| + − | A. L. A. Bkl. 3: 101. Ap. ’07. |
“Rarely have we read a book more bewildering in general plan, and this in spite of not a little classification into divisions and subdivisions. It is moreover, written in a style of liquid and wandering reverie.”
| + − | Ath. 1906, 2:624. N. 17. 1150w. |
“He again devotes rather too much space to the exploitation of his own critical creed; and he is unnecessarily hard on Mr. Berenson and Signor Conrado Ricci.”
| + − | Ind. 63: 1126. N. 14, ’07. 290w. |
“When Mr. Sturge Moore shakes himself free of the other critics and deals with his professed subject, Correggio, he reveals himself as admirably qualified for the task. He brings to his work that rare combination, a practical training in art and a wide knowledge of literature, with a power of philosophical analysis to which very few writers on the history of art can pretend. The catalogue ‘raisonné,’ in which Mr. Moore has been helped by his friend. Mr. C. S. Ricketts, is fairly complete.”
| + + − | Lond. Times. 5: 399. N. 30, ’06. 1030w. |
“The style is occasionally crabbed, its discursiveness extreme, but as the sincere effort of a poet’s mind to interpret a most poetical painter it abounds in wisdom even in the byways of the theme.”
| + − | Nation. 84: 230. Mr. 7, ’07. 620w. |
“The result [of defining the temper, address, inspiration and quality of works], though somewhat spun out in generalizations, is interesting, suggestive, and important, especially as coming from one who questions the value of the aims and methods of modern historical art criticism.”