New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1907-04-21

George kriehn. n
two volumes illustrated. SVO. PIP. xvii 4O6. xl
80 q. T. Putnam's Sons
Professor Muther Is an adept at the popular
exposition of difficult subject He knows how
TO take broad views. and he sets forth his con-
illusions, If not precisely with a light touch at
all events with little OF the ponderosity which
Is associated with the writers of his country.
Ills history Of nineteenth century painting
showed that he could move easily outside the
narrow boundaries OF German taste and he is
similarly adaptable in the present survey of
painting from the earliest times down TO the
period covered in the work just mentioned.
Though there are points in the book inviting
adverse criticism. its merits are so marked that
they should be placed in the foreground. Pro-
fessor Muther aims at satisfying the needs OF
those laymen who have only a confused notion
Of the development of art and despair of max
ing any progress in the study of it if the his
forlan insists upon overwhelming them with
technical lore, scientific theory impressionistic
gush. He recognizes the intimate relation of
social and artistic phenomena, and so proceeds
TO describe the schools with reference 10 the
purely human conditions out Of which they
spIang. The result is \ systematic Yet free and
untechnical analysis which gives, on the whole
an excellent idea Of the subject.
The reader may here learn how painting arose
IA the Italy Of the Middle Ages, how it was de-
Neloped in the Renaissance and how from be-
ginning TO end, the emotions that were in the
ar and were common TO all men in this or that
! lace al one period another had their influ-
'nee upon painting. Professor Muther has so
lively an intelligence and he assemblies familiar
1acts with such adroitness that the broad out
lines OF his scheme leave an uncommonly good
impression. The student who uses his work VIII
POSSESS, when he is finished with it, a sketch Of
The history OF painting that viii be OF service
10 him when he comes 70 make his explorations
amongst the European galleries But this same
student viii be the better of II he takes Pro-
fessor Muther with a certain caution avoiding
too complete reliance upon the principles ex-
plotted in the book. This historian does not by
any means exhaust all the essentials Of his sub
jeot and he is not impeccable even where he
takes the most pains. In the first place, an
effort 10 interpret 1.-The great styles Of painting
from the psychology of the age in which they
originated" is bound to break down from time
10 time, because the great styles Of painting are
created by men Of genius and such men are
often law unto themselves. Furthermore. the
moment author tries 10 explain the work Of
centuries in the light Of a given principle he
Is apt 10 give undue weight TO everything that
viii support his hypothesis, and to forget mat
t-rs that of first rate Importance, but that
do not fan in with his precOnceived notions
TheIe is no question here Of bad faith, OF de-
HbeTate eXagseratiOn disingenuous suppress
sion. IL Is simply d question Of poor human
nature, unconsciously seeing the things that it
wants 10 see and ignoring the things that are
distastcful 10 it.
let Us take. for example, Professor Muther's
Pages two especially significant painters,
Mantegna and Velasquez. That he exaggerates
she hardness OF style noticeable in much Of the
work Of the Mantuan master does not greatly
trouble as. II is point which the student can
easily correct for himself. But when Professor
Muther, keen showing tie dependence Of
Mantegna upon the ideas Of his time cites a
tain episode illustrate a transition from pagan
Christian feeling. he puts misleading
struc;ion upon recorded fact. Specializing to
whether Mantegna had heard the sermons Of
SaVonarola, ne goes on 10 say: Strange Incl
cents are related Of his last years He. the
Roman, the hard, implacable spirit, had chapel
built in which. as a hermit he daily practised
contemplation An antique bust Of Faustina,
the gem Of his collection, which he had guarded
as a precious treasure he offered for sale 10 the
Warehouses Of Mantua, and his last works offer
further proof Of the great change in his spirit"
reference 10 the well known letter in which
Nautccna offered his antique bust to Isabella
d'Este would have shown Professor Muther that
the artist was only willing 10 make the sale be-
cause be was i'm financial straits, and simply
had 10 Use some money. That he was heart
broken over the idea OF parting with the marble