RENAISSANCE TAPESTRIES
The date of the beginning of the Renaissance tapestries is well defined.
In 1515 came the order to Brussels to execute tapestries of _The Acts of
the Apostles_ from the cartoons of Raphael. The Pope required them for
the Sistine Chapel. This was the beginning of the decline of the art of
Flemish tapestry weaving.
Raphael was not accustomed to designing cartoons for tapestry. His
methods were unsuitable for translation into fabric. He set the
_tapissiere_ problems to solve in paint. Only the wonderful skill of the
Flemish workmen enabled them to produce tapestries that astonished
Europe. But a new method had to be adopted. Raphael had planned out both
his cartoons and his borders in every detail. Nothing was left to the
_tapissier_ but to copy with the minutest care every line, every shade
of colour expressed by the painter. The artist _tapissier_ became under
this new fashion only a master craftsman. The most pleasing feature of
the Gothic tapestries disappear--the riot of _millefleurs_, and the
spasmodic intrusion of fascinating little dogs and wild animals.
But if there were losses there were compensating gains. The whole art of
the Italian cartoonist was freer, more vital and less stilted than that
of his northern neighbour. The crowded figures disappeared and their
place was taken by one group accompanied only by a few subordinate
figures, but the central figures were perfect in their form. The Gothic
buildings of the background gave way to a rich Renaissance architecture.
The old woodland flowers were replaced by the luxuriant and exotic
verdure of the south. That the methods introduced by Raphael should
degenerate in the hands of artists of less genius was inevitable, and in
course of time the _tapissier_ was no longer capable of improving the
original design.
GROUP 18. _The Acts of the Apostles_ (10 Tapestries)
These tapestries are not the original ones woven for Pope Leo X, but are
reproductions which (from the absence of any tapestry mark) must have
been woven from the original cartoons within a very short space of time.
These cartoons, as has been said, were the work of Raphael Santi
assisted by his pupils. The original tapestries were executed by Pierre
van Aelst in gold, silk, and wool, under the supervision of Bernard van
Orley, who had been the pupil of the great Italian painter. They were
painted in 1519. Pierre van Aelst had been tapestry maker to Philip le
Bel and Charles V., and was probably the foremost weaver of his time in
Brussels. More than one reproduction was made, and it is probable that
one fell into the hands of the Emperor Charles. They are not mentioned,
however, before the inventories made by Philip II. The tenth piece in
the original series is not found in this collection on account of its
size, and may not have been included in the reproduction. A similar
series was in the possession of Henry VIII. of England and was bought at
the sale of Charles I.’s effects by Marquis del Carpio. It was inherited
by the house of Alba in 1662, and sold in 1823 to the English Consul in
Catalonia. George IV. refused to purchase it and it finally reached the
Berlin Museum.
For a time the cartoons of Raphael were lost. Seven of them, however,
were purchased by Charles I. on the advice of Rubens and ordered to be
reproduced at Mortlake. The cartoons are now in the South Kensington
Museum.
The tapestries represent the following subjects:
_Tapestry No. 1._ The miraculous draught of fishes.
_Tapestry No. 2._ St. Peter chosen by Christ as the head of the Church.
_Tapestry No. 3._ The miracle of the paralytic.
_Tapestry No. 4._ The death of Ananias.
_Tapestry No. 5._ The death of St. Stephen.
_Tapestry No. 6._ The conversion of St. Paul.
_Tapestry No. 7._ The blindness of Elymas.
_Tapestry No. 8._ St. Paul and St. Barnabas at Lystra.
_Tapestry No. 9._ St. Paul preaches at the Areopagus in Athens.
GROUP 19. _Vertumnus and Pomona_ (6 Tapestries)
Despite an occasional lapse in drawing, this series of tapestries is one
of the finest examples of pure Renaissance workmanship to be found in
the Spanish royal collection. The story, of course, is taken from Ovid,
and was a favourite one with the Flemish weavers. The tapestries show
the true Renaissance love of the open country and lovely gardens with a
wealth of flowers and foliage. They are purely decorative in intention,
and the figures are merely accessory.
No less than four copies of this series are in the Madrid collection.
The series reproduced in this volume was woven at Brussels and purchased
by the Emperor Charles V. at Anvers in 1546. It is in silk and wool,
heavily enriched with gold, and was the original from which the others
were copied.
Two other copies, also woven in gold, were made by Pannemaker at the
command of Philip II. These are hung in the State dining-hall of the
palace. The fourth copy, in silk and wool only, was made for John of
Austria, and by him bequeathed to Philip II.
_The Story of Scipio Africanus_ (6 Tapestries)
This fine series of tapestries offers an interesting contrast with the
other historical series already described, _The Conquest of Tunis_. The
story of Scipio is in pure Renaissance style, and though the designer of
the cartoons is unknown, they show very strongly the influence of Giulio
Romano, and may even have proceeded from his pencil. Only one piece of
the tapestry bears a weaver’s mark, which has not been deciphered. They
were inherited by Charles V. from his sister, Mary of Hungary, on her
death in 1558.
The tapestries represent incidents in the life of Publius Cornelius
Scipio, the elder, surnamed Africanus from his triumphs against the
Carthaginians. Scipio was one of Rome’s greatest generals, and also a
man of very considerable culture, who wrote his own memoirs in Greek. He
was also an accomplished orator and was popularly supposed to hold
direct communication with the gods.
The tapestries deal mostly with Scipio’s campaigns in Spain and Africa.
The year after his father’s death he had offered himself for the command
in Spain. In spite of his youth he was unanimously elected. He had
previously fought at the disastrous battles of Ticinus, the Trebia, and
Cannæ.
All Spain south of the Ebro was in the hands of the Carthaginians, but
the three great Punic generals were preoccupied with revolts in Africa
and were in disagreement amongst themselves. Taking advantage of this,
Scipio unexpectedly attacked and captured New Carthage, a large supply
of war materials falling into his hands. This victory he followed up in
209 B.C. by driving Hasdrubal from Barcelona and the upper Guadalquivir.
After further victories in Spain Scipio returned to Rome and was elected
Consul for Sicily. In 204 B.C. he again sailed for Africa and landed
near Utica. He destroyed two combined armies of the Carthaginians and
the Numidians, and after peace negotiations were finally broken off
gained a crushing victory over Hannibal near Zama. This gained him the
surname of Africanus.
Some years later Scipio was charged together with his brother with
peculation. On the day of his trial, however, by reminding the people
that this was the anniversary of Zama he was acquitted amid great
acclamations. He then retired into private life.
