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of his book, it is not pedantic. The lay Much material for æsthetic publicaman and the student alike may profit by tions is naturally icund this season as his pages. The photogravure plates in heretofore on Italian soil. Herr Franz this volume are of extraordinary beauty. Wickhoff, in his “Roman Art," of which There are seventy of them, and they serve an excellent translation has been made by a double purpose-they give a remarkably Mrs. S. A. Strong, seeks to trace the clasvaried and comprehensive representation sical ideas which influenced Christian art of Sir Joshua's art, and they commemorate in its earliest phases. His analysis leads many of the most distinguished figures in to conclusive proof that “even as the a brilliant epoch of English society. Fathers could not invent for themselves a

Van Dyck, who prefigured in the Lɔw language in which to expound the docCountries of the seventeenth century, trines of Christianity, but had to make that courtly elegance which made the shift with Greek and Latin, so too the fame of Gainsborough and Reynolds in Christian artists could not dispense with the England of the eighteenth, is likewise the art forms and methods which lay celebrated this year in a volume somewhat ready to their hand." This is an abtru se less imposing as to its dimensions than essay, characterized by Teutonic gravity, Sir Walter Armstrong's two books, but and it is not the easiest reading in the otherwise of equal sumptuousness and world. But Herr Wickhoff unfolds his value. It is called “Fifty Masterpieces argument with a zealous regard for the of Anthony Van Dyck,” and contains fifty importance of every link in that chain of photogravures of paintings in the great evidence which he has set out to forge Antwerp exhibition of 1889. Max Rooses, from the rare, disfigured, or otherwise a writer respected not only in his own obscure artistic remains at his command; country, but among connoisseurs every- and for the right reader, with some where, provides the text, which embraces knowledge and more patience, he is a a biographical sketch of Van Dyck and most helpful guide to difficult periods. concise notes, historical and critical, on His prose is reinforced by numerous fine the pictures reproduced. This is a perfect illustrations, of which no fewer than fourillustration of the newer sort of art book. teen are in photogravure. Designed as a souvenir of a particular ex Herr Wickhoff's industry is rivalled in hibition, it is really something more than modest fashion by that of Mr. Langton the record of a fugitive enterprise. The Douglas, author of a new book on Fra photogravure plates, taken, in many in- Angelico, though this critic is not withstances, from pictures ordinarily inacces out a certain over-hasty petulance. Fra sible to the public, place new and import- Angelico, we are told, has been misrepre. ant material in the hands of the student. sented by nine writers out of every ten The text of M. Rooses adis just the light who have dealt with his works; and even that is necessary to turn the exquisite re the tenth, Mr. Douglas seems to think, productions into practicable documents has not always been able to resist the for purposes of study. It is a gorgeous Christmas book, and it is, moreover, a Roman Art. Some of Its Principles and Their Appli

cation to Early Christian Painting. By Franz Wickhoff worthy addition to the literature of Van

Translated and edited by Mrs. S. Arthur Strong. With Dyck.

14 plates and 80 text illustrations. The Macmillan Co.,

quarto, $8.00. FIFTY MASTERPIECES OF ANTHONY Van Dyck. By Max Fra ANGELICO AND His Art. By Rev. Langton Doug. Rooses. With 50 photogravures. J. B. Lippincott Co., folio, $25.00

quarto, $5.00,

las. With 60 illustrations.

The Macmillan Co., small

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From “Prince Charles Edward."

Charles Scribner's Sons. PRINCE CHARLES AND ANTOINE WALSH [From the painting given by Prince Charles to Walsh, the owner of La Doutelle, now in the collection of Duc

de la Trémoille. The armorial bearings at the top were taken from the poop of the ship.]

popular tradition of the painter as a pietistic enthusiast with a taste for art. This author denies that he was a man who “ bolted his monastery doors, and sprinkled holy water in the face of the antique.” He was primarily an artist who

only happened to be a saint, says Mr. Douglas; and he has no difficulty in showing that Fra Angelico was in full sympathy with the artistic tendencies of his time, that he studied Nature face to face, and g1:2dly made use of the antique. The book is welcome for its intelligent readjustment of an interesting painter in the perspective of artistic history. With its good illustrations, its appendix of documents, and its index to the painter's works, it is a decidedly creditable performance. But the reader should be warned that the popular misconception justly criticised by Mr. Douglas, has at bottom a certain value. The essence of Fra Angelico's art is the spirituality which has engaged the attention of the world. Despite Mr. Douglas it must remain the important thing in the work of that gentle dreamer of San Marco.

