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Gruner's Terra-Cotta Architecture-continued.

One great obstacle to the general introduction of Terra-Cotta as a building material in England is the want of familiarity on the part of Architects with the modesin which it can be most artistically combined. The object of Mr. Gruner's work on Terra-Cotta architecture is to supply this deficiency and to furnish approved patterns and models. Many parts of Italy are similarly situated to England as regards building materials, and from early times Terra-Cotta has been there very generally used as the only means of meeting the difficulty. The Italians, with their inherent taste and artisti education, have worked it into forms of the most artistic beauty. In the north of Italy Terra-Cotta has been employed, not only in the erection of palaces and civic buildings, but also in churches and edifices of the most monumental class.

The employment of this material has been attended with such signal success that the Terra-Cotta buildings of Italy, either in the Mediæval or Renaissance style, are at the present day, on the whole, better preserved, and generally more admired, than those erected in stone or marble.

With a knowledge of these facts before us, it is hoped that, by placing in the hands of the British public detailed drawings of a selection of the best Italian examples, the difficulties that impede the introduction of Terra-Cotta may be removed. Their study will enable the architect of the present day to start at once from the point attained by the long experience of the Italians in the art, and from this source to produce designs which cannot fail to be pleasing and satisfactory.

In order to meet these wants, the examples enumerated in the subjoined lists have been selected. They are such as seem best adapted not only to the requirements of modern church architecture, but also such as may be advantageously used as suggestions for the decoration of either civic buildings or private dwelling-houses in town or country.

The drawings here reproduced in colour are the result of the long labours and studies of Signoi Lose, whose taste and long practice of the eye has recovered—in many cases from buildings reduced to ruin by war, wanton dilapidation, dirt and neglect, rather than from effects of the weather-ornaments obliterated from the view of an ordinary observer. To a certain extent his drawings may be styled discoveries. By patiently retracing, with his practised eye, every tint, every shade of colour, every scratch, he bas succeeded in rescuing and presenting to us the Italian architect's original plans and designs restored to a freshness which they possessed when first built,



1. Church of St. Eufemia, at Pavia.

27. Upper portion of the Façade of SS. Fermo 2. San Pietro in Ciel d'Oro, at Pavia.

and Rustico. 3. Elevation and Section of Certosa, Chiara- 28. The Campanile of SS. Fermo and Rustico. valle.

29. Lateral Apse of the Certosa, near Pavia. 4. Spire of Certosa. Chiaravalle.

30. Cloisters of the Certosa, near Pavia. 5-6. Campanile di St. Gottardo, at Milan. 31. Arcade from the same. 7.*Front of Church of Santa Maria del Car- 32. Another Arcade from the same. mine, Pavia..

33. Various Spires and Chimneys, and Clock 8. Part of Façade of Santa Maria del Carmine.

Tower of the Certosa. 9. Part of Central Window of the same.

34. Front View of Sta. Maria in Strada, Monza 10. Window in Façade of the same.

35. Entrance of Sta. Maria in Strada. 11. Campanile of the same.

36. Two Windows at the sides of the Cathedral 12. Part of the Façade of St. Francisco, Pavia.

of Monza. 13.*Plan, Elevation, &c. of the Palace of Gian- 37. View of the Santuario di Crema (PhotoGaleazzo Visconti, Pavia.

graph). 14. One of the Sides of the Court-yard.

38. View of the upper portion of the Santuario 15. Another side of the same.

at Crema. 16.*Façade of the Cathedral of Crema.

39. Court in a Private House, at Pavia. 17.*Upper Central Window in the Façade of the 40. Upper part of a Private House, at Pavia. Cathedral of Crema.

41. Portion of a Palace of the Visconti and 18.* Upper Window of the same, left side.

Sforzas, at Cusago, 19.*Upper Window of the same, right side. 42. Elevation of a House, at Pavia, near tho 20.*Lower Window from the same Façadc.

Hospital. 21. Details of the Cathedral at Crema.

