The Art Journal (J. S. Virtue and Co.) is publishing
a "Jubilee Series." The first number is a reprint of articles and illustrations which appeared in 1849. It is needless to say that it is very different and very inferior to a modern art magazine. The most amusing thing in the present copy is Prince Albert's design for a "table ornament." This work appears to be a col- lection of pet dogs, dead rats, wire cages, and miscellaneous heraldry heaped round the base of a vulgar little glass dish. We are told that it "is in all respects so worthy a specimen of his Royal Highness's tastes and skill in designing that we gladly introduce an engraving of it." We are also told that "in char- acter it is Italian."
In turning over the bound volumes of the Magazine of Art (Cassell and Co., 21s.) and of the Art Journal (3. S. Virtue and Co., 215.), one cannot but be struck by the excellence of the illustra- tions and the variety of the articles. One great use of magazines such as these is to bring to the notice of those who cannot go abroad the art of the Continent. In the former of the two volumes under notice is to be found an excellent series of repro- ductions of the exquisite medals of Roty ; while in the latter are two interesting articles on Rodin.
Those who have once come under the magical influence of
Rome will delight in turning over Mrs. "condensed and edited" translation of Dr. Reinhold Schoener's Rome (Sampson Low, Marston, and Co., .t2 2s. net). The casual reader need not fear to find a scientific discourse, but may comfortably wander about palaces, churches, and ruins with this well-informed and discursive guide Quantities of pictures of buildings, streets, and gardens enliven the work.
Mr. Holmes in the first number of "The Artist's Library" (Unicorn Press) gives an interesting account of Hokusai. This prolific artist died in 1849 at the age of ninety. His chief work was the illustration of books with the colour-prints for which Japanese artists are famous. Mr. Holmes tells us that Hokusai was a popular artist who worked for the people, and whose works have not been sought after by collectors in Japan. At the end of the volume are several reproductions of prints and drawings. Among these is a delightful river scene, and another with a group of people in a high wind which is admirably expressive. It was hardly wise to try to reproduce the colour-prints. The heavy and greasy colours of the process used are entirely unlike the delicacy and clearness of Japanese colour-printing.
Those who wish for a really sensible review of Italian art should read Tuscan Artists, by Hope Rea (G. Redway, 5s.) The study of Italian art has of late passed under the microscope of criticism, with the result that most treatises have dealt with some part of the whole only. The present writer gives an admirable and sympathetic account, not so much of the works of art, but of the point of view of the artists generally. The part of the book called "Dreamland and Reality" is especially good, and shows how the two forces of realism and idealism were always present, and how in certain artists a union was effected. The author gives a brief account of Venetian art ; and, we think, rightly attributes to it as its characteristic, the desire to give idealised versions of actual things, while the Florentines strove to express ideas. The book altogether is a charming study, written with real knowledge and insight, and with that width of view that can see the essential beauties of different schools and different epochs. We have received from America a beautifully printed Catalogue of Art Ezhibition at Southampton, New York, by S. L. Parish (Tyrol], New York). In the preface the editor points out that the early English historical objects apply • equally to America, and says some excellent things on the unity of the two peoples. Sometimes small things show this more strikingly than big. Here is an instance,—to explain the reason of Michelangelo's bust being at Santa Croce, the editor remarks that this place is "the Westminster Abbey of Florence."
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