RICHEOME, LEWIS. The Pilgrim of Loreto... Paris, 1630. Five other books are shown in this section of the case. Two of them are works dealing with pilgrims and pilgrimages; the others are devotional or religious, and sug gest the idea of a pilgrimage in the titles: "Pathway to piety," etc. The titles of these, and of other works not shown, will be found in the dissertation by Wharey. George Offor's introduction to his edition of Bunyan's works (v. 1, p. 29-55) is also helpful in any study of Bunyan's possible indebtedness to earlier allegories and pilgrimages. RECENT BOOKS ABOUT BUNYAN CASE 31, Sections 1 and 3 NINE short biographies, or essays of appreciation and interpretation, published on the occasion of the tercentenary. A special tercentenary edition of "The Pilgrim's Progress" presented by the American Tract Society. Section 2 THE CELEBRATION OF THE TERCENTENARY A SELECTION of American religious periodicals containing articles about Bunyan and the tercentenary. "THE PILGRIM'S PROGRESS" AND ITS PLACE CASES 32 and 33 AUTHORS: Jonathan Swift, Thomas Hearne, Mrs. Elizabeth Montagu, Benjamin Franklin, Edmund Burke, Laurence Sterne, David Hume, Samuel Johnson, Horace Walpole, Mrs. Piozzi, Thomas Scott, Isaac D'Israeli, Charles Lamb, Robert . Thomas Southey, Samuel Taylor Coleridge, A SKETCH, in colors, for "The Pilgrim's Progress" window in the Chapel of Princeton University, Princeton, New Jersey, designed by Charles J. Connick, is hung on the panel in the south-east corner of the room, back of cases 17 and 18. Lent by Mr. Connick through the courtesy of the American Tract Society. BIBLIOGRAPHICAL NOTE BROWN, JOHN. John Bunyan (1628-1688); his life, times, and work. The tercentenary edition revised by Frank Mott Harrison ... London, 1928. The standard biography. Bibliography, P. [481-]486. An adequate bibliography of Bunyan is regrettably lacking. A bibliography compiled by J. P. Anderson is included in Venables's "Life of John Bunyan" published in the "Great writers" series. The bibliographies in the "Dictionary of national biography" and in the "Cambridge history of English literature" are helpful. Reference should also be made to the Bunyan section in the printed catalogue of the British Museum, and to the "Collation of the different editions of Bun yan's Pilgrim's Progress, and of other Bunyaniana” issued in 1879 as number 4 in the "Contributions to a catalogue of the Lenox Library." DAVIES, GODFREY, editor. Bibliography of British history; Stuart period, 1603-1714... Oxford, 1928. The best general bibliography covering the political and religious history of England in the 17th century. STOUGHTON, JOHN. History of religion in England, from the opening of the long Parliament to the end of the eighteenth century; new and rev. ed. London, 1881. 6 v. Has not been superseded as a general religious history of the period. Bibliographical footnotes. GEE, HENRY, and HARDY, W. J., compilers. Documents illustrative of English church history, compiled from original sources [314 to 1701]. London, 1896. Contains the text of the declarations, laws, etc., referred to in the exhibition. VICTORIA history of the county of Bedford; edited by H. A. DoubleWestminster, day and W. Page. 1904-14. 3 v. and index. Deals very fully with the topography, history, etc., of Elstow and Bedford borough. BUNYAN, JOHN. Works... Edited by George Offor. Glasgow, 1856. 3 v. Best edition of his works. Excellent introductions and notes. CHARLES F. MCCOMBS. R. P. BONINGTON, MASTER IN LITHOGRAPHY TH year is one of centenaries in art: Dürer, Goya, Stuart, Houdon and Bonington, a lesser light, but with his own niche of importance and interest in the field of prints. The Library's Print Room has had its Dürer exhibition; it has at present on view a collection of engravings after portraits by Stuart; and it has now added, in Room 316, an exhibition of the lithographs of Bonington, to remain open to the end of the year and into the new one. Richard Parkes Bonington's life was short; born October 25, 1801, he died September 23, 1828. Under the lithographic portrait (1829) of him, drawn by his friend Alexandre Marie Colin, was placed the appropriate quotation from Shakespeare: "Too like the lightning, which doth cease to be, ere one can say It lightens." Yet, in the few years allowed him, he attained a very enviable distinction as a water-colorist (Delacroix said to him: "You are king in your domain,") and as an artist in the then new process of lithography. The late S. P. Avery, whose remarkable collection of nineteenth-century prints was the corner-stone in the foundation of the Library's Print Room, accumulated the works of more than one artist not particularly cultivated at the time. Moreover, he