Studio: international art (87.1924)

REVIEWS

language is wisely dwelt upon, and Mr.
Kendon is aware of the destructive
effects upon symbolism of technical pre-
occupation. Living symbolism must be
thought-provocative : when it becomes a
formula it is dead. Of the “ artisans ” who
produced the exquisite work shown in the
illustrations, he reminds us that they
“ were not more concerned in any struggle
for fame or recognition than many artisans
of to-day.” Perhaps this gave them time
to become great artists—for such they un-
doubtedly were. The statement that
“ their attitude to their art was entirely
objective ” provokes challenge—such a
work as the illustrated Resurrection from
Norwich Cathedral, with its essential
■spiritual pre-occupation, seems to refute
this idea, as do many other works of the
Middle Ages. It is interesting to learn
from the author’s researches how much
mural art we have in England : the book
has great interest whether religious or

artistic. 00000
A History of Art. Vol. 3 : “ Italian Art
in the Middle Ages." By Dr. G. Carotti.
(London : Duckworth & Co.) 8s. 6d. net.
—This work, dealing with the stupendous
products of the various and varying types
of mind which went to the making of Italy,
is an invaluable compendium and guide to
the student of that magnificence, which
began with the fusing of the various
component races—the new Italian nation
only came into any real being about 1000,
and the power that was hers followed
gradually. The art of Italy was the result
of fusion, as was the race; and from
Carolingian, French Gothic, German,
Romanesque, Byzantine and other sources
came the jewelled land. In the South an
art was born, many-sided, but with three
distinct branches — Sicilian Norman,
Apulian and Campanian. In the South
too the extraordinary influence of the
German and Italo-Norman king, Frederick
N. of Swabia, created much in the thir-
teenth century. The energy of imagination
and the grandeur of idea of this epoch and
this country might well culminate in the
world wonder of the Renaissance, and the
book makes one wonder whether the world
may ever again see man rising to such
heights in art as are shown in the many
;small illustrations. 0000

Mediaeval Craftsmanship and the Modern
Amateur. By Newton Wethered. (Lon-
don : Longmans, Green & Co.) 10s. 6d.
net.—One of the most interesting remarks
in this interesting book is the statement
that “ The amateur, if that is his inclina-
tion, may be the mediaeval craftsman of
to-day.” That amateur will have his
reward. He alone, in a world where pro-
fessionalism has to compete with the
“ trade finish,” which was the natural
contempt of William Morris, has the
necessary time and freedom to do what he
loves for the love of it: and his reward is
given in a quotation from Theophilus,
who claims that he does “ to all wishing
to overcome or avoid sloth of the mind or
wandering of the soul, by useful manual
occupation and delightful contemplation
of novelties, send a recompense of heavenly
price,” by writing his book on craftsman-
ship. Mr. Wethered is following in the
monk’s footsteps, in a work full of in-
formation to those who love to make
beautiful things—a love which may bani h
the word “ boredom ” from the vocabulary.
Chapters on enamelling, the manipulation
of metals, lustre, niello and other branches
of craftsmanship inspire the reader with
the desirable yearning to “ try to do
that.” 000000
Tales of Mystery and Imagination. By
Edgar Allan Poe. Illustrated by Harry
Clarke. (London : Geo. G. Harrap & Co.,
Ltd.; New York : Brentano's.) 21s. net.
To those who appreciate the eerie and the
macabre treated in masterly fashion, to
which compilers of “ thrillers,” lacking
style, vainly aspire, praise of Poe at this
late hour would seem superfluous. Most
English readers have shuddered over “ The
Fall of the House of Usher,” and (to para-
phrase Caliban), “ read to shudder again.”
It would seem that Poe has found his ideal
illustrator. To attempt such a task great
courage and imagination were requisite,
and Mr. Harry Clarke has brought these
desiderata into play, achieving remarkable
success. He does not quail even before the
ghastly“Facts in the Case of M.Valdemar,”
but, though his illustrations are often dar-
ing, they never cross that line which divides
the tragic from the merely grotesque.
Considered from the decorative aspect also,
they are highly commendable. 0 0

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