43. Window in a Private House, at Pavia. 22.*Other details of the same.

44. Casa Arcimboldi, near Milan. 23. Campanile of Cathedral of Crema.

45. (a) Villa near the Madonna del Monte 24. Upper part of the same.

Varese ; (b) Villa Ubaldo, near Saronne 25.*Details from the Campanile, Crema.

46. Window of a Casino di Campagna. 26.* Façade of SS. Fermo and Rustico, at Cara- 47. Portion of a Private House, at Brescia. vaggio.

48. Upper portion of a Campanile, at Pavia. * Line Engravings.



Haji Khalfae Lexicon Encyclopædicum et

Bibliographicum, Arabice et Latine, edidit G. FLUEGEL, 7 vols. 4to. complete, cloth, reduced from £6.68 to £4. 48

Leipzig, 1835-54 the same, 7 vols. impl. 4to. LARGE PAPER, cloth, reduced from £8.88 to £5. 58

1835-54 Sets completed. This work is, without comparison, the most useful of all the Fund Publications. It stands in the same relation to Oriental Literature as Watts' Bibliotheca and Graesse's Tresor do to that of the Western World. The arrangement is alphabetic, according to the names of the works, (an INDEX OF AUTHORS being added at the end), and comprises descriptions of shove 15,000 books in Arabic, Persian, and Turkish ; with statements of the date when the writers flourished, and many other useful particulars.

Mustafá ben Abdallah Kátib Tchelebi, called Hadji Khalfeh, was a learned Turk, who, early in the seventeenth century, held a high official position under Amurath IV. At a later period, he collected a large library, and wrote several works, chiefly historical ; but the greatest monument of his immense industry and erudition remains the Bibliographical Lexicon, (Kashf uz-Zanun.) The Bibliothèque of D'Herbelot consists principally of an abstract from defective texts of the work of Hadjî Khalfeh ; while Flügel's edition is based upon the best copies in existence, which contain the corrections and additions of later writers.

Ready, a New Edition of Hawkins' Silver

Silver Coins of England, arranged and described, with Remarks on British Money, previous to the Saxon Dynasties, by E. HAWKINS, Keeper of Coins and Antiquities in the British Museum, revised and enlarged by R. Ll. KENYON, Esq., thick 8vo. 55 plates containing figures of about 650 Coins, by F. W. Fairholt and F. J. Lees, half morocco, 368

1876 A new edition of Mr. Hawkins' “ Silver Coins of England,” being greatly required, the present has been undertaken by Mr. R. L. Kenyon, a grandson of Mr. Hawkins. Considerable alterations and additions have been found necessary, in order to incorporate in the text all the information on the subject which has been acquired since the year 1841, when the book was first published. Among other things, the numerous new types of the contemporaries of Alfred found at Cuerdale in 1847, will be described in this edition ; Coins will be found attributed to King John, the Empress Matilda, the Earl of Warwick, &c., and the parts relating to British coins, to the short cross pennies attributed to Henry II., and to the Coins of Henry IV., V., and VI., have been entirely re-written. Some new plates by Mr. J. F. Lees, Member of the Numismatic Society, which will be added will contain nearly 100 additional coins, and it is hoped that the new edition will worthily maintain the reputation of the old one. Only a small edition has been printed. Holbein's Portraits of the Court of Henry the

EIGHTH, THE LARGE EDITION, with eight additional and unpublished portraits of the French Court, likewise engraved by BARTOLOZZI ; Proofs, beautifully finished in coloured tints ; mounted on stout drawing paper, ruled with red lines, atlas folio, (pub, at £52. 108) hf. bound morocco extra, gilt edges, £20.


