RETROSPECT

OF

LITERATURE, SCIENCE AND ART IN 1908.

LITERATURE.

THE principal event of the year in which authors, publishers and the public were alike more or less interested was the termination of "The Times Book War," which for two years had kept apart the commercial and literary interests of that journal. The outside public, whether as readers of books or of criticisms thereon, had in nowise suffered from the quarrel, and consequently had been pretty equally divided in opinion as to its merits. The treaty of peace between The Times and the publishers was signalised in a dramatic way by the re-issue at a popular price of the "Letters of Queen Victoria," which had originally been published at an almost prohibitive cost and was now issued under the joint auspices of "The Times Book Club" and the original publisher, Mr. John Murray. The success of such a book under such auspices was certain. It was followed at a short interval by "Queen Alexandra's Christmas Gift Book," of which the proceeds were to be devoted to the Queen's Charities. This volume of photographs taken by her Majesty was launched from the office of the Daily Telegraph, and naturally had an enormous popularity. As, however, among the great mass of the public no form of expenditure is less elastic than that devoted to book buying, it was not surprising to hear complaints on all sides that the autumn publishing season showed the result of the publicity given to the two "Royal" books.

In other ways, moreover, the year from the publishing point of view had been a lean one, and was marked by the appearance of few books of distinction. The plan of writing history in instalments and by separate hands inaugurated by Lord Acton had been attempted on a narrower scale by others; but the results were not altogether encouraging. The "Cambridge Modern History," however, survived, and up to the close of the year nine out of the twelve projected volumes had appeared. In other branches of historical research the later Stuarts aroused a certain interest: and the strife over the claims of Joan of

Arc to canonisation was renewed on both sides of the Channel. Speaking, however, in general terms it would seem as if literary activity had been diverted from history to science, especially technical and experimental. The remarkable advance made in so many branches of science needed to be discussed and criticised before, if not by, the public, in order that the latter might be enabled to decide how far the discoveries of science were applicable to the promotion of industry or commerce. Social economics also occupied a prominent place in public attention, and problems presented by social reformers were much discussed.

The books most in demand for general readers were biographies, diaries or letters of deceased or living "celebrities," a term which from the publishers' and the public points of view was most elastic; the result being the revival of the ashes of many reputations which might with advantage have been left undisturbed. No new poet of eminence arose to command attention, but not a few volumes of verse appeared of which the writers detached themselves in a marked way from the unhealthy tone of much of the poetry of the preceding decade. Similarly, in the theological works was to be found evidence of a reaction towards a more moderate attitude in the criticism of Biblical and patristic literature.

However overflowing the field of fiction might appear from the advertisement of publishers, the yield of good seed was surprisingly small. Some of the better-known writers did their utmost to protest against the vapid conventional novels which poured daily from the press, by producing works worthy of their own renown. Their efforts were, however, but half-heartedly supported by the public. The hope held out that the reduction of the old-fashioned three-volume novel to a single volume at a reasonable price would induce novel readers to purchase rather than to rely on circulating libraries proved to be fallacious. At the same time the enterprise of certain firms in republishing at prices varying from sixpence to a shilling works so recent as to be scarcely distinguishable from new had its natural result. These handy well-printed books attracted a constant stream of purchasers, and proportionally diminished the demand for the six-shilling volume on which author and publisher had based their bargain in the first instance. The future of the modern novelist was left, therefore, unpleasantly obscure.

ART.

Few artists have come into public favour so rapidly, after a long period of neglect, as Goya (John Lane), whose claims to recognition Mr. Albert Calvert enforces by his temperate judgment as much as by the reproduction of the artist's principal works. Goya, like many other Spanish painters, essentially was a realist, and reflected in his work not only the troublous times in which he lived, but the restraints under which he carried on his art. His impatience of control--even in his art-brought him into collision on various occasions with both the civil and ecclesiastical authorities, and his post of Court-painter to Charles IV. or Ferdinand VII. was in many respects uncongenial. It is to show the many sides of Goya's life and art that Mr. Calvert has

applied himself-with results which enable the reader to understand the man and his work.

There is something especially attractive in the unconventional life of George Morland (A. & C. Black) and many biographies of the painter have been written. Sir Walter Gilbey, who has been the last to take up the task, is a Morland enthusiast and at the same time a competent critic. With him has been associated Mr. E. D. Cuming in the production of a volume which, whilst it does not clear up the mystery of George Morland's parentage, nevertheless presents a far more attractive and complete account of the painter's life and works than has hitherto been given to the world.

There was to the casual observer little in common between the simple, farmer-like appearance of Corot and the sensitive and poetic touch which pervades his pictures. Mr. Everard Meynell in a sympathetic study of Corot and His Friends (Methuen) has endeavoured to make us understand the true relation of the artist to his work. In both the dominant note was that of sincerity; and his pictures stand out as the final protest of a school which, temporarily, as we hope, is suffering eclipse in France. The value therefore of Mr. Meynell's work lies not so much in the careful following of Corot's life as in the evidence that it affords as to the complete harmony existing between the artist and his work.

Mr. A. M. Hind has no cause to regret his late appearance as the writer of A Short History of Engraving and Etching (Constable), as he comes at a time when the art of reproduction has attained unwonted excellence; and he has found publishers who have been prepared to avail themselves liberally of the opportunities at their command. The result is a volume which is as complete as a critical authority as it is attractive and self-explanatory. Mr. Hind fully carries out the purpose he had in view of "presenting a descriptive survey of the history of engraving on metals throughout the various centuries and schools." He has conferred upon students and collectors a boon which they cannot fail to value highly, and he has furnished a text-book to the art of engraving. Future writers will draw with confidence on the treasurestore of information which Mr. Hind has laboriously collected. The copious classified list of engravers will prove as useful as the reproductions of the choice works of many of them will be found attractive.

