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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 Medieval 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 Signor 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 has 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,

PLATE.

1. Church of St. Eufemia, at Pavia.
2. San Pietro in Ciel d'Oro, at Pavia.

LIST OF PLATES.

3. Elevation and Section of Certosa, Chiaravalle.

4. Spire of Certosa. Chiaravalle.

5-6. Campanile di St. Gottardo, at Milan.
7.*Front of Church of Santa Maria del Car-
mine, Pavia..

8. Part of Façade of Santa Maria del Carmine.
9. Part of Central Window of the same.
10. Window in Façade of the same.
11. Campanile of the same.

12. Part of the Façade of St. Francisco, Pavia.
13.*Plan, Elevation, &c. of the Palace of Gian-
Galeazzo Visconti, Pavia.

14. One of the Sides of the Court-yard.
15. Another side of the same.
16.*Façade of the Cathedral of Crema.
17.*Upper Central Window in the Façade of the
Cathedral of Crema.

18.*Upper Window of the same, left side.
19.*Upper Window of the same, right side.
20.*Lower Window from the same Façade.
21. Details of the Cathedral at Crema.
22.*Other details of the same.

23. Campanile of Cathedral of Crema.
24. Upper part of the same.
25.*Details from the Campanile, Crema.
26.*Façade of SS. Fermo and Rustico, at Cara-
vaggio.

PLATE.

27. Upper portion of the Façade of SS. Fermo
and Rustico.

28. The Campanile of SS. Fermo and Rustico.
29. Lateral Apse of the Certosa, near Pavia.
30. Cloisters of the Certosa, near Pavia.
31. Arcade from the same.

32. Another Arcade from the same.

33. Various Spires and Chimneys, and Clock Tower of the Certosa.

34. Front View of Sta. Maria in Strada, Monza 35. Entrance of Sta. Maria in Strada.

36. Two Windows at the sides of the Cathedral of Monza.

37. View of the Santuario di Crema (Photograph).

38. View of the upper portion of the Santuario
at Crema.

39. Court in a Private House, at Pavia.
40. Upper part of a Private House, at Pavia.
41. Portion of a Palace of the Visconti and

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43. Window in a Private House, at Pavia. 44. Casa Arcimboldi, near Milan.

45. (a) Villa near the Madonna del Monte Varese; (b) Villa Ubaldo, near Saronne 46. Window of a Casino di Campagna. 47. Portion of a Private House, at Brescia. 48. Upper portion of a Campanile, at Pavia. *Line Engravings.

Haji Khalfa Lexicon Encyclopædicum

et

Bibliographicum, Arabice et Latine, edidit G. FLUEGEL, 7 vols. 4to. com-
plete, cloth, reduced from £6. 6s to £4. 4s
Leipzig, 1835-54

the same, 7 vols. impl. 4to. LARGE PAPER, cloth, reduced from £8. 8s 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 above 15,000 books in Arabic, Persian, and Turkish; with statements of the date when the writers flourished, and many other useful particulars.

Mustafa ben Abdallah Kátib Tchelebî, called Hadjî 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 in 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 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, 36s 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 1842, 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. 10s) hf. bound morocco extra, gilt edges, £20. 1792-1800

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. 15s) elegantly hf. bound Turkey morocco extra, gilt edges, £5. 158 6d 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 ever 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 CYCLOPEDIA 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 vols. royal 8vo. (pub. at £12. 12s) cloth, £6. 6s 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, Madras, 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 hitherto been published in India. Few men in India are more likely to do justice to such an undertaking."-The Athenæum, Madras, Thursday, April 1st, 1858,

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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 truth 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 HIGGINS, whose Anacalypsis has formed for many their first Revelation in the same direction of inquiry,

Inman's Ancient Faiths, and Modern, a dissertation upon Worships, Legends and Divinities in Central and Western Asia, Europe, and elsewhere, before the Christian Era, 8vo. xx, 478, Index, XLVI pp. cloth, 20s New York. 1876 book. The present work is, happily, not based

This forms Vol. III of that celebrated work, "Inman's Ancient Faiths."

The many attacks upon the Bible which have been made by scholars and others during the last century and a half, have had their due effect, spreading a sentiment of scepticism which is wholesome enough in its way, as tending to foster a spirit of independent judgment in the minds of men; but few of those who think (or strive to think) in these islands possess the opportunity of studying in the vernacular a great mass of facts and opinions, drawn together in accessible form, upon the subject of Biblical religion. Dr. Inman deserves the thanks of all who would learn something upon this subject, for the industry and zeal with which he has collected instances and grouped facts, derived from a vast number of the books and monuments of all creeds. The unlearned world thus obtains a true idea of the formidable batteries that are playing upon the structure of three thousand years; that stronghold of which many of the defences have already crumbled away, and others are fast perishing, but which still contains the Palladium of Christendom, and claims the allegiance of the best part of civilization. No one, to whatever class or religious denomination he may belong, can deny to this vigorous writer the title of an earnest and independent Thinker.

