{"numero_id": "bm-bmtnaau-1908-07-01", "volume": "bmtnaau_1908-07_01", "ocr_sha256": "4b7572f0e9edd383efefa2dc51136800c9212a897d82753cd317af10c75550e3", "source_tei": "https://github.com/Princeton-CDH/bluemountain-transcriptions/blob/main/periodicals/bmtnaau/issues/1908/07_01/bmtnaau_1908-07_01.tei.xml", "source_mets": "https://github.com/pulibrary/BlueMountain/blob/main/metadata/periodicals/bmtnaau/issues/1908/07_01/bmtnaau_1908-07_01.mets.xml", "url_numero": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01", "articles": [{"article_id": "bm-bmtnaau-1908-07-01-c002", "article_bluemountain": "bmtnaau_1908-07_01#c002", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "[90]", "page_fin": "[90]", "image_debut": 4, "image_fin": 4, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.2", "titre_corps": "DESIGN FOR SCENE", "titre_sommaire": "DESIGN FOR SCENE", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 4, "page_imprimee": "[90]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.4", "debut_caractere": 0, "fin_caractere_exclue": 30, "texte": "DESIGN FOR SCENE. GORDON CRAIG"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c003", "article_bluemountain": "bmtnaau_1908-07_01#c003", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "91", "page_fin": "91", "image_debut": 5, "image_fin": 5, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.3", "titre_corps": "CONTENTS", "titre_sommaire": "CONTENTS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.5", "debut_caractere": 188, "fin_caractere_exclue": 627, "texte": "CONTENTS\nAFTER THE PRACTISE THE THEORY^\n\" THE MERCHANT OF VENICE \": AN ARTICLE by E. W. GODWIN.\n(Continued) £> SOME SAYINGS by GOETHE. \" REALISM & THE ACTOR: AN\nINTERNATIONAL SYMPOSIUM. £> TWO WORDS AND THEIR MEANING. je> THE MIMETIC\nART: LESSING. & INIGO JONES AND HIS MASQUES by J. PAUL COOPER. BOOK\nREVIEWS. 4? FOREIGN NOTES. EDITORIAL NOTES. Of ENGRAVINGS by GORDON\nCRAIG. 4? J. OLIVER. & C. TICKETTS. 4? CHARLES BORROW & OTHERS. 4> 4?"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c004", "article_bluemountain": "bmtnaau_1908-07_01#c004", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "91", "page_fin": "95", "image_debut": 5, "image_fin": 9, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.4", "titre_corps": "THE ARCHITECTURE AND COSTUME OF THE MERCHANT OF VENICE", "titre_sommaire": "THE ARCHITECTURE AND COSTUME OF THE MERCHANT OF VENICE", "signature_source": "Edward W. Godwin", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 5, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.5", "debut_caractere": 0, "fin_caractere_exclue": 33, "texte": "A 111 hotit i e $ *\nThe costumes*"}, {"page_pdf": 5, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.5", "debut_caractere": 629, "fin_caractere_exclue": 3568, "texte": "THE ARCHITECTURE AND COSTUME\nOF THE MERCHANT OF VENICE\nby Edward W. Godwin. F. S. A.\n(Continued)\nI said, at the commencement of my notes on this play, that in fixing 1590 as the date of\nthe action there was a reason which would appear later on. The 4< reason \" lies before\nme as 1 write, in the form of a small thick book, bound in well-worn crimson\nvelvet, cut on cloth of gold, and of that large counter«changed pattern Veronese and Tintoretto\ndelighted to paint. On the title=page I read, \" Ahiti Antichi, et Moilerni di tntto il Mondo.\nDi Cesare Vecellio. \" The letter of dedication is dated at Venice, October 9, 1589, or just\none year before the date I have assigned to the play. The work is divided into twelve books,\nmaking a total of 505 pages; of these, 228 belong to the first book, which is devoted to the\ncostumes of Italy, and 81 of these to the then modern costumes of Venice. These 81 illustrations\nmay therefore be accepted as unquestionable authorities, but of the correctness of the antique\nI entertain considerable doubt, and many of the examples, though modern,\nseem to me to demand verification. However this may be, one cannot but recognise the\nenormous value of such a work, and with this book in one's hand, the paintings and prints\nin our public galleries and the materials at South Kensington to refer to, error in the costume\nof the Merchant of Venice would be quite inexcusable, for it must arise either from sheer\ncarelessness or childish incompetency to handle the facts. jg? &\nOf other authorities besides Vecellio we have, before all, Tintoretto, who died in 1594, and\nwho was 78 years old when the Merchant of Venice was written; Bassano, who died in 1592,\nwas 80 years old at the time; Zelotti was 58; Allori and Rubens were both boys of 13.\nVeronese had been dead two years, Moroni twelve, Titian fourteen, and Bordone nineteen,\nbefore the play opens. 1 should therefore be inclined to limit the range of authorities for\nVenetian costume to—\nVecellio . . 1589\nTintoretto. . 1512—1594\nBassano . . 1510—1592 Nat. Gall., 173.\nZelotti . . 1532—1592 Nat. Gall., 595*\nVeronese . . 1528—1588 Nat. Gall., 26, 268, 97.\nThere are also four folio plates, drawn and engraved by J. Amman, representing the procession\nof the Doge, which may be consulted as explanatory of the subject shown in the 148 th engraving\nin Vecellio (1). & JI?\nOf the cqstume of the main land, of the ambassadors of foreign States, of the traders of\ndivers nations, from the north, south, east, and west, who flocked to Venice, Vecellio may\nbe taken as an authority in some measure; but wherever possible, it would be well to test\nthe Venetian by reference to sculptures, paintings, engravings, or embroideries executed by\n\n(i) At Hampton Court is a curious painting by Fialette, representing the English Ambassador, Sir Henry Wotton, In\naudience with the Doge, that would be useful in many ways to any one preparing this play for the stage."}, {"page_pdf": 6, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.6", "debut_caractere": 62, "fin_caractere_exclue": 5129, "texte": "the people to whom he refers. For instance, the Donna Nohile delta China is pure invention,\nand the same may be said of some of the other illustrations of the dress of nations far removed\nfrom the waters of the Adriatic. Taking the characters in the order they occur in the list\nof the dramatis persona? we have— & & &\nThe Duke of Venice. There are two illustrations in Vecellio of a \" modern \" Doge, one 4 1/2\ninches high the other only 114 inch. Comparing both with Amman's engraving and contemporary\npaintings, we find the dress to consist of an ermine cape or tippet reaching to the elbow,\nshaped with a slight upright collar, entirely open from the throat downwards, and having\nsix large buttons on the left edge. These buttons were sometimes very costly, and always\nimportant features. Benvenuto Cellini (ob. 1561) made some of gold, set with precious stones.\nAnd in Amman's engraving the button has four stones set round it and one mounted in\nthe centre (1). Under the cape appears a robe or cloak, with a train. In Vecellio's procession\n(p. 128) the train is borne by one of the Doge's esquires, whilst another holds over him the\ncanopy of state—a large heavy umbrella sort of structure, shown in detail by Amman. The\nrobe is covered with a large rich pattern of conventional branch and leaf, and a similar\npattern is seen on the gown. This last-named garment nearly touches the ground, has large\nopen sleeves reaching below the knee, is trimmed with fur, is open down the front, and\ngathered in at the waist by a belt. On the head was worn the curious horn-shaped biretta,\nwhich is the great distinguishing mark of the Doge in works of art subsequent to the Byzantine\nperiod, and beneath this a closely-fitting white cap, coming down under it so as to cover\nthe ears and the back of the head. Strings were attached to the front edges of this cap,\nsometimes tied under the chin, but often allowed to hang loose. The ordinary or everyday\nbiretta was of red velvet with a deep border of gold embroidery. The State ones had\nJewelled borders, and crests of gold knobs or jewels on the top of the border and edging\nthe central line or seam from the front to the back. But we must not suppose that the\nDoge of Venice had only one dress. Besides the State full dress above noted, and others\nregulated to various occasions by the etiquette of the time, there were gowns and mantles\nsuited by their material to the various seasons of the year. The dress, however, which\nShakspere's Doge would have worn would most probably have been a gown and robe of\ncrimson (purple) velvet, embroidered with gold or cut on cloth of gold. But whatever the\ncolour of the robe may be—crimson and gold, white and gold, white and silver. &c.—the\nbiritta must be of the same colour and material, except only in its deep border or band,\nwhich is chiefly of cloth of gold woven with an Eastern pattern, probably made in Damascus;\nalthough on great State occasions we sometimes find this band set with jewels. The tippet\nwas part of the full dress, and would not be worn in the play, or indeed except on very\nimportant days, such as when the chair of State was borne aloft before the Duke. &\njz? The Prince of Morocco, dressed like other noble Moors, would wear a loose and full white\ncotton gown with capacious sleeves and high neck, girded with a sash of delicate craps-\nlike material full of coloured stripes and gold, the ends of which were deeply fringed and\nhung as low as the knee. On his head he would wear a spotlessly white low turban, shaped\nlike a small pillow, bound round the centre with a broad band. The skirt of his dress would be\ntucked through his girdle, hanging therefrom in irregular an graceful folds nearly to the\nground. On his legs appeared red Morocco buskins: and his shoes were of leather of another\ncolour, both often richly embroidered with gold and silver. Large rings of gold depended\nfrom his ears, and across his breast glittered his leathern sword belt, loaded, I might almost\nsay clogged, with precious stones (\" ad pectus uerb fascia gemmis magni precii onusta\ninter currit \"),\n& The Prince of Aragon would be dressed like a noble in the Court of the King of Spain, for\nAragon was no longer an independent kingdom, but had been united to Castile, to which\nGranada and, in 1512, Navarre were also added. The most important points to be noted in\nthis costume is the shortness of the trunks, which are only just visible below the doublet,\nthe short cloak, and the increased length of the skirt of the doublet. Ruffs appear round\nthe neck and wrists, and on the head a tall bag-like hat with very narrow brim. The cloak\nwas usually of \" purple \" (crimson) silk or velvet lined with costly material, sometimes\nrichly embroidered with gold. It was worn occasionally with a hood, and was often wrapped\nround the breast in a careless-looking but eminently artistic manner. & & &\n\nThe Duke of\nV cni e e» &\nThe Prince of\nMorocco. <£?\nThe Prince of\nA r agon. <€*\n\n(l) They were about the size of a walnut, sometimes globular and sometimes shaped like a pine apple."}, {"page_pdf": 7, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.7", "debut_caractere": 0, "fin_caractere_exclue": 4925, "texte": "& Bassanio, described in the text as a lord and a fit suitor for the hand of the Lady of Belmont,\nis one of the nobles of Venice, and would be dressed in doublet, trunk hose to below the\nknee, stockings and shoes, and over all in the house a houpelande, with hanging sleeves of\nmuch the same shape as that worn in the fifteenth century. (Compare Vecellio, p. 86, and\nMS, Bib. Nat. Girart de Nevcrs, an illustration from which is given in the Dictionnaire\nRaisomie du Mobilier, vol. iii. p. 466) But abroad he would change the over garment for\nthe large-sleeved gown or toga. The cream of the aristocracj', that is the chiefs or heads\nof the leading families, adopt, commonly, crimson for the colour of the under-dress, and black\nfor the gown. If a noble is also one of the greater officers of the State, the sleeve is open\nits full depth, but otherwise it is closed tight round the wrist, not unlike the neck of a\nsack. Gloves, having stiff wristbands attached, are worn or carried in the hand, and the\ncap is a plain, round, flat-topped, limp sort of pork-pie hat. The gown was shaped at the\nneck so as to produce a stand-up collar, and over one shoulder was worn the long narrow\nstrip which distinguished nobles and magistrates—altogether not a very picturesque costume.\nSolanio, Salarino, Gratiano, and Lorenzo may, on the other hand, be attired in eminently\npicturesque dresses. The long gown reaching to the feet, with its ugly baggy sleeves, forms\nno part of the ordinary Venetian habit. The scholars and young gentlemen wore short\ncloaks, with collars, slashed doublets thick set with buttons down the front, slashed sleeves,\nrather easy in the upper part, but tight in the forearm, slashed trunk hose, with three or\nfour buttons at the side of the knee, stockings, and light slipper-like shoes. Round the neck\nthey wore ruffs like that adopted in Spain, France, England, and indeed all Western Europe,\nin the last quarter of the sixteenth century. The hat or cap was a tall bag-like structure, with\na stiff narrow rim. They wore ruffs at the wrist, and carried swords. & &\n& Antonio, the Merchant of Venice, with whom we may also class Shylock (1) and Tubal, for\nthe difference between them was only in the colour of their caps, would be attired like any\nother merchant, i.e. in doublet, trunk hose, stockings, and shoes, old men wearing over all\na gown reaching to the heels, with sleeves tight in the lower arm and loose above. The\ngown was fastened in front from top to bottom with buttons and button holes sewn in\nbraids, and the skirt was open at the sides, fastened by four or five buttons at the bottom\nlikewise on braids. It was girded at the waist with a silk sash having small tassels depending\nin front. Over the dress, gowned or not, was worn a large cape or short cloak of silk or\nbrocade, light or heavy according to the season, with a collar as before mentioned. Round\nthe neck the merchant wore a ruff, and ruffs again appear at the wrists. The cap was\nsometimes high and hat-shaped, with a narrow brim, and sometimes flat and largely projecting\nlike the modern Scotch cap. Like also to the nobles and other Venetian gentlemen, they\nindulged in the luxury of gloves. The Jew was distinguished from the Christian by being\ncompelled to have his cap made of a tawny yellow material, sometimes so tawny as to appear\nalmost like a faded red. &\n& Launcelot Gobbo, as the Jew's servant, would not be a servant in livery, but would have a\nplain doublet, not unlike a Norfolk shirt in general outline, trunks, stockings, shoes, and\na high cap with narrow brim. As Bassanio's servant, he would be in livery like Leonardo,\nor Balthazar and Stephano, servants to Portia, whose doublets would be covered with guards,\nor braids and buttons set very closely together. &\nOld Gobbo would wear a kind of blouse with turn-over collar, cut down to the waist in\nfront and tied together with two or three bows. The skirt would be open at the sides, belted\nround the waist with a leathern strap, and beneath it would appear the ends of loose breeches,\nbare knees, turn-over coarse stockings, and tied shoes. The neck and throat were bare.\nas the daughter of a rich merchant of Venice, would be dressed in the ordinary\ncostume of a Venetian gentlewoman. A tightly-fitting body, square cut neck before and\nbehind, waist high at the sides and coming down low to a point both before and behind;\nthe body laced across a stomacher; frilled shoulder-pieces; sleeves loose above, and lightly\nfitting to lower arm; lawn or cambric ruffs at the wrist; flowing skirt; a necklet of pearls;\nslipper-shaped shoes, raised on sloping chopines; front hair arranged in short massive curls\non forehead, the rest strained back and done up in plait, from which depended the veil,\nthat in the costume of a Jewess would be yellow. The dress was of no particular colour,\nand the skirt underneath was open in front, and tied together at intervals. &"}, {"page_pdf": 7, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.7", "debut_caractere": 4991, "fin_caractere_exclue": 5170, "texte": "B as s a nil).\nSolauio, Satari\nno, Graiiano A:\nRorenzo. &\nAuto u i o &\nsliyl o c k, <&>\nB a u 11 c e 1 o t,\nJessl c a • &\n\n(1) The gaberdine is only the Spanish word for his gown."}, {"page_pdf": 8, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.8", "debut_caractere": 62, "fin_caractere_exclue": 5133, "texte": "M Portia would do her shopping probably at Padua, and would therefore follow the fashions\nof the main land. The chief difference we have note of is the absence of the square-cut\nbody. Highnecked bodies, with fine cambric ruffs, was the every-day attire usually worn\nby Paduan ladies of noble birth. On state occasions, on festivals and at receptions, the\ndress, though still high on the shoulders, was open in front, terminating at a point a little\nabove the waist. There is also a marked difference to be observed between the dress of\na maiden and that of a married woman, and there is no question that the Paduan ladies\n(wives or not) indulged in a considerably extensive wardrobe. So, too, there was more than\none mode of dressing the hair, (i) In some cases it was crimped, parted in the middle,\nbrought round to the back over the ears, and rolled up ale grec, in others it fell loosely\ndown the back an natnrel, confined, however, at the poll by a delicately-wrought band or\ntiara of goldsmith's work; but the more usual plan was to arrange the front hair in massive\ncurls, assuming comewhat the form of low horns, and carried down each side in smaller\ncurls to the ears, the hair behind being strained (sometimes crimped), and fastened up into\na plait, with strings of pearls interwoven. From this plait depended the veil, which sometimes\nalso appears to have covered the head up to a point between the horned curls or rolls, over\nwhich it could be raised like a double hood. The veil itself was also worn in various ways,\nand as it was often arranged with the utmost grace, and made of the finest material—a\nsort of silken gauze, enriched with gold, interwoven and even sometimes embroidered and\ndecorated further with pearls and gems—its lovely film-like effect, like an iridescent mist over\nthe rich materials of the gown, can be better imagined than described. The gown, with\nthe exception already noted, was cut like the Venetian dress, and was made of silk, brocade\ngold cloth, or costly velvet. Over the shoulders was worn a chain, usually of gold set with\njewels, and suspending a large jewel or cross. The pouch or gipciere worn at the girdle\nwas not quite yet abandoned, and Portia may wear one or not as she pleases. In addition\nto this brides and married women wore a gold chain following the triangular lines of the\nwaist, and hanging down in front as low as the knee. Gowns with the skirt open up the\nfront and with loose hanging sleeves were also used by the \" Sposa di Padoua. \" Rings were\nworn on the first, third, and fourth fingers. Earrings of pearls and jewels appear, and\nsometimes we see a string of pearls one end attached to the ear and the other looped up\nto the back hair. The veil is occasionally omitted, and a stiff semi circular collar of lace is\nseen standing up behind the neck and reaching as high as the poll. (2) Portia's stockings\nwould be of silk or the finest thread worked with clocks and even open seams. Her shoes,\nof slipper form, would be of morocco or of velvet embroidered with gold, cork being used\nfor the soles. On her journey to Venice she would use a velvet mask or visor, and gloves\nhighly perfumed and embroidered with gold or silver. A pocket looking-glass, with ladies\nof rank, was not an uncommon possession, and was sometimes set in the back of the fan,\nwhich was usually made of nine or more ostrich feathers, the handle set with pearls and\njewels and fastened to the end of the girdle-chain, if the lady was married. The\npockethandkerchief was of large size, and of fine cambric, having an embroidered border,\nand a tassel at each corner. Finally, in going abroad ladies wore, in the winter and later\nautumn, a mantle or pelisse over the gown, reaching to below the knee, open in front to\nthe neck, and with long, loose, open, hanging sleeves. Over this came the veil, and a round\nvelvet hat with a broad brim completed the costume, whose chief glory consisted in its richly\nembroidered or woven or cut patterns. & & &\nNerissa, \" the waiting maid, \" or, as we should now call her, the lady's maid—must be\ndressed as the confidential servant of a noble and wealthy lady, neither too rich nor yet\ntoo poor. There will still be the ruffs at neck and wrists, but of less delicate material than\nthose [on Portia; the skirt of the gown will be shorter than her ladyship's, and there will\nbe an absence of ornament, except perhaps as a border to the dress. She must wear a ring\nor two, and from her girdle would hang a pouch and huswife. She would also have a short\nveil of plain lawn or cambric, which she might use as a hood, pinned under the chin.\n& Of the costume of the scores of men and women, from the \" magnificoes \" and ambassadors\ndown to the porters and beggars who might fill up the stage picture, Cesare Vecellio may\nbe consulted, for he gives us abundant illustrations of all sorts and conditions of men both\n\nNetis 3 a, &\nPortia . M\n\n(1) False hair (as the text shows) was by no means unusual.\n(2) Venetian point was highly esteemed. Some specimens are In the Entrance Corridor at South Kensington."}, {"page_pdf": 9, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.9", "debut_caractere": 0, "fin_caractere_exclue": 2717, "texte": "foreign and native. There is one professional dress which, however, we must not forget to\nnote, and that is the official costume of a doctor of laws—the character assumed by Portia\nin the fourth Act. The D.C.L. of Padua wore a tight doublet, silk belt, trunk hose, and\nstockings, all of black; velvet in winter, silk in summer. Over these he put on his official\nrobe or gown, ungirdled, having an upright collar and long capacious open sleeves reaching\nnearly to the ground. This was made of velvet, silk, or damask, covered with rich pattern,\ncut, embroidered or woven according to the nature of the material, (i) On his head he wore\na tolerably high cap, made with a narrow brim and a flat top, and on his feet were seen\nthe usual slipper-shoes. His clerk would wear a black cloth doublet, trunks, stockings, and\nruffs, but no robe or gown.\nIn conclusion, we should remember that Portia has the golden hair so much admired at that\ntime, that the officials in a Venetian Court kept their hats on although in presence of\nthe Doge, that the manners of the period were characterised by courtesy combined with a\nstately dignified action, and that what we call stiffness of manner was then regarded as\nquite the correct thing. But modern actors and actresses rarely hold the mirror high enough\nto reflect the mien, deportment, or bearing of the men and women of a past age. The air\nor look of gentlemen and ladies during the great period of the Renaissance can be ascertained\nfrom the documents and the pictures of the time, and if an actor fails to reproduce it he\nis not fitted to play in the comedies of the great dramatist of that period. Correctness of\ncostume, and properties, and furniture is all very well, but if, through it all, we see nineteenth\ncentury action, modern style, the mode of Robertsonian society, or the special graces and\ncharms which are the delight of our own time, hut which would have been looked on as\nantics, or at the least as bad form, in the Courts of Philip or Elizabeth, then the picture\nmust be discordant, and the dramatic representation wofully incomplete. &\nSOME SAYINGS OF GOETHE\nis an interpreter of the inexpressible; and it therefore seems a folly to try to convey\nits meaning afresh by means of words. <£>\n'jphe sight is the finest of the senses. The other four teach us only through the organs of\ncontact; .... we hear, feel, smell and touch everything by means of contact; but the\nsense of sight stands far higher, is refined above the material and approaches the mind itself,\ngtrictly speaking, nothing is theatrical but that which is at the same time symbolic\nto the eye. &\nbelongs by rights to the history of Poetry; in the history of the Theatre\nhe only appear casually."}, {"page_pdf": 9, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.9", "debut_caractere": 2781, "fin_caractere_exclue": 2961, "texte": "The manners\nof the period.\n\n(1) All the patterns cut on velvet or In brocade and damask were large. I have seen none which could be drawn within\nless compass than 12 Inches square."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c007", "article_bluemountain": "bmtnaau_1908-07_01#c007", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "96", "page_fin": "98", "image_debut": 10, "image_fin": 14, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.5", "titre_corps": "REALISM AND THE ACTOR : AN INTERNATIONAL SYMPOSIUM", "titre_sommaire": "REALISM AND THE ACTOR : AN INTERNATIONAL SYMPOSIUM", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 10, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.10", "debut_caractere": 0, "fin_caractere_exclue": 3146, "texte": "EALISM AND THE ACTOR.\nAN INTERNATIONAL\n\n'Jphe series of visits which the Sicilian Players are paying\nto all the European capitals, exhibiting an unfamiliar\nphase of realism In theatrical art which is almost primitive\nin character, has once more called public attention to certain\nquestions as to the relation between realism and the stage.\nBelieving that we could best serve the interests of the\ntheatre by collecting and publishing expert opinions on\nRealism and the Actor we framed three questions to which\nwe solicited answers from some of the students of the Theatre. . & & &\nWe may perhaps be excused in saying that our questions are made as simple as possible,\nso that the mind of the English reader shall not be confused. The outcry raised in some of\nthe English journals against the Realism of the acting of the Sicilians, and of Signora Mimi\nAuguglia's performances in particular, gives us reason to believe that it was time to have\na clear definition of what Realism in acting consists of, and whether it is a wise and\nbeautiful thing to see upon a stage, shown in the same way as we see it in Painting and\nLiterature.\nIn the last number of \" The ZVlask \" we printed the replies of Signor Tommaso Salvini,\nMr Sidney Grundy, M. Antoine, Mr. H. Beerbohm Tree, Mr Carl Hentschel, Mr Arthur\nSymons, M. Andre Beaunier, Fraulein Gertrude Eysold, Herr Hermann Bahr, Miss Loie Fuller\nand M. Jan Klaassen. We repeat the questions, and publish some further replies this month.\nTHE QUESTIONS.\nL Do you consider Realism in acting to be a frank representation\nof human nature? jg?\nIL In your opinion should the Actor be allowed the same liberty\nin his expression of the Passions, as is permitted to the\nWriter or the Painter? & & &\n111. Do you think that Realism appeals to the General Public\nor only to a limited section of Playgoers?\nTHE ANSWERS.\n£? Gordon Craig Forte de'Marmi\nI. . Yes. Realism is exactly this:.... a frank representation of human nature. The modern\nWriters and Painters attest to this by what they write of and paint, and by the way\nin which they write and paint it. &\n11. And because the Realists attempt to represent nature so frankly, (which Frankness\nthey call Truth and which generally borders upon Brutality) and because this Frankness\nis no Fruit, no Blossom, but merely the roots of a new Growth, so I believe that the\nActor will never ask for the same liberty as the Writers and Painters of today that he\nmay give these Brutalities their \" counterfeit presentment\" with all accuracy of detail\nat command.\nI can call to mind no actor so lacking in intelligence as to desire to present with all\nits actuality the moment of Death as expressed by the modern Realist in Literature\nand Painting,.... or the moments of Love as expressed by these same frank and most,\nmost blind, leaders. jg?\nThe Realists may claim that they are not concerned so much with the subjects they\ntreat of as with the manner in which they treat these subjects. If so, then is it a most\nextraordinary fact that the realists only concern themselves with what is ugly or\nBrutal and always with what the Idealists have given so much thought to veil. <£?"}, {"page_pdf": 13, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.13", "debut_caractere": 0, "fin_caractere_exclue": 4318, "texte": "The question you forgot to put us is whether the Public would allow the Actor to\nexpress the same feelings and the same incidents as both Idealistic and Realistic writers\nhave somehow or other won the right to express. &\nWhat is the difference between the picture and the word and the living breathing\nactuality? Why, even the Public that sits in the Pit of a Theatre feels the difference\nand would refuse to let the Actor reveal what it allows Milton and Rabelais to reveal.\nThen how can there be a shadow of doubt that the Actor not only should not be\npermitted the same liberty as the Writer or Painter, but actually is not permitted\nthat license? & *& & &\n111. Realism is a vulgar means of expression bestowed upon the Blind. Thus we have the\nclear-sighted singing,\" Beauty is Truth, Truth Beauty,.... that is all ye know on earth,\nand all ye need to know \". The Blind are heard croaking, \" Beauty is Realism, Realism\nBeauty,.... that is all I know on earth, and all I care to, ...don't cher know\". &\nThe difference is all a matter of love. He who loves the Earth sees Beauty everywhere:\nhe is a god transforming by knowledge the incomplete into the complete. He can heal\nthe lame and the sick, can blow courage into the weary, and he can even learn how\nto make the blind see. The power has always been possessed by the Artist,.... who,\nin my opinion, rules the Earth.