Page 1 of 1

Julia Cartwright Ady Bibliography (17 Titles)

Posted: July 30th, 2020, 12:09 pm
by LectorRecitator
JULIA MARY CARTWRIGHT ADY (1851–1924)

Mantegna And Francia (1881)

ℹ️ "Although no separate biography of Mantegna has "been published in England, his life and works have been the subject of much study in other countries during recent years.

Although no separate biography of Mantegna has "been published in England, his life and works have been the subject of much study in other countries during recent years."
(Preface)

https://archive.org/details/mantegnaandfran00cartgoog/page/n8/mode/2up

https://archive.org/details/gri_33125003529316

Jules Bastien-Lepage (1894)

📖 73 pages long.

https://archive.org/details/julesbastienlepa00cart/page/n11/mode/2up

Raphael In Rome (1895)

📖 73 pages long.

https://archive.org/details/raphaelinrome00cart/page/n11/mode/2up

Christ and His Mother In Italian Art (1897)

📖 Mostly a scrapbook, accompanied by brief commentary on each individual artwork.

https://archive.org/details/dli.granth.93294/page/n9/mode/2up

https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t7mp9f88f&view=2up&seq=14

Madame: A Life Of Henrietta, Daughter Of Charles I. And Duchess Of Orleans (1900, 2nd Edition)

ℹ️ "HENRIETTA, Duchess of Orleans, is so interesting and attractive a figure in the history of the seventeenth century, and forms so important a link between Charles II. and Louis XIV., that it is strange to find how little has been written about her in our own time and country. All we have are a few chapters in Mrs Everett-Green's Lives of English Princesses, and in Miss Strickland's Lives of the Four Last Stuart Princesses. Of these two accounts, the former is by far the fullest and most accurate. But the limits of her work naturally prevented Mrs Green from doing justice to her subject, and there are many notable omissions in her history of Madame Henriette." (Preface)

https://archive.org/details/madamelifeofhenr00adyjiala

https://archive.org/details/madamealifehenr01adygoog/page/n6/mode/2up

The Pilgrims' Way From Winchester To Canterbury (1901, New Edition)

ℹ️ "THIS account of the Way trodden by the pilgrims of the Middle Ages through the South of England to the shrine of St. Thomas of Canterbury originally appeared in the Art Journal for 1892, with illustrations by Mr. A. Quinton. It was published in the following year as a separate volume, and reprinted in 1895 and 1901. Now by the courtesy of Messrs. Virtue’s representatives, and in response to a continued demand, it appears again in a new and revised form, with the additional attraction of illustrations from original drawings by Mr. Hallam Murray.

During the twenty years which have elapsed since these pages were first written, a whole literature has grown up round the Pilgrims’ Way. Not only have scholarly papers on separate sections of the road appeared in the Journals of Archæological Societies, but several valuable works on the subject have been issued by writers of authority. Mr. H. Snowden-Ward has written a book on “The Canterbury Pilgrimages,” in Messrs. A. & C. Black’s Pilgrimage Series, in which he deals at length with the life and death, the cult and miracles of St. Thomas, and the different routes taken by pilgrims to his shrine. Mr. Palmer has described a considerable portion of the Way in his treatise on “Three Surrey Churches,” and only last autumn Mr. Elliston-Erwood published an excellent little guide-book called “The Pilgrims’ Road,” for the use of cyclists and pedestrians, in Messrs. Warne’s Homeland Pocket-book Series. But the most thorough and systematic attempt to reconstruct{vii} the route taken by pilgrims from Winchester to Canterbury has been made by Mr. Belloc in his admirable work, “The Old Road.” The author himself walked along the ancient track, and succeeded in filling up many gaps where the road had been lost, and in recovering almost the whole of the Way, “yard by yard from the capital of Hampshire to the capital of Kent.” This intimate knowledge of the road and its characteristics have led him to make several alterations in the line of the Way marked on the Ordnance Map, which had hitherto served as the basis of most descriptions. But as Mr. Belloc himself recognises, it is clear that pilgrims often left the original road to visit churches and shrines in the neighbourhood. Thus, in several places, new tracks sprang up along the downs to which local tradition has given the name of the Pilgrims’ Way, and which it is not always easy to distinguish from the main road. Like Bunyan’s pilgrims, when they came to the foot of the hill Difficulty, “one turned to the left hand, and the other to the right, but the narrow way lay right up the hill.”

