Nidworth and His Three Magic Wands. By E. Prentiss. Boston: Roberts Bros.
A beautiful allegorical story, the moral of which is that riches and knowledge are worthless if not accompanied by the love of your neighbor. Brotherly love is the great lesson of this little volume, without which no one can be happy, and with which every one may be happy, even though one's home be only a cabin. It is the best book of the kind we have read in a long time, and should be placed in the hands of the ambitious youth of our country, whose God seems to be riches and unlimited power.
Bible Animals: Being a Description of every living Creature mentioned in the Scriptures, from the Ape to the Coral. By the Rev. J. G. Wood, M.A., F.L.S., etc. New York: Charles Scribner & Co. 1870. Pp. 652.
This book merits unqualified praise. It is so complete that it will probably become the standard authority upon this branch of biblical literature. Indeed, it appears almost to exhaust the subject; so that, although the work was written more especially to aid biblical students, yet the scientific exactness of Mr. Wood's explanations and descriptions will make the volume extremely valuable to all who are interested in natural history. The identification of the animals and birds mentioned in Leviticus and Deuteronomy is particularly useful. Many of the words used in the ordinary translations do not really designate the creatures that are intended. Mr. Wood seems to have brought good sense and great fairness to this difficult portion of his task. Where he is unable to decide with probability, he is not ashamed to say that he "is lost in uncertainty, and at the best can only offer conjectures." But this uncertainty refers principally to the smaller and less conspicuous species. The larger animals and birds are nearly all identified with tolerable certainty. The illustrations of the volume are numerous and finely executed. They are mostly taken from living animals, while the accessory details have been obtained from Egyptian and Assyrian monuments, and from the photographs and drawings of modern travellers. In every respect the book offers a rich and varied treat to those who feel an interest in knowing something of the land and the people which our divine Saviour chose for his own.
Art Thoughts: The Experiences and Observations of an American Amateur in Europe. By James Jackson Jarves. 12mo, pp. 379. New York: Hurd & Houghton.
Mr. Jarves is one of the few American writers on art whose works are worth reading and preserving. He has devoted to the subject the study and travel of many years, and has gathered one of the finest collections of genuine masters ever brought to this country. To a certain extent, his verdict upon painting and sculpture is entitled to the greatest weight; for it is founded upon intelligent study and a natural artistic appreciation. For the antique and the modern schools we may cheerfully accept him as a guide; but in the great realm of Christian art, which lies glorious and beautiful between these two extremes, he is but a blind leader of the blind—a pagan of the nineteenth century, unable to comprehend true religious inspiration, or to feel the artistic value of religious symbolism; and for whom much of the sublimity of the Renaissance, as well as the ruder but sincere and often eloquent art of the earlier Christian period, is therefore covered with an impenetrable veil. It is one of the canons of Mr. Jarves's criticism that every species of asceticism, either in life or in art, is a violation of nature and of truth. That is false art, therefore, which deals with representations of physical suffering, and the Apollo is a nobler subject than the crucified Saviour. What a wealth of spiritual beauty is shut out by this sensual conception, we need not stop to say. It is no wonder that, with such views, Mr. Jarves, while he admires the enraptured saints of Fra Angelico, cannot feel the divine pathos and sublimity of Michael Angelo's "Pieta." It is no wonder that he believes that "every religion in the form of a creed restricts and narrows art;" that he hates the Roman Church for its inculcation of the virtue of self-mortification; denounces our worship as rank idolatry of the most degrading kind; and can hardly speak with decent moderation his contempt for the crucifix and his detestation of the uncomfortable doctrine of eternal punishment. To Catholics, indeed, almost every page of his book conveys offence, and the blasphemy of some passages is too horrible for quotation.
The book is manufactured with due regard to magnificence of exterior, and many typographical niceties appropriate to a work on the fine arts. There is so much care, in fact, evident in its print and binding that we have a right to complain of there not being a little more, and especially to protest against the constant disfigurement of proper names—partly through the fault of the author, and partly through insufficient proof-reading. "Giusti," for instance, is printed "Guisti," "Giuliano" appears as "Guliano" and "Giulano," never, we believe, in its proper form. We have also "Guliana," and "Lucca" della Robbia uniformly, instead of "Luca." St. Simeon Stylites is called sometimes "St. Stylus," (which is nonsense,) and sometimes "St. Simone;" and sometimes, we may add, "that filthy fanatic." The union of Italian forms of common Christian names, like Simone and Francesco, with the English prefix "St.," is another common fault. For the words "King Caudaules," "Soubriquet," and "Casa" as the Italian for "thing," we must hold the proof-readers alone to blame.