New-York tribune., 1880-10-03

illustration of which we have oxen. Is calculated
TO keep people still further from an appreciation Oh
the richness and beauty which are attalaolc ny
this noble and poetic art. 1t were mucn 10 p'
wished that illustrations might have been drawn
from some of the delightful works III stained
glass done bv artist Enelishmen within the
last few years: or oven from the specimens
made here at home by Mr.. John La Fargo. bnt
illustrations like these were no doubt beyond the
scope of the present treatise, and we restrict our
criticism to the remark that if better were not to be
had it would have been wiser to omit All but s0ch
rs related to merely necessary matters.
INSTRUCTIONS IN THE ART OF MoDELIING IN
Ma,o,uI ~ IN fara.e. clr for Pottery and Atch.
teciurai D.c'rauon fy bEHS IiIhAN; @ oa pr
School ,i Dcs gu. u u.traicd. 81 l-mo' ho"'i'
| Clarke & CO., C'nc'nn"t.
4 COMPLETE TREATISE ~ LANDSCAPE DRAWING ,SslS
lN GGAEJ OK; Wlli ~ 31oNS ,nI G,fhT Az r.Ied
by L u tb,tn Haven Apple on. same ia 'll'hciS'
| The two books the titles of which are gwen
above are the latest comers in "A series oi Art
! Uandboohs publishing by the entcrpriSinG house OF
Robert Clarke q Co, of Cincinnati. city where
art is making for itself home that i'll time is like
70 be q Formidable rival to the older homestead OF
the Muse in Boston. If, just at present, tie want
| most felt III the ambitious ctics of what was once
| the Far West is the steadincss given by ancestry
aud old habits TO the sacred Hub; and if the youth
fnl mrrah the crude first essays IN the dec"fa-
! five arts in woOd-carying and IN pottery drown
for time the friendly voice OF criticism, there IS at
| least the assurance that an interest mas Dc'h
| awakened in the arts that make our homes more
cbo.rful and interesting 70 the eye And it must hc
! that "A considerable number of people are hnding
Measure and profit in educating and exercising thtr
abilities 20 they small great, in the field OF art,
since 80 many publishers find profit i'll supply ing
| L. Wit n
those we have now under onSleradon. These
| hools will not make artists. but they may awaken
| = hidden talent encourage a dropping desire. and
| rive many practical hints TO implements and pro-
cesscs for the want of which the beginning student
! loses time and often loses heart as well. Mr..
! Vacos book is more promising IN ITS titie than
| performing in its contcnts; 1t IS written III
| shambling style. and the principles and theories
with which it deals are neither new nor well eX-
! pressed in the somewhat stale repetition what is
| wanted Dy the beginner III modelling Is simple dl-
rcctops clearly expressed and accompanied win
illustrations that explain to the eye what is not so
! easily made plain by the pen. Nothing IS to he
Uaiued by examining such illustrations as Mr.. Vago
or his publisher has inserted IN his text. They are
ab,urlIy drawn-thc poor Venus of Milo was never
| so n,isreprcseuted-cOarsely engraved, and DO IN
| everv case Injustice to the original. They GER
toinlv make one question Mr. NagC right to speak
| Oil a matter of Art. The mask. Eng. ., gwen very
rudcly on page %, Is certainly not by Michael
| Apcelo In such trayesty one cannot b" sure that
! hc reads the original. but this looks like mask
| known as that of Jean GOuion, made by himself
| Mr. Benn Pitman's remarks on modelling foliage
and other ornaments for the decoration of pottery
| architecture, and furniture, added to Mr. NaSos
book in the form of an appendix, are much more L"
| he purpoSe than the contents of the book itself.
| ,,,loo ,irart i'm tO T.
| the aesthetic principles which are stated every
| noyv and then seem to us true and Justified by
| x,er;ence In a book intended solely for learners
# would he as well perhaps not to have wairlng
opinjons distinctly advocated by the two writers
| whose separate trcatises make np It's pages. Oh
mage lG Mr.. Nago says: some common object
should be chosen to copy from say an old Doot 10
benin wthv etc, etc, aud for some pages we do not
lose s.ght of this instruction. On page Oh, how
ever Mr. Pitman delivers n more sensible and we'll
founded opnon: Art-work that does not appeal
to the judgment and the IMAGINATION Is OF Ilttlc
voue and need not be encouraged. The student
is therefore advised not 10 commence by modt iilng
an old boot (see page III unless it has history, or
| has been through campaign. Any one OF dozen
d,f.rn Mt kinds of large leaves will aiorl equally
good discipline for eye and hand, and the rccog-
milton of tcauty aud life in the form Of the leaf
| will be "A healthfu stimulus to the mind. while the
skill attained in the careful modelling OF one leaf
will be Of service in the attainment OF natural
| effect in all other plant FORMS
| Mistress Appleton's translation of Karl Roberts
little treatise Cours de Paysage All FuSan Paris.
Lemercier 1879" is woll done. and the book is, like
almost all French performances of the sort made as
| useful as possible to the learner. The French, or
| at least the PaIisans pride themselves on their
| good common sense above all other qualities
and though outside the sphere Of material utilities
we cannot always read their title clear TO thi-
pIeemIncnce yet within that sphere they may be
| uuprrdpngy admitted to shine sensible people
In tlcatses of the soft TO which NJ. Roberts be
longs the aim Is Acknowledged at the outset to
| bc not very high One-nOthing more than amnsc
| Inent ana the attainment Of "A certain superficial
dexterity, nrc supposed TO be looked for by The
= person who taxes 1t up Accordingly no time il
lost IN trunpcting aesthetic principles. but the
learner finds the implements for his work put into
his hand-thc easel. frame for stretching paper
| charcoal paper. stamps, rags, bread-cIumbs ano
fxatye-and he is then ret down TO copy iii the old
fashioned ay from the Hat, the char oal drawing
OF Appian, Lalaune. Allonge, and others, being
chosen for the purpose. We repeat it. the purpo-
of this book is merely the attainment OF "a ccrtaiI
amount of skill i'll a branch of art which