Letters:
“Decorative Motives of Oriental Art ” (Will H. Edmunds) (January).................................. 51 “A Stained Glass Panel from Canterbury” (Bernard Rackham); “A
Minoan Statuette in the Fitzwilliam Museum” (E. J. Forsdyke);
“Vermeer’s Guitar Player” (Paul Ettinger) (February)................................................... 106 “Vermeer’s Guitar Player” (Eduard Trautscholdt) (March)................................................ 156
Medieval England and Cologne (Sydney C. Cockerell); “Notes on
Pictures at Drayton House” (Friedrich Oberneder) (May)................................................ 256
LIST OF PLATES
JANUARY to JUNE, 1928.
JANUARY.
A Correggio Problem. I — Self-Portrait, by Correggio. Canvas, 54 by 43. 8 cm.
(Viscount Lee of Fareham)..................................... 2 II — [a] Detail of the picture reproduced on
the Frontispiece, showing cracks in the pigment; [b] Detail of Correggio’s Ganymede, showing the cracks on the
pigment (Staatliche Museen, Vienna)....................... 5 Recent Acquisitions at the Mauritshuis. I —
Halt Outside an Inn, by Isaac van
Ostade. Panel, 79 by 109. 5 cm.................................. 8 II — Portrait of a Nobleman, by Ferdinand Bol. Canvas, 1. 28 by 0. 99 m.
(Mauritshuis, The Hague).......................................... 11 Notes on Hubert Le Sueur — I. I — [a] The
Earl of Pembroke, by Le Sueur. Bronze, over life size (Bodleian Library, Oxford);
[b] Queen Henrietta Maria, by Le Sueur. Bronze, life size (St. John’s College,
Oxford).................................................................... 14 II — [a] Lady Cottington and Wreath
Ornament, by Le Sueur. Bronze; [b] Sir Thomas Richardson and Ornaments, by Le Sueur. Bronze (Westminster Abbey); [c] Lord Treasurer Weston. Bronze figure by Le Sueur, and tomb in pink and white marble (Winchester
Cathedral).............................................................. 17 Tintoretto’s Samson and Delilah. [a]
Samson and Delilah, by Tintoretto and assistants. Canvas (The Duke of Devonshire); [b] Samson and Delilah, here identified as by Tintoretto. Canvas, 1. 27 by 1. 46 m. (Mr. John Ringling, Sarasota,
Florida).............................................................. 20 The Hoard of the Kâren Pahlavs. [a, b]
Silver Bowl, design gilt on silver ground. Diameter, 8. 6 cm.; [c] Gold ornament of horse trappings. Length, 9. 3 cm.; [d, e]
Silver Bowl, design silver on gilt ground. Diameter, 14. 5 cm. All first or second
century, b. c......................................................23 The Wienhausen Embroideries at Berlin. I — [a] Tristran Legend. Early fourteenth century; [b] A Knight’s Romance. Early fourteenth-century fragment; [c] Figures of Prophets. First half of the fourteenth
century................................................................... 26 II — [a] The Tristran Legend. Second half
of the fourteenth century; [b] Hunting
Scenes. Early fifteenth century............................... 29 III — [a] The Speculum Humance Salva
tionis. Early fifteenth century; [b] The
St. Thomas Legend. About 1400; [c] Legend of SS. Anne and Elizabeth. Late fifteenth century; Wool embroideries from the Convent of Wienhausen (now on exhibition at the Hinrichsen-Lindpaintner
Gallery, Berlin)........................................... 32 The Early Stained Glass of Canterbury Cathedral. I — Figure from the genealogy
of Christ. Late twelfth century............................. 35 II — [a] Noah; [b] Thara; [c] Ezekiel....................... 37 III — [a] Adam; [b] Lamech; [c] Joanna.
Figures from the genealogy of Christ.
Twelfth century (Canterbury Cathedral)............... 40 Shorter Notices: Vermeer’s Guitar Player.
