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French artists achieved a perfection in the representation of the human form which anticipated by a generation the work of the Pisani in Italy, for the early thirteenth-century statues on the west front of Chartres Cathedral are carved with a naturalness and grace which the Italian masters never surpassed, and the marvellously mature and beautiful silver-gilt figure of a king, in high relief, found in 1902 immured in an old house at Bourges and exhibited in 1904 among the Primitifs Français at the Louvre, was wrought more than a century before the birth of Donatello.
On November 4 he asked me if I should like to go with him to the Louvre, where he had to see the Salle des Primitifs. I said yes. He spent an hour there, enjoying heartily the best pictures, and extolling their merits as we were coming back.
The manuscript of many of Animuccia's compositions is still preserved in the Vatican Library. From the latter Padre Martini has taken two specimens for his Saggio di Contrapunto. A mass from the Primo Libra di Messe on the canto fermo of the hymn Conditor alme siderum is published in modern notation in the Anthologie des maîtres religieux primitifs of the Chanteurs de Saint Gervais.
A publishing house has been associated with the School at Paris; and from this we get Reviews, such as the Tribune de Saint-Gervais; publications of old music, such as the Anthologie des maîtres religieux primitifs des XVe, XVIe, et XVIIe siècles, edited by Charles Bordes; the Archives des maîtres de l'orgue des XVIe, XVIIe, et XVIIIe siècles, edited by Alexandre Guilmant and André Pirro; the Concerts spirituels de la Schola, the new editions of Orfeo, and the Incoronazione di Poppea, edited by M. Vincent d'Indy; and publications of modern music, such as the Collection du chant populaire, the Répertoire moderne de musique vocale et d'orgue, and, notably, the Édition mutuelle, published by the composers themselves, whose property it is.
There has been a great deal of rather profitless discussion as to whether he expressly imitates the primitifs or reproduces them sympathetically. But really he does neither; he deals with their subjects occasionally, but always in a completely modern, as well as a thoroughly personal, way. His color is as original as his general treatment and composition.
The collection of French Primitifs of the fourteenth and fifteenth centuries, exhibited in Paris in 1904, and the publication of Dimier's uncompromising and powerful defence of those critics who, like himself, deny the existence of any indigenous French School of painting whatsoever, have recently concentrated the attention of the artistic world on a passionately debated controversy.
We make our way to the small but increasing collection of French Primitifs possessed by the Louvre, along the Grande Galerie as far as Section D. and, turning R., enter Rooms IX.-XIII. Beginning with Room X., devoted to fifteenth-century masters, on the L. wall is 995, Martyrdom of St. Denis, ascribed to the Burgundian Jean Malouet, court painter of Jean sans Peur, and owing its completion to Henri Bellechose, after the former's death in 1415. To L. of the main subject, the saint is seen in prison, receiving the sacred Host from the hands of Christ; 996, a Piet
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