New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-01-29

is possible that their chacrn has caused thom
TO be less ready than they might otherwise
have been to admit their debt Nevertheless we
believe that Gemito, who Fortuny's friend
and modelled his bust, must have derived con-
siderable inspiration from the brilliant Span
lard; we are not sure but that Domenico Morei
and Paolo Michetti would confess, II pressed.
that they owe something to the master-cer-
tainly their works give abundant evidence Of
his iniuence-and Simonett, Fortuny's pupil
whom Mr.. Willard does not even mention, IL
typical Of n kind Of art frequently encountered
in Italy and eloquent Of Fortunys tradition
However. We need not press this point further
The main thing Is that Morelli and the others
have decided merits, and that, at the same time
the smallness Of the group they compose leaves
US more puzzled than ever at the artistic situa-
ton in the land OF Michael Angelo and Titan.
Since the group is so small We regret TIE
more our authors omissions. or Mancni he
says nothing more in celebration Of his talents
than that he was IAN artist of considerable
repute" Does he not know that Mancini has
produced some Of the most brilliant pieces of
brushwork in modern European art? Perhaps
he is unaware Of the curious coincidence thar
this painter. who was the friend OF Gemito. has
also been incapacitated 10y an affection OF the
brain IT is only this fact we believe, which has
kept Mancini from holding the high place to
which by his best work in the past he has been
entitled We find no tribute either, in this
volume to the excellent work OF Luigi Sierra, 10
the charming paintings Of Siivio Rotta-one Of
the very best OF the younger men-to the stink
ing etchings OF Conconi: and while Kossi and
Marchctti like BOldini. have been expatriated
for some time. developing their art under
Partisan influences We think the two should be
included in a history Of modern Italian art 80
also Giacomell should be. especially as Mr..
Willard goes Of MS way to discourse OF
Rossetti whose relation to modern Italian art
is ambiguous indeed. But the most Migrant
and really indefensihle omission is that Of Ettore
Tito. a whom II seems almost Incredible
that a writer on Italian art could nave over
looked Mr Willard might almost better nave
ignored the work Of Cesare Maccari important
as that work is. than the paintings OF ITO
While the Cicero and Catalina OF the former
artist in the Palazzo del Senate at Rome Is
Justly noted decoration its academic virtues are
to-day unfruitful. the younger painter Oh the
other hand is in the forefront, he has great
vitality and "A style whose influence cannot fail
to be wide among the beginners in the present
hour Furthermore Tito has not only modernity
but beauty He would be man 70 reckon with
whether his pictures were shown IN Paris or
London What has caused the author OF the
book before US utterly 70 neglect one Of the men
to whom we look for the safety Of the future OF
Italian art is quite beyond US. The truth would
appear to be- as We limited at the outset that
Mr. Willard has only "A few Of the qualifications
Of an historian OF modern Italian art TO ms
Industry we are glad to render tribute. He has
emhalmed In the many pages OF tins hand-
somely printed volume names which, II unim-
portant should at least be accessible IN some
record; and If we must have these biographical
notes. il Is well that they should be gathered To-
gether as the author has gathered them AS
tentative book Of reference this will stand. Yet
the subject Of which il treats. for all its humble
phases could De made infinitely more interest
ing than il has been made upon this occasion.
and we can only hope that some writer better
equipped than Mi willard will in time giro UP
his loins and give US the critical survey which
Is needed