was very much interested in original lithography. As a result there is here a fine and representative collection of Bonington's drawings on stone. Besides original lithographs by Bonington, there are a number after designs by other artists. Even on these latter he usually set the stamp of his personal touch, the impress of what one has called his "distinguished and precious nature." Much of his work consists of views of architectural monuments, which, says Beraldi, are marked by "such picturesque qualities and so personal a color that they acquire the importance and interest of veritable original compositions." It is noteworthy, too, that in this period of lackadaisical "books of beauty" and "annuals" (at which Bulwer in "The Caxtons" and George Eliot in "Middlemarch" had their sly flings), redolent of weak and mushy sentimentality, there was produced work "exquisite, delicate without any softness," to cite Beraldi once more. A number of Bonington's drawings appeared in the Baron Taylor's monumental "Voyages pittoresques et romantiques dans l'ancienne France," one of them, Rue du Gros Horloge, being generally considered his masterpiece. In this last, the buildings are drawn with a sure yet delicate touch which seems to indicate a rich detail of architectural decoration. But on [ 810 ] closer inspection all this fades away into the indefiniteness of aerial perspective. In the annals of architectural rendering this plate holds a place quite its own. Bonington's eye for atmospheric effect is shown also in his treatment of skies. The clouds in Tour du Gros Horloge have been specially singled out for commendation. And La Vue d'Abbeville prise de la Route de Calais was noted by Bouvenne, who called it "the pearl of Bonington," for its "great sky, delicately gradated, a marvel of lightness and skill, one of the most astonishing examples of the resources of the lithographic process." The last sentence emphasizes the fact that this exhibition is not only a tribute to Bonington. It is a tribute also to the endless variety of resources in the lithographic stone, its rich possibilities for the artist. That is a matter that cannot be stressed too often, nor too much. F. W. TH A REVIEW OF "EARLY VIEWS" HE remarkable collection of "American Historical Prints, Early Views of American Cities, etc.," assembled in the third floor corridor of the Central Library Building, has now been on view for more than a year. The collection of prints and drawings thus shown is, with the exception of a few prints owned by the Library, a loan from the owner, Mr. I. N. Phelps Stokes, one of the Library's Trustees. In the case of this assemblage of early American views, perhaps unequalled in completeness and in fineness of impressions, there could be no doubt as to the continued interest the public would manifest in its exhibition in so readily accessible a public building as the Library. The plan of utilizing the third floor corridor presented certain difficulties, but all uncertainty was dispelled by the immediate and unqualified success of the experiment. Anyone whose business has taken him frequently through the corridor since this exhibition was installed, under the superintendence of Mr. Stokes, cannot have failed to note the very satisfying number of persons who stopped with evident interest before the pictures on view. Stopped, that is, not wandered listlessly. Again and again one sees individuals, or groups of two or more, halting long before some special print or drawing, examining it carefully in various details, discussing it with evident revival of old memories, comparing former appearance of a given locality with its presentday aspect. What attracts these people? Evidently the subject. That is natural, is the reason for the exhibition, and is what one would wish. The interest in Americana is first of all documentary, and any picture of an American scene, whether old or modern, which does not answer that demand for authenticity, to some extent fails in its purpose and in so far loses its reason for existence. The rousing and furthering of interest in the record of development of this country in its rural, urban and maritime aspects is a matter that is being carried on in various ways by various agencies. If it is done, as here, pictorially, that surely means keeping pace with the present-day vogue of "visual instruction." However, no vogue is needed to bring out the never failing interest in these pictures of places having each its own import from one aspect or another. Moreover, there is not only an appeal here to the mature, but to the child as well. A good and sympathetic teacher might conceivably make these pictures speak to a class with something of a thrill. |