❧A SELECTION FROM MESSRS HENRY AND CO’S PUBLICATIONS

SIR ANTHONY VAN DYCK
His Life and Work
By Jules Guiffrey.
Translated from the French by WILLIAM ALISON.
❧Folio, Cloth.
Edition: 250 Copies, numbered, £4. 4s. net.
10 Copies on Japanese Vellum , £12. 12s. net.
❧This important, exhaustive biography of the great Flemish painter
is based on the researches of the highest authorities, and notably on a
valuable anonymous manuscript in the Louvre, which presents the life
and work of Van Dyck in an entirely new light, and which has been
overlooked by every other historian of the Flemish school of Painting.

    M. Guiffrey’s volume contains a full and complete catalogue of all
Van Dyck’s works—paintings, etchings, drawings, etc. (including many
known only through the engravings of Bolswert, Vorsterman, Pontius,
de Jode, and others), and of all engravings and etchings after his
paintings. This covers a total of over 1500 paintings and 3000 prints.
In every instance the present whereabouts of each picture is stated,
with its number in the latest published catalogue of the collection in
which it is to be found.

    In selecting the illustrations for the text of the book, it has been
thought best, instead of giving reproductions of the numerous masterly
engravings after Van Dyck, which would inevitably have suffered by
reduction, to reproduce in facsimile upwards of a hundred original
drawings from the hand of the artist himself.

    In addition to these facsimiles in the text, the book is illustrated
by a number of important works of Van Dyck reproduced by the
Dujardin heliogravure process, as well as by nineteen original etchings,
which will be of especial interest, inasmuch as they are after paintings
by the master which have never been etched before. These etchings
are the work of such well-known artists as Gaujean, Boulard, Noel
Masson, Courtry, Salmon, Milius, Fraenkel, and Hecht.

                                                                                                THE

❧THE HISTORY OF MODERN PAINTING.

By Richard Mutiier, Professor of Art History at the University of
  Breslau, Late Keeper of the Royal Collection of Prints and Engrav-
  ings at Munich.

❧Three Volumes, Imperial 8 vo, with 2304 pages and over 1300 illus-
       trations.

    Issued in the following forms:—
In 36 monthly parts, at 1s. net.
In 16 monthly parts, at 2s. 6d. net.
In 3 volumes, cloth, gilt top and lettering, at £2. 15s. net.
     Vol. I. 1 8s. net.
     Vol. II. 1 8s. 6d. net.
     Vol. III. 1 8s. 6d. net. [Feb. 1896.
In three volumes, library edition, half-morocco, gilt lettering and top,
other edges uncut, at £3. 1 5s. net.

❧SOME PRESS NOTICES.

The Times, August 15, 1895.—‘Professor Muther’s elaborate work on
The History of Modern Painting, which has for some years held a posi-
tion of authority on the Continent of Europe, is now being translated
into English by the competent hands of Messrs. Ernest Dowson, G. A.
Greene, and A. C. Hillier, and we are glad to welcome the first volume,
which brings the work down as far as Meissonier and Menzel. It is a
large volume of 600 pages, with some hundreds of “process” illustra-
tions, mostly of small size, which . . . are useful as presenting memo-
randa of the pictures. The English is good, and the book does not
read like a translation, and especially not like a translation from the
German, so that it may be read with pleasure as well as consulted for
the information it conveys. There need be no hesitation in pronounc-
ing this work of Muther’s the most authoritative that exists on the
subject, the most complete, the best informed of all the general histories
of Modern Art. . . . Professor Muther makes the most praiseworthy
attempts to hold the balance with the dignified impartiality proper to
the historian, but, like the majority of modern writers and artists, his
own sympathies are distinctly on the side of the forward movement—
for Delacroix as against Ingres, for Manet as against Bouguereau and
Jules Lefebvre.’

❧The Magazine of Art, August 1895—‘We have for years been wait-
ing for a history of modern painting—not merely a list of modern
painters, or a réchauffe of biographical notices of the great men of all
                                                                                                     countries,

