International studio (23.1904)

Reviews

respects with much of the modern work discussed—
is succeeded by a searching review of the produc-
tions of John Dwight, the brothers Elers, Dr. Thos.
Wedgwood, Josiah Wedgwood and their contem-
poraries, and of the various potters of note of the
Northern counties. The volume, which will be a
perfect mine of information to the future student,
closes with a few interesting notes on minor
celebrities of the eighteenth century.
The Golden T?-ade. By Richard Jobson. Edited
by Charles G. Kingsley. (Teignmouth: E. E.
Speight & R. H. Walpole.) Ri is. net; or, on
Japanese vellum, ^3 3L net.—The prospectus of
the new enterprise, to which the name of the
Saracen’s Head Library has been given, explains
that it is intended to reproduce in it not only
standard works “already famous, but others note-
worthy for their literary charm, curiosity, and
human interest.” The first series is called the
“ Mary Kingsley Travel-Books,” with a view, it is
explained, of associating them with the memory of
Miss Kingsley, whose life-work was in so great a
degree inspired by the exploits of the old voyagers.
The title, though much can be said in its favour,
is somewhat misleading, giving as it does an air of
modernity to volumes of which the primal char-
acteristic is that they belong to the long ago. The
“ Golden Trade” that leads the way was first issued
in 1623, and the new, limited in all to a little over
two hundred copies, is an exact reproduction as to
text, spelling, and illustrations, but not a facsimile.
The modern initial letters and borders having been
specially designed by R. Morton Nance It and
its successors will, no doubt, forcibly appeal to
those interested in literary curiosities, yet whose
purse does not allow them to indulge in the
purchase of rare editions.
Donatello. By Lord Balcarres. (London:
Duckworth & Co.) 6s. net.—Although, in view of
the issue in 1900 by Messrs. George Bell & Sons
of the excellent little monograph on Donatello of
Hope Rea, it is impossible to endorse Lord Bal-
carres’ assertion that, before the publication of his
biography, no critical work on the subject had
appeared in England, it must be conceded that he
has made good his claim to have turned to full
account the materials at his disposal. “The
Renaissance,” he says, “ gave birth to few men of
productive genius whose actual careers are so
little known. Donatello composed no treatise on
his art; he wrote no commentary, no sonnets ;
and, indeed, scarcely a letter of his even on business
topics has survived. “ Donatello the man,” adds
Lord Balcarres, “ must remain a mystery.” Yet
268

in this very mystery there is an added cnarm ; and,
as is the case with every true genius, the great
sculptor so stamped with his own individuality
everything he produced that the appreciative
student seems to be brought into direct personal
rapport with the master. The excellent reproduc-
tions of typical works which enrich his charming
volume include several comparatively little-known
sculptures, notably the exquisite bust of St. John
the Baptist of the Fienza Museum, surely an
ideal realisation of the character of the child-
prophet !
The Art of the Pitti Palace. By Julia de
Wolf Addison. (London : George Bell & Sons.)
65. net.—In this delightful little volume, with its
numerous reproductions of masterpieces in the
Pitti Gallery, the authoress has reproduced some-
thing of the glamour of the time when the famous
Palace was built by the great architect, Brunelleschi,
for the wealthy merchant, Luca Pitti, then con-
sidered the first citizen of Florence, who had,
however, nothing to do with the formation of the
collection which is now the chief glory of his old
home. By a strange irony of fate, that home
passed after the death of its first owner into the
possession of his hated rival, Lorenzo de’ Medici,
and it was he who formed the nucleus of what is
now a perfect storehouse of masterpieces of the
golden age of painting, though it is unfortunately
comparatively poor in examples of early Italian
art. Passing from the consideration of the Palace
itself, a subject with which she is thoroughly familiar,
the authoress proceeds to review in detail its most
noteworthy contents, and in so doing she betrays
the comparative weakness of her technical know
ledge. She speaks, for instance, of the Pieta of
Fra Bartolommeo—the reproduction of which, by
the way, is scarcely up to the level of the other
illustrations in the book—as “ a dignified Deposi-
tion,” she quotes George Eliot and Nathaniel
Hawthorne as if they were authorities in art
criticism, and herself decidedly overrates Guido
Reni.
The Anonimo. Translated by Paolo Mussi.
Edited by George C. Williamson, Lit.D.
(London : George Bell & Sons.) 7a. 6d. net.—
The axiom that history repeats itself is fully borne
out by this able translation of the valuable MS. found
as long ago as 1800 by the Abate Don Jacopo
Morelli in the collection of Apostolo Zeno, of
Venice, who lived between 1668 and 1750. Three
centuries ago the author of the original text was
discussing the authenticity of art treasures, laying
down the law, establishing and upsetting reputa-