International studio (17.1902)

Reviews

greater proportion were in favour of the work done
by prominent artists of the old school, and their
admirers were scandalised by the incorporation of
designs by members of the Pre-Raphaelite Brother-
hood ; while our fewer appreciators would not buy
the book in which the preponderance of work was
by artists they did not approve.”

A reprint ot the volume in which only the
illustrations by the Brotherhood are retained, and
in which every possible justice to the original
blocks is rendered by the use of good paper and
by excellent workmanship, is in itself a most
acceptable performance. The addition of photo-
gravure reproductions from some of the original
drawings naturally increases the value of the
edition; while the prefatory articles by Mr. Pennell,
who has made the wood-engraving of the “ fifties ”
and “sixties” an especial study, and by Mr.
Holman Hunt, who himself took so prominent a
part in the work of that time, add greatly to the
interest of the volume. From the preface we
gather that this book is the first only of a series
of similar reproductions. This will be welcome
news to those who prefer good reprints to inferior
originals.

Ancient Royal Palaces in and near London. With
lithographs by Thomas R. Way, and notes com-
piled by Frederic Chapman. (London and New
York: John Lane.) 21L. net.—To the charming
series of drawings of London, by Mr. Way, which
have from time to time been reviewed in these
columns, is now added one upon the ancient
Royal Palaces in and surrounding the great city,
l^tr. Way laments in his preface that he was unable
to obtain permission to draw an interior either of
St. James’ or Kensington Palace. This refusal
was doubtless due to the surliness of some
jack-in-office, as it is of common knowledge that
the members of the Royal Family are ever ready
to support and aid any worthy project relating to
the Arts. The buildings illustrated by Mr. Way
are the palaces at Eltham, Greenwich, Savoy,
Whitehall, Westminster, St. James’, Kensington,
Kew, Richmond, Hampton, and Windsor; also
the Tower of London and Crosby Hall. Not the
least valuable portion of the book is the text by
Mr. Frederic Chapman. All available sources of
information seem to have been most carefully
examined by the writer, and he has so condensed
his information as to make his notes eminently
readable and instructive.

Some Notes on Books and Printing. By Charles
T. Jacobi. (London : Charles Whittingham & Co.)
Price 6s. net.—A new and enlarged edition of the
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author’s “ On the Making and Issuing of Books,”
published last year by Elkin Mathews. No better
work than this could be placed in the hands of
any one who contemplates writing, printing, or
publishing a book. Mr. Jacobi’s notes upon
manuscript, indexing, types, illustrations, papers,
binding, and other cognate subjects are clearly
expressed and reliable; for they are written by one
who knows thoroughly all sides of his subject.

Dictionary of Architecture and Building. Vol. 3,
1902. By Russell Sturgis, A.M., Ph.D.
(London: Macmillan & Co.) Price 25L net.—
The completion of the third volume brings this
most useful work to a close. Like its predecessors,
it is enriched by numerous illustrations in the text.
The separate plates are reproduced principally from
excellent photographs, and add greatly to the em-
bellishment and value of the work. The more
important articles in the present section are those
devoted to the architecture of Persia, Rome,
Scotland, Sicily, Spain, Syria, and the United
States, extended articles being also given to such
technical subjects as roofs, staircases, vaults, and
windows, wood and stone. The price at which the
dictionary is sold is phenomenally low for a technical
work of such importance.

French Art. By W. C. Brownell. (London :
Archibald Constable & Co.) 21s. net.—Although
many admirable works on modern art have recently
been published, and the great French masters have
been the subjects of various beautifully illustrated
monographs, the present volume will probably
make itself felt on account of the freshness with
which its author deals with the men whom he has
selected as typical exponents of classic, romantic,
and realistic painting and sculpture. To say any-
thing new about the work of Claude, Lebrun,
Gericault, Courbet, Manet, and Monet would have
appeared impossible; yet in turning over these
pages, the reader lights upon many a pregnant
sentence, proving that even these outworn themes
may be treated in an original manner. Moreover,
when, after passing in review all that has so far been
achieved in the recent past, Mr. Brownell proceeds
to prophesy for the future, he becomes something
more than a mere historian of that which has been
achieved—far more than a mere critic of the external,
for he reads the inner meaning of the new ten-
dencies, he is in touch with the very spirit of
progress. This is shown in his analysis of the
elements which have resulted in the masterpieces
of Rodin. An interesting and well illustrated
volume, it may be regarded as a very complete
review of modern French art.

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