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Tura's 'Virgin and Child Enthroned' in the National GalleryAuthor(s): Martin DaviesReviewed work(s):Source: The Burlington Magazine, Vol. 94, No. 591 (Jun., 1952), pp. 168-169Published by: The Burlington Magazine Publications Ltd.Stable URL: http://www.jstor.org/stable/870705 .Accessed: 19/08/2012 13:19
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SHORTER NOTICES SHORTER NOTICES SHORTER NOTICES SHORTER NOTICES
Altobrandini. The caricature style in which the (two figures are conceived is that of Annibale Carracci, but the use to which Domenichino puts it is (as Passeri's description of his drawing of the pitted features of the Guardaroba might lead us to expect) more mordant than Annibale Carracci's. Over and above its documentary interest as Domenichino's only known caricature, this loosely executed drawing serves to corroborate the ascription to the mid-thirties of a number of landscape and other studies in the Windsor Castle Library.
'Celestial Attributions': Sir Max Beerbohm on the Connoisseurs BY TERENCE SPENCER
FIG. 14 reproduces a drawing by Sir Max Beerbohm, now in the Museo Horne in Florence, where are preserved the paintings, drawings, and miscellaneous works of art collected by Herbert Horne (1864-I916) and bequeathed by him to the Municipality. The legend on Sir Max's drawing is as follows:
Celestial Attributions. Virgin: 'That's a very doubtful Home.' Child: 'It seems to me rather as if it might be an early
Berenson.' Virgin (flying off at inevitable tangent):
'Pooh! Nonsense! Bah Everything points to its being a particularly late Loeser.'
(Left arguing) The human object has the provisional label:
? Scuola di amico di Max. ?? Early venticento (sic).
Sir Max tells me that he remembers doing the drawing and giving it to Horne in the year I905 at Siena. The human object in the foreground is, of couse, Horne himself.1
1 The drawing is discussed in a letter (undated) from Max Beerbohm to Robert Ross, published in Robert Ross, Friend of Friends, edited by M. Ross, London [x952], p. 220.
Tura's 'Virgin and Child Enthroned' in the National Gallery BY MARTIN DAVIES
COSIMO TURA'S Virgin and Child Enthroned (No. 772 of the National Gallery) has been cleaned, and is at the moment of writing under restoration.
Under two layers of repaint, fragments of the original organ- case have been revealed; Fig. I6 shows what remains, without any new restoration. The inscription is as follows: ... ER/... LLA/ ... GENS(?)/... T. A../.. R(?)TVM. ... . DDE.. DI../ ... M ... SA/ ... T ../... S(?)...
On the organ-case or base of the Roverella altarpiece in S. Giorgio fuori at Ferrara, Baruffaldil recorded an inscription Surge Puer Roverella... This is the beginning of two lines by Lodovico Bigo, printed in his Tumultuariorum Carminum Lib. III, 1492:
Altobrandini. The caricature style in which the (two figures are conceived is that of Annibale Carracci, but the use to which Domenichino puts it is (as Passeri's description of his drawing of the pitted features of the Guardaroba might lead us to expect) more mordant than Annibale Carracci's. Over and above its documentary interest as Domenichino's only known caricature, this loosely executed drawing serves to corroborate the ascription to the mid-thirties of a number of landscape and other studies in the Windsor Castle Library.
'Celestial Attributions': Sir Max Beerbohm on the Connoisseurs BY TERENCE SPENCER
FIG. 14 reproduces a drawing by Sir Max Beerbohm, now in the Museo Horne in Florence, where are preserved the paintings, drawings, and miscellaneous works of art collected by Herbert Horne (1864-I916) and bequeathed by him to the Municipality. The legend on Sir Max's drawing is as follows:
Celestial Attributions. Virgin: 'That's a very doubtful Home.' Child: 'It seems to me rather as if it might be an early
Berenson.' Virgin (flying off at inevitable tangent):
'Pooh! Nonsense! Bah Everything points to its being a particularly late Loeser.'
(Left arguing) The human object has the provisional label:
? Scuola di amico di Max. ?? Early venticento (sic).
