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ART. 1.-Le Opere di Giorgio Vasari, Pittore e Architetto, Aretino.

2. Storie dei Municipii Italiani illustrate con documenti inediti, da Carlo

Morbio, Membro della Regia Giunta Sarda di Statistica. 3. Stora delle famiglie celebri Italiane, del Conte Pompeo Litta. II.-The Plans of Troy. Illustrated by a Panoramic Drawing taken on the

spot, and a Map constructed after the latest Survey.



III.-1. The Dream and other Poems.

The Undying One, and other Poems. By the Hon. Mrs. Norton.
2. The Seraphin, and other Poems. By Elizabeth B. Barrett.

Prometheus Bound. Translated from the Greek of Æschylus, and
Miscellaneous Poems.

The Romaunt of the Page.
3. Zophiel, or the Bride of Seven. By Maria del Occidente.
4. Irene, a Poem in Six Cantos. Miscellaneous Poems. (Not published)
5. Poems. By Lady Emmeline Stuart Wortley.

The Knight and ihe Enchantress, with other Poems.
The Village Churchyard, and other Poems.
Fragments and Fancies.
Hours at Naples, and other Poems.

Impressions of Italy, and other Poems.
6. Solitary hours. By Caroline Southey.

The Birth-day, and other Poems.
The Widow's Tale, and other Poems.

Ellen Fitzarthur.
7. Poems, chiefly dramatic, Edited by Thomas Hill Lowe, Dean of

8. IX Poems, By V.
9. Phantasmion. By Sara Coleridge.


IV.-Narrative of an Expedition to the Polar Sea, in the Years 1820.21.22.

23. Commanded by Lieutenant, now Admiral, Ferdinand von Wran.
gell, of the Russian Imperial Navy. Edited by Major Edward Sabine,
R.A., F.R.S.


V.-1. Critical and Miscellaneous Essays. By Thomas Carlyle,

2. The French Revolution, a History.
3. Sartor Resartus.
4. Chartism. By Thomas Carlyle.




VI.-Ideen und Betrachtungen über die Eigenschaften der Musik (Ideas and

Reflections on the Properties of Music).


VII.-Lebensnachrichten über Barthold Georg Niebuhr, aus Briefcn dessel.

ben, und aus Erinnerungen einiger seiner nächsten Freunde.
(Account of the Life of Barthold George Niebuhr, from his own Let-

ters, and the Reminiscences of his most intimate friends.)
VIII.-Memoirs of the Life of Sir Samuel Romilly, written by himself, with a

selection of his Correspondence. Edited by his Sons.





327 THE



FOR JULY, 1840. .

Art. 1.-Rafael von Urbino und sein Va- research in the history of art, as opposed to

ter Giovanni Santi. Von J. D. Passa- the habit of copying Vasari, is perhaps due vant: in zwey Theilen, mit vierzehn Ab- in the first instance to Pungileoni. The first bildungen. Leipzig. 1839.

volume of his Life of Correggio, published

in 1817, proved that it was still possible to For more than two centuries every ac wrest from the mouldering records of con. count of the life and labours of Raphael | vents and similar archives a few important may be said to have been derived, with little facts and chronological data, with which, as maierial alteration, from Vasari. It would safe links, other materials might be connectbe unjust to so pleasing a narrator to attri. ed. The same writer was equally fortunate bute this solely to the indolence of the writ- in his patient researches at Urbino respecters who succeeded him; indeed modern ing Giovanni Santi, the father of Raphael, critics, without excusing the occasional inac. and respecting the great painter himself; curacies of the Florentine Biographer, have but conscious, perhaps, that his Life of Coracknowledged that his just and artist-like reggio had failed to unite a comprehensive criticisms, and the naïveté and interest of spirit of criticism with mere historic accurahis details, as far as they go, could scarcely cy, he contented himself with giving the lat. be improved. It was, in short, chiefly ow. ter results of his investigations in iwo small ing to Vasari's well-earned reputation that pamphlets, as materials for future historians. the task of revising, and, what was far more of the writers on art on this side the Alps, difficult, of completing the valuable outlines the first who followed the example of Pnn. he had left, was so long-unfortunately too gileoni in original research, while he far long-deferred. Of the more voluminous surpassed the Italian in philosophic criticism, accounts of the Italian painters which have was Von Rumohr. In the two first volumes appeared within the present century, the of his Italienische Forschungen,' after greater part, however embellished by the briefly tracing the vicissitudes of art in the lively description of works of art, or illus- dark ages, this writer gives the history of trated by the connection with general his. several painters of the Florentine, Sienese, tory, can scarcely be said to have contribut- and Umbrian schools. His sources were ed any

additional facts. To this class be. original documents and the testimonies of long the lives of Raphael by Duppy, Braun, early writers employed to verify or correct and Quatremère de Quincy ;-the Italian the accounts of Vasari; his descriptions and translation of the last, overwhelmed as it is criticisms were fresh from the works themwith notes, not always remarkable for their selves in every case where this was possi. importance or correctness, may nevertheless ble. Thus a scrupulous spirit of investigabe considered the fullest memoir that had tion, combined with the views of an enlightappeared prior to the far superior work of ened historian and not unskilful connoisseur Passavant.

