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A WELCOME TO WTXTER. BY THOMAS CAMPION. .Vow winter nights enlarge Th? number of their hours; •And clouds their storms discharge Upon the airy towers. I.i t now the chimneys blaze. And cups o'erflow wine; • .. t well tuned words amaze With harmony divine! Now yellow waxen lights Snail wait mi honey love; While youthful revels, masques and courtly sights. Sleep's leaden spells remove. ©OS Wt*y§&b ®?ilmu& ILLUSTRATED SUPPLEMENT. SUNDAY, OCTOBER 30, 1004. The lato Lady Dilke will be widely regretted : monff rentiers of art history. She brought to • t work not only the fruits of special trnin _'. but those of a varied intellectual experi . • . She used to be called "the brilliant Mrs. Ali.ik Pattison" when she was living at oxford \ i t Si her first husband, the rector of Lincoln < ullc-r. She was regarded then as a type of what the "higher education" can make- of a woman. There was nothing of the prig about hvr. She was fund of sport all her life long, and was a pood talker, accustomed to hold her own among the most thoughtful of her con temporaries in Oxford and London. In ISSS, ft • ..i after Mark i'attison died, she married Sir (harles Dilke. She wrote almost exclusively on artistic subjects, and crossed the Channel 1..r most of her material. Her "Renaissance of Art in France," a very good book, was pub lished in 1879. She also brought out an inter ,stiug volume on Claude. But her most im l-ortant work was done in the series of four volumes, begun in 1899 and completed in 1902, > :i the Trench painters, architects, sculptors, decorators, furniture makers, engravers and draughtsmen of the eighteenth century. She made a most scholarly investigation into the i.rtistic history of this epoch. Her practice was 1., base her conclusions on a thorough knowl edge of the facts. The four volumes we have just cited form an indispensable storehouse of information. For English readers she remains the chief authority on a very important phase in the development of European art. Her ca reer gives eloquent testimony to the fact that the literary women of our time have not all confined themselves to fiction. Publishers, like authors, have their troubles. Criticism duos not stop at the contents of a l»ook. It Is directed now and then at the man ner in which the book is made. Only the other day we received a plaintive note from a reader who could not understand why the pages of books were so often loft uncut. We sympathized with him, for at that very moment we wore Ptrugsling with a volume in which the pages wore uncut at the bottom, whore constant use uf the paper knife is especially burdensome. Another complainant has arisen to protest ICBJast anticipation of the future in the datos placed on title pages. Why a book published in the autumn of 19<>4 should be datod lOOii he cannot understand. It is indeed a mystery. P.ut the most serious grievance which has lately lieen brought to light is that of Mr. Claude Phillips, who writes to the press pointing out that the monograph on Watteau which he brought out In IS'Jo has been reissued by the publishers without his having bwn offered the i.pportuniry to make "the corrections and addi tions which weuld, in the ordinary courao, be necessary after a lapse of nine years," or to Introduce the identifications of undescribed pictures by Watteau which he had made since ls<»r>." Tills is a hardship for the infliction of which there would appear to be no excuse. Mr. C. K. Shorter, whose literary ministra tions did not promise at the outset to set the Thames on fire, has of late been printing para graphs in "The Sphere" which command spe cial consideration for their common sense. He lias come to realize that the critic has a certain amount of police duty to perform, and he is fryiuir to do his share. Thus he calls attention to .mi episode in "Blackwood's Magazine." which well illustrates the sort of thing that too often occurs. "There can be no doubt." runs a para graph in "Blackwood'g" for October, "that one of the muses why to-day the earth Is covered knee deep in bad books la the namby-pamby habit of criticism that prevails. We are all too sensitive to tell the truth. Of the many hun dreds of novels which are poured from our [■nntiiiß presses not three | n a year are worth i--:idiiiK or reviewing. Yet they are all s.