Mr. Willard's History of Modern Italian Art (Longmans and Co.,
18s.) is somewhat depressing. In turning over the pages and in looking at the illustrations, it is impossible not to exclaim, "How are the mighty fallen." It seems sad that the country that led the world in art should now be only capable either of copying its old successes, as do the architects ; or of borrowing from France, as do the painters. Italy, which taught the world the are of wall painting, now seems only to produce enlarged easel pictures as frescoes. One brilliant exception is to be found in Segantini. This painter, whose fame is not confined to the Maloja where he lives, is possessed of real and undoubted originality. The present volume gives an account of the archi• tectura, sculpture, and painting of Italy during the present century.
A portfolio of reprints of illustrations from the Studio (21s.) has been issued from the offices of this magazine. The litho- graphs are the best. There is always something about coloured reproductions which suggests Dr. Johnson's dancing dog. A oolour-print to be satisfactory should not be a reproduction.
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