The tapestries represent:
_Tapestry No. 1._ Siege and assault of Carthage by Scipio Africanus.
_Tapestry No. 2._ Scipio gives up his betrothed.
_Tapestry No. 3._ The Romans penetrate into the camp of Hasdrubal.
_Tapestry No. 4._ Battle of Zama and defeat of Hannibal.
_Tapestry No. 5._ The triumph of Scipio.
_Tapestry No. 6._ The banquet.
_Monkeys or Grotesque Figures_ (10 Tapestries)
These fine Flemish tapestries were added to the royal collection at
Madrid by Philip II. They are of exquisite workmanship and are heavily
enriched with threads of gold. There are ten pieces in the series, four
of which being hung on the walls of the palace cannot be here
reproduced.
These grotesque figures form an ideal tapestry design. “In the centre of
each tapestry,” says the Count Valencia de Don Juan, “there is a light
and elegant bower of trellis-work, formed by arches, scrolls, and
caryatids; the ribbon surrounding it is formed of flowers, fruit, and
animals, amongst which frolic monkeys and dogs.” The borders are
enriched with mythological figures.
The tapestries were woven by Hector Vuyens, who made his own designs.
GROUP 20. _The Story of Cyrus the Great_ (8 Tapestries)
These tapestries, especially remarkable for their beautiful borders,
were woven probably by Nicolas Leiniers, a well-known _tapissier_ of the
sixteenth century. They bear the Brussels mark, but the designer of the
cartoons is unknown. They are carried out in silk and wool, enriched
with gold and silver thread. The tapestries passed into the possession
of Philip II., and are known to have been used in the funeral ceremonies
of Francis II. of France. There is in existence the account which was
rendered by Philip’s tapestry maker to his master for the transportation
of the tapestries from Madrid to Toledo, where the funeral took place.
The tapestries represent episodes in the life of the great Persian
conqueror, and certain of the legends that were current about his
parentage. The designer of the cartoons seems to have followed the
Thucedidean account of the delivering of the boy Cyrus to a shepherd,
and his subsequent recognition by Astyages. Cyrus’s wars against the
people of Lydia and his capture of Crœsus are, of course, historic.
There is a legend related by some of the early historians that Cyrus
desired to put Crœsus to death at the stake, a proceeding which would
have been directly contrary to the principles of the Zoroastrian
religion. The designer of the tapestries appears to have got hold of a
distorted form of this story in the fifth panel of this series.
The ghastly end imagined by the cartoonist for the conqueror is wholly
fictitious. It is probable that Cyrus was killed actually on the field
of battle.
GROUP 21. _The Story of Diana or Artemis_ (7 Tapestries)
It is under this name that this series of tapestries is classed in the
inventories. On the plates of the pieces themselves, however, only the
name, Diana, is employed. The series is the only one of French origin in
the Spanish royal collection. It is from the Gobelins looms, which were
established in 1603 by Van der Planken and Mare de Comano by contract
with Henry IV. on the settlement of the Civil Wars.
The life of Diana was a favourite subject of the French tapestry weavers
from this time onward, and the pieces were eagerly purchased by the
ladies who enjoyed the favour of the Navarrois king. Guiffrey gives a
detailed account of all these series in his large _Histoire de la
Tapisserie en France_.
The designer of the series in the royal collection is unknown. It is a
fine example of the florid art of the Renaissance. The borders are
especially fine, containing medallions supported by nymphs and satyrs
garlanded with fruit and flowers. In the orders of two of the plates
are monograms of silk and gold similar to that in _Les Noces de
l’Empereur Otton_ in the National Museum at Munich. Coats-of-arms are
seen on the scrolls that surmount the panels. In the centre are the arms
of Colonna with a ducal crown; to the right a chequered shield with
argent and purple squares; to the left an escutcheon carrying two
wolves.
The subjects of the different tapestries are as follow:
(1) Latona changing the labourers into frogs.
(2) Diana surrounded by dogs.
(3) Diana with nymphs resting in a wood.
(4) Diana begs from Jupiter eternal maidenhood.
(5) Niobe dissuades the people from sacrificing to Latona.
(6) Diana and Apollo slay the children of Niobe.
(7) Diana approves Meleager’s design of offering a boar’s head to
Alithea.
There is another plate referring to the same subject which represents
the birth of Diana.
GROUP 22. _Tapestries of the Chamber of Charles III._ (2 Tapestries)
On the completion of the new palace of Madrid in 1764, Charles III.
ordered his bedroom to be decorated with tapestries to the number of
seventy-seven pieces. These, of which the two plates reproduced here are
a fair example, were specially woven at the royal factory at Madrid.
They are all of rich materials and fine workmanship, and were used, as
well for hangings as for the covering of chairs and couches. The
tapestries were designed by Antoine Anglois. The two here reproduced are
woven in silk and gold. They were used as a curtain to the balcony of
the King’s bedroom and as a counterpane and bolster-cover for the royal
bed.
It was owing to the interest taken by this monarch in the art of
tapestry weaving that the factory at Madrid was placed under the
supervision of that fine artist, Raphael Menos.
GROUP 23. _The Spheres_
This boldly planned and finely executed series is composed of three
tapestries. The name of the designer of the cartoons is unknown, but he
was evidently inspired by the Italian Renaissance. The figures are
anatomically correct, and many of them were copied from well-known
pictures.
No. 1 shows Hercules upholding the world, and bears the inscription,
_Magna Virtus sed Alienæ obnoxia_.
No. 2 represents Atlas bearing the Universe on his shoulders.
No. 3 represents Ferdinand and Isabella enthroned as monarchs of the
whole world.
[Illustration: STORY OF THE HOLY VIRGIN. BY VAN EYCK
PLATE 1.
