published by A. L. MAYER in Z. Bild. K. XXXII, 1921, pp. 55-60 (7 figs.). The most interesting of these, perhaps, is the St. Veronica lately acquired by Kuno Kocherthaler, Madrid, for which the painter's mistress doubtless served as model.

Catalan Art in Sardinia.-In L'Arte, XXIII, 1920, pp. 284-288 (2 figs.), E. BRUNELLI Shows that the author of the ancona of the Visitation in the gallery at Cagliari, signed Johaes Barcels, is to be identified with Giovanni Figuera, who worked in Sardinia in the middle of the fifteenth century. This painting, together with the same artist's ancona of S. Bernardino, is the principal document of the penetration of Catalan influence into the painting of Sardinia and served as a model for native artists.

FRANCE

Diane de Poitiers and Gabrielle d'Estrées.—In Gaz. B.-A. II, 1920, pp. 157– 180 (15 figs.) and pp. 249–266 (4 figs.), S. REINACH discusses a number of sixteenth century French and Flemish paintings in which Diane de Poitiers or Gabrielle d'Estrées figures. Frequently the painting in which Gabrielle appears is merely a copy of an earlier one where Diane is the heroine.

BELGIUM AND HOLLAND

Reynier and Claes Hals.—In Burl. Mag. XXXVIII, 1921, pp. 92–97 (2 pls.), G. HOFSTEDE DE GROOT publishes paintings by Reynier and Claes Hals, two sons of Frans Hals, which show them to have retained but little of the quality of their father's work. Two small half-length figures at The Hague by Reynier are most carefully finished, with no dash of technique. And the village view signed by Claes shows close resemblance to the work of a group of Ruisdael's pupils. Doubt is cast by this writer upon the painting of a girl reading in the Mauritshuis; but A. BREDIUS (Ibid. pp. 138-143) gives documentary evidence to prove that the signature on this picture is really that of Claes Hals. T. BORENIUS (Ibid. p. 143; pl.), contributes to the reconstruction of this artist's work by calling attention to a painting of The Huckster, owned by Mr. E. Bolton, which bears the same signature as is found on the Mauritshuis picture. Jan Gossaert. The early work of Jan Gossaert is discussed by F. Winkler in Jb. Preuss. Kunsts. XLII, 1921, pp. 5-19 (pl.; 10 figs.). The eclectic tendency of the artist appears very early: he is influenced by Dürer's drawings, paintings of Jan van Eyck, Gerard David and Leonardo, the Bruges-Ghent miniatures, and the antique.

A Painting by Matsys.-A portrait of the "Ugliest Princess in History," Duchess Margaret of Tyrol, by Quentin Matsys, is discussed by W. A. GROHMAN in Burl. Mag. XXXVIII, 1921, pp. 172–178 (pl.). The painting, which now belongs to Mr. Hugh Blaker, is evidently a later work than the drawing of the duchess which has been wrongly, it would seem, attributed to Leonardo da Vinci.

Jacob van Utrecht.-To the signed paintings by Jacob van Utrecht L. BALDASS in Z. Bild. K. XXXI, 1920, pp. 241-247 (9 figs.), adds a few others that betray the style of the same master. They are the portrait of a man, dated 1532, in the Hoogendijk collection, a triptych of the Madonna with

donors in the Riga museum, an Adoration of the Kings in Vienna, with a replica of it in Munich, and a triptych of the Mourning of Christ in the gallery at Schleissheim.

A Still-Life by Vermeer.-In Burl. Mag. XXXVII, 1920, pp. 169–170 (pl.), J. O. KRONIG publishes a still-life painting (its ownership is not given) which he attributes to Jan Vermeer of Delft on the basis of its resemblance to the still-life details in his known pictures. Such a subject as this, a pure still-life, is what we should expect Vermeer to have sometimes painted and it is only surprising that no example has previously been found.