Sir Max tells me that he remembers doing the drawing and giving it to Horne in the year I905 at Siena. The human object in the foreground is, of couse, Horne himself.1
1 The drawing is discussed in a letter (undated) from Max Beerbohm to Robert Ross, published in Robert Ross, Friend of Friends, edited by M. Ross, London [x952], p. 220.
Tura's 'Virgin and Child Enthroned' in the National Gallery BY MARTIN DAVIES
COSIMO TURA'S Virgin and Child Enthroned (No. 772 of the National Gallery) has been cleaned, and is at the moment of writing under restoration.
Under two layers of repaint, fragments of the original organ- case have been revealed; Fig. I6 shows what remains, without any new restoration. The inscription is as follows: ... ER/... LLA/ ... GENS(?)/... T. A../.. R(?)TVM. ... . DDE.. DI../ ... M ... SA/ ... T ../... S(?)...
On the organ-case or base of the Roverella altarpiece in S. Giorgio fuori at Ferrara, Baruffaldil recorded an inscription Surge Puer Roverella... This is the beginning of two lines by Lodovico Bigo, printed in his Tumultuariorum Carminum Lib. III, 1492:
Altobrandini. The caricature style in which the (two figures are conceived is that of Annibale Carracci, but the use to which Domenichino puts it is (as Passeri's description of his drawing of the pitted features of the Guardaroba might lead us to expect) more mordant than Annibale Carracci's. Over and above its documentary interest as Domenichino's only known caricature, this loosely executed drawing serves to corroborate the ascription to the mid-thirties of a number of landscape and other studies in the Windsor Castle Library.
'Celestial Attributions': Sir Max Beerbohm on the Connoisseurs BY TERENCE SPENCER
FIG. 14 reproduces a drawing by Sir Max Beerbohm, now in the Museo Horne in Florence, where are preserved the paintings, drawings, and miscellaneous works of art collected by Herbert Horne (1864-I916) and bequeathed by him to the Municipality. The legend on Sir Max's drawing is as follows:
Celestial Attributions. Virgin: 'That's a very doubtful Home.' Child: 'It seems to me rather as if it might be an early
Berenson.' Virgin (flying off at inevitable tangent):
'Pooh! Nonsense! Bah Everything points to its being a particularly late Loeser.'
(Left arguing) The human object has the provisional label:
? Scuola di amico di Max. ?? Early venticento (sic).
Sir Max tells me that he remembers doing the drawing and giving it to Horne in the year I905 at Siena. The human object in the foreground is, of couse, Horne himself.1
1 The drawing is discussed in a letter (undated) from Max Beerbohm to Robert Ross, published in Robert Ross, Friend of Friends, edited by M. Ross, London [x952], p. 220.
Tura's 'Virgin and Child Enthroned' in the National Gallery BY MARTIN DAVIES
COSIMO TURA'S Virgin and Child Enthroned (No. 772 of the National Gallery) has been cleaned, and is at the moment of writing under restoration.
Under two layers of repaint, fragments of the original organ- case have been revealed; Fig. I6 shows what remains, without any new restoration. The inscription is as follows: ... ER/... LLA/ ... GENS(?)/... T. A../.. R(?)TVM. ... . DDE.. DI../ ... M ... SA/ ... T ../... S(?)...
On the organ-case or base of the Roverella altarpiece in S. Giorgio fuori at Ferrara, Baruffaldil recorded an inscription Surge Puer Roverella... This is the beginning of two lines by Lodovico Bigo, printed in his Tumultuariorum Carminum Lib. III, 1492:
Altobrandini. The caricature style in which the (two figures are conceived is that of Annibale Carracci, but the use to which Domenichino puts it is (as Passeri's description of his drawing of the pitted features of the Guardaroba might lead us to expect) more mordant than Annibale Carracci's. Over and above its documentary interest as Domenichino's only known caricature, this loosely executed drawing serves to corroborate the ascription to the mid-thirties of a number of landscape and other studies in the Windsor Castle Library.
'Celestial Attributions': Sir Max Beerbohm on the Connoisseurs BY TERENCE SPENCER
FIG. 14 reproduces a drawing by Sir Max Beerbohm, now in the Museo Horne in Florence, where are preserved the paintings, drawings, and miscellaneous works of art collected by Herbert Horne (1864-I916) and bequeathed by him to the Municipality. The legend on Sir Max's drawing is as follows:
Celestial Attributions. Virgin: 'That's a very doubtful Home.' Child: 'It seems to me rather as if it might be an early
Berenson.' Virgin (flying off at inevitable tangent):
'Pooh! Nonsense! Bah Everything points to its being a particularly late Loeser.'