Dr. Inman's pathetic preface would of itself disarm criticism. But his work on "Ancient Faiths and Modern" really contains a number of accurate and important facts, calculated to lead the reader to a more historical estimate of Christianity. We are no admirers of his former works on "Ancient Faiths Embodied in Ancient Names," in which he commits as many acts of treason against philology as there are pages in the

on

names, but on published collections of myths and legends, and on translations f sacred books, which can be verified. Of critical tact, indeed, there is little or no display; but the argument, though quite in the rough, is effective. Christianity is not an unique religion, but rooted in nature-worship, and its sacred books are a medley of "gold, silver, precious stones, hay, stubble." There still, however, remains the question, What is it that gives the Biblical literature and the Biblical religion its strange fascination to children of the West? Granted that it has grown up naturally, granted that it is equalled or excelled in many points by other religions, is there not an undefined something which justifies its claim to be the religion of the highest races of the world, so long, that is, as they need a religion ? And is this undefined something really undefinable? Dr. Inman appears to deny this stamp of superiority, but he writes in the spirit of the advocate, and has no true sympathy with the religious spirit in any of its manifestations. His own sketch of a religion of the future, on p. 473, is of the most unidealistic character.

The appendix contains a letter by Mr. G. St. Clair on the origin of the Sabbath, followed by the remarks of the author. Mr. St. Clair should have referred to Mr. G. Smith's "Annals of Assurbanipal," where he would have found full particulars as to the Assyrian Sabbath. Suum cuique. But it is going too far to infer with Dr. Inman that the Sabbath was borrowed by the Jews from Babylonia in the time of the second Isaiah. What becomes of the Decalogue? Did the Hebrews bring no religious forms with them from their early Mesopotamian home?

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. 10s) hf. bound morocco, gilt edges, £2. 12s 6d

1842

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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 Medieval Ornamental Iron Work, selected from the Ancient Buildings and private Collections chiefly in Germany, with a FRENCH version of the text by RAMÉE, (pub. at £4. 48) in three cloth portfolios, 36s

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

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

DESCRIPTION OF THE PLATES

1. Iron Gate of the side Chapel of St. Ulric's Church at Augsbourg.

2. Lock and Ring Handle from ancient Convent of Landau (now the School of Arts) at Nuremberg.

8. Altar Candlestick in Iron, from the National Museum, Munich.

4. Padlock of the second half of the 15th Century from the same.

5. Door Handle. Door Plates in Iron, chiselled and hammered work.

6. Casket in Iron, date 1557, with ornaments bitten in with acid.

7. Door Plate of a Knocker. Part of a Trunk
Look in wrought and filed Iron.

8. Money Coffer, from Munich. Wooden
Casket with wrought Iron Ornaments.
9. Iron Knocker, with brass escutcheon.
Door Handles or Knockers from
Munich.

10. Arm of a wax light, in the form of a

branch, with foliage of the 15th century, from the Collection of M. Soyter, Augsbourg.

11. Iron Work of the early part of the 17th century. 1. Door Handle from Aschaffenburg. 2. Hinges. Keys with ornamented

bows.

12. Wrought-iron frame for a bell, from a house in Munich.

13. Hinge of an elegant Cabinet in possession of Prince Hohenzollern-Sigmaringen. Part of a Hinge, Church of Viersen.

14. Hinge in chiselled and repoussé Iron. Lock of a Coffer. Ornamental perforated Keys.

15. Three Borders of Trunk-Locks in wrought Iron.

16. Ornament of the middle of the 15th century, perforated work.

17. Wrought Iron Candlesticks of the 17th century.

18. Various Ornaments in Wrought Iron, middle of the 15th century.

19 Ironwork of Doors of the end of the 15th century.

20. House of M. Petersen at Nuremberg, ca. 1590. Examples of ancient Ironwork in the house.

21. Fastening of a Lady's Satchel, Keys, etc. 1460-80.

22. Knocker, Soyter Collection. Part of a
Lock from the same.

23. Lock-plate, in repoussé, and engraved
Ironwork.

24. Wooden Coffer, covered with leather, richly
ornamented in Iron.

25-7. Various Door-handles, hinges, box-orna-
ments and other Metal Work of the early
part of the 16th century.

28. Mask of Punishment and Implements of
Torture of the 17th century.

29-30. Spice-mill, with engraved ornaments,
of the 16th century.

31. Hinges and Handles from Cabinets.
Knocker from Bruges.

32. Hinge and Door-handle from Munich.
33. Hinge formerly belonging to the Church
of Notre-Dame, Oberwesel.

34. Lustre of the year 1480 from the Church
of Vreden in Westphalia.

35. Two Statuettes of Apostles from the same
Lustre.

36. Details of Accessories from the same
Lustre.

37. Keys of the end of the 15th century.
38. Sign of the Star Inn at Landshut.
39. Locks and Keys of the end of the 15th

Century.

40. Hinges and Iron Door Ornaments.
41. Ironwork from Albert Dürer's House at
Nuremberg, etc.

42. Steel Scissors-Sheath. Ditto Hand Mirror.
Iron Box, Sauvageot Collection.

43. Locks and Keys from Neuenheim, Munich,
Ratisbon, and M. Soyter's Collection.
44-45. Locks of the 15th century.

46. Knocker, perforated and filed work.
47. Tablets and Pin-case in Iron, damascened
in Gold and Silver.

48. Door of the Church of Kaiserheim. Keys.
Bosses from Bookbindings.

49. Trivet of the end of the 15th century.
50. Iron Gate of the Tomb of the Žillner
Family in the Cemetery of St. Peter at
Salzburg.

51.

Double Key, Pincers, etc. from the Hotel
de Cluny.

52. Torch-holder and Lock-plates.

53. Coffer with Iron Furniture, etc.

54. Iron Work of a Door of the 11th century,

in the Castle of Brunswick.

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