1. JESUS WITH HIS MOTHER]
[Illustration: STORY OF THE HOLY VIRGIN. BY VAN EYCK
PLATE 2
2. THE VIRGIN PRAYING]
[Illustration: STORY OF THE HOLY VIRGIN. BY VAN EYCK
PLATE 3
3. THE ADORATION OF THE MAGI]
[Illustration: STORY OF THE HOLY VIRGIN. BY VAN EYCK
PLATE 4
4. THE PRESENTATION OF JESUS IN THE TEMPLE]
[Illustration: THE STORY OF DAVID AND BATHSHEBA
PLATE 5
1. DAVID SEES BATHSHEBA]
[Illustration: THE STORY OF DAVID AND BATHSHEBA
PLATE 6
2. BATHSHEBA CONSENTS TO THE LOVE OF DAVID]
[Illustration: THE STORY OF DAVID AND BATHSHEBA
PLATE 7
3. NATHAN REPROACHES DAVID WITH HIS SIN]
[Illustration: STORY OF JOHN THE BAPTIST. BY VAN EYCK
PLATE 8
1. ZACHARIUS RECOVERING HIS SPEECH]
[Illustration: STORY OF JOHN THE BAPTIST. BY VAN EYCK
PLATE 9
2. THE CHILD JOHN ASKS PERMISSION TO DEVOTE HIMSELF TO GOD]
[Illustration: STORY OF JOHN THE BAPTIST. BY VAN EYCK
PLATE 10
3. ST. JOHN PREACHING IN THE WILDERNESS]
[Illustration: STORY OF JOHN THE BAPTIST. BY VAN EYCK
PLATE 11
4. THE BAPTISM OF OUR LORD]
[Illustration: PLATE 12
THE PASSION OF OUR LORD
IN THE GARDEN OF OLIVES]
[Illustration: PLATE 13
THE PASSION OF OUR LORD. BY VAN DER WEYDEN
THE CRUCIFIXION]
[Illustration: PLATE 14
THE PASSION OF OUR LORD
THE DESCENT FROM THE CROSS]
[Illustration: VICES AND VIRTUES
PLATE 15
1. GOD REWARDS WORSHIP]
[Illustration: VICES AND VIRTUES
PLATE 16
2. VIRTUE PUNISHES VICE]
[Illustration: VICES AND VIRTUES
PLATE 17
3. FORTUNE DISTRIBUTES ROSES]
[Illustration: VICES AND VIRTUES
PLATE 18
4. GOD REWARDS THE DEVOUT]
[Illustration: VICES AND VIRTUES
PLATE 19
5. VIRTUE REWARDS HER VOTARIES]
[Illustration: VICES AND VIRTUES
PLATE 20
6. GOD DISTRIBUTES HONOURS]
[Illustration: VICES AND VIRTUES
PLATE 21
7. PRUDENCE IS COMMENDED]
[Illustration: VICES AND VIRTUES
PLATE 22
8. THE FAITHFUL GAIN RENOWN]
[Illustration: VICES AND VIRTUES
PLATE 23
9. INFAMY IS PUNISHED]
[Illustration: PLATE 24
VICES AND VIRTUES
10. THE LAWGIVER DELIVERS JUDGMENT]
[Illustration: PLATE 25
THE FOUNDATION OF ROME
1. ROMULUS AND REMUS ARE FOUND]
[Illustration: THE FOUNDATION OF ROME
PLATE 26
2. REMUS TAKEN CAPTIVE]
[Illustration: THE FOUNDATION OF ROME
PLATE 27
3. ROMULUS BECOMES KING]
[Illustration: THE FOUNDATION OF ROME
PLATE 28
4. ROMULUS DICTATING THE LAWS]
[Illustration: THE FOUNDATION OF ROME
PLATE 29
5. ROMULUS INSTITUTES THE FEAST OF NEPTUNE]
[Illustration: THE FOUNDATION OF ROME
PLATE 30
6. ROMULUS GIVES THE LAWS TO THE PEOPLE]
[Illustration: THE FOUNDATION OF ROME
PLATE 31
7. AFTER THE CAPTURE OF THE SABINES, HERSILIA IS PRESENTED TO ROMULUS]
[Illustration: CONQUEST OF TUNIS BY CHARLES V
PLATE 32
PLAN OF THE CAMPAIGN]
[Illustration: PLATE 33
CONQUEST OF TUNIS BY CHARLES V. BY J. VERMEYEN
REVIEW OF THE ARMY]
[Illustration: CONQUEST OF TUNIS BY CHARLES V
PLATE 34
REVIEW OF THE ARMY (PART OF)]
[Illustration: THE CONQUEST OF TUNIS BY CHARLES V
PLATE 35
DISEMBARKING AT GOLETTA]
[Illustration: CONQUEST OF TUNIS BY CHARLES V
PLATE 36
ATTACK ON GOLETTA]
[Illustration: CONQUEST OF TUNIS BY CHARLES V
PLATE 37
FIGHT UNDER GOLETTA]
[Illustration: THE CONQUEST OF TUNIS BY CHARLES V
PLATE 38
SORTIE OF THE ENEMY FROM GOLETTA]
[Illustration: THE CONQUEST OF TUNIS BY CHARLES V
PLATE 39
THE CAPTURE OF GOLETTA]
[Illustration: CONQUEST OF TUNIS BY CHARLES V
PLATE 40
THE CAPTURE OF TUNIS]
[Illustration: PLATE 41
THE CONQUEST OF TUNIS BY CHARLES V
THE SACKING OF TUNIS]
[Illustration: PLATE 42
CONQUEST OF TUNIS BY CHARLES V
THE ARMY RE-EMBARKS AFTER RETURNING FROM GOLETTA]
[Illustration: PLATE 43
CONQUEST OF TUNIS BY CHARLES V. BY J. VERMEYEN
THE ARMY CAMPING AT PADA]
[Illustration: PLATE 44
STORY OF ABRAHAM
1. THREE ANGELS ANNOUNCE TO ABRAHAM THAT SARAH WILL HAVE A SON]
[Illustration: PLATE 45
THE STORY OF ABRAHAM
2. ABRAHAM OFFERING SACRIFICE]
[Illustration: PLATE 46
SCENES FROM REVELATIONS
1. THE ANGEL THROWS THE BEAST INTO THE ABYSS]
[Illustration: PLATE 47
SCENES FROM REVELATIONS
2. THE THREE HORSEMEN]
[Illustration: PLATE 48
SCENES FROM REVELATIONS
3. ST. JOHN AND THE SEVEN CHURCHES OF ASIA]
[Illustration: PLATE 49
SCENES FROM REVELATIONS
4. ST. JOHN RECEIVES THE ORDER TO MEASURE THE TEMPLE OF GOD]
