Brooklyn Museum Quarterly . e IMusenni Wall Vases. .189-140Utah, Narrative of the Museum, Expedition to, 191T, sec Dixieland of the ^Mormons 27 Wall Vases, Chinese i;?5-l 40 Washingtons, Uady, l{ece|)tion, painting ])\ I)a\i(l Hunt-ington 58-G0 Washington, Miniatuie of, by Saint-^Irmin 2? Webster, H. A., etchings . . 101 Utah: Li/ards in 80 Natural Bridges in 51 Snakes in 86, 48 Vegetation in . 84, 52 Vondrous, J. C, etchings 97 Yencesse, Ovid, engraA^^r 114 10 THEBROOKLYN MUSEUM QUARTERLY VOL. V. JANUARY, 1918 No. 1. CONTENTS View of the City of New York taken from LongIsland, from the print
Brooklyn Museum Quarterly . e IMusenni Wall Vases. .189-140Utah, Narrative of the Museum, Expedition to, 191T, sec Dixieland of the ^Mormons 27 Wall Vases, Chinese i;?5-l 40 Washingtons, Uady, l{ece|)tion, painting ])\ I)a\i(l Hunt-ington 58-G0 Washington, Miniatuie of, by Saint-^Irmin 2? Webster, H. A., etchings . . 101 Utah: Li/ards in 80 Natural Bridges in 51 Snakes in 86, 48 Vegetation in . 84, 52 Vondrous, J. C, etchings 97 Yencesse, Ovid, engraA^^r 114 10 THEBROOKLYN MUSEUM QUARTERLY VOL. V. JANUARY, 1918 No. 1. CONTENTS View of the City of New York taken from LongIsland, from the print by Saint-Memin, en-graved in 1796 Frontispiece Dixieland of the Mormons—George P. Engelhardt PAGE The Work of M. Fevret de Saint-Memin—Jo/m Hill Morgan 5 27 The Exhibition to Celebrate the Opening of the Cats-kill Aqueduct, at the Brooklyn Museum 53 A Note on the Painting Lady Washingtons Recep-tion, by Daniel Huntington 58 Museum Notes 62 Museum Members Added during the Year 66 Museum Publications and Catalogues 71 ^. o t:_i o> ^ ^ X o ^- i u. o UJ The Work of M. Fevret de Saint-Memin PHILIP L. HALE, explains the oblivion into whichJan Vermeer fell after his death—an oblivion so com-plete that for uj^wards of two hundred years the veryname of one of the great artists of the world was forgottenand his works apportioned among his contemporaries—onthe gromid that Houbraken, the gossiping old Vasari ofHolland for some reason chose to leave Vermeer out of hishistory of Dutch painters. ^ A reputation, says Mr. Hale, is made because oneman, in print, says another man is good; or nowadays, whenhe says he himself is good, as did Whistler. The result which followed was, in any event, that Hou-braken maliciously or no having omitted to mentionVermeer while giving much space to the second rate daubersof the day, all the other writers on Art industriously copiedhim and Vermeer was forgotten until Biirger-Thore ex-humed him from the ash bin of Houbrakens neglect about1860. For ne
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