Holbein's Portraits of the Court of Henry the

EIGHTH, a series of 80 exquisitely beautiful plates, engraved by BAR. TOLOZZI, COOPER, and others, and printed on tinted paper in imitation of the original highly finished coloured drawings preserved in the Royal Collection at Windsor, with Historical and Biographical letter-press by EDMUND LODGE, Esq., Norroy King of Arms. Published by John Chamberlaine, Esq., late Keeper of the Royal Collection of Drawings and Medals, impl. 4to. (pub. at £15. 158) elegantly hf. bound Turkey morocco e.ctra, gilt edges, £5. 158 60

1828 The small edition of Holbein's Portraits was undertaken at the suggestion and under the patronage of his late Majesty George IV., with whom the original book had always been an especial favourite, but too large for his book-tables.

It is unquestionably the most pleasing and interesting volume of Portraits erer published in this country, and is a no less delightful ornament to the boudoir and drawing-room table, than valuable in the library as an historical and pictorial record of a most remarkable period.

The graceful and delicate colouring preserves all the effect of the original highly-finished drawings, and at the same time communicates an animation to the features which is quite enchanting. --Not more than ten of the subjects are included in Lodge's Portraits, and still fewer are to be found in any other Collection, which gives this volume an additional value.

“A very charming, costly, and captivating performance.”- Dibdin. Hogarth's Works engraved by himself, 153 fine

plates including the two well-known “suppressed plates," with elaborate letter-press descriptions, by J. Nichols, atlas folio, excellent clear impressions, (pub. at £50.) elegantly hf. bound morocco extra, full gilt back and gilt edges, with a secret pocket for the suppressed plates, £9.98

1822 Besides the two suppressed plates, every purchaser will be entitled to a small snuff-box engraving of the same character, which is not yet in any of the Hogarthian collections.

Nearly £1000. have been expended in money and time to render the copies now offered for sale worthy of the genius of Hogarth. The present impressions are quite as good as those issued early this century. Whoever wishes to satisfy himself can compare the present copies with plates issued nntil lately. India. BALFOUR’S CYCLOPÆDIA of INDIA and of EASTERN and

SOUTHERN ASIA, Commercial, Industrial, and Scientific Products of the Mineral, Vegetable, and Animal Kingdoms, Useful Arts and Manufactures, edited by EDWARD BALFOUR, L.R.C.S.E., the second edition, containing 5814 pages with about 60,000 headings, 5 thick volg. royal 8vo. (pub. at £12. 12s) cloth, £6. 68

Madras, 1873 “ The work offers to supply much useful information, and is, in the opinion of Government, worthy of encouragement."-Extract from the Minutes of Consultation of the Right Honourable the Governor in Council, Modras, 18th June, No. 812 of 1857.

"The Library of this Society has been furnished by Government with a copy of the Cyclopædia of India and Eastern Asia, by Edward Balfour, L.R.C.S.E., Surgeon, Madras Army. There is no question but that his long residence in India, his scientific researches and his very variety of duties eminently fit him for a work of this character, which, however imperfect and incomplete as a whole, will be of great utility and prove a valuable aid to others. "--Madras Journal, New Series, Vol. II. No. VI.

" Balfour's Cyclopædia. This is unquestionably one of the most important works that have litherto been published in India. * Few men in India are more likely to do justice to such an'undertaking.”—The Atheneum, Madras, Thursday, April 1st, 1858.

Inman's (Dr. Th.) Ancient Faiths embodied in

Ancient Names: or an attempt to trace the Religious Belief, Sacred Rites, and Holy Emblems of certain Nations, second edition, 2 stout vols. 8vo. numerous plates and woodcuts, (pub. at £3.) new cloth, £2.