Brueghel's Adoration of the Kings.-One of the most important works of Pieter Brueghel the Elder is his Adoration of the Kings, which is now being secured for the National Gallery, London. Brueghel's revolt against the tendency toward meaningless splendor and his indulgence in satire reach their climax in this painting, where the Magi, the by-standers, and Joseph are shown in a much more likely, if far less dignified, light than is usual with paintings of this period-or any other. (C. J. HOLMES, Burl. Mag. XXXVIII, 1921, p. 53; pl.)

Rubens' Judith.-A short study of Rubens' treatment of the subject of Judith with the head of Holofernes is made by R. OLDENBOURG in Z. Bild. K. XXXII, 1921, pp. 66–68 (2 figs.). In contrast to the Flemish love of fleshly opulence and baroque expression which characterizes Rubens' treatment of the subject in Braunschweig, the example in the collection of Maria Borghesani at Bologna, though very similar to the earlier painting in composition, is more restrained and passive, preparing the way for Titian's influence, which came a little later.

A Painting by Willem Buytewechs.-A picture of an open-air banquet, now in the Kaiser Friedrich Museum, has been tentatively attributed to Willem Buytewechs. In Ber. Kunsts. XLII, 1921, pp. 44-48 (4 figs.) K. ZWEGE VON MANTEUFFEL confirms this attribution, finding evidence for it in the resemblance of the painting to signed drawings by this artist. One of these, in Berlin, shows a seated figure in an unusual posture which is almost a replica of that of a principal figure in the painting.

GERMANY

A Fourteenth Century Panel in Berlin.-In Ber. Kunsts. XLII, 1921, pp. 81-87 (6 figs.) W. MANNOWSKI discusses a small German panel of the Nativity recently purchased by the Kaiser Friedrich Museum. In many external details it shows obvious and direct imitation of Giotto's treatment of the same subject in the Arena Chapel at Padua. The spirit and style of the picture, however, associate it with a Bohemian painting of the Nativity in the Stift Hohenfurt in Bohemia, with a Crucifixion in the Boehler collection in Munich, and with paintings of the Virgin and Child adored by Angels and of the Crucifixion in the National Museum in Munich. The Berlin painting is to be attributed to a Bavarian painter of the fourteenth century. It is almost certain that he saw the Arena Chapel himself.

Miniatures attributed to Dürer.-In Burl. Mag. XXXVII, 1920 pp. 61-62, C. DODGSON disputes the recent attribution to Dürer of a repetition in illumina tion of the artist's Little Passion. These miniatures, some of them bearing

Dürer's monogram, are in a book said to have been lately discovered at Nuremberg. Some of them are reproduced by M. H. Delarue in Pages d'Art, May, 1920. Aside from the fact that Dürer would not have repeated his compositions, these miniatures are lacking in the life and spontaneity of Dürer's work; they are the production of a respectable Nuremberg craftsman, working to order.

Dürer and the Antique.-In Jb. Preuss. Kunsts. XLII, 1921, pp. 34-50 (11 figs.), M. HAUTTMANN discusses Dürer's interest in the antique, which began in about 1497. It is significant that this interest was not confined to Dürer's sojourn in Italy, but that it developed in Germany. The artist moved with the trend of humanistic study in his own country, and it was in the collection of antiquities in Augsburg that he found inspiration for not a few of his figures and compositions.

Dürer's Early Drawings.-In Jb. Preuss. Kunsts. XLI, 1920, pp. 208-213 (pl.; fig.), E. Bock discusses some of the early drawings of Dürer, particularly a pen drawing in the cabinet of copper engravings at Berlin. The subject is uncertain, but probably it is the design for the dedication page of a book. A point of special interest lies in the fact that the drawing is reversed, as is obvious from the Dürer monogram, thus indicating that the drawing was being prepared for making a wood engraving.

