The Minneapolis journal., 1903-12-19

Opening with a sketch of the building of
the palace in a time when the patron of
the palette was likely to be handy with the
dagger, and a villain at intrigue, when
aesthetic tastes and bloodthrstiness
sometimes dwelt together in the same
mind, the author tells of the owners of the
palace and then passes to brief apprecia-
tions of the works of the great masters
there.
The pleasure there is in reading the au-
thor's comment is greatly enhanced by
forty full-page reproductions of some of
the best of the Pitts treasures in soft
browns. One of these, the halftone of
which is furnished By Nathaniel Mccarthy
is reproduced herewith, but, of course, can
give no adequate conception of the orig
lnal work except as to outline. The front
ispiece in: 1.-THE Art of the Pitt Palace"
from which this is taken is, of course
also, far more satisfactory. r 49,.
Mr.. Miltouns Cathedras of Northern
France is a book happily free from guide
book style and irresistiby attractive to all
who love to linger over the suggestions of
the grand structures, devoutly builded at
a period when art was still religion
The Franks, when they conquered
northern Gaul, impressed their architec-
tural sympathies upon the land and the
result is found in the types of the pure
Gothic like Notre Dame Of Paris, and the
cathedrals of Rouen, Amiens. Reims,
Beauvais and Chartres. The other struc-
lures reveal transition types or the styles
suggesting degeneration. The .cathedrals
Of northern France are not visited by tour
lists as much as are those of South France,
Italy and Germany. Ruskin's description
of the Rouen cathedral and others in that
region, stimulated pilgrimages of art stu
dents. '' .-' - F"
The author Interestingly describes the
CT.
as representing the development of the
early Gothic in France, which had not the
orna teness and lightness of the distinctive
French type, and then proceeds to the
grand group Of cathedrals-Parls, Beau
vais, st. Denis, Amiens Rouen, Reims,
Chartres and lie Mans, representing the
greatest art expression of the Gothic
builders and historically the most import
ant 1t is needless to say that the author
has well accomplished his declared purpose
to lead with as little DEPRESSION as pos
sible up to the chief glories for which they
are revered.' and remind the readers of
the wealth of interest that exists with re-
Iation to these shrines- of religious art
Bliss Car11lan is in a talkative mood
in his The kinshp of Nature. He talks,
at times, recklessly and eXtraVagantly.
1t is good reading, however, this causerie,
At the outset he complains that the body
is maze a slave 10 11ldcHlllelS dllu lIlt
spirit defrauded of any scope for it's pent-
up force, and we have nothing to hope
for in the industrial world; the breach
between art and life will go on widening
until labor is utterly brutalized and art
utterly emaSculated.'' This is very black
pessimsm. But, a few pages further on,
he says that 10y in ones work, pleas
ure in ones emotions and satisfaction in
ones thoughts go to make up the sum
of happiness He declares that eve must
| not scold," but ''if we do not like things
as they are and do not believe in them,
let us change them'' Carman contradicts
himself profusely in this book But he
is interesting, withal. Read the chapters
"Haste and Waste" 'The Vernal Ides, -
Fact and Fancy" 'The Cost of Beauty, .
'"The Wandering Word ''The Friendship
of Nature "The Luxury of Being Poor
and Good Fortune for impressive bits
of the Carman philosophy.
! The young folks are getting well sup
| piled with nature study books, and more
are publishing. They do not seem to
| weary of them, but take cheerfully to the
| sciences of entomology, ornithology and
horticulture and botany in the way they
are presentation instance, in Miss Le-
more Mulets series of stories entitled
| Phyllis Field Friends. Miss Schneider's
larity of these attractive books, and the
youth must be densely stupid who will
not learn much about flowers. insects and
birds from these admirably prepared vol
! umes.