New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-03-06

motives. surprising In this regard the otherwta
far greater GiOttO- The scattered members Of
the altar piece by him which is described in th,
volume reveal beneath the authors subtly acus
ANALYSIS some very fine and endearing qualities
They go to the root Of the matter and reyivs
for US the fragrance Of the old sanity stOy
,vftb a Indignant tenderness and directness CIV
ing the painter a place apart Mr. Berensoa
nerforns a real service in detaching the special
note Of Sassetta but it is a pity that he has
taken too much the dogrnatic tone Of the dis
coverer Evidently he has come to feel. far
more than he has hitherto felt in working out
problems Of counoisseUrship according to tia
NoreIian hypothesis. the importance Of imagi-
nation in art In his rather belated awakening
he hastens to frame conclusions very cOndden,
but scarcely persuasive
I'VE Europeans he says. have been eager
enough to represent the inner soul, but We count
few successes. for. with the rarest exceptions
our artists have laid themselves out to failure
in at least two ways They think Of representing
when they should think of presenting, and they
remain fettered to modelling and mass wher.
they should realize that the art Of suggestion
must depend chiefly upon contour. color, spaea
effects and movement" Imagination bOggies
at the idea of some man Of genius thrilling
q
rnent Of the mode that happens to be natural to
him wait upon consultation Of the law laid down
by Mr.. Berenson The latter has developed 80
sharp a skepticisrn as TO the limitations OF the
European painter that he even ventures 70 sus-
pect that in our art there is an inherent inca
pacity for spiritual expression" and he turns
with enthusiasm to a curious affirmation OF ORR
entail superiority in this matter. The old
Buddhist painters. he thinks. had a sinSleness
OF aim and depth which We cannot claim. II
is an amusing excursus. but savors Of the fad
dist At all events. it is quite unconvlncins
Fortunately. these notions do not inva-idate Mr..
Berenson's portrait of sassetta. For this biz
book is cordially to be commended
similar labor Of love is performed by Mr.
Carmichael in ''Francia'S Masterpiece" This
singuIariy delicate and imaginative writer gays
us some years ago one Of the best books On
Tuscany ever published. and he produced IN bis
Life of John William Walshe'' spiritual 70
nance" comparable in it's way to Sho-thouses
celebrated novel. A strong feeling for religion
runs through all bis pages. and in the present
brief study he IS, indeed. the theologan quts
as much as the lover OF art With much learn
ing, though in terms quite free from pedantrY,
he discusses the dogma Of the Immaculate Con-
ception and offers some interesting ideas that
abStruSe subject. We note here Simply the good
work he has done in clearing up the signifcancs
of one OF the most beautiful of Francois paint
ings, the altar piece in the church Of san Ere
diano, at Lucca. 1t is a noble composition. and
it is well that its symbolism should De definitely
understood. Incidentally. he throws some Light
on the iconography of neglected phase OF ths
history of the Madonna in art. The abundant
documentary evidence cited in support OF the
argument is accompanied by a number Of Illus
trations which likewise confirm his views
It is pleasant to record the publication Of tho
third and last volume OF Mr. Hutt0ns new edi-
ton of Grove & CavalCaselle. The completion
Of this reprint places classic OF criticism II
the hands OF the student III very convenient and
attractive form MI Hutton does not possess
the authority OF NIT. Langton Douglas, WHOSE
edition Of the work has not yet been COM
pIeted, but he has taken pains to invesusais
the later historians of italian art and his notes
disclose much useful Information thus gained
The SieneSe section especially teStides 70 DIS
industry. The three hundred illustrations scat
tered through these volumes make goo fe&f-
ure. paper and presswork excellent. ana
there Ia Q seryIceabIe index. Mr.. Douglass ecr