(Left arguing) The human object has the provisional label:
? Scuola di amico di Max. ?? Early venticento (sic).
Sir Max tells me that he remembers doing the drawing and giving it to Horne in the year I905 at Siena. The human object in the foreground is, of couse, Horne himself.1
1 The drawing is discussed in a letter (undated) from Max Beerbohm to Robert Ross, published in Robert Ross, Friend of Friends, edited by M. Ross, London [x952], p. 220.
Tura's 'Virgin and Child Enthroned' in the National Gallery BY MARTIN DAVIES
COSIMO TURA'S Virgin and Child Enthroned (No. 772 of the National Gallery) has been cleaned, and is at the moment of writing under restoration.
Under two layers of repaint, fragments of the original organ- case have been revealed; Fig. I6 shows what remains, without any new restoration. The inscription is as follows: ... ER/... LLA/ ... GENS(?)/... T. A../.. R(?)TVM. ... . DDE.. DI../ ... M ... SA/ ... T ../... S(?)...
On the organ-case or base of the Roverella altarpiece in S. Giorgio fuori at Ferrara, Baruffaldil recorded an inscription Surge Puer Roverella... This is the beginning of two lines by Lodovico Bigo, printed in his Tumultuariorum Carminum Lib. III, 1492:
Surge puer. rouorella fores gens pultat.2 apertum Redde aditum. pulsa lex ait: intus eris.
1 GIROLAMO BARUFFALDI: Vita di Cosimo Tura, ed. Giuseppe Petrucci, Bologna [1836], p. I8. Cf. also BARUFFALDI: Vite de' Pittori e Scultori Ferraresi, Ferrara [1844], Vol. I, p. 77 ff.
' For pulsat.
i68
Surge puer. rouorella fores gens pultat.2 apertum Redde aditum. pulsa lex ait: intus eris.
1 GIROLAMO BARUFFALDI: Vita di Cosimo Tura, ed. Giuseppe Petrucci, Bologna [1836], p. I8. Cf. also BARUFFALDI: Vite de' Pittori e Scultori Ferraresi, Ferrara [1844], Vol. I, p. 77 ff.
' For pulsat.
i68
Surge puer. rouorella fores gens pultat.2 apertum Redde aditum. pulsa lex ait: intus eris.
1 GIROLAMO BARUFFALDI: Vita di Cosimo Tura, ed. Giuseppe Petrucci, Bologna [1836], p. I8. Cf. also BARUFFALDI: Vite de' Pittori e Scultori Ferraresi, Ferrara [1844], Vol. I, p. 77 ff.
' For pulsat.
i68
Surge puer. rouorella fores gens pultat.2 apertum Redde aditum. pulsa lex ait: intus eris.
1 GIROLAMO BARUFFALDI: Vita di Cosimo Tura, ed. Giuseppe Petrucci, Bologna [1836], p. I8. Cf. also BARUFFALDI: Vite de' Pittori e Scultori Ferraresi, Ferrara [1844], Vol. I, p. 77 ff.
' For pulsat.
i68
Clearly, the fragments preserved on the National Gallery picture correspond.
Hitherto, I think, it would have been unreasonable to doubt that the picture is the central part of the Roverella altarpiece; yet confirmation of the identity is welcome.
There is space on the organ-case for more than Bigo's two lines. On what little remains of the original paint in this area, one mark seems to be the corner of some letter or number; no other original marks could still exist on this particular line, so it cannot be excluded that there was here perhaps a date in Roman figures. Lower down, no trace of letters can now be seen; although marks for lines are drawn on the paint here, it is probable that no inscription was ever written.
Chinese Paintings and Ceramics of the Ch'ing Period in the British Museum BY A. BULLING
IT is an excellent idea of the Department of Oriental Antiquities to arrange exhibitions twice a year. Each exhibition is an inspiring tribute to the proverbial wealth of the British Museum.
