The Anaconda standard., 1899-01-30

Hesitation was great and benefcent in all
the Christian countries, its weakest de-
velopment was in England and Spain. A
readable and convenient account of ar
chitecture in the most Enthusiastically
Renaissance country is "Architecture OF
the Renaissance in Italy," by William j.
Anderson.
1t is the art of painting by which the
Renaissance is best known, and the ltal-
ian painting of the Renaissance has a lit
erature commensurate with its import
ance. Many works of value on the various
painters are in our library and have been
made known to our patrons in former ar
tices. A very small and convenient sum-
mary of leading painters has just been
produced by George B. Rose. 1t is called
Renaissance Masters" and includes
chapters on Raphael, Michael Angelo. Da
Vinci, Titan, Correggio and Botticelli.
The great excellence of the Italian mas
ters has thrown into the shade the
worthy productions of other nations.
Were it not for this. the work of the Teu-
tons would receive its merited recognition.
But even as it is, an artistic education is
fatally defective which does not take into
account the peculiar features and the ac-
knowledged merits of the masters of the
north.
The most complete and satisfactory single
WORK toHceTDlHS ll5fII is I1diuDOoh VI
Painting; German, Flemish and Dutch
Schools" by Franz Theodor Kuglar: re-
modelled by DR.. Waagen and revised by
Sir Joseph A. Grove.
In Spain, too. were a few painters that
demand careful attention. The greatest
of these was Velazquez, or, as his name
is more fully written. Diego Rodriguez
Velazquez de Silva, and the most author
itative work concerning him and his pro-
ductions in the English language is that
by Carl JuSt
land was never as great as that during
the Renaissance on the continent of Eu-
rope. But during the nineteenth century
England has furnished artists calculated
to bring out what is best known in its
own art Accounts of two of these men
are before us this week. While the most
influential man of the century in the do
main of the fine arts, Mr.. Ruskin was en-
inent in other directions. In John Rus
kin, Social Reformer' ]. A. Hobson
tries to show that Ruskin did more for
social reforms than any other man of his
day. When such a statement is made by
SO experienced and competent a judge as
Mr. Hobson. it cannot be lightly contra
dicted. But Ruskin the master of English
style and Ruskin the great teacher Of art
is known, and will ever be known. far
more than 'RuSkin the Social RefOrmer.
Malcolm Bells "Sir Edward Burne-
jones' a Record and Review is we'll
written and elegantly illustrated book,
worthy of the subject of which it treats.
Probably the highest of the fine arts is
music. In this stage of the worlds his
tory it almost seems to us that music is a
natural accomplishment of humanity and
that its manifestation must have been
an accompaniment of all peoples. But the
fact seems to be far otherwise. Music,
in any modern sense, appears to be a dis
tictively modern accomplishment. We are
to be congratulated that so capable and
so interesting critic as w. J. Henderson
has given in a moderate-sized book his
tory of the art. His ''How Music De-
veloped a Critical and Explanatory Ac-
count of Modern Music" deserves a wide
reading.
OF more limited scope are the reminis-
censes of Mathlide Marchesi. "Marchesi
and Music; Passages From the Life of a
Famous Singing Teacher is more a
book of interesting gossip than a discus
sion of the principles of the art.
Concerning Photographic art the best
books we have are those of w. I. Lincoln
Adams. His Sunlight and Shadow we
spoke of somewhat enthusiastically last
season. This year his book is "In Ma