\nIt is quite likely that Realism may appeal at one period to the Public and not at\nanother period, The Public is not concerned with the quest of knowledge; no, not\neven with the wisdoms of wisdom, that simple everyday atom of Truth which waits, unseen,\neverlastingly everywhere. The Public is concerned with the quest of money,.... and,\nwith money, that fat and brutal power to Revenge which it can bring... that power\nto give like a Lady a handshake when a kiss is too little; that power to give like\na Lord ten pounds to a \" por beggar \", and that power to give a little charity when only\nlove is enough. & & And so long as the Public is made up of this class of monstrous\nmeanness,.... of that which gives half or three quarters instead of all, so long will it\nlove its Realism, which is the short measure or meanness of the Artist.\nAnyhow, there is nothing which need cause Playgoers anxiety; there is no need for\nthem to feel depressed;... furious, if you like, but depressed? not a whit: for the\nlimited section of Playgoers who love Beauty and detest Realism is a small minority\nof about six million souls. They are scattered here and there over the earth. They\nseldom, if ever, go to the modern Theatre. That is why I love them, and intend to\nunite them.\nCarlo Placci ■£? Florence\n1. Yes: but then it is not a work of art, for good acting ought to stand to real life as\nstatues stand to wax»work, or pictures to instantaneous photographs. Realism in itself\nis not artistic. If anything, Super-Realism may be artistic, because it is a sort of\nPlus-Lfife, Life on intellectual stilts. *&&&<&&\nll® iNo: for the Actor is not the only factor concerned on the stage. Whilst the Writer's or\nthe Painter's work is an end to itself, the Actor's work is only part of a bigger scheme\nin which other artistic elements enter, independent from him. Is Man the central figure\nof Creation? Is the Actor the principal feature of the Stage? & &\n111. Realism appeals exclusively to the vulgar crowd on account of the no effort and no culture\nit requires to be grasped. On the other hand an artistic rendering, which has nothing\nto do with Realism, appeals to the limited group of playgoers who have good taste.\nOnly Super=Realism, for different causes and in different doses, can appeal both to the\ngeneral public and to the select few.\nAlexander Hevesi Budapest\nI. Realism is also an Art for the representation of human nature. This art consists in\nlaying stress on what is special in the human. That is why Realism always appears\nwhen Art has become fossilised into formalism. Realism is to regain a hold 011 life for\nArt, but after it has refilled itself with life it then strives to overcome the specialisation,\nthat is to say, details, (for every true Art is symbolic), and endeavours to form patterns;\nthat is to say, it wishes to return to \" style. \" The modern tendency in Art, and what\nwe are all striving after, is to conquer Life through Art. & &"}, {"page_pdf": 14, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.14", "debut_caractere": 0, "fin_caractere_exclue": 767, "texte": "11. Poets and Painters are limited by their materials. The same law pertains for the Actor.\nIn the first place his limitation is through material, that is to say, through speech.\nFurther there is another limitation for him. The Actor does not stand alone upon the\nstage. He is a part of the whole and this whole is represented by the Stage Manager.\nAn Actor must become great through renunciation. &\nHI. I believe that Realism is the Art of the Philistine. The naive public is a child, susceptible\nto style. The true amateur desires style. The Philistine wants everything to be real..,,\nreal trees, real walls and so on. These real things are always unreal things in Art...\nalien and hostile to Art: but the Philistine is no Artist: he has only senses and no\nfantasy."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c009", "article_bluemountain": "bmtnaau_1908-07_01#c009", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "n. p.", "page_fin": "n. p.", "image_debut": 11, "image_fin": 11, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.5.2", "titre_corps": "DESIGN FOR A STAGE SCENE", "titre_sommaire": "DESIGN FOR A STAGE SCENE", "signature_source": "GORDON CRAIG", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 11, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.11", "debut_caractere": 0, "fin_caractere_exclue": 41, "texte": "DESIGN FOR A STAGE SCENE. by GORDON CRAIG"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c010", "article_bluemountain": "bmtnaau_1908-07_01#c010", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "98", "page_fin": "98", "image_debut": 14, "image_fin": 14, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.6", "titre_corps": "TWO WORDS & THEIR MEANING : by W. Skeat, Professor of Anglo-Saxon In the University of Cambridge", "titre_sommaire": "TWO WORDS & THEIR MEANING : by W. Skeat, Professor of Anglo-Saxon In the University of Cambridge", "signature_source": "W. Skeat", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.14", "debut_caractere": 769, "fin_caractere_exclue": 1419, "texte": "TWO WORDS & THEIR MEANING.\nW. Skeat, Professor of Anglo-Saxon In the University of Cambridge,\nTHEATRE JZ? jet 4?\nA French word, derived from Latin; the Latin word from Greek. Middle French, theatre;\nDictionary ed. 1660. Derived from the Latin Theatrum, derived from the Greek\nBsoupov, a place for seeing shows, derived from the Greek Bsaopai, I see, Compare 9sa\na sight; see Prellwitz. &\nDRAMA 4? 4? 4?\nA Latin word, derived from Greek; the Latin drama derived from the Greek Spajia (stem\ndpajiax), an act, a drama, derived from the Greek Spao), I perform. Compare Lithuanian\ndaran, 1 make, (root DAR. Derivatives, Dramatic, (from opapax); etc. 4? 4?"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c011", "article_bluemountain": "bmtnaau_1908-07_01#c011", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "98", "page_fin": "98", "image_debut": 14, "image_fin": 14, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.7", "titre_corps": "THE MIMETIC ART- LESSING", "titre_sommaire": "THE MIMETIC ART- LESSING", "signature_source": "LESSING", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 14, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.14", "debut_caractere": 1421, "fin_caractere_exclue": 2625, "texte": "THE MIMETIC ART LESSING\nProse Works; Dramatic Notes. Nos. 101-104.\nhave actors but no mimetic art. If in past times there was such an art, we have it\nno longer: it is lost, it must be discovered anew. There is enough superficial chatter\non the subject in various languages, but special rules, known to everyone, pronounced with\ndistinctness and precision, according to which the blame or the praise of an actor can be\ndefined in a particular case, of such I scarcely know two or three. Thence it arises that\nall our reasoning about this subject always seems so vacillating and dubious, and that it is\nsmall wonder if the actor who possesses nothing but a happy routine, feels himself offended\nby it in all ways. He will never think himself praised enough and will always believe himself\nblamed too much; ay, he will often not even know whether he has been praised or blamed.\nIndeed the observation was made long ago that the sensitiveness of artists, with regard to\ncriticism, rises just in that ratio in which the certainty, precision, and number of their\nprinciples regarding their art decline. This much in my own defence and in defence of\nthose without whom I should not need to excuse myself. 4& & &"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c013", "article_bluemountain": "bmtnaau_1908-07_01#c013", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "99", "page_fin": "102", "image_debut": 15, "image_fin": 18, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.8", "titre_corps": "INIGO JONES AND HIS MASQUES", "titre_sommaire": "INIGO JONES AND HIS MASQUES", "signature_source": "J. Paul Cooper", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 15, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.15", "debut_caractere": 0, "fin_caractere_exclue": 4180, "texte": "INIOO JONES AND\nHIS MASQUES.\nby J. Paul Cooper\nrig°jones was born in the reign °f E,izabeth. his w°rk ■« En«iand sh°rt,y att«r\nthe accession of James I. to the throne, lived to see the civil war and died just before the\nrestoration. He lived in an age when much was done and biographies were scarce. His name\nhas survived as an architect and a designer of Masques. Today he is probably better known\nto the majority of people by his portrait which Vandyke painted than by his architectural\nworks. To nickname him the \" English Palladio \" is to dismiss him with a second hand\ncompliment, shorn of half his laurels. & & &\nHe was born in the year 1573. Sir Francis Bacon, Shakespeare, Spencer, Christopher\nMarlow, Sir Philip Sydney, Sir Walter Raleigh, Robert Flood, Ben Jonson, Philip Massinger,\nMilton, Samuel Butler, John Locke and John Bunyan were his contemporaries. A Londoner\nby birth, he was christened in the church of St Bartholomew in the Cloth Workers' quarter,\nwhere annually the great cloth fair took place. His father, Ignatius Jones, was himself a\nclothworker. His son was, according to Walpole, apprenticed to a joiner. & &\nThe first authentic information we have about Inigo Jones is that, at an early age, he\nwent to Italy to study landscape painting. It has been stated that he was sent there either\nby the Earl of Arundel or Pembroke, who had taken an interest in the boy, but he himself\nstates that it was his love of study and travel that took him there, and does not hint at\nany patron. In Italy he became interested in Architecture and spent much of his time\nstudying and measuring the buildings. From Italy he was invited by Charles IV to Denmark,\nwhere he designed and built, it is said, the royal palaces of Rosenborg and Fredericksborg.\nWhen in the year 1605 he accompanied Ann of Denmark to the Court of James I, his\nreputation was already made, he was at once appointed Architect to the Queen and\nPrince Henry and employed in the designs and decorations of the Court Masques. His\nfirst Masque was produced in the year in which he came over, in conjunction with Ben\nJonson, who at the same time made his debut as a writer of Masques. In the same year he\nwas employed on the scenery and devices for three plays presented before the King. \"They\nhired one, Mr Jones, a great traveller, who undertook to further them much and furnish\nthem with rare devices, but performed little to what was expected \". He all the same\nmade some innovations, for the writer of the letter in which this information is given goes\non to state that he had an arrangement of \" Columns moving about, so that three scenes were\ngiven in one tragedy \". But if the stage scenery did not come up to expectation, in the\nMasques expectation was surpassed. For several years to come Masque followed Masque,\nthe jMasque of Hymen, The Masque of Queens, The Princes Masque and many others. He\nwas appointed Prince Henry's Surveyor of Works, and then came in 1612 the death of Prince\nHenry, \" the glory of our own and the grief of other nations \", and Inigo Jones, after ar-\nranging one more Masque, this time with Chapman, to commemorate the marriage of the\nPrincess Elizabeth with Frederic the Elector Palatine, finding himself free set off again for\nItaly, this time under the patronage of the Earls of Arundel and Pembroke. A devoted\nadmirer of Palladio, we hear of him taking a copy of his work about with him wherever he went.\nHe returned to England on the death of Simon Basil, the surveyor general of the royal\nbuildings under James 1., and was appointed Surveyor in his place, being paid eight shillings\na day for his entertainment, eighty pounds a year for his \" recompense of availed \" and two\nshillings and eight pence a day for his riding and travelling charges, the which sum was\nafterwards increased. The Surveyor was required to superintend and repair the various\npalaces, devise alterations, and inspect works. Extra payments were made for work such\nas that of repairing Ely House, for certain works carried out in the Star Chamber, and \" for\nmaking a Hearse for the Queen's funerall &\n\nHis contem-\nporaries.^\nFirst visit to\nItaly. &\nHis first Masque\nSecond vis it\nto Italy. &"}, {"page_pdf": 16, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.16", "debut_caractere": 30, "fin_caractere_exclue": 5059, "texte": "& After the deaths of the Queen and Prince Henry, Masques were not in such great requisition\nand Inigo Jones devoted himself chiefly to architecture. In 1619 he commenced the New\nBanquefting Hall, Whitehall, which was burnt down shortly afterwards: he built the Chapel\nat Lincoln's Inn, the Chapel of the Infante, Somerset House which was destroyed of recent\nyears by a lesser architect, Sir William Chambers; he also built the water gate to the town\nhouse of Villiers, Duke of Buckingham. He was made one of the Commissioners for the\nrepair of St Paul's Cathedral, which was begun in 1633 and put a stop to by the civil war.\nHe built the theatre of Barber Surgeons, Monkswell St, began the Piazza of Covent Garden,\na building with a red brick front, stone pilasters and red tiled roof, which years after\npassed under his name when the red brick had been covered with stucco and the red tiled\nroof replaced by slates. In 1631 he began the church of Covent Garden, of which the tale\nis told of how the Earl of Bedford, sending for the architect, explained to him how he\nwan led a chapel for the parishioners, but that he would not go to any considerable expense:\n\" in short, 1 would not have it much better than a barn to which Inigo replied, \" You\nshall have the handsomest barn in England \". This church was his last architectural work.\nThe civil war broke out and building stopped and the Masques ceased. Inigo Jones joined\nthe royalist forces and was taken, sword in hand, at the Siege of Basing. He was fined and\nimprisoned. His outlook was gloomy; his office of surveyor, which he held under Charles I.\nafter the death of James, if not extinct, was unpaid; when released from prison he had\nno work and had to live on his savings, and these he, together with Nicholas Stone, the\nsculptor of the Monument to Sir Francis Vere in Westminster Abbey, buried in a private\nplace near his house in Scotland Yard; but as four servants had assisted at the burial, he\nbecame fearful lest its resting place should be discovered and so dug it up and reburied it\nin Lambeth Marsh. He died just before the Restoration and was buried according to the\nregister of St. Bennets on June 16. 1152, &\nInigo Jones became a designer of Masques, as far as we know, in the prime of life, and\nprobably in them he gave some of his best work as an artist. & & &\nThe Masques were descended from the mystic performences of the past; their origin lies far\nback in the rites of the Eleusinian and other mysteries. The Mask, from the use of which\nthe performances took their name, was originally used in dances to represent mythical\npersonages. As in the head dress of Egyptian deities the qualities of the god were represented,\nso in these dances the qualities of the deity would be exposed by the Mask worn by the\nperformer.\nThe Masque was the root of all other dramatic performances, it contained all in embryo, it\nshadowed forth endless possibilities, but in itself it differed from all other forms of expression.\nIt was all movement, and expressed, so to speak, the rhythm of the universe and appealed\nto and satisfied that craving we all feel for union with that rhythm. It was as changing\nas the sea, as nature herself. The words passing into song and the music urging on the dance,\nBy means of movement they caused, in the beholder, an exaltation of his poetic nature.\nThey were acted poems, poetry expressed in words, music, dance and scenic accompaniment.\nLike an orchestra of many different instruments, each one of which touches a different\nchord in the hearer's heart, so that he is swept away and becomes as one with the performers,\nthe Masque, by appealing to so many sides of man's nature and striking the same note on\neach, brought him into tune with the masquers, and the whole hall, audience and performers\nalike, were as one instrument responding to the touch of the artist's hand, who wittingly\nor unwittingly had touched a note to which all must respond. In the Masque, in fact, the\naudience and the performers were as one; there is an intimate bond of union which is, at\ntimes, expressed in the words of the Masque itself, and the members of the audience, as\nin the marriage Masques, often furnish the subject on which the Masque is constructed.\nThe spirit of the more ancient Masques appears in the symbolic figures, the Greek and\nRoman deities, the Nature spirits, the Virtues and Vices that were introduced; they were\nall symbols, and symbols are keys opening, for those who can use them, stores of knowledge.\n<<& They were of immense advantage to the artist composing and arranging the Masques;\nforming a nucleus round which ideas clustered; they at once furnished the poet with a\nsubject for his verse, the musician with a theme for his song, the designer and painter\nwith a groundwork for their scenes, and gave a direction to the feet of the dancers. These\nfigures had been moulded by the ages, and their symbolism stamped by generations of\n\nThe Civil War.\nThe origin of\nMasques. &\nTheir charac-\nteristics.\nSymh o I i c\nfigure s."}, {"page_pdf": 17, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.17", "debut_caractere": 0, "fin_caractere_exclue": 5007, "texte": "worshippers in the past. The audience was expected to recognize them and understand\ntheir significance. Their costumes like a coat of arms proclaimed their personality. Rumour,\nin a skin coat full of winged tongues; Curiosity and Error in a like coat, the one full of eyes,\nthe other scaled like a serpent, with hair of curled snakes and a deformed vizard; Credulity\nwas painted over with ears. The Earth wore a grass green coat and mantle painted over\nwith trees, plants and flowers, and with an oak headdress. Water had a waved coat with\na mantle full of fishes and a dolphin headdress. The Air was clothed in a skin coat with\na mantle painted with birds, and with an eagle headdress. Fire wore a skin coat with a\nmantle painted with flames and on the head a cap of flames with a Salamander in\nthe midst. In the Masques there was hardly any plot and hardly any episode. It was an\nallegory, a little vision, which approached the spectators, made its bow and with a\nfew compliments vanished. 44 It was written for princes and by princes it was played \".\n44 Like a Good Comedy it required \" as Mr Meredith says, 44 a society of cultivated men and\nwomen where ideas are current and perceptions quick \". Then you are shown 44 a world\nenlarged to our embrace by imagination and by great poetic imagination \", a world in which\nthe forces of nature take a mortal shape. It is not the individuals who move and sing\nand dance; thej' are the Gods that rule men's destinies, the spirits of earth and air and\nwater, the symbols of men's passions, their virtues and vices. Apollo \" who taught the Muses\nall their harmonies; \" Jove,44 the power that governs and conserveth all earth, sea and ayre\";\nMerecles, 44 great friend and servant of the Gods \"; The Fates who spin and weave and cut\nthe thread of human destinies; Lethe, the giver of forgetfulness ; Atlas, 44 hoary and frosted \";\nNight with its dance of phantoms; Phosphorus, herald of the day, all move in the Masque. What\nopportunities are given the scenic artist with the House of Night, the triumph of Fame, the\nPalace of Neptune and the House of Prometheus, from which fiery spirits, clothed in flames,\nwith fiery wings and 44 bearing in either hand a torch of virgin wax came forth dancing, \" and\nwhat opportunities for the dancers in the dance of Phantoms, the dance of the Signs of the\nZodiac, the dance of the Winds, the dances of Witches, of Nymphs and Dryads. & &\nThe Masque was produced by the combined aristocracy of birth and talent. Ben Jonson\nfound expression in them for his learning, Milton gave in his Masque of Comus some of his\nrichest verse. Lord Bacon, Whitelock and Selden invented the devices for the last great\nMasque presented to Charles I, and composed the procession of Masques and Antimasques.\nThe songs and dances were set to music and arranged by the most celebrated masters, and\nthe performers were often the highest in the land, the King and Queen themselves frequently\ntaking part.\nThe age in which they were performed was not an age of specialists. An artist was not\ndepreciated in any way because he could express himself in more than one material. Inigo Jones\nbesides being an architect and designer of Masques was a writer of sonnets, a painter and\na most capable draughtsman. Ben Jonson not only wrote Masques, but designed and produced\nthem himself. One Masque was designed by a master carpenter, another by a dancing master.\nThe members of the court who so frequently took the chief parts in the Masque were taught\ndancing and learned something of the actor's art as a necessary part of the education of\none called upon to take a leading part in courtly pageants. & «&\nThis overlapping, so to speak, of craftsmanship, made for the great success of the Masque.\nThe artist, while attending to his own branch of the work, understood as a fellow craftsman\nwould, the aims and difficulties of his fellow workmen, and could further the one and\nhelp to overcome the other, in away that is almost impossible when each artist, bound up\nin his own work, fails to understand at a glance the technical difficulties another in another\nbranch has to deal with. Inigo Jones, as an architect, would find in the Masque a means of\nexpressing himself in away that would otherwise be impossible, away that is unfortunately\ndenied to modern architects. Like a Genie out of the Arabian Nights, he was endowed\nwith the power to raise magic buildings in a single night. The walls might be of jasper or\nrare marbles, there was no one to complain of the cost; the statues that adorned them\nwere of gold and silver in place of stone, and the windows gleamed like jewels by the aid\nof coloured lights. These buildings would be for the architect gigantic models in which\nhe could try effects before he ventured them in brick and stone. It is difficult for us today to\nrealise what effect they would have on the public, they would be so fresh and strange, a dream\nwithin a dream, a work of art encased in a work of art. & In the Masque of Queens which"}, {"page_pdf": 17, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.17", "debut_caractere": 5041, "fin_caractere_exclue": 5150, "texte": "George Meredith\nAn opportunity\nfor the scenic\nartist.\nAn opportunity\nfor the architect.\nThe Masque of\nQueens."}, {"page_pdf": 18, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.18", "debut_caractere": 31, "fin_caractere_exclue": 4189, "texte": "was written by Ben Jon son and designed by Inigo Jones, the former gives a description of the\nHouse of Fame. 44 First for the lower columns he chose the statues of the most excellent Poets,\n\" as Homer, Virgil, Lucan, etc. as being the substantial supporters of Fame. For the upper,\n\" Achilles, >Eneas, Caesar, and those great Heroes, which these Poets had celebrated. All\n44 which stood, as in massie-gold. Betweene the pillars, underneath, were figur'd Land\n44 battailes, Sea fights, Triumphs, Loves, Sacrifices, and all magnificent subject of honour: in\n44 bronze and heightened with silver, in which, he protest to follow the noble description, made\n\" by Chaucer, of the place. Above were sited the Masquers, over whose heads he devis'd two\n44 eminent figures of Honour, and Virtue, for the arch. The Freezes, both below, and above,\n44 were fill'd with several»coloured lights, like Emeralds, Rubies, Saphyres, Carbuncles, etc.\n44 the reflexe of which, with other lights, placed in the concave, upon the Masquer's habits,\n\" was full of glory. These habits had in them the excellencie of all device, and riches, and\n44 were worthily varied by his invention, to the nations whereof they were the Queens\nIn one of the scenes in the Lords Masque which Campion wrote and for which Inigo Jones\nmade the designs there were four life sized statues of silver 44 standing in several niches,\n44 accompanied with ornaments of Architecture, which filled all the end of the house, and\ni\n44 seemed to be all of goldsmith's work. The first order consisted of pillasters all of gold, set\n44 with Rubies, Sapphyres, Emeralds, Opals and such like. The capitals were composed of a\n44 new invention. Over this was a bastard order with cartonses reversed, coming from the\n44 capitals of every pilaster, which made the upper part rich and full of ornament. Over every\n44 statue was placed a history in gold, which seemed to be of base releave, the conceits which\n44 were figured in them were these. In the first Prometheus embossing in clay the figure of\n44 a woman, in the second he was represented stealing fire from the chariot wheel of the\n44 sunne, in the third he is exprest putting life with this fire into his figure of clay, and in\n44 the fourth square Jupiter enraged, turns these new made women into statues. Above all\n44 for finishing ran a cornish, which returned over every pillar seeming all of gold richly carved.\"\nBut Inigo Jones' work in connection with the Masques did not end with the designs for scenery,\nwhether buildings, landscape, or seascape. He designed also the dances, the mechanical\nappliances and planned the stage and the seating. The Masque had a short and brilliant\nreign. It was abandoned at the time of the Civil war not to be revived. Its fate seemed\n\\\nintimately connected with that of Inigo Jones himself. It was introduced into England when\nthe young architect returned to his native land with Ann of Denmark, it flourished as he\nflourished, and declined when he fell on evil days. It was a costly entertainment, but\nfrom all we hear was worthy of the money spent upon it. The writers of the time who\nmention it, all speak of it with enthusiasm. It supplied wants that we seek today, in other\nways, to satisfy. It gave poetry, music, scenic display and dancing. We now go to books\nfor poetry, to the opera or concert for music, to the theatre for scenic display, and to the\nMusic Hall for dancing. We specialize over much and we suffer for it. The actor is at\ntimes drowned by his scenery, the dancer is almost lost in a variety entertainment, wedged\nin between the turn of a juggler and of a ventriloquist. But we have no performance which\nunites the arts and unites the audience in the same way as the Masques did. The music,\nthe dancing, the colour of the changing scene were to the spectator as the flags and battle\nmarch of a great army. They quickened the blood, aroused the imagination, and stirred\nup noble thoughts, 44 for all representations \"as Ben Jonson says,44 especially those of this\nnature....ought always to carry a mixture of profit, with them, no lesse than delight. &\ni\n\nThe I, or d s\nMasques\nThe Reign of\nthe Masque."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c017", "article_bluemountain": "bmtnaau_1908-07_01#c017", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "103", "page_fin": "106", "image_debut": 19, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.9", "titre_corps": "BOOK REVIEWS", "titre_sommaire": "BOOK REVIEWS", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.19", "debut_caractere": 0, "fin_caractere_exclue": 5255, "texte": "BOOK REVIEWS\n\nSH AKESP E All I? AN REP RE-\nS&ISTATION, ITS LAWS ANB LIMITS,\nby Percy Fitzgerald. Elliot Stock; London.\n6s Nett. jg?\nTyjr Fitzgerald, who has devoted himself\nlYlfor many years to the study of the\ntheoretical representation of Shakespeare's\nplays, gives us the result of his investigation\nIn a series of interesting chapters on \" The\nReal Hamlet\"; \" Shakespearean Ghosts, Appa-\nritions and Witches \" Music and Dancing; \"\n44 Modern Revivalists, \" and the like.\nWe are inclined, however, to question the\nfitness of the sub-title chosen by Mr Fitzgerald,\nfor in our opinion he does not tell us the\nLaws, and rather widens than narrows the\nLimits. He tells us what Irving, Beerbohm\nTree and other producers have done and then\nproposes to do other things, yet he does not\nsuggest giving the entire piece another\ntreatment; but merely varying and elaborating\nthe treatment which now prevails.\nTake, for example, his passage relating to\nthe procession of spirits in \" Macbeth \". \" The\n\" very suggestion of the magic procession of\n\" Kings impresses. It ought to be an ever\n\" brilliant and imposing thing, the scene\n\" changing to a glow of lights, with glitter and\n\" effulgence. There should be music, too, as\n\" directed ('hoboys') Yet it is always presented\n\" in the most literal commonplace fashion. The\n\" fellows tramp past. The figures should enter\n\" among the trees, each after an interval...\n\" not in a procession, as is so commonly shown,\n\" but after pauses, with a slow and saddened\n\" gait. They should be misty, shadowy things.\n\" The witches then, seeing Macbeth depressed\n\"by their show, indistinct at first, cry,\" Cheer\n\"we up his spirits! Charm the air to give a\n\" sound \", etc, on which there should be more\n\" pleasing music, with some fantastic dancing,\n\" at the close of which they all slowly vanish.\n\" Cave and all might disappear, and Macbeth\n\" be left on an open heath, as if awakened\n\" from a dream,\" Now this is not \"limiting\";\nit is rather elaborating what stage managers\nare doing today, and this fact of itself proves\nthe book the work of ta student, a theorist,\nand not of one who has had practical\nexperience of what he teaches. Had Mr\nFitzgerald practised the art of stage\nmanagement, he would have discovered the\nvery important fact which no one can discover\nwithout practise,...that the material of the\ntheatre is already too elaborate, and that\nit is this material which must be simplified\nif simpler effects are to be produced.