International studio (20.1903)

FiG. 4


FIG. 5

art; and to induce others, better qualified than
myself, to contribute to your columns further
information upon the subject.
Yours truly,
TRAVELLER.
REVIEWS.
V.M<W/<2 By JULIA CARTWRIGHT.
(London: John Murray.) Two volumes, 2gy. net.
—Written in the easy, graceful style for which its
authoress is noted, bearing on every page the
stamp of conscientious research, and illustrated
with a number of excellent reproductions of por-
traits and other works of art connected more
or less directly with the d'Este family, this
biography of the greatest lady of the Renaissance
will be eagerly welcomed by all who are interested
in that remarkable period of artistic and intel-
lectual activity. The two volumes are no mere
7T&K772F of the work of others, no dry dissertation
146

on an outworn theme, but a vivid realisa-
tion of a drama of enthralling fascination,
in which the actors live and move as if
their final fates were still uncertain, and
the verdict on their actions had not yet
been given. As the author points out,
Isabella d'Este, like her sister Beatrice,
whose story has been graphically told by
the same writer, was " a typical child of
the Renaissance, and her thoughts and
actions faithfully reflected the best tradi-
tions of her day." Blameless in her private
life, a faithful wife and a most devoted
mother, she exercised a very salutary
influence on contemporary society, whilst
her close connection with the reigning
family of the great Italian States, gave
her a position of exceptional importance.
It was, however, above all, as a patroness
of art and letters that her name will be longest
remembered; for she knew how to secure the
best work of the best men in every branch of
culture, and the letters to and from those who
honoured her by accepting her commissions are
historical documents of priceless value. She sat
for her portrait to Leonardo da Vinci, Giovanni
Santi, Andrea Mantegna, and Francesco Francia,
and the masterpieces of Michael Angelo, Perugino,
and Correggio adorned her rooms. She knew the
young Raphael when he was painting his first
pictures at Urbino, and was the guest of Pope
Leo X. in 1518 when his portrait, now in the Pitti
Gallery, was being painted. In a word, Isabella
d'Este was thoroughly in touch with all the master
spirits of the day, and this exhaustive account of
her life will be a mine of wealth to all future
students of the Renaissance.
^<^7777777^^/'^ f%7*ZY Twenty-five pic-
tures by Sir Edward Burne-Jones. (London :
Longmans, Green & Co.) yy. 6^. net.—Only a
fragment, but a most charming fragment, of what,
had its author lived long enough to complete it,
would have been one of the most beautiful
illustrated Bibles ever produced, this unpre-
tending little volume will be looked upon as a
valuable heirloom by all admirers of Sir Edward
Burne-Jones. As is explained by his widow, the
designs in it were made for an edition of Mr.
McILail's J?7<%/7<3 A'777^777'77777, which was to have
been produced by the Kelmscott Press, and to
have contained upwards of 200 pictures. Many,
says Lady Burne-Jones, were begun, but none
quite finished. Those here given to the world
were, however, so far advanced that it was found