New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1902-09-14

aotosraphJ
/ of the book. Indicative it is of the literary
! spirit in which the author has considered his
subject Landseer. to be sure. is hardly to be
considered in any other spirit; merely as
painter he is a negligible quantity. Mr.. Man
/ son is not as clearly aware of this as he ought
/ to be- and it is to be hoped that the critical
good nature he discloses is not to rule through
/ out the evolution of this series But he mISh'
justly maintain that however mediocre Land
seer was, he figured conspicuously in the Brit"
ish Of his time and is still SO popular that
many readers TO want biography OF
him. If this one fails to make it clear that he
painter of any consequence IT at least
gives a better account OF the man than IS else
where available. The author has borrowed
/ many amusing stories from different sources.
NJ BreaPs Rembrandt" in the series of
pocket volumes edited by Edward Garhett anu
called The Popular Library Of Art, Is a Dr'i--
liant little essay in which matters of biography
and criticism are judiciousIy blended. The sue
cess Of the author in moving within so small d
space is surprising He treats the essentials of
his heros life glances at his work in all It's
forms and interprets his genius without ever
saying too much too little. The traVeller
making his first journey to Holland would 90
we'll to put this tiny monograph in his bag Inc
illustrations, taken from the etchinSs and draw
ings exclusively, provide exactly the right ac-
compartment to the text. In the case of Mr.
Hueffer's 'Rossetti," in the same series, we are
again grateful for the illustrations, but not for
the text. Here and there the writer makes a
sagacious remark as when he says that "Ros
settfs real gift his essential talent, was that
of catching emotions; but the essay as whole
is warped by Mr.. Hueffer's anxiety to frame a
more favorable estimate than is compatible
with what all authoritative critics have agreed
to accept the facts. One short passage in
this book must quote, not only because 1t
illustrates the writer's curious view of what is
admissible in "a critical essay but because it
seems to US exquisitely funny:
His influence upon the nation is probably
large and is felt in unexpected places. Men, I'M
der it, often enough choose their wives; ladies
who look like Rossettfs" to-day stand 4
very excellent chance of getting married on the
strength Of that and little else. Such things
count"
The series of "Hand-Books of the Great
Craftsmen" edited by DR.. G. C. Williamson, is
addressed ike the two already mentioned, to
the general reader but it also has special in
terest for the practical worker. Mr. Headlams
Peter Vischer" deals with notable PERSONAL
ity in the history of German art, who is not
fairly 10 be considered artist in metal
rather than as a sculptor IN the strict sense or
the term. There sculpturesque qualities in his
work, of course yet if the superb figure of King
Arthur, at the tomb of Maximilian, Inns
bruck, has much of the dignity of plastic art
in its nOblest estate, it remains essentially a
piece of consummate craftsmanship. Sculptors
will appreciate this book, which Mr. Headam
has written well enough. though not at all brill
iantly, but would like especially to it in
the hands of the humber workers in metal.
There are practical lessons. too, for decorative
craftsmen in Mr.. a. NJ. Gusts volume The
Ivory Workers of the Middle Ages and they
might profit likewise by Mr. r. H. II. Gusts
Pavement Masters of Siena' in which one
Of the most interesting developments of italian
art is studied. These two volumes, like Mr.
HeadIam's are brief, aiming first of all at the
compact statement of historical fact. They
are all abundantly illustrated with good half