[Illustration: PLATE 50
SCENES FROM REVELATIONS
5. CONDEMNATION OF THE PROSTITUTE]
[Illustration: PLATE 51
SCENES FROM REVELATIONS
6. THE ANGEL CARRYING THE GOSPEL]
[Illustration: PLATE 52
SCENES FROM REVELATIONS
7. THE CROWD ADORE THE LAMB]
[Illustration: PLATE 53
SCENES FROM REVELATIONS
8. THE FOUR ANGELS OF EUPHRATES]
[Illustration: PLATE 54
SCENES FROM REVELATIONS
9. COMBAT BETWEEN GOOD AND EVIL SPIRITS]
[Illustration: PLATE 55
THE SEVEN DEADLY SINS
1. LUXURY]
[Illustration: THE SEVEN DEADLY SINS
PLATE 56
2. GREEDINESS]
[Illustration: PLATE 57
THE SEVEN DEADLY SINS
3. ENVY]
[Illustration: PLATE 58
THE SEVEN DEADLY SINS
4. ANGER]
[Illustration: PLATE 59
ACTS OF THE APOSTLES. BY RAPHAEL
1. THE MIRACULOUS DRAUGHT OF FISHES]
[Illustration: PLATE 60
ACTS OF THE APOSTLES. BY RAPHAEL
2. THE MIRACULOUS DRAUGHT OF FISHES]
[Illustration: PLATE 61
ACTS OF THE APOSTLES. BY RAPHAEL
3. THE MIRACLE OF THE PARALYTIC]
[Illustration: PLATE 62
THE ACTS OF THE APOSTLES. BY RAPHAEL
4. THE DEATH OF ANANIAS]
[Illustration: PLATE 63
THE ACTS OF THE APOSTLES. BY RAPHAEL
5. THE MARTYRDOM OF ST. STEPHEN]
[Illustration: PLATE 64
ACTS OF THE APOSTLES. BY RAPHAEL
6. MARTYRDOM OF ST. STEPHEN]
[Illustration: PLATE 65
THE ACTS OF THE APOSTLES. BY RAPHAEL
7. THE CONVERSION OF ST. PAUL]
[Illustration: PLATE 66
THE ACTS OF THE APOSTLES. BY RAPHAEL
8. THE BLINDNESS OF ELYMAS]
[Illustration: PLATE 67
ACTS OF THE APOSTLES. BY RAPHAEL
9. ST. PAUL AT LYSTRA]
[Illustration: PLATE 68
THE ACTS OF THE APOSTLES. BY RAPHAEL
10. ST. PAUL IN THE TEMPLE]
[Illustration: PLATE 69
THE ACTS OF THE APOSTLES. BY RAPHAEL
11. ST. PAUL AT EPHESUS]
[Illustration: PLATE 70
ACTS OF THE APOSTLES. BY RAPHAEL
12. ST. PAUL AT EPHESUS]
[Illustration: PLATE 71
ACTS OF THE APOSTLES. BY RAPHAEL
13. ST. PAUL PREACHING IN ATHENS]
[Illustration: PLATE 72
ACTS OF THE APOSTLES. BY RAPHAEL
14. CHRIST APPEARS TO HIS DISCIPLES]
[Illustration: PLATE 73
ACTS OF THE APOSTLES. BY RAPHAEL
15. CHRIST CHOOSING ST. PETER]
[Illustration: PLATE 74
ACTS OF THE APOSTLES. BY RAPHAEL
16. THE PARALYTIC]
[Illustration: PLATE 75
ACTS OF THE APOSTLES. BY RAPHAEL
17. DEATH OF ANANIAS]
[Illustration: PLATE 76
ACTS OF THE APOSTLES. BY RAPHAEL
18. CONVERSION OF ST. PAUL]
[Illustration: PLATE 77
ACTS OF THE APOSTLES. BY RAPHAEL
19. THE BLIND MAN ELYMAS]
[Illustration: PLATE 78
ACTS OF THE APOSTLES. BY RAPHAEL
20. ST. PAUL AND ST. BARNABAS AT LYSTRA]
[Illustration: PLATE 70
VERTUMNUS AND POMONA
1. VERTUMNUS TRANSFORMED INTO A HUSBANDMAN]
[Illustration: PLATE 80
VERTUMNUS AND POMONA
2. VERTUMNUS TAKES A FISHING ROD]
[Illustration: PLATE 81
VERTUMNUS AND POMONA
3. VERTUMNUS TRANSFORMED INTO AN AGRICULTURIST]
[Illustration: PLATE 82
VERTUMNUS AND POMONA
4. VERTUMNUS TRANSFORMED INTO A GARDENER]
[Illustration: PLATE 83
VERTUMNUS AND POMONA
5. VERTUMNUS TRANSFORMED INTO A REAPER]
[Illustration: PLATE 84
VERTUMNUS AND POMONA
6. VERTUMNUS AT THE HARVEST]
[Illustration: PLATE 85
VERTUMNUS AND POMONA
7. POMONA UPBRAIDS VERTUMNUS]
[Illustration: PLATE 86
VERTUMNUS AND POMONA
8. VERTUMNUS, DISGUISED, KISSES POMONA]
[Illustration: PLATE 87
VERTUMNUS AND POMONA
9. VERTUMNUS REGAINS HIS NATURAL FORM]
[Illustration: PLATE 88
THE STORY OF SCIPIO AFRICANUS
1. THE CAPTURE OF CARTHAGE]
[Illustration: PLATE 89
THE STORY OF SCIPIO AFRICANUS
2. SCIPIO SAVES HIS FATHER AT THE BATTLE OF TESIN]
[Illustration: PLATE 90
THE STORY OF SCIPIO AFRICANUS
3. CARTHAGE SENDS AMBASSADORS TO SCIPIO AFTER THE BATTLE OF ZAMA]
[Illustration: PLATE 91
THE STORY OF SCIPIO AFRICANUS
4. THE TRIUMPH OF SCIPIO]
[Illustration: PLATE 92
THE STORY OF SCIPIO AFRICANUS
5. THE BANQUET]
[Illustration: PLATE 93
THE STORY OF SCIPIO AFRICANUS
6. SCIPIO GIVES UP HIS BETROTHED]
[Illustration: PLATE 94
THE STORY OF SCIPIO AFRICANUS
7. SCIPIO GIVES UP HIS BETROTHED (SECTION OF TAPESTRY)]
[Illustration: PLATE 95
THE STORY OF SCIPIO AFRICANUS
8. SCIPIO DELIVERS JUDGMENT]
[Illustration: PLATE 96
THE STORY OF SCIPIO AFRICANUS
9. THE TRIUMPH OF SCIPIO]
[Illustration: PLATE 97
THE STORY OF SCIPIO AFRICANUS
10. INTERVIEW BETWEEN SCIPIO AND HANNIBAL]
[Illustration: PLATE 98
