A work for the general reader as well as for the student of pedagogy
which summarizes the foundation principles of the great educational
reformer and discusses the causes of his failure. “In Mr. Holman’s
judgment Pestalozzi was ‘one of the world’s greatest benefactors,’ and
yet, as one who knew him well observed, ‘in spite of his grand ideal,
which comprehended the whole human race, he did not possess the ability
and skill requisite for conducting the smallest village school.’”
(Spec.)
* * * * *
“The reader is provided with the data for estimating at its real value
the work of Pestalozzi and the influence he has exerted upon education
during the last century.”
+ =Nation.= 88: 412. Ap. 22, ’09. 60w.
“The strength of the study lies in its excellent organization, its
complete and sometimes fresh treatment of an oft-discussed theme, its
liberal use of quotations from Pestalozzi’s less familiar writings, and
its brief but suggestive criticism.” Willystine Goodsell.
+ =School R.= 17: 644. N. ’09. 800w.
“Very careful appreciation.”
+ =Spec.= 101: 270. Ag. 22, ’08. 300w.
=Holmes, Charles John.=^{[9]} Notes on the science of picture-making.
*$3. Appleton.
A book for “students of art, professional workers and amateur enquirers
into æsthetic questions.... The special merit of the book is that it
makes no concessions to popular fallacies, but criticises impartially
the art that is emptily conventional and that which aims at extravagant
novelty: it wisely advocates originality and intelligent experiment as
essentials for real artistic progress, but it demands that all good
painting, whatever its subject or intention, should have as its
foundation decorative qualities of the highest type.”—Int. Studio.
* * * * *
“Prof. Holmes has done a remarkable and original thing; he has applied
common sense to the arts of design in an appropriate way. We may fairly
add that since Reynold’s discourses the student has never had put before
him such a fruitful and suggestive guide to his endeavours. Certainly no
student of painting can afford to neglect the opportunity for
improvement here offered.”
+ + − =Ath.= 1909, 1: 414. Ap. 3. 1200w.
“If the book is a little pedantic in manner, and suffers somewhat from
the anxiety of the writer to explain and account for the endless
varieties of artistic activity, these at any rate are only minor
defects. The argument throughout is sane and temperate, inspired by
sincere conviction, and presented without any of those affectations and
obscurities which have been so often adopted by theorists on artistic
practice.”
+ − =Int. Studio.= 37: 335. Je. ’09. 400w.
“It offers the fruit of full-grown personal theory and should not be
neglected by any reader who keeps abreast of current philosophic art
criticism.”
+ =Int. Studio.= 39: sup. 24. N. ’09. 240w.
=Holmes, Thomas.= Known to the police. **$3. Longmans.
9–9569.
First hand knowledge of London’s underworld lies back of these “shrewd,
practical studies of criminal psychology, of the individual and of the
class, always looking toward the end of benefiting the criminal by
reforming him or protecting society by treating him with needful wisdom.
Perhaps the most interesting chapter is that in which he compares
present conditions among criminals and police courts with the conditions
of a quarter of a century ago.” (N. Y. Times.)
* * * * *
“Mr. Holmes has rendered great service by the publication of his book.”
+ =Ath.= 1909, 1: 372. Mr. 27. 540w.
“All who are interested in the study of sociological conditions and in
the attempts of modern times to bring the underworld into the light will
find [this] a very meaty sort of book.”
+ =N. Y. Times.= 13: 766. D. 12, ’08. 420w.
“Mr. Thomas Holmes is always strong; the book abounds in bold and
valuable suggestions.”
+ =Sat. R.= 107: 18. Ja. 2, ’09. 900w.
+ =Spec.= 102: sup. 1002. Je. 26, ’09. 1800w.
=Home, Gordon Cochrane.= Yorkshire; painted and described by Gordon
Home. *$6. Macmillan.