[a] The Guitar Player, by Jan Vermeer of Delft. Canvas, 50. 8 by 44. 5 cm. (The
Iveagh Bequest); [b] The Guitar Player, after Jan Vermeer of Delft. Canvas, 51. 4 by 43. 2 cm. (The Johnson Collection,
Philadelphia)....................................................... 43 Shorter Notices: The National Art-Collections Fund. Portrait of a Gentleman, by Thomas Gainsborough. Black and white chalk on blue-grey paper, 69. 9 by 50. 8 cm. (presented by the National Art
Collections Fund to Ipswich Corporation)............. 46
“Decorative Motives of Oriental Art ” (Will H. Edmunds) (January).................................. 51 “A Stained Glass Panel from Canterbury” (Bernard Rackham); “A
Minoan Statuette in the Fitzwilliam Museum” (E. J. Forsdyke);
“Vermeer’s Guitar Player” (Paul Ettinger) (February)................................................... 106 “Vermeer’s Guitar Player” (Eduard Trautscholdt) (March)................................................ 156
Medieval England and Cologne (Sydney C. Cockerell); “Notes on
Pictures at Drayton House” (Friedrich Oberneder) (May)................................................ 256
LIST OF PLATES
JANUARY to JUNE, 1928.
JANUARY.
A Correggio Problem. I — Self-Portrait, by Correggio. Canvas, 54 by 43. 8 cm.
(Viscount Lee of Fareham)..................................... 2 II — [a] Detail of the picture reproduced on
the Frontispiece, showing cracks in the pigment; [b] Detail of Correggio’s Ganymede, showing the cracks on the
pigment (Staatliche Museen, Vienna)....................... 5 Recent Acquisitions at the Mauritshuis. I —
Halt Outside an Inn, by Isaac van
Ostade. Panel, 79 by 109. 5 cm.................................. 8 II — Portrait of a Nobleman, by Ferdinand Bol. Canvas, 1. 28 by 0. 99 m.
(Mauritshuis, The Hague).......................................... 11 Notes on Hubert Le Sueur — I. I — [a] The
Earl of Pembroke, by Le Sueur. Bronze, over life size (Bodleian Library, Oxford);
[b] Queen Henrietta Maria, by Le Sueur. Bronze, life size (St. John’s College,
Oxford).................................................................... 14 II — [a] Lady Cottington and Wreath
Ornament, by Le Sueur. Bronze; [b] Sir Thomas Richardson and Ornaments, by Le Sueur. Bronze (Westminster Abbey); [c] Lord Treasurer Weston. Bronze figure by Le Sueur, and tomb in pink and white marble (Winchester
Cathedral).............................................................. 17 Tintoretto’s Samson and Delilah. [a]
Samson and Delilah, by Tintoretto and assistants. Canvas (The Duke of Devonshire); [b] Samson and Delilah, here identified as by Tintoretto. Canvas, 1. 27 by 1. 46 m. (Mr. John Ringling, Sarasota,
Florida).............................................................. 20 The Hoard of the Kâren Pahlavs. [a, b]
Silver Bowl, design gilt on silver ground. Diameter, 8. 6 cm.; [c] Gold ornament of horse trappings. Length, 9. 3 cm.; [d, e]
Silver Bowl, design silver on gilt ground. Diameter, 14. 5 cm. All first or second
century, b. c......................................................23 The Wienhausen Embroideries at Berlin. I — [a] Tristran Legend. Early fourteenth century; [b] A Knight’s Romance. Early fourteenth-century fragment; [c] Figures of Prophets. First half of the fourteenth
century................................................................... 26 II — [a] The Tristran Legend. Second half
of the fourteenth century; [b] Hunting
Scenes. Early fifteenth century............................... 29 III — [a] The Speculum Humance Salva
tionis. Early fifteenth century; [b] The
St. Thomas Legend. About 1400; [c] Legend of SS. Anne and Elizabeth. Late fifteenth century; Wool embroideries from the Convent of Wienhausen (now on exhibition at the Hinrichsen-Lindpaintner
Gallery, Berlin)........................................... 32 The Early Stained Glass of Canterbury Cathedral. I — Figure from the genealogy
of Christ. Late twelfth century............................. 35 II — [a] Noah; [b] Thara; [c] Ezekiel....................... 37 III — [a] Adam; [b] Lamech; [c] Joanna.
Figures from the genealogy of Christ.
Twelfth century (Canterbury Cathedral)............... 40 Shorter Notices: Vermeer’s Guitar Player.
[a] The Guitar Player, by Jan Vermeer of Delft. Canvas, 50. 8 by 44. 5 cm. (The
Iveagh Bequest); [b] The Guitar Player, after Jan Vermeer of Delft. Canvas, 51. 4 by 43. 2 cm. (The Johnson Collection,
Philadelphia)....................................................... 43 Shorter Notices: The National Art-Collections Fund. Portrait of a Gentleman, by Thomas Gainsborough. Black and white chalk on blue-grey paper, 69. 9 by 50. 8 cm. (presented by the National Art
Collections Fund to Ipswich Corporation)............. 46