International studio (36.1908/1909(1909))

hand should undertake the transiation of Signor
Vittorio Pica's exhaustive review of the work done
in France since the death of the pioneers of the
new movement. The Itaiian critic has won a
European reputation for his weli-balanced judg-
ments on contemporary painting, and inciudes in his
latest book, in addition to all the weli-known French
masters of Impressionism, many artists who have
only quite recentiy made their position, giving re-
productions of a iarge number of typical pictures,
some few of which might, it must be owned, have
been omitted, their realism detracting somewhat
from the value of an otherwise useful and attrac-
tive publication. Specially hne are the
7%72<?7-.s' of Gustav Caillebotte, the series of land-
scapes by the long neglected Boudin, and those
of Jongkind, the various masterpieces of Raffaelli,
Pizarro, Renoir, etc., and some few of the studies
of Mary Cassatt and Berthe Morisot, two of the
most distinguished of a group of women who have
recently made their mark in France.
A/^772<7/7*y <?/V,& <?/* /777/TM, ///M/7-<3://77^ /<%«
^7-777J, ^7-A, <272</ Z//F7-<2/777-<? <// 7/a/)', 1440-1630.
By JAMES DENNISTOUN OF DENNISTOUN. A
new edition, with Notes by EDWARD HuTTON.
(London : John Lane.) 3 vols. ^2 2r. net.—
More than half a century has elapsed since the
first edition of these Memoirs was published, some
three years before Dennistoun's death, which took
place in 1833 when he was in the prime of life.
From the hrst held in high esteem not as a mere
local history, as the title might seem to suggest,
but as a standard work on the state of Italy at
large during the period
of which it treats — the
most glorious through-
out the whole course of
Italian history—it has un-
fortunately long been prac-
tically inaccessible to the
majority of students, who
will therefore be grateful to
Mr. Hutton and his pub-
lisher for again placing it
within reach. Like the
original edition this new
one is issued in three vol-
umes, the entire work hav-
ing been reprinted verbatim
with the chronological tables
and numerous appendices
(mainly documentary) be-
longing to each volume.
In going through the work
166

chapter by chapter and making his notes thereon,
the editor found Dennistoun's facts " wonderfully
sound "—a striking testimony to the thoroughness
of the author's researches in a held which offered
many difhculties to the investigator. It was other-
wise, however, with his critical opinions, for, as Mr.
Hutton remarks in one of his notes, the author's
judgment was at fault in regard to nearly every
great man of whom he wrote. In the divisions
dealing with art Mr. Hutton has found it necessary
frequently to disagree both with the facts and with
the views expressed by Dennistoun. When the
work was hrst published, it was these divisions
which called forth most praise from critics, but
many of the opinions he gave utterance to,
especially those concerning modern tendencies, will
fail to hnd general acceptance now. In spite of
this, however, the work as a whole, containing as it
does much matter of interest that cannot easily be
found elsewhere, will prove a desirable acquisition
to the library of the student of Italian history. The
three volumes have been very tastefully produced,
and the value of the new edition is considerably
enhanced by the large number of full-page illustra-
tions included in it. They number more than a
hundred, and have been selected by the editor as
bearing, in one or other way, on the history
unfolded by the author.
"Z%<? THr^Av/." With illustrations in colour by
PAUL WOODROFFE and SOngS by JOSEPH MOORAT.
(London : Chapman & Hall.) ior. 6</. net.—Mr.
Woodroffe's iHustrations to Shakespeare's piay
were shown recently at the Baillie Gallery, and the