On both sides of the entrance-wall is shown the unique collec- tion of woodcuts bought in Japan by Engelbert Kaempfer in the years I690-2. They were given to the Museum by Sir Hans Sloane shortly after 1753, which accounts for their amazingly good condition and fresh colours. They were most likely printed in Suchou which was a centre of art during the early years of the Manchu regime. There are quite a number which are now shown for the first time. It is surprising how little is known about these prints, though a few similar ones are to be found in other collec- tions.1 The Kaempfer Collection contains prints belonging to different series. Quite a few have been taken out of an album showing theatrical scenes, others belonged to a series of illustra- tions of popular novels; others again to a collection of landscapes. Here blue predominates over all the other colours. By far the most beautiful prints are those of birds and flowers which resemble the prints in the Mustard Seed Garden. The composition in line as well as in colour is always delicately balanced and often the decorative effect is enhanced by an inscription which stresses the poetical meaning of the picture. For example, the black of the swallows (Fig. 20) is deep and shiny in contrast to the lighter tones of the plum blossoms, branches, and bamboo shoots, which are printed in a light yellow, grey, reddish-brown, and green. The still-lifes shown on Screen iv are less attractive. The rose-pink colours on some of these prints have puzzled collectors of porce- lain, because this colour was generally believed to have been introduced into China from Europe not before the very end of the K'ang-hsi period.
In the eighteenth century Suchou loses its importance as an art centre and its place is partly taken by Yangchou. It is, therefore, fortunate that the exhibition gives us the unique possibility of studying the group of painters known under the name of 'The Eight Strange Masters of Yangchou'. A few albums with sketches by Chin Nung and his pupil Lo Ping, by Lo Shan, Hua Yen and Wang Shih-shen are exhibited together in one of the cases in the rear of the exhibition. Chin Nung was the most influential person-
Clearly, the fragments preserved on the National Gallery picture correspond.
Hitherto, I think, it would have been unreasonable to doubt that the picture is the central part of the Roverella altarpiece; yet confirmation of the identity is welcome.
There is space on the organ-case for more than Bigo's two lines. On what little remains of the original paint in this area, one mark seems to be the corner of some letter or number; no other original marks could still exist on this particular line, so it cannot be excluded that there was here perhaps a date in Roman figures. Lower down, no trace of letters can now be seen; although marks for lines are drawn on the paint here, it is probable that no inscription was ever written.
Chinese Paintings and Ceramics of the Ch'ing Period in the British Museum BY A. BULLING
IT is an excellent idea of the Department of Oriental Antiquities to arrange exhibitions twice a year. Each exhibition is an inspiring tribute to the proverbial wealth of the British Museum.
On both sides of the entrance-wall is shown the unique collec- tion of woodcuts bought in Japan by Engelbert Kaempfer in the years I690-2. They were given to the Museum by Sir Hans Sloane shortly after 1753, which accounts for their amazingly good condition and fresh colours. They were most likely printed in Suchou which was a centre of art during the early years of the Manchu regime. There are quite a number which are now shown for the first time. It is surprising how little is known about these prints, though a few similar ones are to be found in other collec- tions.1 The Kaempfer Collection contains prints belonging to different series. Quite a few have been taken out of an album showing theatrical scenes, others belonged to a series of illustra- tions of popular novels; others again to a collection of landscapes. Here blue predominates over all the other colours. By far the most beautiful prints are those of birds and flowers which resemble the prints in the Mustard Seed Garden. The composition in line as well as in colour is always delicately balanced and often the decorative effect is enhanced by an inscription which stresses the poetical meaning of the picture. For example, the black of the swallows (Fig. 20) is deep and shiny in contrast to the lighter tones of the plum blossoms, branches, and bamboo shoots, which are printed in a light yellow, grey, reddish-brown, and green. The still-lifes shown on Screen iv are less attractive. The rose-pink colours on some of these prints have puzzled collectors of porce- lain, because this colour was generally believed to have been introduced into China from Europe not before the very end of the K'ang-hsi period.
