International studio (25.1905)

Azk/zz7*M z'zz z*^ Zlzz'^ GW/Ay. By C. GASCOIGNE
HARTLEY. (London : Seeley & Co.) i2y. 6%. net.
—The result of the perusal of this interesting
account of what its author calls "a counter-play
of generosity and mismanagement" must be to
intensify the regret of every true lover of art that
the collection in the Tate Gallery should fail to
truly represent British painting. It is true that
many great names are amongst those here enume-
rated, but how many more are, alas ! conspicuous
by their absence. The brief essays on each of the
chief masters whose works are hung in what was
intended to be, but is not, a National Gallery of
British Art, are well written and instructive (though
they throw no new light on the art questions dis-
cussed), and the illustrations are thoroughly repre-
sentative. The collotype process, so useful for the
interpretation of slight sketches, does not, however,
always lend itself satisfactorily to the rendering of
pictures. The photogravure and the half-tone
block are far more fitted for the translation of
such works as are here included in the illustra-
tions.
c/ Azz^/zk^ Azz^zzAzz*^. By PERCY
MACQUOID. (London: Lawrence &Bullen.) First
2 parts, yy. 6A each, net.—The first numbers of
what promises to be a monumental work, such
as has long been greatly needed, will be gladly
welcomed not only by all who are able to appre-
ciate the aesthetic side of its deeply interesting
subject, but also by the student of social life, so
vividly do the priceless heirlooms treated in it
reflect the changes in domestic civilisation of which
they were the witnesses. Mr. Macquoid divides
its history in England into four periods : the oak,
walnut, mahogany, and composite; but he points out
—and this is a significant instance of his methods
—that the sources of the inspiration of much
English furniture can be traced to foreign origin.
In his opinion furniture, which he defines as the
dependent offspring of architecture, was in the
middle ages wholly due to ecclesiastical influence;
and he adds that it is difficult to determine how far
design in art was indigenous here, as the more
gifted members of religious fraternities moved from
country to country to gain knowledge. Neverthe-
less he has in his initial chapters pieced together
a consecutive narrative of the evolution of the oak
and walnut styles, and has enriched his text with
so great a variety of reproductions, some of them
in colour, that the whole story is fully told by
them. The cabinet owned by Sir G. Donaldson and
Sudbury's Hutch are especially beautiful, although
perhaps the rendering of the latter does not do full

justice to the quality of old oak, and the reflected
light is too blue.
A%7*<?73;3? <z7?rf zzz'Av Tzz^zzzz Cz'z'zks'. Painted by
Colonel R. C. GoFF, described by Mrs. GoFF.
(London: A. & C. Black.) 2oy. net.—In spite of
her reputation as an art city and the undoubted
beauty of her situation, it is impossible to deny that
Florence does not readily lend herself to pictorial
treatment, and for this reason she has been com-
paratively rarely chosen as a sketching ground.
The general character of her architecture, in spite
of its grandeur, is gloomy, and though her streets
and alleys are rich in fine details they are wanting
in the indefinable attraction that awakes in the
true artist a yearning to reproduce what he sees.
In view, therefore, of the exceptional difficulties
with which he had to contend, Colonel Goff is to
be congratulated on the undoubted success he has
achieved. Many of his views of Florence, notably
the C/Mk/FT* A. yM<377a: ATw/Za, the TTazza
Aazz/cz Cwn?, and the AzZ^z-zhz- <?/* A. 7%27-z'a AzTw,
are full of poetic charm, and their artist has shown
no little skill in dealing with other less suggestive
subjects. He was, however, wise to combine with
Florence some of the more inspiring though less
important cities of Tuscany. The ITksf AkwzZ zz/
GaZ'/Mra/, the aM C^a, AYy/aza,
and AfizzAzz/?* a/* Fz'aT-zgyzb are happy renderings of
typical scenes ; but he has unfortunately failed to
interpret equally well the atmospheric effects of
the valley of the Arno. The ^wz^ Az*az-zzz and
the FzAa aawj Z*<%<? AFz'/A y/*azzz Az'^aZ?, for in-
stance, are anything but convincing. The author
of the brightly-written letterpress accompany-
ing Colonel Goff's sketches has refrained from
adding to the already copious literature on the
history and art of Florence, contenting herself with
giving her own impressions, weaving into one nar-
rative with them some interesting legends related
to her by the people of the districts visited. Alto-
gether the book is a charming one, likely to be
of real value to the traveller, as well as a pleasing
memento of some of the fairest scenes in Italy.
A'GEzzWi? z& Az"' Cazfa/iz^^T-zr/iizAz'z'z:, 1896-1904.
(Barcelona: M. Parera.)—As explained by the
author in his Introduction to this interesting series
of reproductions of his own architectural designs
and those of some of his contemporaries of
Barcelona, a new departure has recently been made
in Catalonia. He claims that an art school' has
arisen combining the best traditions of the past
with an originality of its own, and he looks for-
ward to a brilliant future for his beloved native
land, which he considers quite competent to hold
273