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Brunn's Kleine Schriften Heinrich Brunn's Kleine Schriften. Gesammelt von Hermann Bkunn und Heinrich Bulle. Erster Band : Römische Denkmäler; Altitalische und Etruskische Denkmäler. 1898. Zweiter Band: Zur Griechischen Kunstgeschichte. 1905. Dritter Band: Interpretation; Allgemeines. Nachtrag. 1906. Leipzig and Berlin: G. B. Teubner. M. 44.
Eugénie Strong
The Classical Review / Volume 21 / Issue 05 / August 1907, pp 144 - 145 DOI: 10.1017/S0009840X00179892, Published online: 27 October 2009
Link to this article: http://journals.cambridge.org/abstract_S0009840X00179892
How to cite this article: Eugénie Strong (1907). The Classical Review, 21, pp 144-145 doi:10.1017/ S0009840X00179892
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144 THE CLASSICAL REVIEW The remaining chapters of the book are ture of Ionian Greece. M. Hauvette has" full of interest. Ch. ii. deals with the history made a notable contribution to the elucida- of the Text; ch. iii. is entitled ' Idees et tion of a great poet, who has hitherto been, moeurs dans la Poe'sie d'Archiloque '; ch. iv. treated with undeserved neglect. is devoted to a thorough discussion of dialect, vocabulary, and metre, followed by sections T. HUDSON WILLIAMS. on composition, style, and the general posi- Univ. Coll. tion of Archilochus in the history and litera-
BRUNN'S KLEINE SCHRIFTEN.
Heinrich Brunn's Kleine Schriften. Gesam- in cases where their archaeological Content melt von HERMANN BKUNN und HEIN- has been superseded. For this reason we RICH BULLE. Erster Band : Romische cannot but be grateful to Brunn's son Her- Denkmaler; Altitalische und Etruskische mann and to Dr. Heinrich Bulle, one of the Denkmaler. 1898. Zweiter Band: Zur younger archaeologists of the Munich school, Griechischen Kunstgeschichte. 1905. for collecting together and editing with Dritter Band: Interpretation; Allge- minute care all the scattered minor writings, meines. Nachtrag. 1906. Leipzig and of the great master, though we may also be Berlin: G. B. Teubner. M. 44. allowed to regret that a grouping according to subjects has been adopted instead of a IN the preface to his recent Altgriechische chronological order of production which Plastik, Dr. Lehrmann well says that ' up to would have revealed the growth of Brunn's the time of Brunn the last word in archaeo- ideas, his ever-increasing intellectual grasp, logy rested with the antiquary and not with and the gradual enlarging of his horizon the art connoisseur, while the literary tradi- till it enclosed the whole domain of classical tion of the ancients gave the cue for the archaeology. At this date, when the actual description and appreciation of the monu- theories must, as the editors themselves; ments. Archaeology was looked upon admit, be looked upon in measure as out- merely as a help to antiquarian research. worn, there seemed every reason to present From this degraded position H. Brunn, and them not in primary relation to the subjects; after him Adolf Furtwangler and Julius discussed, but as they would most faithfully Lange have raised it to the rank of a self- mirror the writer's intellectual life. True, supporting science based upon itself.' What the chronological list of Brunn's writings- Percy Gardner and S. Reinach said of New- printed at the end of the third volume, goes ton in their obituary notices, that it was he a good way towards remedying what seems who in England substituted archaeological the defect of the book, while the nature of science for dilettantism, is equally true of the material dictates to a certain extent a. Brunn in Germany. chronological arrangement. Brunn's scientific method was illuminated Brunn started, as did every one in his by rare powers of divination amounting to day, by a study of Rome and Etruria, so^ creative genius. Nowhere is this more that the essays contained in the first volume evident than in his noble work on the Greek represent, on the whole, his earlier activity. artists, where he evokes from the dry bones In the second and third volumes Brunn's of tradition the individual spirit and the attention, like that of his contemporaries, personal aims and tendencies that animated becomes concentrated on the recently- each artist. The same intellectual power revealed art of Greece. Unlike the majority vivifies all his writings, and invests them of his contemporaries, however, he never, with an interest which proves abiding even in contemplating the achievement of Greece, THE CLASSICAL REVIEW 145 lost sight of the whole history of his sub- vast range of the writer's powars and in- ject, nor indulged in that exclusive and one- terests. sided admiration from the effects of which The First Preface, contributed by Dr. the study of Hellenic art itself has been the Hermann Brunn, contains a charming record first to suffer. of Brunn's character, of his powers of con- The notes contributed by the editors are centrated work, of his joyous personality, of discreet length and to the point, and and his delight in the varied phenomena of many fresh illustrations have been intro- life and of nature; of the naive wonder of duced. Readers already familiar with them friends and colleagues when the great scholar will recognize with delight celebrated and chose to spend long spells of time apparently epoch-making papers like those on the frieze unoccupied in simply looking out of the of the Mausoleum, on the Parthenon window. This leisure, this mental spacious- marbles, on the Pergamene finds, and such ness, is one which the scholar needs almost as masterpieces of critical method as the paper much as the creative artist, though it must on the 'Munich athlete.' The study of have surprised the Germans of fifty years vases owes as much to Brunn almost as that ago. We are told, also, that his lucid of sculpture, and this is evident from the third vigorous language was the result of a search volume, where we find collected together on his part to build for each thought, so to many familiar essays, chiefly concerned with speak, ' the precise house' that fitted it. the interpretation of vase pictures. ' It seems to me of the highest importance,' Among the articles on various topics wrote Brunn himself, ' not only to contribute in Vol. Ill are a number of obituary notices a given result to science, but to embody it of various eminent scholars that display in such a form that even should the result Brunn's striking literary gifts and his intel- prove incorrect, yet a complexion of perma- lectual sympathy for the work and effort of nent value would be set upon the question.' others. Last, but not least, the volume The Second Preface, by Dr. Heinrich Bulle, closes with a set of three articles on Raphael, is an interesting analysis of Brunn's scientific thus leaving a brilliant impression of the aims and methods. EUGENIE STRONG.
ANCIENT SCULPTURE AND PAINTING.
(a) Brunn-firuckmann's Denkmdkr Griech- it is only recently that the British Museum ischer und Romischer Sculptur, fortgefiihrt has acquired a copy of this work. I pro- und tnit erlduternden Texten versehen pose to indicate briefly a few of the more von PAUL ARNDT. Plates 501-600. remarkable items among these 100 Plates, Munich : F. Bruckmann, 1902-1906. each of which is accompanied by a short (b) Denkmdler der Malerei des Altertums, descriptive text either by Dr. Arndt himself herausgegeben von PAUL HERRMANN. or by distinguished collaborators, among Munich: F. Bruckmann, 1907. Each whom appear the names of Furtwangler, part M. 20. Hauser, Amelung, and Sieveking. {a) NOTHING illustrates more vividly the A large proportion of the plates are of activity of the Munich School of Archaeology works now made known for the first time, or founded by Brunn than the continuation by of works inadequately published and perhaps Dr. Paul Arndt of Brunn's huge repertorium of buried in inaccessible periodicals. The antique sculpture. Dr. Arndt took up the beautiful archaic Nike (headless) of the editing at No. 501, and a few months ago Akropolis (Kastriotis, Cat. 690) can be here brought his two first parts, each numbering 50 compared with the fragment of another Plates, to a close. The publication, owing to rather more archaic Nike in the same its size, and also to its cost, is not so well Museum (Kastriotis, 694) and with the fine known in England as it should be. Indeed, bronze in the British Museum (Bronzes 491) NO. CLXXXVII. VOL. XXI. L