Count Plunkett, an Irish lecturer and writer on art, has composed a monograph on Botticelli which gives a scholarly account of the Florentine master. Like Mr. Douglas he is wise on points of origin, deals judgmatically with the claims of this or that picture to authenticity, and subjects Botticelli, in short, to a ruthlessly scientific analysis. Though ruthless and Morellian the author has a lively sympathy for his theme. If his rigid fidelity to a rather cold blooded method acts as a check upon his insight into the work of a peculiarly original and poetic painter, it at least saves him from the highfalutin in which writers on Botticelli are prone to indulge. Perhaps the most gratifying factor in Count Plunkett's criticism is his insistence upon Botticelli's prime significance as a pioneer in landscape painting. The Florentine's gifts in this direction have too often been overlooked. Intensely imaginative as he

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SANDRO BOTTICELLI. By Count Plunkett. With 20 photogravure plates and many illustrations in half-tone. The Macmillan Co., 8vo, $12.50 net.

[Detail from the Madonna Dei Linajuoli.]

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was, and constantly drawing his subjects Sculpture” has received a valuable accesfrom the sphere of ideality, he neverthe- sion in the shape of a biography of less gave complete reality to his concep- Perugino by Mr. G. C. Williamson. The tions, and relied to a great extent for his Umbrian painter has, of course, been diseffects upon the scenery of his native cussed by every authority on Italian art, land. This volume which is especially but no full account of him has hitherto admirable for its brevity, is superbly been published in English. Mr. Williamillustrated. A full catalogue of Botti son understands perfectly the requirecelli's works is included, and there is a ments of the series which he edits, and so useful bibliography.

produces an extremely compact book; yet The series of small illustrated volumes though he is brief he manages to tell all on “The Great Masters in Painting and that is necessary of his hero's life, and is

equally adequate in his interpretation of PERUGINO. (Great Masters in Painting and Sculpture.) By C. G. Williamson. The Macmillan Co. 8vo, $1.50.

the works. Perugino is one of the most

suare of Italian painters; he has a pensive designer, and an interesting though sometenderness. Lacking in the intellectual what nerveless draughtsman. His works force and inventive fecundity of Raphael, are seen at their best in black and white his great pupil, he nevertheless possesses reproductions, and thus the illustrations a delicate charm comparable to that of the in the present volume make it attractive master in some of his characteristic moods. where it is otherwise of doubtful value. It was a good idea of Mr. Williamson's to Mr. Andrew Lang's biography of Prince choose for a photogravure frontispiece to Charles Edward Stuart is scarcely to be his book the comparatively little known described as an “art book," but it may not “Family of Saint Anne," at Marseilles. inaptly be mentioned in this place for the

The book on the late Lord Leighton, sake of its magnificent plates. These reby Mr. Ernest Rhys, of which a third produce, in the delicate tints made familedition in crown octavo form, has just iar by the house of Goupil, contemporary been published, is likely, so far as portraits existing in public and private its text is concerned, to convey a rather collections. Lagilliére's portrait of the inaccurate impression of the noted Eng- Prince in youth forms the frontispiece in lish painter. Mr. Rhys is too enthusiastic a plate of several colors. Mr. Lang's narby half. To anyone familiar with Lord rative is necessarily tinged with sadness, Leighton's glaring defects as a colorist, for the Young Pretender touched the exhis gaudiness and opacity, it is discon tremes of romance; his star rose in splencerting to be told that he delighted “in dor and declined in shabby gloom. But softly-blended colors," and there is equal as a collection of beautiful pictures the fatuity in the observation that "his ideal memorials reproduced in this publication of beauty is more nearly that of Correggio yield almost unqualified delight to the than any seen since Correggio's time.” lover of art. On the other hand, Leighton was a strong

PRISCE CHARLES EDWARD. By Andrew Lang. Pro

fusely illustrated with photogravures from original FREDERIC LORD LEIGHTON, P. R. A. An Illustrated

Fac-simile frontispiece in colors, 28 full-page Chronicle. By Ernest Rhys. With many illustrations plates, and 12 smaller prints. Limited Edition. Charles reproducing his pictures. The Macmillan Co., 8vo, $3.00. Scribner's Sons, royal quarto, $20.00 net.

sources.

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