In this edition of my book some obvious errors have been corrected, and certain doubtful points have been cleared up with the help of experience gained by other workers in the same field. But, as a rule, my object has been not so much to draw attention to the actual road as to describe the antiquities and objects of interest which arrest the traveller’s notice on his journey. From whatever side we approach it, the subject is a fascinating one. All of these different studies, varied in aims and scope as they may be, bear witness to the perennial interest which the Pilgrims’ Way inspires. The beauty of the country through which the old road runs, its historic associations and famous memories, the ancient churches and houses which lie on its course, will always attract those who love and reverence the past, and will lead many to follow in the footsteps of the mediæval pilgrims along the Way to Canterbury."
(Preface)

ADOPTED

Sacharissa: Some Account Of Dorothy Sidney, Countess Of Sunderland, Her Family And Friends, 1617–1684 (190?, 4th Edition)

ℹ️ "The name of Sacharissa lives for all time in Waller's verse. The lyrics written in her praise do not amount to more than twenty ; but small as is their number they sufficed to make the bard supreme among the singers of his age. So, at least, he appeared in the eyes of his contemporaries. " Inter poetas facile princeps" were the words inscribed upon his tomb, and that, as his latest biographer remarks at a time when Milton and Herrick and Dryden were all living. A hundred years after his death he was still extolled as the most celebrated lyric poet that England had ever produced. Since then his fame has suffered a partial eclipse ; but we may safely say, that whatever share of immortality he enjoys is due to the Sacharissa poems. As long as the English tongue is spoken, the Song to the Rose, and the less known but scarcely less perfect Verses on a Girdle, will be remembered.

Of late years much has been written on the revolution which Waller effected in English poetry, and the exact place which he occupies in our literature. These pages are devoted to the history of Sacharissa. For the lady whose charms he celebrates under this classical name was no creation of his fancy, but a beautiful and charming maiden, Dorothy Sidney, the eldest daughter of Robert, second Earl of Leicester, whom the poet courted unsuccessfully during many years before her marriage.

"Thirsis, a youth of the inspired train,
Fair Sacharissa loved, but loved in vain ;
Like Phoebus sung the no less amorous boy,
Like Daphne she, as lovely and as coy."

As Beatrice and Laura represent the ideal lady of Dante and of Petrarch's age, so Waller's Sacharissa is the type of all that was fair and excellent in the womanhood of the seventeenth century. But Sacharissa, unlike ces belles dames du tems jadis is more for us than a mere dream of beauty and goodness. She has a very attractive and interesting personality of her own."
(Preface)

https://archive.org/details/sacharissasomeac00adyj/page/n5/mode/2up

The Life And Art Of Sandro Botticelli (1904)

ℹ️ "THE present volume is an expanded form of a smaller sketch which was kindly received by the public last autumn. On larger lines and with greater fullness of detail, I have here tried to give some account of Sandro Botticelli, both as the painter and the man; of his relations with the Medici and the Florentine humanists on the one hand, and of his connection with Savonarola and the Piagnone revival on the other. At the same time I have endeavoured to follow the course of his artistic training and development, and to enumerate and describe the works which, in the opinion of the best critics, may be attributed to this master with certainty. Although of late years much study has been devoted to Botticelli and his art, our knowledge of the great artist's history remains scanty and limited, and no complete record of his life can be given. But his personality and his works are both of them so attractive, and the interest which he inspires at the present time is so deep, that this study, incomplete and fragmentary as it necessarily is, may be acceptable to those who wish to gain a clearer knowledge of one of the most remarkable painters of the Florentine Renaissance." (Preface)

https://archive.org/details/gri_33125008403004/page/n9/mode/2up

https://babel.hathitrust.org/cgi/pt?id=yale.39002004688413&view=2up&seq=8&size=150

https://babel.hathitrust.org/cgi/pt?id=mdp.39015017074876&view=2up&seq=14&size=150

Raphael (1905)

📖 106 pages long.

https://archive.org/details/cu31924016802963/page/n5/mode/2up

The Early Work Of Raphael (1907, New Edition)

https://archive.org/details/earlyworkraphae00unkngoog/page/n7/mode/2up

https://babel.hathitrust.org/cgi/pt?id=wu.89054437041&view=2up&seq=8

https://babel.hathitrust.org/cgi/pt?id=mdp.39015008442934&view=2up&seq=12

Baldassare Castiglione, The Perfect Courtier; His Life And Letters, 1478–1529 (1908)