In the eighteenth century Suchou loses its importance as an art centre and its place is partly taken by Yangchou. It is, therefore, fortunate that the exhibition gives us the unique possibility of studying the group of painters known under the name of 'The Eight Strange Masters of Yangchou'. A few albums with sketches by Chin Nung and his pupil Lo Ping, by Lo Shan, Hua Yen and Wang Shih-shen are exhibited together in one of the cases in the rear of the exhibition. Chin Nung was the most influential person-
Clearly, the fragments preserved on the National Gallery picture correspond.
Hitherto, I think, it would have been unreasonable to doubt that the picture is the central part of the Roverella altarpiece; yet confirmation of the identity is welcome.
There is space on the organ-case for more than Bigo's two lines. On what little remains of the original paint in this area, one mark seems to be the corner of some letter or number; no other original marks could still exist on this particular line, so it cannot be excluded that there was here perhaps a date in Roman figures. Lower down, no trace of letters can now be seen; although marks for lines are drawn on the paint here, it is probable that no inscription was ever written.
Chinese Paintings and Ceramics of the Ch'ing Period in the British Museum BY A. BULLING
IT is an excellent idea of the Department of Oriental Antiquities to arrange exhibitions twice a year. Each exhibition is an inspiring tribute to the proverbial wealth of the British Museum.
On both sides of the entrance-wall is shown the unique collec- tion of woodcuts bought in Japan by Engelbert Kaempfer in the years I690-2. They were given to the Museum by Sir Hans Sloane shortly after 1753, which accounts for their amazingly good condition and fresh colours. They were most likely printed in Suchou which was a centre of art during the early years of the Manchu regime. There are quite a number which are now shown for the first time. It is surprising how little is known about these prints, though a few similar ones are to be found in other collec- tions.1 The Kaempfer Collection contains prints belonging to different series. Quite a few have been taken out of an album showing theatrical scenes, others belonged to a series of illustra- tions of popular novels; others again to a collection of landscapes. Here blue predominates over all the other colours. By far the most beautiful prints are those of birds and flowers which resemble the prints in the Mustard Seed Garden. The composition in line as well as in colour is always delicately balanced and often the decorative effect is enhanced by an inscription which stresses the poetical meaning of the picture. For example, the black of the swallows (Fig. 20) is deep and shiny in contrast to the lighter tones of the plum blossoms, branches, and bamboo shoots, which are printed in a light yellow, grey, reddish-brown, and green. The still-lifes shown on Screen iv are less attractive. The rose-pink colours on some of these prints have puzzled collectors of porce- lain, because this colour was generally believed to have been introduced into China from Europe not before the very end of the K'ang-hsi period.
In the eighteenth century Suchou loses its importance as an art centre and its place is partly taken by Yangchou. It is, therefore, fortunate that the exhibition gives us the unique possibility of studying the group of painters known under the name of 'The Eight Strange Masters of Yangchou'. A few albums with sketches by Chin Nung and his pupil Lo Ping, by Lo Shan, Hua Yen and Wang Shih-shen are exhibited together in one of the cases in the rear of the exhibition. Chin Nung was the most influential person-
Clearly, the fragments preserved on the National Gallery picture correspond.
Hitherto, I think, it would have been unreasonable to doubt that the picture is the central part of the Roverella altarpiece; yet confirmation of the identity is welcome.
There is space on the organ-case for more than Bigo's two lines. On what little remains of the original paint in this area, one mark seems to be the corner of some letter or number; no other original marks could still exist on this particular line, so it cannot be excluded that there was here perhaps a date in Roman figures. Lower down, no trace of letters can now be seen; although marks for lines are drawn on the paint here, it is probable that no inscription was ever written.
Chinese Paintings and Ceramics of the Ch'ing Period in the British Museum BY A. BULLING
IT is an excellent idea of the Department of Oriental Antiquities to arrange exhibitions twice a year. Each exhibition is an inspiring tribute to the proverbial wealth of the British Museum.
