ART-BOOKS.
A new edition of Vasari's Lives is given us by E. H. and E. W.
Blashfield. and A. A. Hopkins (Bell and Sons ; 36s.) The editors have selected seventy of the most important " Lives," and of these they have reprinted Mrs. Forster's translation. This translation, which was published in 1850, they consider admirable on the whole, but have corrected it in occasional details. The feature of this new edition is found in the footnotes, which are of the most comprehensive and learned description. These notes fill in the many wide gaps in Vasari's narrative, and em- body not only the views of the editors, but give in a condensed form the views of the best European expert writers. At the beginning of each of the Lives there is a bibliography of special works dealing with the subject of the Life. At the end of the fourth volume is a list of authorities covering the whole field of Italian art. We must specially point to the summary that the editors give cf the work of the various masters. These notices show great insight and that breadth of criticism which we may be thank- ful now exists; when it is possible to admire both Botticelli and
Raphael. Vasari had a great gift of telling the story of the pa inters he dealt with. There is much keen insight, and often a satirical humour creeps in, as when he describes the reassuring effect on the arts caused by the death of Pope Adrian II.,—the Pope who proposed to destroy the Sistine Chapel because the frescoes shocked his Flemish sense of decency. But Vasari, in spite of his charm of narration, was dreadfully inaccurate and confused, even in giving accounts of Michelangelo, with whom he was in close personal relation. The present editors have made dark places light by their notes. Our only com- plaint is that these notes, which are so frequent and so readable, should be printed in such eye-destroying type. The fashion of modern art criticism runs in two directions. One set of writers confine themselves to the scientific classification of pictures and the verification of traditional ascriptions. This method is productive of results of inestimable value. The other set of writers "reconstruct" the psychology and personality of the painter by means of his works. This practice chiefly delights those who take an intellectual interest in art, but who are with- out sympathy for painting. In view of these specialised methods, the best way of learning what we want to know about Michel- angelo or Raphael and other great Renaissance men is to read Vasari together with the illuminating comments the present editors afford us.
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