Dürer's Apollos.-A study of Dürer's drawings and engravings in which appear Apollo and Diana or Apollo alone is made by E. PANOFSKY in Jb. Preuss. Kunsts. XLI, 1920, pp. 359–377 (10 figs.), with special reference to the master's relationship to Barbari. It is shown that here as in many other cases the influence came from the Italian artist to the German, rather than vice versa. But Barbari's representation of Apollo and Diana served Dürer as a suggestion or incitation rather than as a model. Barbari was influential in directing Dürer to new problems, rather than in giving him new solutions.

Augsburg Sculpture.-Two of the most important early Renaissance sculp tors of Augsburg, Adolf and Hans Daucher, are treated by P. M. HALM in Jb. Preuss. Kunsts. XLI, 1920, pp. 214–343 (2 pls.; 73 figs.). A very significant feature of this period was the adoption of a new kind of marble with warm tone and with a fine grain which made it particularly suitable for careful, detailed work. The father and son here discussed were pioneers in the use of the new material. The investigation concerning Adolf Daucher begins with the high altar of the St. Ann Church at Annaberg in the Erzgebirge, since it is the only work which can be attributed to him on documentary evidence. But more important than this altar is the sculptural decoration in the Fugger Chapel at Augsburg, which is here ascribed to the master. Of the son, Hans Daucher, more signed and dated works are known, extending over the period 1518-1527. These include a number of portrait medallions and plaques, while not a few grave reliefs and other smaller sculptures may be assigned to him.

Johannes Vest.-Some fundamental material for the study of the Vest family in their relation to late Renaissance terra-cotta work is given by K. SIMON in Mh. f. Kunstw. XIV, 1921, pp. 56–69 (21 figs.). The member of the family of whom special account is here taken is Johannes Vest von Creussen. There are only two signed reliefs by this artist-one of them dated 1599-but on the basis of these two others may quite certainly be assigned to him.

Sixteenth Century German Tapestries.-In Mh. f. Kunstw. XIV, 1921, pp. 70–96 (2 pls.), H. GÖBEL contributes to the history of the manufacture of pictorial tapestries in Torgau and Weimar by a study of the artists patronized by Johann Friedrich der Grossmütige. The interest of this prince in tapestries amounted almost to a passion in his later life, and the three most important artists employed by him were Henrich von der Hohenmuel, Hugo vom Thale, and Seger Bombeck.

A Suit of Armor of the Period of Maximilian.—In Ber. Kunsts. XLII, 1921, pp. 42-44 (2 figs.) P. Post describes an exceptionally complete and finely executed suit of armor belonging to the time of the emperor Maximilian which has recently been acquired by the Zeughaus in Berlin. It is to be attributed to an armorer of Augsburg or Nuremberg.

AMERICAN ARCHAEOLOGY

GENERAL AND MISCELLANEOUS

Metals in Prehistoric America.—In Mus. J. XII, 1921, pp. 35–42 (pl.; fig.) W. C. F(ARABEE) gives a brief account of the use of metals in prehistoric America, with particular emphasis on bronze in South America. The varying proportions of copper and tin in South American bronze are probably to be attributed to technical considerations in the manufacture of various kinds of utensils and ornaments. Among the objects of prehistoric American metal recently acquired by the University of Pennsylvania Museum is a knife cast in solid bronze. A snake of the same material is represented on the back of the blade, and the handle is ornamented with a flamingo in solid gold. The technique of casting gold is illustrated by two gold bells in the same museum. One is in the form of a bat standing in a loop of gold wire. The other bell is surmounted by an ornament in the form of an animal, with a similar loop of wire.

Marble Vases from the Ulua Valley.-In Mus. J. XII, 1921, pp. 53–74 (22 figs.) G. B. G(ORDON) describes a series of marble vases from the Ulua Valley in Honduras, now in the collection of the University of Pennsylvania. Most of them have handles shaped in imitation of animals. The sides of the vases are ornamented with a rich design in low relief, of which the principal elements are abstractions from animal forms.