\nIn his description of the opening scene of\nHamlet the author again reveals the true\nimaginative stage director,...but he is\nforgetting Scene II which follows close upon\nScene 1. He is therefore no practical stage\ndirector. \"This Terrace\", he writes,\n\" should be a long stretch or promenade, and a\n\" lonely one. And here is usually the mistake...\n\" that there is little attention paid to the scale\n\" of things, it being attempted to squeeze\n\" into the small area all the substantial portions\n\" of a castle. This quite dispels illusion. The\n\" ghost might be seen coming down from a long\n\" distance, first afar off, then drawing near\n\" slowly and gradually, and unseen by the\n\" officers\". & & &\nWe hope we appreciate the beauty of Mr\nFitzgerald* s conception and should like to\nsee him put it into practise, but we would\nremind him that swiftly upon this first scene\nfollows the second, and if his stage be entirely\noccupied, as it would need to be, with this\n\" long stretch or promenade \", where does\nScene II with its thirty or forty characters\ncome in ? The idea of a \" long\npromenade \" is remarkably picturesque; but\nuntil we know how the transition is to be\nmade from this scene with its lonely lawn\nto the next one so complete a contrast....\nwe must say that we feel it to be very\nunpractical.\nAnother matter in which we are at variance\nwith Mr Fitzgerald is with regard to his\nestimate of the work of Mr Gordon Craig.\nWe wonder if he has ever read a very able\npaper on this subject by Mr Arthur Symons\nin his volume of \" Studies in Seven Arts \" ?\nThe phrase in which Mr Fitzgerald's criticism\nof Mr Craig's scenes culminates is \" They\nwill be found monotonous \". Possibly....\nbut whether they are or not will naturally\ndepend upon the onlooker and Mr Fitzgerald's\nis the kind of criticism which is often applied\nto work of marked personality. Bach is \" mo»\nnotonous \" to the man who prefers the\n\" variety \" of Sidney Jones: Fra Angelico\nis \" monotonous \" to one who finds relief in\nthe volubility of Phil May. It is what they\nsay of Irving as an actor, of Turner as a\npainter. \" He was always Irving \", and \"Well,\nwe know what a Turner is \". But what is\nmonotony in Art to one man is often the\ninsistence of personality to another, and\ncertainly in the case in question we hold the\nlatter view. & Mr Fitzgerald claims for his\nbook that it treats of the Laws of\nShakespearean Representation. We would\nventure to suggest, since he is interested in\nsuch matters, that he should make a careful\nstudy of the work, both practical and\ntheoretical, of Mr Gordon Craig, who is the\nmost serious and successful of all the seekers\nafter those far greater Laws, the Laws of\nthe Art ot the Theatre, and the man to\nwhom, more than any other, we firmly believe\nthat the Theatre of the Future will owe tsi"}, {"page_pdf": 20, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 5814, "texte": "re=establishment in its original dignity and\nbeauty. & But, these slight criticisms apart,\nwe cannot commend sufficiently this book of\nMr Fitzgerald's to the attention of the stage\nmanagers in the modern theatre;for although,\nfor the reasons given, the author does not\nbringusany new solution of difficultproblems,\nhe certainly supplies a quantity of valuable\nadvice to those who practise the modern\nmethods in the Theatre of today. & ■£?\n\nTHn STORY OF MY hI F H\nby nil en T err y & &\n'T'hese Memoirs, now appearing month by\n® month in Maclure's Magazine, are very\nfreshly written, and, in that personal\nspontaneity which is so entrancing, recall\nthe Memoirs of the American actress, Clara\nMorris. Yet for all that we read these\nReminiscences with disappointment, coming\nas they do from so great an actress; because,\nwhile charming as Reminiscences, they are, as\na contribution to the Art of Theatre, entirely\nvalueless. For this is not a book for the\nboy or girl who is struggling to know how\nto do or how not to do, who is perplexed to\nknow if to keep on with the work or give\nup altogether, and who, in that struggle and\nperplexity might naturally turn for guidance\nto the writings of one who has travelled the\nsame path before. No, it is a popular book\nto read when in a train or a boat on the\nThames. Undeniably charming, but valueless:\npretty, tender, good, excruciatingly funny at\ntimes, but again,.... valueless to the Art of\nthe Theatre. & & &\nAnd it is in this that the disappointment\nlies. It would have been less keen if the\nactress had been less great. As it is we lay\ndown these reminiscences only to wonder\nagain, when will one of our leaders,.... that\nis to say, one of those old enough to know\nwell, if not better, than any, when will one\nof these begin to speak the truth, whether\nthat truth be ugly or beautiful, about the\nTheatre and its Art? Why the truth?\nSimply because it counts for so much vitality.\nWhy not such Memoirs as these? Simply\nbecause they count for so much entertainment\nand no more. We have heard actors and\nactresses, (great actors and actresses)\ngrumbling against books written by students\nof the theatre,.... books such as those by\nGoethe, Diderot, John Addington Symonds,\nG. W. Lewis, Arthur Symons, because, they\nsay, these gentlemen are all very fine with\ntheir theories, but they have never practised\nanything and therefore how can they know ?\nYet these actors and actresses, (great actors\nand actresses), never themselves trouble to\nwrite in a serious mood about the theatre,\nso who is to do it? Great generals have\nwritten their serious theories drawn from\npractise, on military tactics and other matters\nof value to the young soldier; painters and\nmusicians have written seriously of their\nseveral arts: it is only the actors who have\nnothing for the younger generation but\namusing anecdotes of their career. &\nPerhaps one of the most serious contributions\nby an actor to the literature of the Art of\nthe Theatre is Mr Beerbohm Trees's little\nbook on \" The Imaginative Faculty \", a lecture\ndelivered at the Royal Institution, May 26,\n1903. We hope Mr Tree will write another\nh00k,.... an important one, and when he\ndoes we trust that he will find it possible to\nomit from his work all anecdotes. In that\nomission lies much of the value of his former\nhook. It is not occupied with chatty and\namusing records of how Mr A. did this and\nhow Mr B. did the other, and what Mr. T. said.\nIt is on a higher plane altogether, showing\nthat, had the author seen his way clear to\nworking for the future of the stage,... (a thing\nwhich everybody must perceive is most\nnecessary)... instead of producing a few plays\nwhich will have their day and be ended, he\nwould have left a name among the great\nworkers in the Art of the Theatre. & &\nNothing spoils a book on the Art of the\nStage so much as anecdotes of its actors.\nHow unfortunate this is and how prejudicial\nto the interests of the Art! We do not want\nto be told if an actor is a good fellow or not\nfor we know that already. What we want to\nlearn is if he is a serious worker, how much\nand what kind of work he does and what is his\nwhole intention in doing it. And then we do\nnot want him to compare his work with that\nof the carpenter or some other hard worker\nbut to compare it with the fine arts and show\nits relation to them. We want to see him\nas an artist among artists and learn his relative\nvalue. We should like to come across a\nbook which treated of these matters, but\nit would take such a man many years to\nwrite it and he would have to leave the stage\nin order to do so, which might, ...but we must\nask to be forgiven if we refuse to state\nthe idea which has suggested itself during\nthe writing of this last paragraph! &\nTo return, however, to the present chapter\nof Miss Terry's Memoirs. The letter from\nMadame Duse quoted in the May number is\ninteresting and we reprint it here: &\n44 Madame: With Olivia you have given me\n\" pleasure and pain. Pleasure by your noble\n44 and sincere art pain because I feel sad\n\" at heart when I see a beautiful and generous\n44 woman give her soul to art as you do\n\" when it is life itself, your heart itself,\n\" that speaks tenderly, sorrowfully, nobly\n44 beneath your acting. I cannot rid myself\n44 of a certain melancholy when 1 see artists\n44 as noble and distinguished as you and Mr\n44 Irving. Although you are strong enough\n44 (with continual labor) to make life\n44 subservient to art, I, from my standpoint,\n44 regard you as forces of nature itself, which\n44 should have the right to exist for themselves\n44 instead of for the crowd. I would not venture\n44 to disturb you, Madame, and moreover 1\n44 have so much to do that it is impossible\n44 for me to tell you personally all the great\n44 pleasure you have given me, because I\n44 have felt your heart. Will you believe, dear"}, {"page_pdf": 21, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 5596, "texte": "44 Madame, in mine, which asks no more at\n44 this moment than to admire you and to\n44 tell you so in any manner whatsoever.\n44 Always yours, E. DUSE. >£> &\nYet, though interesting, we rather regard it\nas the letter of an actress than the letter\nof an artist. Set in the midst of Miss Terry's\nblithe memories it shows us how, as the\ncomedy actress will invariably make sunshine\nout of all she sees and does, the tragedy\nactress sees tragedy in everything. It is a\nmatter of focus, and naturally results from\nregarding scenes and events through the\ntemperament rather than through the\nimagination. On a later page is given the\nfollowing letter, written from Oxford to\nMiss Terry by Henry Irving.\n441 had supper last night at New College\n44 after the affair. A. was there, and I had\n44 it out with him to the delight of all.\n44 4 Too much decoration % etc., etc. & 1\n44 asked him what there was in 44 Faust\" in the\n44 matter of appointments, etc., that he would\n44 like left out. Answer nothing. & 4 Too\n44 long runs.' & & &\n44 4 You, sir, are a poet,' I said. 4 Perhaps it\n44 may be my privilege some day to produce\n44 a play of yours. Would you like it to have\n44 a long run or a short one?' (Roars of\n44 laughter). & & &\n44 Answer: 4 Well, er, well, of course, Mr\n44 Irving, you well well, a short run, of\n44 course, for arf, but \\ 4?\n44 4 Now, sir, you're on oath,' said 1. 4 Suppose\n44 that the fees were rolling in ten pounds and\n44 more a night would you rather the play\n44 were a failure or a success? ' <£?\n44 4 Well, well, as you put it, I must say —er\n44 1 would rather my play had a long\n44 run I' A. floored! & & &\n44 He has all his life been writing articles\n44 running down good work and crying up the\n44 impossible, and I was glad to show him up\n44 a bit!\n& What a strange attitude! Is it typical of the\nEnglish stage? Is it typical of the English\nnation? Is it typical of commerce? It is\ncertainly not typical of anything to do with\nArtists and their work. Who, one wonders,\nwas this poet at Oxford who fell so easy a\nprey to the celebrated Actor=Manager? who\nwas this twopenny gentleman who is brought\nforward as the type of all poets and who yet\nbegan to hum and haw as soon as money\nwas mentioned?... for the word 44 money „\nis a Shiboleth, and the way it is pronounced\nshows unmistakeably the quality of the man.\nIf taken seriously, the whole thing was very\nunworthy of Irving. One sees him in the\nguise of the Actor« Manager, trying to prove\nthe very unimportant and unreliable fact\nthat the public is an ass and that those who\ntruckle to the public are greater asses. He\nproves his point up to the hilt, therefore he\nalso proves the rule that Poets are not fools,\nfor this must have been an exceptional\npoet.... but he does not mention the name\nof the poet. We hardly think that, had he met\nLord Tennyson, Mr Swinburne, Mr Rossetti\nor a dozen other poets in England at this\nday that he would have been able to write\nas he does here. After all, where the actor\nmanager goes poets and artists ars not often\nto be found, so it is not surprising that he\nshows himself ignorant of the real nature of\nthe artist since he so seldom comes across\none in his travels.\nWe have said before that the publi-\ncation of such Memoirs as Miss Terry's\nwas of no service to the Art of the Stage;\nwe should have said hardly any service. As\nthe Memoirs of the most popular actress in\nEngland they will afford entertainment to\nmany; and by the way in which they imply\nand reveal the narrowness of the theatrical\nbrain, the limitations of the theatrical outlook,\nthey will, also unwittingly, help the Art itself.\nHow? Why, because the younger men,\nreading these pages, will feel more insistently\nthan before the imperative need of escaping\nfrom the triviality of the stage world, from\nthe artificiality of its atmosphere. The stage\nworld as drawn by Miss Terry would not be\na tiny one for a public person but it is a\ntiny one for an Artist.... and it is artists\nthat the theatre needs. The world of the\nStage is one in which men may crawl or\nclimb, but never fly. The Art of the theatre\nis the only art which exists in such an\natmosphere. All the others spread their\nwings. But discontent with existing conditions\nis a necessary prelude to their reformation,\nand it is in arousing this discontent in the\nyounger workers in the theatre that Miss\nTerry's memoirs will be of service to the\nArt. & &\n\nTHE BUTTERFLY QUARTERLY\nPublished by George Wolfe Plank, 1126\nWalnut Street, Philadelphia: U. S. A.\nAnnual subscription, dollars 1.25.\n\nWe have received the first three numbers\nof this new American Art Journal, and\nwe like them. The format is good, the type\nclear; it is carefully printed upon stout paper.\nIts contents are not so dull as the contents\nof the majority of journals and often much\nbrighter. its illustrations are at times\nsurprisingly good. Mr George Wolfe Plank\nis a young and gifted artist and his wood\nengravings are unlike anything America has\nproduced. Wood engravings are rare things\nat all times, and the quality of the wood\nengravings in the \" Butterfly \" make them\nworthy of special attention. &\nThe second number of \" The Butterfly \"\ncontains a translation of a short play by August\nStrindberg: an intense little piece which\nshould be of great interest to the serious\nstage in England. There are six characters\nin the play, which is not so well translated\nas it might be, but which could easily be made\nbetter by a few slight alterations by anyone\nwishing to perform it. Strindberg is the\nfirst poet and playwright of Scandinavia, the\nonly successor of Ibsen. It is not generally"}, {"page_pdf": 22, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 879, "texte": "known that he is also one of the first landscape\npainters in Sweden. &\nIn the last number of 44 The Butterfly \"is a\ndesign of Madame Nazimova as 44 Hedda\nGabler, \" a strange poem called 44 Moonlight \",\nsome music, the reproduction of an etching by\nGordon Craig, and many woodcuts by the\nEditor, George Wolfe Plank.\n\nD.N.L.\n\nBOOKS, JOURNALS AND MAGAZINES\nRECEIVED jg?\n\" Desiderio, a Play in 3 Acts \" Sonnets and\nShort Poems & \" Proserpine, a Masque in 3\nActs \".Maurice Baring(Simpkin, Marshall & Co.,\nLondon. \" A Typical Shakespearean Stage \"by V.\nE. Albright. (The Knickerbocker Press. New York)\n\" The Flame', A Pantomime \" by Mark Perugini.\n(The Pan Press). jg?\n\" The Studio London. \" The New York Dramatic\nMirror New York. \" Poesia Nos. 1-4, Milan.\n\" Rivista di Roma Rome. \" Argus Helsingfors.\n\" Die Schaubuhne Berlin. \"Uj Szemle Budapest.\n\" II Teatro Illustrato \" Milan. & & &"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c019", "article_bluemountain": "bmtnaau_1908-07_01#c019", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "103", "page_fin": "104", "image_debut": 19, "image_fin": 20, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.9.2", "titre_corps": "SHAKESPEAREAN REPRESENTATION, ITS LAWS AND LIMITS by Percy Fitzgerald", "titre_sommaire": "SHAKESPEAREAN REPRESENTATION, ITS LAWS AND LIMITS by Percy Fitzgerald", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 19, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.19", "debut_caractere": 14, "fin_caractere_exclue": 5255, "texte": "SH AKESP E All I? AN REP RE-\nS&ISTATION, ITS LAWS ANB LIMITS,\nby Percy Fitzgerald. Elliot Stock; London.\n6s Nett. jg?\nTyjr Fitzgerald, who has devoted himself\nlYlfor many years to the study of the\ntheoretical representation of Shakespeare's\nplays, gives us the result of his investigation\nIn a series of interesting chapters on \" The\nReal Hamlet\"; \" Shakespearean Ghosts, Appa-\nritions and Witches \" Music and Dancing; \"\n44 Modern Revivalists, \" and the like.\nWe are inclined, however, to question the\nfitness of the sub-title chosen by Mr Fitzgerald,\nfor in our opinion he does not tell us the\nLaws, and rather widens than narrows the\nLimits. He tells us what Irving, Beerbohm\nTree and other producers have done and then\nproposes to do other things, yet he does not\nsuggest giving the entire piece another\ntreatment; but merely varying and elaborating\nthe treatment which now prevails.\nTake, for example, his passage relating to\nthe procession of spirits in \" Macbeth \". \" The\n\" very suggestion of the magic procession of\n\" Kings impresses. It ought to be an ever\n\" brilliant and imposing thing, the scene\n\" changing to a glow of lights, with glitter and\n\" effulgence. There should be music, too, as\n\" directed ('hoboys') Yet it is always presented\n\" in the most literal commonplace fashion. The\n\" fellows tramp past. The figures should enter\n\" among the trees, each after an interval...\n\" not in a procession, as is so commonly shown,\n\" but after pauses, with a slow and saddened\n\" gait. They should be misty, shadowy things.\n\" The witches then, seeing Macbeth depressed\n\"by their show, indistinct at first, cry,\" Cheer\n\"we up his spirits! Charm the air to give a\n\" sound \", etc, on which there should be more\n\" pleasing music, with some fantastic dancing,\n\" at the close of which they all slowly vanish.\n\" Cave and all might disappear, and Macbeth\n\" be left on an open heath, as if awakened\n\" from a dream,\" Now this is not \"limiting\";\nit is rather elaborating what stage managers\nare doing today, and this fact of itself proves\nthe book the work of ta student, a theorist,\nand not of one who has had practical\nexperience of what he teaches. Had Mr\nFitzgerald practised the art of stage\nmanagement, he would have discovered the\nvery important fact which no one can discover\nwithout practise,...that the material of the\ntheatre is already too elaborate, and that\nit is this material which must be simplified\nif simpler effects are to be produced.\nIn his description of the opening scene of\nHamlet the author again reveals the true\nimaginative stage director,...but he is\nforgetting Scene II which follows close upon\nScene 1. He is therefore no practical stage\ndirector. \"This Terrace\", he writes,\n\" should be a long stretch or promenade, and a\n\" lonely one. And here is usually the mistake...\n\" that there is little attention paid to the scale\n\" of things, it being attempted to squeeze\n\" into the small area all the substantial portions\n\" of a castle. This quite dispels illusion. The\n\" ghost might be seen coming down from a long\n\" distance, first afar off, then drawing near\n\" slowly and gradually, and unseen by the\n\" officers\". & & &\nWe hope we appreciate the beauty of Mr\nFitzgerald* s conception and should like to\nsee him put it into practise, but we would\nremind him that swiftly upon this first scene\nfollows the second, and if his stage be entirely\noccupied, as it would need to be, with this\n\" long stretch or promenade \", where does\nScene II with its thirty or forty characters\ncome in ? The idea of a \" long\npromenade \" is remarkably picturesque; but\nuntil we know how the transition is to be\nmade from this scene with its lonely lawn\nto the next one so complete a contrast....\nwe must say that we feel it to be very\nunpractical.\nAnother matter in which we are at variance\nwith Mr Fitzgerald is with regard to his\nestimate of the work of Mr Gordon Craig.\nWe wonder if he has ever read a very able\npaper on this subject by Mr Arthur Symons\nin his volume of \" Studies in Seven Arts \" ?\nThe phrase in which Mr Fitzgerald's criticism\nof Mr Craig's scenes culminates is \" They\nwill be found monotonous \". Possibly....\nbut whether they are or not will naturally\ndepend upon the onlooker and Mr Fitzgerald's\nis the kind of criticism which is often applied\nto work of marked personality. Bach is \" mo»\nnotonous \" to the man who prefers the\n\" variety \" of Sidney Jones: Fra Angelico\nis \" monotonous \" to one who finds relief in\nthe volubility of Phil May. It is what they\nsay of Irving as an actor, of Turner as a\npainter. \" He was always Irving \", and \"Well,\nwe know what a Turner is \". But what is\nmonotony in Art to one man is often the\ninsistence of personality to another, and\ncertainly in the case in question we hold the\nlatter view. & Mr Fitzgerald claims for his\nbook that it treats of the Laws of\nShakespearean Representation. We would\nventure to suggest, since he is interested in\nsuch matters, that he should make a careful\nstudy of the work, both practical and\ntheoretical, of Mr Gordon Craig, who is the\nmost serious and successful of all the seekers\nafter those far greater Laws, the Laws of\nthe Art ot the Theatre, and the man to\nwhom, more than any other, we firmly believe\nthat the Theatre of the Future will owe tsi"}, {"page_pdf": 20, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.20", "debut_caractere": 0, "fin_caractere_exclue": 438, "texte": "re=establishment in its original dignity and\nbeauty. & But, these slight criticisms apart,\nwe cannot commend sufficiently this book of\nMr Fitzgerald's to the attention of the stage\nmanagers in the modern theatre;for although,\nfor the reasons given, the author does not\nbringusany new solution of difficultproblems,\nhe certainly supplies a quantity of valuable\nadvice to those who practise the modern\nmethods in the Theatre of today. & ■£?"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c020", "article_bluemountain": "bmtnaau_1908-07_01#c020", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "104", "page_fin": "105", "image_debut": 20, "image_fin": 21, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.9.3", "titre_corps": "THn STORY OF MY LIFE by Ellen Terry", "titre_sommaire": "THn STORY OF MY LIFE by Ellen Terry", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 20, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.20", "debut_caractere": 440, "fin_caractere_exclue": 5814, "texte": "THn STORY OF MY hI F H\nby nil en T err y & &\n'T'hese Memoirs, now appearing month by\n® month in Maclure's Magazine, are very\nfreshly written, and, in that personal\nspontaneity which is so entrancing, recall\nthe Memoirs of the American actress, Clara\nMorris. Yet for all that we read these\nReminiscences with disappointment, coming\nas they do from so great an actress; because,\nwhile charming as Reminiscences, they are, as\na contribution to the Art of Theatre, entirely\nvalueless. For this is not a book for the\nboy or girl who is struggling to know how\nto do or how not to do, who is perplexed to\nknow if to keep on with the work or give\nup altogether, and who, in that struggle and\nperplexity might naturally turn for guidance\nto the writings of one who has travelled the\nsame path before. No, it is a popular book\nto read when in a train or a boat on the\nThames. Undeniably charming, but valueless:\npretty, tender, good, excruciatingly funny at\ntimes, but again,.... valueless to the Art of\nthe Theatre. & & &\nAnd it is in this that the disappointment\nlies. It would have been less keen if the\nactress had been less great. As it is we lay\ndown these reminiscences only to wonder\nagain, when will one of our leaders,.... that\nis to say, one of those old enough to know\nwell, if not better, than any, when will one\nof these begin to speak the truth, whether\nthat truth be ugly or beautiful, about the\nTheatre and its Art? Why the truth?\nSimply because it counts for so much vitality.\nWhy not such Memoirs as these? Simply\nbecause they count for so much entertainment\nand no more. We have heard actors and\nactresses, (great actors and actresses)\ngrumbling against books written by students\nof the theatre,.... books such as those by\nGoethe, Diderot, John Addington Symonds,\nG. W. Lewis, Arthur Symons, because, they\nsay, these gentlemen are all very fine with\ntheir theories, but they have never practised\nanything and therefore how can they know ?\nYet these actors and actresses, (great actors\nand actresses), never themselves trouble to\nwrite in a serious mood about the theatre,\nso who is to do it? Great generals have\nwritten their serious theories drawn from\npractise, on military tactics and other matters\nof value to the young soldier; painters and\nmusicians have written seriously of their\nseveral arts: it is only the actors who have\nnothing for the younger generation but\namusing anecdotes of their career. &\nPerhaps one of the most serious contributions\nby an actor to the literature of the Art of\nthe Theatre is Mr Beerbohm Trees's little\nbook on \" The Imaginative Faculty \", a lecture\ndelivered at the Royal Institution, May 26,\n1903. We hope Mr Tree will write another\nh00k,.... an important one, and when he\ndoes we trust that he will find it possible to\nomit from his work all anecdotes. In that\nomission lies much of the value of his former\nhook. It is not occupied with chatty and\namusing records of how Mr A. did this and\nhow Mr B. did the other, and what Mr. T. said.\nIt is on a higher plane altogether, showing\nthat, had the author seen his way clear to\nworking for the future of the stage,... (a thing\nwhich everybody must perceive is most\nnecessary)... instead of producing a few plays\nwhich will have their day and be ended, he\nwould have left a name among the great\nworkers in the Art of the Theatre. & &\nNothing spoils a book on the Art of the\nStage so much as anecdotes of its actors.\nHow unfortunate this is and how prejudicial\nto the interests of the Art! We do not want\nto be told if an actor is a good fellow or not\nfor we know that already. What we want to\nlearn is if he is a serious worker, how much\nand what kind of work he does and what is his\nwhole intention in doing it. And then we do\nnot want him to compare his work with that\nof the carpenter or some other hard worker\nbut to compare it with the fine arts and show\nits relation to them. We want to see him\nas an artist among artists and learn his relative\nvalue. We should like to come across a\nbook which treated of these matters, but\nit would take such a man many years to\nwrite it and he would have to leave the stage\nin order to do so, which might, ...but we must\nask to be forgiven if we refuse to state\nthe idea which has suggested itself during\nthe writing of this last paragraph! &\nTo return, however, to the present chapter\nof Miss Terry's Memoirs. The letter from\nMadame Duse quoted in the May number is\ninteresting and we reprint it here: &\n44 Madame: With Olivia you have given me\n\" pleasure and pain. Pleasure by your noble\n44 and sincere art pain because I feel sad\n\" at heart when I see a beautiful and generous\n44 woman give her soul to art as you do\n\" when it is life itself, your heart itself,\n\" that speaks tenderly, sorrowfully, nobly\n44 beneath your acting. I cannot rid myself\n44 of a certain melancholy when 1 see artists\n44 as noble and distinguished as you and Mr\n44 Irving. Although you are strong enough\n44 (with continual labor) to make life\n44 subservient to art, I, from my standpoint,\n44 regard you as forces of nature itself, which\n44 should have the right to exist for themselves\n44 instead of for the crowd. I would not venture\n44 to disturb you, Madame, and moreover 1\n44 have so much to do that it is impossible\n44 for me to tell you personally all the great\n44 pleasure you have given me, because I\n44 have felt your heart. Will you believe, dear"}, {"page_pdf": 21, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.21", "debut_caractere": 0, "fin_caractere_exclue": 4391, "texte": "44 Madame, in mine, which asks no more at\n44 this moment than to admire you and to\n44 tell you so in any manner whatsoever.\n44 Always yours, E. DUSE. >£> &\nYet, though interesting, we rather regard it\nas the letter of an actress than the letter\nof an artist. Set in the midst of Miss Terry's\nblithe memories it shows us how, as the\ncomedy actress will invariably make sunshine\nout of all she sees and does, the tragedy\nactress sees tragedy in everything. It is a\nmatter of focus, and naturally results from\nregarding scenes and events through the\ntemperament rather than through the\nimagination. On a later page is given the\nfollowing letter, written from Oxford to\nMiss Terry by Henry Irving.\n441 had supper last night at New College\n44 after the affair. A. was there, and I had\n44 it out with him to the delight of all.\n44 4 Too much decoration % etc., etc. & 1\n44 asked him what there was in 44 Faust\" in the\n44 matter of appointments, etc., that he would\n44 like left out. Answer nothing. & 4 Too\n44 long runs.' & & &\n44 4 You, sir, are a poet,' I said. 4 Perhaps it\n44 may be my privilege some day to produce\n44 a play of yours. Would you like it to have\n44 a long run or a short one?' (Roars of\n44 laughter). & & &\n44 Answer: 4 Well, er, well, of course, Mr\n44 Irving, you well well, a short run, of\n44 course, for arf, but \\ 4?\n44 4 Now, sir, you're on oath,' said 1. 4 Suppose\n44 that the fees were rolling in ten pounds and\n44 more a night would you rather the play\n44 were a failure or a success? ' <£?\n44 4 Well, well, as you put it, I must say —er\n44 1 would rather my play had a long\n44 run I' A. floored! & & &\n44 He has all his life been writing articles\n44 running down good work and crying up the\n44 impossible, and I was glad to show him up\n44 a bit!