THE STORY OF SCIPIO AFRICANUS
10. THE TRIUMPH OF SCIPIO]
[Illustration: PLATE 99
THE STORY OF CYRUS
1. CYRUS TAKES ASTYAGE PRISONER]
[Illustration: PLATE 100
THE STORY OF CYRUS
2. CYRUS IS RECOGNIZED BY ASTYAGE]
[Illustration: PLATE 101
THE STORY OF CYRUS
3. MEETING OF CYRUS AND THE QUEEN]
[Illustration: PLATE 102
THE STORY OF CYRUS
4. CYRUS SENDS A MESSENGER]
[Illustration: PLATE 108
THE STORY OF CYRUS
5. CYRUS UNITES THE MEDES AND PERSIANS]
[Illustration: PLATE 104
THE STORY OF CYRUS
6. CYRUS SAVES CRŒSUS FROM THE STAKE]
[Illustration: PLATE 105
THE STORY OF CYRUS
7. THE QUEEN AND CYRUS]
[Illustration: PLATE 106
THE STORY OF CYRUS
8. CYRUS TAKES CRŒSUS PRISONER]
[Illustration: THE STORY OF CYRUS
PLATE 107
9. CYRUS AND THE LYDIANS]
[Illustration: THE STORY OF CYRUS
PLATE 108
10. CYRUS RELEASES THE HEBREWS]
[Illustration: STORY OF CYRUS
PLATE 109
11. CYRUS IS ENTRUSTED TO A SHEPHERD]
[Illustration: STORY OF CYRUS
PLATE 110
12. HYSTASPE AND AMENOPHIS]
[Illustration: STORY OF DIANA
PLATE 111
1. THE BIRTH OF DIANA]
[Illustration: STORY OF DIANA
PLATE 112
2. DIANA RESTING]
[Illustration: STORY OF DIANA
PLATE 113
3. DIANA AND JUPITER]
[Illustration: PLATE 114
THE SPHERES
1. HERCULES SUPPORTS THE SKY]
[Illustration: THE SPHERES
PLATE 115
2. ATLAS SUPPORTS THE WORLD]
[Illustration: STORY OF DECIUS
PLATE 116
1. DECIUS RAISES HIS COUNTRY]
[Illustration: STORY OF DECIUS
PLATE 117
2. DECIUS SENDS THE LICTORS TO MANLIUS]
[Illustration: STORY OF DECIUS
PLATE 118
3. DECIUS BIDS FAREWELL TO THE LICTORS]
[Illustration: STORY OF DECIUS
PLATE 119
4. DECIUS DEPARTS TO FIGHT THE LATINS]
[Illustration: STORY OF DECIUS
PLATE 120
5. DECIUS DEDICATES HIMSELF TO THE LEGIONS]
[Illustration: STORY OF DECIUS
PLATE 121
6. VALERIUS AND DECIUS]
[Illustration: STORY OF DECIUS
PLATE 122
7. THE VISION OF DECIUS]
[Illustration: STORY OF DECIUS
PLATE 123
8. DEATH OF DECIUS]
[Illustration: STORY OF DECIUS
PLATE 124
9. FUNERAL OF DECIUS]
[Illustration: STORY OF VENUS
PLATE 125
1. OFFERINGS TO VENUS]
[Illustration: STORY OF VENUS
PLATE 126
2. THE CHALLENGE OF CUPID AND VENUS]
[Illustration: STORY OF THE CREATION OF MAN
PLATE 127
1. GOD CREATES MAN]
[Illustration: STORY OF THE CREATION OF MAN
PLATE 128
2. CAIN KILLS HIS BROTHER ABEL]
[Illustration: STORY OF THE CREATION OF MAN
PLATE 129
3. GOD CURSES CAIN]
[Illustration: STORY OF THE CREATION OF MAN
PLATE 130
THE TREE OF GOOD AND EVIL]
[Illustration: THE STORY OF TOBIAS
PLATE 131
1. SARAH MARRIES TOBIAS]
[Illustration: THE STORY OF TOBIAS
PLATE 132
2. RETURN OF TOBIAS AND SARAH]
[Illustration: PLATE 133
THE SEASONS
1. SUMMER]
[Illustration: PLATE 134
THE SEASONS
2. WINTER]
[Illustration: STORY OF SOLOMON
PLATE 135
1. SOLOMON IS ANOINTED KING]
[Illustration: PLATE 136
STORY OF SOLOMON
2. SOLOMON MARRIES AN EGYPTIAN PRINCESS]
[Illustration: PLATE 137
STORY OF SOLOMON
3. SOLOMON AND THE QUEEN OF SHEBA]
[Illustration: PLATE 138
HISTORY OF MAN’S LIFE
1. DIVINITY ADVOCATES TEMPERANCE TO MAN]
[Illustration: HISTORY OF MAN’S LIFE
PLATE 139
2. THE VICES REPULSE TEMPERANCE]
[Illustration: HISTORY OF MAN’S LIFE
PLATE 140
3. TIME SURROUNDS HIM WITH PRUDENCE]
[Illustration: HISTORY OF MAN’S LIFE
PLATE 141
4. VIRTUE TRIUMPHANT]
[Illustration: PLATE 142
HISTORY OF MAN’S LIFE
5. PATIENCE HUMILIATES FORTUNE]
[Illustration: HISTORY OF MAN’S LIFE
PLATE 143
6. FORTUNE FIGHTS AVARICE]
[Illustration: HISTORY OF MAN’S LIFE
PLATE 144
7. BLIND FORTUNE BESTOWS GOOD AND EVIL]
[Illustration: HISTORY OF MAN’S LIFE
PLATE 145
8. TWO ANCIENT PHILOSOPHERS]
[Illustration: HISTORY OF MAN’S LIFE
PLATE 146
9. DIVINITY REVEALS TEMPERANCE]
[Illustration: PLATE 147
HISTORY OF MAN’S LIFE
10. VICE REPULSES TEMPERANCE]
[Illustration: STORY OF ANTHONY AND CLEOPATRA
PLATE 148
1. ANTHONY LEAVES ROME]
[Illustration: PLATE 149
STORY OF ANTHONY AND CLEOPATRA
2. ANTHONY RECEIVES HOMAGE]
[Illustration: PLATE 150
STORY OF ANTHONY AND CLEOPATRA
3. ANTHONY DISPOSES OF THE TREASURES OF EGYPT]
[Illustration: STORY OF ANTHONY AND CLEOPATRA
PLATE 151
CLEOPATRA MOCKS ANTHONY’S WEAKNESS]
[Illustration: PLATE 152
STORY OF ALEXANDER THE GREAT
1. ALEXANDER AND HIS DOCTOR PHILIP]