Publications of the Bureau of American Ethnology.-The monumental product of the year for the bureau has been Ethnology of the Kwakintl, based on data collected by George Hunt, part 1, (1921) by FRANZ BOAs, forming the 35th Annual Report of the Bureau of American Ethnology, 1913-14, 750 pp. This work will set a new precedent in methods of ethnological research since the customs and beliefs are recorded in original text with spaced-off translations on the same page, providing simultaneously a basis for linguistic study and a more correct account of native customs than if they were recorded in English alone. The descriptions of manufacture and use of articles of utility include practically every product of handicraft, not even excepting stone and bone work. Industries, hunting, fishing and food gathering, preservation of food, recipes for cooking, beliefs and customs concerning food and utensils,

prayers, weather charms, taboos, customs of birth, treatment of infants, death and souls and shamanism are discussed. Feasts, social position and marriage and finally swear-words form a concluding section.

Dr. TRUMAN MICHELSON'S contribution: The Owl Sacred Pack of the Fox Indians (Bulletin 72, Bureau of American Ethnology, Washington, 1921, 83 pp.; 4 pls.; 8vo) is another ethnological text giving an account of an individual sacred medicine bundle of the Fox (Algonkian) Indians, accompanied by a short linguistic discussion and list of stems.

Recent Publications of the Heye Museum, New York.-Cuba Before Columbus, by M. R. HARRINGTON (Indian notes and monographs, 1921 part 1, vols. 1 and 2; 507 pp.; 109 pls.; 111 figs.) is an extensive monograph giving the results of several expeditions to Cuba in 1915 and 1919. Excellently illustrated and well provided with maps, this work focuses the conclusions of much archaeological research in Cuba by various authors. The principal conclusion is, that previous suspicions by Fewkes of a dual culture composition on the island are correctly conceived. Harrington defines two cultures: a primitive phase, which he terms the Ciboney, whose remains are found in caves on the eastern coast of the island and sparingly in the whole interior, and a localized culture, much more advanced, affiliated with Tainan remains in the other West Indian Islands, Porto Rico, Jamaica and the Bahamas. The former contrasts between the two are great. They are admirably shown in a sketch illustrating the different manufactures (pl. CVIII). The Tainan peoples had artificially deformed skulls, were well advanced in ceramics and skillful makers of ornaments, the Ciboney had undeformed skulls, used shells for bowls and shell gouges and celts. The inference is that the Taino overran the primitive Ciboney. Resemblances between the latter group and the peninsular culture of Florida are strong, thus adding another link to the chain of sequences connecting the West Indian cultures with those of the extreme Southeastern states (p. 422). Yet Harrington discredits any indication of relation between Cuba and the Maya of Yucatan (p. 421). The Taino culture emanated from the northeastern part of South America where both Carib and Arawak may still be found. Part 2 of this important work, still to appear, is announced to deal with the living Indian descendants in Cuba and the Tainan remains.

Besides the second edition (1921) of the List of Publications of the Museum of the American Indian, Heye Foundation (37 pp.), the following octavo pamphlet is off the press since the last reviews were given: Bladed Warclubs from British Guiana, by M. H. SAVILLE, 1921 (37 pp.; 4 pls.; 2 figs.). The author describes several stone-headed clubs conforming to the type found in the West Indies and related with some degree of probability to the stone celts occurring with great frequency as far north as southern New England.

Miscellaneous Articles on American Archaeology.—In the American Anthropologist XXIII, 1921, No. 2, are four articles of archaeological interest. 'Further Notes on Isleta,' by ELSIE CLEWS PARSONS; 'An Unusual Group of Mounds in North Dakota,' by GEORGE F. WILL; 'The Need of Archaeologic Research in the Middle West,' by FREDERICK HOUGHTON, and ‘Aboriginal Sites near "Teaoga," now Athens, Pennsylvania,' Part 1, by LOUISE WELLES MURRAY.