The Spirit of Europe
Tins, is a book of the best intentions. Through nearly, 250 photo- graphs, it aims dt showing the rich diversity and underlying unity of Europe. Its moral is that Europe must learn to combine revo: lution with conservatism. Through a revolution of ideas we can sweep away the hampering barriers of excessive nationalism— which make day-to-day life difficult and survival improbable. Conservatism is essential to protect and cherish the landsclpe and architectural beauty of Our continent, as well as the separate cultures
and innate distinctiveness of its peoples, for without these there can be no Europe and no Europeans. The growth of 2,500 years Could be entirely demolished by, say, 1960.
Unhappily the book's achievement is not equal to its inspiration. Where the subject is so vast it would be unjust to complain of omissions ; the editor's work is bound to be highly selective. But this makes it the more important that the pictures chosen should be the finest of their kind. And, since the book the embodiment of an idea, not simply an encouragement to travel, the photographs should be largely chosen for their power of evocation. Only imaginative pictures can sustain and impart an imaginative theme. This has simply not been done. Far too many of the photographs are of no more than good guide-book level. Dr. Martin Hiirlimann, the editor, has taken a high proportion from Swiss sources—including some sixty of his own. In spite of this, several' of the finest Swits photographers are not represented ; while, at, regards European cameramen as a whole, the very imperfect index. is notable chiefly for the names which are not there. This is, of coarse, only important because the photographic level is pedestrian if -the right work had got in, it would not matter whose work was left out. As it is, the single photograph by Leonard McCombe dominates a whole section.
In lay-out also the book is mechanical and uninspired. Only two shapes of picture, the whole page and the half-page across, have heen used, and the compiler has been content to show spread after spread of landscape or of architecture which the eyes rest on easily but: which strike no spark from the mind. Constant changes of scale ; careful—and sometimes ruthless—cutting of pictures.; a sense of provocation in the way photographs face or follow one another ; subordination of each in its quality as view or record to its place in the whole scheme—all these are essential if an assembly of photo- graiths is to be made the vehicle of an idea. What Dr. Hiirlimann hati: accomplished is an interesting collection of views, largely familiar, put together round an imposing theme. Stephen Spender's introduction presents a surprising parallel. A number of thoughtful points are made which never fuse into clear or moving expression ; there is too much of the leading article and the travel reminiscence. Euroke's spirit is profound and vital ; but it is also, haughty and exclusive. It refuses to be summoned up, except at the cost of a sorcerer's blood and tears. To calls from the publishing office or the club armchair it turns an ear deaf as
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