[Illustration: STORY OF ALEXANDER THE GREAT
PLATE 153
2. BATTLE OF ISSUS]
[Illustration: PLATE 154
STORY OF ALEXANDER THE GREAT
3. THE SIEGE OF TYRE]
[Illustration: STORY OF ALEXANDER THE GREAT
PLATE 155
4. ALEXANDER IN CARMONIA]
[Illustration: STORY OF ALEXANDER THE GREAT
PLATE 156
5. SURRENDER OF THE KING OF CYPRUS AND PHŒNICIA]
[Illustration: STORY OF ALEXANDER THE GREAT
PLATE 157
6. ALEXANDER IN ASIA MINOR]
[Illustration: PLATE 158
THE TRIUMPH OF LOVE]
[Illustration: PLATE 159
THE TRIUMPH OF DEATH]
[Illustration: PLATE 160
THE TRIUMPH OF CHASTITY]
[Illustration: PLATE 161
STORY OF TELEMACHUS
1. YOUNG TELEMACHUS]
[Illustration: STORY OF TELEMACHUS
PLATE 162
2. NEPTUNE WRECKING ULYSSES’ SHIP]
[Illustration: STORY OF ST. PAUL
PLATE 163
1. ST. PAUL IN THE TEMPLE]
[Illustration: STORY OF ST. PAUL
PLATE 164
2. ST. PAUL BEFORE AGRIPPA]
[Illustration: STORY OF ST. PAUL
PLATE 165
ST. PAUL EXECUTED AT ROME]
[Illustration: TEMPTATIONS OF ST. ANTHONY
PLATE 166
1. DEPARTURE OF ST. ANTHONY FOR THE RETREAT]
[Illustration: TEMPTATIONS OF ST. ANTHONY
PLATE 167
2. ST. ANTHONY TEMPTED BY THE DEVIL]
[Illustration: TEMPTATIONS OF ST. ANTHONY
PLATE 168
PARADISE, PURGATORY AND HELL]
[Illustration: STORY OF THE EMPEROR OCTAVIUS
PLATE 169
1. JULIUS CÆSAR ADOPTS OCTAVIUS]
[Illustration: STORY OF THE EMPEROR OCTAVIUS
PLATE 170
2. BATTLE OF PHILIPPI]
[Illustration: PLATE 171
STORY OF THE EMPEROR OCTAVIUS
3. OCTAVIUS CLOSES THE TEMPLE OF WAR]
[Illustration: STORY OF OCTAVIUS
PLATE 172
4. DEATH OF CLEOPATRA]
[Illustration: STORY OF MOSES
PLATE 173
1. MOSES AND AARON BEFORE PHAROAH]
[Illustration: STORY OF MOSES
PLATE 174
2. GOD CHOOSES MOSES TO DELIVER ISRAEL]
[Illustration: STORY OF MOSES
PLATE 175
2. MOSES COMES FROM MOUNT SINAI]
[Illustration: BATTLES OF THE ARCHDUKE ALBERT
PLATE 176
SURRENDER OF HULST]
[Illustration: BATTLES OF THE ARCHDUKE ALBERT
PLATE 177
2. ARDRES IS SURPRISED BY A NIGHT ATTACK]
[Illustration: BATTLES OF THE ARCHDUKE ALBERT
PLATE 178
3. HULST BESIEGED]
[Illustration: BATTLES OF THE ARCHDUKE ALBERT
PLATE 179
4. TAKING OF CALAIS]
[Illustration: PLATE 180
BATTLES OF THE ARCHDUKE ALBERT
5. THE RETURN OF THE GARRISON]
[Illustration: STORY OF THESEUS
PLATE 181
1. THESEUS LEAVES FOR CRETE]
[Illustration: STORY OF THESEUS
PLATE 182
2. THESEUS RECEIVES THE SWORD OF ÆGEUS]
[Illustration: STORY OF THESEUS
PLATE 183
3. ÆGEUS RECOGNISES HIS SON]
[Illustration: STORY OF THESEUS
PLATE 184
4. THESEUS ARMED WITH THE MACE]
[Illustration: PLATE 185
5. BACCHUS MARRIES ARIADNE]
[Illustration: STORY OF THESEUS
PLATE 186
6. THESEUS RECEIVES THE RING OF MINOS]
[Illustration: STORY OF THESEUS
PLATE 187
7. THESEUS LEADS THE BULL OF MARATHON]
[Illustration: STORY OF THESEUS
PLATE 188
8. THESEUS AND THE HEAD OF MINOTAURUS]
[Illustration: PLATE 189
THE FUNERAL OF KING TURNUS]
[Illustration: PLATE 190
DIDO CONTEMPLATES ÆNEAS’ PORTRAIT]
[Illustration: STORY OF SAMSON
PLATE 191
1. SAMSON PROPOUNDS HIS RIDDLE]
[Illustration: STORY OF SAMSON
PLATE 192
2. SAMSON IS BETRAYED BY DELILAH]
[Illustration: STORY OF NOAH
PLATE 193
1. NOAH BUILDING THE ARK]
[Illustration: STORY OF NOAH
PLATE 194
2. NOAH LEAVING THE ARK]
[Illustration: THE WAY OF HONOUR
PLATE 195
1. GRACE ACCORDS IMMORTAL CROWNS]
[Illustration: THE WAY OF HONOUR
PLATE 196
2. VIRTUE ACCORDS HONOURS]
[Illustration: THE WAY OF HONOUR
PLATE 197
3. MERIT RECEIVES REWARDS]
[Illustration: STORY OF ZENOBIA
PLATE 198
1. NUPTIAL BANQUET OF ZENOBIA AND ODENAT]
[Illustration: STORY OF ZENOBIA
PLATE 199
2. ZENOBIA IS TAKEN PRISONER]
[Illustration: STORY OF ZENOBIA
PLATE 200
3. ZENOBIA LED CAPTIVE]
[Illustration: STORY OF DON QUIXOTE
PLATE 201
1. DEPARTURE OF DON QUIXOTE]
[Illustration: PLATE 202
STORY OF DON QUIXOTE
2. DON QUIXOTE AND THE THREE PEASANT WOMEN]
[Illustration: STORY OF DON QUIXOTE
PLATE 203
3. PRINCESS MICOMICONA]
[Illustration: PLATE 204
STORY OF DON QUIXOTE
4. DON QUIXOTE IS BEATEN BY THE MERCHANTS]
[Illustration: PLATE 205
STORY OF DON QUIXOTE
5. DON QUIXOTE IS ENCLOSED IN A CAGE]
[Illustration: PLATE 206
STORY OF DON QUIXOTE
6. THE MULETEER MEETS DON QUIXOTE]
[Illustration: PLATE 207