-ri- Dosly considered by the gravest of newspapers an.l magazines." A few pages further on in (his number of "Blackwood's" a eulogy i 8i 8 print •'l of a certain novel which has been going anally through the pages of the magazine Whereupon Mr. Shorter Justly remarks that so long as people were contented to say thai the novel in question "was a readable story and a very creditable addition to the popular circu iting library fiction of (ho hour it was all very »<ll, but In the presence of the injunction of »n« of the two 'BlackwoodV reviewer, it ll impossible to sit silent and hear that excellent publication blundering into the idea that Tt ha, been publishing literature because one of it" veteran contributor. is so uncritical as to think 1 bow P ° W * *° ** «*>««'* NEW-YORK TRIBUNE ILLUSTRATED SUPPLEMENT. MINIATURES. A History of the Subject in Sumptuous Form. THE HISTORY OF PORTRAIT MINIATURES. By Ceorge C. Williamson. Litt. D. In two volumes. Illustrated. Folio, pp. xxix, 214; ix, 211. The Macmillan Company. Dr. Williamson is an able and Industrious writer. In the last few years he has prouueed several books on artistic subjects, and has ed ited many more, but in spite of all this he has found time to prepare, in the present volumes, a historical work of real magnitude. He has set forth the history of portrait miniatures In detail, bringing his record down from the ear liest examples of the art to our own day. In pursuit of Information he teems to have ranged all over Europe, exploring public and HAN3 HOLBEIN. (From a miniature by himself.) private collections and delving in musty arch ives. The royal and noble families of Eng land and Kuroje lave placed their treasures at his disposal for study, and in many cases for reproduction, and the result is a book which for authoritative historical data must bo given the highest ran*. It is welcome on other grounds. Dr. Williamson's publishers have not only print ed the text well, on handsome paper, but have illustrated the book with hundreds of good re productions. This thoroughly useful work ap pears in sumptuous form. The author addresses himself at once to the student and the collector. His object is to tell what he can of the personal histories of his painters, to describe and appraise their works, and to make plain, in short. Just where each one of them stands in relation to a school and in respect to artistic value. The reader who goes to his pages as to a work of reference will find therein not only entertainment but practi cal guidance. There are many who need In struction in this field. The milecting of mlnia^ tures is to-day one of the most popular of hob bies. These little paintings form such dainty souvenirs to enshrine in a cabinet. They are rich in associations and they are often very beautiful. Connoisseurship, like everything else, submits to the influence of fashion. At one time everybody will be found collecting paint ings of the Dutch school: at another the eigh teenth century Englishmen are "all the rage." But, while the market prices of miniatures have gone up and down at different periods, there has never been a time when there have not been some keen collectors of specimens of the art. Dr. Williamson has a good story of Charles II visiting incognito the widow of Peter Oliver, to see what miniatures she had by her husband and his famous father, Isaac: The widow showed several, finished and unfin ished, with many of which the king being pleased, asked if she would sell thrm; she replied, she had a mind the king should see them firs,t, nnd if he did not purchase them she should think of disposing of them. The king discovt ri A himself; on which she produced some more pictures which she seldom showed. The king desired her to set her price: she satd she did not cure to make a price with his majesty, she would leave it to him; but promised to look over her husband's books, ami let his majesty know what prices his father, the late king, had paid. The klnff took away what he liked, and sent Rogers to Mrs. Oliver with the option of £l.uk> or an annuity of £300 for her life. She chose the latter. Poor Mistress Oliver was distressed to hear, some years afterward, that the frill ladles of the Merry Monarch's court had begged all or most of these pictures from him. and she used very free language on the subject. The King heard of her misconduct, and her pension ceased. His love of art did not go to ;he extent of mak ing him utterly complaisant where his dig nity was offended. But that he had a genuine Interest ir. miniatures