The Classic Point of View. By Kenyon Cox. (T, Werner
Laurie. 6s. net.)—The American artist who is the author of this
book takes an eminently sane and central position in relation to the various matters of which he treats—design, drawing, technique, and other kindred themes. The chapter on Subject in Art is well worthy of study, the course between the extremes of narrative painting and the absence of all human interest being well marked out. Mr. Cox points to Millet as the painter who, although he avoided all mere story-telling in his pictures, always made them overflow with the things which are really interest- ing to humanity. Mr. Cox all through his book refers to the
Sistine vault as the highest standard of art. In one passage he speaks of " the glory of its colour and painter-like mastery of tone." This is absolutely true, but too often forgotten by critics
who are not painters, and who repeat the parrot-cry handed down from one literary man to another that Michelangelo was a great draughtsman.
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