658 LUCE— BRIEF HISTORY OF THE 



start, it has taken an interest in vases, and published many good 

 articles. 



But next to the excavation of the Acropolis, the most important 

 event of that year was the complete Germanization of the Instituto 

 di Corrispondenza. The Monmnenti, Annali and Bulletino stopped 

 publication, and the headquarters of the institute moved from Rome 

 to Berlin. Its name was now changed to Das kaiserlich deutsche 

 archaeologische Institut, and the old building and splendid library 

 of the Instituto became the headquarters of the German archseolog- 

 ical school in Rome. At the same tmie, the German institute ab- 

 sorbed Gerhard's Archaeologische Zeitnng. In place of the Annali, 

 there is now issued a quarterly periodical, called Jahrbuch des K. d. 

 archaeologischen Institnts, while the Monmnenti has become the 

 Ant ike Denkmdler. The Archaeologische Zeitnng has been turned 

 into a supplement to the Jahrbuch called Archaeologischer Anzeiger, 

 devoted largely to reports of excavations, and particularly of ac- 

 quisitions to museums, while the Mittheilungen of the Roman school 

 has taken the place of the Bulletino. In all of these magazines, vases 

 play a prominent part. 



The modern illustrated scientific catalogue doubtless grew out of 

 the sale catalogue. It is natural, when a large private collection is 

 being sold, either at Chrystie's or the Hotel Drouot, that the owners, 

 or dealers acting for the owners, want to realize as large a price as 

 they can. So that the sale catalogues early began to be rather 

 sumptuous and to publish illustrations of the principal objects con- 

 tained. Another determining factor, was, of course, the perfec- 

 tion of methods of photography, and the making of it cheap enough 

 to use freely. Still, much use is made even now of drawings. 



The first modern illustrated scientific museum catalogue that I 

 knew of is Masner's of the Oesterreichisches Museum in Vienna, 

 which appeared in 1891,*^ and where most of the important vases 

 are illustrated. But the best work of the nineties w^as done in 

 England. The catalogues of the Ashmolean Museum in Oxford 

 (1893) and the Fitzwilliam Museum in Cambridge (1896) are 



c Some steps in this direction were taken in Italj' in the catalogues of the 

 Jatta collection at Ruvo di Puglia, Italy, in 1869, and the Caputi collection in 

 the same place in 1877, both of these catalogues being illustrated with plates 

 of the more important unpublished vases. Both are by Signor G. Jatta. 