\n& What a strange attitude! Is it typical of the\nEnglish stage? Is it typical of the English\nnation? Is it typical of commerce? It is\ncertainly not typical of anything to do with\nArtists and their work. Who, one wonders,\nwas this poet at Oxford who fell so easy a\nprey to the celebrated Actor=Manager? who\nwas this twopenny gentleman who is brought\nforward as the type of all poets and who yet\nbegan to hum and haw as soon as money\nwas mentioned?... for the word 44 money „\nis a Shiboleth, and the way it is pronounced\nshows unmistakeably the quality of the man.\nIf taken seriously, the whole thing was very\nunworthy of Irving. One sees him in the\nguise of the Actor« Manager, trying to prove\nthe very unimportant and unreliable fact\nthat the public is an ass and that those who\ntruckle to the public are greater asses. He\nproves his point up to the hilt, therefore he\nalso proves the rule that Poets are not fools,\nfor this must have been an exceptional\npoet.... but he does not mention the name\nof the poet. We hardly think that, had he met\nLord Tennyson, Mr Swinburne, Mr Rossetti\nor a dozen other poets in England at this\nday that he would have been able to write\nas he does here. After all, where the actor\nmanager goes poets and artists ars not often\nto be found, so it is not surprising that he\nshows himself ignorant of the real nature of\nthe artist since he so seldom comes across\none in his travels.\nWe have said before that the publi-\ncation of such Memoirs as Miss Terry's\nwas of no service to the Art of the Stage;\nwe should have said hardly any service. As\nthe Memoirs of the most popular actress in\nEngland they will afford entertainment to\nmany; and by the way in which they imply\nand reveal the narrowness of the theatrical\nbrain, the limitations of the theatrical outlook,\nthey will, also unwittingly, help the Art itself.\nHow? Why, because the younger men,\nreading these pages, will feel more insistently\nthan before the imperative need of escaping\nfrom the triviality of the stage world, from\nthe artificiality of its atmosphere. The stage\nworld as drawn by Miss Terry would not be\na tiny one for a public person but it is a\ntiny one for an Artist.... and it is artists\nthat the theatre needs. The world of the\nStage is one in which men may crawl or\nclimb, but never fly. The Art of the theatre\nis the only art which exists in such an\natmosphere. All the others spread their\nwings. But discontent with existing conditions\nis a necessary prelude to their reformation,\nand it is in arousing this discontent in the\nyounger workers in the theatre that Miss\nTerry's memoirs will be of service to the\nArt. & &"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c021", "article_bluemountain": "bmtnaau_1908-07_01#c021", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "105", "page_fin": "106", "image_debut": 21, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.9.4", "titre_corps": "THE BUTTERFLY QUARTERLY", "titre_sommaire": "THE BUTTERFLY QUARTERLY", "signature_source": "D.N. L", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 21, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.21", "debut_caractere": 4393, "fin_caractere_exclue": 5596, "texte": "THE BUTTERFLY QUARTERLY\nPublished by George Wolfe Plank, 1126\nWalnut Street, Philadelphia: U. S. A.\nAnnual subscription, dollars 1.25.\n\nWe have received the first three numbers\nof this new American Art Journal, and\nwe like them. The format is good, the type\nclear; it is carefully printed upon stout paper.\nIts contents are not so dull as the contents\nof the majority of journals and often much\nbrighter. its illustrations are at times\nsurprisingly good. Mr George Wolfe Plank\nis a young and gifted artist and his wood\nengravings are unlike anything America has\nproduced. Wood engravings are rare things\nat all times, and the quality of the wood\nengravings in the \" Butterfly \" make them\nworthy of special attention. &\nThe second number of \" The Butterfly \"\ncontains a translation of a short play by August\nStrindberg: an intense little piece which\nshould be of great interest to the serious\nstage in England. There are six characters\nin the play, which is not so well translated\nas it might be, but which could easily be made\nbetter by a few slight alterations by anyone\nwishing to perform it. Strindberg is the\nfirst poet and playwright of Scandinavia, the\nonly successor of Ibsen. It is not generally"}, {"page_pdf": 22, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.22", "debut_caractere": 0, "fin_caractere_exclue": 322, "texte": "known that he is also one of the first landscape\npainters in Sweden. &\nIn the last number of 44 The Butterfly \"is a\ndesign of Madame Nazimova as 44 Hedda\nGabler, \" a strange poem called 44 Moonlight \",\nsome music, the reproduction of an etching by\nGordon Craig, and many woodcuts by the\nEditor, George Wolfe Plank.\n\nD.N.L."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c022", "article_bluemountain": "bmtnaau_1908-07_01#c022", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "106", "page_fin": "106", "image_debut": 22, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.9.5", "titre_corps": "BOOKS, JOURNALS AND MAGAZINES RECEIVED", "titre_sommaire": "BOOKS, JOURNALS AND MAGAZINES RECEIVED", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.22", "debut_caractere": 324, "fin_caractere_exclue": 879, "texte": "BOOKS, JOURNALS AND MAGAZINES\nRECEIVED jg?\n\" Desiderio, a Play in 3 Acts \" Sonnets and\nShort Poems & \" Proserpine, a Masque in 3\nActs \".Maurice Baring(Simpkin, Marshall & Co.,\nLondon. \" A Typical Shakespearean Stage \"by V.\nE. Albright. (The Knickerbocker Press. New York)\n\" The Flame', A Pantomime \" by Mark Perugini.\n(The Pan Press). jg?\n\" The Studio London. \" The New York Dramatic\nMirror New York. \" Poesia Nos. 1-4, Milan.\n\" Rivista di Roma Rome. \" Argus Helsingfors.\n\" Die Schaubuhne Berlin. \"Uj Szemle Budapest.\n\" II Teatro Illustrato \" Milan. & & &"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c023", "article_bluemountain": "bmtnaau_1908-07_01#c023", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "106", "page_fin": "107", "image_debut": 22, "image_fin": 23, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.10", "titre_corps": "FOREIGN NOTES", "titre_sommaire": "FOREIGN NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.22", "debut_caractere": 881, "fin_caractere_exclue": 4896, "texte": "FOREIGN NOTES\n\nFLORENCE\nJ. S.\n\\JLJz hear reports that the amazing Sicilian\nactor, Signor Grasso, is about to tour\nEurope and America with 44 Othello\" as his\nchief attraction.\nWe should like to see Signor Grasso\nperforming this role with Emma Grammatica as\nDesdemona, and under the stage management\nof Mr Gordon Craig, We cannot conceive a\nmore harmonious triple alliance,\nSignorina Grammatica has not yet appeared\nbefore a London or American audience, and\nLondon has not witnessed a production of Mr\nCraig's since he has overcome the difficulties\nof lighting which hindered our full enjoyment\nof his earlier efforts in 1902,\n\nBERLIN\nR. S.\nHebbel Theatre, designed first by the\nenergetic requirements of the modern\nGerman stage and secondly by Herr Oskar\nKaufmann,* has been well photographed, and\nthese pictures are to be found in the May\nnumber of 44 The Studio They are worth\nstudying. The English managers will derive\nbenefit if they study long enough.\nLet us draw their attention first of all to the\nproscenium. Is it in any way different? Look\nagain. Are the decorations at all better than\nthe usual decorations? How and why better?\n.Just look carefully. It is not that the English\narchitects and decorators would not do quite\nas well if they got the chance, but it is the\nchance they seldom or never get.\nThe Imperial Theatre in London is a really\nhandsome looking place when you get inside\nbut outside it is abominable and the stage is\nfifth rate. The Hebbel Theatre is first\nrate all round. &\nLook, too, at the little scrap of scenery-\nindicated in the Photograph on page 302 of\n44 The Studio \". Is it possible that we see no\nwings, no borders? Again..., wake up,\nGentlemen in the English Theatre and\nhurry on, or you will be late.\n\nPARIS\nJ. de S.\nM de Max, the first personality of the French\n•stage, has made a most natural decision\nto leave the stage of France for that of\nEngland. The Daily Mail speaks of it as\n44 startling \", but it is only startling for a day.\nConsidered longer it appears very logical.\nM. de Max wants a new task worthy of his\npersonality and so he determines to forsake\nthe French stage and come to England, playing\n44 Lear \" and other Shakespearean roles in\nEnglish, and awaken the spirit of friendly\ncompetition in the souls of the English\nTragedians. He will have a difficult task\nto accomplish for several &\nIn an interview he states that when he was\nonly fifteen years of age he had the pleasure\nof seeing Henry Irving at the Lyceum Theatre,\nand was so carried away by his acting that\nhe made up his mind to embrace a stage career.\nWe hope M. de Max will give England the\nopportunity of witnessing his rendering of\n44 Richard 111 \" and 44 Macbeth \". We believe\nthat his 44 Richard 111 \" would be the best role\nin which he could make his first essay and\nappearance as an actor in English. 44 King\nLear \" is a play which the English publics are\nnever too ready to welcome. Henry Irving's\nunforgettable interpretation of 44 Lear \" was\nreceived with the respect which Irving could\nalways command, but the play was by no\nmeans as successful as were the other\ntragedies. We trust that some Actor\nManager of London will realise the value of\nthis opportunity to enlist such a tragedian as\nDe Max and will put aside his own taste for\nacting and devote himself to business pure and\nsimple with De Max as his stock in trade. It\nwould be a clever move on the part of any\nActor«=Manager. The English stage and public\nwould be the gainers, for we cannot call to\nmind the name of any Actor»Manager who is\na good actor, and we can think of quite a few\nwho are clever business managers. &We\nawait the result of M. de Max's decision with\ninterest. &\n\nPHILADELPHIA\nMRS FISKE in AMERICA\n\ngt is so customary to parade the pretty little\n* externalities of the actor that one instantly\ndoubts either the sense of the critic, or the\ndepth of the actor himself. Mrs. Fiske is\nan un»customary woman, mysterious,\nsomething apart, a presence to fjash across\nour vision suddenly, then disappear... but she"}, {"page_pdf": 23, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 2336, "texte": "leaves with us a vague wonder, a ghost that\neclipses the reality. She has that in her\ngrasp, which must ever be the essence of\nany Art. . . Suggestion . . . the instrument\nthrough which is transmitted an impression\nso various and vast as the intelligences that\nabsorb it. Words are to her but a necessary\nmedium that dare not dominate- she is not\nconcerned with words, but meanings . . .\nmeanings that widen like circles in a quiet\npool. She bends her whole personality to\nthis, and there are times when with eyes\nstaring wide, one loses the woman and sees\nthe greater mentality... the real Mrs. Fiske.\nHer thought is fluid, absolutely; she is not\nof the wooden school: a quick little turn of\nthe head, an inscrutable expression that\nmight as well be a mask, and a thought is\nwhirled into space, trailing behind, a shower\nof terribly clear reasons. She makes of\nherself no emotional barometer, but with a\nsweet dignity that must seem wearisome to\nthe commonplace, keeps sanely within the\nframe: and by so slight a thing as a nervous\nlittle gesture, can she swing, as on a pivot,\nthe fatality of the drama.... her accent is\ninfallible. jg? & &\nIt would be interesting to see what Mrs. Fiske,\nwith her tremendous peculiar power, could\ndo in collaboration with the mystic art of\nGordon Craig. I see her take her place with\nthe Idea, saying silently such lofty meanings\nthat words would drag in the dust, for her\nsilence can be terrible: her silence can be\nbeautiful: she knows the wisdom of silence.\n& Yet this wonderful woman has had thrust\nupon her what all distinctive idealists must\never suffer; ridicule, contempt, a clattering\nfusillade against her personality, closed doors\nand press comments of vile odour. But like\ndistinctive idealists, she has gone her straight\nroad alone, or nearly so, for there are\nalways the few who cling fearfully, and\nhopefully; to a slight thread. <£? &\nAfter many years she stands a supreme figure\nin the Stage history of America. If she must\nstep down several steps one season, let there\nbe no fear, she will but rise to a\ngreater height the following. She fights a\nterrible beast, the Public, and realizing the\npathetic necessity of subtleties, never comes\nentirely to the level of the beast: she is ever\na discreet trifle above, and it is the beast\nthat is slowly being attracted up the stair.\n\nW P."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c025", "article_bluemountain": "bmtnaau_1908-07_01#c025", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "106", "page_fin": "106", "image_debut": 22, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.10.2", "titre_corps": "FLORENCE", "titre_sommaire": "FLORENCE", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.22", "debut_caractere": 896, "fin_caractere_exclue": 1505, "texte": "FLORENCE\nJ. S.\n\\JLJz hear reports that the amazing Sicilian\nactor, Signor Grasso, is about to tour\nEurope and America with 44 Othello\" as his\nchief attraction.\nWe should like to see Signor Grasso\nperforming this role with Emma Grammatica as\nDesdemona, and under the stage management\nof Mr Gordon Craig, We cannot conceive a\nmore harmonious triple alliance,\nSignorina Grammatica has not yet appeared\nbefore a London or American audience, and\nLondon has not witnessed a production of Mr\nCraig's since he has overcome the difficulties\nof lighting which hindered our full enjoyment\nof his earlier efforts in 1902,"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c026", "article_bluemountain": "bmtnaau_1908-07_01#c026", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "106", "page_fin": "106", "image_debut": 22, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.10.3", "titre_corps": "BERLIN", "titre_sommaire": "BERLIN", "signature_source": "R. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.22", "debut_caractere": 1507, "fin_caractere_exclue": 2620, "texte": "BERLIN\nR. S.\nHebbel Theatre, designed first by the\nenergetic requirements of the modern\nGerman stage and secondly by Herr Oskar\nKaufmann,* has been well photographed, and\nthese pictures are to be found in the May\nnumber of 44 The Studio They are worth\nstudying. The English managers will derive\nbenefit if they study long enough.\nLet us draw their attention first of all to the\nproscenium. Is it in any way different? Look\nagain. Are the decorations at all better than\nthe usual decorations? How and why better?\n.Just look carefully. It is not that the English\narchitects and decorators would not do quite\nas well if they got the chance, but it is the\nchance they seldom or never get.\nThe Imperial Theatre in London is a really\nhandsome looking place when you get inside\nbut outside it is abominable and the stage is\nfifth rate. The Hebbel Theatre is first\nrate all round. &\nLook, too, at the little scrap of scenery-\nindicated in the Photograph on page 302 of\n44 The Studio \". Is it possible that we see no\nwings, no borders? Again..., wake up,\nGentlemen in the English Theatre and\nhurry on, or you will be late."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c027", "article_bluemountain": "bmtnaau_1908-07_01#c027", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "106", "page_fin": "106", "image_debut": 22, "image_fin": 22, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.10.4", "titre_corps": "PARIS", "titre_sommaire": "PARIS", "signature_source": "J. de S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.22", "debut_caractere": 2622, "fin_caractere_exclue": 4551, "texte": "PARIS\nJ. de S.\nM de Max, the first personality of the French\n•stage, has made a most natural decision\nto leave the stage of France for that of\nEngland. The Daily Mail speaks of it as\n44 startling \", but it is only startling for a day.\nConsidered longer it appears very logical.\nM. de Max wants a new task worthy of his\npersonality and so he determines to forsake\nthe French stage and come to England, playing\n44 Lear \" and other Shakespearean roles in\nEnglish, and awaken the spirit of friendly\ncompetition in the souls of the English\nTragedians. He will have a difficult task\nto accomplish for several &\nIn an interview he states that when he was\nonly fifteen years of age he had the pleasure\nof seeing Henry Irving at the Lyceum Theatre,\nand was so carried away by his acting that\nhe made up his mind to embrace a stage career.\nWe hope M. de Max will give England the\nopportunity of witnessing his rendering of\n44 Richard 111 \" and 44 Macbeth \". We believe\nthat his 44 Richard 111 \" would be the best role\nin which he could make his first essay and\nappearance as an actor in English. 44 King\nLear \" is a play which the English publics are\nnever too ready to welcome. Henry Irving's\nunforgettable interpretation of 44 Lear \" was\nreceived with the respect which Irving could\nalways command, but the play was by no\nmeans as successful as were the other\ntragedies. We trust that some Actor\nManager of London will realise the value of\nthis opportunity to enlist such a tragedian as\nDe Max and will put aside his own taste for\nacting and devote himself to business pure and\nsimple with De Max as his stock in trade. It\nwould be a clever move on the part of any\nActor«=Manager. The English stage and public\nwould be the gainers, for we cannot call to\nmind the name of any Actor»Manager who is\na good actor, and we can think of quite a few\nwho are clever business managers. &We\nawait the result of M. de Max's decision with\ninterest. &"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c028", "article_bluemountain": "bmtnaau_1908-07_01#c028", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "106", "page_fin": "107", "image_debut": 22, "image_fin": 23, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.10.5", "titre_corps": "PHILADELPHIA : MRS FISKE in AMERICA", "titre_sommaire": "PHILADELPHIA : MRS FISKE in AMERICA", "signature_source": "W P", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 22, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.22", "debut_caractere": 4553, "fin_caractere_exclue": 4896, "texte": "PHILADELPHIA\nMRS FISKE in AMERICA\n\ngt is so customary to parade the pretty little\n* externalities of the actor that one instantly\ndoubts either the sense of the critic, or the\ndepth of the actor himself. Mrs. Fiske is\nan un»customary woman, mysterious,\nsomething apart, a presence to fjash across\nour vision suddenly, then disappear... but she"}, {"page_pdf": 23, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.23", "debut_caractere": 0, "fin_caractere_exclue": 2336, "texte": "leaves with us a vague wonder, a ghost that\neclipses the reality. She has that in her\ngrasp, which must ever be the essence of\nany Art. . . Suggestion . . . the instrument\nthrough which is transmitted an impression\nso various and vast as the intelligences that\nabsorb it. Words are to her but a necessary\nmedium that dare not dominate- she is not\nconcerned with words, but meanings . . .\nmeanings that widen like circles in a quiet\npool. She bends her whole personality to\nthis, and there are times when with eyes\nstaring wide, one loses the woman and sees\nthe greater mentality... the real Mrs. Fiske.\nHer thought is fluid, absolutely; she is not\nof the wooden school: a quick little turn of\nthe head, an inscrutable expression that\nmight as well be a mask, and a thought is\nwhirled into space, trailing behind, a shower\nof terribly clear reasons. She makes of\nherself no emotional barometer, but with a\nsweet dignity that must seem wearisome to\nthe commonplace, keeps sanely within the\nframe: and by so slight a thing as a nervous\nlittle gesture, can she swing, as on a pivot,\nthe fatality of the drama.... her accent is\ninfallible. jg? & &\nIt would be interesting to see what Mrs. Fiske,\nwith her tremendous peculiar power, could\ndo in collaboration with the mystic art of\nGordon Craig. I see her take her place with\nthe Idea, saying silently such lofty meanings\nthat words would drag in the dust, for her\nsilence can be terrible: her silence can be\nbeautiful: she knows the wisdom of silence.\n& Yet this wonderful woman has had thrust\nupon her what all distinctive idealists must\never suffer; ridicule, contempt, a clattering\nfusillade against her personality, closed doors\nand press comments of vile odour. But like\ndistinctive idealists, she has gone her straight\nroad alone, or nearly so, for there are\nalways the few who cling fearfully, and\nhopefully; to a slight thread. <£? &\nAfter many years she stands a supreme figure\nin the Stage history of America. If she must\nstep down several steps one season, let there\nbe no fear, she will but rise to a\ngreater height the following. She fights a\nterrible beast, the Public, and realizing the\npathetic necessity of subtleties, never comes\nentirely to the level of the beast: she is ever\na discreet trifle above, and it is the beast\nthat is slowly being attracted up the stair.\n\nW P."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c030", "article_bluemountain": "bmtnaau_1908-07_01#c030", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "107", "page_fin": "108", "image_debut": 23, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.11", "titre_corps": "EDITORIAL NOTES", "titre_sommaire": "EDITORIAL NOTES", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.23", "debut_caractere": 2338, "fin_caractere_exclue": 4507, "texte": "EDITORIAL NOTES\n\nCinematograph serves a good purpose\n* when it shows us the wonderful and\nmysterious manifestations of nature; when\nwe see on the screen the falls of the Josemite\nvalley, when the pictures represent a great\nforest where men are felling giant trees, or\nwhen we see before us some grand ceremony\nof the Far East. But when the Cinemetograph\nattempts to touch sacred matters it becomes\nhorrible. &\nI witnessed with disgust such a parody last\nEaster. The Life and Death of Jesus Christ\nwas advertised. The entire story was enacted\nbefore us and was as realistic as those who\nlike Realism could have wished. Men and\nwomen of the most unintelligent types were\ndressed up to imitate the Saviour, His disciples,\nand the rest. The action took place either\nin the open air or in a painted room.\nEvidently much money had been wasted on\nthis diabolical parody. jg? 1 was with\na very cultured Hungarian writer. lam not\nsure of the Religious Beliefs of either of us,\nbut I am quite sure of our misery when\nwitnessing this insulting and lying commentary\nupon the profoundest character in History.\nNo detail, however realistic, was omitted.\nThe raising of the dead, the kiss, the scourging,\nthe nails, the nakedness, all were shown upon\nthe screen. It is so awful to remember that\nfurther description must be excused. &\nBut where are the Authorities? What are they\nthinking of, what are they doing? Where do\nthese films hail from? From France? From\nAmerica? From Germany?....? &\nThe Cinemetograph is so entirely refreshing\nas a rule, so instructive and amusing, that\nthose who control its fortunes should prevent\nsuch exhibitions as 1 have described. &\nWe should be glad, should any of our readers\nhave had the misfortune to witness a like\nexhibition, if they would communicate with\nus and state where they have seen it. jg?\nIf any good purpose is served by the exhibition\nit is to act as warning against ever allowing\nReligious subjects to become the common\nproperty of the Stage. We have had one\n\" Salome \" by Wilde, now acted all over Europe,\nand we hope we shall not have another. It\nhas stood as excuse for any amount of\nvulgarity. It licensed dancers to unrobe and"}, {"page_pdf": 24, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 4749, "texte": "commence leaping about on the stage of Music\nHalls in what they were pleased to call Religious\nor Classic dances. It gave an excuse for all\nthe young and well-shaped actresses of\nGermany to steal a march on their more\nintelligent sisters by playing the part in a\nsemi-nude state. It serves the theatre\ndirectors a very bad turn, for the public who\nflock to these shows now refuse to patronise\nanything which does not contain a good slice\nof nudity in it.\nThe Censor is not only A BLESSING; he is\nA NECESSITY. He should be as strict,\nas puritanical, as possible, to prevent the\ndisastrous invasion of these sacrilegious and\nprofane improprieties. To this end NO Religious\nsubject should be permitted; no part of the\nbody except face and hands should be allowed\nto be seen. We would even go so far as to\nsay that no scenes of violence, such as\nmurder, suicide, seduction, torture, fighting,\nriot, or bloodshed of any kind, should\nbe allowed to come before the eyes and ears\nof the audience; and all this should in our\nopinion be secured for us by Act of Parliament.\nUail Columbia! She loves and hates. That's\na true woman. Hating her mediocre artists\nshe would spur them to greater things by\nlashing them unmercifully with her disdain.\nShe hates her paltry Theatres. Is that true?\nWhat proves it? The Kinemetograph and her\npatronage of its twopenny tragedies, She\nhates the humbug of her slack theatres which\nparade vulgarities before her calling it Art,....\nLove. She is tremendous in her acts.\nShe sweeps thirteen Theatres clean of all\ntheir actors, plays, scenes and twaddle and\ninstals a brand new mechanical Kinemetograph\nin each. Bravo! Bravo, Columbia!\n44 They pay better \" is the excuse|she gives.\nHow lovely she is, .... how tremendous in\nher contempt,.... as if she cared a scrap what\nbrings her a few more dollars! What she\ncares for, she knows these theatres are not\ngoing to give her. What she wants is the\nfirst, best, most splendid theatre on the round\nearth, no less.44 Pays better \"!!! Really, Europe,\nyou exhibit a carelessness quite unpardonable\nin one so old, when you believe this young\nColumbia means what she flauntingly says.\nAll that America does she does well. She\ncould do otherwise but she will not. She\nknows what she wants; it is already hers;\nshe waits for it to respond.\nMeantime that poltroon, the Theatre,\nmasquerading as her lover, thinking its\nartificial oaths and pretty parlour flatteries\nand promises will pass with her, that worn\nout roue, horridly painted, husky voiced, half\nblind, postures before her.\nThe result of this posturing is that \" thirteen\n44 of the regular theatres in Greater New York\n4t are this summer devoted to moving pictures\n44 and the immediate prospect is that other\n44 theatres, instead of closing down will rely\n44 upon this popular form of entertaiment\n44 for their supply\".\nWhat an opening for an artist! And how\nenchanted Miss Columbia would be!\n*\" Pi nglish stage management ought to be\nforgotten and then recommenced\n44 by a new generation of stage managers who\n44 have realized that they, as well as the\n44 author, must look occasionally at life itself,\n44 and make, at any rate, some attempt\n44 at realism St George's Review.\n& Signs of awakening in England. all\nbut that one word, 44 Realism \". What the\nwriter possibly means is that the stage\nmanagers should go to nature to see what\nTruth is and how to match the Truth of the\nPoet's song by a true vision for the eye.\nBut that is very different from Realism.\nIf you tell stage managers to be Realistic\nyou will do the stage great harm, for Realism\nis a dangerous thing. & The cheap photograph\nseeks and finds it, and the crowd can\nunderstand it so easily that they sit listlessly\nbefore it and their brains and beings have\nundergone no exercise in the understanding\nof it. & && &\nBeauty and Truth are quite as easy to\nunderstand, but there can be no such thing\nas an unathletic understanding of Beauty or\nTruth in Art. It needs athletes to create Art, it-\nneeds a race of athletic beings to understand it.\nAnew feature of the August and following\nnumbers of 44 The Mask \" will be a page\ndevoted, under the title of44 The Spectators \"\nto the publication of opinions of the general\nPublic which have been expressed during\nthe month on any play, production, notable\ntheatrical event or long-felt want. &\nPlay-goers are invited to contribute in ten\nor twelve lines their opinions on any matter\nrelating to the Theatres they visit. In this\nway we hope to prove that the Public in\nEngland is not the uneducated and unfeeling\nmonster which it is always being made out\nte be by a certain section of the critics.\nContributions should be addressed to the\nEditorial Office of 44 The Mask 2 Lung'Arno\nAcciaiuoli, Florence, Italy. &\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c032", "article_bluemountain": "bmtnaau_1908-07_01#c032", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "107", "page_fin": "108", "image_debut": 23, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.11.2", "titre_corps": "[Sans titre]", "titre_sommaire": "[Sans titre]", "signature_source": "J. S", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 23, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.23", "debut_caractere": 2355, "fin_caractere_exclue": 4507, "texte": "Cinematograph serves a good purpose\n* when it shows us the wonderful and\nmysterious manifestations of nature; when\nwe see on the screen the falls of the Josemite\nvalley, when the pictures represent a great\nforest where men are felling giant trees, or\nwhen we see before us some grand ceremony\nof the Far East. But when the Cinemetograph\nattempts to touch sacred matters it becomes\nhorrible. &\nI witnessed with disgust such a parody last\nEaster. The Life and Death of Jesus Christ\nwas advertised. The entire story was enacted\nbefore us and was as realistic as those who\nlike Realism could have wished. Men and\nwomen of the most unintelligent types were\ndressed up to imitate the Saviour, His disciples,\nand the rest. The action took place either\nin the open air or in a painted room.