It is hardly accurate, for instance, to say that Monteverde's
Orfeo was the first form of the recitative-Opera, as Peri's Dafne and
Euridice and Cavaliere's Rappresentazione preceded it by some years, and
it is somewhat exaggerated to say that 'under the regime of the
Commonwealth the national growth of English music received a check from
which it never afterwards recovered,' as it was with Cromwell's auspices
that the first English Opera was produced, thirteen years before any
Opera was regularly established in Paris. The fact that England did not
make such development in music as Italy and Germany did, must be ascribed
to other causes than 'the prevalence of Puritan opinion.'

These, however, are minor points. Mr. Symonds is to be warmly
congratulated on the completion of his history of the Renaissance in
Italy. It is a most wonderful monument of literary labour, and its value
to the student of Humanism cannot be doubted. We have often had occasion
to differ from Mr. Symonds on questions of detail, and we have more than
once felt it our duty to protest against the rhetoric and over-emphasis
of his style, but we fully recognise the importance of his work and the
impetus he has given to the study of one of the vital periods of the
world's history. Mr. Symonds' learning has not made him a pedant; his
culture has widened not narrowed his sympathies, and though he can hardly
be called a great historian, yet he will always occupy a place in English
literature as one of the remarkable men of letters in the nineteenth
century.

Renaissance in Italy: The Catholic Reaction. In Two Parts. By John
Addington Symonds. (Smith, Elder and Co.)

A 'JOLLY' ART CRITIC

(Pall Mall Gazette, November 18, 1886.)

There is a healthy bank-holiday atmosphere about this book which is
extremely pleasant. Mr. Quilter is entirely free from affectation of any
kind. He rollicks through art with the recklessness of the tourist and
describes its beauties with the enthusiasm of the auctioneer. To many,
no doubt, he will seem to be somewhat blatant and bumptious, but we
prefer to regard him as being simply British. Mr. Quilter is the apostle
of the middle classes, and we are glad to welcome his gospel. After
listening so long to the Don Quixote of art, to listen once to Sancho
Panza is both salutary and refreshing.

As for his Sententiae, they differ very widely in character and subject.
Some of them are ethical, such as 'Humility may be carried too far'; some
literary, as 'For one Froude there are a thousand Mrs. Markhams'; and
some scientific, as 'Objects which are near display more detail than
those which are further off.' Some, again, breathe a fine spirit of
optimism, as 'Picturesqueness is the birthright of the bargee'; others
are jubilant, as 'Paint firm and be jolly'; and many are purely
autobiographical, such as No. 97, 'Few of us understand what it is that
we mean by Art.' Nor is Mr. Quilter's manner less interesting than his
matter. He tells us that at this festive season of the year, with
Christmas and roast beef looming before us, 'Similes drawn from eating
and its results occur most readily to the mind.