STORY OF DON QUIXOTE
7. SANCHO MARCHES TO TOBOSO]
[Illustration: PLATE 208
STORY OF DON QUIXOTE
8. REPETITIONS OF PRECEDING PICTURES]
[Illustration: PLATE 209
STORY OF PHAETON
1. PHŒBUS ALLOWS PHAETON TO DRIVE THE CHARIOT OF THE SUN]
[Illustration: PLATE 210
STORY OF PHAETON
2. PHAETON DRIVES THE CHARIOT OF THE SUN]
[Illustration: PLATE 211
STORY OF PHAETON
3. JUPITER CONFOUNDS PHAETON]
[Illustration: PLATE 212
STORY OF PHAETON
4. THE BODY OF PHAETON IS RECOVERED]
[Illustration: PLATE 213
CHASTITY PUTS CUPID TO FLIGHT]
[Illustration: PLATE 214
RUSTIC SCENES AFTER GOYA AND BAYEU]
[Illustration: PLATE 215
PANELS AFTER GOYA]
[Illustration: PLATE 216
QUARREL IN AN INN. AFTER GOYA]
[Illustration: PLATE 217
PANELS AFTER TENIERS]
[Illustration: PLATE 218
PANELS AFTER TENIERS]
[Illustration: PLATE 219
PANELS AFTER TENIERS]
[Illustration: PLATE 220
A VILLAGE DANCE AFTER TENIERS]
[Illustration: PLATE 221
PANELS AFTER TENIERS]
[Illustration: PLATE 222
DESCENT FROM THE CROSS]
[Illustration: PLATE 223
CHRIST ON THE CROSS]
[Illustration: PLATE 224
THE CRUCIFIXION. BY VAN DER WEYDEN]
[Illustration: PLATE 225
OUR LORD APPEARING TO THE HOLY WOMEN]
[Illustration: PLATE 226
ST. JEROME IN THE DESERT]
[Illustration: PLATE 227
THE ETERNAL FATHER]
[Illustration: PLATE 228
OUR LORD AND ST. VERONICA]
[Illustration: PLATE 229
MARY ANOINTING THE FEET OF THE SAVIOUR]
[Illustration: PLATE 230
THE CONFUSION OF TONGUES]
[Illustration: PLATE 231
THE LAST SUPPER]
[Illustration: PLATE 232
THE ADORATION OF THE MAGI]
[Illustration: PLATE 233
NEOPTOLEMY SACRIFICES POLYZENA]
[Illustration: PLATE 234
TIME AND TEMPERANCE RESTRAIN CUPID]
[Illustration: PLATE 235
ULYSSES ACCEPTS THE PRESENTS OF ALCINOUS]
[Illustration: PLATE 236
PENELOPE RECOGNISES ULYSSES]
[Illustration: PLATE 237
COURTIERS PRESENTING THEMSELVES BEFORE A KING]
[Illustration: PLATE 238
CHILDREN PLAYING. 16TH CENTURY]
[Illustration: PLATE 239
THE DEATH OF CLEOPATRA]
[Illustration: PLATE 240
PORTRAIT OF A WOMAN]
[Illustration: PLATE 241
CALCHAS AND AGAMEMNON]
[Illustration: PLATE 242
A GROVE]
[Illustration: PLATE 243
ON THE BANKS OF A RIVER]
[Illustration: PLATE 244
PRINCE BALTAZAR CARLOS]
[Illustration: PLATE 245
ALLEGORY OF THE TIBER AND ROME]
[Illustration: PLATE 246
IMPERIAL FUNERAL BED OF STATE]
[Illustration: PLATE 247
ROYAL ARMS OF PHILIP V]
[Illustration: PLATE 248
PANELS]
[Illustration: PLATE 249
A FRIEZE]
[Illustration: PLATE 250
BORDERS OF TAPESTRIES]
[Illustration: PLATE 251
THE PASSION OF OUR LORD]
[Illustration: PLATE 252
DEATH OF ABSALOM]
[Illustration: PLATE 253
THE BIRTH OF CHRIST]
[Illustration: PLATE 254
DESCENT FROM THE CROSS]
[Illustration: PLATE 255
ST. GREGORY’S MASS]
[Illustration: PLATE 256
TRIUMPH OF JOSEPH]
[Illustration: PLATE 257
KING CHARLES III]
[Illustration: PLATE 258
QUEEN AMELIA OF SAXONY]
[Illustration: PLATE 259
MYTHOLOGICAL SUBJECT]
[Illustration: PLATE 260
AFTER THE VICTORY]
[Illustration: PLATE 261
THE TEMPLE]
[Illustration: PLATE 262
THE COLONNADE]
[Illustration: PLATE 263
THE PALACE]
[Illustration: PLATE 264
FRAGMENTS]
[Illustration: PLATE 265
PANELS]
[Illustration: PLATE 266
PANELS AFTER ANDRES DE AGUIRRE]
[Illustration: PLATE 267
PANELS AFTER TENIERS]
[Illustration: PLATE 268
FRAGMENTS AFTER TENIERS]
[Illustration: PLATE 269
FRAGMENTS AFTER TENIERS]
[Illustration: PLATE 270
PANELS AFTER TENIERS]
[Illustration: PLATE 271
FRAGMENTS AFTER TENIERS]
[Illustration: PLATE 272
FRAGMENTS AFTER TENIERS]
[Illustration: PLATE 273
CHILDREN PLAYING. AFTER GOYA]
[Illustration: PLATE 274
PANELS AFTER GOYA]
[Illustration: PLATE 275
PANELS AFTER GOYA AND BAYEU]
[Illustration: PLATE 276
PANELS AFTER GOYA AND BAYEU]
[Illustration: PLATE 277
CORIOLANUS AND HIS MOTHER]
* * * * *
HISTORIC PARIS
By JETTA S. WOLFF, author of “The Story of the Paris Churches.”
Illustrated. Crown 8vo. 10s. 6d. net.
In this most attractive volume we have the ideal guide-book, for,
besides fulfilling all the functions of a guide, Miss Wolff has a fine
literary style and considerable historical knowledge, as well as a very
intimate knowledge of all the historical sites and buildings of Paris.
