New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1907-03-10

clearness. roundness and weight. without dimi1-
ishins the rush and volume Of the rhythmic',l ef-
ISct- w nave neIe Idtis! ThdpSOtIy many PSIt
though the whole be overwhelming. though certain
ceIlence.
There is more. in the same vein, about TIE
dome and about other manifestations OF Correg-
gio's genius At the end the painter is not safely
summed up and ticketed like a curiO in a mu-
scum The reader feels. rather. that he has
been listening TO kind of talk about the painter
Sometimes this has failed to strike fire. Some
times Mr.. Moore has been obscure. But in the
MAN, he has been stimulating and helpful: he
has kindIed the reader to renewed interest in
COrreggiO. and. perhaps. if the reader has never
been 60 Parma. he has been filled with desire
TO go there and TO enjoy COrreggiO for himself
For our own part. we do not by any means agree
with all Of Mr. MOOres conclusions. and we
even little disappointed at his failure to pO'nt
out certain Of the masters limitations. the ex-
cessive sweetness that COrreggiO often puts into
his work and the predOminanee Of sensUOus over
spiritual elements in much that he produced
Nevertheless it is plain that THIS critic has the
root of the matter in him. With his book fer
the spirit of COrreggio. with Riccfs elaborate
work for the details of the painters career, the
student could not go far wrong. We may men
ton in passing. for his benefit the addition that
of a volume devoted to the Parmesan master
This contains forty-nlne full page reproductiors
OF his paintings one more of those well balaneet
collections for which we have repeatedly praised
this popular series
The volume on the POllaiUOT. which Mss
CruttweH has written for the same series in
which Mr. Moore's "CorreggiO'' appears, has 50
much merit that we wish it might have been
made perfect. The author. already favorah'y
known through competent monographs ON Yer
rocchio and the Della Robbia. had. to begin
WITH on this occasion a theme of deep interest
Antonio PollaiuoIo was of the strongest
masters among the F1Orentines of the fifteenth
century. and it seems almost incredible that he
and his far less gifted. bat still accomplished
brother. Piero. should not before this have been
made the heroes OF a separate volume. To re-
pair the neglect they have suffered at the hanls
OF the historians was to take advantage of an
exceptional and delightful opportunity But the
very fact that her book 10 be the first On
the subject seems to have betrayed Miss Crutt-
we'll into just the bunder it was important for
her to avoid, \ disciple of Mr. Berensen, she
INDUCES necessarily in that trick of overs ote-
ment for which MI Moore has again and again
to reprove her master. 1t is a pity. She has
made a searching study of the POllaiuOli Her
biographical pages should prove invaluable to
the student she presents IN ciedr FORM an TIC
available facts relating to the works. and she IS
suggestive-if she is read with discrimination
in the difficult matter of distinguishing between
the qualities OF Antonio and PierO. both Of whom
would seem to have been engaged upon the same
painting in more than one instance. Until an
other book is written on these two artists Miss
Cruttweus essay will be Indispensable But.
/ frankly. should not be sorry to see the SUB
ject taken up by another historian.
Antonio POIaiuOlO was Landed in his own time
for his powerful craftsmanship He in
advance OF his time in the treatment of tbs