ley's defense and Mr. Henley's indictment. What Miss Sandar's life lacks is a commanding capacity to grasp this great carcer as a whole. What it has is a clear narrative, full of detail and longer than its predecessors. (Dodd, Mead & Company.)

Tintoretto.

* * *

The amazing genius of Jaccopo Robusti, more commonly known as "Tintoretto," can be better understood even from the poorly printed halftones of the volume devoted to him in the Newnes Art Library (New York, Frederick Warne) than by words which but obscure. This squarish volume gives 64 reproductions of paintings, mural and easel, many dim and scarcely decipherable. He was not, as Mr. William Roscoe Thaver said in an article in the "Atlantic Monthly" (July, 1891) the Shakespeare of painters, but he had an astonishing and amazing fertility which sweeps the imagination like a roaring blast. Little is learned reading about such a man. If your chance of seeing pictures is limited, and access to photographs small, take a volume like this. and ponder over it until you learn how a great genius poured out his conceptions like a flood in impossible and wonderful conceptions, which transfigure life itself. An introductory essay by Mrs. Arthur Bell is the usual conventional criticism. Mr. J. B. S. Holburn has published (1903) the only recent important work on him accessible, and Mr. Frederick Sterns has included him in an unsatisfactory essay in his "Four Great Venetians" (1904). Nor is the artist himself a man whose work lends itself to appreciation away from its environment. For a brief day, these vast women and vigorous men walked naked and unashamed in the bright light of Venice, and were not, for their time was over.

gest bully, a general conviction of women about their own sex which owes a better estimate to man's higher opinion or lower ignorance. A factory town just out of Chicago, an easily recognizable place, blended of more than one, has its local society neatly sketched, with an anxious desire to show up Chicago. Given a fair being of 18, phenomenally and physically ignorant, married by an ambitious mother to a middle-aged manufacturer, bald-headed, with a red moustache, who makes a noise over his soup, and the agreeable young man of a fatal facility is certain to appear. He is no more of a blackguard than such a man has to be, and he is finally disposed of in a scene of brilliant invention and sudden penetration of the feeling of real men. Miss Potter provides the husband with a double-barreled pistol. This is an unusual weapon, but if a double-barreled ounceball derringer is meant, it is a wiser choice than the revolver with which the artistartists never read the text-has provided him. Imprisoned in a farm-house while her husband installs a mistress in her place, the wife at last makes abject submission while the mistress is still under the same roof. There is promise of good, if not big, work later in almost every page of this book. It runs to menus and clothes needlessly. (D. Appleton & Company.)

yzed the share which physicians, physicists, chemists and geometers at start had on the development of Greek abstract thought. Its intellections and analysis, quite as much as our own philosophic thought, rested on the concepts of physical science.

Professor Gomperz in the present two volumes devotes one to the Socratic philosophy and its offshoots, and the other to the Platonic, continues the same method as in the earlier volume, a method which has made him for the past generation one of the foremost philosophic teachers of Germany. Holding a chair in Vienna, he was there the translator of Mill, and his habit of analysis is constantly influenced by the detachment of a man more successful in labeling and analyzing the world's past thought than in appreciating or comprehending it. His style is graphic rather than brilliant, his method historical and comparative. Instead of briefly describing the life, character and teaching of each man as he appears, he places each in its relations to the life of which it was a part. The effect on Socrates and Plato, for instance, of the span of years in which each lives is admirably summarized. He accepts and freely uses the examples and conclusions of Julius Beloch that Greek moral concepts and practice stead ily rose from the Persian War to the Hellenistic period.

These volumes furnish to the general reader therefore an illuminating summary of the central and determining period of Greek philosophy, written with knowledge and appreciation of the modern condition of the problem as it stands to a man who completed his study and formed his conclusions in the '80s. Greek thought is now known to be secondary and not primary. Its philosophy must be before long rewritten in terms of the light shed on its origins by our current knowledge of Babylon and Egypt, a fact recognized by Professor Gomperz in his first volume. Genetic influence calls for consideration. Cyrenaic philosophy becomes clearer if it is regarded as part of the effect on thought north of the Mediterranean of Hamitic and Libyan influences which can be traced from Aristippus and Theodorus to Maimonides. The luminous suggestion made by our author of the possible rela

tion between the underlying concept of totemism and the Platonic doctrine of ideas misses its point for lack of exact knowledge of "barbarian" psychology and its more recent study.

But in spite of these lacks, common to all the discussion of the subject, this work will take its place among standard authorities, as more interesting and comparative than Zeller's series, fuller than W. Windelband's history, whose short survey is better for the mere general reader. J. Burnet, J. F. Ferrier and Arthur Fairbanks deal only with the earlier days of the subject, and B. C. Burt, J. Marshall and E. M. Mitchell are mere manuals. No one work to-day accessible gives as comprehensive and as well-balanced a view as does Professor Gomperz's. (The Macmillan Co.)