Her interesting text is pleasantly aided by numerous drawings in line.
WHAT PICTURES TO SEE IN EUROPE
By LORINDA M. BRYANT. With numerous Illustrations. Crown 8vo. 7s.
6d. net.
WHAT SCULPTURE TO SEE IN EUROPE
By LORINDA M. BRYANT, author of “American Pictures and their
Painters.” With numerous Illustrations. Crown 8vo. 7s. 6d. net.
These books have found so wide a circle of readers in America that it
has been thought advisable to issue on this side editions which have
been enlarged and brought up to date for the convenience of the
thousands of tourists who, now that foreign travel is permitted, will
find the need of a comprehensive and adequate guide to the art treasures
of Europe. The “stay-at-home,” no less than the tourist, will find
entertainment and information within its pages.
MACEDONIA: A Plea for the Primitive
By A. GOFF and DR. HUGH A. FAWCETT. With Drawings in colour, pencil
and line. Demy 8vo. £1 1s. net.
_Times._--“A pleasant surprise--it will bring pleasure to the reader
delighted at last to find a work which leaves soldier-work and policies
on one side and devotes itself to the discussion of what is nice in
Macedonia instead of labouring to expose once again that which is
nasty.”
JOHN LANE, THE BODLEY HEAD, VIGO ST., W.1 “_The most thrilling volume
of the year._”--DAILY MAIL.
SOME EXPERIENCES OF A NEW GUINEA RESIDENT MAGISTRATE
By Captain C. A. W. MONCKTON, F.R.G.S., F.Z.S., F.R.A.I. With
numerous Illustrations. Fourth Edition. Demy 8vo. £1 1s. net.
Robert Lynd in the _Daily News_.--“Captain Monckton has a lively pen. He
has enjoyed his life among savages ... and his book is written with the
zest of a schoolboy ... a frank and cheerful book.”
_Times Literary Supplement._--“Mr. Monckton has written a boys’ book for
men. In it something happens on every page.... It is a long book, though
not a page too long.”
_Daily Mail._--“A book of entrancing interest for boys and their
fathers. It is a plain and a true one, and is stranger than fiction. The
most remarkable book of travel and exploration since Stanley’s ‘Darkest
Africa.’”
UNCONDUCTED WANDERERS
By ROSITA FORBES. With over 70 Illustrations from photographs by
the Author and others. Demy 8vo. 12s. 6d. net.
“Unconducted Wanderers” is a very amusing travel book of the best sort.
After a spell of war work the author and a woman friend went to America,
and thence to the South Seas, to Java, the Malay States, Siam, Cambodia,
China and Korea. The book is extremely lively in tone and fresh in
feeling, and the observations and experiences of the travellers,
particularly in China during the Rebellion, are of quite unusual
interest.
_Evening Standard._--“Those in search of the perfect companion for a
lazy afternoon in a hammock will find their wants admirably supplied by
‘Unconducted Wanderers.’ Their Adventures are retailed with an unfailing
humorous touch, and the scenery and occupants of these far foreign
strands are painted in descriptive language which is always vivid, and
at times beautiful.”
JOHN LANE, THE BODLEY HEAD, VIGO ST., W. 1
TOPEE AND TURBAN, or Here and There, in India
By Lieut.-Colonel H. A. NEWELL, I.A., With Illustrations from
photographs. Demy 8vo. £1 1s. net.
_Daily News._--“An excellent book.... Colonel Newell has a quick eye for
things seen, and a happy interest in history that makes the book
something more than a motorist’s guide-book.... Fully illustrated with
photographs of great interest and variety.”
_Daily Mail._--“Everyone ought to know more about India, and a pleasant
way of informing oneself is offered by Colonel Newell’s ‘Topee and
Turban in India.’”
_Times._-“A record of several motor trips in India, abundantly
illustrated, and discursive to just the appropriate length.”
_Westminster Gazette._--“In this book Colonel Newell shows that he has
been a close student and observer of many things in India and Indian
life.”
JAPANESE IMPRESSIONS
By PAUL LOUIS COUCHOUD. Translated from the French “Sages et Poètes
d’Asie,” by FRANCES RUMSEY, with a specially written Preface by
ANATOLE FRANCE. Demy 8vo. 7s. 6d. net.
This book consists of the impressions of Japan of a keen observer, a
scholar, and a remarkable master of language. “The charm of M.
Couchoud,” says Monsieur Anatole France, “lies in that rare power to
evoke ancient or distant facts which is the faculty of a Renan and a
Ferrero, and which touches history with the interest of a living
spectacle.” The book contains a long and highly characteristic
introduction by Monsieur Anatole France, which has never been printed in
French.
ART AND I
By C. LEWIS HIND. Crown 8vo. 10s. 6d. net.
JOHN LANE, THE BODLEY HEAD, VIGO ST., W. 1
A DWELLER IN MESOPOTAMIA
By DONALD MAXWELL, author of “The Last Crusade,” etc. With numerous
Illustrations by the Author in colour, half-tone, and line. Crown
4to. £1 5s. net.
_Morning Post._--“The sketches are particularly attractive, both in
subject and expression, and all are faithfully reproduced.... Altogether
this is a delightful volume, chastely bound in green and brown-toned
linen.”
_Evening Standard._--“A delightful sketch book.... His adventures are
told in breezy, unofficial style.”
_Observer._--“Mr. Maxwell’s receptive eye and delicate hand.”
_Outlook._--“His illustrations are eloquent of the fascinations of the
ancient East ... makes interesting reading.”
_Daily Telegraph._--“Mr. Donald Maxwell’s previous book, ‘The Last
Crusade,’ was a happy mixture of art and literature dealing with
Palestine, and his new volume, ‘A Dweller in Mesopotamia,’ is, we think,
even a happier combination, for while the art is as true and as
excellent as ever, the descriptions of the people he met and the
adventures he experienced are more vivid, varied, and entertaining....
The book will be treasured by those who value good artistic work and
racy description.”
A PAINTER IN PALESTINE
Being a story of an impromptu pilgrimage through the Holy Land with
Bible and Sketch Book. By DONALD MAXWELL, author of “Adventures
with a Sketch-Book,” etc. With an Introduction by the Dean of
Rochester. Illustrated by the Author. Crown 8vo. 5s. net.
JOHN LANE, THE BODLEY HEAD, VIGO ST., W. 1
End of Project Gutenberg's The Spanish Royal Tapestries, by Albert F. Calvert