On both sides of the entrance-wall is shown the unique collec- tion of woodcuts bought in Japan by Engelbert Kaempfer in the years I690-2. They were given to the Museum by Sir Hans Sloane shortly after 1753, which accounts for their amazingly good condition and fresh colours. They were most likely printed in Suchou which was a centre of art during the early years of the Manchu regime. There are quite a number which are now shown for the first time. It is surprising how little is known about these prints, though a few similar ones are to be found in other collec- tions.1 The Kaempfer Collection contains prints belonging to different series. Quite a few have been taken out of an album showing theatrical scenes, others belonged to a series of illustra- tions of popular novels; others again to a collection of landscapes. Here blue predominates over all the other colours. By far the most beautiful prints are those of birds and flowers which resemble the prints in the Mustard Seed Garden. The composition in line as well as in colour is always delicately balanced and often the decorative effect is enhanced by an inscription which stresses the poetical meaning of the picture. For example, the black of the swallows (Fig. 20) is deep and shiny in contrast to the lighter tones of the plum blossoms, branches, and bamboo shoots, which are printed in a light yellow, grey, reddish-brown, and green. The still-lifes shown on Screen iv are less attractive. The rose-pink colours on some of these prints have puzzled collectors of porce- lain, because this colour was generally believed to have been introduced into China from Europe not before the very end of the K'ang-hsi period.
In the eighteenth century Suchou loses its importance as an art centre and its place is partly taken by Yangchou. It is, therefore, fortunate that the exhibition gives us the unique possibility of studying the group of painters known under the name of 'The Eight Strange Masters of Yangchou'. A few albums with sketches by Chin Nung and his pupil Lo Ping, by Lo Shan, Hua Yen and Wang Shih-shen are exhibited together in one of the cases in the rear of the exhibition. Chin Nung was the most influential person- ality among this group of artists and his two albums are a good example of the simplicity and sincerity for which he is famous. In general these painters rejected the mannerism and eclecticism of
1 E.g., Coll. Vever; Curtis; Fribourg, and others (cf. MARIAN DENSMORE:
'Essai pour servir a l'tude de la gravure chinoise', Revue des Arts Asiatiques, Tome xi, 1937).
ality among this group of artists and his two albums are a good example of the simplicity and sincerity for which he is famous. In general these painters rejected the mannerism and eclecticism of
1 E.g., Coll. Vever; Curtis; Fribourg, and others (cf. MARIAN DENSMORE:
'Essai pour servir a l'tude de la gravure chinoise', Revue des Arts Asiatiques, Tome xi, 1937).
ality among this group of artists and his two albums are a good example of the simplicity and sincerity for which he is famous. In general these painters rejected the mannerism and eclecticism of
1 E.g., Coll. Vever; Curtis; Fribourg, and others (cf. MARIAN DENSMORE:
'Essai pour servir a l'tude de la gravure chinoise', Revue des Arts Asiatiques, Tome xi, 1937).
ality among this group of artists and his two albums are a good example of the simplicity and sincerity for which he is famous. In general these painters rejected the mannerism and eclecticism of
1 E.g., Coll. Vever; Curtis; Fribourg, and others (cf. MARIAN DENSMORE:
'Essai pour servir a l'tude de la gravure chinoise', Revue des Arts Asiatiques, Tome xi, 1937).
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15. Cdricature7 by Domenichino. Pen and brown ink on white paper7 26-5 by I9-2 cm. (Chatsworth Estates Company.)
15. Cdricature7 by Domenichino. Pen and brown ink on white paper7 26-5 by I9-2 cm. (Chatsworth Estates Company.)
15. Cdricature7 by Domenichino. Pen and brown ink on white paper7 26-5 by I9-2 cm. (Chatsworth Estates Company.)
15. Cdricature7 by Domenichino. Pen and brown ink on white paper7 26-5 by I9-2 cm. (Chatsworth Estates Company.)
16. Detail of Organ-case from the central panel of the Roverella altar- piece, by Cosimo Tura. (National Gallery.)
16. Detail of Organ-case from the central panel of the Roverella altar- piece, by Cosimo Tura. (National Gallery.)
16. Detail of Organ-case from the central panel of the Roverella altar- piece, by Cosimo Tura. (National Gallery.)
16. Detail of Organ-case from the central panel of the Roverella altar- piece, by Cosimo Tura. (National Gallery.)
17. l he llescent into Hell, atter Andrea Mantegna. Larly ltalian engraving. 17. l he llescent into Hell, atter Andrea Mantegna. Larly ltalian engraving. 17. l he llescent into Hell, atter Andrea Mantegna. Larly ltalian engraving. 17. l he llescent into Hell, atter Andrea Mantegna. Larly ltalian engraving.
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