DOI Heft:
No. 92 (October, 1904)
DOI Artikel:Book reviews
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.26962#0491
Book Reviews
BOOK-PLATE '
knows his subject, and knows
how to present it to his read-
ers in a style that keeps their
attention throughout, and
arouses their interest by the
fertility of his suggestiveness.
Our readers will find the fol-
lowing list of chapter subjects
the best indication of-the ar-
rangement followed by the
author. Chapter I.—Antonio
Stradivari, 1644-1737 : the
Healy Strad and the Earl
Strad. ChapterII.—Giuseppe
(Joseph) Antonio Guarneri,
1683-1745: the King Joseph
and the Jarnowick. Chap-
ter III.—Nicola Amati, 1596-
1684: the Goding Amati. Chapter IV.—Gio-
vanni Paolo Maggini, 1581-1632 : the Hawley
Maggini. Chapter V— Carlo Bergonzi, 1685-
1747: the Tarisio Bergonzi. Chapter VI.—Giov-
anni Battista Rogeri, 1638-1720:
the Hawley Rogeri. Chapter
VII.—Giovanni Battista Gua-
dagnini, 1711-1786: the Hawley
Guadagnini. Chapter VIII.—
Giuseppe (Joseph) Guarneri,
Son of Andrea, 1660-1735:
the Hawley Joseph fil Andrea.
Chapter IX.—Jacob Stainer,_
1621-1683, ^e Hawley Stainer.
Chapter X.—Nicolas Lupot:
1758-1824: the Hawley Lupot.
Chapter XI.—An Analysis of
the Work of the Followers of Great Masters: the
Schools of Cremona, Florence,Milan, Turin, Venice,
Mantua and others. Chapter XII.—Franjois
Tourte,.Bowmaker, 1747-1835.
The illustrations include three full-page plates of
each of the twelve famous violins constituting the
collection, two of which are first-rate colour repro-
ductions, front and back views respectively, and
the third a faultlessly reproduced photograph, in
half-tone, of the side view. To these thirty-six
plates is added a half-tone portrait of Mr. Hawley,
and several line diagrams in the text. We wish
we could show our readers a sample of the
colour plates, not only for their excellence in their
present purpose, but as an example of the sat-
isfactory results which can at times be obtained
by that system of colour-photography known as
the “three colour process,” when care is de-
voted to the mechanical execution and—above
FROM “the child’s BOOK-PLATE
all—when the use of the process is confined to
such subjects as are suitable and for which it
is fitting and adequate. We so frequently have
to deplore the use of the three colour process in
the reproduction of work totally unsuitable for it,
and consequently with execrable effect, that we are
glad to indicate an instance where it is not only
suitable, but where the results are nothing short of a
triumph, considered both artistically and technically.
In short, the publishers are to be thanked and
congratulated on putting within the reach of music
lovers and students what is in every respect a
splendid and invaluable addition to their literature.
Shelburne Essays. By Paul Elmer More.
First Series. Pages vi.—253. New York and
London: G. P. Putnam’s Sons.
The utterance of J. R. Low'ell quoted on the
title page of this collection of poems, “gives to
think”—and one’s thoughts run between the idea
suggested by Lowell’s utterance and the impression
of it upon him who quotes it as the text of his
literary criticisms: “Before we
have an American literature,
we must have an American
criticism.” Prima facie, the dic-
tum seems to us an untruth—or,
at least, only a half truth; and,
when our thought reaches the
quoter, one feels a certain re-
sentment at the obvious sub-
jectiveness of its application.
That we do in fact observe
the existence of an American
criticism, such as it is, before
having yet acquired or established an American lit-
erature, is patent. But was this inevitable? And
is it healthy? We think not. We feel inclined to
believe that no nation’s school of criticism can be
adequate or even considerable, unless preceded by
a sufficiently high standard and wide calibre of
literary productivity to constitute in some sense a
school of literature. And the very inadequacy of
American criticism—its lack of
real scientific acumen, of com-
parative knowledge in parallel
fields, the uncertain basis of
its point of view in judging
“foreign” literature—indicate
the falseness of the theory
propounded by Lowell. We
think, in fact, that until the
attention of American littera- from “the child’s
teurs is turned into fields of book-plate”
cccxcix
BOOK-PLATE '
knows his subject, and knows
how to present it to his read-
ers in a style that keeps their
attention throughout, and
arouses their interest by the
fertility of his suggestiveness.