1872 The boldness of Dr. Inman's opinions and the variety and extent of his reading, make this one of the most remarkable books of our time. The large number of students who are now groping after trath in the history of Religions, will find in "Ancient Faiths” ample food for their digestion; a style and treatment of the subject widely different from the unsteady rambling of GODFREY MIGGins, whose Anacalypsis has formed for many their first Revelation in the same direction of inquiry. Inman's Ancient Faiths, and Modern, a dis

sertation upon Worships, Legends and Divinities in Central and Western Asia, Europe, and elsewhere, before the Christian Era, 8vo. xx, 478, Index, XLVI pp. cloth, 208

New York. 1876 This forms Vol. III of that celebrated book. The present work is, happily, not based work, “ Inman's Ancient Faiths."

on names, but on published collections of The many attacks upon the Bible which myths and legends, and on translations f have been made by scholars and others during sacred books, which can be verified. Of crithe last century and a half, have bad their due tical tact, indeed, there is little or no display; effect, spreading a sentiment of scepticism but the argument, though quite in the rough, which is wholesome enough in its way, as tend- is effective. Christianity is not an unique reliing to foster a spirit of independent judgment gion, but rooted in nature-worship, and its in the minds of men; but few of those who sacred books are a medley of “gold, silver, think (or strive to think) in these islands pos- precious stones, hay, stubble." There still, sess the opportunity of studying in the vernacu- however, remains the question, What is it that lar a great mass of facts and opinions, drawn gives the Biblical literature and the Biblical together in accessible form, upon the subject religion its strange fascination to childien of of Biblical religion. Dr. Inman deserves the the West? Granted that it has grown up thanks of all who would learn something upon naturally, granted that it is equalled or excelled this subject, for the industry and zeal with which in many points by other religions, is there not he has collected instances and grouped facts, an undefined something which justifies its derived from a vast number of the books and claim to be the religion of the highest races of monuments of all creeds. The unlearned world the world, so long, that is, as they need a relithus obtains a true idea of the formidable bat- gion ? And is this undefined something really teries that are playing upon the structure of three uudefinable ? Dr. Inman appears to deny this thousand years; that stronghold of which many stamp of superiority, but he writes in the spirit of the defences have already crumbled away, of the advocate, and has no true sympathy with and others are fast perishing, but which still the religions spirit in any of its manifestations. contains the Palladium of Christendom, and His own sketch of a religion of the future, on claims the allegiance of the best part of p. 473, is of the most unidcalistic character. civilization. No one, to wbatever class or The appendix contains a letter by Mr. G. religious denomination he may belong, can St. Clair on the origin of the Sabbath, followed deny to this vigorous writer the title of an by the remarks of the author. Mr. St. Clair earnest and independent Thinker.

should have referred to Mr. G. Smith s Dr. Inman's pathetic preface would of “Annals of Assurbanipal," where he would itself disarm criticism. But his work on have found full particulars as to the Assyria' * Ancient Faiths and Modern" really contains Sabbath. Suum cuique. But it is going too a number of accurate and important facts, far to infer with Dr. Inman that the Sabbath calculated to lead the reader to a more histo- was borrowed by the Jews from Babylonia in rical estimate of Christianity. We are no the time of the second Isaiah. What becomes admirers of his former works on “ Ancient of the Decalogue ? Did the Hebrews bring Faiths Embodied in Ancient Names," in no religious forms with them from their early which he commits as many acts of treason Mesopotamian home? against philology as there are pages in the

Westminster Review, April, 1876. Italian School of Design, consisting of 91 Plates, chicily

engraved by BARTOLOZZI, after the original Pictures and Drawings of Guercino, Michael Angelo, Domenichino, Annibale Ludovico and Agostino Caracci, Pietro da Cortona, Carlo Maratti, and others, in the Collection of Her Majesty, impl. 4to. (pub. at £10. 108) hf. bound morocco, gilt edges, £2, 128 6d



BERNARD QUARITCH'S CATALOGUE OF Iron Work: Hefner Altenek, Serrurerie ou

les Ouvrages en FER FORGÉ DU MOYEN AGE et de la Renaissance, impl. 4to. 84 beautifully engraved plates of every variety of Mediæval Ornamental Iron Work, selected from the Ancient Buildings and private Collections chiefly in Germany, with a French version of the text by Rambe, (pub. at £4. 48) in three cloth portfolios, 368

Paris, 1869 the same, LARGE PAPER (pub. at £6. 68) in three red cloth portfolios, £3. 38

The only good book on the Ornamental Iron Work of the Middle Ages and the Renaissance period, published in any country.

