The attributions game

Many art historians have written their own story of the making of an aesthete: Ruskin, Berenson and Kenneth Clark to name just three in the Anglo-Saxon world. The pattern varies, but typically it might include being bullied at school, a mentor, an epiphany in Italy, and the de rigueur discovery of Piero della Francesca.

The Eye has all the possibilities of being an appealing book in the same tradition — but for the author’s grating references to himself and his vocation as the ‘Eye’, as if this were some higher calling, a Glasperlenspiel in which the priesthood spends all day attributing Florentine paintings. ‘The Eye,’ we are informed, ‘is a miniature Christopher Columbus who roves over the world of art, alert to any surprises.’ Or these lines, worthy of Kahlil Gibran: ‘Though I was born with an Eye, I became an Eye… I am an Eye so that others can see.’