New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1897-06-13

oesihs by tracing the development OF the art in
the hands OF Brunelleschi Benedetto da Ma,
Jaho. Albert. Andrea Sansovino and Others nj
Florence; then traversng the country further
/ horth, as Tar as Venice. with it's memorials OF
i'oi"oardo' and lillian. with its relics of Bra
nantes activity. he studies the elimination Of
'ne art IN Rome where Bramante, Peruzzi
"'ichaei Angelo. Della Porta and others of lesser
importance wreaked themselves with candid
testimony to the value of Sammicheli's work at
verona, Jacopo Sansovino's at Venice and Pal
i"ulos at Vienna. he brings his brief volume
To close 1T is very brief, and there has been
''' i""th Tor any personal portraiture. The
ieducT ANXIOUS for human traits will have to
seek In the biographical literature OF the time
beginning with Nasari- But the resume Of tho
purely artistic side Of the subject is admirably
concise ana clear. and there pages which
throw valuable light upon the condition Of
'l"S''c itaIy In the time of the Renaissance.
'"i example, Nj. Anderson draws special at
''"'i"h 10 the influence of the "bottega'' or
workshop upon Renaissance architecture Isrti-
he|eschi was trained in such a shop where the
"'ts OF the painter and sculptor the architect
anu decorator. the goldsmith and silversInth
We're simultaneously praCtisod. The tasks to
which the pupil might be set must have been
somewhat diversified; perhaps the casting Of a
bronze statuettc. or the painting Of a merchants
SlSnb"ard, the enlargement of the masters
Ske''h Tor a frcsco figure d,coration or the cary
ihg brides 'cassonc Ofcourse. tits clear that
these tasks i'm themselves would only go n little
way in architectural training and as a matter
~ fact. Brunellcsch Bramante and Peruzzi
not to speak Of many others. gained their archi-
tcctural knowledge far more 10y personal study
II the ancient Roman buildings than by their
apprenticeship in the 'bottcga There. how
ever. they learned To exercise the power OF de-
siSn and To discriminate between good and in
ferior work; while in the variety IF the train
ing such place afforded lies part Of the ex-
PLANTATION OF their quite remarkable versatility
Mt Anderson points out that the Renaissance
architecture in the form il took in Spain
called "piatersco" or silveIsrnith architecture
and the term was doubtless drawn from this %
early influence OF the Indian "bottega." For b,
that Influence was dircc; and tangible: it was
much more than one of general culture The
sliNersmith's style. consciously or unconsciously,
projected itself into the architects and i'm the
decoration Il many an Italian facade the traces
OF jewel forms are plainly visible. In Spain this
flavor OF "hiJputeric" in the decoration was much
more pronounced han in Italy. Some Of Mr
Prentces examples. notably the great convent
II san Marcos At Leon. and the two stately
iomhs from SrVillc-and some important cdirccs
which lac has not figured. such - the great town
nan at Sevi!i'-have tie nn!cal strain which
gives tie observer a feeling Of stlcesncss All
over spain, as 1t does among some Of the Re-
Nuisance buildings in France. broadly speak
ing. however. the Renaissance in Spain was
worthy of that In Italy. and. while the fecundity
look like jewel Baskets is far removed from the
restraint and measure of Hramantc or Peruzzi
the fundamental impulse Of the Spaniard AS OF
the Italian was toward a beautiful and dicninsd
phase OF architectural art. Mir. Prentice has made
a noble folio out cf the buildings ne has studied
ana his drawings. even those which not made
To scale. are carefully produced that they
ought To be of practical service To professional
men in this country. lie has been content to
sketch the brilliant picturesque facadcS of the
peninsula. He has studied also the vast wrought
ron screens which famous in Spanish
'athedralS IA" has measured and drawn To- scale
The carved wood ceiling Of the archiepiscopal
palace at Acala d" IIcnarcs, and in FRAGMENTS
Ike these or like the coister galleries OF the
monastery at i.upianp he has reproduced lust
he details which practising architect of to-
lay could profit 10y in his own new work Mr.
rcnticc is brilliant architectural ,lraughts-
nan HIS style is simple, fluent and forcibIe. He
eo3 his subjects archtccturally. and so renders
nom either in pencil ink or a combination or
ne TWO mediums. lie and Mr.. Anderson-who
laS Illustrated his book largely with photo-
,raphS but has also used some admirable meas
lred drawings by himself and others have hoth
iad the pleasure of seeing their books produced
he plates IN both books are exactly what they
uSht to be. For those books we NAV saw i'm
n cordial welcome must be forthcom