New-York tribune., 1908-01-26

Iectuai struggle, what his eye rested upon. and
one might fancy that there was some reason for
these special objects placed to meet the eve of
their owner at moments of excessive strain
This personal note is scarcely sounded in thu
collections here commemorated. The point on
forced relates rather to the amazing scope ana
impetus of the movement which, almost in
day, has enriched America with scores If no.
hundreds, of the masterpieces of ancient and
modern painting. 1t is a commonplace Of "a
cent art history that substantially all of .ba
finest of the old masters are fixed forever :,
certain European galleries. public and private
but as has often been pointed out in our eoI
umns. the really great painting out of the past
nevertheless seems somehow to come into the
market from time to time. and how readily II
is ACQUIRED for America these pages cIearIy
show Collectors and dealers are as vigilapt
as they are liberal, and though countless przes
have been placed once for all out Of their reach
they have obtained and still obtaining. po,a
pictures of the highest rank than one vout.
believe to be available The book before us
then throws vivid light on a definite phase q,
our social development. It brings out the an
Iightenment the taste, the passion for the
noblest attributes of luxury by which the pres
ent generation. here and there, is bound to
profit, and by which. in the future. a far larger
mass is certain to be leavened-
Turning from the general 10 the particular
aspects of the publication, one is impressed first
and last by the interesting and suggestive
character OF much of the text. Mr.. La Farge
for example had a rich theme in Mrs. Gard
ner's collection. and he has developed it with
all of the subtlety which We associate with his
critical excursions. At the very outset he gives
us a specimen of his insight which is so char
acterfstic so useful that wish it were nc,
too long to quote intact He is speaking Of the
Loves Greeting" of ROssetti, a picture which
many q critic would be inclined to dismiss with
scant appreciation Mr. La Fargo of Cours
sees its limitations, but he justly says. 'how-
ever deficient, however faulty, and it is fauIt7
almost all the way through. il is most essen.
TALLY a flower of that singular Pre-Raphaelitel
movement" and he goes on to make some re- L
marks which must Immediately impress any ons Il
who knows the work of that school as singu-
IarIy true and sympathetic He says:
The influence Of which Rossettf is the most De.
feet example still persists in English art and ye
this example. this specimen OF thtf fashion, paint
ready far away-as if some drift Ivlr On the sh0-
by some recedipg ocean anG ages This IS in par
I1ressi6n such purely Voluntary poetry. and b.
,t -rfr[- fr1r11 intensity OF feeling partly f-
deficiency in the usual training Of the painter
@ az r besad on the Imitation Of racur- bur n
the acquired habit. if one may so say OF admiriug
certain rafntings and works # art belonging 10
great and noble past IN which t7e knowiedgs
There is here all the charm of chiids admiration
for what has been done that IS beautiful. preceding
the power OF equang it; there is also the passion
of the poet. manner OF enlnilSitSi more self
conscious more ObServant than the simpler. health
Ter emotions felt by the many A little more
a ffecUatiun and consciousness Woutd degrade The F
feeling expressed But the abandonment and E
IesSness of the expression Of the subject give
a real life to the archaeology, u the arbitrary
poetry Of the little painting
To how many of the paintings Of Rossett
might not these searching words be applied
Mr.. La Fargo. studying one Of an artists works
seems to get beneath the skin Of that artist, q
penetrate to all the essentials Of his character
and in doing this he gives his criticism sig
writing as you would expect in a catalogue pure
and simple This book is. we repeat, not caJa-
Iogue. but a work of criticism
Though il is nowhere touched by the heat Of )
acrimonious controversy. it presents in NOR
than one instance the fruits of scholarly refec-
ton on debatabIe questions. This is in
portant matter The trade in dubious -oId mas J
ters" never sIackens anywhere and it has had il
full share of support in America For this rea
son it is especially desirable that the pictures
our collections be scrutinized with the Utmos
care and impartiality. and it is good 20 see tha
the editors OF this work have opened their pages
to the fullest discussion Of every painting inyi.
ing it with which they have to do. Their con
tributors, entering into the delightful spirit Of
the whole project have avoided pedant-y as thsI
have avoided i'll temper. Doubtless they wes
tod -7- N4-S-