On the whole, the new English edition provides a more selective group of illustrations, with particular improvement in suggestion of relative scale and size. The printing techniques differ and in some instances the plates vary considerably in effect. The English edition has about fifty fewer black and white plates than the Mexican and nine rather than ten color plates. Many of the illustrations were taken from the Mexican for the English edition, and a few color plates were also directly transferred. (That in the second Mexican edition was short, with only major books indicated.) Weismann has since made a thoughtful translation of this second Mexican edition, added significant new notes, and compiled a truly magnificent new bibliography. After the master’s untimely death, the Instituto de Investigaciones Estéticas of the National University published a new edition in more compact format, with additional illustrations and bibliography (1962). The present volume is an English translation of Toussaint’s monumental Arte Colonial, first published in 1948 (Mrs. (Although he had a marked feeling for the Indian contribution, he did not particularly emphasize the preconquest era.) Incessant student of his country’s artistic heritage, he turned with greatest interest and sympathy to the period between about 15. His many roles-researcher, teacher, and administrator-are firmly institutionalized in the History of Art division of the University of Mexico, in numerous government agencies, and in the work of his colleagues and pupils. Weismann graciously indicates in her foreword, Don Manuel Toussaint was the presiding genius of colonial Mexican art history-through a rich and active life, unhappily cut short in 1955.
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