at once distinguished Rumohr from most of The credit of instituting a new kind of the writers on these subjects who appeared VOL. LXVI.


about the same time; of the two opposite valuable portion is that relating to the earqualifications of patient research and a gene- lier history and productions of Raphael, a ralising, philosophic treatment of materials subject on which conjecture had too long thus acquired, it must, however, be admi!ted usurped the place of any attempt at chrono. that the latter is ever active with or with logical accuracy. out sufficient data. The third volume was A circumstance that at once forces itself devoted to Raphael and his contemporaries, on our notice, and which we here find treatbut the account is brief, and the meihod this ed with the attention. it deserves for the first author had followed with such pains in his time, is the importance of Urbino, both in a former volumes, he wanted either leisure or political and social point of view, at the pe. inclination to pursue. We shall have occa riod when Raphael began his career.

T'he sion, however, lo show, that even in this resources and renown of this little dukedom, portion he still appears to advantage in his improved and upheld by Federigo da Monteoccasional enlightened remarks on the works feliro, remained ultimately unimpaired in of Raphael.

the hands of his successor Guidubaldo : the The same spirit of accurate research, the state, in short, was represented, and its war. same conscientious principle as to actual in like population led to the field by hereditary spection, a still more practised eye, and a sovereigns, before Florence had learned to slill more artist-like feeling, are united in yield even to temporary sway. That a Passavant with a more cautious indulgence Tuscan writer on art should be silent on the of particular opinions and impressions. In past glories of a neighbouring state is quite philosophic criticism he is, perhaps, inferior natural ; but it seems unaccountable that so to Rumohr; his laborious and well-arranged many biographers, in following Vasari, book might be rendered still more complete should have overlooked the remarkable cir. and accurate even in its facts, but on the cumstances by which Raphael was surroundwhole it rnay safely be said that no produced in his youth-circumstances which must tion of the kind has approached it for co- not only have had an influence on his taste, piousness and originality of information. but which brought him in contact with the The second volume will be found eminently most celebrated men of his age, many of useful, and, with very litile correction, may whom afierwards served him, at least with serve as a model for future compilations of the communication of their learning, when the kind; it consists of a catalogue of all he was employed at the court of Rome. Raphael's works, first arranged chronologi. This inattention is the more surprising cally with reference to the periods of their since we find that, in speaking of other production. The description of each work, painters, natives of Urbino, the glories of with an indication of the gallery or collec. ihe Athens of Umbria, as it was called, were tion, if known, where it exisis, is followed not forgotten. Thus Bellori, in his Life of by a list of the drawings or preparatory Baroccio, whose descent he traces from a studies for the composition ; these are de- sculptor of that name at the court of Fedescribed in like manner : then follows an rigo, opens his narrative as follows:- Fed enumeration of all the engravings and known erigo Feltrio, Duke of Urbino, who in his copies. A second catalogue contains a list days was the light of Italy in the arts of peace of such works as are known only from de- and in arms, among his other noble works, scripuon, and of others falsely ascribed to built a most magnificent palace on the rug Raphael, or which were only executed by ged situation in which Urbino is placed. his scholars and imitators from his designs. This structure had the reputation of being T'he justness of the grounds on which the the finest that Italy bad seen up to that time. author inserts many a highly.prized posses. Not only did the duke enrich it with tasteful sion in this category will naturally be chal. and appropriate ornaments, but enhanced its lenged by those interested in the decision. splendour by a collection of antique marble A third catalogue is devoted to the drawings and bronze statues, and choice pictures, and alone, arranged according to the countries with vast expense got together a great num where the various collections exist. The ber of most excellent and rare books,' &c. old engravings after Raphael are also enu- This description is evidently copied from the merated together;-and lastly, all the works opening of Castiglione's 'Cortegiano,' where attributed to the master are classed accord. the expression respecting the collection of ing to their subjects, as an index to both statues (un infinità di stalue antiche di mar. volumes. The biography itself, which is mo e di bronzo) is still stronger. Among thus comparatively a small part of the work, the omissions with which Passavant must be occupies about half the first volume, the rest charged, we must reckon his not having en being composed of incidental memoirs, do-deavoured to trace these specimens of an. cuments, and extracts. By far the most Itique sulpture, which probably in the end

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