is shown by this Inci dent, and his interest is typical. Nearly all kings and queens have collected miniatures. Perhaps they would not have collected them if it had not happened that from the start the miniature found itself In masterly hands. The man who set the pace where the art was con cerned was no less a man than Han* Holbein. Dr. Williamson shows that the art of miniature painting had its origin in those early Illumi nated manuscripts to which the portraits of kings were affixed, but he rightly dates the rise of the miniature as we know It from the sixteenth century, when Holbein was producing In England portraits on a small scale only to be rivalled by those of Clouet in France. "Hol bein's manner of limning I have ever imitated," said Nicholas Hilliard, hia English follower, "and hold It for the best." It was a manner o€ incomparable breadth and precision. We «a> "breadth" advisedly, for in his miniatures Hol bein shows the same painterlik? spirit, the same grasp of character, that he shows In his por traits on a larger scale. To perfect draughts manship he added wonderful purity of color, and he turned his tiny studies of the men and women of Henry's court into positive gems of artistic brilliance. It does not matter that he had gone at the outset to Lukf Hornebolt for lessons. As Mr. Davies, his latest biographer. says in a passage quoted by Dr. Williamson, "all that Holbein had to learn from a man like Hornebolt was, at the most, some practical de tails as to material." For the rest, he was his own master, developing in his own way a fault less style. Style is of transcendent Importance In min iature painting. It ia th; 3 that confers the last note of distinction upon Holbein's little portraits. It is this that preserves the miniatures of the men who followed in his footsteps — men like Hilliard. Isaac Oliver find Samuel Cooper. Dr. ■Williamson does full Justice to thfse salient fig ures, and pays duo uttontion to many more, who, if not quite so eminent, are still worthy to excite the collector's zeal. Then, comln.ij down to the eighteenth century, he treats of Cosway, Engleheart and the PHmers. To Cosway in par ticular he naturally gives much space and praise. This most foppish of all English artists, who took the town by storm when a portrait h»? had painted of Mrs. Fitzherbert hipponed to please the Prince of Wales, was precisely the man to commemorate the bucks and beauties of his day within, the limits of a miniature. Grace itself flowed from the tip of his brush. A certain lightness characteristic of English society in some of its aspects at that time was in his nature. Hazlitt tells how Mrs. Cosway, on being asked In Paris what sort of man her husband was, responded: "Toujours riant, tou jours gal." The words might well be applied to Cosway's miniatures. It was not in him to be strong and magnificent, as Holbein had been before him, but instead he most decidedly had it In him to practise an adorable elegance, to make his miniatures merely exquisite. Cos- OLIVER CROMWELL.. (From the miniature by Samuel Cooper.) way's are, perhaps, the most enchanting min iatures reproduced in this volume. He was not the only lucky practitioner of the period. Engleheart waa honored by George 111, as Cosway was honored by the Prince of Wales, and he painted nearly five thousand miniatures in the course of hia long career. He had re markable capacities, and there is much to ad mire, also, in the works of the PHmers, of John Smart and of Oziaa Humphrey. But none of these could quite equal Cosway. Turning from the English school, Dr. Williamson treats of tha fascinating enamels of Jean Petitot, speaks of Clouet and other early Continental masters, and notes the traits of later celebrities like Isabey and Fragonard. He does not give to the for eigners the same exhaustive treatment that he gives to his countrymen and to the great founder of their school, Holbein. But he Is suf ficiently comprehensive, and in any case it is the English school that deserves pre-eminence. Tow ard the end of his survey he has a few pages on the work of to-day on both sides of the Atlantic, and a chapter on the older pain te is who have executed miniatures in this country. He adds an account of notable collectors and the chief collections, summarizes the literature of his subject, and supplies the collector with some information as to the best way In which to set about filling a cabinet. The book has an