Sir Hubert von Herkomer's versatility has brought him into the field of letters, and the story which he tells of My School and My Gospel (Constable) shows that he is scarcely less skilful with the pen than he has proved himself to be with other instruments. The school at Bushey, which he established with high ideals, has been the training ground of many who have taken to heart the teachings of the master. That these were somewhat heterodox from the academic point of view is well known, and it is to expound his "Gospel" that the greater portion of this volume is devoted. It will, therefore, be read with interest by all who have watched the development of English art during the last thirty years. Herkomer's methods may not have been endorsed by those who are frightened at innovations; but they are well worthy

of attention and study, and the results in a great measure justify the earnestness and vivacity with which the author advocates his theories.

Mr. James Caw, Director of the Scottish National Gallery, has ably discharged the duty which fell to him of writing on Scottish Painting, Past and Present (Jack). French influence and tradition lingered long after the union of the two Crowns, but although Scottish painters were numerous and adept, there was little craving for a distinctive Scottish school of painting. Scotchmen too found early recognition of their merits at the Royal Academy, and their patrons were more often met with south of the Tweed. By degrees, however, the national feeling asserted itself in art, and from the time of Raeburn onwards there has been a growing tendency among Scottish painters to follow their own methods in the pursuit of their own ideals. The "Glasgow " School has at length firmly established itself, and its influences-though drawn through French channels-are distinct and definite; but how far from being, as at present, local, the Glasgow School will become national, is a problem which neither Mr. Caw nor Professor Baldwin Brown-who also writes on it-has ventured to solve.

It is a sign of the times that the Professor of Architecture at the Royal Academy should have found courage to advocate the claims of classical against Gothic influence which has so long dominated the British School. In The Mistress Art (Arnold) whilst recognising the debt of cathedral builders to the liberty of Gothic art, Mr. Blomfield claims that for modern times a more systematic method is needed, and asserts that design will lose neither variety nor originality by architects submitting themselves to a despotism which can be both intelligent and flexible.

Having carefully studied the history of church architecture on the Continent and in the provinces Mr. T. Francis Bumpus has now devoted his attention to London Churches: Ancient and Modern (T. Werner Laurie). He shows the same zeal and love of research that characterised his previous inquiries—and the present volumes are not less valuable to the student than to the city wanderer. Mr. Bumpus has conveniently arranged his studies in two series-the one dealing with Medieval and Early Renaissance styles; and the other with the so-called classical revival of the eighteenth century, at which period London church architecture seems to have reached its lowest depth, whence it was only partially rescued by the early Gothic revival dating from 1820. Many readers will be surprised at the number of Norman and Early English churches still to be found in London. Mr. Bumpus indicates these, and traces throughout the distinctive characteristics of London church building, which culminated in Wren's work.

The task of following through many centuries the art development unfolded by Towers and Spires (Wells Gardner, Darton & Co.) has been pursued by Professor Tyrrell Green with profitable results. He deals with the design and arrangement of towers from their probably earliest adaptation to church buildings in Lombardy and at Ravenna, and traces their development through the successive architectural periods. His views are for the most part those now generally accepted among

architects, except that he declines to recognise the spire as originating in pointed Gothic architecture.

There is no need for the apology with which Mr. W. Crum Watson introduces his instructive study of Portuguese Architecture (Constable) and calls attention to the many interesting examples of peculiar styles which are to be found in that country. From the twelfth century onwards Portugal, if without architects of striking originality, produced many of conspicuous ability who adapted contemporary styles to national or local taste or surroundings. Romanesque and Renaissance, Spanish and Moorish influences by turn swayed Portuguese architects, but in the churches and buildings at Braga, Cintra and Coimbra, as well as in the cathedrals of Lisbon and Oporto, distinctly national peculiarities can be traced. Mr. Watson's book is the more valuable for the numerous admirable photographs of the buildings, of which the history, as he shows, is often not less interesting than the architecture and their art treasures.

The addition of "The story of Milan" by Miss Ella Noyes to the series of Medieval Towns (Dent) is welcome, as there was a danger lest the claims of the modernised industrial capital of Northern Italy should have been neglected. Modern Milan does not appeal to the ordinary traveller save for two or three churches on its outskirts. But Milan has a history which cannot be effaced, and Miss Noyes may be congratulated upon having followed its fortunes carefully, and related them succinctly, no easy task considering the part played by Lombardy in the history of Central Europe since the break up of the Western Empire. Miss Dora Noyes, who supplies the illustrations, reveals some of the art treasures which might otherwise escape the sight-seer.

AUTOBIOGRAPHY AND MEMOIRS.

It does not always happen to a man who keeps a journal to have such varied experiences as fell to the lot of Lord Macartney, Our First Ambassador to China (Murray), and Mrs. Robbins, who edits it, has found abundance of good material of which she has made excellent use. George Macartney must have come to London from Ireland well recommended for he was at once admitted to Dr. Johnson's literary club, and before he was thirty years old he was sent to St. Petersburg to negotiate a commercial treaty with Russia. His success with the Empress Catherine may have been due as much as to his good looks as to his diplomacy. On his return he entered Parliament, and for three years was Chief Secretary for Ireland. He, however, found a more congenial field for his talents as a colonial Governor, first of Grenada, in the West Indies, and afterwards at Madras. The East India Company, recognising his value, obtained for him powers to proceed to China to negotiate for certain trading rights with that country, and although his mission was not altogether successful, it marked the first stage in opening up the Chinese Empire to British traders. On his return to Europe his services as a diplomatist were fully appreciated and his last public appointment was that of Governor to the Cape of Good Hope after its cession to England.

All students of English politics, and many others besides, will be