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as a general thing, they keep their treasures stowed away in what is called a "go down"—or storehouse—and but one picture is brought up at a time to be placed on exhibition in their rooms. Mr. Menpes says: "It is very much like bringing a bottle of wine from the cellar-no one would want the whole bin at a time!"

WILLIAM L. KINGSLEY.

THE ART AMATEUR for July contains a colored study of "Ferns," one of "Poppies" in black and white, a portrait study by Ellen Welby, a decorative figure ("Hebe"), numerous designs for wood carving, china painting, and embroidery, and a page of monograms in “S." The summer student of art will find especially valuable the Articles on "The Science of LandscapeRocks, Ground, and Trees," "Landscape Painting in Water Colors," and "Sketching from Nature." Other topics practically treated are portrait posing, china painting, wood carving, decoration of table linen, summer embroidery, and lectern hangings. Home decoration receives as usual special attention, and for connoisseurs there is, besides the always vivacious "Note Book,” a very interesting "talk" with Durand-Ruel on the different periods of Corot, Millet, and Rousseau, together with some account of the Bavarian artist Gaugengigl, and a notice of the Yandell Summer Exhibition.

The August number contains a very timely and attractive colored plate of Golden Rod and Cardinal Flowers. There are also china-painting designs for a plate (roses), a vase (coneflowers), and a fish plate, a pulpit hanging for Trinity, a page of monograms in "S," a fine study of Mountain Laurel by Victor Dangon, a variety of specially good designs for carved hanging shelves, and a number of Oriental decorative designs, including a full-page illustration of a vestibule in Turkish style. Articles of special practical value are those on "Landscape Painting in Oils," "Science of Landscape-Sky and Water," "Flower Painting in Water Colors," "Dog-Painting" (profusely illustrated), and "Wood Carving." There is a suggestive "talk" on the "Revival of Mural Painting," and "My Note Book" has its usual complement of spicy paragraphs. Price 35 cents. Montague Marks, Publisher, 23 Union Square, New York.

THE ART REVIEW is a bi-monthly magazine which is specially devoted to the illustration of contemporaneous American art. Each number contains an etching, a wood engraving, three

photogelatine, and four photogravure plates. The Review is published in New York, and the price is $1.50 a number, or $7.50 a year.

The pictorial illustrations are of a higher character than anything before attempted in this country. The July-August number has a dry-point etching by Frederick W. Freer, after an oil painting by Carroll Beckwith; the title is "A Passing Glance." There is a photogravure of a "Portrait of a Lady," from an oil painting by William M. Chase; and one of the admirable wood engravings-Spring time "-of William Hamilton Gibson. There are also a large number of photogelatine prints from the most beautiful scenes in the Adirondacks-including pictures from the Au Sable Ponds, Lake Placid, and Raquette Lakes.

But the beauty of the illustrations is by no means the only claim of the "Art Review" for commendation. The general ability of its Articles is unusually high. In the July-August number a discriminating Article on "the beauty of paint" is especially noticeable. It is a plea for technical ability—a plea for "art for art's sake." The author, Mr. Van Dyke, admits to the fullest extent that "the chief and most important purpose of art" is not the handling of paint. But he says that the higher aims of art have been so persistently reiterated, that many people seem to have taken it for granted that the work of the fingers is of no importance whatever. They can admire grace of motion in an athlete; they can see beauty in the fingering of a pianist; but they have not learned to appreciate the brush work of the artist, or the way he secures his effects. Mr. Van Dyke introduces the discussion of his subject by a description of the different ways. that pictures are examined:

Of those who patronize the gallery during the art season, the father of the family goes to see something funny, the mother to see the pathetic "ideal," Miss Fanny looks for a romantic story on canvas, and Young Hopeful is carried away with a theatrical group of athletic models or a historical tragedy containing the moral-sublime. But the art-learned connoisseur, the diligent amateur, the shoppy artist, and the carping critic-what do they go forth to see? Why, paint. At a distance a clever idea, nice composition, drawing, color, or tone may attract their notice, and straightway they walk up to within smelling distance of the canvas, to "see if that man knows how to paint." Then begins the interesting part of the feast, for never a booklover pored over a Stephens or a Baskerville with half the relish that a true lover of paint studies the manner in which an artist has handled his brush. Whether at Amsterdam or Venice among the ancients, or

at Paris or Munich among the moderns, it is the same; the quest is for paint. The old picture-viewer is twin brother to the old book-worm. They hunt in similar fields in a similar manner. The one goes down the long rows of books sniffing at Shakespeare, Bacon, and Pope, in favor of Albertus Magnus, John Pico, and Poliziano; and the other goes down the gallery, passing over Ghirlandajo, Perugino, and Bartolommeo, to stand transfixed with enthusiasm before Rubens, Velasquez, or Watteau. And, after all, is there not some reason and method in the apparent eccentricity? Some may seek for the glories of the high ideal, and some for the splendors of perfect skill. There are beauties in both, and the preference is a matter of taste.

