New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-12-17

! as for key TO epoch in civilization The
suit has been in soma cases pages more meta
| physical than critical. There is no one like
| Bottcelli for Turing your too subtle philosopher
| into portentous obscurities. Mrs Ady deserves
| honorable rank among those who have written
! about him in English. She is content with the
| meagre bogra phical data available, and rigidly
| refrains from eking 1t out with ingenious spec
! ulatton. In dealing with the works she uses the
| same good sense. Having examined apparently.
/ all the literature existing on the subject. she is
her ease in stating the conclusions of scholar
| ship as TO this that disputed painting but
! she has not been tempted to indulge in serious
| flights of her own on those questions of attr-
| button which beguiling-and dan
| gerous. Her book is simply workmanlike
| survey, embodying the fruits of modern research
| in clear and unassuming fashion BotticeIis
! personal traits. as they are revealed in a few
rarA anecdotes. his attitude toward the poetic
taste Of his epoch his relation TO the propa ganda
! of Savonarola and 70 the ideas Of Dante are all
/ LUMINOSITY set forth, without trace of whim-
steal theorizing. The works are described one by
Gre their chronology being fixed and the Crcun-
stances Of their origin being indicated only in
| so far as the writer has authentic evidence on
| which TO base her comments. Altogether. with
| its catalogue Of complete works. its hiblogra-
ply and its full index, this is about as useful
popular monograph on botuceIh as could be
desired. Only of the numerous iIlsIstra=
tons are in photogravure, the beautiful Chigt
Madonna, now in Mrs. Gardrers collection. and
that enchanting illustration to BoCca cCo's story
! of Nastagio dcgli Onesti, which Botticelii may
not have painted, but which he, undoubted-
- "e i-7' VI TIC ii'uS'' "'''-'7 q
Turner's "I.fber stldforlln7r IS fo~ rre STU
dent one az The INDISPENSABLE monuments IF his
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f % matter, t5a-, With the classical mood
Of hi, i75 ana r17. master, in whose, footsteps he
+rod-Cy9uSa 7,,a,. show with what stateIi-
ness ra drar,7att,zf . scene md y,irh what de-
1orion he strove for fidelity to fact Both the
oar3A,,r and the irrin,ac, he achieved il, com
osir;,r are erfec7I,- illustrated in the series
To find that series in perfect form today is of
course. difficult, and well filed purse is needed
for the cues. II IS gratifying therefore 10 be
aJ1e ~ ,,rafsa the ohIopg 0uarto published by
NeUnes il london and recently imported by
the Scribror5 d reprint on the whole adequate
and NOT 1T all expensive. Each plate has a
page to itself. and as the scale is ample and the
seria tint used is delicate and pure, the student
may get from this volume Il very clear idea OF
what Turner was driving at when he devised
this miniature gallery Of landscape compost
tions, Historical, Mountainous. Pastoral Ma
rine and Architectural PrehXed TO the volume
! is a brief introduction by Nj c. T. Bell in
which the facts relating to the origin OF the work
and it's development as q publishing enterprise
are briefly stated. Paper. presswork and bind
ing are substantial and IN good taste
Mr. Dewhursts Impressions Paintins-l'S
Genesis and Development IS not so important
work as one might take II 20 ne rom us l'ie'
trained historian critic. He writes simply as
a partisan of impressionism. anxious 70 win
others TO his faith. His fervor is pleasing, but
when we find him saying on his fourth page that
1t cannot he too clearly understood that the I'M
pressonistic idea IS OF Engilsh plrth' we per
! ceive that no valuable light OF the SUBJECT IS 10
be expected from him. We look in the book for
clear, authoritative Interpretation OF impress
sionism and an account OF us .tliIe