\nEvidently much money had been wasted on\nthis diabolical parody. jg? 1 was with\na very cultured Hungarian writer. lam not\nsure of the Religious Beliefs of either of us,\nbut I am quite sure of our misery when\nwitnessing this insulting and lying commentary\nupon the profoundest character in History.\nNo detail, however realistic, was omitted.\nThe raising of the dead, the kiss, the scourging,\nthe nails, the nakedness, all were shown upon\nthe screen. It is so awful to remember that\nfurther description must be excused. &\nBut where are the Authorities? What are they\nthinking of, what are they doing? Where do\nthese films hail from? From France? From\nAmerica? From Germany?....? &\nThe Cinemetograph is so entirely refreshing\nas a rule, so instructive and amusing, that\nthose who control its fortunes should prevent\nsuch exhibitions as 1 have described. &\nWe should be glad, should any of our readers\nhave had the misfortune to witness a like\nexhibition, if they would communicate with\nus and state where they have seen it. jg?\nIf any good purpose is served by the exhibition\nit is to act as warning against ever allowing\nReligious subjects to become the common\nproperty of the Stage. We have had one\n\" Salome \" by Wilde, now acted all over Europe,\nand we hope we shall not have another. It\nhas stood as excuse for any amount of\nvulgarity. It licensed dancers to unrobe and"}, {"page_pdf": 24, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.24", "debut_caractere": 0, "fin_caractere_exclue": 4749, "texte": "commence leaping about on the stage of Music\nHalls in what they were pleased to call Religious\nor Classic dances. It gave an excuse for all\nthe young and well-shaped actresses of\nGermany to steal a march on their more\nintelligent sisters by playing the part in a\nsemi-nude state. It serves the theatre\ndirectors a very bad turn, for the public who\nflock to these shows now refuse to patronise\nanything which does not contain a good slice\nof nudity in it.\nThe Censor is not only A BLESSING; he is\nA NECESSITY. He should be as strict,\nas puritanical, as possible, to prevent the\ndisastrous invasion of these sacrilegious and\nprofane improprieties. To this end NO Religious\nsubject should be permitted; no part of the\nbody except face and hands should be allowed\nto be seen. We would even go so far as to\nsay that no scenes of violence, such as\nmurder, suicide, seduction, torture, fighting,\nriot, or bloodshed of any kind, should\nbe allowed to come before the eyes and ears\nof the audience; and all this should in our\nopinion be secured for us by Act of Parliament.\nUail Columbia! She loves and hates. That's\na true woman. Hating her mediocre artists\nshe would spur them to greater things by\nlashing them unmercifully with her disdain.\nShe hates her paltry Theatres. Is that true?\nWhat proves it? The Kinemetograph and her\npatronage of its twopenny tragedies, She\nhates the humbug of her slack theatres which\nparade vulgarities before her calling it Art,....\nLove. She is tremendous in her acts.\nShe sweeps thirteen Theatres clean of all\ntheir actors, plays, scenes and twaddle and\ninstals a brand new mechanical Kinemetograph\nin each. Bravo! Bravo, Columbia!\n44 They pay better \" is the excuse|she gives.\nHow lovely she is, .... how tremendous in\nher contempt,.... as if she cared a scrap what\nbrings her a few more dollars! What she\ncares for, she knows these theatres are not\ngoing to give her. What she wants is the\nfirst, best, most splendid theatre on the round\nearth, no less.44 Pays better \"!!! Really, Europe,\nyou exhibit a carelessness quite unpardonable\nin one so old, when you believe this young\nColumbia means what she flauntingly says.\nAll that America does she does well. She\ncould do otherwise but she will not. She\nknows what she wants; it is already hers;\nshe waits for it to respond.\nMeantime that poltroon, the Theatre,\nmasquerading as her lover, thinking its\nartificial oaths and pretty parlour flatteries\nand promises will pass with her, that worn\nout roue, horridly painted, husky voiced, half\nblind, postures before her.\nThe result of this posturing is that \" thirteen\n44 of the regular theatres in Greater New York\n4t are this summer devoted to moving pictures\n44 and the immediate prospect is that other\n44 theatres, instead of closing down will rely\n44 upon this popular form of entertaiment\n44 for their supply\".\nWhat an opening for an artist! And how\nenchanted Miss Columbia would be!\n*\" Pi nglish stage management ought to be\nforgotten and then recommenced\n44 by a new generation of stage managers who\n44 have realized that they, as well as the\n44 author, must look occasionally at life itself,\n44 and make, at any rate, some attempt\n44 at realism St George's Review.\n& Signs of awakening in England. all\nbut that one word, 44 Realism \". What the\nwriter possibly means is that the stage\nmanagers should go to nature to see what\nTruth is and how to match the Truth of the\nPoet's song by a true vision for the eye.\nBut that is very different from Realism.\nIf you tell stage managers to be Realistic\nyou will do the stage great harm, for Realism\nis a dangerous thing. & The cheap photograph\nseeks and finds it, and the crowd can\nunderstand it so easily that they sit listlessly\nbefore it and their brains and beings have\nundergone no exercise in the understanding\nof it. & && &\nBeauty and Truth are quite as easy to\nunderstand, but there can be no such thing\nas an unathletic understanding of Beauty or\nTruth in Art. It needs athletes to create Art, it-\nneeds a race of athletic beings to understand it.\nAnew feature of the August and following\nnumbers of 44 The Mask \" will be a page\ndevoted, under the title of44 The Spectators \"\nto the publication of opinions of the general\nPublic which have been expressed during\nthe month on any play, production, notable\ntheatrical event or long-felt want. &\nPlay-goers are invited to contribute in ten\nor twelve lines their opinions on any matter\nrelating to the Theatres they visit. In this\nway we hope to prove that the Public in\nEngland is not the uneducated and unfeeling\nmonster which it is always being made out\nte be by a certain section of the critics.\nContributions should be addressed to the\nEditorial Office of 44 The Mask 2 Lung'Arno\nAcciaiuoli, Florence, Italy. &\n\nJ. S."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c033", "article_bluemountain": "bmtnaau_1908-07_01#c033", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "108", "page_fin": "108", "image_debut": 24, "image_fin": 24, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.11.2.1", "titre_corps": "MASK OF THE LIAR", "titre_sommaire": "MASK OF THE LIAR", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 24, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.24", "debut_caractere": 4811, "fin_caractere_exclue": 4828, "texte": "MASK OF THE LIAR."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c034", "article_bluemountain": "bmtnaau_1908-07_01#c034", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.12", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.2", "debut_caractere": 1769, "fin_caractere_exclue": 2154, "texte": "ALMANACK FOR\nARCHITECTURE\nARTS*CRAFTS\n*TECH NICAL*\nSTESS\nSS\naf\nCTGjGIGIGIGIGISIGIGISIGISIGIEISISIGIBI\nA NEW CATALOGUE\nCONTAINING MORE THAN A HUNDRED\nPAGES OF TEXT, AND ALSO ILLUSTRA-\nTIONS IN BLACK AND WHITE AND IN\nCOLOUR. * * * * *\nCopies will be sent free on\napplication to all Art - lovers\nSCHUSTER & BUFLEB. G. M. B. H.\nBERLIN W3O NOLLENDORFSTR. 31. 32\n* BOOKS ANCIENT AND MODERN *"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c035", "article_bluemountain": "bmtnaau_1908-07_01#c035", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.13", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.2", "debut_caractere": 2156, "fin_caractere_exclue": 2179, "texte": "THE BUTTERFLY\nQUARTERLY"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c036", "article_bluemountain": "bmtnaau_1908-07_01#c036", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "couv. 2", "page_fin": "couv. 2", "image_debut": 2, "image_fin": 2, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.14", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.2", "debut_caractere": 2181, "fin_caractere_exclue": 2567, "texte": "IS A NEW PUBLICATION, CAREFULLY\nPRINTED FROM EXCELLENT TYPE,\nON FINE TONED PAPER, Bxio in: IN\nSIZE, THE EDITION BEING LIMITED\nTO 500 NUMBERED COPIES. IT\nCONTAINS VERSES, TALES,\nTRANSLATIONS, REPRINTS,\nDRAWINGS, WOOD-CUTS, BOOK-\nPLATES, AND OTHER MATTERS OF\nBOOKISH INTEREST.\nYEARLY SUBSCRIPTION\nDOLLARS 1.35 POST FREE. J?\nTHE BUTTERFLY QUARTERLY\n1126 WALNUT STREET\nPHILADELPHIA\nU. S. A."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c037", "article_bluemountain": "bmtnaau_1908-07_01#c037", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "109", "page_fin": "109", "image_debut": 25, "image_fin": 25, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.15", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 25, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.25", "debut_caractere": 1696, "fin_caractere_exclue": 2041, "texte": "The principal Artistic\nand Literary publica-\ntion of Scandinavia.\nYearly subscription\nFrancs: 20.\nlIIIIMM—III-IHIMHH I l—M—■——■■■ lIMII ■tlMl—llllß HUT—lMW—■lllTflllMHH I 111 11 !■■■■■ ■! UMIIIIUHM ■«—1—llllllM f —llTlTlllllfl ■!!■■■! IIBIIMW IM—MMlWlMlllill—l Mil\nWahlstrom & Widstrand, Stockholm\nPUBLISHED MONTHLY &\nORD\ni\nWm\nft\nm\nBLD\nOCH\n£\nI\nm"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c038", "article_bluemountain": "bmtnaau_1908-07_01#c038", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "110", "page_fin": "110", "image_debut": 26, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.16", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.26", "debut_caractere": 0, "fin_caractere_exclue": 594, "texte": "& \"VIESSEE\" (The Balance) &\nA RUSSIAN LITERARY & ART MAGAZINE PUBLISHED MONTHLY IN MOSCOW BY\nTHE SCORPION PRESS\n\" The Balance \" contains Poetry, Fiction, Drama, and Essays on Art and Literature by\nthe best modern authors, both Russian & Foreign. & &\nThe Journal has correspondents in all the chief cities of Europe.\n\" The Balance \" is illustrated by drawings, etchings, lithographs, etc: (also colour plates)\nby Russian and Foreign artists.\n& Annual subscription, post free. 18 francs. (14 shillings) &\nOFFICES; MOSCOW (RUSSIA) THEATRE SQUARE. METROPOLE BUILDINGS 23.\nj& jet CHIEF - EDITOR: SER"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c039", "article_bluemountain": "bmtnaau_1908-07_01#c039", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "110", "page_fin": "110", "image_debut": 26, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.17", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.26", "debut_caractere": 596, "fin_caractere_exclue": 2168, "texte": "-<©• THE MOSHER BOOKS &\n& MDCCCXC I-MCMVIII JS>\nFor a dozen years the most artistic volumes at their price that have been issued in America\nhave been published, not from New York or Boston, nor even in Philadelphia or Chicago\nbut it Portland, Maine. In that little city Thomas B. Mosher has been printing, without\nflourish of trumpets or wide advertising, volume after volume which in artistic excellence\nare not excelled by the issues of any publishing house in the world. Then, too, Mosher has\nreprinted only the gems of literature that have been declared of the first water; gems that\nare, beyond objection, jewels of the world's treasury of brilliant writing. We may also\nassert that the question of gain has been secondary in Mosher's calculations. He lias put\nout very small editions, and he has made them so beautiful in all that concerns their make-\nup that it is doubtful if he has ever gauged the expenditure by the possible profit. Never-\ntheless, he must have done so, but in doing so he excites our admiration. &\nGUY CARLETON LEE in Baltimore Sun for Dec. 18, &\nMy new Catalogue a remarkable piece of book-work in itself explains this unusual\ncompliment, and is sent free on request to book-lovers anywhere that can be reached\nby mail. My Catalogues are not made up of old and hackneyed quotations concerning\nbooks. You are not wearied by \" a jollie good book \" jingle and that sort of thing, but\nyou are treated to some very genuine prose & verse not found in every cut and-\ndecidedly-dried anthology. X? JS/ &\nTHOMAS B. MOSHER jS> PORTLAND. MAINE & U. S. A."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c040", "article_bluemountain": "bmtnaau_1908-07_01#c040", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "110", "page_fin": "110", "image_debut": 26, "image_fin": 26, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.18", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 26, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.26", "debut_caractere": 2170, "fin_caractere_exclue": 3633, "texte": "A PORTFOLIO OF ETCHINGS. &\nBy Gordon Craig & with a preface.\n/~|nly thirty portfolios will be issued, although ten or twenty additional copies of some of\nthe plates will be printed according to the condition of the plate. The plates will then\nbe destroyed. Each portfolio will be numbered. Each set consists of twelve designs loosely\nmounted on grey card and contained in a grey cloth box portfolio with fastenings. Each\nplate is signed by the artist. Size of portfolio 48x30 ctms. Average size of plate.\n14 2/3 x 15 2/3 ctms. The price for a portfolio will be L. 16 . o . o, (400 Francs or 320 Marks).\nHPhese etchings were made by the artist in the Spring of 1907 at Florence, and represent\nhis most serious work. Connected as they are with his dream of an Ideal Theatre, they\nin no way have anything in common with the modern stage. & £? &\n44 Movement\", writes Mr Craig, 44 was at the roots of the Ancient Theatre and will ever\n44 remain the very Essence of the Art. &&&?&&&&\n44 We must translate Movement through the medium of inanimate forms and thereby produce\n44 once more an Impersonal Art which shall take its place by the side of its two sister\nArts, Musjc and Architecture \". #\nORDER FORM\nTo The Publishers,\nThe Editorial Office of 44 The Mask \" 2 Lung'Arno Acciaiuoli, Florence. Italy.\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\n1 enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks) & &\nSigned\nAddress."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c041", "article_bluemountain": "bmtnaau_1908-07_01#c041", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "111", "page_fin": "111", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.19", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.27", "debut_caractere": 0, "fin_caractere_exclue": 523, "texte": "LiBRAIRIE ANCIENNE &\nT. DE MARINIS & Co. 5 Via Vecchietti - FIRENZE\n2E3\n-\n-A\na\na.\nAWV*\nItut\nfinr\n%\n01\nJjUUU\nJaaz\n\\\nWl\n• It\nI\nA,\nIfi\n■■\ntSJJ\na\n••1«t\n«•»§\nan\n-\nI W\nlit\n• Ml\n\"•I\n/ST\n111\nlit\nSJr\nuLOJiI\nnn\noa\nnil\n00\nin\npL^r=%iil\na ol\nm\naart\nin\nrJUL\nnt\njj\ns\nIlllfU\nlIMI\n« I\njjnipou\nm\n• §\nIS 11\n■as\n3S\nItMi\nX\nD 06\n(•111\nLL\nv 111\nft' ■;\nJTCEDj\nj 1—\nHIS\"\nTW\n»\" a o j\nvmrtv\nm\nu\nQfig\nOO\nH\nmi 1 c.\nlAr\n• •in\nruvir\nmmmm\nFine Collection of MSS.r Incunabula, rate and curious books XV-XIX cent.\nIllustrated Catalogues free on application."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c042", "article_bluemountain": "bmtnaau_1908-07_01#c042", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "111", "page_fin": "111", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.20", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.27", "debut_caractere": 525, "fin_caractere_exclue": 810, "texte": "THE SOCIETY OP FOUR\n8\nd\nc\nHAVE PURCHASED ONE\nOR TWO BEAUTIFUL\nWORKS OF ART OF\nTHE LATE QUATTROCEN-\nTO AND EARLY SEICENTO\nCOMMUNICATIONS\nTHOSE DESIROUS OF PURCHA-\nSING SHOUED BE ADDRESSED\nTO THE \" SOCIETY OF FOUR \"AT\nTHE ADVERTISING OFFICES\nOF \" THE MASK \" BORGO SAN\nJACOPO, 8. FEORENCE"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c043", "article_bluemountain": "bmtnaau_1908-07_01#c043", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "111", "page_fin": "111", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.21", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.27", "debut_caractere": 812, "fin_caractere_exclue": 1365, "texte": "EX LIBRIS.\nAre you a Book Lover ? II\nso, you will want all which\ncan add to the beauty\nand completeness olyour\nbooks, and you cannot\ndo without.\nA BOOK PLATE\nIn design your Book Plate must be grave\nyet charming, for its duty is to act as\nwatchman at the doors of all books, whether\nreligious or profane. If you would possess\nsuch a Book Plate, simple, charming and\ndistinguished, write to the Wood Engra-\nvers of San Leonardo, directing your letter\nto 5 Piazza Donatello, Studio 9, Florence,\nItaly, and you will receive all the infor-\nmation you desire."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c044", "article_bluemountain": "bmtnaau_1908-07_01#c044", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "111", "page_fin": "111", "image_debut": 27, "image_fin": 27, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.22", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 27, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.27", "debut_caractere": 1367, "fin_caractere_exclue": 1907, "texte": "EDITION DE LUXE.\nSPECIAL NOTICE TOBOOKLOVERS\n15 copies of \" The Mask \" will be printed\nMonthly upon a yellow hand-made deckle-\nedged paper identical in appearance and\ntexture with that made in the same district\nof Fabriano in the year 1315. This edition\nwill contain Etchings and other prints\nsigned by the artist, which will not be\nincluded in the popular edition.\nYearly subscription: England, L. 3.5.0 Post Free\n„ ~ tt Germany, Marks 67,00 „ „\n~ ,» „ America Dollars 16.00 „ „\ntt tt tt I ialy Eire 52.00 ~ ~\n„ „ it Russia Roubles 30.00 „"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c045", "article_bluemountain": "bmtnaau_1908-07_01#c045", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "112", "page_fin": "112", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.23", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.28", "debut_caractere": 139, "fin_caractere_exclue": 548, "texte": "FRILLI\nANTONIO\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES -£? j&\nFLORENCE\nVia dei Fossi 4 /&\n£> (ESTABLISHED i860) &\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\nMarble Reproductions from the Antique\n& Original Works. Portraits. Monuments,\nMantels, Garden Seats,&\nVases Fountains &Flower=stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND\n19 04"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c046", "article_bluemountain": "bmtnaau_1908-07_01#c046", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "112", "page_fin": "112", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.24", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.28", "debut_caractere": 550, "fin_caractere_exclue": 773, "texte": "Die Schaubiihne\nA weekly Theatrical Jour-\nnal Edited by Siegfried\nJacobsohn.\nVerlag Oesterheld & Co.\nLietzenburgerstrasse 60 <0!\nBerlin W. 15. jZ?\nSingle copy . . M. pf. 30\nQuarterly . . . „ 3. ~50\nYearly . . . . „ 12. „ 00"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c047", "article_bluemountain": "bmtnaau_1908-07_01#c047", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "112", "page_fin": "112", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.25", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.28", "debut_caractere": 775, "fin_caractere_exclue": 920, "texte": "THE CONSERVATOR\nEdited & published Monthly by\nHorace Traubel, 1624 Walnut St:\nPhiladelphia, U. S. A. Yearly\nsubscription, dollars 1,25 post free."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c048", "article_bluemountain": "bmtnaau_1908-07_01#c048", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "112", "page_fin": "112", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.26", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.28", "debut_caractere": 922, "fin_caractere_exclue": 1179, "texte": "NEW YORK DRAMATIC\nMIRROR\nThe oldest and most reliable American\ntheatrical paper, published every week\nat 121 West 42nd Street. New York, U.S.A.\n& Sample copies on request free of\ncharge. Foreign subscriptions 50 Dollar s\none year; 1.70 Dollars three months."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c049", "article_bluemountain": "bmtnaau_1908-07_01#c049", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "112", "page_fin": "112", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.27", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.28", "debut_caractere": 1181, "fin_caractere_exclue": 1210, "texte": "Philosophical\nLending Library"}]}, {"article_id": "bm-bmtnaau-1908-07-01-c050", "article_bluemountain": "bmtnaau_1908-07_01#c050", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "112", "page_fin": "112", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.28", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.28", "debut_caractere": 1212, "fin_caractere_exclue": 1465, "texte": "5000 volumes on Philosophy, Religiony\nMysticismy Occultismy ecc. English\nphilosophical Books & Reviews. Rea-\nding and lecture room. Lectures every\nSunday free for subscribers Sub-\nscription terms very moderate. Pro-\nspectus and catalogue on application."}]}, {"article_id": "bm-bmtnaau-1908-07-01-c051", "article_bluemountain": "bmtnaau_1908-07_01#c051", "volume": "bmtnaau_1908-07_01", "ocr_source": "OCR Blue Mountain (ALTO), transcription TEI : lignes lb/@facs", "texte_sans_correction": true, "page_debut": "112", "page_fin": "112", "image_debut": 28, "image_fin": 28, "pages_selon": "pagination imprimée relevée dans le METS Blue Mountain (ORDERLABEL) ; [n] = page sans folio restituée", "url_article": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.2.29", "titre_corps": "[Publicité]", "titre_sommaire": "[Publicité]", "signature_source": "", "controle": "bornes données par la structure logique METS/ALTO de Blue Mountain (blocs ALTO de chaque constituant)", "pages": [{"page_pdf": 28, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.28", "debut_caractere": 1467, "fin_caractere_exclue": 1518, "texte": "I—l——W—l^—————g I I I\nPIAZZA DONATELLO 5-Tel. 15-30"}]}], "pages_ocr_originales": [{"page_pdf": 1, "page_imprimee": "couv. 1", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.1", "texte": "I Vol. I. N.° 5. JULYI 9 0 8\nTHE MASK\nA MONTHLY JOURNAL OF THE\nART OF THE THEATRE\nEUROPEAN & AMERICAN AGENTS.\nLONDON. D. J. RIDER 36 St Martin's Court. Charing Cross Road. W. C. J& I\nBERLIN. SOLE GERMAN AGENT - SCHUSTER & BUELEB. Nollendorfstiasse 31. W- !\nAMSTERDAM, KIRBERGER & KESPER. 134 Rokin. & & & & &\nBUDAPEST. NAG EL OTTO Miisenm-Koriit, s\nM O S C O U. \"LA BALANCE\" Office, Place du Theatre j0 jsr\nPHILADELPHIA. U . S. A. « THE BUTTERFLY \" Office. na6 Walnut Street.\nFLORENCE, a LUNG' ARNO AC CIAIUOLI. & & & ■&\n& PRICE ONE SHILLING, NET MONTHLY &"}, {"page_pdf": 2, "page_imprimee": "couv. 2", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.2", "texte": "IJHAMLE TJI\n:\nhave the pleasure of announcing the publication of an Edition of 44 Hamlet\" which\nwe believe will be without its parallel in the History of the European Stage.\nEdition will be printed on hand«made paper, the text of the Ist Folio will be\nadopted, and the De Vinne type used. This Edition will contain Text of the Play,\nDescriptions and Designs for each Scene, each Costume, each piece of Furniture used.\nIt will also contain ground plans of each scene and full directions as to how to light\nthe play. Every movement of the Actors will be noted at the side of the Text, and\nat times a design will help the student to the full significance of the movements. &\n'\"phe designs will be engraved upon wood, and in some cases otherwise reproduced,\nif not injurious to the beauty of the book as a whole.\n'phis Edition will be the work of Mr Gordon Craig, the reason impelling\nhim to such a task being the absense of any stage directions by Shakespeare,\nand the desire to give expression of what he considers to be the entire Art\nof the Stage Director.\nphe work will be a very large one\", possibly stretching into three volumes. The size,\nwill be that of 44 The Mask \". The first few pages will be found in the subscribers'\ncopies of 44 The Mask \" for 1908, but will not be found in the ordinary edition. The\nwork may be completed in 1909, when the full details of the edition will be announced.\nphose desirous of obtaining the entire book when ready, can apply by letter to the\nPublishers of 44 The Mask 44. The book will be an expensive one, and it is not\nlikely that a popular edition will be issued for some time. &\nAIDVERTISEMENTS ADDRESS TO \" THE MASK \" ADVERTISING OFFICE: 8 BORGO S. JACOPO &\n& & FLORENCE &IT A L OR TO THE LONDON., GERMAN, OR OTHER AGENTS\n\nALMANACK FOR\nARCHITECTURE\nARTS*CRAFTS\n*TECH NICAL*\nSTESS\nSS\naf\nCTGjGIGIGIGIGISIGIGISIGISIGIEISISIGIBI\nA NEW CATALOGUE\nCONTAINING MORE THAN A HUNDRED\nPAGES OF TEXT, AND ALSO ILLUSTRA-\nTIONS IN BLACK AND WHITE AND IN\nCOLOUR. * * * * *\nCopies will be sent free on\napplication to all Art - lovers\nSCHUSTER & BUFLEB. G. M. B. H.\nBERLIN W3O NOLLENDORFSTR. 31. 32\n* BOOKS ANCIENT AND MODERN *\n\nTHE BUTTERFLY\nQUARTERLY\n\nIS A NEW PUBLICATION, CAREFULLY\nPRINTED FROM EXCELLENT TYPE,\nON FINE TONED PAPER, Bxio in: IN\nSIZE, THE EDITION BEING LIMITED\nTO 500 NUMBERED COPIES. IT\nCONTAINS VERSES, TALES,\nTRANSLATIONS, REPRINTS,\nDRAWINGS, WOOD-CUTS, BOOK-\nPLATES, AND OTHER MATTERS OF\nBOOKISH INTEREST.\nYEARLY SUBSCRIPTION\nDOLLARS 1.35 POST FREE. J?\nTHE BUTTERFLY QUARTERLY\n1126 WALNUT STREET\nPHILADELPHIA\nU. S. A."}, {"page_pdf": 4, "page_imprimee": "[90]", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.4", "texte": "DESIGN FOR SCENE. GORDON CRAIG"}, {"page_pdf": 5, "page_imprimee": "91", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.5", "texte": "A 111 hotit i e $ *\nThe costumes*\n\n-m m wvr' m m A W Fr\" THE JOURNAL OP THE ART\ni S 2 I w ft I A W OF THE THEATRE.\nI St * IW I /Jk %1% VOLUME ONE, No. FIVE\nIIA I ▼ II I4wil m JULY, 1908.\n\nCONTENTS\nAFTER THE PRACTISE THE THEORY^\n\" THE MERCHANT OF VENICE \": AN ARTICLE by E. W. GODWIN.\n(Continued) £> SOME SAYINGS by GOETHE. \" REALISM & THE ACTOR: AN\nINTERNATIONAL SYMPOSIUM. £> TWO WORDS AND THEIR MEANING. je> THE MIMETIC\nART: LESSING. & INIGO JONES AND HIS MASQUES by J. PAUL COOPER. BOOK\nREVIEWS. 4? FOREIGN NOTES. EDITORIAL NOTES. Of ENGRAVINGS by GORDON\nCRAIG. 4? J. OLIVER. & C. TICKETTS. 4? CHARLES BORROW & OTHERS. 4> 4?\n\nTHE ARCHITECTURE AND COSTUME\nOF THE MERCHANT OF VENICE\nby Edward W. Godwin. F. S. A.\n(Continued)\nI said, at the commencement of my notes on this play, that in fixing 1590 as the date of\nthe action there was a reason which would appear later on. The 4< reason \" lies before\nme as 1 write, in the form of a small thick book, bound in well-worn crimson\nvelvet, cut on cloth of gold, and of that large counter«changed pattern Veronese and Tintoretto\ndelighted to paint. On the title=page I read, \" Ahiti Antichi, et Moilerni di tntto il Mondo.\nDi Cesare Vecellio. \" The letter of dedication is dated at Venice, October 9, 1589, or just\none year before the date I have assigned to the play. The work is divided into twelve books,\nmaking a total of 505 pages; of these, 228 belong to the first book, which is devoted to the\ncostumes of Italy, and 81 of these to the then modern costumes of Venice. These 81 illustrations\nmay therefore be accepted as unquestionable authorities, but of the correctness of the antique\nI entertain considerable doubt, and many of the examples, though modern,\nseem to me to demand verification. However this may be, one cannot but recognise the\nenormous value of such a work, and with this book in one's hand, the paintings and prints\nin our public galleries and the materials at South Kensington to refer to, error in the costume\nof the Merchant of Venice would be quite inexcusable, for it must arise either from sheer\ncarelessness or childish incompetency to handle the facts. jg? &\nOf other authorities besides Vecellio we have, before all, Tintoretto, who died in 1594, and\nwho was 78 years old when the Merchant of Venice was written; Bassano, who died in 1592,\nwas 80 years old at the time; Zelotti was 58; Allori and Rubens were both boys of 13.\nVeronese had been dead two years, Moroni twelve, Titian fourteen, and Bordone nineteen,\nbefore the play opens. 1 should therefore be inclined to limit the range of authorities for\nVenetian costume to—\nVecellio . . 1589\nTintoretto. . 1512—1594\nBassano . . 1510—1592 Nat. Gall., 173.\nZelotti . . 1532—1592 Nat. Gall., 595*\nVeronese . . 1528—1588 Nat. Gall., 26, 268, 97.\nThere are also four folio plates, drawn and engraved by J. Amman, representing the procession\nof the Doge, which may be consulted as explanatory of the subject shown in the 148 th engraving\nin Vecellio (1). & JI?\nOf the cqstume of the main land, of the ambassadors of foreign States, of the traders of\ndivers nations, from the north, south, east, and west, who flocked to Venice, Vecellio may\nbe taken as an authority in some measure; but wherever possible, it would be well to test\nthe Venetian by reference to sculptures, paintings, engravings, or embroideries executed by\n\n(i) At Hampton Court is a curious painting by Fialette, representing the English Ambassador, Sir Henry Wotton, In\naudience with the Doge, that would be useful in many ways to any one preparing this play for the stage."