Ruskin has set the keynote to this appreciation and explanation of the art Tuscan and of Central and North Italy. Venetian (E. P. Dutton & ComArtists pany.) It follows the steps Hope Rea somewhat hackneyed now even in explanation, of the use of Roman forms in architecture, of the effort of the goldsmith's work on both sculpture and painting and of the employment. of certain type forms in Venice, Tuscany and to the South. The author's purpose is to aid the traveler with a single volume summing history and theory. As such it may have its use, though not level with current study and knowledge.

I have known It

Edmund R. Freemantle

* * *

From 1849 to 1899, the term of Admiral Freemantle's service, the British. The Navy as navy passed through the only semi-century from the defeat of the Armada, in which it achieved no redoubtable naval exploit. It was instead a period in which the police of the seas was painfully but not perilously established, and the old three-decker gave place to the battleship. Admiral Freemantle and his contemporaries the last that can write of the sailing frigate and cruiser, the line-of-battle-ship and the steel battleship with an equal knowledge. While great deeds are absent. multifarious interests are present, and the routine of a sailing man-of-war which he

were

the economic emancipation of the child. Failing to see this, Mr. Henderson has builded a brilliant synthesis, attractively expressed, lacking a sound historical, economic or ethical basis.

Scandinavia

Bain

Hanford

sees the individual and there is less ad captandum criticism of an environment whose development Mr. Henderson does not understand and has never apparently methodically learned. "Good Fortune" is the final "good" whose aim, desire and achievement constitutes the obligation of morality. Mr. Henderson recognizes no obligation outside of the experience of humanity. A racial hedonist, he finds the final test of good in the acts, personal and social, which increase the efficiency, the development and the wider expansion of enjoyment, not for the greatest number, not even for all, but for each. Any acts of a man or of men which lessen efficiency, development and the wider expansion of joy for any one human being are by that fact immoral. This view, Mr. Henderson asserts to be Hellenic. To a certain point, but it omits sacrifice, the Spartan sacrifice of Thermopylæ, the Athenian sacrifice in the straits of Salamis, when Athens was already lost, as the Athenian envoy reminded the Spartan Assembly, and nothing remained but to save Greece and the Hellenic mysteries which consoled those dying and waiting for the dawn at Arginusæ. Omit these and even the Hellenic ideal is complete. For such sacrifice Mr. Henderson has no room. He indicts and attacks all the sacrifices of society, industrial as well as social. Nor has he grasped the economic fact that the industrial emancipation of society has come and continues by sacrifice. The emancipation of the child from labor, became legally possible and morally necessary, only after the factory system had worked

** *

This timely volume (The Macmillan Company), one of the products of the new English historical school, is accurate rather than interesting. The Union of Kalmar, 1388, when Margaret, daughter of Valdemar IV, associated the three Scandinavian kingdoms in the person of the sovereign, Eric of Pomerania, begins this history. All before for 600 years is in a chapter. Another chapter describes Christian II and introduces Protestantism. The book is therefore really a history of modern Scandinavia. It is as though English history were to begin with Henry VIII or French with the Valois. The thread and theme of Mr. Bain's history is the failure of these three peoples, Norway, Sweden and Denmark, closely related in tongue, race, society and faith, to fuse, and of Scandinavia as a whole to produce any national hero. His work is annals rather than history. A negative, a failure, an absence of a hero, these make scant text for organized history. Yet the story of Scandinavia, like the song of a Skald, is inevitably discursive and episodical. No other history is to be had in English. No other has told the story so well. This volume is far superior to the "Sweden" and "Norway" in the "History of Nations" series.

Lloyd Mifflin

*

How good to have a poet who woos the muse with serious suit. Not all here is verse of an high order. Not all The Fleeing Nymph even by the rigorous norm is poetry. But not one of these poems but rewards the lover of verse for its own sake. Each line has the patient care of the craftsman and a reverence for the medium in which the poet works. If no one arching line spans that great gulf fixed between the song everlasting and a song of the everlasting, here are the deeper emotions worthily enshrined and fittingly expressed in verse considered, musical and centered (Small, Maynard & Company.)

R

Bonnie Scotland* EADERS of "The Black Douglas"

will be glad to find that Mr. Crockett has followed up the chronicles that comprised that story with a continuation of the history of the Douglases. The heroine is May Margaret, "fair maid of Galway," who, to unite the fortunes of the family and to further the ambitions of its head, marries her cousin William, even while she is in love with his brother James. When William dies, she becomes James's wife; the husband breaks faith, and after further adventures she weds Laurence McKim, son of the old armorer, from whose hands have come the Douglas arms for many years.

The story is full of adventure and lovemaking. It is all in Mr. Crockett's familiar style-perhaps not so dashing as sometimes, and with less of the humor than he has often before displayed. But the interest is dominating and the characters boldly delineated, while the lesson is there-set forth so plainly that "he who runs may read."