III
countries, but a careful work which would take in European art of the
present day in its purview, and lay before the reader a systematic criti-
cism of all the modern schools of art, synthetical in arrangement, and
just and unprejudiced in its estimate. Such a work as we have hoped
for promises to be that of which the first two parts lie before us. If it
carries out that promise, it will not only fulfil the conditions we had
laid down, but it will have the further advantage of being thoroughly
popular in tone—popular in the best sense, to the point of attracting by
its inherent interest the general reader, for whom aesthetics are dry, if
not altogether vain and distasteful. Dr. Muther is not better equipped
by his learning than by his natural capacity for taking a broad, critical
view of men and their works, and placing them in their proper place in
his comprehensive survey. . . . Eschewing the refinements of technical
phraseology as far as may be, Dr. Muther sets out on his inquiry on a
clearly defined basis. His plan is to subdivide his subject rather by
movements than men, rejecting the greatest painters of any one country
if they are overtopped by greater in another, judging each man from
the point of view of the aims and aspirations of each, testing the success
of those aspirations closely and strictly, with a judgment philosophical
in its exercise and acute in application. In short, he exercises the
function of a true critic in attractive language—a little flamboyant at
times, it is true, but lively and picturesque, and eminently readable.
Looking on the European art as a whole, Dr. Muther regards England
as the fountain-head of the movement which instituted the line of de-
marcation at which modern art begins, or at least the true demonstrator
of the fact that to nature and not to convention and pure tradition must
the artist go for his inspiration both of subject and treatment. He then
deals broadly with the English school of painters in a way that shows
his mastery of facts and theories, regarding them not with the eyes of a
foreigner, nor quite of an Englishman, but with that cosmopolitanism
and freedom from prejudice of favour which form the chief merit of his
book. . . . We await the completion of the work with interest.’

❧The Westminster Gazette, August 19, 1895.—‘It is well that we
should have a translation of Professor Muther’s History of Modern
Painting , if only because it is the sole book in existence which professes
to take anything like a historical survey of European art during the last
hundred years. It is not conceivable that any man in existence should
take a balanced and critical view of all the schools of Europe, still less
that he should anticipate permanent judgments on modern art. The
                                                                                                     critic

iv
critic who could be absolutely impartial between Diisseldorfers,
Munichers, modern Frenchmen, and Eighteenth-Century Englishmen
is not born, nor likely to be. But Professor Muther travels over the
ground with great conscientiousness, and he provides material which is
indispensable for students of art history. Though his style and method
are unmistakably German, his way of looking at art is in large part not
at all what the detractors of German art would expect from that source.
He is on the side of the forward movement as against the so-called
classicist, for the free and temperamental as against the strict and
mechanical schools. He is not a little touched with the art-for-art’s-
sake theory. . . . The arrangement is exceedingly German-professorial ;
but within it, or in spite of it, Professor Muther manages to give us good
brief biographies when they are to the point, some useful criticism,
and not a few interesting general remarks. The present volume is a
large and handsome one of 600 pages, and contains many “process”
illustrations.’

❧The Glasgow Herald, August 29, 1895.—‘This volume, the first of the
three in which he intends to deal in an exhaustive manner with The
History of Modern Painting, is a powerful and effective witness to the
completeness and thoroughness of the Professor’s equipment as an art
critic and art historian. His knowledge is wide and deep; he has sym-
pathy with many varying phases of art expression; he understands the
causes, the meanings, and the limits of what are called “ movements ” in
art, which are sometimes the result of serious aspiration and effort, and
on the other hand are frequently merely the outcome of vague discon-
tent with, and stammering, half-articulate protest against, the conven-
tions of the day. Professor Muther is evidently a man of learning in
the right sense of the word: catholic in his tastes, broad in his outlook,
accurate in his knowledge, and not afraid to set forth the truth accord-
ing to his convictions. . . . The first volume from its excellence certainly
makes us look forward with pleasant anticipations to the remaining two.
Professor Muther states that his book stands alone among similar books
on modern art, in virtue of its “embracing the history of European
painting in the nineteenth century,” and this statement is amply borne
out by the contents of the volume. Chapter I. of Book I., entitled “The
Eegacy of the Eighteenth Century,” deals with the commencement of
modern art in England, and points out the great part played by Eng-
lish artists in cutting out and preparing the way “ along which the nine-
teenth century should advance in art.” . . . The chapters on classicalism
                                                                                                     in

v
in France and Germany, on the art of Munich under King Ludwig I.,
and on the Dusseldorfers are especially valuable, and show that the
Professor can take a very fair view of art and its progress within the
borders of his own country. He is singularly impartial in his judg-
ments. He deals so far with the notable “generation of 1830,” as well
as with some of their forerunners, but for his full treatment of this most
interesting part of his subject we must wait for the succeeding volumes.
The text is profusely illustrated with portraits and reproductions of
pictures. These deserve, as a rule, high praise. . . . The book is
handsomely got up.’