}, {"page_pdf": 6, "page_imprimee": "92", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.6", "texte": "THE ARCHITEC-\nTURE AND COS-\nTUME OF THE\nMERCHANT OF\nVENICE &\n\nthe people to whom he refers. For instance, the Donna Nohile delta China is pure invention,\nand the same may be said of some of the other illustrations of the dress of nations far removed\nfrom the waters of the Adriatic. Taking the characters in the order they occur in the list\nof the dramatis persona? we have— & & &\nThe Duke of Venice. There are two illustrations in Vecellio of a \" modern \" Doge, one 4 1/2\ninches high the other only 114 inch. Comparing both with Amman's engraving and contemporary\npaintings, we find the dress to consist of an ermine cape or tippet reaching to the elbow,\nshaped with a slight upright collar, entirely open from the throat downwards, and having\nsix large buttons on the left edge. These buttons were sometimes very costly, and always\nimportant features. Benvenuto Cellini (ob. 1561) made some of gold, set with precious stones.\nAnd in Amman's engraving the button has four stones set round it and one mounted in\nthe centre (1). Under the cape appears a robe or cloak, with a train. In Vecellio's procession\n(p. 128) the train is borne by one of the Doge's esquires, whilst another holds over him the\ncanopy of state—a large heavy umbrella sort of structure, shown in detail by Amman. The\nrobe is covered with a large rich pattern of conventional branch and leaf, and a similar\npattern is seen on the gown. This last-named garment nearly touches the ground, has large\nopen sleeves reaching below the knee, is trimmed with fur, is open down the front, and\ngathered in at the waist by a belt. On the head was worn the curious horn-shaped biretta,\nwhich is the great distinguishing mark of the Doge in works of art subsequent to the Byzantine\nperiod, and beneath this a closely-fitting white cap, coming down under it so as to cover\nthe ears and the back of the head. Strings were attached to the front edges of this cap,\nsometimes tied under the chin, but often allowed to hang loose. The ordinary or everyday\nbiretta was of red velvet with a deep border of gold embroidery. The State ones had\nJewelled borders, and crests of gold knobs or jewels on the top of the border and edging\nthe central line or seam from the front to the back. But we must not suppose that the\nDoge of Venice had only one dress. Besides the State full dress above noted, and others\nregulated to various occasions by the etiquette of the time, there were gowns and mantles\nsuited by their material to the various seasons of the year. The dress, however, which\nShakspere's Doge would have worn would most probably have been a gown and robe of\ncrimson (purple) velvet, embroidered with gold or cut on cloth of gold. But whatever the\ncolour of the robe may be—crimson and gold, white and gold, white and silver. &c.—the\nbiritta must be of the same colour and material, except only in its deep border or band,\nwhich is chiefly of cloth of gold woven with an Eastern pattern, probably made in Damascus;\nalthough on great State occasions we sometimes find this band set with jewels. The tippet\nwas part of the full dress, and would not be worn in the play, or indeed except on very\nimportant days, such as when the chair of State was borne aloft before the Duke. &\njz? The Prince of Morocco, dressed like other noble Moors, would wear a loose and full white\ncotton gown with capacious sleeves and high neck, girded with a sash of delicate craps-\nlike material full of coloured stripes and gold, the ends of which were deeply fringed and\nhung as low as the knee. On his head he would wear a spotlessly white low turban, shaped\nlike a small pillow, bound round the centre with a broad band. The skirt of his dress would be\ntucked through his girdle, hanging therefrom in irregular an graceful folds nearly to the\nground. On his legs appeared red Morocco buskins: and his shoes were of leather of another\ncolour, both often richly embroidered with gold and silver. Large rings of gold depended\nfrom his ears, and across his breast glittered his leathern sword belt, loaded, I might almost\nsay clogged, with precious stones (\" ad pectus uerb fascia gemmis magni precii onusta\ninter currit \"),\n& The Prince of Aragon would be dressed like a noble in the Court of the King of Spain, for\nAragon was no longer an independent kingdom, but had been united to Castile, to which\nGranada and, in 1512, Navarre were also added. The most important points to be noted in\nthis costume is the shortness of the trunks, which are only just visible below the doublet,\nthe short cloak, and the increased length of the skirt of the doublet. Ruffs appear round\nthe neck and wrists, and on the head a tall bag-like hat with very narrow brim. The cloak\nwas usually of \" purple \" (crimson) silk or velvet lined with costly material, sometimes\nrichly embroidered with gold. It was worn occasionally with a hood, and was often wrapped\nround the breast in a careless-looking but eminently artistic manner. & & &\n\nThe Duke of\nV cni e e» &\nThe Prince of\nMorocco. <£?\nThe Prince of\nA r agon. <€*\n\n(l) They were about the size of a walnut, sometimes globular and sometimes shaped like a pine apple."}, {"page_pdf": 7, "page_imprimee": "93", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.7", "texte": "& Bassanio, described in the text as a lord and a fit suitor for the hand of the Lady of Belmont,\nis one of the nobles of Venice, and would be dressed in doublet, trunk hose to below the\nknee, stockings and shoes, and over all in the house a houpelande, with hanging sleeves of\nmuch the same shape as that worn in the fifteenth century. (Compare Vecellio, p. 86, and\nMS, Bib. Nat. Girart de Nevcrs, an illustration from which is given in the Dictionnaire\nRaisomie du Mobilier, vol. iii. p. 466) But abroad he would change the over garment for\nthe large-sleeved gown or toga. The cream of the aristocracj', that is the chiefs or heads\nof the leading families, adopt, commonly, crimson for the colour of the under-dress, and black\nfor the gown. If a noble is also one of the greater officers of the State, the sleeve is open\nits full depth, but otherwise it is closed tight round the wrist, not unlike the neck of a\nsack. Gloves, having stiff wristbands attached, are worn or carried in the hand, and the\ncap is a plain, round, flat-topped, limp sort of pork-pie hat. The gown was shaped at the\nneck so as to produce a stand-up collar, and over one shoulder was worn the long narrow\nstrip which distinguished nobles and magistrates—altogether not a very picturesque costume.\nSolanio, Salarino, Gratiano, and Lorenzo may, on the other hand, be attired in eminently\npicturesque dresses. The long gown reaching to the feet, with its ugly baggy sleeves, forms\nno part of the ordinary Venetian habit. The scholars and young gentlemen wore short\ncloaks, with collars, slashed doublets thick set with buttons down the front, slashed sleeves,\nrather easy in the upper part, but tight in the forearm, slashed trunk hose, with three or\nfour buttons at the side of the knee, stockings, and light slipper-like shoes. Round the neck\nthey wore ruffs like that adopted in Spain, France, England, and indeed all Western Europe,\nin the last quarter of the sixteenth century. The hat or cap was a tall bag-like structure, with\na stiff narrow rim. They wore ruffs at the wrist, and carried swords. & &\n& Antonio, the Merchant of Venice, with whom we may also class Shylock (1) and Tubal, for\nthe difference between them was only in the colour of their caps, would be attired like any\nother merchant, i.e. in doublet, trunk hose, stockings, and shoes, old men wearing over all\na gown reaching to the heels, with sleeves tight in the lower arm and loose above. The\ngown was fastened in front from top to bottom with buttons and button holes sewn in\nbraids, and the skirt was open at the sides, fastened by four or five buttons at the bottom\nlikewise on braids. It was girded at the waist with a silk sash having small tassels depending\nin front. Over the dress, gowned or not, was worn a large cape or short cloak of silk or\nbrocade, light or heavy according to the season, with a collar as before mentioned. Round\nthe neck the merchant wore a ruff, and ruffs again appear at the wrists. The cap was\nsometimes high and hat-shaped, with a narrow brim, and sometimes flat and largely projecting\nlike the modern Scotch cap. Like also to the nobles and other Venetian gentlemen, they\nindulged in the luxury of gloves. The Jew was distinguished from the Christian by being\ncompelled to have his cap made of a tawny yellow material, sometimes so tawny as to appear\nalmost like a faded red. &\n& Launcelot Gobbo, as the Jew's servant, would not be a servant in livery, but would have a\nplain doublet, not unlike a Norfolk shirt in general outline, trunks, stockings, shoes, and\na high cap with narrow brim. As Bassanio's servant, he would be in livery like Leonardo,\nor Balthazar and Stephano, servants to Portia, whose doublets would be covered with guards,\nor braids and buttons set very closely together. &\nOld Gobbo would wear a kind of blouse with turn-over collar, cut down to the waist in\nfront and tied together with two or three bows. The skirt would be open at the sides, belted\nround the waist with a leathern strap, and beneath it would appear the ends of loose breeches,\nbare knees, turn-over coarse stockings, and tied shoes. The neck and throat were bare.\nas the daughter of a rich merchant of Venice, would be dressed in the ordinary\ncostume of a Venetian gentlewoman. A tightly-fitting body, square cut neck before and\nbehind, waist high at the sides and coming down low to a point both before and behind;\nthe body laced across a stomacher; frilled shoulder-pieces; sleeves loose above, and lightly\nfitting to lower arm; lawn or cambric ruffs at the wrist; flowing skirt; a necklet of pearls;\nslipper-shaped shoes, raised on sloping chopines; front hair arranged in short massive curls\non forehead, the rest strained back and done up in plait, from which depended the veil,\nthat in the costume of a Jewess would be yellow. The dress was of no particular colour,\nand the skirt underneath was open in front, and tied together at intervals. &\n\nTHE ARCHITEC-\nTURE AND COS-\nTUME OF THE\nMERCHANT OF\nVENICE & &\n\nB as s a nil).\nSolauio, Satari\nno, Graiiano A:\nRorenzo. &\nAuto u i o &\nsliyl o c k, <&>\nB a u 11 c e 1 o t,\nJessl c a • &\n\n(1) The gaberdine is only the Spanish word for his gown."}, {"page_pdf": 8, "page_imprimee": "94", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.8", "texte": "THE ARCHITEC-\nTURE AND COS-\nTUME OF THE\nMERCHANT OF\nVENICE &\n\nM Portia would do her shopping probably at Padua, and would therefore follow the fashions\nof the main land. The chief difference we have note of is the absence of the square-cut\nbody. Highnecked bodies, with fine cambric ruffs, was the every-day attire usually worn\nby Paduan ladies of noble birth. On state occasions, on festivals and at receptions, the\ndress, though still high on the shoulders, was open in front, terminating at a point a little\nabove the waist. There is also a marked difference to be observed between the dress of\na maiden and that of a married woman, and there is no question that the Paduan ladies\n(wives or not) indulged in a considerably extensive wardrobe. So, too, there was more than\none mode of dressing the hair, (i) In some cases it was crimped, parted in the middle,\nbrought round to the back over the ears, and rolled up ale grec, in others it fell loosely\ndown the back an natnrel, confined, however, at the poll by a delicately-wrought band or\ntiara of goldsmith's work; but the more usual plan was to arrange the front hair in massive\ncurls, assuming comewhat the form of low horns, and carried down each side in smaller\ncurls to the ears, the hair behind being strained (sometimes crimped), and fastened up into\na plait, with strings of pearls interwoven. From this plait depended the veil, which sometimes\nalso appears to have covered the head up to a point between the horned curls or rolls, over\nwhich it could be raised like a double hood. The veil itself was also worn in various ways,\nand as it was often arranged with the utmost grace, and made of the finest material—a\nsort of silken gauze, enriched with gold, interwoven and even sometimes embroidered and\ndecorated further with pearls and gems—its lovely film-like effect, like an iridescent mist over\nthe rich materials of the gown, can be better imagined than described. The gown, with\nthe exception already noted, was cut like the Venetian dress, and was made of silk, brocade\ngold cloth, or costly velvet. Over the shoulders was worn a chain, usually of gold set with\njewels, and suspending a large jewel or cross. The pouch or gipciere worn at the girdle\nwas not quite yet abandoned, and Portia may wear one or not as she pleases. In addition\nto this brides and married women wore a gold chain following the triangular lines of the\nwaist, and hanging down in front as low as the knee. Gowns with the skirt open up the\nfront and with loose hanging sleeves were also used by the \" Sposa di Padoua. \" Rings were\nworn on the first, third, and fourth fingers. Earrings of pearls and jewels appear, and\nsometimes we see a string of pearls one end attached to the ear and the other looped up\nto the back hair. The veil is occasionally omitted, and a stiff semi circular collar of lace is\nseen standing up behind the neck and reaching as high as the poll. (2) Portia's stockings\nwould be of silk or the finest thread worked with clocks and even open seams. Her shoes,\nof slipper form, would be of morocco or of velvet embroidered with gold, cork being used\nfor the soles. On her journey to Venice she would use a velvet mask or visor, and gloves\nhighly perfumed and embroidered with gold or silver. A pocket looking-glass, with ladies\nof rank, was not an uncommon possession, and was sometimes set in the back of the fan,\nwhich was usually made of nine or more ostrich feathers, the handle set with pearls and\njewels and fastened to the end of the girdle-chain, if the lady was married. The\npockethandkerchief was of large size, and of fine cambric, having an embroidered border,\nand a tassel at each corner. Finally, in going abroad ladies wore, in the winter and later\nautumn, a mantle or pelisse over the gown, reaching to below the knee, open in front to\nthe neck, and with long, loose, open, hanging sleeves. Over this came the veil, and a round\nvelvet hat with a broad brim completed the costume, whose chief glory consisted in its richly\nembroidered or woven or cut patterns. & & &\nNerissa, \" the waiting maid, \" or, as we should now call her, the lady's maid—must be\ndressed as the confidential servant of a noble and wealthy lady, neither too rich nor yet\ntoo poor. There will still be the ruffs at neck and wrists, but of less delicate material than\nthose [on Portia; the skirt of the gown will be shorter than her ladyship's, and there will\nbe an absence of ornament, except perhaps as a border to the dress. She must wear a ring\nor two, and from her girdle would hang a pouch and huswife. She would also have a short\nveil of plain lawn or cambric, which she might use as a hood, pinned under the chin.\n& Of the costume of the scores of men and women, from the \" magnificoes \" and ambassadors\ndown to the porters and beggars who might fill up the stage picture, Cesare Vecellio may\nbe consulted, for he gives us abundant illustrations of all sorts and conditions of men both\n\nNetis 3 a, &\nPortia . M\n\n(1) False hair (as the text shows) was by no means unusual.\n(2) Venetian point was highly esteemed. Some specimens are In the Entrance Corridor at South Kensington."}, {"page_pdf": 9, "page_imprimee": "95", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.9", "texte": "foreign and native. There is one professional dress which, however, we must not forget to\nnote, and that is the official costume of a doctor of laws—the character assumed by Portia\nin the fourth Act. The D.C.L. of Padua wore a tight doublet, silk belt, trunk hose, and\nstockings, all of black; velvet in winter, silk in summer. Over these he put on his official\nrobe or gown, ungirdled, having an upright collar and long capacious open sleeves reaching\nnearly to the ground. This was made of velvet, silk, or damask, covered with rich pattern,\ncut, embroidered or woven according to the nature of the material, (i) On his head he wore\na tolerably high cap, made with a narrow brim and a flat top, and on his feet were seen\nthe usual slipper-shoes. His clerk would wear a black cloth doublet, trunks, stockings, and\nruffs, but no robe or gown.\nIn conclusion, we should remember that Portia has the golden hair so much admired at that\ntime, that the officials in a Venetian Court kept their hats on although in presence of\nthe Doge, that the manners of the period were characterised by courtesy combined with a\nstately dignified action, and that what we call stiffness of manner was then regarded as\nquite the correct thing. But modern actors and actresses rarely hold the mirror high enough\nto reflect the mien, deportment, or bearing of the men and women of a past age. The air\nor look of gentlemen and ladies during the great period of the Renaissance can be ascertained\nfrom the documents and the pictures of the time, and if an actor fails to reproduce it he\nis not fitted to play in the comedies of the great dramatist of that period. Correctness of\ncostume, and properties, and furniture is all very well, but if, through it all, we see nineteenth\ncentury action, modern style, the mode of Robertsonian society, or the special graces and\ncharms which are the delight of our own time, hut which would have been looked on as\nantics, or at the least as bad form, in the Courts of Philip or Elizabeth, then the picture\nmust be discordant, and the dramatic representation wofully incomplete. &\nSOME SAYINGS OF GOETHE\nis an interpreter of the inexpressible; and it therefore seems a folly to try to convey\nits meaning afresh by means of words. <£>\n'jphe sight is the finest of the senses. The other four teach us only through the organs of\ncontact; .... we hear, feel, smell and touch everything by means of contact; but the\nsense of sight stands far higher, is refined above the material and approaches the mind itself,\ngtrictly speaking, nothing is theatrical but that which is at the same time symbolic\nto the eye. &\nbelongs by rights to the history of Poetry; in the history of the Theatre\nhe only appear casually.\n\nTHE ARCHITEC-\nTURE AND COS-\nTUME OF THE\nMERCHANT OF\nVENICE &\n\nThe manners\nof the period.\n\n(1) All the patterns cut on velvet or In brocade and damask were large. I have seen none which could be drawn within\nless compass than 12 Inches square."}, {"page_pdf": 10, "page_imprimee": "96", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.10", "texte": "EALISM AND THE ACTOR.\nAN INTERNATIONAL\n\n'Jphe series of visits which the Sicilian Players are paying\nto all the European capitals, exhibiting an unfamiliar\nphase of realism In theatrical art which is almost primitive\nin character, has once more called public attention to certain\nquestions as to the relation between realism and the stage.\nBelieving that we could best serve the interests of the\ntheatre by collecting and publishing expert opinions on\nRealism and the Actor we framed three questions to which\nwe solicited answers from some of the students of the Theatre. . & & &\nWe may perhaps be excused in saying that our questions are made as simple as possible,\nso that the mind of the English reader shall not be confused. The outcry raised in some of\nthe English journals against the Realism of the acting of the Sicilians, and of Signora Mimi\nAuguglia's performances in particular, gives us reason to believe that it was time to have\na clear definition of what Realism in acting consists of, and whether it is a wise and\nbeautiful thing to see upon a stage, shown in the same way as we see it in Painting and\nLiterature.\nIn the last number of \" The ZVlask \" we printed the replies of Signor Tommaso Salvini,\nMr Sidney Grundy, M. Antoine, Mr. H. Beerbohm Tree, Mr Carl Hentschel, Mr Arthur\nSymons, M. Andre Beaunier, Fraulein Gertrude Eysold, Herr Hermann Bahr, Miss Loie Fuller\nand M. Jan Klaassen. We repeat the questions, and publish some further replies this month.\nTHE QUESTIONS.\nL Do you consider Realism in acting to be a frank representation\nof human nature? jg?\nIL In your opinion should the Actor be allowed the same liberty\nin his expression of the Passions, as is permitted to the\nWriter or the Painter? & & &\n111. Do you think that Realism appeals to the General Public\nor only to a limited section of Playgoers?\nTHE ANSWERS.\n£? Gordon Craig Forte de'Marmi\nI. . Yes. Realism is exactly this:.... a frank representation of human nature. The modern\nWriters and Painters attest to this by what they write of and paint, and by the way\nin which they write and paint it. &\n11. And because the Realists attempt to represent nature so frankly, (which Frankness\nthey call Truth and which generally borders upon Brutality) and because this Frankness\nis no Fruit, no Blossom, but merely the roots of a new Growth, so I believe that the\nActor will never ask for the same liberty as the Writers and Painters of today that he\nmay give these Brutalities their \" counterfeit presentment\" with all accuracy of detail\nat command.\nI can call to mind no actor so lacking in intelligence as to desire to present with all\nits actuality the moment of Death as expressed by the modern Realist in Literature\nand Painting,.... or the moments of Love as expressed by these same frank and most,\nmost blind, leaders. jg?\nThe Realists may claim that they are not concerned so much with the subjects they\ntreat of as with the manner in which they treat these subjects. If so, then is it a most\nextraordinary fact that the realists only concern themselves with what is ugly or\nBrutal and always with what the Idealists have given so much thought to veil. <£?"}, {"page_pdf": 11, "page_imprimee": "n. p.", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.11", "texte": "DESIGN FOR A STAGE SCENE. by GORDON CRAIG"}, {"page_pdf": 13, "page_imprimee": "97", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.13", "texte": "The question you forgot to put us is whether the Public would allow the Actor to\nexpress the same feelings and the same incidents as both Idealistic and Realistic writers\nhave somehow or other won the right to express. &\nWhat is the difference between the picture and the word and the living breathing\nactuality? Why, even the Public that sits in the Pit of a Theatre feels the difference\nand would refuse to let the Actor reveal what it allows Milton and Rabelais to reveal.\nThen how can there be a shadow of doubt that the Actor not only should not be\npermitted the same liberty as the Writer or Painter, but actually is not permitted\nthat license? & *& & &\n111. Realism is a vulgar means of expression bestowed upon the Blind. Thus we have the\nclear-sighted singing,\" Beauty is Truth, Truth Beauty,.... that is all ye know on earth,\nand all ye need to know \". The Blind are heard croaking, \" Beauty is Realism, Realism\nBeauty,.... that is all I know on earth, and all I care to, ...don't cher know\". &\nThe difference is all a matter of love. He who loves the Earth sees Beauty everywhere:\nhe is a god transforming by knowledge the incomplete into the complete. He can heal\nthe lame and the sick, can blow courage into the weary, and he can even learn how\nto make the blind see. The power has always been possessed by the Artist,.... who,\nin my opinion, rules the Earth.\nIt is quite likely that Realism may appeal at one period to the Public and not at\nanother period, The Public is not concerned with the quest of knowledge; no, not\neven with the wisdoms of wisdom, that simple everyday atom of Truth which waits, unseen,\neverlastingly everywhere. The Public is concerned with the quest of money,.... and,\nwith money, that fat and brutal power to Revenge which it can bring... that power\nto give like a Lady a handshake when a kiss is too little; that power to give like\na Lord ten pounds to a \" por beggar \", and that power to give a little charity when only\nlove is enough. & & And so long as the Public is made up of this class of monstrous\nmeanness,.... of that which gives half or three quarters instead of all, so long will it\nlove its Realism, which is the short measure or meanness of the Artist.\nAnyhow, there is nothing which need cause Playgoers anxiety; there is no need for\nthem to feel depressed;... furious, if you like, but depressed? not a whit: for the\nlimited section of Playgoers who love Beauty and detest Realism is a small minority\nof about six million souls. They are scattered here and there over the earth. They\nseldom, if ever, go to the modern Theatre. That is why I love them, and intend to\nunite them.\nCarlo Placci ■£? Florence\n1. Yes: but then it is not a work of art, for good acting ought to stand to real life as\nstatues stand to wax»work, or pictures to instantaneous photographs. Realism in itself\nis not artistic. If anything, Super-Realism may be artistic, because it is a sort of\nPlus-Lfife, Life on intellectual stilts. *&&&<&&\nll® iNo: for the Actor is not the only factor concerned on the stage. Whilst the Writer's or\nthe Painter's work is an end to itself, the Actor's work is only part of a bigger scheme\nin which other artistic elements enter, independent from him. Is Man the central figure\nof Creation? Is the Actor the principal feature of the Stage? & &\n111. Realism appeals exclusively to the vulgar crowd on account of the no effort and no culture\nit requires to be grasped. On the other hand an artistic rendering, which has nothing\nto do with Realism, appeals to the limited group of playgoers who have good taste.\nOnly Super=Realism, for different causes and in different doses, can appeal both to the\ngeneral public and to the select few.\nAlexander Hevesi Budapest\nI. Realism is also an Art for the representation of human nature. This art consists in\nlaying stress on what is special in the human. That is why Realism always appears\nwhen Art has become fossilised into formalism. Realism is to regain a hold 011 life for\nArt, but after it has refilled itself with life it then strives to overcome the specialisation,\nthat is to say, details, (for every true Art is symbolic), and endeavours to form patterns;\nthat is to say, it wishes to return to \" style. \" The modern tendency in Art, and what\nwe are all striving after, is to conquer Life through Art. & &"}, {"page_pdf": 14, "page_imprimee": "98", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.14", "texte": "11. Poets and Painters are limited by their materials. The same law pertains for the Actor.\nIn the first place his limitation is through material, that is to say, through speech.\nFurther there is another limitation for him. The Actor does not stand alone upon the\nstage. He is a part of the whole and this whole is represented by the Stage Manager.\nAn Actor must become great through renunciation. &\nHI. I believe that Realism is the Art of the Philistine. The naive public is a child, susceptible\nto style. The true amateur desires style. The Philistine wants everything to be real..,,\nreal trees, real walls and so on. These real things are always unreal things in Art...\nalien and hostile to Art: but the Philistine is no Artist: he has only senses and no\nfantasy.\n\nTWO WORDS & THEIR MEANING.\nW. Skeat, Professor of Anglo-Saxon In the University of Cambridge,\nTHEATRE JZ? jet 4?\nA French word, derived from Latin; the Latin word from Greek. Middle French, theatre;\nDictionary ed. 1660. Derived from the Latin Theatrum, derived from the Greek\nBsoupov, a place for seeing shows, derived from the Greek Bsaopai, I see, Compare 9sa\na sight; see Prellwitz. &\nDRAMA 4? 4? 4?\nA Latin word, derived from Greek; the Latin drama derived from the Greek Spajia (stem\ndpajiax), an act, a drama, derived from the Greek Spao), I perform. Compare Lithuanian\ndaran, 1 make, (root DAR. Derivatives, Dramatic, (from opapax); etc. 4? 4?\n\nTHE MIMETIC ART LESSING\nProse Works; Dramatic Notes. Nos. 101-104.\nhave actors but no mimetic art. If in past times there was such an art, we have it\nno longer: it is lost, it must be discovered anew. There is enough superficial chatter\non the subject in various languages, but special rules, known to everyone, pronounced with\ndistinctness and precision, according to which the blame or the praise of an actor can be\ndefined in a particular case, of such I scarcely know two or three. Thence it arises that\nall our reasoning about this subject always seems so vacillating and dubious, and that it is\nsmall wonder if the actor who possesses nothing but a happy routine, feels himself offended\nby it in all ways. He will never think himself praised enough and will always believe himself\nblamed too much; ay, he will often not even know whether he has been praised or blamed.\nIndeed the observation was made long ago that the sensitiveness of artists, with regard to\ncriticism, rises just in that ratio in which the certainty, precision, and number of their\nprinciples regarding their art decline. This much in my own defence and in defence of\nthose without whom I should not need to excuse myself. 4& & &"}, {"page_pdf": 15, "page_imprimee": "99", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.15", "texte": "INIOO JONES AND\nHIS MASQUES.