Mr. Van Dyke then gives a clear and interesting historical review of the methods according to which the great painters have worked from the days of Michael Angelo, and of the advance that has been made in modern times in all that pertains to technique. It is ignorance of these methods which in part explains the lack of interest which so many persons feel in the paintings of the old masters. It is to be remembered that the great Florentines thought only of line and form; and the "paint part" of their work was only a filling-in of the inclosed space with color." How different the technique of Vollon, Courbet, Rousseau, Fortuny, and the modern artists! It follows then, that for the intelligent appreciation of the work of any painter ancient or modern-it is necessary to know what to look for in the technique of each. The Article concludes with setting forth the advantages of being sufficiently acquainted with "paint" to be able to judge of the wonderful work for which the modern artists have become so distinguished. Mr. Van Dyke says: "Poets and novelists touch up their pages with happy similes, imagery, and metaphors to brighten their theme and hold the reader, and why should not artists employ their brushes in a similar manner? To call it 'style' in the one and 'trickery' in the other is very absurd, not to say unjust. The dash, the fire, the richness, of Fortuny in paint is analogous to that of Gautier in literature, and, whatever the thoughts they may have given utterance to, we would not spare the brilliant style of either." But on such a subject, a writer is in danger of being sadly misunderstood, and at the close of his Article Mr. Van Dyke says: "In consideration of the delightful misunderstanding of one's views so prevalent nowadays, it may be worth while to repeat that nothing in this paper is intended to prove the superiority of the hand over the head, or to show that skill in execution is equal to the power of invention."

We wish to call attention also to the fact that the Review gives accounts of what is being done for the promotion of art in different parts of the country in a way which is at once very intelligible, very interesting, and very encouraging.

WILLIAM L. KINGSLEY.

His

TAXATION.*-Prof. Cossa of the University of Pavia is known to English readers chiefly through his "Guide to the Study of Political Economy," a little work of great value to the student and the product of an unusually wide range of study. As Prof. Cossa is one of the leading representatives of the very solid and vigorous scholarship of new Italy, a word of information about his career may be of interest. He was born in 1831. University training was received at Pavia, Vienna, and Leipsic, where he was under the instruction first of Stein and then of Roscher. Upon his return to Italy he became professor at Pavia, where his work was especially fruitful in inspiring young men to undertake original investigations in the field of contemporary problems. He began to write for publication comparatively late, but has produced several admirable text-books. He excells in clear analysis and statement of principles. Familiar with nearly all the leading languages of Europe, his work is noticeably charac-* terized by comprehensiveness. This same breadth of learning enables him to furnish admirable bibliographies with his text-books which add much to their usefulness. The present volume, edited by Mr. Horace White, contains a brief and clear exposition of the principles of taxation. It will serve as a concise statement of the established principles either for reference, or in teaching, as a good basis for lectures. Mr. White's notes are always instructive and to the point. The appendix on the tax systems of New York and Pennsylvania is a useful feature. The translation has had the benefit of several scholarly revisions and may be trusted. We are of opinion however, that the phrase "Science of Finance" accords. rather better with the prevailing English usage as a translation of" Scienza delle Finanze" than the term "Science of the Finances" which has been chosen.

ECONOMIC SCIENCE.f-The author of this essay has attempted *Taxation. Its Principles and Methods. Translated from the "Scienza delle Finanze" of LUIGI COSSA, Professor in the University of Pavia. With an introduction and notes by Horace White. New York: G. P. Putnam's Sons.

The Present Condition of Economic Science and The Demand for a radical Change in its methods and aims. By EDWARD CLARK LUNT, A.M. New York: G. P. Putnam's Sons.

to review the present condition of Political Economy and to reach some general conclusions about its prospects. He first considers what is urged against the science on account of the disagreements of its votaries and shows that a good deal of this dissension is not in the field of economics proper but in applied economics or in more general terms, politics. He defends the strictly scientific character of Political Economy. It investigates laws of social life, but does not provide rules of action. He then discusses the method of the English school of economists and defends it from the ill-judged if not ignorant criticism with which it has been deluged of late. The "New Economy" is reviewed in two chapters and shown to be in its essential characteristics not new. Mr. Lunt almost goes so far as to say in the familiar epigrammatic phrase: "What is true in it is not new, and what is new is not true." He distinctly affirms that all the best English economists have followed the method prescribed by the new Economists, whom he is consequently compelled to liken to "the French people, who according to a nice observer, do not know what they want, and are never satisfied until they get it." Political Economy as it exists to-day and comprises a body of scientific knowledge is the work of the English Economists. The new economists are doing useful work, but it is chiefly when as regards method, they follow in the footsteps of Adam Smith, and Mill. Mr. Lunt concludes with an exhortation for economists to cease wrangling about methods and to devote their energies to the pressing problems of the day. His essay is interesting, clearly written, and sprightly in style. His conclusions quite agree with our own on the points at issue, and we hope that his discussion will lessen the availability of the words "orthodox," "English," or "Manchester school," as epithets of vituperation.

THE BIBLE DOCTRINE OF INSPIRATION." *—In this book a prominent Baptist theological professor gives the results of twenty-five years of study and teaching on the doctrine of inspiration. The discussion is comprehensive and somewhat elaborate and careful. The divisions of the subject are well made and clear. The treatment is perspicuous. All extraneous matter is excluded.

In the chapter on the six different theories of inspiration, the *The Bible Doctrine of Inspiration Explained and Vindicated. By BASIL MANLY, D.D., LL.D., Professor in the Southern Baptist Theological Seminary, Louisville, Ky. New York: A. C. Armstrong & Sons.

1888.

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