Studio: international art (57.1913)

Reviews and Notices

‘‘ one of the greatest modern interpreters of the
universal language of art,” will scarcely be conceded
by those most competent to judge, but this very
fact adds pathos to the record of his long struggles
against overwhelming odds. He had the nervous
irritability that so often accompanies genius with-
out the compensating mental strength that would
have enabled him to rise above his bodily weak-
nesses. Even the voices of nature, such as the
songs of birds, that are a delight to many who share
his hatred of the noises of the town, were abhorrent
to him, and his whole life was spoiled by a super-
sensitiveness for which even those who loved him
best had constantly to make allowance. His treat-
ment of his girl-wife, whom he left on their
wedding-day, sent to a boarding-school soon after-
wards, and lectured in his letters, scolding her for
her spelling, and telling her “ not to show self-will
or disobedience because it would reflect shame on
him if she did,” alienates the sympathies of the
reader, but that there must have been something
very lovable about him in spite of his stern un-
bending character is proved by the strong affection
felt for him by many of his gifted contemporaries.
Not the least interesting portions of a book that is
full of psychological suggestions are the accounts
of Shields’ relations with Madox Brown, Rossetti,
Morris, and Holman Hunt. Amongst the typical
works reproduced some, including One of the Bread
Watchers and Whistle atid Answer, display con-
siderable imaginative power.

Stitches from Old English Embroideries. By
Louisa F. Pesel. Portfolio No. i. (Bradford
and London : Percy Lund, Humphries and Co.
Ltd.) 15.?. net.—At the request of the authorities
at the Victoria and Albert Museum, South
Kensington, Miss Pesel recently worked a set of
diagrams of stitches which occur in Old English
embroideries, and these having now been placed on
exhibition in the textile section at the museum,
she has been allowed to have them reproduced in
colour for publication. Hence this little portfolio,
which contains thirty-five diagrams of stitches
selected from examples of seventeenth and eigh-
teenth century work. The stitches are exhibited on
a large scale in strongly contrasting colours, and both
the finished side and the reverse side are shown, so
that with the notes at the foot of each diagram the
method of manipulation is made perfectly clear.
We commend this portfolio to the attention of
needleworkers, who will find in it many interesting
varieties of stitch which are probably unknown to
some of them.

The English Fireplace. By L. A. Shuffrey.

(London : B. T. Batsford.) f 2 2s. net.—In this
sumptuous and exhaustive treatise upon a subject
which, though primarily of architectural interest,
yet acquires a more general significance when it is
remembered that the hearth has been from time
immemorial the centre of the home and family life,
Mr. Shuffrey traces the development of the
chimneypiece and firegrate with their accessories
from the earliest times up to the beginning of the
nineteenth century. As regards its architectural
value, the fireplace, though originally constructed
on a strictly utilitarian basis, grew in importance,
during the Gothic and Renaissance periods, to
such a point as to become the most prominent
feature of the room, and henceforward we find it
reflecting faithfully all the subsequent different
styles in architecture. The volume is well indexed
and contains two hundred illustrations in the text.
The chief feature is, however, the series of one
hundred and thirty excellent reproductions in collo-
type after photographs, chiefly by Mr. W. Gals-
worthy Davies, of some of the finest examples of
fireplaces in England.

A History of Painting in North Italy. By J. A.
Crowe and G. B. Cavalcaselle. Edited by
Tancred Borenius, Ph.D. (London : John Mur-
ray.) 3 vols. jfi 3 s. net.—Enriched with numerous
excellent reproductions of characteristic works of
the painters considered, and brought into line with
the results of modern research by copious scholarly
notes, this new edition forms a worthy supplement
to the equally successful reissue of the same authors’
companion publication recently brought out by
Mr. Murray. But for a few necessary corrections,
such as changes in the official names of galleries,
&c., the editor has left untouched the original text,
which even at this late day still ranks amongst the
classics of art. That certain experts differ from
the conclusions of the learned collaborators as to
the authorship of some few pictures does not really
detract from the value either of their technical
criticism or of the historical data collected by them,
so just is their estimate of the distinctive qualities
of each artist, so unwearying was their patience in
the collection of information. To quote two cases
in point, how clearly traced are the different cur-
rents in Venetian art in the early fifteenth century,
and how vividly realised is the struggle that took
place towards its close between the Vivarini and
Bellini, and their respective followers. No less,
however, it must be added, has been the industry
displayed by their last editor in sifting the vast mass
of material that has accumulated during the last
half-century. The list of authorities quoted from

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