\nby J. Paul Cooper\nrig°jones was born in the reign °f E,izabeth. his w°rk ■« En«iand sh°rt,y att«r\nthe accession of James I. to the throne, lived to see the civil war and died just before the\nrestoration. He lived in an age when much was done and biographies were scarce. His name\nhas survived as an architect and a designer of Masques. Today he is probably better known\nto the majority of people by his portrait which Vandyke painted than by his architectural\nworks. To nickname him the \" English Palladio \" is to dismiss him with a second hand\ncompliment, shorn of half his laurels. & & &\nHe was born in the year 1573. Sir Francis Bacon, Shakespeare, Spencer, Christopher\nMarlow, Sir Philip Sydney, Sir Walter Raleigh, Robert Flood, Ben Jonson, Philip Massinger,\nMilton, Samuel Butler, John Locke and John Bunyan were his contemporaries. A Londoner\nby birth, he was christened in the church of St Bartholomew in the Cloth Workers' quarter,\nwhere annually the great cloth fair took place. His father, Ignatius Jones, was himself a\nclothworker. His son was, according to Walpole, apprenticed to a joiner. & &\nThe first authentic information we have about Inigo Jones is that, at an early age, he\nwent to Italy to study landscape painting. It has been stated that he was sent there either\nby the Earl of Arundel or Pembroke, who had taken an interest in the boy, but he himself\nstates that it was his love of study and travel that took him there, and does not hint at\nany patron. In Italy he became interested in Architecture and spent much of his time\nstudying and measuring the buildings. From Italy he was invited by Charles IV to Denmark,\nwhere he designed and built, it is said, the royal palaces of Rosenborg and Fredericksborg.\nWhen in the year 1605 he accompanied Ann of Denmark to the Court of James I, his\nreputation was already made, he was at once appointed Architect to the Queen and\nPrince Henry and employed in the designs and decorations of the Court Masques. His\nfirst Masque was produced in the year in which he came over, in conjunction with Ben\nJonson, who at the same time made his debut as a writer of Masques. In the same year he\nwas employed on the scenery and devices for three plays presented before the King. \"They\nhired one, Mr Jones, a great traveller, who undertook to further them much and furnish\nthem with rare devices, but performed little to what was expected \". He all the same\nmade some innovations, for the writer of the letter in which this information is given goes\non to state that he had an arrangement of \" Columns moving about, so that three scenes were\ngiven in one tragedy \". But if the stage scenery did not come up to expectation, in the\nMasques expectation was surpassed. For several years to come Masque followed Masque,\nthe jMasque of Hymen, The Masque of Queens, The Princes Masque and many others. He\nwas appointed Prince Henry's Surveyor of Works, and then came in 1612 the death of Prince\nHenry, \" the glory of our own and the grief of other nations \", and Inigo Jones, after ar-\nranging one more Masque, this time with Chapman, to commemorate the marriage of the\nPrincess Elizabeth with Frederic the Elector Palatine, finding himself free set off again for\nItaly, this time under the patronage of the Earls of Arundel and Pembroke. A devoted\nadmirer of Palladio, we hear of him taking a copy of his work about with him wherever he went.\nHe returned to England on the death of Simon Basil, the surveyor general of the royal\nbuildings under James 1., and was appointed Surveyor in his place, being paid eight shillings\na day for his entertainment, eighty pounds a year for his \" recompense of availed \" and two\nshillings and eight pence a day for his riding and travelling charges, the which sum was\nafterwards increased. The Surveyor was required to superintend and repair the various\npalaces, devise alterations, and inspect works. Extra payments were made for work such\nas that of repairing Ely House, for certain works carried out in the Star Chamber, and \" for\nmaking a Hearse for the Queen's funerall &\n\nHis contem-\nporaries.^\nFirst visit to\nItaly. &\nHis first Masque\nSecond vis it\nto Italy. &"}, {"page_pdf": 16, "page_imprimee": "100", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.16", "texte": "INIGOJONES\nAND HIS\nMASQUES.^\n\n& After the deaths of the Queen and Prince Henry, Masques were not in such great requisition\nand Inigo Jones devoted himself chiefly to architecture. In 1619 he commenced the New\nBanquefting Hall, Whitehall, which was burnt down shortly afterwards: he built the Chapel\nat Lincoln's Inn, the Chapel of the Infante, Somerset House which was destroyed of recent\nyears by a lesser architect, Sir William Chambers; he also built the water gate to the town\nhouse of Villiers, Duke of Buckingham. He was made one of the Commissioners for the\nrepair of St Paul's Cathedral, which was begun in 1633 and put a stop to by the civil war.\nHe built the theatre of Barber Surgeons, Monkswell St, began the Piazza of Covent Garden,\na building with a red brick front, stone pilasters and red tiled roof, which years after\npassed under his name when the red brick had been covered with stucco and the red tiled\nroof replaced by slates. In 1631 he began the church of Covent Garden, of which the tale\nis told of how the Earl of Bedford, sending for the architect, explained to him how he\nwan led a chapel for the parishioners, but that he would not go to any considerable expense:\n\" in short, 1 would not have it much better than a barn to which Inigo replied, \" You\nshall have the handsomest barn in England \". This church was his last architectural work.\nThe civil war broke out and building stopped and the Masques ceased. Inigo Jones joined\nthe royalist forces and was taken, sword in hand, at the Siege of Basing. He was fined and\nimprisoned. His outlook was gloomy; his office of surveyor, which he held under Charles I.\nafter the death of James, if not extinct, was unpaid; when released from prison he had\nno work and had to live on his savings, and these he, together with Nicholas Stone, the\nsculptor of the Monument to Sir Francis Vere in Westminster Abbey, buried in a private\nplace near his house in Scotland Yard; but as four servants had assisted at the burial, he\nbecame fearful lest its resting place should be discovered and so dug it up and reburied it\nin Lambeth Marsh. He died just before the Restoration and was buried according to the\nregister of St. Bennets on June 16. 1152, &\nInigo Jones became a designer of Masques, as far as we know, in the prime of life, and\nprobably in them he gave some of his best work as an artist. & & &\nThe Masques were descended from the mystic performences of the past; their origin lies far\nback in the rites of the Eleusinian and other mysteries. The Mask, from the use of which\nthe performances took their name, was originally used in dances to represent mythical\npersonages. As in the head dress of Egyptian deities the qualities of the god were represented,\nso in these dances the qualities of the deity would be exposed by the Mask worn by the\nperformer.\nThe Masque was the root of all other dramatic performances, it contained all in embryo, it\nshadowed forth endless possibilities, but in itself it differed from all other forms of expression.\nIt was all movement, and expressed, so to speak, the rhythm of the universe and appealed\nto and satisfied that craving we all feel for union with that rhythm. It was as changing\nas the sea, as nature herself. The words passing into song and the music urging on the dance,\nBy means of movement they caused, in the beholder, an exaltation of his poetic nature.\nThey were acted poems, poetry expressed in words, music, dance and scenic accompaniment.\nLike an orchestra of many different instruments, each one of which touches a different\nchord in the hearer's heart, so that he is swept away and becomes as one with the performers,\nthe Masque, by appealing to so many sides of man's nature and striking the same note on\neach, brought him into tune with the masquers, and the whole hall, audience and performers\nalike, were as one instrument responding to the touch of the artist's hand, who wittingly\nor unwittingly had touched a note to which all must respond. In the Masque, in fact, the\naudience and the performers were as one; there is an intimate bond of union which is, at\ntimes, expressed in the words of the Masque itself, and the members of the audience, as\nin the marriage Masques, often furnish the subject on which the Masque is constructed.\nThe spirit of the more ancient Masques appears in the symbolic figures, the Greek and\nRoman deities, the Nature spirits, the Virtues and Vices that were introduced; they were\nall symbols, and symbols are keys opening, for those who can use them, stores of knowledge.\n<<& They were of immense advantage to the artist composing and arranging the Masques;\nforming a nucleus round which ideas clustered; they at once furnished the poet with a\nsubject for his verse, the musician with a theme for his song, the designer and painter\nwith a groundwork for their scenes, and gave a direction to the feet of the dancers. These\nfigures had been moulded by the ages, and their symbolism stamped by generations of\n\nThe Civil War.\nThe origin of\nMasques. &\nTheir charac-\nteristics.\nSymh o I i c\nfigure s."}, {"page_pdf": 17, "page_imprimee": "101", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.17", "texte": "worshippers in the past. The audience was expected to recognize them and understand\ntheir significance. Their costumes like a coat of arms proclaimed their personality. Rumour,\nin a skin coat full of winged tongues; Curiosity and Error in a like coat, the one full of eyes,\nthe other scaled like a serpent, with hair of curled snakes and a deformed vizard; Credulity\nwas painted over with ears. The Earth wore a grass green coat and mantle painted over\nwith trees, plants and flowers, and with an oak headdress. Water had a waved coat with\na mantle full of fishes and a dolphin headdress. The Air was clothed in a skin coat with\na mantle painted with birds, and with an eagle headdress. Fire wore a skin coat with a\nmantle painted with flames and on the head a cap of flames with a Salamander in\nthe midst. In the Masques there was hardly any plot and hardly any episode. It was an\nallegory, a little vision, which approached the spectators, made its bow and with a\nfew compliments vanished. 44 It was written for princes and by princes it was played \".\n44 Like a Good Comedy it required \" as Mr Meredith says, 44 a society of cultivated men and\nwomen where ideas are current and perceptions quick \". Then you are shown 44 a world\nenlarged to our embrace by imagination and by great poetic imagination \", a world in which\nthe forces of nature take a mortal shape. It is not the individuals who move and sing\nand dance; thej' are the Gods that rule men's destinies, the spirits of earth and air and\nwater, the symbols of men's passions, their virtues and vices. Apollo \" who taught the Muses\nall their harmonies; \" Jove,44 the power that governs and conserveth all earth, sea and ayre\";\nMerecles, 44 great friend and servant of the Gods \"; The Fates who spin and weave and cut\nthe thread of human destinies; Lethe, the giver of forgetfulness ; Atlas, 44 hoary and frosted \";\nNight with its dance of phantoms; Phosphorus, herald of the day, all move in the Masque. What\nopportunities are given the scenic artist with the House of Night, the triumph of Fame, the\nPalace of Neptune and the House of Prometheus, from which fiery spirits, clothed in flames,\nwith fiery wings and 44 bearing in either hand a torch of virgin wax came forth dancing, \" and\nwhat opportunities for the dancers in the dance of Phantoms, the dance of the Signs of the\nZodiac, the dance of the Winds, the dances of Witches, of Nymphs and Dryads. & &\nThe Masque was produced by the combined aristocracy of birth and talent. Ben Jonson\nfound expression in them for his learning, Milton gave in his Masque of Comus some of his\nrichest verse. Lord Bacon, Whitelock and Selden invented the devices for the last great\nMasque presented to Charles I, and composed the procession of Masques and Antimasques.\nThe songs and dances were set to music and arranged by the most celebrated masters, and\nthe performers were often the highest in the land, the King and Queen themselves frequently\ntaking part.\nThe age in which they were performed was not an age of specialists. An artist was not\ndepreciated in any way because he could express himself in more than one material. Inigo Jones\nbesides being an architect and designer of Masques was a writer of sonnets, a painter and\na most capable draughtsman. Ben Jonson not only wrote Masques, but designed and produced\nthem himself. One Masque was designed by a master carpenter, another by a dancing master.\nThe members of the court who so frequently took the chief parts in the Masque were taught\ndancing and learned something of the actor's art as a necessary part of the education of\none called upon to take a leading part in courtly pageants. & «&\nThis overlapping, so to speak, of craftsmanship, made for the great success of the Masque.\nThe artist, while attending to his own branch of the work, understood as a fellow craftsman\nwould, the aims and difficulties of his fellow workmen, and could further the one and\nhelp to overcome the other, in away that is almost impossible when each artist, bound up\nin his own work, fails to understand at a glance the technical difficulties another in another\nbranch has to deal with. Inigo Jones, as an architect, would find in the Masque a means of\nexpressing himself in away that would otherwise be impossible, away that is unfortunately\ndenied to modern architects. Like a Genie out of the Arabian Nights, he was endowed\nwith the power to raise magic buildings in a single night. The walls might be of jasper or\nrare marbles, there was no one to complain of the cost; the statues that adorned them\nwere of gold and silver in place of stone, and the windows gleamed like jewels by the aid\nof coloured lights. These buildings would be for the architect gigantic models in which\nhe could try effects before he ventured them in brick and stone. It is difficult for us today to\nrealise what effect they would have on the public, they would be so fresh and strange, a dream\nwithin a dream, a work of art encased in a work of art. & In the Masque of Queens which\n\nINIGO JONES\nAND MIS\nMASQUES.,#\n\nGeorge Meredith\nAn opportunity\nfor the scenic\nartist.\nAn opportunity\nfor the architect.\nThe Masque of\nQueens."}, {"page_pdf": 18, "page_imprimee": "102", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.18", "texte": "INIGO JONES\nAND HIS\nMASQUES,^\n\nwas written by Ben Jon son and designed by Inigo Jones, the former gives a description of the\nHouse of Fame. 44 First for the lower columns he chose the statues of the most excellent Poets,\n\" as Homer, Virgil, Lucan, etc. as being the substantial supporters of Fame. For the upper,\n\" Achilles, >Eneas, Caesar, and those great Heroes, which these Poets had celebrated. All\n44 which stood, as in massie-gold. Betweene the pillars, underneath, were figur'd Land\n44 battailes, Sea fights, Triumphs, Loves, Sacrifices, and all magnificent subject of honour: in\n44 bronze and heightened with silver, in which, he protest to follow the noble description, made\n\" by Chaucer, of the place. Above were sited the Masquers, over whose heads he devis'd two\n44 eminent figures of Honour, and Virtue, for the arch. The Freezes, both below, and above,\n44 were fill'd with several»coloured lights, like Emeralds, Rubies, Saphyres, Carbuncles, etc.\n44 the reflexe of which, with other lights, placed in the concave, upon the Masquer's habits,\n\" was full of glory. These habits had in them the excellencie of all device, and riches, and\n44 were worthily varied by his invention, to the nations whereof they were the Queens\nIn one of the scenes in the Lords Masque which Campion wrote and for which Inigo Jones\nmade the designs there were four life sized statues of silver 44 standing in several niches,\n44 accompanied with ornaments of Architecture, which filled all the end of the house, and\ni\n44 seemed to be all of goldsmith's work. The first order consisted of pillasters all of gold, set\n44 with Rubies, Sapphyres, Emeralds, Opals and such like. The capitals were composed of a\n44 new invention. Over this was a bastard order with cartonses reversed, coming from the\n44 capitals of every pilaster, which made the upper part rich and full of ornament. Over every\n44 statue was placed a history in gold, which seemed to be of base releave, the conceits which\n44 were figured in them were these. In the first Prometheus embossing in clay the figure of\n44 a woman, in the second he was represented stealing fire from the chariot wheel of the\n44 sunne, in the third he is exprest putting life with this fire into his figure of clay, and in\n44 the fourth square Jupiter enraged, turns these new made women into statues. Above all\n44 for finishing ran a cornish, which returned over every pillar seeming all of gold richly carved.\"\nBut Inigo Jones' work in connection with the Masques did not end with the designs for scenery,\nwhether buildings, landscape, or seascape. He designed also the dances, the mechanical\nappliances and planned the stage and the seating. The Masque had a short and brilliant\nreign. It was abandoned at the time of the Civil war not to be revived. Its fate seemed\n\\\nintimately connected with that of Inigo Jones himself. It was introduced into England when\nthe young architect returned to his native land with Ann of Denmark, it flourished as he\nflourished, and declined when he fell on evil days. It was a costly entertainment, but\nfrom all we hear was worthy of the money spent upon it. The writers of the time who\nmention it, all speak of it with enthusiasm. It supplied wants that we seek today, in other\nways, to satisfy. It gave poetry, music, scenic display and dancing. We now go to books\nfor poetry, to the opera or concert for music, to the theatre for scenic display, and to the\nMusic Hall for dancing. We specialize over much and we suffer for it. The actor is at\ntimes drowned by his scenery, the dancer is almost lost in a variety entertainment, wedged\nin between the turn of a juggler and of a ventriloquist. But we have no performance which\nunites the arts and unites the audience in the same way as the Masques did. The music,\nthe dancing, the colour of the changing scene were to the spectator as the flags and battle\nmarch of a great army. They quickened the blood, aroused the imagination, and stirred\nup noble thoughts, 44 for all representations \"as Ben Jonson says,44 especially those of this\nnature....ought always to carry a mixture of profit, with them, no lesse than delight. &\ni\n\nThe I, or d s\nMasques\nThe Reign of\nthe Masque."}, {"page_pdf": 19, "page_imprimee": "103", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.19", "texte": "BOOK REVIEWS\n\nSH AKESP E All I? AN REP RE-\nS&ISTATION, ITS LAWS ANB LIMITS,\nby Percy Fitzgerald. Elliot Stock; London.\n6s Nett. jg?\nTyjr Fitzgerald, who has devoted himself\nlYlfor many years to the study of the\ntheoretical representation of Shakespeare's\nplays, gives us the result of his investigation\nIn a series of interesting chapters on \" The\nReal Hamlet\"; \" Shakespearean Ghosts, Appa-\nritions and Witches \" Music and Dancing; \"\n44 Modern Revivalists, \" and the like.\nWe are inclined, however, to question the\nfitness of the sub-title chosen by Mr Fitzgerald,\nfor in our opinion he does not tell us the\nLaws, and rather widens than narrows the\nLimits. He tells us what Irving, Beerbohm\nTree and other producers have done and then\nproposes to do other things, yet he does not\nsuggest giving the entire piece another\ntreatment; but merely varying and elaborating\nthe treatment which now prevails.\nTake, for example, his passage relating to\nthe procession of spirits in \" Macbeth \". \" The\n\" very suggestion of the magic procession of\n\" Kings impresses. It ought to be an ever\n\" brilliant and imposing thing, the scene\n\" changing to a glow of lights, with glitter and\n\" effulgence. There should be music, too, as\n\" directed ('hoboys') Yet it is always presented\n\" in the most literal commonplace fashion. The\n\" fellows tramp past. The figures should enter\n\" among the trees, each after an interval...\n\" not in a procession, as is so commonly shown,\n\" but after pauses, with a slow and saddened\n\" gait. They should be misty, shadowy things.\n\" The witches then, seeing Macbeth depressed\n\"by their show, indistinct at first, cry,\" Cheer\n\"we up his spirits! Charm the air to give a\n\" sound \", etc, on which there should be more\n\" pleasing music, with some fantastic dancing,\n\" at the close of which they all slowly vanish.\n\" Cave and all might disappear, and Macbeth\n\" be left on an open heath, as if awakened\n\" from a dream,\" Now this is not \"limiting\";\nit is rather elaborating what stage managers\nare doing today, and this fact of itself proves\nthe book the work of ta student, a theorist,\nand not of one who has had practical\nexperience of what he teaches. Had Mr\nFitzgerald practised the art of stage\nmanagement, he would have discovered the\nvery important fact which no one can discover\nwithout practise,...that the material of the\ntheatre is already too elaborate, and that\nit is this material which must be simplified\nif simpler effects are to be produced.\nIn his description of the opening scene of\nHamlet the author again reveals the true\nimaginative stage director,...but he is\nforgetting Scene II which follows close upon\nScene 1. He is therefore no practical stage\ndirector. \"This Terrace\", he writes,\n\" should be a long stretch or promenade, and a\n\" lonely one. And here is usually the mistake...\n\" that there is little attention paid to the scale\n\" of things, it being attempted to squeeze\n\" into the small area all the substantial portions\n\" of a castle. This quite dispels illusion. The\n\" ghost might be seen coming down from a long\n\" distance, first afar off, then drawing near\n\" slowly and gradually, and unseen by the\n\" officers\". & & &\nWe hope we appreciate the beauty of Mr\nFitzgerald* s conception and should like to\nsee him put it into practise, but we would\nremind him that swiftly upon this first scene\nfollows the second, and if his stage be entirely\noccupied, as it would need to be, with this\n\" long stretch or promenade \", where does\nScene II with its thirty or forty characters\ncome in ? The idea of a \" long\npromenade \" is remarkably picturesque; but\nuntil we know how the transition is to be\nmade from this scene with its lonely lawn\nto the next one so complete a contrast....\nwe must say that we feel it to be very\nunpractical.\nAnother matter in which we are at variance\nwith Mr Fitzgerald is with regard to his\nestimate of the work of Mr Gordon Craig.\nWe wonder if he has ever read a very able\npaper on this subject by Mr Arthur Symons\nin his volume of \" Studies in Seven Arts \" ?\nThe phrase in which Mr Fitzgerald's criticism\nof Mr Craig's scenes culminates is \" They\nwill be found monotonous \". Possibly....\nbut whether they are or not will naturally\ndepend upon the onlooker and Mr Fitzgerald's\nis the kind of criticism which is often applied\nto work of marked personality. Bach is \" mo»\nnotonous \" to the man who prefers the\n\" variety \" of Sidney Jones: Fra Angelico\nis \" monotonous \" to one who finds relief in\nthe volubility of Phil May. It is what they\nsay of Irving as an actor, of Turner as a\npainter. \" He was always Irving \", and \"Well,\nwe know what a Turner is \". But what is\nmonotony in Art to one man is often the\ninsistence of personality to another, and\ncertainly in the case in question we hold the\nlatter view. & Mr Fitzgerald claims for his\nbook that it treats of the Laws of\nShakespearean Representation. We would\nventure to suggest, since he is interested in\nsuch matters, that he should make a careful\nstudy of the work, both practical and\ntheoretical, of Mr Gordon Craig, who is the\nmost serious and successful of all the seekers\nafter those far greater Laws, the Laws of\nthe Art ot the Theatre, and the man to\nwhom, more than any other, we firmly believe\nthat the Theatre of the Future will owe tsi"}, {"page_pdf": 20, "page_imprimee": "104", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.20", "texte": "re=establishment in its original dignity and\nbeauty. & But, these slight criticisms apart,\nwe cannot commend sufficiently this book of\nMr Fitzgerald's to the attention of the stage\nmanagers in the modern theatre;for although,\nfor the reasons given, the author does not\nbringusany new solution of difficultproblems,\nhe certainly supplies a quantity of valuable\nadvice to those who practise the modern\nmethods in the Theatre of today. & ■£?\n\nTHn STORY OF MY hI F H\nby nil en T err y & &\n'T'hese Memoirs, now appearing month by\n® month in Maclure's Magazine, are very\nfreshly written, and, in that personal\nspontaneity which is so entrancing, recall\nthe Memoirs of the American actress, Clara\nMorris. Yet for all that we read these\nReminiscences with disappointment, coming\nas they do from so great an actress; because,\nwhile charming as Reminiscences, they are, as\na contribution to the Art of Theatre, entirely\nvalueless. For this is not a book for the\nboy or girl who is struggling to know how\nto do or how not to do, who is perplexed to\nknow if to keep on with the work or give\nup altogether, and who, in that struggle and\nperplexity might naturally turn for guidance\nto the writings of one who has travelled the\nsame path before. No, it is a popular book\nto read when in a train or a boat on the\nThames. Undeniably charming, but valueless:\npretty, tender, good, excruciatingly funny at\ntimes, but again,.... valueless to the Art of\nthe Theatre. & & &\nAnd it is in this that the disappointment\nlies. It would have been less keen if the\nactress had been less great. As it is we lay\ndown these reminiscences only to wonder\nagain, when will one of our leaders,.... that\nis to say, one of those old enough to know\nwell, if not better, than any, when will one\nof these begin to speak the truth, whether\nthat truth be ugly or beautiful, about the\nTheatre and its Art? Why the truth?\nSimply because it counts for so much vitality.\nWhy not such Memoirs as these? Simply\nbecause they count for so much entertainment\nand no more. We have heard actors and\nactresses, (great actors and actresses)\ngrumbling against books written by students\nof the theatre,.... books such as those by\nGoethe, Diderot, John Addington Symonds,\nG. W. Lewis, Arthur Symons, because, they\nsay, these gentlemen are all very fine with\ntheir theories, but they have never practised\nanything and therefore how can they know ?\nYet these actors and actresses, (great actors\nand actresses), never themselves trouble to\nwrite in a serious mood about the theatre,\nso who is to do it? Great generals have\nwritten their serious theories drawn from\npractise, on military tactics and other matters\nof value to the young soldier; painters and\nmusicians have written seriously of their\nseveral arts: it is only the actors who have\nnothing for the younger generation but\namusing anecdotes of their career. &\nPerhaps one of the most serious contributions\nby an actor to the literature of the Art of\nthe Theatre is Mr Beerbohm Trees's little\nbook on \" The Imaginative Faculty \", a lecture\ndelivered at the Royal Institution, May 26,\n1903. We hope Mr Tree will write another\nh00k,.... an important one, and when he\ndoes we trust that he will find it possible to\nomit from his work all anecdotes. In that\nomission lies much of the value of his former\nhook. It is not occupied with chatty and\namusing records of how Mr A. did this and\nhow Mr B. did the other, and what Mr. T. said.\nIt is on a higher plane altogether, showing\nthat, had the author seen his way clear to\nworking for the future of the stage,... (a thing\nwhich everybody must perceive is most\nnecessary)... instead of producing a few plays\nwhich will have their day and be ended, he\nwould have left a name among the great\nworkers in the Art of the Theatre. & &\nNothing spoils a book on the Art of the\nStage so much as anecdotes of its actors.\nHow unfortunate this is and how prejudicial\nto the interests of the Art! We do not want\nto be told if an actor is a good fellow or not\nfor we know that already. What we want to\nlearn is if he is a serious worker, how much\nand what kind of work he does and what is his\nwhole intention in doing it. And then we do\nnot want him to compare his work with that\nof the carpenter or some other hard worker\nbut to compare it with the fine arts and show\nits relation to them. We want to see him\nas an artist among artists and learn his relative\nvalue. We should like to come across a\nbook which treated of these matters, but\nit would take such a man many years to\nwrite it and he would have to leave the stage\nin order to do so, which might, ...but we must\nask to be forgiven if we refuse to state\nthe idea which has suggested itself during\nthe writing of this last paragraph! &\nTo return, however, to the present chapter\nof Miss Terry's Memoirs. The letter from\nMadame Duse quoted in the May number is\ninteresting and we reprint it here: &\n44 Madame: With Olivia you have given me\n\" pleasure and pain. Pleasure by your noble\n44 and sincere art pain because I feel sad\n\" at heart when I see a beautiful and generous\n44 woman give her soul to art as you do\n\" when it is life itself, your heart itself,\n\" that speaks tenderly, sorrowfully, nobly\n44 beneath your acting. I cannot rid myself\n44 of a certain melancholy when 1 see artists\n44 as noble and distinguished as you and Mr\n44 Irving. Although you are strong enough\n44 (with continual labor) to make life\n44 subservient to art, I, from my standpoint,\n44 regard you as forces of nature itself, which\n44 should have the right to exist for themselves\n44 instead of for the crowd. I would not venture\n44 to disturb you, Madame, and moreover 1\n44 have so much to do that it is impossible\n44 for me to tell you personally all the great\n44 pleasure you have given me, because I\n44 have felt your heart. Will you believe, dear"}, {"page_pdf": 21, "page_imprimee": "105", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.21", "texte": "44 Madame, in mine, which asks no more at\n44 this moment than to admire you and to\n44 tell you so in any manner whatsoever.