❧Messrs. HENRY have pleasure in announcing that they have made
arrangements to publish

THE COMPLETE WORKS OF FRIEDRICH NIETZSCHE.
    In eleven volumes, Demy 8vo.

Edited by ALEXANDER TlLLE, Ph.D., Lecturer in German Language and
Literature at the University of Glasgow, author of Von Darwin bis
Nietzsche, etc. etc.
, and issued under the supervision of the ‘Nietzsche Archiv,’ at
Naumburg.

❧VOL. XI. THE CASE OF WAGNER. NIETZSCHE CONTRA WAGNER.
THE TWILIGHT OF THE IDOLS. THE ANTICHRIST. Translated
by THOMAS COMMON.
            To appear in January 1896. Price 10s. 6d. net.
Vol. VIII. Thus Spake Zarathustra. Translated by Alexander
    TILLE, Ph.D.             To appear in April 1896. Price 17s. net.
Vol. X. A GENEALOGY OF MORALS. Translated by WILLIAM A.
    HAUSSMANN, Ph.D.   POEMS.   Translated by JOHN GRAY.
            To appear in July 1896. Price 8s. 6d. net.
Vol. IX. BEYOND GOOD AND EVIL. Translated by Helen
    ZIMMERN.            To appear in October 1896. Price 10s. 6d. net.
Vol. VI. DAWN OF THE DAY. Translated by JOHANNA VOLZ.
            To appear in February 1897. Price 13s. net.
The remaining six volumes to appear successively within two or three
years.

❧FRIEDRICH NIETZSCHE, Ph.D., Emeritus Professor of the University
of Bale, is one of the most prominent representatives of that movement
of contemporary opinion to which Huxley gave the name of the New
                                                                                                     Reformation.

vi
Reformation. Within the last ten years he has acquired an influence
over modern Continental culture equalled by no philosopher since
Hegel. His works have created an independent school of thought;
and in Germany, Austria, Holland, France, and Scandinavia a whole
literature has sprung into existence bearing directly upon his work.
Although his adversaries are as many in number as his followers, his
significance has been recognised by the institution of courses of lectures
on his philosophy at various German universities. Though treating
the same problems of modern civilisation as Spencer, Stephen, Huxley,
Wallace, Williams, Morison, and Balfour in Great Britain, he starts
from a different point of view, and arrives at very different conclusions,
which, should they prove final, will overthrow many pillars of modern
thought, more especially of modern ethics. His endeavours to bring
about a perfect concord between our moral convictions and feelings
and our knowledge of the world lead him to a severe criticism of the
former. In the course of this criticism he re-discovers a morality the
cultivation of which has been neglected by the Germanic nations for
about twelve hundred years; he calls it master-morality, and shows
it to be synonymous with that taught by the modern doctrine of
evolution.

    While engaged upon his great work on the Transvaluation of all
Values, he was surprised by an insidious disease which hopelessly dis-
abled him from completing the task of his life. An aristocratic philo-
sopher in the midst of our democratic age; a master of aphorism such
as Europe has not known since Larochefoucauld, and yet a systematic
philosopher and popular writer of the first rank; a literary warrior and
artist; a dreamer absorbed in thought, and yet the herald of the gospel
of health and the joy of life; mortally hostile to the Neo-Christianity of
Tolstoi, socialism and endaemonistic utilitarianism, and yet pointing to
a higher stage of humanity—he expresses his thoughts in manifold
forms, from the epic prose poem, after the fashion of the Tripitaka, to
lyrical song, learned treatise, and the collection of aphorisms and
apophthegms. Running directly counter to most of the ideas and feel-
ings which pervade British philosophy, fiction and periodical literature,
and yet closely akin to the British national character in its moral
conception of superiority—an ethical genius of immense vigour, and a
strong personality on whose generous character full light is thrown by
his struggles with rationalism, pessimism in philosophy and music,
clericalism and moralism, and yet one who penetrates with rare sagacity
                                                                                                     into

vii
into the most intimate affairs of the time, exposing its pudeurs with
pungent wit; a philosopher of profound learning, and a poet of ravish-
ing lyrical power; he stands a un ique figure in the arena of modern
thought.

    The questions he has raised are the problems of our time imperi-
ously demanding solution. It is no longer possible to neglect and
avoid them; it is preferable to look them straight in the face, and to
accept as the foundation of all our operations those new factors which,
as Nietzsche shows, have now become inevitable. Perhaps the wide
outlook into the future of mankind which he has opened up may help
to lead the race to its final goal.