DESCRIPTION OF THE PLATES1. Iron Gate of the side Chapel of St. Ulric's í 22. Knocker, Soyter Collection. Part of a Church at Augsbourg.

Lock from the same. 2. Lock and Ring Handle from ancient Con- 23. Lock-plate, in repoussé, and engraved

vent of Landau (now the School of Arts) Ironwork. at Nuremberg

24. Wooden Coffer, covered with leather, richly 3. Altar Candlestick in Iron, from the ornamented in Iron. National Museum, Munich.

25-7. Various Door-handles, hinges, box-orna4. Padlock of the second half of the 15th ments and other Metal Work of the early Century from the same.

part of the 16th century. 6. Door Handle. Door Plates in Iron, 28. Mask of Punishment and Implements of chiselled and hammered work.

Torture of the 17th century. 6. Casket in Iron, date 1557, with ornaments 29-30. Spice-mill, with engraved ornaments, bitten in with acid.

of the 16th century. 7. Door Plate of a Knocker. Part of a Trunk 31. Hinges and Handles from Cabinets. Look in wrought and filed Iron.

Knocker from Bruges. 8. Money Coffer, from Munich. Wooden 32. Hinge and Door-handle from Munich.

Casket with wrought Iron Ornaments. 33. Hinge formerly belonging to the Church 9. Iron Knocker, with brass escutcheon. of Notre-Dame, Oberwesel.

Door Handles Knockers from 34. Lustre of the year 1480 from the Church Munich.

of Vreden in Westphalią. 10. Arm of a wax light, in the form of a 35. Two Statuettes of Apostles from the same

branch, with foliage of the 15th century, Lustre. from the Collection of M. Soyter, Augs- 36. Details of Accessories from the same bourg.

Lustre. 11. Iron Work of the early part of the 17th 37. Keys of the end of the 15th century.

century. 1. Door Handle from Aschaffen- 38. Sign of the Star Inn at Landshut. burg. 2. Hinges. Keys with ornamented 39. Locks and Keys of the end of the 15th bows.

Century. 12. Wrought-iron frame for a bell, from a 40. Hinges and Iron Door Ornaments. house in Munich.

41. Ironwork from Albert Dürer's House at 13. Hinge of an elegant Cabinet in possession Nuremberg, etc.

of Prince Hohenzollern-Sigmaringen. Part 42. Steel Scissors-Sheath. Ditto Hand Mirror. of a Hinge, Church of Viersen.

Iron Box, Sauvageot Collection. 14. Hinge in chiselled and repoussé Iron. 43. Locks and Keys from Neuenheim, Munich,

Lock of a Coffer. Ornamental perforated Ratisbon, and M. Soyter's Collection. Keys.

44-45. Locks of the 15th century. 15. Three Borders of Trunk-Locks in wrought 46. Knocker, perforated and filed work. Iron.

47. Tablets and Pin-case in Iron, damascened 16. Ornament of the middle of the 15th cen- in Gold and Silver. tury, perforated work.

48. Door of the Church of Kaiserheim. Keys. 17. Wrought Iron Candlesticks of the 17th Bosses from Bookbindings. century.

49. Trivet of the end of the 15th century. 18. Various Ornaments in Wronght Iron, 50. Iron Gate of the Tomb of the Zillner middle of the 15th century.

Family in the Cemetery of St. Peter at 19 Ironwork of Doors of the end of the 15th

Salzburg. century.

51. Double Key, Pincers, etc. from the Hotel 20. House of M. Petersen at Nuremberg, ca. de Cluny;

1590. Examples of ancient Ironwork in 52. Torch-holder and Lock-plates. the honse.

53. Coffer with Iron Furniture, etc. 21. Fastening of a Lady's Satchel, Keys, etc. 54. Iron Work of a Door of the 11th century, 1460-80.

in the Castle of Brunswick.


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