ℹ️ "Count Baldassare Castiglione is known to the world as the author of 'II Cortegiano'. He was a distinguished soldier, diplomat, and poet, but his title to immortality rests on this one book. 'The best book that was ever written upon good breeding', said Dr. Johnson, when he was travelling with Boswell in Skye—'the best book, I tell you, "II Cortegiano", by Castiglione, grew up at the little court of Urbino, and you should read it.' This frank and decisive utterance, eminently characteristic of the speaker, and yet hardly what we should have expected from him, did but confirm the unanimous verdict of the last two hundred years. Castiglione 's book first issued from the Aldine Press at Venice in April, 1528, and before the close of the century more than a hundred editions of the work had already seen the light. Spanish, French, English, and German versions followed each other in rapid succession, and the 'Cortegiano' was universally acclaimed as the most popular prose work of the Italian Renaissance. 'Have you read Castiglione's "Cortegiano"?' asks the courtier Malpiglio, in Tasso's dialogue. 'The beauty of the book is such that it deserves to be read in all ages ; and as long as courts endure, as long as princes reign and knights and ladies meet, as long as valour and courtesy hold a place in our hearts, the name of Castiglione will be held in honour." (Preface)

Volume 1

https://archive.org/details/baldassarecastig01adyj

Volume 2

https://archive.org/details/baldassarecastig02adyj

Jean François Millet: His Life And Letters (1910, Cheap Edition)

ℹ️ "THE world moves on so fast and new phases of art succeed each other with such surprising rapidity in the present day, that to many ears the name of Jean Francois Millet may have a remote and antiquated sound. Only twenty years have passed since the great peasant-painter died. But he has already taken his place among the classics, and the enormous prices that are paid for his works in England and America, as well as in France, prove how fully his genius is now recognised. He stands supreme among his contemporaries as the first painter of humanity who gave expression to modern ideas in noble and enduring form, and whose work will live when the passing fashions and momentary fancies of the day are forgotten." (Preface)

https://archive.org/details/jeanfranoismille00adyj/page/n5/mode/2up

The Painters Of Florence From The Thirteenth To The Sixteenth Century (1910, 2nd Edition)

ℹ️ "The Florentine School of Painting is in many respects the finest and most interesting in the world. If its masters cannot be said to equal the Venetians in depth and splendour of colour, they surpass those of all other cities in beauty of line and elevation of thought, in grandeur of conception and intellectual force. During the great revival of art and learning which took place in Italy, from the beginning of the fourteenth to the close of the sixteenth century, Florence took the lead among Italian cities and became the home of the literary, artistic and scientific movement. Both the political conditions of the state and national character of the people combined to produce an intellectual and artistic supremacy only equalled by that of Athens in days of old. The Florentine artist grew up in a free and prosperous city, surrounded by an atmosphere of culture in which the passion for beauty was allied with a keenly critical faculty. He found wealthy patrons to encourage and reward him, and a public quick to understand and appreciate his skill and to judge of his merits. His own creative powers, thus stimulated, found expression in works of art which became famous far beyond the borders of Tuscany. The painters and sculptors of Florence travelled all over Italy and exerted a wide-spread influence on the schools of other cities, from the days of Giotto, the great awakener, to those of Leonardo and Michelangelo. At the same time, Florence became a centre to which the finest intellects and best artists were attracted from Umbria and Lombardy. Here Gentile da Fabriano and Piero dei Franceschi, Luca Signorelli and Perugino came in search of the training which they could not find elsewhere ; here young Raphael studied the frescoes of the Brancacci Chapel and the cartoons of Leonardo and Michelangelo. And to-day, across the lapse of ages, Florence draws us still. The power of her spell is mighty still, and leads us to linger among the wonders of Renaissance art that adorn the churches and convents, the halls and palaces, upon the banks of Arno. Although the ravages of time and the neglect of man have doomed many precious works to destruction, enough is still left to show us the glory of the art of Florence in her golden days. Enough remains to give us a clear and definite idea of the style of each individual artist in the long roll of illustrious masters who succeeded each other from the days of Giotto to those of Michelangelo, and who were, many of them, not only painters, but architects, sculptors, goldsmiths, men of letters, and even poets. It is a list of famous names and striking personalities such as no other art-history in the world can offer.