❧THE PENTAMERONE; or, THE TALE OF TALES. Being
     a Translation by the late SIR RICHARD BURTON, K.C.M.G., from
    the Neapolitan of Giovanni Battista Basile, Count of Torone
    (Gian Alessio Abbattutis).
❧Two volumes, Demy 8vo.
Edition: A limited Edition, £3. 3s. net.
    150 Large-paper Copies on hand-made paper, £5. 5s. net.

❧FOUR CHRISTMAS BOOKS FOR CHILDREN.
❧STORIES FROM THE BIBLE. By E. L. FARRAR. With an
    introductory chapter on the unspeakable value of early lessons
    in Scripture, by the Ven. F. W. FARRAR, D.D., Dean of Canterbury.
    With 12 illustrations printed in colour, and a binding designed by
    Reginald Hallward. Crown 4to, 5s.
❧THE TYRANTS OF KOOL SIM. By J. M’LAREN COBBAN,
    author of The Red Sultan. With 6 illustrations, and a binding
    designed by J. Brewster Fisher. Large Crown 8vo, 5s.
❧THERE WAS ONCE A PRINCE. By MARY E. MANN, author
    of Susannah. With 6 illustrations by Mary Bertie Mann. Large
    Crown 8 vo, 5 s.
❧THE HAPPY OWLS. By TH. VAN HOYTEMA. With 20 illus-
    trations, printed in six colours, and a pictorial cover designed by
    the Author. Crown 4to, 3s. 6d.

                                                                                                     SIX

❧SIX NEW NOVELS.
❧Large Crown 8vo, 6s.
THE GODS, SOME MORTALS AND LORD WICKENHAM.
    By John Oliver Hobbes, author of Some Emotions and a Moral.
    With a title-page and binding designed by Walter Spindler.
    ‘To her numerous admirers the statement that this new book of
hers is her best will be in itself sufficient recommendation.’— Mr.
Edmund Gosse in The St. James’ s Gazette.
❧BOCONNOC: A ROMANCE OF WILD OAT CAKES. By
    HERBERT VIVIAN, co-author of The Green Bay Tree.
    ‘This book is at times as beautiful as it is clever.’—Mr. Richard Le
Gallienne in The Star.
❧SUSANNAH. By MARY E. MANN, author of There was once a
    Prince.
    ‘Open it where you will, and you will not fail to find excellent
literary quality, clever characterisation, keen observation and genuine
humour.’—The Daily Chronicle.
❧ A QUESTION OF INSTINCT. By MORLEY ROBERTS, author
    of The Adventures of a Ship’s Doctor.
❧Large Square 8vo, 4s.
THE HOUSE OF THE STRANGE WOMAN. By F. NORREYS
    CONNELL, author of In the Green Park.
    ‘He is such a comical, quizzical, cynical dog, is Mr. Connell, that
the brutality of his story cannot deprive the reader of a certain keen
enjoyment of this very clever, curious, and audacious book.’—Morning.
❧AN IMPRESSION CALLED ‘THE IMAGINATION OF
    THEIR HEARTS.’ By MICHAEL DURE.

SWAN ELECTRIC ENGRAVING COMPANY,

Northumbria House, 116 Charing Cross Road, London.
❧ Art Reproducers in PHOTOGRAVURE and HALF-TONE, from
pictures, photographs, or drawings.

The highest class of illustration work executed in Great Britain. See
the eighteen half-tone blocks in this volume.

❧ Sir John Millais speaks of the Swan Company’s work in terms of
high praise. His son, Mr. J. G. Millais, writes:—

‘The last of your proofs have arrived to-day, and I can only say how
very much pleased I am with the quality of work which you have main-
tained in reproducing the large number of illustrations I have submitted
to you. The “Electrogravures” are particularly excellent; in fact, my
father, who has had a wide experience in black-and-white illustration,
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ever seen in his life, and that he did not see how any artist’s original
drawing could possibly be more truthfully interpreted. The “Swantype”
process seems to me also first-rate, especially for body-colour drawings.
I have just sent your proofs of my father’s drawing, “The Last Trek,” to
him, and will let you have his letter in reply, when you can judge for
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Mr. Rudolf Lehmann, the portrait painter, writes

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portraits of Browning and Lady Martin. They are far and away the
best of the many that have been attempted.’

Mr. Joseph Pennell, in Pen Drawing and Pen Draughtsmen (Mac-
millan), says:—

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has been most faithfully reproduced by the Swan Company. Their
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