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tale of ‘ Cupid and Psyche.’ The illustrations, forty-four in number, were drawn upon the block by Mr. Wardle himself from the rough sketches of Burne-Jones, which are now at Oxford. Morris, in revolt against

from the later Burne-Jones woodcuts, in- New Acqui— cluding the Chaucer series, which were sitions at the printed in the ‘ nineties,’ at the Kelmscott Print Room

Press. They are as full of romance as of the British anything that Burne-Jones ever drew, and Museum

the methods of professional wood-en gravers, had a few blocks cut by amateurs, chosen among his own friends, and then took it

the task himself and cut by far the larger number with his own hands. To these illustrations are added some initials and decorative borders, both designed and cut by Morris. The story of the projected edition has been told in ‘A Note on the Kelmscott Press.’ The scheme was abandoned about 1870. The woodcuts, accordingly, belong to the period of English illustrations generally described as ‘ the sixties,’ and are separated by a long interval

the cutting, inexperienced and occasionally faulty as it is, often preserves the freshness of the original sketch as no mere hack engraver’s work would have done. It must not be forgotten, however, that the defects of the cutting, in the opinion of Morris and Burne-Jones themselves, were so serious as to make the publication of the blocks undesirable. In addition to such rubbed proofs as those latel in Mr. Wardle’s possession, a small number of proofs exist which were pulled at a later date in the printing-press, and do more justice to the blocks. C. D.

NOTES

TWO ALLEGED ‘GIORGIONES’

HE Leuchtenberg Gal

lery at St. Petersburg has

lately yielded up some of

those treasures which it

has long and jealously

guarded. In 1852 Pas

savant published a catalogue rairorme' of the pictures, with illustra— tions in outline, and to many this large volume has been the sole medium of introduction to the collection. Several of the originals have now found their way to London, among them two which bear the great name of Giorgione—an Adoration of the Shepherds, and a Madonna and Child. Both appear in outline in Passavant’s book, under the name of Barbarelli, the supposed cognomen of Giorgione, to which, however, as modern research has shown, he is not entitled.1 {[The Ma— donna and Child picture has now passed into the rich collection of Mr. George Salting, of which assuredly it will not be one of the least ornaments; here moreover it will hang in company with another picture from the same hand, each admirably illustrating two diHerent phases of Cariani’s art. For to Cariani, the Bergamesque painter, must be ascribed the authorship of this Madonna and Child, which reveals him in a mood no less characteristic than does the fine Portrait of one of the Albani Family, which Mr. Salting has generously placed on loan at the National Gallery. It would be a fitting complement to see the new Cariani hung near the other, if only to prove how charming an artist he can be at times, and how far superior these examples are to the two which the nation actually possesses at Trafalgar Square. {I Like all artists not absolutely in the first rank, Cariani varies considerably in quality of workmanship; indeed, owing

1 See 'Zorzon da Castelfranco. La. sua origine, la sua morte e tomba.’ By Dr. Georg Gronau. Venice, 1894.

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ON VARIOUS WORKS OF ART

to the peculiar local characteristics of Bergamesque art Cariani is exceptionally protean in form, appearing now in Venetian guise, now in Brescian, now in his own native awkwardness. For by nature he was not gifted with great refinement, or with a strong individuality, and when the temporary influence of Lotto, or of Palma Vecchio, or even of Previtali, was withdrawn, he easily lapsed into a slovenliness which repels, or into a tastelessness which betrays his provincial origin. Fortunately this is not the mood we feel in Mr. Salting’s Madonna. There is a homely strain indeed, which makes the subject simply Mother and Child ; a conception which we find exactly paralleled in another charming work of his known as La Vergine Cucitrice, or The Sempstress Madonna, in the Corsini Gallery in Rome (see illustration). But the homeliness of conception is in each case relieved by the exquisite setting; the landscape background and especially the decorative foliage being treated with a rare feeling for beautiful effects. Girolamo dai Libri’s lemon trees and the leafy arbours of Lotto and Previtali do not make more charming bowers than do Cariani’s rose hedge and his hanging limes. Add, moreover, a certain fullness of form, a softness of expression, and a harmony of colour, which can be traced to the direct influence of Palma Vecchio in Venice, and you have in Mr. Salting’s picture probably the most attractive Madonna and Child which Cariani ever painted. Can there be better evidence of appreciation on the part of some bygone owner than that he considered it worthy of the great Giorgione himself, and that up to now it has borne this courtesy title P The second ‘Giorgione’ which comes from the Leuchtenberg Gallery is an Adoration of the Shepherds, now in the possession of Mr. Asher Wertheimer, by whose kind permission it is reproduced here. No

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