The increased interest now taken in Italian art by travellers, creates a distinct demand for a book in which the results of these researches are brought together, and the student is supplied with a brief account of the lives and works of the chief Florentine painters."
(Preface)

ℹ️ "All those who have read the author's biographies of Isabella and Beatrice d'Este, know how graceful is her style and how human her point of view. Certainly no one could have a more delightful preparation for an understanding of the works of the painters of Florence than is provided in the pages of this book." (The American Magazine Of Art, 07/1925)

https://archive.org/details/paintersoffloren013483mbp/page/n7/mode/2up

https://archive.org/details/paintersoffloren00cart/page/n11/mode/2up

Christina Of Denmark, Duchess Of Milan And Lorraine, 1522–1590 (1913)

ℹ️ "Christina of Denmark is known to the world by Holbein's famous portrait in the National Gallery. The great Court painter, who was sent to Brussels by Henry VIII. to take the likeness of the Emperor's niece, did his work well. With unerring skill he has rendered the "singular good countenance," the clear brown eyes with their frank, honest gaze, the smile hovering about "the faire red lips," the slender fingers of the nervously clasped hands, which Brantôme and his royal mistress, Catherine de' Medici, thought "the most beautiful hands in the world." And in a wonderful way he has caught the subtle charm of the young Duchess's personality, and made it live on his canvas. What wonder that Henry fell in love with the picture, and vowed that he would have the Duchess, if she came to him without a farthing! But for all these brave words the masterful King's wooing failed. The ghost of his wronged wife, Katherine of Aragon, the smoke of plundered abbeys, and the blood of martyred friars, came between him and his destined bride, and Christina was never numbered in the roll of Henry VIII.'s wives. This splendid, if perilous, adventure was denied her. But many strange experiences marked the course of her chequered life, and neither beauty nor virtue could save her from the shafts of envious Fortune. Her troubles began from the cradle. When she was little more than a year old, her father, King Christian II., was deposed by his subjects, and her mother, the gentle Isabella of Austria, died in exile of a broken heart. She lost her first husband, Francesco Sforza, at the end of eighteen months. Her second husband, Francis Duke of Lorraine, died in 1545, leaving her once more a widow at the age of twenty-three. Her only son was torn from her arms while still a boy by a foreign invader, Henry II., and she herself was driven into exile. Seven years later she was deprived of the regency of the Netherlands, just when the coveted prize seemed within her grasp, and the last days of her existence were embittered by the greed and injustice of her cousin, Philip II." (Preface)

http://www.gutenberg.org/ebooks/48191

https://archive.org/details/christinaofdenma00adyj/page/n7/mode/2up

https://archive.org/details/cu31924027991086

Italian Gardens Of The Renaissance And Other Studies (1914)

ℹ️ "These sketches on Renaissance Gardens and their makers were first written at the suggestion of a lamented friend, whose memory is honoured and cherished by men and women of all classes and nationalities throughout Italy, Enid, Lady Layard. Everything connected with Venice, where she made her home for the last thirty-five years of her life, was dear to her, more especially the traditions which linger about the palazzi and piazze, the narrow canals and calli with which she had so close and intimate an aquaintance. And she loved the villas and gardens of the mainland, the district of Asolo and the Trevigiana, the shores of the Brenta and the Lago di Garda, the green slopes of the Berici and Euganean hills. Nor was her love of Italy confined to any one province. Umbria and Tuscany, Fiesole and Settignano, the stately fragments of Roman gardens, the villas of Tivoli and the Campagna, were alike dear to Lady Layard, and her memory still haunts these enchanted regions.

To-day most of the gardens described in these pages have unfortunately perished, and only live in the writings of Renaissance humanists, in the prose of Boccaccio and Bembo, in the verse of Poliziano and Ariosto. But the enthusiasm for beauty and the ardent love of Nature which inspired their creators are themes of which the scholar and the poet will never tire."
(Preface)

https://archive.org/details/cu31924019509490

https://archive.org/details/italiangardensof00adyjrich/page/n9/mode/2up

Isabella D'Este, Marchioness Of Mantua, 1474–1539: A Study Of The Renaissance (1915, Cheaper Edition—and possibly 3d Edition?)

ℹ️ "The life of Isabella d'Este has never yet been written. After four hundred years, the greatest lady of the Renaissance still awaits her biographer. An unkind fate has pursued all the scholars, whether French, German, or Italian, who have hitherto attempted the task. Their labours have been hindered and interrupted, or their lives prematurely cut short by death. More than fifty years ago an interesting study on the famous Marchesa, from the pen of a Mantuan scholar, Carlo d'Arco, was published in the Archimo Storico Italiano (1845), based upon documents preserved in the Gonzaga Archives. In 1867, a distinguished Frenchman, M. Armand Baschet, wrote a remarkable essay on Isabella d'Este's relations with the great Venetian printer, Aldo Manuzio, but died before he could execute his intention of publishing a life of this princess. A mass of documents, which he had copied from the Mantuan Archives, remained in the hands of the late M. Charles Yriarte, who wrote several interesting chapters on Isabella d'Este's relations with the great painters of her age, in the Gazette des Beaux Arts, and was preparing a fuller and more complete work on the subject when he died. M. Firmin Didot, Dr. Janitschek, Dr. Reumont, and Ferdinand Gregorovius have all in turn given us sketches of Isabella in their historical works, while deploring the absence of any biography which should do full justice to so attractive and important a figure." (Preface)