uncommonly good index. Well written, well illustrated, luxuriously but substantially made, it ia an altogether acceptable contribution to the history of art. A WILFUL CLERK. Prom T. P.'s Weekly. A parish clerk (who prided himself upon being well read), occupied his seat below the old three-decker' pulpit, and whenever a quota tion or extract from the classics was introduced into the sermon, he. in an undertone, muttered its source— much to the annoyance of the preach er and amusement of the congregation. Despite all protests In private, the thing continued un til one day, the vicar's patience being quite ex hausted, he leaned over the pulpit side and im pulsively exclaim*. "Drat you; shut up!" Im mediately—ln the clerk's usual sententious tone cams th* reply. "Hi* owo." ITALIAN PRINCESSES. A Volume of Charming Biographical Sketches. THE MOST IT.L,rSTRIOi;S LADIES OF TUB ITALIAN KENAIBSANCE. By Chrtstnp.T-r Hare, author of 'Fellcita: A Romance of 1 Sienna," "In the Stratl.l of Time." etc. LJiuu, pp. 368. Charles Scribner's Sons. Mr. Hare's studies of the typical women of a brilliant period are heartily welcome. They are as vivid as they are unpretentious. He has not despised the small, intimate details that enable us to see in their habits as they lived the orig inals of his portraits; he has made a deft use of anecdote, and he has .so connected one sketch with another as felicitously to illuminate tUa history of their time. That time, so charged In Italy with genius, with culture, with intellectual and spiritual aa rtration and with glittering magnificence in court i i ip, pro v iii^d ori'itrr uny pict ur^s ( \ u* 7*7 * sur rounding for the women upon whose fair brows shone its ducal crowns. They drank ev*n more MR. WADDY'S RETURN By THEODORE WINTHROP, author or' "Cecil Dreeme," Etc. Edited by BARTON E. STEVENSON. $1.50. Mr Waddy nought a fortune in India. Th-n b* p— turn-J to th- ISoatun and Newport of Aat-.-bcl:uaa Ja/i. I THEI DIVINE I FIRE I By .MAY SINCLAIR. $1.50. A new and notable novel of the life an.l loves at a, London genius, unfortunately born, «h. became a -•• i. po^t. Th« character of th- p.i-[ and the strangely as sorted propl* he met are drawn with m - - th.m u*:i.>.l power. Humor and sincerity are also said to b« feat ures of this novel, which had peculiar chdjrns for people of culture. THE CUSTODIAN By ARCHIBALD EYRE. Illustrated by PESRHYS STANLAWS. Si. so. The author's humor ■ ! HH Ir.K-r.uliy with which he extricates his characters naturally :'.- •:« .l'.ffl.-ult situations ate noteworthy. A lonely hunting lodt- in Scotland, a gallant Englishman, and a madcap car man princess ar-j the principal features. 2d printing of More Cheerful Americans By CHARLES BATTELL LOOMIS. Illustrated by MRS. SHINS and others. $1.25. TRIBUNE: "Situations which If funnier than thus* at frery-dmj Ufa never seem probable There la an ing-rat latins kindliness abcat his attitude . . . well calculated to conquer a fit of depression." TIMES' KKVI£W: Good comic talc*, well told. Slices of real life. EVKNINIi POST: "Th*. title not only fit* the book. bat lit equally applicable to those who mid U. 2 Noteworthy Romances of Travel. The Lightning Conductor By Mr and Mrs. WILL IAMSON. $1.50. An Anglo-Aratrk.i^. la toni..b:lo love story with vivid scene* la France, Spain aad Italy. Thrre \i much humor, and two almost human automobiles. 19th prtnl ia*. $1.50. NATION: -Quill da liKhtful people and sue* delightful aceaoa." The Pursuit of Phyllis ByJ. H. BACON. $1.25 A humorous love story of England. France. China and Ceylon. juat pub lished. $1.25. TKIBIXG: -Aery en joyable. . . . Its charm consists In Its naturalness and th* sparltlo of the dutlorua and descrip tion*." TIMES' REV LEW: "It Is never dull." 4th printing of A Romance of the American Colony in Paris That has been republtshed In England and .3 being dramatized tar Charles Warner The Transgression of Andrew Vane By GUY WETMORE CARRYL $1.50. TRIBUNE: "One is carried from th« first chapter to th* last with curiosity and concern for the hero's fats kept well alive." 16th printing of the perennial humorous success Her Ladyship's Elephant By DAVID DWIGHT WELLS. $1.23. An Anglo-American consular affair, with an actual elephant Involved. "The best single help to the study of Parsifal with which I am acquainted. ' H E. Krehblei Kiifferath's Wagner's Parsifal M". rvllt *»— pp. Sl.3* apt i.by mail >!.«>. Henry Holt & Co. >9 West 23rd St., New York.