\n44 Always yours, E. DUSE. >£> &\nYet, though interesting, we rather regard it\nas the letter of an actress than the letter\nof an artist. Set in the midst of Miss Terry's\nblithe memories it shows us how, as the\ncomedy actress will invariably make sunshine\nout of all she sees and does, the tragedy\nactress sees tragedy in everything. It is a\nmatter of focus, and naturally results from\nregarding scenes and events through the\ntemperament rather than through the\nimagination. On a later page is given the\nfollowing letter, written from Oxford to\nMiss Terry by Henry Irving.\n441 had supper last night at New College\n44 after the affair. A. was there, and I had\n44 it out with him to the delight of all.\n44 4 Too much decoration % etc., etc. & 1\n44 asked him what there was in 44 Faust\" in the\n44 matter of appointments, etc., that he would\n44 like left out. Answer nothing. & 4 Too\n44 long runs.' & & &\n44 4 You, sir, are a poet,' I said. 4 Perhaps it\n44 may be my privilege some day to produce\n44 a play of yours. Would you like it to have\n44 a long run or a short one?' (Roars of\n44 laughter). & & &\n44 Answer: 4 Well, er, well, of course, Mr\n44 Irving, you well well, a short run, of\n44 course, for arf, but \\ 4?\n44 4 Now, sir, you're on oath,' said 1. 4 Suppose\n44 that the fees were rolling in ten pounds and\n44 more a night would you rather the play\n44 were a failure or a success? ' <£?\n44 4 Well, well, as you put it, I must say —er\n44 1 would rather my play had a long\n44 run I' A. floored! & & &\n44 He has all his life been writing articles\n44 running down good work and crying up the\n44 impossible, and I was glad to show him up\n44 a bit!\n& What a strange attitude! Is it typical of the\nEnglish stage? Is it typical of the English\nnation? Is it typical of commerce? It is\ncertainly not typical of anything to do with\nArtists and their work. Who, one wonders,\nwas this poet at Oxford who fell so easy a\nprey to the celebrated Actor=Manager? who\nwas this twopenny gentleman who is brought\nforward as the type of all poets and who yet\nbegan to hum and haw as soon as money\nwas mentioned?... for the word 44 money „\nis a Shiboleth, and the way it is pronounced\nshows unmistakeably the quality of the man.\nIf taken seriously, the whole thing was very\nunworthy of Irving. One sees him in the\nguise of the Actor« Manager, trying to prove\nthe very unimportant and unreliable fact\nthat the public is an ass and that those who\ntruckle to the public are greater asses. He\nproves his point up to the hilt, therefore he\nalso proves the rule that Poets are not fools,\nfor this must have been an exceptional\npoet.... but he does not mention the name\nof the poet. We hardly think that, had he met\nLord Tennyson, Mr Swinburne, Mr Rossetti\nor a dozen other poets in England at this\nday that he would have been able to write\nas he does here. After all, where the actor\nmanager goes poets and artists ars not often\nto be found, so it is not surprising that he\nshows himself ignorant of the real nature of\nthe artist since he so seldom comes across\none in his travels.\nWe have said before that the publi-\ncation of such Memoirs as Miss Terry's\nwas of no service to the Art of the Stage;\nwe should have said hardly any service. As\nthe Memoirs of the most popular actress in\nEngland they will afford entertainment to\nmany; and by the way in which they imply\nand reveal the narrowness of the theatrical\nbrain, the limitations of the theatrical outlook,\nthey will, also unwittingly, help the Art itself.\nHow? Why, because the younger men,\nreading these pages, will feel more insistently\nthan before the imperative need of escaping\nfrom the triviality of the stage world, from\nthe artificiality of its atmosphere. The stage\nworld as drawn by Miss Terry would not be\na tiny one for a public person but it is a\ntiny one for an Artist.... and it is artists\nthat the theatre needs. The world of the\nStage is one in which men may crawl or\nclimb, but never fly. The Art of the theatre\nis the only art which exists in such an\natmosphere. All the others spread their\nwings. But discontent with existing conditions\nis a necessary prelude to their reformation,\nand it is in arousing this discontent in the\nyounger workers in the theatre that Miss\nTerry's memoirs will be of service to the\nArt. & &\n\nTHE BUTTERFLY QUARTERLY\nPublished by George Wolfe Plank, 1126\nWalnut Street, Philadelphia: U. S. A.\nAnnual subscription, dollars 1.25.\n\nWe have received the first three numbers\nof this new American Art Journal, and\nwe like them. The format is good, the type\nclear; it is carefully printed upon stout paper.\nIts contents are not so dull as the contents\nof the majority of journals and often much\nbrighter. its illustrations are at times\nsurprisingly good. Mr George Wolfe Plank\nis a young and gifted artist and his wood\nengravings are unlike anything America has\nproduced. Wood engravings are rare things\nat all times, and the quality of the wood\nengravings in the \" Butterfly \" make them\nworthy of special attention. &\nThe second number of \" The Butterfly \"\ncontains a translation of a short play by August\nStrindberg: an intense little piece which\nshould be of great interest to the serious\nstage in England. There are six characters\nin the play, which is not so well translated\nas it might be, but which could easily be made\nbetter by a few slight alterations by anyone\nwishing to perform it. Strindberg is the\nfirst poet and playwright of Scandinavia, the\nonly successor of Ibsen. It is not generally"}, {"page_pdf": 22, "page_imprimee": "106", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.22", "texte": "known that he is also one of the first landscape\npainters in Sweden. &\nIn the last number of 44 The Butterfly \"is a\ndesign of Madame Nazimova as 44 Hedda\nGabler, \" a strange poem called 44 Moonlight \",\nsome music, the reproduction of an etching by\nGordon Craig, and many woodcuts by the\nEditor, George Wolfe Plank.\n\nD.N.L.\n\nBOOKS, JOURNALS AND MAGAZINES\nRECEIVED jg?\n\" Desiderio, a Play in 3 Acts \" Sonnets and\nShort Poems & \" Proserpine, a Masque in 3\nActs \".Maurice Baring(Simpkin, Marshall & Co.,\nLondon. \" A Typical Shakespearean Stage \"by V.\nE. Albright. (The Knickerbocker Press. New York)\n\" The Flame', A Pantomime \" by Mark Perugini.\n(The Pan Press). jg?\n\" The Studio London. \" The New York Dramatic\nMirror New York. \" Poesia Nos. 1-4, Milan.\n\" Rivista di Roma Rome. \" Argus Helsingfors.\n\" Die Schaubuhne Berlin. \"Uj Szemle Budapest.\n\" II Teatro Illustrato \" Milan. & & &\n\nFOREIGN NOTES\n\nFLORENCE\nJ. S.\n\\JLJz hear reports that the amazing Sicilian\nactor, Signor Grasso, is about to tour\nEurope and America with 44 Othello\" as his\nchief attraction.\nWe should like to see Signor Grasso\nperforming this role with Emma Grammatica as\nDesdemona, and under the stage management\nof Mr Gordon Craig, We cannot conceive a\nmore harmonious triple alliance,\nSignorina Grammatica has not yet appeared\nbefore a London or American audience, and\nLondon has not witnessed a production of Mr\nCraig's since he has overcome the difficulties\nof lighting which hindered our full enjoyment\nof his earlier efforts in 1902,\n\nBERLIN\nR. S.\nHebbel Theatre, designed first by the\nenergetic requirements of the modern\nGerman stage and secondly by Herr Oskar\nKaufmann,* has been well photographed, and\nthese pictures are to be found in the May\nnumber of 44 The Studio They are worth\nstudying. The English managers will derive\nbenefit if they study long enough.\nLet us draw their attention first of all to the\nproscenium. Is it in any way different? Look\nagain. Are the decorations at all better than\nthe usual decorations? How and why better?\n.Just look carefully. It is not that the English\narchitects and decorators would not do quite\nas well if they got the chance, but it is the\nchance they seldom or never get.\nThe Imperial Theatre in London is a really\nhandsome looking place when you get inside\nbut outside it is abominable and the stage is\nfifth rate. The Hebbel Theatre is first\nrate all round. &\nLook, too, at the little scrap of scenery-\nindicated in the Photograph on page 302 of\n44 The Studio \". Is it possible that we see no\nwings, no borders? Again..., wake up,\nGentlemen in the English Theatre and\nhurry on, or you will be late.\n\nPARIS\nJ. de S.\nM de Max, the first personality of the French\n•stage, has made a most natural decision\nto leave the stage of France for that of\nEngland. The Daily Mail speaks of it as\n44 startling \", but it is only startling for a day.\nConsidered longer it appears very logical.\nM. de Max wants a new task worthy of his\npersonality and so he determines to forsake\nthe French stage and come to England, playing\n44 Lear \" and other Shakespearean roles in\nEnglish, and awaken the spirit of friendly\ncompetition in the souls of the English\nTragedians. He will have a difficult task\nto accomplish for several &\nIn an interview he states that when he was\nonly fifteen years of age he had the pleasure\nof seeing Henry Irving at the Lyceum Theatre,\nand was so carried away by his acting that\nhe made up his mind to embrace a stage career.\nWe hope M. de Max will give England the\nopportunity of witnessing his rendering of\n44 Richard 111 \" and 44 Macbeth \". We believe\nthat his 44 Richard 111 \" would be the best role\nin which he could make his first essay and\nappearance as an actor in English. 44 King\nLear \" is a play which the English publics are\nnever too ready to welcome. Henry Irving's\nunforgettable interpretation of 44 Lear \" was\nreceived with the respect which Irving could\nalways command, but the play was by no\nmeans as successful as were the other\ntragedies. We trust that some Actor\nManager of London will realise the value of\nthis opportunity to enlist such a tragedian as\nDe Max and will put aside his own taste for\nacting and devote himself to business pure and\nsimple with De Max as his stock in trade. It\nwould be a clever move on the part of any\nActor«=Manager. The English stage and public\nwould be the gainers, for we cannot call to\nmind the name of any Actor»Manager who is\na good actor, and we can think of quite a few\nwho are clever business managers. &We\nawait the result of M. de Max's decision with\ninterest. &\n\nPHILADELPHIA\nMRS FISKE in AMERICA\n\ngt is so customary to parade the pretty little\n* externalities of the actor that one instantly\ndoubts either the sense of the critic, or the\ndepth of the actor himself. Mrs. Fiske is\nan un»customary woman, mysterious,\nsomething apart, a presence to fjash across\nour vision suddenly, then disappear... but she"}, {"page_pdf": 23, "page_imprimee": "107", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.23", "texte": "leaves with us a vague wonder, a ghost that\neclipses the reality. She has that in her\ngrasp, which must ever be the essence of\nany Art. . . Suggestion . . . the instrument\nthrough which is transmitted an impression\nso various and vast as the intelligences that\nabsorb it. Words are to her but a necessary\nmedium that dare not dominate- she is not\nconcerned with words, but meanings . . .\nmeanings that widen like circles in a quiet\npool. She bends her whole personality to\nthis, and there are times when with eyes\nstaring wide, one loses the woman and sees\nthe greater mentality... the real Mrs. Fiske.\nHer thought is fluid, absolutely; she is not\nof the wooden school: a quick little turn of\nthe head, an inscrutable expression that\nmight as well be a mask, and a thought is\nwhirled into space, trailing behind, a shower\nof terribly clear reasons. She makes of\nherself no emotional barometer, but with a\nsweet dignity that must seem wearisome to\nthe commonplace, keeps sanely within the\nframe: and by so slight a thing as a nervous\nlittle gesture, can she swing, as on a pivot,\nthe fatality of the drama.... her accent is\ninfallible. jg? & &\nIt would be interesting to see what Mrs. Fiske,\nwith her tremendous peculiar power, could\ndo in collaboration with the mystic art of\nGordon Craig. I see her take her place with\nthe Idea, saying silently such lofty meanings\nthat words would drag in the dust, for her\nsilence can be terrible: her silence can be\nbeautiful: she knows the wisdom of silence.\n& Yet this wonderful woman has had thrust\nupon her what all distinctive idealists must\never suffer; ridicule, contempt, a clattering\nfusillade against her personality, closed doors\nand press comments of vile odour. But like\ndistinctive idealists, she has gone her straight\nroad alone, or nearly so, for there are\nalways the few who cling fearfully, and\nhopefully; to a slight thread. <£? &\nAfter many years she stands a supreme figure\nin the Stage history of America. If she must\nstep down several steps one season, let there\nbe no fear, she will but rise to a\ngreater height the following. She fights a\nterrible beast, the Public, and realizing the\npathetic necessity of subtleties, never comes\nentirely to the level of the beast: she is ever\na discreet trifle above, and it is the beast\nthat is slowly being attracted up the stair.\n\nW P.\n\nEDITORIAL NOTES\n\nCinematograph serves a good purpose\n* when it shows us the wonderful and\nmysterious manifestations of nature; when\nwe see on the screen the falls of the Josemite\nvalley, when the pictures represent a great\nforest where men are felling giant trees, or\nwhen we see before us some grand ceremony\nof the Far East. But when the Cinemetograph\nattempts to touch sacred matters it becomes\nhorrible. &\nI witnessed with disgust such a parody last\nEaster. The Life and Death of Jesus Christ\nwas advertised. The entire story was enacted\nbefore us and was as realistic as those who\nlike Realism could have wished. Men and\nwomen of the most unintelligent types were\ndressed up to imitate the Saviour, His disciples,\nand the rest. The action took place either\nin the open air or in a painted room.\nEvidently much money had been wasted on\nthis diabolical parody. jg? 1 was with\na very cultured Hungarian writer. lam not\nsure of the Religious Beliefs of either of us,\nbut I am quite sure of our misery when\nwitnessing this insulting and lying commentary\nupon the profoundest character in History.\nNo detail, however realistic, was omitted.\nThe raising of the dead, the kiss, the scourging,\nthe nails, the nakedness, all were shown upon\nthe screen. It is so awful to remember that\nfurther description must be excused. &\nBut where are the Authorities? What are they\nthinking of, what are they doing? Where do\nthese films hail from? From France? From\nAmerica? From Germany?....? &\nThe Cinemetograph is so entirely refreshing\nas a rule, so instructive and amusing, that\nthose who control its fortunes should prevent\nsuch exhibitions as 1 have described. &\nWe should be glad, should any of our readers\nhave had the misfortune to witness a like\nexhibition, if they would communicate with\nus and state where they have seen it. jg?\nIf any good purpose is served by the exhibition\nit is to act as warning against ever allowing\nReligious subjects to become the common\nproperty of the Stage. We have had one\n\" Salome \" by Wilde, now acted all over Europe,\nand we hope we shall not have another. It\nhas stood as excuse for any amount of\nvulgarity. It licensed dancers to unrobe and"}, {"page_pdf": 24, "page_imprimee": "108", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.24", "texte": "commence leaping about on the stage of Music\nHalls in what they were pleased to call Religious\nor Classic dances. It gave an excuse for all\nthe young and well-shaped actresses of\nGermany to steal a march on their more\nintelligent sisters by playing the part in a\nsemi-nude state. It serves the theatre\ndirectors a very bad turn, for the public who\nflock to these shows now refuse to patronise\nanything which does not contain a good slice\nof nudity in it.\nThe Censor is not only A BLESSING; he is\nA NECESSITY. He should be as strict,\nas puritanical, as possible, to prevent the\ndisastrous invasion of these sacrilegious and\nprofane improprieties. To this end NO Religious\nsubject should be permitted; no part of the\nbody except face and hands should be allowed\nto be seen. We would even go so far as to\nsay that no scenes of violence, such as\nmurder, suicide, seduction, torture, fighting,\nriot, or bloodshed of any kind, should\nbe allowed to come before the eyes and ears\nof the audience; and all this should in our\nopinion be secured for us by Act of Parliament.\nUail Columbia! She loves and hates. That's\na true woman. Hating her mediocre artists\nshe would spur them to greater things by\nlashing them unmercifully with her disdain.\nShe hates her paltry Theatres. Is that true?\nWhat proves it? The Kinemetograph and her\npatronage of its twopenny tragedies, She\nhates the humbug of her slack theatres which\nparade vulgarities before her calling it Art,....\nLove. She is tremendous in her acts.\nShe sweeps thirteen Theatres clean of all\ntheir actors, plays, scenes and twaddle and\ninstals a brand new mechanical Kinemetograph\nin each. Bravo! Bravo, Columbia!\n44 They pay better \" is the excuse|she gives.\nHow lovely she is, .... how tremendous in\nher contempt,.... as if she cared a scrap what\nbrings her a few more dollars! What she\ncares for, she knows these theatres are not\ngoing to give her. What she wants is the\nfirst, best, most splendid theatre on the round\nearth, no less.44 Pays better \"!!! Really, Europe,\nyou exhibit a carelessness quite unpardonable\nin one so old, when you believe this young\nColumbia means what she flauntingly says.\nAll that America does she does well. She\ncould do otherwise but she will not. She\nknows what she wants; it is already hers;\nshe waits for it to respond.\nMeantime that poltroon, the Theatre,\nmasquerading as her lover, thinking its\nartificial oaths and pretty parlour flatteries\nand promises will pass with her, that worn\nout roue, horridly painted, husky voiced, half\nblind, postures before her.\nThe result of this posturing is that \" thirteen\n44 of the regular theatres in Greater New York\n4t are this summer devoted to moving pictures\n44 and the immediate prospect is that other\n44 theatres, instead of closing down will rely\n44 upon this popular form of entertaiment\n44 for their supply\".\nWhat an opening for an artist! And how\nenchanted Miss Columbia would be!\n*\" Pi nglish stage management ought to be\nforgotten and then recommenced\n44 by a new generation of stage managers who\n44 have realized that they, as well as the\n44 author, must look occasionally at life itself,\n44 and make, at any rate, some attempt\n44 at realism St George's Review.\n& Signs of awakening in England. all\nbut that one word, 44 Realism \". What the\nwriter possibly means is that the stage\nmanagers should go to nature to see what\nTruth is and how to match the Truth of the\nPoet's song by a true vision for the eye.\nBut that is very different from Realism.\nIf you tell stage managers to be Realistic\nyou will do the stage great harm, for Realism\nis a dangerous thing. & The cheap photograph\nseeks and finds it, and the crowd can\nunderstand it so easily that they sit listlessly\nbefore it and their brains and beings have\nundergone no exercise in the understanding\nof it. & && &\nBeauty and Truth are quite as easy to\nunderstand, but there can be no such thing\nas an unathletic understanding of Beauty or\nTruth in Art. It needs athletes to create Art, it-\nneeds a race of athletic beings to understand it.\nAnew feature of the August and following\nnumbers of 44 The Mask \" will be a page\ndevoted, under the title of44 The Spectators \"\nto the publication of opinions of the general\nPublic which have been expressed during\nthe month on any play, production, notable\ntheatrical event or long-felt want. &\nPlay-goers are invited to contribute in ten\nor twelve lines their opinions on any matter\nrelating to the Theatres they visit. In this\nway we hope to prove that the Public in\nEngland is not the uneducated and unfeeling\nmonster which it is always being made out\nte be by a certain section of the critics.\nContributions should be addressed to the\nEditorial Office of 44 The Mask 2 Lung'Arno\nAcciaiuoli, Florence, Italy. &\n\nJ. S.\n\n& ALL RIGHTS RESERVED &\nGERENTE RESPONSABILE, GINO DUCCI &\n\nMASK OF THE LIAR."}, {"page_pdf": 25, "page_imprimee": "109", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.25", "texte": "IT H E MASK.I\nAMONG THE WRITERS & ARTISTS CONTRIBUTING TO THE MASK ARE\nJOHN BALANCE & ALEXANDER HEVESI JEAN JACQUES OLIVIER\nCARL BEHRENS & H. von HOFMANNSTHAL WOLFE PLANKS &\nALLEN JAN van HOLT £? WILLEM ROYAARDS\nQUNNAR CASTREN J& EDWARD HUTTON JSf WILL ROTHENSTEIN\nOORDON CRAIO £> ANDREAS JYNGE OTTO RUNG J0 £>\nJ. PAUL COOPER ELLEN KEY j0 RUDOLPH SCHMERZ &\nISADORA DUNCAN 0 JAN KLAASSEN MARTIN SHAW &\nA. F R I E D E N TH AL FRITZ LAPIDOTH ELLEN TERRY &\nLOUIS FULEP £> &D. NEVILE LEES Jcf E.THESLEFF &\nADOLF FURST & J& M. LYKIARDOPOULOS JAN C. de VOS & &\nJULIUSZ GERMAN jS> HALDANE MACFALL & PHILIP WAHLSTROM\nIVO HAUPTMANN & NEUWERT H. WILSON. j£>\nSTEPHEN HAWEIS jOC.NICHOLSON & HELEN ZIMMERN\n\" THE MASK\" HAS CORRESPONDENTS IN THE FOEEOWING CITIES\nAMSTERDAM £> & THE HAOUE & & ROME j£f £> 0\nBERLIN & j& HELSINGFORS £> j& SAN FRANCISCO £>\nBUDA P E S & J0 LONDON 0 & STOCKHOLM £?\nCOPENHAGEN £f & MADRID VIENNA & £>\nDRESDEN & & MUNCHEN WARSAW & &\nDUBLIN PARIS j0 & WEIMAR j& & &\nFLORENCES & £> PHILADELPHIA\n& jzr SPECIAL NOTICE. &\nnphe August and following numbers of \" The Mask \" will contain a series of \" Letters from\nGordon Craig to his Mother \" written from Italy. The replies, \" Letters from Ellen\nTerry to her Son \" will be published shortly afterwards. & & & & &\nVRADIV \\ England, 16 Shillings I Italy, 17 Lire, j\nci i ocrDiDTiAM Germany,l6 Marks | Russia 8 Roubles POST FREE\nSUBSCRIFI lON I America> 4 Dollars | France 20 Francs. )\n>\nORDER FORM\nTo the Editor, (or)\nTo Mr. Bookseller\nAddress\nPlease put down my name as a subscriber to \"The Mask\" for one year, or six months\ncommencing with the number, in payment of which subscription, including postage,\n1 enclose the sum of Signed\nAddress\n\nThe principal Artistic\nand Literary publica-\ntion of Scandinavia.\nYearly subscription\nFrancs: 20.\nlIIIIMM—III-IHIMHH I l—M—■——■■■ lIMII ■tlMl—llllß HUT—lMW—■lllTflllMHH I 111 11 !■■■■■ ■! UMIIIIUHM ■«—1—llllllM f —llTlTlllllfl ■!!■■■! IIBIIMW IM—MMlWlMlllill—l Mil\nWahlstrom & Widstrand, Stockholm\nPUBLISHED MONTHLY &\nORD\ni\nWm\nft\nm\nBLD\nOCH\n£\nI\nm"}, {"page_pdf": 26, "page_imprimee": "110", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.26", "texte": "& \"VIESSEE\" (The Balance) &\nA RUSSIAN LITERARY & ART MAGAZINE PUBLISHED MONTHLY IN MOSCOW BY\nTHE SCORPION PRESS\n\" The Balance \" contains Poetry, Fiction, Drama, and Essays on Art and Literature by\nthe best modern authors, both Russian & Foreign. & &\nThe Journal has correspondents in all the chief cities of Europe.\n\" The Balance \" is illustrated by drawings, etchings, lithographs, etc: (also colour plates)\nby Russian and Foreign artists.\n& Annual subscription, post free. 18 francs. (14 shillings) &\nOFFICES; MOSCOW (RUSSIA) THEATRE SQUARE. METROPOLE BUILDINGS 23.\nj& jet CHIEF - EDITOR: SER\n\n-<©• THE MOSHER BOOKS &\n& MDCCCXC I-MCMVIII JS>\nFor a dozen years the most artistic volumes at their price that have been issued in America\nhave been published, not from New York or Boston, nor even in Philadelphia or Chicago\nbut it Portland, Maine. In that little city Thomas B. Mosher has been printing, without\nflourish of trumpets or wide advertising, volume after volume which in artistic excellence\nare not excelled by the issues of any publishing house in the world. Then, too, Mosher has\nreprinted only the gems of literature that have been declared of the first water; gems that\nare, beyond objection, jewels of the world's treasury of brilliant writing. We may also\nassert that the question of gain has been secondary in Mosher's calculations. He lias put\nout very small editions, and he has made them so beautiful in all that concerns their make-\nup that it is doubtful if he has ever gauged the expenditure by the possible profit. Never-\ntheless, he must have done so, but in doing so he excites our admiration. &\nGUY CARLETON LEE in Baltimore Sun for Dec. 18, &\nMy new Catalogue a remarkable piece of book-work in itself explains this unusual\ncompliment, and is sent free on request to book-lovers anywhere that can be reached\nby mail. My Catalogues are not made up of old and hackneyed quotations concerning\nbooks. You are not wearied by \" a jollie good book \" jingle and that sort of thing, but\nyou are treated to some very genuine prose & verse not found in every cut and-\ndecidedly-dried anthology. X? JS/ &\nTHOMAS B. MOSHER jS> PORTLAND. MAINE & U. S. A.\n\nA PORTFOLIO OF ETCHINGS. &\nBy Gordon Craig & with a preface.\n/~|nly thirty portfolios will be issued, although ten or twenty additional copies of some of\nthe plates will be printed according to the condition of the plate. The plates will then\nbe destroyed. Each portfolio will be numbered. Each set consists of twelve designs loosely\nmounted on grey card and contained in a grey cloth box portfolio with fastenings. Each\nplate is signed by the artist. Size of portfolio 48x30 ctms. Average size of plate.\n14 2/3 x 15 2/3 ctms. The price for a portfolio will be L. 16 . o . o, (400 Francs or 320 Marks).\nHPhese etchings were made by the artist in the Spring of 1907 at Florence, and represent\nhis most serious work. Connected as they are with his dream of an Ideal Theatre, they\nin no way have anything in common with the modern stage. & £? &\n44 Movement\", writes Mr Craig, 44 was at the roots of the Ancient Theatre and will ever\n44 remain the very Essence of the Art. &&&?&&&&\n44 We must translate Movement through the medium of inanimate forms and thereby produce\n44 once more an Impersonal Art which shall take its place by the side of its two sister\nArts, Musjc and Architecture \". #\nORDER FORM\nTo The Publishers,\nThe Editorial Office of 44 The Mask \" 2 Lung'Arno Acciaiuoli, Florence. Italy.\nPlease send me the Portfolio of Etchings by Edward Gordon Craig, in payment for which\n1 enclose the sum of L. 16.0.0, (or 400 Francs or 320 Marks) & &\nSigned\nAddress."}, {"page_pdf": 27, "page_imprimee": "111", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.27", "texte": "LiBRAIRIE ANCIENNE &\nT. DE MARINIS & Co. 5 Via Vecchietti - FIRENZE\n2E3\n-\n-A\na\na.\nAWV*\nItut\nfinr\n%\n01\nJjUUU\nJaaz\n\\\nWl\n• It\nI\nA,\nIfi\n■■\ntSJJ\na\n••1«t\n«•»§\nan\n-\nI W\nlit\n• Ml\n\"•I\n/ST\n111\nlit\nSJr\nuLOJiI\nnn\noa\nnil\n00\nin\npL^r=%iil\na ol\nm\naart\nin\nrJUL\nnt\njj\ns\nIlllfU\nlIMI\n« I\njjnipou\nm\n• §\nIS 11\n■as\n3S\nItMi\nX\nD 06\n(•111\nLL\nv 111\nft' ■;\nJTCEDj\nj 1—\nHIS\"\nTW\n»\" a o j\nvmrtv\nm\nu\nQfig\nOO\nH\nmi 1 c.\nlAr\n• •in\nruvir\nmmmm\nFine Collection of MSS.r Incunabula, rate and curious books XV-XIX cent.\nIllustrated Catalogues free on application.\n\nTHE SOCIETY OP FOUR\n8\nd\nc\nHAVE PURCHASED ONE\nOR TWO BEAUTIFUL\nWORKS OF ART OF\nTHE LATE QUATTROCEN-\nTO AND EARLY SEICENTO\nCOMMUNICATIONS\nTHOSE DESIROUS OF PURCHA-\nSING SHOUED BE ADDRESSED\nTO THE \" SOCIETY OF FOUR \"AT\nTHE ADVERTISING OFFICES\nOF \" THE MASK \" BORGO SAN\nJACOPO, 8. FEORENCE\n\nEX LIBRIS.\nAre you a Book Lover ? II\nso, you will want all which\ncan add to the beauty\nand completeness olyour\nbooks, and you cannot\ndo without.\nA BOOK PLATE\nIn design your Book Plate must be grave\nyet charming, for its duty is to act as\nwatchman at the doors of all books, whether\nreligious or profane. If you would possess\nsuch a Book Plate, simple, charming and\ndistinguished, write to the Wood Engra-\nvers of San Leonardo, directing your letter\nto 5 Piazza Donatello, Studio 9, Florence,\nItaly, and you will receive all the infor-\nmation you desire.\n\nEDITION DE LUXE.\nSPECIAL NOTICE TOBOOKLOVERS\n15 copies of \" The Mask \" will be printed\nMonthly upon a yellow hand-made deckle-\nedged paper identical in appearance and\ntexture with that made in the same district\nof Fabriano in the year 1315. This edition\nwill contain Etchings and other prints\nsigned by the artist, which will not be\nincluded in the popular edition.\nYearly subscription: England, L. 3.5.0 Post Free\n„ ~ tt Germany, Marks 67,00 „ „\n~ ,» „ America Dollars 16.00 „ „\ntt tt tt I ialy Eire 52.00 ~ ~\n„ „ it Russia Roubles 30.00 „"}, {"page_pdf": 28, "page_imprimee": "112", "url_page": "https://bluemountain.princeton.edu/bluemtn/?a=d&d=bmtnaau190807-01.1.28", "texte": "jgf Printed for the Proprietor by E. Morandi, Tipografia Bodonlana, Via Plntl, Florence, and published at The Office\n2 Lung'Amo Acciaioli\n\nFRILLI\nANTONIO\nPURVEYOR TO 10\nIMPERIAL & ROYAL\nFAMILIES -£? j&\nFLORENCE\nVia dei Fossi 4 /&\n£> (ESTABLISHED i860) &\nAWARDED PRIZES\nAT 48 NATIONAL &\nINTERNATIONAL\nEXHIBITIONS\nThe largest Establishment of Sculpture in\nMarble Reproductions from the Antique\n& Original Works. Portraits. Monuments,\nMantels, Garden Seats,&\nVases Fountains &Flower=stands, etc:\nESTIMATES GIVEN ON APPLICATION\nST LOUIS MO.\nGRAND\n19 04\n\nDie Schaubiihne\nA weekly Theatrical Jour-\nnal Edited by Siegfried\nJacobsohn.\nVerlag Oesterheld & Co.\nLietzenburgerstrasse 60 <0!\nBerlin W. 15. jZ?\nSingle copy . . M. pf. 30\nQuarterly . . . „ 3. ~50\nYearly . . . . „ 12. „ 00\n\nTHE CONSERVATOR\nEdited & published Monthly by\nHorace Traubel, 1624 Walnut St:\nPhiladelphia, U. S. A. Yearly\nsubscription, dollars 1,25 post free.\n\nNEW YORK DRAMATIC\nMIRROR\nThe oldest and most reliable American\ntheatrical paper, published every week\nat 121 West 42nd Street. New York, U.S.A.\n& Sample copies on request free of\ncharge. Foreign subscriptions 50 Dollar s\none year; 1.70 Dollars three months.\n\nPhilosophical\nLending Library\n\n5000 volumes on Philosophy, Religiony\nMysticismy Occultismy ecc. English\nphilosophical Books & Reviews. Rea-\nding and lecture room. Lectures every\nSunday free for subscribers Sub-\nscription terms very moderate. Pro-\nspectus and catalogue on application.\n\nI—l——W—l^—————g I I I\nPIAZZA DONATELLO 5-Tel. 15-30"}]}