Volume 1

https://archive.org/details/isabelladestemar01cart/page/n7/mode/2up

https://archive.org/details/cu31924082155171/page/n7/mode/2up (Verifed 3d Edition—1905—copy)

Volume 2

https://archive.org/details/isabelladestemar02cart/page/n7/mode/2up

https://archive.org/details/cu31924082155189/page/n7/mode/2up (Verifed 3d Edition—1905—copy)

Beatrice d'Este, Duchess Of Milan, 1475–1497; A Study Of The Renaissance (1920, 8th Edition)

⚠️ 10th and final edition published in 1928; PD in 2024.

ℹ️ "If in Isabella we have the supreme representative of Renaissance culture in its highest and most intellectial phase, Beatrice is the type of that newfound joy in life, that intoxicating rapture in the actual sense of existence, that was the heritage of her generation, and found expression in the words of a contemporary novelist, Matteo Bandello — himself of Lombard birth — when with his last breath he bade his companions live joyously, " Vivete lieti ! " We see this bride of sixteen summers flinging herself with passionate delight into every amusement, singing gay songs with her courtiers, dancing and hunting through the livelong day, outstripping all her companions in the chase, and laughing in the face of danger. We see her holding her court in the famous Castello of Porta Giovia or in the summer palaces of Vigevano and Cussago, in these golden days when Milan was called the new Athens, when Leonardo and Bramante decorated palaces or arranged masquerades at the duke's bidding, when Gaspare Visconti wrote sonnets in illuminated books, and Lorenzo da Pavia constructed organs or viols as perfect and beautiful to see as to hear, for the pleasure of the youthful duchess. Scholars and poets, painters and writers, gallant soldiers and accomplished cavaliers, we see them all at Beatrice's feet, striving how best they may gratify her fancies and win her smiles. Young and old, they were alike devoted to her service, from Galeazzo di Sanseverino, the valiant captain who became her willing slave and chosen companion, to Niccolo da Correggio, that all-accomplished gentleman who laid down his pen and sword to design elaborate devices for his mistress's new gowns. We read her merry letters to her husband and sister, letters sparkling with wit and gaiety and overflowing with simple and natural affection. We see her rejoicing with all a young mother's proud delight over her first-born son, repeating, as mothers will, marvellous tales of his size and growth, and framing tender phrases for his infant lips. And we catch glimpses of her, too, in sadder moods, mourning her mother's loss or wounded by neglect and unkindness. W e note how keenly her proud spirit resents wrong and injustice, and how in her turn she is not always careful of the rights and feelings of her rivals. But whatever her faults and mistakes may have been, she is always kindly and generous, human and lovable. A year or two passes, and we see her, royally arrayed in brocade and jewels, standing up in the great council hall of Venice, to plead her husband's cause before the Doge and Senate. Later on we find her sharing her lord's counsels in court and camp, receiving king and emperor at Pavia or Vigevano, fascinating the susceptible heart of Charles VIII. by her charms, and amazing Kaiser Maximilian by her wisdom and judgment in affairs of state. And then suddenly the music and dancing, the feasting and travelling, cease, and the richly coloured and animated pageant is brought to an abrupt close. Beatrice dies, without a moment's warning, in the flower of youth and beauty, and the young duchess is borne to her grave in S. Maria delle Grazie amid the tears and lamentations of all Milan. And with her death, the whole Milanese state, that fabric which Lodovico Sforza had built up at such infinite cost and pains, crumbles into ruin. Fortune, which till that hour had smiled so kindly on the Moro and had raised him to giddy heights of prosperity, now turned her back upon him. In three short years he had lost everything—crown, home, and liberty—and was left to drag out a miserable existence in the dungeons of Berry and Touraine.

"And when Duchess Beatrice died," wrote the poet, Vincenzo Calmeta, "everything fell into ruin, and that court, which had been a joyous paradise, was changed into a black Inferno."
" (Preface)

https://archive.org/details/beatricedesteduc00adyjuoft/page/n3/mode/2up

https://archive.org/details/beatricedestedu03adygoog/page/n8/mode/2up