T

Scotch-Canadians+

HE Scotch Canadian is your true old Covenanter. The modern minister is out of place among these men of faith and simple godliness. The young people who grew up in the church that John McAlpine had consecrated by his great and good spirit found it very difficult to please the elders of the "kirk," who could not sympathize with their dancing and with their desire for a church organ.

"Splinterin' Andra," as the chief of the elders was called, vowed he would take his old axe and chop the instrument to pieces if they dared bring an organ into the kirk. Duncan Polite, dear, lovable old Duncan, who gave his life in the hope

*MAY MARGARET. By S. R. Crockett. Dodd, Mead & Co.

DUNCAN POLITE. By Marion Keith. ing H. Revell Company.

Flem

that the sacrifice might aid in keeping the covenant with God that his father's

father had made-Duncan understood better the need of youth for merriment and laughter, but his heart was too true to the canons of his religion for him to feel quite at ease under a preacher who of all moderns was one of the most modern and most progressive.

Miss Keith has written a pathetic tale. It has a certain element of humor, but this is little in evidence. She has drawn her picture faithfully; one who knows anything of the people recognizes the types. For such, the book will have an especial significance.

T

In the Carpathian Mountains* HROUGH a technicality of law, a Duke's possessions in the Carpathian Mountains pass into the hands of a Berlin lumber company, one partner of which erects a mill in the rich timber district thus acquired. Naturally this man has no love for the Duke, on the principle, doubtless, that we "hate the man we injure." Unfortunately, the lumber merchant has a son, well-educated, refined and contrary to his father, quite at home among nobility. He falls in love with the Duke's daughter and the course of true love meets with many an ob

stacle.

The characterizations are done with Dorothea Gerrard's appreciation for the best that is in man, and with her sprightly humor and delightfully natural manner. The Duke, with a fine strain of poesy in lus make-up that places his nature in harmony with the beautiful rose-garden in which he spends so much of his time; the millionaire lumber-man, with his pretended scorn of aristocracy, his fanaticism for work, his ambition for still greater fortune; the charming, romantic girl; the artificial woman who is her

*SAWDUST. By Dorothea Gerrard. Illustrated. The John C. Winston Company.

mother, and the young man, chivalrous and noble-events move in a little world full of individual atmosphere; a world just a little sad, with the sadness that follows upon the manifestation of human shortcomings, a world very glad simply because the sun shines and lovers love and youth has an enthusiasm that overcomes all impediments.

L

Russia To-day*

ESS of story than of fact is in this bitter presentment of conditions in the Russia of to-day. Mr. Brudno apparently set out to expose, and he has in no case modified the truth, even for artistic purposes. As a novel, the work does not compare with his first book, "The Fugitive;" after Gorky, this merely talented young man must be admired more for his sincerity than for his achievement. That the Jew has suffered most abominably at the hands of the Russians is a matter of history; this author's hatred requires no explanation, needs no apology. One is quite ready to sorrow with him over the wrongs of the Jewish lads who are taken by force from the home and destined to army service. What the little conscript endures makes him a hero.

There is a slight love element in the tale, which otherwise moves in a narrative that lacks almost entirely the real dramatic impulse. The pathos is marked throughout and certain of the scenes have been done with an impressive forcefulness, so that they remain with one long after the volume has been laid aside.

ends his college career with pitiable disaster and breaks the heart of the one person in the world whom he really loves; such circumstances and people as these contribute to a tale that is, in nearly every line, tragic, though the characters are well delineated and the purpose of the story is made patently clear.

The lesson of a woman's foolish jealousy is put feelingly; the evils of college life, where mercenary considerations prevail over care for morality, are set forth with no little heat-the tirade that disgraces Grinnell on commencement day would seem to have something more than imagination for its basis, and experiences and knowledge of the shameful conduct that marks many a youth's academic course make this appear all the more worthy of reflection.

At the same time, Mr. Thompson might have managed to convey an equally forceful moral without so much nerve-racking misfortune and unalleviated sadness.

The Greater London*

OVERTY and the hardships that

accrue to so inconvenient a lifecompanion, endowed George Gissing with a dry humor that manifests itself on nearly every page of this splendid story, the last thing that he left. Gissing knew London-not the London of diamonds and dollars, but the London wherein man struggles to maintain existence, and is only too glad to be able to exist at all.

Will Warburton enjoyed a comfortable income. Through the kindly aid of an over-zealous business partner he lost it all, including the small fortune that belonged to his mother and sister. Proud, independent to a fault almost, he could solve the problem in but one way. He bought a grocer's store and under an assumed name began business. All that happens in connection with his keeping shop serves to make the book, if one excepts the preliminary complications and the little love story that ends in his finding a wife.

The book is admirably detailed, with a care for the small things both in construction and in style. The characters are *WILL WARBURTON. By the late George Gissing. E. P. Dutton & Co.