Our readers will find the fol-
lowing list of chapter subjects
the best indication of-the ar-
rangement followed by the
author. Chapter I.—Antonio
Stradivari, 1644-1737 : the
Healy Strad and the Earl
Strad. ChapterII.—Giuseppe
(Joseph) Antonio Guarneri,
1683-1745: the King Joseph
and the Jarnowick. Chap-
ter III.—Nicola Amati, 1596-
1684: the Goding Amati. Chapter IV.—Gio-
vanni Paolo Maggini, 1581-1632 : the Hawley
Maggini. Chapter V— Carlo Bergonzi, 1685-
1747: the Tarisio Bergonzi. Chapter VI.—Giov-
anni Battista Rogeri, 1638-1720:
the Hawley Rogeri. Chapter
VII.—Giovanni Battista Gua-
dagnini, 1711-1786: the Hawley
Guadagnini. Chapter VIII.—
Giuseppe (Joseph) Guarneri,
Son of Andrea, 1660-1735:
the Hawley Joseph fil Andrea.
Chapter IX.—Jacob Stainer,_
1621-1683, ^e Hawley Stainer.
Chapter X.—Nicolas Lupot:
1758-1824: the Hawley Lupot.
Chapter XI.—An Analysis of
the Work of the Followers of Great Masters: the
Schools of Cremona, Florence,Milan, Turin, Venice,
Mantua and others. Chapter XII.—Franjois
Tourte,.Bowmaker, 1747-1835.
The illustrations include three full-page plates of
each of the twelve famous violins constituting the
collection, two of which are first-rate colour repro-
ductions, front and back views respectively, and
the third a faultlessly reproduced photograph, in
half-tone, of the side view. To these thirty-six
plates is added a half-tone portrait of Mr. Hawley,
and several line diagrams in the text. We wish
we could show our readers a sample of the
colour plates, not only for their excellence in their
present purpose, but as an example of the sat-
isfactory results which can at times be obtained
by that system of colour-photography known as
the “three colour process,” when care is de-
voted to the mechanical execution and—above
FROM “the child’s BOOK-PLATE
all—when the use of the process is confined to
such subjects as are suitable and for which it
is fitting and adequate. We so frequently have
to deplore the use of the three colour process in
the reproduction of work totally unsuitable for it,
and consequently with execrable effect, that we are
glad to indicate an instance where it is not only
suitable, but where the results are nothing short of a
triumph, considered both artistically and technically.
In short, the publishers are to be thanked and
congratulated on putting within the reach of music
lovers and students what is in every respect a
splendid and invaluable addition to their literature.
Shelburne Essays. By Paul Elmer More.
First Series. Pages vi.—253. New York and
London: G. P. Putnam’s Sons.
The utterance of J. R. Low'ell quoted on the
title page of this collection of poems, “gives to
think”—and one’s thoughts run between the idea
suggested by Lowell’s utterance and the impression
of it upon him who quotes it as the text of his
literary criticisms: “Before we
have an American literature,
we must have an American
criticism.” Prima facie, the dic-
tum seems to us an untruth—or,
at least, only a half truth; and,
when our thought reaches the
quoter, one feels a certain re-
sentment at the obvious sub-
jectiveness of its application.
That we do in fact observe
the existence of an American
criticism, such as it is, before
having yet acquired or established an American lit-
erature, is patent. But was this inevitable? And
is it healthy? We think not. We feel inclined to
believe that no nation’s school of criticism can be
adequate or even considerable, unless preceded by
a sufficiently high standard and wide calibre of
literary productivity to constitute in some sense a
school of literature. And the very inadequacy of
American criticism—its lack of
real scientific acumen, of com-
parative knowledge in parallel
fields, the uncertain basis of
its point of view in judging
“foreign” literature—indicate
the falseness of the theory
propounded by Lowell. We
think, in fact, that until the
attention of American littera- from “the child’s
teurs is turned into fields of book-plate”
cccxcix