crosses over the heads of those
who had died. Still another
represents
the four
classes of
society: nobleman, priest, soldier,
and
peasant.
One of the most
interesting
of the Dutch
pieces
with
diamond-point engraving
is a tall
glass which,
according
to the
inscription,
was
given
to
Jan
Steen in
1676.
Above the
lettering
is
represented
a studio with an
artist, probably
Steen
himself,
painting
at an easel. The view
through
the curtain
drawn to one side reminds one of Vermeer's
painting
of An Artist at Work.
The collection also contains
many examples
of
Dutch
stippling.
One of these reveals the
shadowy
form of a
goddess,
a
park,
and a fountain.
It is dated
1728
and
signed by
Frans
Greenwood,
who is credited with
having
invented this delicate
technique. According
to Dr.
Hudig, however,
it
was used
by
Anna Roemers a
century
before.
Another
stippler
of renown was D.
Wolff,
to whom
are attributed seventeen of the Miihsam
goblets.
One is
signed
and dated
1792.
Such are a few of the facts
regarding
the
I54 I54 I54
This content downloaded on Fri, 8 Feb 2013 05:07:46 AM
All use subject to JSTOR Terms and Conditions